{"created":"2022-01-28T04:32:38.991128+00:00","id":2007770,"links":{},"metadata":{"_buckets":{"deposit":"b28c7fba-967a-4e54-9025-1b5cab94af70"},"_deposit":{"id":"2007770","owners":[1],"pid":{"revision_id":0,"type":"depid","value":"2007770"},"status":"published"},"_oai":{"id":"oai:u-ryukyu.repo.nii.ac.jp:02007770","sets":["1642837622505:1642837745608:1642837751052","1642838403551:1642838405037"]},"author_link":[],"item_1617186331708":{"attribute_name":"Title","attribute_value_mlt":[{"subitem_1551255647225":"沖縄の踊りの表現特質に関する研究 (2) : 古典舞踊「「諸屯」について","subitem_1551255648112":"ja"},{"subitem_1551255647225":"A Study on the Representative Feature of Okinawa Dance (2) : On the \"SHUDUN\" (Woman's dance)","subitem_1551255648112":"en"}]},"item_1617186419668":{"attribute_name":"Creator","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"金城, 光子","creatorNameLang":"ja"}]},{"creatorNames":[{"creatorName":"Kinjo, Mistuko","creatorNameLang":"en"}]}]},"item_1617186476635":{"attribute_name":"Access Rights","attribute_value_mlt":[{"subitem_1522299639480":"open access","subitem_1600958577026":"http://purl.org/coar/access_right/c_abf2"}]},"item_1617186626617":{"attribute_name":"Description","attribute_value_mlt":[{"subitem_description":"The purpose of this study was to clarify the representative characters of Okinawan Classical Dances from the aesthetic and kinematic points of view. And this article is the second efforts in the study of Okinawan Dances. It was treated the \"SHUDUN\" in the traditional Okinawan woman's dances. The \"SHUDUN\" is the one of the typical \"Winagu-Dī-Udui\", which are performed by a girl with no properties, and express the wife's feeling of loneliness, lonesome and melancholy for the absence of her husband. This dance is featured with a dance technique, \"SANKAKU-MIZICHI,\" it is said that the wife's psychological and emotional tension is mainly expressed by he performer's expression and eye with static standing posture. It was taken the following steps in this study; 1)photographing of the performance, 2)drawing the whole dance movements in every 3 or 24 sections by the profile projector, 3)making of a series of overlapping shape of dance motion, 4)arrangement of the dance construction, and 5)analysis of the dance design, time, and space from the Laban's effort shape analysis point of view. It took 14 miniutes and 28 seconds to perfome the dance and had 15, 421 sections in the film. The main results are shown following 1) Basic body shape: the lower back is not released, the waist is shrinking, the upper part of body is slightly fallen in front, the shoulders are released and arms are set the body sides, legs are bent slightly, and the line of vision takes lower point faintly.; 2) Winagu-Dachi(Basic standing shape): the right leg is bent outside, and left leg is slightly stretched in front, then put the heel on the floor and lifted the toe., 3) Walking: all of the gesturing foot is in contact with the floor keeping with basic shape, the toes are lifted slightly, and whole body was pushed foward in constant weight., 4) Facing of the upper part of body is not free from the triangle which shaped with the face and shoulders, but synchronized the triangle., 5) The basic motion of effort shape are glide, press, wring, and dab, and, have flexible and light sustained shape., and 6) The construction of the dance \"SHUDUN\" is composed of three parts, that is a) Entrance, b) Dancing, and c) Exit. The main part of the dance, that is Dancing, is divided into three parts, they are \"INJIFA-UDUI\"(Nakama-Bushi)\"NAKAUDUI\" (Shudun-Bushi), and, \"IRIFA-UDUI\" (Shonganē-Bushi).","subitem_description_type":"Other"},{"subitem_description":"紀要論文","subitem_description_type":"Other"}]},"item_1617186643794":{"attribute_name":"Publisher","attribute_value_mlt":[{"subitem_1522300295150":"ja","subitem_1522300316516":"琉球大学教育学部"}]},"item_1617186702042":{"attribute_name":"Language","attribute_value_mlt":[{"subitem_1551255818386":"jpn"}]},"item_1617186783814":{"attribute_name":"Identifier","attribute_value_mlt":[{"subitem_identifier_type":"HDL","subitem_identifier_uri":"http://hdl.handle.net/20.500.12000/29894"}]},"item_1617186920753":{"attribute_name":"Source Identifier","attribute_value_mlt":[{"subitem_1522646500366":"ISSN","subitem_1522646572813":"0386-5746"},{"subitem_1522646500366":"NCID","subitem_1522646572813":"AN00250446"}]},"item_1617186941041":{"attribute_name":"Source Title","attribute_value_mlt":[{"subitem_1522650068558":"ja","subitem_1522650091861":"琉球大学教育学部紀要 第二部"}]},"item_1617187056579":{"attribute_name":"Bibliographic Information","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1976-12","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"20","bibliographicPageEnd":"162","bibliographicPageStart":"117"}]},"item_1617258105262":{"attribute_name":"Resource Type","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_1617265215918":{"attribute_name":"Version Type","attribute_value_mlt":[{"subitem_1522305645492":"VoR","subitem_1600292170262":"http://purl.org/coar/version/c_970fb48d4fbd8a85"}]},"item_1617605131499":{"attribute_name":"File","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_access","filename":"No20-2p117.pdf","mimetype":"application/pdf","url":{"objectType":"fulltext","url":"https://u-ryukyu.repo.nii.ac.jp/record/2007770/files/No20-2p117.pdf"},"version_id":"7d388d41-b24b-49ed-a787-b8705e60024e"}]},"item_title":"沖縄の踊りの表現特質に関する研究 (2) : 古典舞踊「「諸屯」について","item_type_id":"15","owner":"1","path":["1642837751052","1642838405037"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2014-11-21"},"publish_date":"2014-11-21","publish_status":"0","recid":"2007770","relation_version_is_last":true,"title":["沖縄の踊りの表現特質に関する研究 (2) : 古典舞踊「「諸屯」について"],"weko_creator_id":"1","weko_shared_id":-1},"updated":"2022-10-31T03:47:05.095983+00:00"}