Art and Engagement in Early Postwar Japan

Jesty, Justin

doi:10.7591/9781501715068

Cited by 23 publications

(3 citation statements)

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“…I will demonstrate later that the experiences of my historical actors confirm this analysis, for their bodies continued to be subject to the same kinds of framing and control from the wartime period into the postwar era. William Marotti (2013), Justin Jesty (2018, and Jessica Nakamura (2018) also look at this period to consider art as a mode of social engagement, seeing the postwar era as a period when specific cultural developments by a handful of avant-garde groups drove social change. They consider the many ways in which 1950s art could be read as social critique or direct action (Marotti 2013, 2).…”

Section: Butoh Noh and Dance As Historymentioning

confidence: 99%

Body (of) Knowledge: Women, the Body, and Dance in Postwar Japan

Baldock

2022

J of Asian Stud

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This study examines the revolution of ideas surrounding the body in 1950s Japan from the perspective of two women dancers, Noh dancer Tsumura Kimiko (1902–74) and butoh dancer Motofuji Akiko (1928–2003). By contrasting one mid-twentieth-century view—that the postwar era offered a chance to “liberate” individual bodies—with the backdrop of continued control over bodies exercised by large institutions, I first show that this perceived rupture was not as stark as it initially appears. Moreover, I show how Tsumura and Motofuji rejected popular ideas about the body's purpose to forge their own. This allowed them to critique and confront the issues that popular views presented, particularly for disabled or gendered bodies. These issues involved increasing urbanization and the treatment of bodies based upon their desirability. This article argues that Tsumura's and Motofuji's conceptions of “body” challenged gender norms and presented new ideas about how to live.

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Section: Butoh Noh and Dance As Historymentioning

confidence: 99%

Body (of) Knowledge: Women, the Body, and Dance in Postwar Japan

Baldock

2022

J of Asian Stud

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“…In addition to those nine peer-reviewed articles discussed above, we were able to locate a few books during the same period of time (e.g., Chung, 2012;Shin, Lim, Bae-Dimitriadis, & Lee, 2017;Jesty, 2018). However, a limited number of publications shows an obvious lack of research and practices of teaching East Asian in the extant art education research.…”

Section: East Asian Art In the Art Curriculummentioning

confidence: 99%

Culturally Responsible Approach to Teaching East Asian Art in the Classroom

Shin

Yang

2021

Journal of Cultural Research in Art Education

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Drawing from the rich philosophical traditions of East Asia, we redress the questions and inquiry methods of teaching about East Asian artists and their works in the classroom, rejecting European White master frameworks when appreciating the arts of East Asia. To illustrate our approach, we have chosen two contemporary Asian artists, Do-ho Suh and Wou-Ki Zao, and we discuss why and how European White pedagogy has limitations in appreciating these works. As an alternative, we focus on a holistic lens of viewing East Asian artistic expressions, which is one of the key methods to understand artworks by many East Asian artists (Sullivan & Vainker, 2018; Stanley-Baker, 2014). To make East Asian art curriculum culturally responsive and authentic, we suggest that art educators adopt the holistic approach of teaching the East Asian art, in which art is seamlessly weaved with worldview, culture, and philosophy as one.

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“…It was therefore important to defamiliarize moving imagery in ways that would weaken viewers' perceptual frameworks and create slippage between their life space and that of the image. This idea also imagines a rejuvenation 7 For further information on Hani's position within contemporary debates in Japan on filmmaking and documentary see Centeno (2018aCenteno ( , 2018b, Jesty (2018), andTsunoda (2015). For a brief introduction to cinéma vérité and direct cinema, see Musser (1996).…”

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confidence: 99%

Image Pragmatics and Film as a Lived Practice in the Documentary Work of Hani Susumu and Tsuchimoto Noriaki

Jesty

2019

Arts

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This paper focuses on two discrete bodies of work, Hani Susumu’s films of the late 1950s and Tsuchimoto Noriaki’s Minamata documentaries of the early 1970s, to trace the emergence of the cinéma vérité mode of participant-observer, small-crew documentary in Japan and to suggest how it shapes the work of later social documentarists. It argues that Hani Susumu’s emphasis on duration and receptivity in the practice of filmmaking, along with his pragmatic understanding of the power of the cinematic image, establish a fundamentally different theoretical basis and set of questions for social documentary than the emphasis on mobility and access, and the attendant question of truth that tend to afflict the discourse of cinéma vérité in the U.S. and France. Tsuchimto Noriaki critically adopts and develops Hani’s theoretical and methodological framework in his emphasis on long-running involvement with the subjects of his films and his practical conviction that the image is not single-authored, self-sufficient, or meaningful in and of itself, but emerges from collaboration and must be embedded in a responsive social practice in order to meaningfully reach an audience. Hani and Tsuchimoto both believe that it is possible for filmmakers and the film itself to be fundamentally processual and intersubjective: Grounded in actual collaboration, but also underwritten by a belief that intersubjective processes are more basic to human being than “the individual,” let alone “the author.” This paper explores the implications for representation and ethics of this basic difference in vérité theory and practice in Japan.

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Art and Engagement in Early Postwar Japan

Cited by 23 publications

References 0 publications

Body (of) Knowledge: Women, the Body, and Dance in Postwar Japan

Body (of) Knowledge: Women, the Body, and Dance in Postwar Japan

Culturally Responsible Approach to Teaching East Asian Art in the Classroom

Image Pragmatics and Film as a Lived Practice in the Documentary Work of Hani Susumu and Tsuchimoto Noriaki

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