The Kunqu Society & IchiFuji-kai Dance Association

present

“What Makes a Character in Kunqu and Nihon Buyō?”

Workshop for the 2009 Association for Asian Performance Annual Conference

With

Yee-Ping Lok, The Kunqu Society

Anna Chen Wu, The Kunqu Society

Fujima Nishiki-no (Helen Moss), IchiFuji-kai Dance Association

Fujima Nishiki-mie (Mieko Takahashi), IchiFuji-kai Dance Association

Dongshin Chang, University of Guelph

August 7, 2009, New York, NY

·               Demonstrations

·               “Qi Yan Hui” vs. Kagamijishi

·               “Yi Jiang Fong” vs. Hane no Kamuro

·               “Bei Ji Xian Bin” vs. Sagi Musume

Hands-on Practice

·             “Qi Yan Hui” and Kagamijishi: walking & the use of fan

·             “Yi Jiang Fong” and Hane no Kamuro: walking & the use of battledore and waist scarf/sash

·           “Bei Ji Xian Bin” and Sagi Musume: walking & the use of sleeves

Comparisons

·      body postures

·      walking styles

·      hand gestures

·       the use of props

·   conveyance of a character’s age, social status, and

    emotional state

·    reference to the circumstances (locations and seasons)

·    correspondence with the music and lyrics

Synopses

·         “Qi Yan Hui”: An aria taken from “Xiao Yan” (“A Banquet for Two”) of Chang Sheng Dian (The Palace of Eternity). In the scene Emperor Tang and his favorite consort Lady Yang amuse themselves in the court garden while civil upheavals and imminent attacks on the capital loom large.

·       “Yi Jiang Fong”: An aria taken from “Nao Xue” (“In the Classroom”) of Mu Dan Ting (The Peony Pavilion). In the scene Chunxiang, the little maidservant of Du Liniang, makes mischief and interrupts her mistress’s lesson.

·                “Bei Ji Xian Bin”: An aria taken from “Ren Zi” (“The Reunion”) of Xi You Ji (Journey to the West). In the scene Yin reunites with her son after a 18-year separation.

·                Kagamijishi: (The Lion of Kagamibiraki Day) In this excerpt from the first part of the dance-drama, the young Lady Yayoi, after being told she must dance for the Kagamibiraki Day ceremony, dances about the beauties of her surroundings.

·                Hane no Kamuro: (Kamuro at New Year) A tiny kamuro, or trainee in the Yoshiwara, enjoys a rare moment of freedom as she plays battledore (hagoita) during New Year.

·                Sagi Musume: (Heron Maiden) In a frozen landscape, a bride appears, dressed in white but with a black obi.  With strangely birdlike movements, she surveys her icy hell.

Bios

·                Yee-Ping Lok: Head Teacher of the Kunqu Workshop, the Kunqu Society. Graduate of the Shanghai Traditional Performing Arts School excelling in various female role types.

·                Anna Chen Wu: President, the Kunqu Society. Kunqu scholar and performer of the refined young female role type.

·                Fujima Nishiki-no (Helen Moss): A founding member of  IchiFuji-kai, she also performs, teaches, and is “spokesdancer” at lecture / demonstrations and workshops.

·                Fujima Nishiki-mie (Mieko Takahashi): Performs and teaches dance in IchiFuji-kai's Manhattan classes, and in her own Long Island classes at the Japanese Cultural Center.

·                Dongshin Chang: Assistant Professor, University of Guelph. Kunqu scholar and performer of the young male role type.

Kunqu

·                With its origins dating back to the mid-sixteenth century, kunqu is known for its blend of refined poetry, mellifluous music and arresting stage performances. “No word is but sung, no movement is but dance” describes the essence of kunqu. It produced great dramatic literature and influenced the repertoire and performing style of many later genres such as jingju (Peking/Beijing Opera).

Nihon buyō

       Japanese classical dance was born about 1603, along with the first Kabuki performances of Izumo no Okuni in Kyoto.  Even today, all Kabuki actors must first study dance.  Dance movements interpret the poetry being sung more than the rhythm of the music. The dance style being demonstrated is the elegant Soke Fujima style, still being performed in the Kabuki theatre today. 

The Kunqu Society

Founded in 1988 and incorporated in 1989, the Kunqu Society is dedicated to the study, promotion and preservation of kunqu, proclaimed as a “Masterpiece of the Oral and Intangible Heritage of Humanity” by the United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2001. The society’s public programs include kunqu classes, performances and lecture/demonstrations.

For more info: www.kunqusociety.org

IchiFuji-kai Dance Association

As a resident New York dance company, IchiFuji-kai, presents the elegant Soke Fujima style of dance, originating in the Kabuki Theatre of the 18th century.  Founded in 1961 by  Fujima Nishiki (Miyoko Watanabe), and now under Fujima Kanjuro VIII, IchiFuji-kai has been presenting old favorites from the Kabuki dance repertoire, as well as new choreography, to American audiences for almost fifty years.

   For more info: www.ichifuji-kai.org