JRCA Vol. 19, No. 1 (2018), pp.83-114 83 Ballroom Dance Walk as a Corporeal Technique1: Centers of Gravity used for Ballroom Dance Walking and Japanese Nanba Style Walking Akemi Itagaki Department of Human Sciences, Yokohama City University Abstract This paper presents the author’s observations of three- dimensional (3D) motion analysis of ballroom dance and aims to contribute to the study of human walking. Specific examination was applied to the state of being center-balanced. This term differentiates the center of gravity (COG) used in the ballroom dance walk and that of everyday walking by Japanese people, which is instead front-balanced. This study clarifies the COG placement when center-balanced walking is achieved, with examination of differences between movement of the COG during the usual daily walking of Japanese people and during a standard ballroom dance walk. Furthermore, reasons for recommending a center-balanced walk in ballroom dance are discussed. 1 I am appreciative of all the support for my research from my ballroom instructors in Tokyo, Yokohama, London, and Kuala Lumpur, as well as the whole professional dance community. I would also like to thank Prof. Shigeru Muramatsu of Yokohama City University, Dr. Takuichi Nishimura of the National Institute of Advanced Industrial Science and Technology (AIST), staff members of nac Image Technology Inc., and the dancers and students who participated in my three-dimensional motion analyses. Last but not least, I am grateful to Prof. Itaru Ohta of Kyoto University and Ms. Anette Bonelli for reading a draft of this paper. 84 Ballroom Dance Walk as a Corporeal Technique Akemi Itagaki 85 Observation and 3D motion analysis demonstrate that the notion of corporeal (body) techniques (les techniques du corps). center-balanced standard dance walk is one in which the COG Through the ages, people have known how to use their body remains near the sacrum within the pelvis; it does not move according to the particular traditions of their respective societies. In a forward when the leg swings out after the point at which both broad sense, corporeal techniques are a part of culture. Such legs come together. Therefore, with this COG, the balance does techniques constitute a habitus: a set of methods of using the body not move forward after the legs come together. By contrast, the that are learned. Mauss identified walking as one corporeal technique COG of everyday usual walking moves forward after the legs and pointed out differences in the marching styles of British and come together. French infantry soldiers. He also contrasted the gait of his nurse in New York with that of girls in Paris. Key words: Anthropology, Techniques of the Body, Center-balanced, Bipedalism is one common feature among all humans, yet we all COG, Culture, Participant observation, Standard dance walk using various styles. As explained in the following section, walk, Three-dimensional motion analysis although walking in ballroom dance is called natural, its characteristics, according to the author’s observations of dance classes, are not natural for Japanese trainees. The Japanese dancers were Purpose and Significance of the Research noticeably trying to adopt a walking method that differed from the method to which they had been accustomed. The intent of this study of ballroom walking2 as a corporeal Several key words to explain the walking method, such as (body) technique is to clarify differences between ballroom dance center-balanced, centered gravity, connection, and toward were detected walking and Japanese everyday walking with special reference to the through participant observation. While pursuing the positions the center of gravity (COG3). Rather than assuming a universally correct terms center-balanced and centered gravity indicate, the author walking method, we assume that no one walking method is identified COG as a key concept to elucidate the ballroom dancing universally correct. walk. French anthropologist Marcel Mauss (1950: 365) presented the This study also used observations, written materials, and three-dimensional (3D) motion analyses. Earlier studies of Japanese 2 For ease of comprehension, the walk of ballroom dance is italicized to walking reported in the field of anthropology (Kohara 1975, Nomura differentiate it from everyday “walking.” 1983, 1996, Kawada 1992, 2014) were analyses with observations, 3 The center of gravity (COG), is the center of mass for the direction defined by gravity. For calculation of the COG of a human body, we divide a body into photographs and written materials. The COG position was not several parts such as the head and neck, trunk, upper arms, forearms, feet, visualized in those studies. By contrast, the COG position was shanks, thighs, and calculate each COG. Subsequently, one can calculate the detected using 3D analysis as complementary to direct observations COG of the whole body, which is located in the pelvis, using the COGs of each part of the body, . in this research. Consequently, this comparative study of walking was 84 Akemi Itagaki 85 notion of corporeal (body) techniques (les techniques du corps). Through the ages, people have known how to use their body according to the particular traditions of their respective societies. In a broad sense, corporeal techniques are a part of culture. Such techniques constitute a habitus: a set of methods of using the body that are learned. Mauss identified walking as one corporeal technique and pointed out differences in the marching styles of British and French infantry soldiers. He also contrasted the gait of his nurse in New York with that of girls in Paris. Bipedalism is one common feature among all humans, yet we all walk using various styles. As explained in the following section, although walking in ballroom dance is called natural, its characteristics, according to the author’s observations of dance classes, are not natural for Japanese trainees. The Japanese dancers were noticeably trying to adopt a walking method that differed from the method to which they had been accustomed. Several key words to explain the walking method, such as center-balanced, centered gravity, connection, and toward were detected through participant observation. While pursuing the positions the terms center-balanced and centered gravity indicate, the author identified COG as a key concept to elucidate the ballroom dancing walk. This study also used observations, written materials, and three-dimensional (3D) motion analyses. Earlier studies of Japanese walking reported in the field of anthropology (Kohara 1975, Nomura 1983, 1996, Kawada 1992, 2014) were analyses with observations, photographs and written materials. The COG position was not visualized in those studies. By contrast, the COG position was detected using 3D analysis as complementary to direct observations in this research. Consequently, this comparative study of walking was 86 Ballroom Dance Walk as a Corporeal Technique Akemi Itagaki 87 conducted more accurately and from various perspectives. body swings side to side, knees and hip make pendulum movements Researchers in the field of biomechanics (Winter 2009) might not be separately, bouncing the body, unless suriashi (sliding the feet) as one interested in cultural diversity, but new avenues for investigation in does walking in Noh dance is employed (Nomura 1996: 21). this field of study are expected to arise along with more Junzo Kawada (1992) compared three walking styles: knee walking culturally-oriented studies. in modern Japan, hip walking in France, and torso-hip walking in West Africa. He argued that differences among those styles derive Earlier Studies from the methods that people traditionally used to carry belongings or other burdens. Japanese people used poles on their shoulders or Walking as a Corporeal Technique racks on their backs. French people wore their backpacks high by Yukinari Kohara (1975) argued that Japanese people walk leaning putting belts on both shoulders, creating a high COG, or else carried forward, with their knees flexed. Furthermore, Masaichi Nomura their baskets with their forearms bent. West African people placed (1996: 12) pointed out that modern Japanese people place their baskets atop their head. Burden transportation of these types affected weight on their first toe because Japanese people traditionally wore the development of walking styles in the respective regions (Kawada thong sandals, whereas Westerners place their weight on the ball of 1992). The characteristics of Japanese knee walking (Kawada 2014: the foot. Referring to Kohara (Kohara 1975: 104-111), Nomura 146-147) and the Japanese classic, peaceful manner of movement are described Japanese walking as: leaning forward and knee walking in apparent in current Japanese daily life (Yatabe 2011: 9-21). Nanba4 style, body weight is placed heavily on the forefoot, and the Yoshinori Kōno, a martial arts instructor, and Satoshi Tanaka, a writer, studied the Nanba style of movement as well. They say Nanba 4 According to Nomura (1996), Nanba (南蛮 or なんば) is the name of a style walking is used in Japanese martial arts, sports, and modern form in Japanese traditional performing arts; diagonal stance in which the same everyday life. They pointed out that weight is placed on top of the side of the body and the leg are forward, for example the right body/arm and the right leg move simultaneously forward. It is said that Mr. Tetsuji Takechi, a forefoot or ahead of the foot when the foot lands on the ground. researcher of Japanese traditional performing arts, first reported this Moreover, the center of gravity (COG) is placed forward, and the phenomenon. Borrowing Takechi’s words, Nomura describes Nanba as a upper body is not twisted. And they say, with the Nanba style farmer’s posture using a hoe in the field. _ Today, Japanese people do not walk with the right leg and the right arm walking, it is easy to climb slopes/stairways, and the kimono (Japanese moving simultaneously forward, but we can observe forward-leaning, without traditional cloth) will not become untidy (Kōno 2004; Kōno and contrary body movement (contrary body movement means that the lower body Tanaka 2005).