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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Eiko and Koma: Dance Philosophy and Aesthetic Shoko Yamahata Letton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE EIKO AND KOMA: DANCE PHILOSOPHY AND AESTHETIC By SHOKO YAMAHATA LETTON A Thesis submitted to the Department of Dance in partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Thesis of Shoko Yamahata Letton defended on October 18, 2007. ____________________________________ Sally R. Sommer Professor Directing Thesis ____________________________________ Tricia H. Young Committee Member ____________________________________ John O. Perpener III Committee Member Approved: ___________________________________________ Patricia Phillips, Co-Chair, Department of Dance ___________________________________________ Russell Sandifer, Co-Chair, Department of Dance ___________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii Dedicated to all the people who love Eiko and Koma. iii ACKNOWLEDGEMENTS This thesis would not have been completed without the following people. I thank Eiko and Koma for my life-changing experiences, access to all the resources they have, interviews, wonderful conversations and delicious meals. I appreciate Dr. Sally Sommer’s enormous assistance, encouragement and advice when finishing this thesis. I sincerely respect her vast knowledge in dance and her careful and strict editing which comes from her career as dance critic, and, her wonderful personality. Dr. William Sommer’s kindness and hospitality also allowed me to work extensively with his wife. I deeply thank Ms. Jennifer S. Bleill Calienes of Maggie Allesee National Center for Choreography who gave me the opportunity to work with Eiko and Koma and Mr. Kenn Martin whose contribution to FSU Dance Technology Scholarship made this possible. I appreciate Dr. Tricia Young’s, Dr. John Perpener’s, and Dr. Yoshihiro Yasuhara’s assistance and advice. I thank my great friend and dorky–dancer, and my mentor, Latika Young, who gave me invaluable assistance in brainstorming ideas and editing, supporting me always with humor and kindness. I appreciate Ms. Irene Oppenheim’s generous acceptance for interview. I thank Michael David Letton and Claude Jerome Smith III for their editorial and translation assistance. iv TABLE OF CONTENTS LIST OF FIGURES ....................................................................................................................... vi LIST OF VIDEOS ........................................................................................................................ vii ABSTRACT.................................................................................................................................viii CHAPTER 1. INTRODUCTION ................................................................................................ 1 1.1 Personal Story .................................................................................................................... 1 1.2 Methodology ...................................................................................................................... 4 1.3 Chapter Sketch ................................................................................................................... 7 CHAPTER 2. GROPING IN THE DARKNESS: THE EARLY PERIOD OF EIKO AND KOMA’S DANCE IN JAPAN ..................................................................................................... 10 CHAPTER 3. EUROPE TO AMERICA – ANALYSIS OF WHITE DANCE.......................... 32 CHAPTER 4. CROSS-CULTURAL INFLUENCE OF AMERICAN AND JAPANESE AVANT-GARDE ......................................................................................................................... 44 CHAPTER 5. EIKO AND KOMA JOIN AMERICAN AVANT-GARDE.............................. 54 CHAPTER 6. CULTIVATION OF THE STYLE – ANALYSIS OF GRAIN .......................... 62 CHAPTER 7. ARRIVAL OF BUTOH...................................................................................... 80 CHAPTER 8. CHANGING MEDIUM – VIDEO WORK: LAMENT ...................................... 92 CHAPTER 9. EVOLVING ARTISTIC IDENTITY IN COLLABORATION: LAND........... 103 CHAPTER 10. A SYNTHESIS OF PHILOSOPHY AND AESTHETICS – CAMBODIAN STORIES 110 CHAPTER 11. CONCLUSION .............................................................................................. 121 REFERENCES ........................................................................................................................... 123 BIOGRAPHICAL SKETCH ...................................................................................................... 136 v LIST OF FIGURES Figure 1 Tohmatsu Shohmei’s Shashinshuh: Okinawa Okinawa Okinawa: Okinawa ni kichi ga aruno dewa naku kichi no naka ni Okinawa ga aru (Photobook: Okinawa, Okinawa, Okinawa: Not that the bases are located in Okinawa, but Okinawa is located in the bases) (Tokyo: Shaken, 1969) ............................................................................................................................................. 11 Figure 2 Shiraga Kazuo performing Doro ni idomu (Challenging Mud) at the “1st Gutai Art Exhibition” held at the Ohara Kaikan Hall, Tokyo, Oct. 1955..................................................... 16 Figure 3 Saburoh Murakami’s Breaking Paper Screens, Gutai Art on Stage, Sankei Kaikan Hall, Osaka, 29 May 1957, or Sankei Hall, Tokyo, 17 July 1957......................................................... 17 Figure 4 Atsuko Tanaka wearing Denki-fuku (Electric Dress) at the “2nd Gutai Art Exhibition” held at the Ohara Kaikan Hall, Tokyo, Oct. 1956 ........................................................................ 19 Figure 5 Kazuo Shiraga painting with his feet at the “2nd Gutai Art Exhibition” held at the Ohara Kaikan Hall, Tokyo, Oct. 1956..................................................................................................... 20 Figure 6 Shohzoh Shimamoto making a painting by throwing bottles of paint, at the “2nd Gutai Art Exhibition” held at the Ohara Kaikan Hall, Tokyo, Oct. 1956 .............................................. 21 Figure 7 Natsuyuki Nakanishi’s Clothespins Assert Churning Action, at the “15th Yomiuri Independent Exhibition,” Tokyo Metropolitan Art Museum, 2-15 March 1963. Collection of Natsuyuki Nakanishi..................................................................................................................... 23 Figure 8 Natsuyuki Nakanishi’s Clothespins Assert Churning Action, at Hi Red Center’s 6th Mixer Plan event, Tokyo, 28 May 1963. Collection of Minoru Hirata ........................................ 23 Figure 9 Tatsumi Hijikata performing Hijikata Tatsumi to Nihonjin—Nikutai no hanran (Hijikata Tatsumi and The Japanese—Revolt of the Flesh) at the Seinen Kaikan Hall, Tokyo, 1968. Photographed by Nakatani Tadao and Doi Nori................................................................. 24 Figure 10 Ibid............................................................................................................................... 25 Figure 11 Ibid............................................................................................................................... 26 Figure 12 Tatsumi Hijikata holding an infant and running across a rice field, 1965. From Eikoh Hose and Tatsumi Hijikata’s Kamaitachi: Hosoe Eikoh shashinshuh (Sickle-toothed weasel: Photobook by Hosoe Eikoh) (Tokyo: Gendai Shichoh-sha, 1969)............................................... 52 Figure 13 Eikoh Hosoe’s Otoko to onna = Man and Woman (Tokyo: CamerArt, 1961) ........... 53 vi LIST OF VIDEOS Video 1 Excerpt from Breath. Conceived and performed by Eiko and Koma. Eiko and Koma: Media Dance. DVD. 1985. Eiko and Koma’s personal archive. .................................................. 66 Video 2 Excerpt from Grain. Conceived and performed by Eiko and Koma. DVD. 1983. Eiko and Koma’s personal archive........................................................................................................ 77 Video 3 Excerpt from Lament. Conceived and performed by Eiko and Koma. Eiko and Koma: Media Dance. DVD. 1985. Eiko and Koma’s personal archive. .................................................. 97 Video 4 Excerpt from Lament. Conceived and performed by Eiko and Koma. Eiko and Koma: Media Dance. DVD. 1985. Eiko and Koma’s personal archive. ................................................ 102 Video 5 Excerpt from Land. Eiko and Koma. Oregon, WI: ADF Video, 1995......................... 105 Video 6 Excerpt from The Making of Cambodian Stories. Directed by Eiko and Koma. 2005. Available online <http://www.eikoandkoma.org/index.php?id=1202> ..................................... 119 vii ABSTRACT This thesis examines the evolution of dance works by two Japanese-American choreographers, Eiko and Koma. Growing up in the politically turbulent 1960s in Japan, their entrance into the world of dance was motivated by philosophical inquiry into Japanese society. Briefly trained under early Butoh pioneers in Japan, they traveled from Japan to Europe, and eventually came to the U.S. Their dance career began in the early 1970s
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