Talks by Yu Homma
Keio University Art Center launched the Hijikata Tatsumi Archive in 1998, which is one of the pio... more Keio University Art Center launched the Hijikata Tatsumi Archive in 1998, which is one of the pioneering performing arts archives in Japan. Based on the 20 years of its activities, Hijikata Tatsumi archive is developing digital teaching tools on Butoh. The main course uses U.K. based MOOCs (Massive Open Online Course) platform "Future Learn". Through developing the course, the archive tries not only to deliver lectures on Butoh but also to network students, researchers and artists who are interested in Butoh, making use of the digital media technology.
In this presentation, I will introduce the digital course developed and examine important points to produce digital teaching tools for performance studies. The presenter will particularly focus on distributing the archive materials online, the language barrier, and discussions on the teaching contents which can be reached by the international audience.
A university has several commons. Some universities in English-speaking countries traditionally m... more A university has several commons. Some universities in English-speaking countries traditionally manage common rooms, where members of the academic community can exchange their ideas. In libraries, we often find learning commons, originally proposed as information commons in the 1980s, where students, faculties, and researchers learn together.
In this presentation, I would like to introduce the experiment of a 'museum commons', which considers a university museum as a new commons connecting the diversity of collections, people and places inside and outside the university.
A museum commons is a place where every group in and around the university liaises with each other based on the exchange of collections. A museum commons is also a place for collections to be connected to the wider contexts outside the university.
In this talk, the presenter focuses on Hijikata Tatsumi’s activity in the late 1970s and 1980s, a... more In this talk, the presenter focuses on Hijikata Tatsumi’s activity in the late 1970s and 1980s, a topic which remain comparatively untouched by researchers until now.
This neglect is mainly due to the fact that there are not yet enough documents available from the period, and also because Hijikata’s activity during this time was less flamboyant than it had been in the 1960s and 1970s.
However, research directed at this later period is just as important as studies of earlier stages of his work, because this is the time when Hijikata dismantled and restructured his Butoh.
The precise way in which this restructuring occurred, and to what end it intended, remain unclear, however, those works and words by Hijikata which are left to us, may still offer some clear indication of the present state of Butoh beyond Japan, beyond theatre, and even beyond dance.
The presenter outlines Hijikata’s activity around 1980 and suggest a way of approaching the butoh which he would go on to present.
Papers by Yu Homma
慶應義塾大学アート・センターが所蔵する1960-70年代の日本の前衛芸術に関わる資料体とその研究活用の状況を「共同性」「領域横断性」に焦点を当て紹介した上で、アーカイヴにおいて近年重要性を増して... more 慶應義塾大学アート・センターが所蔵する1960-70年代の日本の前衛芸術に関わる資料体とその研究活用の状況を「共同性」「領域横断性」に焦点を当て紹介した上で、アーカイヴにおいて近年重要性を増しているレファレンス活動について論じる。単なる業務記録の共有ではなく、レファレンス活動の成果を研究領域全体の成果として公共化することを目指し、図書館における先行例である「レファレンス協同データベース」の活動を参照しながら「研究来歴（Research Provenance）」としてのレファレンス事例の共有化の試みおよびその課題について検討を行う。
慶應義塾大学アート・センター 年報23 Keio University Art Center Annual 23, Jul 2016
Keio University Art Center Annual Report 20, Mar 31, 2013
Keio University Art Center Annual Report, No. 19, Mar 2012
Academic Event Administration by Yu Homma
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Talks by Yu Homma
In this presentation, I will introduce the digital course developed and examine important points to produce digital teaching tools for performance studies. The presenter will particularly focus on distributing the archive materials online, the language barrier, and discussions on the teaching contents which can be reached by the international audience.
In this presentation, I would like to introduce the experiment of a 'museum commons', which considers a university museum as a new commons connecting the diversity of collections, people and places inside and outside the university.
A museum commons is a place where every group in and around the university liaises with each other based on the exchange of collections. A museum commons is also a place for collections to be connected to the wider contexts outside the university.
This neglect is mainly due to the fact that there are not yet enough documents available from the period, and also because Hijikata’s activity during this time was less flamboyant than it had been in the 1960s and 1970s.
However, research directed at this later period is just as important as studies of earlier stages of his work, because this is the time when Hijikata dismantled and restructured his Butoh.
The precise way in which this restructuring occurred, and to what end it intended, remain unclear, however, those works and words by Hijikata which are left to us, may still offer some clear indication of the present state of Butoh beyond Japan, beyond theatre, and even beyond dance.
The presenter outlines Hijikata’s activity around 1980 and suggest a way of approaching the butoh which he would go on to present.
Papers by Yu Homma
Academic Event Administration by Yu Homma
In this presentation, I will introduce the digital course developed and examine important points to produce digital teaching tools for performance studies. The presenter will particularly focus on distributing the archive materials online, the language barrier, and discussions on the teaching contents which can be reached by the international audience.
In this presentation, I would like to introduce the experiment of a 'museum commons', which considers a university museum as a new commons connecting the diversity of collections, people and places inside and outside the university.
A museum commons is a place where every group in and around the university liaises with each other based on the exchange of collections. A museum commons is also a place for collections to be connected to the wider contexts outside the university.
This neglect is mainly due to the fact that there are not yet enough documents available from the period, and also because Hijikata’s activity during this time was less flamboyant than it had been in the 1960s and 1970s.
However, research directed at this later period is just as important as studies of earlier stages of his work, because this is the time when Hijikata dismantled and restructured his Butoh.
The precise way in which this restructuring occurred, and to what end it intended, remain unclear, however, those works and words by Hijikata which are left to us, may still offer some clear indication of the present state of Butoh beyond Japan, beyond theatre, and even beyond dance.
The presenter outlines Hijikata’s activity around 1980 and suggest a way of approaching the butoh which he would go on to present.
Video Information Center 年譜 1972–1977
目録：VICビデオライブラリ
資料の概要と利用条件
Video Information Center and the Documentation of Art in the 1970s (Yu Homma)
Chronology of Video Information Center, from 1972 to 1977
VIC Video Library Catalogue
Collection Information and Conditions of Use
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編集：本間友、久保仁志 翻訳：枝村泰典
協力：手塚一郎（VIC）、新井知行（国際舞台芸術交流センター）
Editors: Yu Homma, Hitoshi Kubo (Keio University Art Center)
Translator: Taisuke Edamura
Support: Ichiro Tezuka (VIC), Tomoyuki Arai (PARC)