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By P. Eckersall

Taking functionality as a key observe, this publication explores vital eastern artists and paintings works within the Sixties on the subject of the formation of postwar Japan. according to the social upheavals of the Sixties, Eckersall indicates how paintings interacted with society in designated and transformational methods. He comprises case experiences of infrequently mentioned artists and performances via 0 Jigen, Ichiyanagi Toshi, Iimura Takahiko and the modern crew Port B, in addition to dynamic cultural occasions reminiscent of the 1964 Olympic video games, mass protests and the 1970 Osaka Expo.

A specific element of Eckersall's research is his interdisciplinary strategy, which attracts on jap writing at the Nineteen Sixties in tandem with functionality idea. by means of interweaving arguments concerning the serious position of functionality as an inventive medium and as a social dramaturgy, this booklet may be of curiosity to students and scholars of latest eastern society and tradition, cultural historians and other people drawn to theatre and function studies.

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The film includes scenes showing mingling bodies and games of collective sensual arousal where various body parts are given erotic stimulation. The camera tracks a circle, almost exclusively male, as they fondle each other’s penises and nipples 26 Performativity and Event in 1960s Japan and includes one scene suggestive of oral sex. People are often seen laughing. There is also a sense that the stimulation is a form of test or trust exercise, something to be accepted as sexual energy channelled towards tantric experiences of arousing meditation.

For Katō, the Expo was never only a gathering of pavilions or a stage for global commerce and diplomacy. It was something much more dystopian: ‘Expo equals the war’. ). In a piece titled ‘Resistance against Consciousness Control by Technology’, Katō writes: Information devices constitute present-day violence. All of the devices of Expo are control/administrative system devices that are aimed toward unconscious manipulation of the human race during the coming century, making Expo a celebratory gathering for announcing these devices to the public.

It can imagine different expressions of social reality and affords embodied experiences of otherness. For Turner, 22 Performativity and Event in 1960s Japan rituals are alternative playful spaces or scenes where taboos can be expressed, crises enacted, and problems resolved. Such an idea is a therapeutic one, comparable to the ancient idea of theatrical catharsis that likewise features a temporary suspension of classical norms only to conclude with the restoration of a given ‘natural’ order. Turner understands ritual as an almost bacchanalian form of collective social behaviour that temporarily enables a place for generally unacceptable activity, such as when people yell abuse at an umpire at a sports match, get drunk at the New Year, or engage in overly erotic behaviours in nightclubs.

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