Hostname: page-component-848d4c4894-8bljj Total loading time: 0 Render date: 2024-06-17T18:31:17.307Z Has data issue: false hasContentIssue false
  • English
  • Français

The Legacy to Nihon Buyō

Published online by Cambridge University Press:  22 July 2014

Joyce Rutherford Malm
Get access Rights & Permissions [Opens in a new window]

Extract

Nihon Buyō is the most recent form of Japanese classical art dance. Literally, Nihon means “Japanese” and buyō means “dance.” It developed as part of Kabuki, a theatrical blend of dance, drama, and music, dating from the seventeenth century. It is currently seen on the Kabuki stage as an integral part of the drama or in separate dance concerts, recitals, and entertainments. In performances off the Kabuki stage, the dances may be taken from the plays without any changes in the choreography. Or they may be the same but performed with modifications, as for example, a duet adapted as a solo. Also dances created in this style but originally meant to be viewed as separate entities, rather than as part of Kabuki, are seen more and more often today. These dances are known collectively as Nihon Buyō, or frequently just as Buyō. It is a style of dance considered to be essentially of the Edo period (1615–1867), and is continuing to evolve in the context of contemporary Japanese culture.

Type
Articles
Information
Dance Research Journal , Volume 9 , Issue 2 , Spring/Summer 1977 , pp. 12 - 24
Copyright
Copyright © Congress on Research in Dance 1977

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

BIBLIOGRAPHY

1.Araki, James. The Ballad Drama of Medieval Japan. Berkeley: University of California Press, 1964.CrossRefGoogle Scholar
2.Ashihara, Eiryō. The Japanese Dance. Tokyo: Japan Travel Bureau, Inc., 1964.Google Scholar
3.Bowers, Fabion. Japanese Theatre. (1952). New York: Hill and Wang, 1959.Google Scholar
4.Bowers, Fabion. Theatre in the East. New York: T. Nelson, 1956.Google Scholar
5.de Bary, Wm. Theodore, ed., and Keene, Donald, and Tsunoda, Ryusaku. Sources of Japanese Tradition. New York: Columbia University Press, 1958.Google Scholar
6.Dunn, Charles and Torigoe, Bunzō. The Actors' Analects. Japan: University of Tokyo Press, 1969.Google Scholar
7.Ernst, Earle. The Kabuki Theatre. New York: Oxford University Press, 1956.Google Scholar
8.Garfias, Robert. Gagaku. New York: Theatre Arts Books, 1959.Google Scholar
9.Garfias, Robert. “The Sacred Mi-kagura of the Japanese Imperial Court.” Selected Reports. Los Angeles: UCLA Institute of Ethnomusicology, 1968.Google Scholar
10.Gunji, Masakatsu. Kabuki. Tokyo and Palo Alto: Kondansha International Ltd., 1969.Google Scholar
11.Gunji, Masakatsu. Buyō. New York, Tokyo and Kyoto: Weatherhill/Tankosha, 1970.Google Scholar
12.Halford, Abrey S. and Giovanna, M.The Kabuki Handbook. Tokyo: Tuttle, 1956.Google Scholar
13.Japanese National Commission for UNESCO. Theatre in Japan. Japan: Printing Bureau, Ministry of Finance, 1963.Google Scholar
14.Keene, Donald. Noh, the Classical Theatre of Japan. Tokyo and Palo Alto: Kodansha International Ltd., 1966.Google Scholar
15.Malm, William. “Edo Festival Music and Pantomime.” Essays on Asian Music and Theatre. New York: The Performing Arts Programs of the Asia Society, 1971.Google Scholar
16.Malm, William. Japanese Music and Musical Instruments. Rutland and Tokyo: Tuttle, 1959.Google Scholar
17.Malm, William. Music Cultures of the Pacific, Near East and Asia. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., 1967.Google Scholar
18.Matida, Kasyō. Odori. Japan: Board of Tourist Industry, 1938.Google Scholar
19.Miyaki, Shutaro. Kabuki Drama. Japan: Board of Tourist Industry, 1938.Google Scholar
20.Nakamura, Yasuo. Noh. New York, Tokyo and Kyoto: Weatherhill/Tankosha, 1970.Google Scholar
21.Nogami, Toyoichirō. Japanese Noh Plays. Japan: Board of Tourist Industry, 1935.Google Scholar
22.O'Neill, P. G.A Guide to Noh. 2nd. ed., Tokyo: Hinoki Shoten, 1960.Google Scholar
23.O'Neill, P. G.Early No Drama. London: Lund Humphries, 1958.Google Scholar
24.O'Neill, P. G. “The Structure of Kusemai.” Bulletin of the School of Oriental and African Studies. Vol. XXI, 1958.Google Scholar
25.Sansom, George B.Japan: A Short Cultural History. New York: Appleton-Century Crofts, 1931.CrossRefGoogle Scholar
26.Scott, A. C.The Kabuki Theatre of Japan. London: G. Allen and Unwin, 1955.Google Scholar
27.Sugiyama, Makoto and Fujima, Kanjurō. An Outline History of the Japanese Dance. Tokyo: Kokusai Bunka Shinkokai, 1937.Google Scholar
28.Togi, Masatarō. Gagaku. New York, Tokyo and Kyoto: Weatherhill/Tankosha, 1970.Google Scholar
29.Toita, Yasuji. Kabuki. New York, Tokyo and Kyoto: Weatherhill/Tankosha, 1970.Google Scholar
30.Toyotáké, Komiya, ed., translated by Seidensticker, Edward and Keene, Donald. Japanese Music and Drama in the Meiji Era. Tokyo: Obunsha, 1956.Google Scholar
31.Umemoto, Rikuhei and Ishizawa, Yutaka. Introduction to the Classic Dances of Japan. Tokyo: Sanseido Co. Ltd., 1935.Google Scholar
32.Wolz, Carl. Bugaku: Japanese Court Dance. Providence: Asian Music Publications, 1971.Google Scholar
33.Zarina, Xenia. Classic Dances of the Orient. New York: Crown Publishers, 1967.Google Scholar
34.Ashton, W. G., tr., Nihongi, Chronicles of Japan from the Earliest Times to A.D. 697. 2 vols. The Transactions and Proceedings of the Japan Society, London. Supplement I. London: Kegan Paul, Trench and Trübner, 1930.Google Scholar
35.Chamberlain, Basil Hall, tr., Ko-ji-ki or Records of Ancient Matters. Transactions of the Asiatic Society of Japan. Supplement to Vol. X. Yokohama, 1882.Google Scholar
36.Phillipi, Donald, tr., Ko-ji-ki or Records of Ancient Matters. Tokyo: University of Tokyo Press, 1968.Google Scholar
37.Ze-ami, , Kadensho. Translated by Sakurai, Hayashi, Satoi, and Miyai, . Tokyo: Sumiya-shinobe Institute, 1968.Google Scholar
38.Brandon, James. Form in Kabuki Acting.Google Scholar
39.Malm, William. Music in the Kabuki Theatre.Google Scholar
40.Malm, William. “Shoden: A Study in Tokyo Festival Music. When is variation an improvisation?” (Since published in Yearbook of the International Folk Music Council, Vol. VII (1976), pp. 44–66.Google Scholar
41.Shively, Donald. The Social Environment of Tokugawa Kabuki.Google Scholar
42.Atsumi, Seitarō. Hogaku Buyō Jiten. Tokyo: Fuzanbo, 1956.Google Scholar
43.Atsumi, Seitarō. Nihon Buyō-shi. Tokyo: Yuzankaku-sha, 1958.Google Scholar
44.Fujima, Shinsaburō. Odori Hitori Keiko. Tokyo: Oshimaya, 1815.Google Scholar
45.Hōshō, Kurō. Hōshō Ryū Zusetsu Shimai-shū. Tokyo: Wanya, 1951.Google Scholar
46.Itō, Tokusho. Mi-kagura Uta, 1953. Minzoku Geijitsu, edited by Yūkichi, Odera. Tokyo: Minzoku Geijitsu no Kai, Shishimai Kenkyū Vol. III, No. 1.Google Scholar
47.Kanze, Genshitsu. Kanze Ryū Shimai Sō Kōkoroe. Tokyo: Hinoki Shoten, 1929.Google Scholar
48.Kitazume, Yūgyō(Left) and Takajima, Senshun (Right). Bugaku Zu. Tokyo: Yoshikawa Kōbunkan, 1905.Google Scholar
49.Nihon Buyō Kyoku Shūran. Tokyo: Shōshisha, 1965.Google Scholar
50.Nishikawa, Minosuke. Hyōfunka Nihon Buyō-fu. Tokyo: Sō Gei-sha, 1960.Google Scholar
51.Shinzei Kogakuzu. in Nihon Koten Zenshū. Tokyo: Nihon Koten Zenshū Kankōkai Vol. 17, 2nd series, 1928.Google Scholar
52.Shuzui, Kenji. Kabuki Zusetzu. Tokyo: Man'yōkaku, 1931.Google Scholar
53.Odori Manba-fu. Tatsuishi, Ryūichi. Tokyo: Tokyo Shobō-sha, 1968.Google Scholar
54.Nihon Buyō, Ryūha Saiken. Edited by Yamaura, Shinkichi. Tokyo: Shin Geinō Shimbun-sha, 1970.Google Scholar