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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.
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.
For many intellectual historians, presentism is viewed as a cardinal sin—linked to unreflective anachronism and the inappropriate projection of present-day values onto a very different past context. However, by embracing the ways in which the present inevitably shapes our modes of inquiry, our historical interests, and even the moral underpinnings of our analysis, we can find in the present tools that can make our history better, and help make sense of historical debates and controversies. This essay gives an account of Japanese historiography organized around four versions of presentism. The first is political presentism, an analytic lens that emerged in the “objectivity debate” over what constituted politicized scholarship and reflected the political antagonisms of the Cold War in Asia. Consciously or unconsciously, political convictions shape our scholarship. The second version is the presentism of social context. Each decade that followed the Asia–Pacific War possessed its particular zeitgeist, and histories written during those moments were products of their time. The third form of presentism is the connection between past and present via analogy or likeness: using a past event or person to understand the present and vice versa. To analogize past and present means finding a correspondence that makes the past feel familiar and less “other.” The fourth version of presentism is the project of contemporary history: the past in the present, the past leading to the present, the present as the starting point for historical inquiry.
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