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No.21 (1977/12) >

 
Title :沖縄の踊りの表現特質に関する研究 (3) : 古典舞踊「高平良万歳」について
Title alternative :A Study on the Repressentative Feature of Okinawa Dance (3) : On the "Takadēra Manzai" (Man's dance)
Authors :金城, 光子
Authors alternative :Kinjo, Mitsuko
Issue Date :Dec-1977
Abstract :The aim of this paper is to clarify the expressional features of Okinawan classical dance, the Takadera-Manzai, from the aesthetic and kinematic points of view. The following steps were taken in this study; 1) filming the performance of the Takadēra-Manzai (8mm, 16mm, and 35mm). The performer is Mr. Kōyū Shimabukuro, who is one of famous dancer in Okinawa. He performed the dance with a) full costumed style and b) no costumed but thights style. 2)tracing the figures of dance movements by means of profile projector, and 3)making the flow figures of overlapping shapes of dance movements. The Takadēra-Manzai, one of the Otoko-Odori, is composed of four songs, that is, 1. Michiyuki Kuduchi, 2. Manzai-Kōshi-Bushi, 3. Ufunsyari-Bushi, and 4. Sensuru-Bushi. In dancing to Michiyuki-Kuduchi, the performer put on their straw hats, weare on black kimono and leggings, and walk with sticks. This style symbolize that the characters are away from home and pursues the murder of their father. The each characters have a mask of lion, and dance to Manzai-Koshi-Bushi. They dance to Ufunsyari-Bushi and Sen-Suru-Bushi with no properties. In this scene of the dance they are waiting the chance to kill the enemy, and take revenge for their father's death. And it represents the spectacular scene of this dance. The Takadera-Manzai is composed with three parts of moving tempo, that is, static, fairly dynamic, and extremely dynamic. The patterns of effort shape of Takadēra-Manzai were classfied as following; 1) glide-direct, 2) press-direct with strong, 3) wring-strong, 4) dab-direct with quick, 5) flick-quick, and 6) punchi-quick. What is called kihon-dachi is the basic standing position of this dance, and performer begins his motion from the kihon-dachi in rubbing the floor with his sole of a foot, then returnes to kihon-dachi, Takadēra-Manzai is characterized as its techniques, Nidan-Bane, Niju-Gamaku, Ryo-Ashi-Keriage-Tobi, Ryo-Ashi-Fumikiri-Tobi.
Type Local :紀要論文
ISSN :0386-5746
Publisher :琉球大学教育学部
URI :http://hdl.handle.net/20.500.12000/29896
Citation :琉球大学教育学部紀要 第二部 no.21 p.33 -96
Appears in Collections:No.21 (1977/12)

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