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      Chapter

      “Inserting the Hip/s” and “Lowering the Hip/s”
                           1
                         Excerpt from Chapter 1, “That Which is Nanba-Like” from What are Traditional Arts? A Dialogue for Criticism and Creation
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      Chapter

      “Inserting the Hip/s” and “Lowering the Hip/s” 1 Excerpt from Chapter 1, “That Which is Nanba-Like” from What are Traditional Arts? A Dialogue for Criticism and Creation

      DOI link for “Inserting the Hip/s” and “Lowering the Hip/s” 1 Excerpt from Chapter 1, “That Which is Nanba-Like” from What are Traditional Arts? A Dialogue for Criticism and Creation

      “Inserting the Hip/s” and “Lowering the Hip/s” 1 Excerpt from Chapter 1, “That Which is Nanba-Like” from What are Traditional Arts? A Dialogue for Criticism and Creation book

      “Inserting the Hip/s” and “Lowering the Hip/s” 1 Excerpt from Chapter 1, “That Which is Nanba-Like” from What are Traditional Arts? A Dialogue for Criticism and Creation

      DOI link for “Inserting the Hip/s” and “Lowering the Hip/s” 1 Excerpt from Chapter 1, “That Which is Nanba-Like” from What are Traditional Arts? A Dialogue for Criticism and Creation

      “Inserting the Hip/s” and “Lowering the Hip/s” 1 Excerpt from Chapter 1, “That Which is Nanba-Like” from What are Traditional Arts? A Dialogue for Criticism and Creation book

      ByTakechi Tetsuji, Tomioka Taeko, Maki Isaka
      BookThe Routledge Companion to Butoh Performance

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      Edition 1st Edition
      First Published 2019
      Imprint Routledge
      Pages 7
      eBook ISBN 9781315536132
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      ABSTRACT

      In order for the Japanese – rather than Westerners – to provide a new cultural value in the present, it's critical to push to the extreme thinking through things in a nanba-like manner. That is, in a manner of rice-cropping agriculture in paddies, a thinking style that is available to nobody other than the Japanese. Nanba refers to a specific human locomotion, and the extract included here deals with nanba that was practiced by Hijikata Tatsumi. According to Takechi, Hijikata's nanba is a variant, marked by the vertical location of the hip, differentiated from the authentic nanba characterized by a certain angle of the lower end of the spine. Takechi connects this incongruity with two conditions of the Tohoku region where Hijikata came from: field conditions unsuitable for rice-cropping agriculture in paddies and equestrian culture as a historical background. These conditions, says Takechi, determined Hijikata's version of nanba.

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