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No.19 (1976/3) >

 
Title :沖縄の踊りの表現特質に関する研究 (1) : 古典舞踊「かぎやで風」について
Title alternative :A Stady on the Representative Teature of Okinawa Dance (1) : On the "KAJADIFŪ"(Old-man Dance)
Authors :金城, 光子
Authors alternative :Kinjo, Mitsuko
Issue Date :Mar-1976
Abstract :The aims of this paper are 1) to analyze the structure of Okinawan classical dance from the kinetic and aesthetic points of view, and 2) to distinct representative feature of the Okinawan traditional dance. In the present study, "KAJADIFŪ" as a Old-Man Dance was treated. For this purpose, the auther managed following Effort-Shape-Analysis, 1) to be performed the dance by the professional dance, 2) to photograph the performance, 3) to draw on the transparent paper the reflection images or shapes by the profile-projector every 2 or 9 sections, 4) to number and time each section through the performance, and 5) to draw the overlapping profile of moving phrases. By this, the auther tried to define the whole structure of the dance, and analysis the line of representative motion. These were 4,845 sections in all, and it took about 4'48" to perfome the dance. It was figured 730 of reflection images. The classical dance '"KAJADIFŪ" is performed with a folding fan in one's right hand as a congratulation. The "KAJADIFŪ" is composed of three parts, that is 1) Injifa (in), 2) Naka-odori (dancing), and 3) Irifa (out), and these three components make temporal feature of Okinawan classical dance. "NAKA-odori" has its definite four parts: Introduction, development, turn, and conclusion, and it is defined as highly complete and stable composition. The speed or time of performing is very slow, and occassionally it takes four beat to make one step, therefore it is said that the performing speed closly adjust to the Okinawan traditional music, which is seem to be composed of regurality of irregular tempo. Basic body shape: the lower back is not released. There is allong, lifted line from the base of the spine to the top of the head, through the torao. The chin is tucked in slightly. While the torao is stretched and held, the arms are light and comparitively relaxed. They are rounded and rotated slightly forward when in their natural position. The legs are bent slightly. The feet are parallel. The weight is kept forward.
Type Local :紀要論文
ISSN :0386-5746
Publisher :琉球大学教育学部
URI :http://hdl.handle.net/20.500.12000/29880
Citation :琉球大学教育学部紀要 第二部 no.19 p.51 -67
Appears in Collections:No.19 (1976/3)

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