be impatient with her style of writing which can be lyrical, idiosyncratic, and personal. In part 1, she includes such a broad range of subjects that it provides an overview but lacks depth. Fraleigh's arguments could be more detailed. A few of the Japanese terms in the book are not romanized in standard forms. (Shinto dances mentioned in Essay 20 are referred to as kugara. ¯ The correct name of the form is kagura.) Much of the information in other work on buto available in English ¯ focuses on its founders, Hijikata Tatsumi and Ohno Kazuo. Susan Blakeley Klein's Ankoku Buto (Cornell East Asia Series, 1988) was one of the ¯ earliest references in English. It is still an excellent resource, providing an introduction to the form, some basic buto exercises, and an analysis of the ¯ dance Niwa. The appendices include several treatises on buto translated into ¯ English. TDR: The Drama Review devoted an entire issue in the year 2000 to articles about Hijikata and included a chronology of Hijikata's work. Butoh: Metamorphic Dance and Global Alchemy is the next step in the evolution of information about buto. In her introduction, Fraleigh states: ¯ In this
The Journal of Japanese Studies – Society for Japanese Studies
Published: Jul 14, 2012
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