ࡱ> Z\Y%` +bjbjNN *,,+  y$kh 3d  `t@z:I0yy  y y  yd Tomie Hahn Performing biracialembodying ritual This presentation opens with a brief mask dance to demonstrate embodied codeswitching metaphors present in Japanese dance aesthetics. I will discuss the embodiment of codeswitching as a ritual scheme a practice that both encodes meaning through movement, but also becomes meaningful because the movement is a part of a larger enactment of identity. I propose that, through the introduction and enactment of multiple identities in Japanese dance, performers are provided with a means of comprehending their identities in a diversity of contexts. Further, for Japanese American/biracial individuals such as myself, the complexity of multiplicity is compounded. I ask: where do bodies that differ fit in the traditional arts? Can somaesthetics mindfully and playfully reinforce the creative process of emerging identities? An enaction that allows for flexibility Background: Japanese dance is primarily based on a narrative. To convey the story a vocalist narrates the plot, providing the voices of the characters. In turn, dancers express the narrative with their bodies. Often one dancer shifts smoothly yet convincingly between a wide variety of characters to unfold the story. This trained dance ability to shift between characters metaphorically mirrors a social coordination of self present and respected in daily life in Japan. I have observed that Japanese dance training, as a means of transmitting embodied cultural knowledge, simultaneously transmits concepts of a shifting, or flexible sense of self. When Japanese dance is transplanted across the globe, choreographed structures conveying sensibilities of multiplicity are transplanted and transformed in the diasporic community, further problematizing the boundaries of race and identity. I propose that performance provides a vehicle for comprehending identity through a deep enaction process, an embodiment of artistic practices. Active embodiment, like identity, is a process of becominga process of emerging and self-fashioningthrough and as the art form.  +hI,hP6OJQJhI,hPOJQJ   56 *+1$7$8$H$`gdPgdP +(/ =!"#$% 8@8 QNormalCJmH sH tH DA@D Default Paragraph FontZiZ  Table Normal :V 4 l4a _H(k(No List ++ 56*-!!!!!!!! !!! 56*-00000000000+ + + #v~qy- 4x|-333--P-@22Di22+`@UnknownGz Times New Roman5Symbol3& z Arial;& z Helvetica qh M&8824d''. `P Q2/Performing biracial embodied cultural knowledge... ...blabadieOh+'0lv ( H T `lt|0Performing biracialembodied cultural knowledge... ...Normal blabadie6Microsoft Office Word@Ik@~/Ä@~Z@8GtVT$m  [:&" WMFC x0xPlUT#m EMFxP$I*U"   Rp@"Helvetica;&z Helvetca ``cc0cLN0cdv%   TZ/@@ L`Tomie Hahn>7T8G888TTZD/@@LP `5 TT#</@@'LP @F6 TT@#/@@LP 0G6 T/"/@@ LtPerforming biracial\C8 8!T878!828TT0"/@@0 LP DdT{"/@@  L`embodying.7T878187Tx|p "/@@| L\ ritualW!88TTq  "/@@q LP WTT ! "/@@ LP D,TT" M "/@@" LP R,TTN  "/@@N LP 26 TT&#/@@LP S6 TT/@@LP W,TM/@@?LThis presentation opens with a brief mask dance to demonstrate .>828!828787878772G888!7T82288728887T782!87 T  {/@@fGLembodied codeswitching metaphors present in Japanese dance aesthetics. m8T7887827882G2887T88878!28!8188828788818788187818822TT  A{/@@ fLP S5 Td/@@BLI will discuss the embodiment of codeswitching as a ritual scheme G822822887T778T78727882G2887828!882187T8TTe/@@eLP o8T/@@ Ld a practice 88!8227 Tia/@@LHLthat both encodes meaning through movement, but also becomes meaningful 888887828782T778878!8878T818S87878278818S82S888868 Te-/@@ALbecause the movement is a part of a larger enactment of identity.882782888T818S872878!788!78!7882T8778781TT.ec/@@.LP 6 TTG/@@2LP ,TG/@@2CLI propose that, through the introduction and enactment of multiple Z~8!87828888 8877888!8782878787882T877S888 T0K /@@&Lidentities in Japanese dance, performe888818278878288881878 8!S8T  K3/@@  Lrs are provided with a means of !28!88!81888G88S88817 T4z-/@@QLcomprehending their identities in a diversity of contexts. Further, for Japanese 28T8 887888778!7888288818!218288812=8!88!8!28878828 T,1/@@PLAmerican/biracial individuals such as myself, the complexity of multiplicity is CT8!2788!8287818882182881T1288827T88118S87212 TD  /@@?Lcompounded. I ask: where do bodies that differ  fit in the  trZ~28T7878878822G88!878788817888!!!887!!TD  /@@D Lxaditional arts? Can 88787!8!28H88 T4  /@@q QLsomaesthetics mindfully and playfully reinforce the creative process of emerging 28T7827822T87&" WMFC xxP8188888181!888!18782!88188!8182277T8!787 T  /@@ 4Lidentities? An enaction that allows for flexibility 888818B87882778888G28!8181TT G /@@ LP Z~7 T l /@@W HLBackground: Japanese dance is primarily based on a narrative. To convey C8227!8888287878278881828!S8!18828878788!!818>8188181 Tp  /@@ Lthe story a vocalist narrates8828!181828288!!882Tp o /@@ 6L the plot, providing the voices of the characters. In 78888!818878818282787287!828!27 T( BR /@@= OLturn, dancers express the narrative with their bodies. 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Active 8!8878787888782788!82821787T788T8778!228!81282C218 TG /@@3Lembodiment, like identity, is a process of becoming8T788T87287881288!8282277827T87TT G( /@@ LP dT) G/@@) La process of emerging and 88!8182277T8!787888Rp@"Helvetica/ 0\ˮ00 0;&z Helvetca) cc5- 0Pˮ0c0cLN0cdv%  % Td(/@@LTself28TT(/@@LP- Tr(/@@ L`fashioning8287887TTs(/@@sLP d% Tx*)/@@L\through8!8788% Tl+(/@@+LX and 788% T` )/@@ LTas 82% T (/@@ Lhthe art form.888!8 TTT  (/@@ LP 6 TT-#/@@LP 6% 666666666666666666666666666666666666 6 66 6  6 66 6  6 66 6  6 66 6  6 66 6 66666666666666666666  $-.@"Helvetica- 2 ow +$Tomie Hahn   2 o+$ J  2 w+$ J  2 w+$ J (2 w+$Performing biracialt     2 +$J2  +$embodying  2 Y+$ ritual  2 +$ J 2 +$ J/ 2 +$ J0 2 +$ J  2 w+$ J  2 w+$ J0j2 ?+$This presentation opens with a brief mask dance to demonstrate                  v2 wG+$embodied codeswitching metaphors present in Japanese dance aesthetics.                    2 +$ J n2 wB+$I will discuss the embodiment of codeswitching as a ritual scheme                 2 J+$J 2 S +$ a practice    w2 wH+$that both encodes meaning through movement, but also becomes meaningful                   m2 wA+$because the movement is a part of a larger enactment of identity.i                  2 A+$ J  2 (w+$ J0p2 (C+$I propose that, through the introduction and enactment of multiple g                  D2 :w&+$identities in Japanese dance, performe         ;2 : +$rs are provided with a means of           2 MwQ+$comprehending their identities in a diversity of contexts. Further, for Japanese                   2 _wP+$American/biracial individuals such as myself, the complexity of multiplicity is                 j2 rw?+$compounded. I ask: where do bodies that differ fit in the tr             +2 r+$aditional arts? Can .    2 wQ+$somaesthetics mindfully and playfully reinforce the creative process of emerging                    Y2 w4+$identities? An enaction that allows for flexibility              2 +$ Jw2 H+$Background: Japanese dance is primarily based on a narrative. To convey                    72 w+$the story a vocalist narrateso        \2 :6+$ the plot, providing the voices of the characters. In                 2 wO+$turn, dancers express the narrative with their bodies. Often one dancer shifts                        2 wM+$smoothly yet convincingly between a wide variety of characters to unfold the s                     P2 w.+$story. This trained dance ability to shift b         =2 !+$etween characters metaphorically f        2 wV+$mirrors a social coordination of self present and respected in daily life in Japan. I                   v2 wG+$have observed that Japanese dance training, as a means of transmitting                     n2 *wB+$embodied cultural knowledge, simultaneously transmits concepts of                "2 *V+$a shifting, or    2 =wN+$flexible sense of self. When Japanese dance is transplanted across the globe,                     2 OwR+$choreographed structures conveying sensibilities of multiplicity are transplanted                     v2 bwG+$and transformed in the diasporic community, further problematizing the                 2 tw +$boundaries  .2 t+$ of race and identity.      2 tZ+$ Jy2 I+$I propose that performance provides a vehicle for comprehending identity o                  2 wM+$through a deep enaction process, an embodiment of artistic practices. Active                     X2 w3+$embodiment, like identity, is a process of becomingI           2 +$J22 +$a process of emerging and        @"Helvetica--2 w+$self  2 +$-J2  +$fashioning    2 +$J-2 +$through  -2 $+$ and g -2 G+$as  -2 \ +$the art form.    2 +$ J  2 w+$ J "System-$$++$$++$$++##++##**##**##**##**##**""**""**""))""))""))""))""))!!))!!((!!((՜.+,00 hp  ý'' 0Performing biracialembodied cultural knowledge Title  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPRSTUVWX[Root Entry F0t@]1Table WordDocument*SummaryInformation(vDocumentSummaryInformation8QCompObjq  FMicrosoft Office Word Document MSWordDocWord.Document.89q