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bruce baird umass

Associate Professor at UMass Amherst. My first area of research was on an obscure avant-garde dance form called butô, that was started in Tokyo in the 1960’s. It was established in 1863.Bruce Baird’s role in University of Massachusetts is Associate Professor Bruce Baird’s business email address is b***@umass.edu Bruce Baird’s direct phone number is (413) ***-**** Bruce Baird’s latest education in Ph. Baird analyzes such avant-garde events in terms of ‘scandalous psyche-marking experiences’ (p. 66) or a search for ‘actuality social power structures, gender, sexuality, or one’s (national) identity. In one of the ‘happenings’ in which Hijikata participated, the Dadaist Kazakura Shô branded his own chest with a hot iron hook. Widget Ready. I am also interested in new media studies and Japan. Widget Ready.

Worcester, Massachusetts, 01655,

Strange, then, that the form is not better known among Japanese people themselves or the world at large.One explanation for the latter is the relative dearth of literature on the art in European languages—including English.

Today such games proliferate and more recent games such as Maimai (Sega, 2012) and Groove Coaster allow for team play, the video recording of games for study or sharing on social media, and competition between players on different machines. Bruce Baird. I teach Japanese Studies at the University of Massachusetts Amherst. Second, Baird addresses the frenzied and anarchic years between 1959 and 1968, when Hijikata presented his seminal performance Hijikata Tatsumi and Japanese People: The Revolt of the Body. There is nothing to understand. Though butoh appears improvised, Hijikata actually created and catalogued a series of positions and moves used in the art. (p. 16)Apparently many people in the audience walked out in disgust. Today even the casual observer is acquainted with butoh’s performers whose white-painted corpse-like bodies struggle through unnatural movements and contortions.

One of the book’s best qualities is that Baird firmly puts every new phase in Butoh’s development within the context of the richly creative cultural milieu of postwar Japanese culture. In the middle of all this experimentation we find Hijikata, a contradictory figure who never sold himself cheaply and through his Surrealism-influenced poetic seemed to revel in misleading people through exaggeration.

In other words, in earlier performances the dancing body provided but one layer of the information and action that the audience would have to wade through in search of meaning.

You can email me at baird {at-mark} umass {dot} edu (but replace the info inside the brackets and the brackets themselves with an @ and a . My main research focus is on the avant-garde dance form butoh. Baird’s work explains why it’s so crucial. And this effect might have been what Hijikata was intending. and don’t leave any spaces). Add one in the admin panel.This center column is widget ready! Beginning with Baird gives sparse treatment to Hijikata’s artistic productions after 1972’s highpoint of When Baird attempts in the epilogue to explain why Hijikata’s later dance works were disappointing to audiences, however, his discussion is largely limited to this sense of disappointment. My first area of research was on an obscure avant-garde dance form called butô, that was started in Tokyo in the 1960’s.

She spent most of the time struggling through the stage, an umbrella in her hand, as if she was about to stumble at every step. Especially the ebullient and often violent climate of the 1950s and ‘70s seems to be mirrored in an art form which rejected traditional technique for a form of sometime extreme physical and mental training whose goal was the release of that primordial energy that modern society had gradually suppressed.

In a similar way Baird presents his readers with the many socially constructed layers of Hijikata that influenced and were reflected in his productions (e.g., the Tohoku of his childhood, Tokyo in the 1960s and 1970s, Japanese and European surrealists and avant-garde artists), while leaving open the possibility of other interpretations. But Baird is patient. These include Sankai Juku (which has toured the US many times) and Dairakudakan (founded by Maro Akaji).Baird’s book accomplishes three necessary tasks in laying the groundwork for butoh scholarship. His book, Hijikata Tatsumi and Butoh: Dancing in a Pool of Gray Grits was released by Palgrave Macmillan on Jan. 31, 2012. Some of the more recent butoh groups have gained greater recognition than Hijikata himself.

Access Bruce's Contact Information . It was so utterly different that I didn’t know what to make of it. Thirdly, and perhaps most importantly, the author gives a conceptual framework for the Hijikata method. This left column is widget ready! “Butô: The Birth and Maturation of a New Global Art Form.”East Asia in the World: An Introduction. In the middle of all this experimentation we find Hijikata, a contradictory figure who never sold himself cheaply and through his Surrealism-influenced poetic seemed to revel in misleading people through exaggeration.

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