top of page

Catholic Daily Quotes

Public·50 members
Matthew Wright
Matthew Wright

Fujima Ryu Nihon Buyo



Featured guests include Melody Takata and Gen Ensemble of San Francisco, multi-instrumentalist and media artist Douglas R Ewart, electronics composer Jonathan Chen, classical music masters Chizuru Kineya and Hyakkyo Fukuhara from Tokyo, and grand master Shunojo Fujima and his company Fujima Ryu of Chicago performing nihonbuyo (Kimono dance).




fujima ryu nihon buyo



Fujima KanjuroBorn in 1980, Fujima Kanjuro is a Kabuki choreographer. He is the head of the Soke Fujima Ryu: Fujima School of traditional Japanese dance (Nihon Buyo). His grandfather, Fujima Kanjuro VI was the highly acclaimed choreographer and dancer who was eventually recognized as "Living National Treasure" by the Japanese government and whose oeuvre included a large number of prominent works. His mother Fujima Kanso III, is also an active Kabuki dance choreographer. In 2002, at the age of 22, he formally received the Kanjuro name, becoming Fujima Kanjuro VIII. He received the Minister of Education, Culture, Sports, Science and Technology Art Encouragement Prize's New Artist Award in 2003. In 2012, he was awarded by Japan Arts Foundation for his contribution to the traditional arts. -fujima.com/


Luego, en la era Meiji (1868-1912), muchos maestros empezaron a dar sus señales, y se estableció un sistema de calificaciones y escuelas Natori. Durante este periodo, se añadió una nueva posición al Nihon buyo, como disciplina para que las mujeres aprendieran los gestos bellos.


Les chorégraphes de shosagoto, dont la première apparition remonte vers 1673[3], ont fondé des écoles pour enseigner cette danse aux amateurs[4]. Le kabuki-buyō, inscrit au patrimoine culturel immatériel important depuis 1955, est interprété à la fois par un acteur du kabuki et par un danseur/danseuse du nihon-buyō.


Les pièces de nihon-buyō Ochiudo, Hachidanme, Yoshinoyama, qui sont des actes dans les pièces du kabuki adaptées du bunraku, Kanadehon chūshingura, Yoshitsune senbonzakura[14].


Jay Keister currently teaches Japanese Ensemble at the University of Colorado, Boulder with a focus on minyō folk songs and dances, nagauta with nihon buyō dance, and occasionally gagaku. He also teaches shamisen privately, both minyō and nagauta styles. He performs with his ensemble and does lecture demonstrations on Japanese music and dance.


Mami Itasaka-Keister teaches nihon buyō and minyō shamisen and singing. She performs both nihon buyō and minyō, and plays shamisen and taiko. She trained in minyō with Takeda Masahiro and Takeda Hiroko in Tokyo.


Attired in a delicate kimono that defines the body movements unique to Japanese aesthetics, Cheng Pei-hsuan (鄭姵萱) patiently taught a group of newcomers the steps and gestures for a new piece of nihon buyo, a Japanese performing art that mixes pantomime and dance.


The experienced buyo artist has studied the dance form for 10 years, and having grown dissatisfied with the quality of teaching in Taiwan, Cheng was accepted as the first foreign pupil by the Wakayagi school, one of the five major and oldest buyo schools in Japan and esteemed for its teaching style that stresses refined movements, gestures and facial expressions.


After two years of intense training, Cheng returned to Taiwan last year as the country's first certified instructor of classical buyo that incorporates the aesthetics and techniques of noh and kabuki theater and evolved to become an independent performing art form over the past four centuries.


Accompanied by shamisen music combined with chants and narrations to create a scene, buyo is an exquisite mix of dance and pantomime where choreography, elaborate costumes and make-up are used to portray the moods of characters which are also defined by their facial expressions and highly stylized movements.


Role-playing is a significant element of buyo as performers are free to study different dance forms assigned to female and male characters. The art form's choreography includes the mannerisms of characters of all ages so the traditional Japanese dance is suitable for young and old alike, Cheng said.


Since the early 20th century, sosaku buyo, or the new, original dancing, flourished and was the influenced by ballet, opera and other Western art forms. Traditional shamisen music gave way to enka, the melodramatic Japanese popular songs and contemporary music that inspires the new buyo performers.


"I've seen a new buyo performance that is an adaptation of a South Korean soap opera. A creation like that is, of course, a blasphemy to the ancient dance tradition in the eyes of conservatives, but I think it's part of buyo's lively evolution," Cheng said, who flies back to Japan every one to two months to study and extend her buyo repertoire.


Today, there are thousands of buyo schools in Japan passing down the styles and techniques of the classical Japanese dance or modernizing it through the creation of new and original work. To the liberal artist Cheng, however, the true essence of buyo still lies in the classical form that requires life-long learning to attain the required precision and sophistication.


"I choose Wakayagi school because it's the only school out of the five [the other four are Nishikawa, Fujima, Bando and Hanayagi schools] that teaches both classical and contemporary buyo," Cheng said, adding that the former's slow mannerisms are out of sync with the more boisterous new styles of buyo.


Even though the new dance forms are popular, the local buyo scene remains fragmented more than a decade after the performing art form took roots on the island. The lack of sex appeal and the arduous and lengthy training are the main obstacles to its growth in the contemporary society obsessed with instant gratification.


Nihon buyo lazim diselenggarakan sebagai pertunjukkan hiburan. Para penarinya lazim melakoni tari ini di atas panggung. Setiap gerak yang terdapat dalam tarian ini cenderung lamban dan lembut, sehingga membuat penonton terenyuh dan terbawa ke dalam tiap gerakannya.


Nihon buyo lazimnya menggambarkan filosofi hidup atau kisah-kisah legenda di Jepang. Saat ini, sudah ada 200 lebih sekolah di Jepang yang mengajarkan taria ini. Lima sekolah yang ternama adalah Hanayagi-ryu, Wakayanagi-ryu, Bando-ryu, Nishikawa-ryu, dan Fujima-ryu.


Bardzo intersującą pozycją programu był pokaz tańca gejszy. Hana Umeda jest tancerką i jedyną w Polsce instruktorką tańca nihon buyo, Tańca uczy się od 2006 r. w szkołach Nishikawa-Ryu, Fujima-Ryu oraz Hanasaki-Ryu w Tokio. Od 2010 r. uczy tańca w Polsce, dostosowując tradycyjny japoński model nauczania do warunków polskich. Przed pokazem, w którym zaprezentowała 4 różne tańce, w tym jeden męski, krótko przedstawiła historię tego tańca i zwróciła uwagę na różnice pomiędzy wykonywanymi przez nią tańcami. 041b061a72


About

Welcome to the group! You can connect with other members, ge...
bottom of page