{"id":1020,"date":"2020-04-07T21:33:31","date_gmt":"2020-04-07T12:33:31","guid":{"rendered":"http:\/\/www.nanakonakajima.com\/?page_id=1020"},"modified":"2025-12-03T20:21:33","modified_gmt":"2025-12-03T11:21:33","slug":"publications","status":"publish","type":"page","link":"https:\/\/www.nanakonakajima.com\/?page_id=1020","title":{"rendered":"publications"},"content":{"rendered":"\n<h6 class=\"wp-block-heading is-style-vk-heading-solid_bottomborder_black has-text-color\" style=\"color:#6c27ad\">BOOKS<\/h6>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>\u300e\u8001\u3044\u3068\u8e0a\u308a\u300f<\/em>(<em>Oi to Odori<\/em>,\u00a0Aging plus Dancing, in Japanese),\u00a0edited by Nanako Nakajima and Kikuko Toyama, Tokyo: Keiso Shobo Publisher, 2019.<\/li>\n\n\n\n<li><em>The Aging Body in Dance: a cross-cultural perspective<\/em>\u00a0(English), edited by Nanako Nakajima and Gabriele Brandstetter, London and New York: Routledge, 2017.<\/li>\n<\/ul>\n\n\n\n<h6 class=\"wp-block-heading is-style-vk-heading-solid_bottomborder_black has-text-color\" style=\"color:#6c27ad\">ACADEMIC PAPERS <\/h6>\n\n\n\n<ul class=\"wp-block-list\">\n<li>&#8220;Embracing the Aging Body in Dance,&#8221; <strong><em>Slow Technology Reader, A Tool for Shaping Divergent Futures<\/em><\/strong>, Edited by Carolyn F. Strauss, Amsterdam: Stiching Valiz Foundation, 2025, pp. 340\u2013347. Total 480 pages.<\/li>\n\n\n\n<li>(Reprint) &#8220;Nanako Nakajima in conversation with Gabriele Brandstetter,&#8221; <strong><em>Movement Research Performance Journal<\/em><\/strong>, Issue #61 on Dramaturgy, September 2025, pp. 56-61. <a href=\"https:\/\/mrpj.org\/articles\/stolen-article-nanako-nakajima-in-conversation-with-gabriele-brandstetter\">https:\/\/mrpj.org\/articles\/stolen-article-nanako-nakajima-in-conversation-with-gabriele-brandstetter<\/a>.<\/li>\n\n\n\n<li>&#8220;Waking Up the Aging Body in Dance,&#8221; (Japanese) <strong><em>Studies of Media Body and Image<\/em><\/strong>, (15) 25-46, Apr, 2025.<\/li>\n\n\n\n<li>&#8220;Introduction&#8221; by Stanca Scholz-Cionca and Nanako Nakajima, and an article \u201cGei\u201d for PART V Japanese, <strong><em>The Routledge Companion to Performance-Related Concepts in Non-European Languages<\/em><\/strong>, Edited by Erika Fischer-Lichte, Torsten Jost, Astrid Schenka, 2024.<\/li>\n\n\n\n<li>&#8220;Archiving Dance and Digital Archive,&#8221; (Japanese) <strong><em>Dejitaru Akaibu Gakkaishi<\/em><\/strong>, 2023, Volume 7, Issue 1, Pages 18-23, <a href=\"https:\/\/doi.org\/10.24506\/jsda.7.1_18\">https:\/\/doi.org\/10.24506\/jsda.7.1_18<\/a>, <a href=\"https:\/\/www.jstage.jst.go.jp\/article\/jsda\/7\/1\/7_18\/_article\/-char\/en.\">https:\/\/www.jstage.jst.go.jp\/article\/jsda\/7\/1\/7_18\/_article\/-char\/en.<\/a><\/li>\n\n\n\n<li>&#8220;Democratising Tradition: Thai choreographer Pichet Klunchun\u2019s fresh take on khon dance,&#8221; <strong><em>Magazin im August<\/em><\/strong>, 36-38, Aug, 2022<\/li>\n\n\n\n<li>&#8220;The Outside of Butoh is the Inside of the Body: Ko Murobushi and the Process of Self-mummification,&#8221;\u00a0<em>The TDR\/The Drama Review<\/em>, Vol. 63, No. 2 (T242)\u00a02019: 74-93.<\/li>\n\n\n\n<li>&#8220;This is (Not) the Aging Body in Dance: Tino Sehgal\u2019s<em>\u00a0Ann Lee<\/em>\u00a0and the Robotization of the Aging Body in Japan,&#8221;\u00a0<em>Performance\u00a0Research<\/em>,\u00a0Vol. 23,\u00a0No. 7: \u2018On\u00a0Ageing\u00a0(&amp;\u00a0Beyond)&#8217; (May 2019): 55-65.<\/li>\n\n\n\n<li>&#8220;Nanako Nakajima in Conversation with Yvonne Rainer,&#8221;\u00a0<em>Performance\u00a0Research<\/em>,\u00a0Vol. 23,\u00a0No. 7: \u2018On\u00a0Ageing\u00a0(&amp;\u00a0Beyond)&#8217; (May 2019): 13-23.<\/li>\n\n\n\n<li>&#8220;Disabling Ability in Dance: Intercultural Dramaturgies of the\u00a0<em>Thikwa plus Junkan Project<\/em>&#8220;,<em> Disability Arts and Culture: Methods and Approaches<\/em>.\u00a0Edited by Petra Kuppers, Bristol and Chicago: Intellect Books\uff0cpp. 257-276,\u00a02019.<\/li>\n\n\n\n<li>&#8220;Throwing the Aging Body into the Fight: Raimund Hoghe\u2019s\u00a0<em>An Evening with Judy<\/em>\u00a0in Kyoto,&#8221;<em>\u00a0The Movements of Interweaving<\/em>,<\/li>\n\n\n\n<li> edited by Gabriele Brandstetter, Gerko Egert and Holger Hartung, London: Routledge, 2018, pp. 109-129.\u00a0<\/li>\n\n\n\n<li>&#8220;Kazuo\u00a0Ohno\u00a0and\u00a0Anohni: From Without and Within,&#8221;\u00a0(English\/German), in\u00a0<em>Anohni\u2014My\u00a0Truth, James\u00a0Elaine, Peter\u00a0Hujar,\u00a0Kazuo\u00a0Ohno.<\/em>Edited by Friedrich Meschede, Bielefeld:\u00a0Walther K\u00f6nig, 2017, pp. 401-422.\u00a0<\/li>\n\n\n\n<li>&#8220;The Archiving Body in Dance: The Trajectory of the Dance Archive Box Project,&#8221;\u00a0(English)<em>,\u00a0Moving (Across)Borders: Performing Translation, Intervention, Participation<\/em>, edited by Gabriele Brandstetter and Holger<em>\u00a0<\/em>Hartung, Bielefeld: transcript Verlag, 2017, pp.191-218.\u00a0<\/li>\n\n\n\n<li>\u300c\u8001\u3044\u3068\u8e0a\u308a\u3068\u30b9\u30d4\u30ea\u30c1\u30e5\u30a2\u30ea\u30c6\u30a3\u300d\uff08Oi to Odori to Spirituality,\u00a0in Japanese),\u00a0<em>\u300e\u30b9\u30d4\u30ea\u30c1\u30e5\u30a2\u30ea\u30c6\u30a3\u3068\u82b8\u8853\u30fb\u82b8\u80fd\u300f<\/em>(<em>Spirituality and Arts\/Geino<\/em>)\u00a0(Series of Spirituality Studies), edited by Toji Kamata, Tokyo: Bing Net Press, 2016. pp. 186-206.<\/li>\n\n\n\n<li>&#8220;The Aging Robot in Dance: Some Questions addressed by the Research of the Aging Body in Dance,&#8221;\u00a0(Japanese),\u00a0<em>Ars Vivendi<\/em>, vol. 9, 2016.<\/li>\n\n\n\n<li>&#8220;Diversified Body Dancing and Watching,&#8221;\u00a0(Japanese),\u00a0<em>Who Dance? Furitsuke no Actuality<\/em>, Tsubouchi Memorial Theatre Museum of Waseda University, Catalogue raisonn\u00e9, 2015, pp. 64-75.<\/li>\n\n\n\n<li>&#8220;Dance Dramaturgy as a Process of Learning: koosil-ja\u2019s mech[a]OUTPUT<em>,<\/em>&#8221;\u00a0(English),<em>\u00a0<\/em>Dance<em>\u00a0Dramaturgy: Modes of Agency, Awareness and Engagement<\/em>, London: Palgrave, 2015, pp. 163-179.<\/li>\n\n\n\n<li>&#8220;a-kaibu ka dekinai odori wo megutte&#8221;\u00a0(Japanese),\u00a0<em>Musica Mundana<\/em>\u00a0(2015, in Liberal Arts, Vol. 6, Saitama University Studies), pp. 31-44.<\/li>\n\n\n\n<li>&#8220;Dance Dramaturgy on the Topic of Aging &#8211; Focusing on Raimund Hoghe&#8217;s &#8216;An Evening with Judy'&#8221;\u00a0(Japanese),\u00a0<em>Butai Geijutsu(Performing Arts)<\/em>, Vol. 19. 2015: 166-173.<\/li>\n\n\n\n<li>&#8220;Disabling ability in dance: Intercultural dramaturgies of the Thikwa plus Project&#8221;\u00a0(English),<em> Choreographic Practices<\/em>\u00a06 (1): 85-105. 2015.\u00a0<\/li>\n\n\n\n<li>&#8220;Aging Body in Dance: The Cultural Politics of Age in Euro-American and Japanese Dance&#8221;\u00a0(English)<em>,\u00a0TanzZeit \u2013 LebensZeit,\u00a0<\/em>Claudia Behrens, Christiana Rosenberg (Hg.)<em>,\u00a0<\/em>Jahrbuch Tanzforschung Band 24, Leipzig: Henschel Verlag 2014, pp. 167-177.\u00a0<\/li>\n\n\n\n<li>&#8220;De-aging Dancerism? The aging body in contemporary and community dance&#8221; (English)<em>,\u00a0Performance Research<\/em>, 16 (3): 100-104. Sep 2011.<\/li>\n\n\n\n<li>&#8220;Two Hours and One Hundred and Three Years of Dancing: Xavier Le Roy\u2019s Product of Other Circumstances and Kazuo Ohno\u2019s Butoh&#8221; (English)<em>,\u00a0Fjord Review<\/em>, Australia, Summer 2011(No. 3, Vol. 1): pp. 14-19.<\/li>\n\n\n\n<li>&#8220;\u201eJ\u00e9r\u00f4me Bel and Myself\u201c\u00a0Interkulturelle Aspekte des zeitgen\u00f6ssischen Tanzes in Europa und Asien,&#8221;\u00a0(German),\u00a0<em>Ver\u00f6ffentlichungen des Japanisch-Deutschen Zentrums Berlin<\/em>,\u00a0JAPANISCH-DEUTSCHES ZENTRUM BERLIN\u00a0in Zusammenarbeit mit dem\u00a0DEUTSCHER AKADEMISCHER AUSTAUSCHDIENST, Germany, 2009: 157-167.<\/li>\n\n\n\n<li>&#8220;J\u00e9r\u00f4me Bel to Watashi&#8221;\u00a0:\u300ePichet Klunchun and Myself\u00a0\u300fni okeru Interculturalism,\u00a0(Japanes),\u00a0<em>Theatre Arts<\/em>, 39, Tokyo, Japan, 2009, pp. 97-106.<\/li>\n\n\n\n<li>&#8220;Dance Dramaturg in NY Downtown Dance,&#8221;\u00a0(Japanese),\u00a0<em>Theatre Arts<\/em>, 32, Tokyo, Japan, 2007, pp.77-85.<\/li>\n\n\n\n<li>&#8220;Ohno Kazuo\u2019s Hands: Between the Visible and the Invisible,&#8221;\u00a0(English),\u00a0<em>A MAGAZINE,\u00a0<\/em>#3, Antwerp, Belgium, 2005: 64-71.<\/li>\n\n\n\n<li>&#8220;The Two Axes of the Performing Body, Vertical and Horizontal,&#8221; (English)<em>,\u00a0Journal of Aesthetics andArt History,\u00a0<\/em>No. 16, 2004.<\/li>\n\n\n\n<li>&#8220;The Dancing Body in Gaps\u2014Miyakokenbutsuzaemon by Hanayagi Toshinami,&#8221; (Japanese)\u00a0<em>Report onthe Aesthetic Congress in Hiroshima University 2002,\u00a0<\/em>2004.<\/li>\n<\/ul>\n\n\n\n<h6 class=\"wp-block-heading is-style-vk-heading-solid_bottomborder_black has-text-color\" style=\"color:#6c27ad\">Essays, Reviews and Short Articles<\/h6>\n\n\n\n<ul class=\"wp-block-list\">\n<li>&#8220;Poetics of Dance,&#8221; (Japanese), <em>ACT<\/em> vol. 26, 2020, Journal of Kansai Brunch, International Association of Theatre Critics, Japan. <a href=\"https:\/\/aictact2018.wixsite.com\/act26\/special-article\">Online.<\/a><\/li>\n\n\n\n<li>Performance Review on ARICA Presents &#8220;Rockaby Revisited,&#8221; (Japanese), <em>Newsletter REPRE<\/em> of Association for the Studies of Culture and Representation, vol. 37. 2019. <a href=\"https:\/\/www.repre.org\/repre\/vol37\/conference14\/performance\/\">Online<\/a>.<\/li>\n\n\n\n<li>Performance Review on\u00a0\u300e\u3060\u3093\u3060\u3093\u305f\u3093\u307c\u306b\u591c\u660e\u304b\u3057\u30ab\u30a8\u30eb\u300f(&#8220;Dandan Tanbo ni Yoakashi Kaeru&#8221; in Japanese)\u00a0choreographed by Shin Sakuma, <em>Final Report of the NPO Tanpopo no ie<\/em>, 2019: 26.<\/li>\n\n\n\n<li>&#8220;The Past and Future of\u00a0Festival Cultures,&#8221; (Japanese),\u00a0<em>Newsletter<\/em>, vol. 15, Japanese Society for Dance Research: 5-7. <a href=\"http:\/\/www.danceresearch.ac\/newsletter\/Newsletter15.pdf?fbclid=IwAR3pNOIrRl3abbdR9-72B0qWMjdBYqN-3-qLz5kQwgEKPGnIYQpa5uEBTFc\">Online<\/a>.<\/li>\n\n\n\n<li>Report on Panel Discussion &#8220;About the Wooster Group,&#8221; (Japanese),<em>\u00a0FEATURES KYOTO EXPERIMENT 2018<\/em>. <a href=\"https:\/\/kyoto-ex.jp\/2018\/features\/report\/about-the-wooster-group_report\/\">Online.<\/a><\/li>\n\n\n\n<li>&#8220;Special\u00a0Feature: Theatricality of the Exhibition, Discussion: Performance in Crossing: Between Museum and Theater,&#8221;\u00a0in\u00a0<em>\u300e\u8868\u8c61\u300f<\/em>(Hyosho: journal of the association for studies of culture and representation). (Japanese) vol. 12. 2018: 18-45.<\/li>\n\n\n\n<li>\u300cRE\/PLAY Dance Edit\u00a0\u306b\u3064\u3044\u3066\u306e\u899a\u66f8\u300d(&#8220;Review for RE\/PLAY Dance Edit,&#8221;\u00a0in Japanese),\u00a0<em>Kyoto Art Center<\/em>, 2018. <a href=\"https:\/\/www.kac.or.jp\/wp-content\/uploads\/REPLAY_Dance-Edit_critique_by_Nanako_nakajima.pdf\">Online<\/a>.<\/li>\n\n\n\n<li>\u300c\u30ec\u30f4\u30e5\u30fc\uff5c\u30de\u30eb\u30c1\u30d7\u30eb\u5316\u3055\u308c\u305f\u8eab\u4f53\u306e\u30c0\u30f3\u30b9\u300d(Festival Review &#8220;Multiplied Dancing Body,&#8221;\u00a0in Japanese),\u00a0on <em>the 9<sup>th<\/sup>\u00a0Yebisu International Festival for Art and Alternative Visions<\/em> at the Tokyo Photographic Museum. <a href=\"https:\/\/www.yebizo.com\/jp\/news\/detail\/featured\/981\">Online<\/a>.<\/li>\n\n\n\n<li>&#8220;Entering\u00a0the World of Butoh,&#8221;\u00a0(English\/German),\u00a0Article on the Website and Booklet for the dance festival in Berlin,\u00a0<em>Magazin im August\u00a0<\/em>by\u00a0<em>Tanz im August<\/em>, 2017. <a href=\"http:\/\/magazinimaugust.de\/2017\/01\/06\/entering-the-world-of-butoh\/\">Online.<\/a><\/li>\n\n\n\n<li>\u300c\u30c0\u30f3\u30b9\u30a2\u30fc\u30ab\u30a4\u30d6\u3092\u30d1\u30d5\u30a9\u30fc\u30de\u30f3\u30b9\u3059\u308b\u300d(Performing Dance Archives, Japanese\/English) <em>Archiving Dance,<\/em>\u00a0Final Report of the Saison Foundation: 2015, 62-65. <a href=\"http:\/\/www.saison.or.jp\/search_past\/archiving_dance\/ArchivingDance_all.pdf\">Online.<\/a><\/li>\n\n\n\n<li>&#8220;Pina Bausch Archive Fever,&#8221;\u00a0(Japanese),\u00a0<em>Joshi Taiiku<\/em>, 57 (4-5) 2015: 72-73.<\/li>\n\n\n\n<li>Article on &#8220;She She Pop\u2019s \u201cTHE RITE OF SPRING as performed by She She Pop and their mothers,\u201d&#8221;\u00a0\u00a0(Japanese\/English),\u00a0<em>Kyoto Experiment Official Booklet 2014<\/em>, pp. 30-31.<\/li>\n\n\n\n<li>Butoh in a Global Performance Context,&#8221;\u00a0A dissertation review of\u00a0&#8220;An Empty Room: Butoh Performance and the Social Body in Crisis,\u00a0&#8220;by Michael Sakamoto (Submitted to University of California, Los Angeles. 2012. <a href=\"http:\/\/dissertationreviews.org\/archives\/7535\">Online.<\/a><\/li>\n\n\n\n<li>&#8220;From Dance to Live Arts: Ruhr Triennial 2012,&#8221;\u00a0(Japanese),\u00a0<em>Theatre Arts<\/em>, 53, Tokyo, Japan, 2012, pp. 97-106.<\/li>\n\n\n\n<li>Dramaturg\u2019s note, &#8220;Process of Theater Thikwa plus Junkan Project,&#8221;\u00a0(Japanese),<em>\u00a0Kyoto Experiment 2012<\/em>.<\/li>\n\n\n\n<li>&#8220;Report on the symposium in Berlin, Aging Body in Dance,&#8221;\u00a0(Japanese),\u00a0<em>dance +<\/em>, 2012. Online.<\/li>\n\n\n\n<li>&#8220;Two Hours and One Hundred and Three Years of Dancing: Xavier Le Roy\u2019s Product of Other Circumstances and Kazuo Ohno\u2019s Butoh&#8221; (English)<em>,\u00a0Fjord Review<\/em>, Australia, Summer 2011(No. 3, Vol. 1): 14-19.\u00a0\u00a0<\/li>\n\n\n\n<li>\u300c\u3082\u3046\u4e00\u4eba\u306e\u30c0\u30f3\u30b5\u30fc\u3000\u30d9\u30eb\u30ea\u30f34\u6708\u306e\u30c0\u30f3\u30b9\u30fb\u30b7\u30fc\u30f3\u304b\u3089\u300d(&#8220;Mouhitori no Dancer: Report on Dance from Berlin,&#8221;\u00a0in Japanese),\u00a0<em>dance +<\/em>, Mai 2011. <a href=\"http:\/\/danceplusmag.com\/?p=8218\">Online.<\/a><\/li>\n\n\n\n<li>&#8220;Report of Tanz im August,&#8221;\u00a0(Japanese),\u00a0<em>Theater Arts<\/em>, 43, Tokyo, Japan, 2010, pp. 28-35.<\/li>\n\n\n\n<li>&#8220;Aging Body in Dance, &#8221;\u00a0<em>American Orifice<\/em>, Catalogue raisonn\u00e9, Sep 2010, pp. 32-33.<\/li>\n\n\n\n<li>&#8220;Book Review&#8221; (Japanese) in\u00a0<em>Choreologia,<\/em>\u00a0Japanese Society for\u00a0Dance Research, No.32, 2009.\u00a0S. 121-122.\u00a0on\u00a0Odenthal, Johannes:\u00a0<em>TanzK\u00f6rper Politik: Texte zur zeitgen\u00f6ssischen Tanzgeschichte<\/em>, Berlin: Theater der Zeit 2005; Brandstetter, Gabriele:\u00a0\u00bbVerflechtungen von Tanzkulturen. Pichet Klunchun und J\u00e9r\u00f4me Bel\u00ab, in: Weiler, Christel u.a. (Hg.):\u00a0<em>Strahlkr\u00e4fte: Festschrift f\u00fcr Erika Fischer-Lichte<\/em>, Berlin: Theater der Zeit 2008, S.16-27; Odenthal, Johannes: \u00bbGlobalisierung, Migration und die Interkulturalit\u00e4t von Performance\u00ab, in: Klein, Gabriele u.a. (Hg.):\u00a0<em>Performance: Positionen zur zeitgen\u00f6ssischen szenischen Kunst<\/em>, Bielefeld: Transcript 2005, S.25-31;\u00a0<a>Odenthal, Johannes\u00a0(Hg.)<\/a>:\u00a0<em>The Third Body: Das Haus der Kulturen der Welt und die Performing Arts<\/em>, Berlin: Theater der Zeit 2004.<\/li>\n<\/ul>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>BOOKS ACADEMIC PAPERS Essays, Reviews and Short Articles<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1020","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/pages\/1020","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nanakonakajima.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1020"}],"version-history":[{"count":20,"href":"https:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/pages\/1020\/revisions"}],"predecessor-version":[{"id":2643,"href":"https:\/\/www.nanakonakajima.com\/index.php?rest_route=\/wp\/v2\/pages\/1020\/revisions\/2643"}],"wp:attachment":[{"href":"https:\/\/www.nanakonakajima.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1020"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}