Sensational Knowledge: Embodying Culture Through Japanese Dance
Wesleyan University Press, 7 mai 2007 - 197 pages
How do music and dance reveal the ways in which a community interacts with the world? How are the senses used in communicating cultural knowledge? In Sensational Knowledge, ethnomusicologist and dancer Tomie Hahn uncovers the process and nuances of learning nihon buyo, a traditional Japanese dance form. She uses case studies of dancers at all levels, as well as her own firsthand experiences, to investigate the complex language of bodies, especially across cultural divides. Paying particular attention to the effect of body-to-body transmission, and how culturally constructed processes of transmission influence our sense of self, Hahn argues that the senses facilitate the construction of “boundaries of existence” that define our physical and social worlds. In this flowing and personal text, Hahn reveals the ways in which culture shapes our attendance to various sensoria, and how our interpretation of sensory information shapes our individual realities. An included DVD provides visual examples.
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Sensational knowledge: embodying culture through Japanese dance
Affichage d'extraits - 2007
aesthetic artistic audience awareness babysitter body bunraku character choreography codeswitching complex context convey cues cultural dance lesson dance notation dance studio dance transmission dancers DVD example embodied energy ensemble ethnographic ethnomusicology experience fieldwork floor flow focus gaze geisha genre gesture Hahn hand haragei Hatchobori headmaster Hideo Hiroyo identity iemoto system individual Japan Japanese dance kabuki kanji kata keikoba kimono kinesthetic kokoro learning lemoto lesson lemoto lived makeup ment metalanguage metaphor Michiyo move movement quality nagauta narrative natori nihon buyo notation nuances obi sash observe orientation passage performance perspective phrase physical practice relationship reveals ritual role Saho Sahomi sense sensory sensu shamisen shifting shoulder sing skinship social Soke sound space spirit stage structure student style Tachibana School Tachibana Yoshie tape tatami teacher teaching tion Tokyo touch transformation transmission process tsuzumi visual vocabulary vocal line vocal text Yuasa yukata Yuri's
Page 10 - Vulnerability doesn't mean that anything personal goes. The exposure of the self who is also a spectator has to take us somewhere we couldn't otherwise get to. It has to be essential to the argument, not a decorative flourish, not exposure for its own sake
Page 13 - ... write for other anthropologists, mostly Western. Identified also with communities outside the West, or subcultures within it, they are called to account by educated members of those communities. More importantly, not just because they position themselves with reference to two communities but because when they present the Other they are presenting themselves, they speak with a complex awareness of and investment in reception. Both halfie and feminist anthropologists are forced to confront squarely...
Page 18 - Orientalism proper) is that they confer on the other a discrete identity, while also providing the knowing observer with a standpoint from which to see without being seen, to read without interruption.
Page 13 - ... people whose national or cultural identity is mixed by virtue of migration, overseas education, or parentage.
Page 13 - ... an anthropologist cannot hide superficial understandings behind sweeping statements and is forced to present the grounds of understanding. Further, as Lila Abu-Lughod has argued in regard to what she calls "ethnographies of the particular," by writing in terms of "particular individuals and their changing relationships, one would necessarily subvert the most problematic connotations of culture: homogeneity, coherence, and timelessness