ذدà،±ل>‏ے Z\‏ےےےYےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےى¥ء%` ً؟+bjbjNàNà *,ٹ,ٹ+ےےےےےے¤¤¤¤¤¤¤¤ع´ٍٍٍٍ‏ژyٍّْْْْْْ$khس ¦¤¤¤3بببd¤¤ّبّبب¤¤ب `ىذt@…ةٍz:بنI0yبy´ yبy¤بب¾ yژژژdٍژژژٍ¸جع¤¤¤¤¤¤ےےےےTomie Hahn Performing biracial—embodying 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 becoming—a process of emerging and self-fashioning—through and as the art form. +ُéُéُhآI,hإP‌6پOJQJhآI,hإP‌OJQJ 56¾— œ*+‎‎‎‎ّّّّéé‎„ذ1$7$8$H$`„ذgdإP‌gdإP‌+‎(°ذ/ °à=!°"°#گ $گ %°°ذ°ذگذ†œ8@ٌے8QNormalCJmH sH tH DA@ٍے،DDefault Paragraph FontZiَے³ZTable Normal :Vِ4ض l4ضaِ_H(kôےء(No List+ےےےے+ 56¾—œ*-ہ!چ¬ہ!چ¬ہ!چ¬ہ!چ¬ہ!چ¬ہ!چ¬ہ!چ¬ہ!چ¬ہ!چ¬ہ!چ¬ہ!چ¬ 56¾—œ*-ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€ک0€€+ + +Œكى#v~اذنٍqy- 4ک‍¯¶x|-333--هإP‌¾-ے@€22Di×°°22+`@ےےUnknownےےےےےےےےےےےےGگ‡z €ےTimes New Roman5گ€Symbol3&گ‡z €ےArial;&گ‡z €ےHelvetica qˆًذh‘زMز&8َ8َ±ً¥ہ´´€24d''. `ًP ًےےےےےےےےےےےےےےےےےےےےےےQ2ےے/Performing biracial embodied cultural knowledge... ...blabadie‏ےà…ںٍùOh«‘+'³ظ0lvگکذـىّ ( HT `lt|„Œن0Performing biracial—embodied cultural knowledge... ...Normalblabadie6Microsoft Office Word@زIk@~/أ„ة@~‡Z@…ة8َGطtےےےےVT$mئ [:&" WMFC†– x0xPlىبUT#m EMFxPس$دI*U" ىبRpœےےےگ@"Helvetica;&گ‡z €ےHelvetca `œ`êcüçcٍ´0üçcLN¯0ècdv%TˆîZة/‡@€‡@î´ Lىب`Tomie Hahn>7T8G888TTZDة/‡@€‡@´LىبP `5TTîح#</‡@€‡@î'LىبP @F6TTî@#¯/‡@€‡@îڑLىبP 0G6Tہî³/"/‡@€‡@î LىبtPerforming biracial\C8 8!T878!828TT0³“"/‡@€‡@0 LىبP DdT„”³{"/‡@€‡@” Lىب`embodying.7T878187Tx|³p "/‡@€‡@| Lىب\ ritualW!88TTq ³ُ "/‡@€‡@q LىبP W…TTِ ³!"/‡@€‡@ِ LىبP D,TT"³M"/‡@€‡@" LىبP R,TTN³ƒ"/‡@€‡@N LىبP 26TTî&#•/‡@€‡@î€LىبP S6TTî™/‡@€‡@îَLىبP W,Tب™M/‡@€‡@َ?LىبجThis presentation opens with a brief mask dance to demonstrate .>828!828787878772G888!7T82288728887T782!87Tّî{/‡@€‡@îfGLىبـembodied codeswitching metaphors present in Japanese dance aesthetics. m8T7887827882G2887T88878!28!8188828788818788187818822TT A{/‡@€‡@ fLىبP S5Tطîdî/‡@€‡@îظBLىبذI will discuss the embodiment of codeswitching as a ritual scheme G822822887T778T78727882G2887828!882187T8TTeœî/‡@€‡@eظLىبP o8T”‌„î/‡@€‡@‌ظLىبd a practice 88!8227Tüîٍia/‡@€‡@îLHLىبـthat both encodes meaning through movement, but also becomes meaningful 888887828782T778878!8878T818S87878278818S82S888868Tشîe-ش/‡@€‡@î؟ALىبذbecause the movement is a part of a larger enactment of identity.882782888T818S872878!788!78!7882T8778781TT.ecش/‡@€‡@.؟LىبP 6TTîطG/‡@€‡@î2LىبP ,Tàط€G/‡@€‡@2CLىبشI propose that, through the introduction and enactment of multiple Z~8!87828888 8877888!8782878787882T877S888T0îK¤ ؛/‡@€‡@î¥&Lىبکidentities in Japanese dance, performe888818278878288881878 8!S8T¥ K3؛/‡@€‡@¥ ¥ LىبŒrs are provided with a means of !28!88!81888G88S88817T4î¾z-/‡@€‡@îQLىبًcomprehending their identities in a diversity of contexts. Further, for Japanese 28T8 887888778!7888288818!218288812=8!88!8!28878828T,ى1 /‡@€‡@î‹PLىبىAmerican/biracial individuals such as myself, the complexity of multiplicity is CT8!2788!8287818882182881T1288827T88118S87212Tبî¤D /‡@€‡@î‏?Lىبجcompounded. I ask: where do bodies that differ fit in the trZ~28T7878878822G88!878788817888!!!887!!TجD ¤آ /‡@€‡@D ‏Lىبxaditional arts? Can 88787!8!28H88T4î ق† /‡@€‡@îq QLىبًsomaesthetics mindfully and playfully reinforce the creative process of emerging 28T7827822T87&" WMFC xxP8188888181!888!18782!88188!8182277T8!787T„îٹ ù /‡@€‡@îن 4Lىب´identities? An enaction that allows for flexibility 888818B87882778888G28!8181TTٹ Gù /‡@€‡@ن LىبP Z~7Tü‎ l /‡@€‡@W HLىبـBackground: Japanese dance is primarily based on a narrative. To convey C8227!8888287878278881828!S8!18828878788!!818>8188181Tüîp µك /‡@€‡@îت Lىبˆthe story a vocalist narrates8828!181828288!!882Tگ¶p oك /‡@€‡@¶ت 6Lىب¸ the plot, providing the voices of the characters. In 78888!818878818282787287!828!27T(îم BR/‡@€‡@î=OLىبىturn, dancers express the narrative with their bodies. Often one dancer shifts 8!878818!2818!8228878!!818G888!88881M8888787728!282TîV,إ/‡@€‡@î°MLىبèsmoothly yet convincingly between a wide variety of characters to unfold the 2T87811828818287188G8888G8818!818188!828!27878888T`îة( 8/‡@€‡@î#.Lىب¨story. This trained dance ability to shift b28!1>82!8788877288818!28!8T) ة8/‡@€‡@) #!Lىبگetween characters metaphorically 8G888188!828!2S87878!281TPî<é«/‡@€‡@î–VLىبّmirrors a social coordination of self present and respected in daily life in Japan. I T!!8!282828188!888787288!8287788!827827888818827887Tّî¯† /‡@€‡@î GLىبـhave observed that Japanese dance training, as a means of transmitting 88188828!188882788782878818!8887828T78827 881T87Tطî" ²‘ /‡@€‡@î| BLىبذembodied cultural knowledge, simultaneously transmits concepts of 8T78878288!8277G88782T88878821!882T227828727T¨³" î‘ /‡@€‡@³| Lىبla shifting, or 828878!T î• €/‡@€‡@îï NLىبèflexible sense of self. When Japanese dance is transplanted across the globe, 818827828728a77727887828878272!8828787882!821887878T8î½w/‡@€‡@îbRLىبًchoreographed structures conveying sensibilities of multiplicity are transplanted 288!887!887881!827!822881818728828827T88218!8!88287878Tّî{Cê/‡@€‡@îصGLىبـand transformed in the diasporic community, further problematizing the 888!8818!T7888788278!228ST7818!88!8!787T818788Tˆîîف]/‡@€‡@îH Lىب`boundaries887888!82Tطقî}]/‡@€‡@قHLىب| of race and identity. 7!8187878881TT~î²]/‡@€‡@~HLىبP 5Taظذ/‡@€‡@»ILىبàI propose that performance provides a vehicle for comprehending identity 8!878288888 8!S88288!818828188288!27S8!88788877881TîشBC/‡@€‡@î.MLىبèthrough a deepR&ڑWMFCxxP enaction process, an embodiment of artistic practices. Active 8!8878787888782788!82821787T788T8778!228!81282C218T€îGؤ¶/‡@€‡@î،3Lىب´embodiment, like identity, is a process of becoming8T788T87287881288!8282277827T87TTإG(¶/‡@€‡@إ،LىبP dTè)Gن¶/‡@€‡@)،Lىب€a process of emerging and 88!8182277T8!787888Rpœےےےگ@"Helveticaظ/ 0\ث®00 0;&گ‡z €ےHelvetca)،üêcّçc5- 0Pث®0€‹üçcٍ´0üçcLN¯0ècdv%%Tdî¹چ(/‡@€‡@îLىبTself28TT‹¹ھ(/‡@€‡@‹LىبP- Tˆ«¹r(/‡@€‡@« Lىب`fashioning8287887TTs¹ض(/‡@€‡@sLىبP d%Tx×¹*)/‡@€‡@×Lىب\through8!8788%Tl+¹(/‡@€‡@+LىبX and 788%T` ¹ژ)/‡@€‡@ LىبTas 82%Tœڈ¹¨ (/‡@€‡@ڈ Lىبhthe art form.888!8 TTT© ¹ق (/‡@€‡@© LىبP 6TTî-#œ/‡@€‡@î‡LىبP 6%€6ب6ىب6ى66ا6ëا6ë66ئ6êئ6ê66إ6éإ6é66ؤ6èؤ6è66أ6çأ6ç66آ6وآ6و66ء6هء6ه66ہ6نہ6ن6 6 ؟6م؟6م 6 6 ¾6â¾6â 6 6½6ل½6ل66¼6à¼6à6 6 »6ك»6ك 6 6؛6ق؛6ق66¹6ف¹6ف66¸6ـ¸6ـ66·6غ·6غ66¶6ع¶6ع6$-.ûًےگ@"Helvetica- 2 ow +$Tomie Hahn 2 oخ+$ J 2 ‚w+$ J 2 ”w+$ J (2 §w+$Performing biracialt 2 §ü+$—J2 § +$embodying 2 §Y+$ ritual 2 §€+$ J 2 §–+$ J/ 2 §إ+$ J0 2 §ُ+$ J 2 ¹w+$ J 2 ثw+$ J0j2 ث§?+$This presentation opens with a brief mask dance to demonstrate v2 قwG+$embodied codeswitching metaphors present in Japanese dance aesthetics. 2 قچ+$ 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 ƒ2 _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+$identities? An enaction that allows for flexibility 2 —أ+$ Jw2 ©§H+$Background: Japanese dance is primarily based on a narrative. To convey 72 ¼w+$the story a vocalist narrateso \2 ¼:6+$ the plot, providing the voices of the characters. In ‚2 خwO+$turn, dancers express the narrative with their bodies. Often one dancer shifts 2 àwM+$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 Œ2 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 tئ+$ 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+$embodiment, like identity, is a process of becomingI 2 ¬ك+$—J22 ¬ï+$a process of emerging and ûًےگ@"Helvetica--2 ¾w+$self 2 ¾گ+$-J2 ¾• +$fashioning 2 ¾ق+$—J-2 ¾î+$through -2 ¾$+$ and g -2 ¾G+$as -2 ¾\ +$the art form. 2 ¾²+$ J 2 رw+$ J û¼"System-$$++$$++$$++##++##**##**##**##**##**""**""**""))""))""))""))""))!!))!!((!!((‏ےصحصœ.“—+,ù®00hp”œ¤¬´¼ؤج شن×î´َ×تش´²ة¼¯حّ''0Performing biracial—embodied cultural knowledgeTitle ‏ےےے‏ےےے !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOP‏ےےےRSTUVWX‏ےےے‎ےےے[‏ےےے‏ےےے‏ےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےRoot Entryےےےےےےےے ہF0ےمt@…ة]€1Tableےےےےےےےے WordDocumentےےےےےےےے*SummaryInformation(ےےےےœvDocumentSummaryInformation8ےےےےےےےےےےےےQCompObjےےےےےےےےےےےےqےےےےےےےےےےےےےےےےےےےےےےےے‏ےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےےے‏ے ےےےے ہFMicrosoft Office Word Document MSWordDocWord.Document.8ô9²q