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HOSOKAWA Eriko
| Physical culture course | Professor |
| Graduate School of Education |
Performance information
■ Paper- 初等中等体育の指導における実践的課題<教育科学>
松本 真; 古田 久; 菊原 伸郎; 細川 江利子; 有川 秀之; 野田 寿美子; 野瀬 清喜
Volume：66, Number：2, First page：377, Last page：400, 2017
type:text
In Japan, new national standards for education, including physical education, will be enacted. Facing this transitional period of Japanese educational curriculum, we have identified following practical issues related to teaching physical education in primary and secondary schools. (1) Differences in track and field related skills and fitness between adolescent boys and girls, particularly regarding the sprint, should be reflected in teaching strategies for the sprint. (2) Many teachers have difficulties in teaching basketball tactics, and therefore, teachers should first demonstrate ideal movements of tactical players to their students. (3) With regard to teaching soccer, teachers must consider the hip joints of students, which are the core joints used to kick a ball, and therefore, teachers need to develop an issues-raised-type of learning programs, as well as an evaluation system for assessing students’ learning. (4) The anticipation of ball locations is a critical skill for successful reception in volleyball, and therefore, teaching strategies specializing in anticipatory skills should be developed. (5) In martial arts classes, students learn attack and defensive skills, as well as traditional thinking, behavior, and courtesy, which are parts of Japanese culture. In the revised national standards for education, karate, Japanese halberd, Japanese archery, Aikido, Shaolin Kung Fu, and Bayoneting will be introduced, and therefore, effective teaching strategies must be developed for the newly selected martial arts. (6) Physical expression and dancing have been leading active learning by students in physical education classes, and the current task is to popularize teaching strategies that correspond with national standards. (7) Systematic strategies for teaching the theory of physical education from primary to upper secondary school should be urgently developed.
Japanese
DOI：https://doi.org/10.24561/00017844
DOI ID：10.24561/00017844, ISSN：1881-5146, CiNii Articles ID：120006389458
- 実践編 高等学校 創作ダンス 演出を加えて全体作品へ : 発表会での演出&一曲を通して踊る《リバーダンス》の実践例 (ダンスがひらく 学びの世界 保存版!ダンス指導ハンドブック(8)新学習指導要領 ダンス指導のQ&A・ダンス指導実践集) -- (ダンス指導実践集)
細川 江利子
Volume：59, Number：8, First page：84, Last page：89, Aug. 2017
Japanese
ISSN：0288-9935, CiNii Articles ID：40021302848, CiNii Books ID：AN00118438 - 中学校・高等学校 選択 創作ダンス 2人のストーリー…出会いと別れ (ダンスの力をすべての人へ 保存版! ダンス指導ハンドブック(6)ダンス指導実践集 : すぐに役立つコツとポイント) -- (中学校・高等学校 ダンス指導実践集)
細川 江利子
Volume：57, Number：8, First page：74, Last page：79, Aug. 2015
Japanese
ISSN：0288-9935, CiNii Articles ID：40020556684, CiNii Books ID：AN00118438 - A Study on Teaching Method of Dance Improvisation of Setsuko Yamada
細川 江利子
Volume：63, Number：1, First page：341, Last page：356, 2014
Japanese
ISSN：1881-5146, CiNii Articles ID：120005386109 - 中学校3年から高校のダンス指導 (新生JAPEW 発信!! : 保存版! ダンス指導ハンドブック(5)理論と実践をつなぐ表現・ダンス指導事例集) -- (理論編)
細川 江利子
Volume：55, Number：8, First page：18, Last page：21, Aug. 2013
Japanese
ISSN：0288-9935, CiNii Articles ID：40019780579, CiNii Books ID：AN00118438 - 教師が「変わる力」を持つために
細川江利子
Volume：51, Number：1, First page：4, Last page：5, 2009 - 教師が「変わる力」を持つために
細川江利子
女子体育, Volume：51, Number：1, First page：4, Last page：5, 2009 - A study on workshop style classes in grouping physical activities: a focus on application of the rhythmic gymnastics to teaching materials
松本大輔; 鈴木直樹; 塩澤榮一; 細川江利子
Journal of Saitama University Faculty of Education, Volume：57, Number：1, First page：75, Last page：85, 2008
The grouping physical activities are made the teaching materials as means to enjoy playing in many physical education classes. However, grouping as learning contents is important. Therefore, this study pays its attention to grouping as learning contents. The purpose is to clarify a change of the student's learning.The objects were third grader students. And the teaching materials was rhythmic gymnastics in this study. The analysis method of an observer was goal-free evaluation and one of an educator was reflection.As a result, students devoted to enjoyment to operate a tool alone at the beginning of classes.As classes advanced, students begun to create and discover enjoyment of the playing to operate a tool in groups.The changes of student's learning were found the following.Students search personal enjoyment of playing.Students create and discover personal enjoyment of playing.Students create and discover the enjoyment of playing while exchanging information.Students create and discover while cooperating with other students.From the above, it is clear that grouping is advanced as student's learning changes. Furthermore, it may be that the change of the student's learning is extending interesting world according to the circulation of doing activity and sharing.
Faculty of Education, Saitama University, Japanese
DOI：https://doi.org/10.24561/00017392
DOI ID：10.24561/00017392, ISSN：1881-5146, CiNii Articles ID：120006389029 - 2部7章ダンス 2.評価の考え方・進め方
細川江利子
First page：全7頁, 2008 - 2部7章ダンス 1.楽しみながら技能の定着を図る授業の考え方
細川江利子
First page：全7頁, 2008 - 即興表現から作品への展開
細川江利子
Volume：50, Number：7/8, First page：82, Last page：85, 2008 - 体と思考が対話する―即興 山田せつ子
細川江利子
Volume：50, Number：4, First page：6, Last page：9, 2008
Japanese
ISSN：0288-9935, CiNii Articles ID：40015935546, CiNii Books ID：AN00118438 - Expression motion using a "Dance circuit"
Takano Makiko; Hosokawa Eriko; Yazawa Mitsumi
Research Journal of JAPEW, Volume：2008, Number：24, First page：55, Last page：66, 2008
Aimed at developing a guidance method allowing children to merrily and independently undertake expres-sion activities, we proposed a guidance method for expression motion using a "dance circuit" and verified the method over the past two years through lessons.As a result of the verification through such lessons, we concluded that the "dance circuit"is a guidance method that enables children to devise their own expres-sions.The "dance circuit" involves an imaginary world drawn by vinyl tape and the saying of selected words by children to other children to naturally draw out affluent expressions, toimprovisatorially attempt motion, while securing an amount of motion by repeating ways and means anew many times while deepen-ing an understanding of the expression characteristics of motion.Through learningby combining self assess-ment using VTR, the"dance circuit"functions to objectively see one's own motion byimprovisatorial expression and to deepen expressions faithfully to those expressions as imaged by the children.
Japan Association of Physical Education for Women
DOI：https://doi.org/10.11206/japew2003.2008.55
DOI ID：10.11206/japew2003.2008.55, ISSN：1882-0980, CiNii Articles ID：130003708735 - 舞踊におけるクリエーション・スキルに関する研究―現代舞踊家による即興表現から作品創作への展開を事例として―
細川江利子; 寺山由美; 羽岡佳子
Number：24, First page：41, Last page：54, 2008 - 小中高の表現・創作ダンス「いつ、なにを、どう教えるか」
細川江利子
Volume：56, Number：3, First page：24, Last page：27, 2008 - 創作ダンスにおける独創性
細川江利子
Volume：50, Number：11/12, First page：15, Last page：16, 2008 - 運動の集団化におけるワークショップ形式の授業に関する研究 : 新体操教材の開発に視点をあてて<教育科学>
松本大輔; 鈴木直樹; 塩澤榮一; 細川江利子
埼玉大学紀要, 教育学部, Volume：57, Number：1, First page：75, Last page：85, 2008
The grouping physical activities are made the teaching materials as means to enjoy playing in many physical education classes. However, grouping as learning contents is important. Therefore, this study pays its attention to grouping as learning contents. The purpose is to clarify a change of the student's learning.The objects were third grader students. And the teaching materials was rhythmic gymnastics in this study. The analysis method of an observer was goal-free evaluation and one of an educator was reflection.As a result, students devoted to enjoyment to operate a tool alone at the beginning of classes.As classes advanced, students begun to create and discover enjoyment of the playing to operate a tool in groups.The changes of student's learning were found the following.Students search personal enjoyment of playing.Students create and discover personal enjoyment of playing.Students create and discover the enjoyment of playing while exchanging information.Students create and discover while cooperating with other students.From the above, it is clear that grouping is advanced as student's learning changes. Furthermore, it may be that the change of the student's learning is extending interesting world according to the circulation of doing activity and sharing.
Faculty of Education, Saitama University, Japanese
DOI：https://doi.org/10.24561/00017392
DOI ID：10.24561/00017392, ISSN：1881-5146, CiNii Articles ID：120006389029 - 2部7章ダンス 2.評価の考え方・進め方
細川江利子
ACTUS-DVD/CD-ROM 中学校体育・スポーツ教育指導法講座＜理論編＞, First page：全7頁, 2008 - 2部7章ダンス 1.楽しみながら技能の定着を図る授業の考え方
細川江利子
ACTUS-DVD/CD-ROM 中学校体育・スポーツ教育指導法講座＜理論編＞, First page：全7頁, 2008 - 即興表現から作品への展開
細川江利子
女子体育, Volume：50, Number：7/8, First page：82, Last page：85, 2008 - 体と思考が対話する―即興 山田せつ子
細川江利子
女子体育, Volume：50, Number：4, First page：6, Last page：9, 2008
Japanese
ISSN：0288-9935, CiNii Articles ID：40015935546, CiNii Books ID：AN00118438 - 「ダンス・サーキット」による表現運動
高野牧子; 細川江利子; 矢沢みつみ
日本女子体育連盟学術研究, Number：24, First page：55, Last page：66, 2008 - 舞踊におけるクリエーション・スキルに関する研究―現代舞踊家による即興表現から作品創作への展開を事例として―
細川江利子; 寺山由美; 羽岡佳子
日本女子体育連盟学術研究, Volume：2008, Number：24, First page：41, Last page：54, 2008
This research was undertaken by experimental improvisation and work creation and interviewing two contemporary dance artists, Kei Takei (1939-) and Setsuko Yamada (1950-) who perform improvisatory expressions, to analyze creation skills in work creation based on their improvisation and to obtain data that will be useful in guidance of expression and the creation of dance lessons.
The study result shows that the acquisition of bodily image ability is especially important in the process from improvisatorial expression to work creation and that the acquisition of a bodily image ability imple-ments sensual creation that is constantly free and fresh. The research also shows that skills learned in lessons, namely, the ability to create expression movements, functions intellectually in setting the concept and in selecting movements
Japan Association of Physical Education for Women
DOI：https://doi.org/10.11206/japew2003.2008.41
DOI ID：10.11206/japew2003.2008.41, ISSN：1882-0980, CiNii Articles ID：130003708734 - 小中高の表現・創作ダンス「いつ、なにを、どう教えるか」
細川江利子
体育科教育, Volume：56, Number：3, First page：24, Last page：27, 2008 - 創作ダンスにおける独創性
細川江利子
女子体育, Volume：50, Number：11/12, First page：15, Last page：16, 2008 - A study about the role of improvisation during the working process as to make a contemporary dance piece: from the case of a choreographer from Israel
相馬秀美; 細川江利子
Journal of Saitama University Faculty of Education, Volume：56, Number：1, First page：209, Last page：224, 2007
The theme of this study was to consider what kinds of roles using improvisation during the working process of choreography perform. We picked up a piece named [Words Apart] whichchoreographed by Idit Herman, one of the leaders of Theater Clipa in Israel.As a result, the three points below were observed.I : [Words Apart] was choreographed in the way of fusing together between contemporary dance and theatrical style, which is characterized as highly concrete expressions/representations.Ii : The characteristics of improvisation used during the working process of [Word Apart] were the means of choreography of each scene, letting dancers get higher expressing/representingskills and recognition of dancers' metal and physical strength. The improvisations were observed at key points of the creation. To experience improvisation exercises, dancersbecame to learn not to be afraid of making mistakes, not to be a slave of common knowledge, to cherish each moment in positive attitudes, to make much of each one' s own personalityand ideas.III : the role of improvisation is to foster the abilities of [expressing one' s own ideas clearly], [accepting others and his/her intentions], [thinking in a logical way], which are important qualities requisite for a creator, moreover, of a human being. Improvisation is a way of expression/representation leading performing artists to become and recognize one's' true colors, which is the concept necessarily used in creating contemporary performing arts works including dance and theater.
Japanese
ISSN：1881-5146, CiNii Articles ID：120001371141 - 「気軽なダンス」から「手強いダンス」へ
細川江利子
Volume：49, Number：5, First page：58, Last page：59, 2007 - 現代舞踊家ケイ・タケイ（KEI TAKEI 武井 慧、1939年-）研究 : 代表作《ライト(Light)》シリーズの作品分析を中心に
細川江利子
Volume：5 (18年度), First page：291, Last page：292, 2007 - 舞踊作品創作過程における即興の果たす役割に関する考察 : イスラエルの振付家の事例から<教育科学>
相馬秀美; 細川江利子
埼玉大学紀要, 教育学部, Volume：56, Number：1, First page：209, Last page：224, 2007 - 「気軽なダンス」から「手強いダンス」へ
細川江利子
女子体育, Volume：49, Number：5, First page：58, Last page：59, 2007 - 現代舞踊家ケイ・タケイ（KEI TAKEI 武井 慧、1939年-）研究 : 代表作《ライト(Light)》シリーズの作品分析を中心に
細川江利子
総合研究機構研究プロジェクト研究成果報告書, Volume：5 (18年度), First page：291, Last page：292, 2007 - 舞踊教育を考える〜身体表現の教育的価値(3)「指導者の"踊り・創り・観る"体験」を通して〜
佐藤 みどり; 魚住 孝至; 宮本 乙女; 細川 江利子; 高岸 照代; 古木 竜太; 浅野 緑
Volume：11, First page：209, Last page：218, 31 Mar. 2006
Japanese
ISSN：1341-8505, CiNii Articles ID：110004705544, CiNii Books ID：AN10578161 - 舞台上に体をどう置くか 木佐貫邦子
細川江利子
Volume：48, Number：6, First page：6, Last page：9, 2006
Japanese
ISSN：0288-9935, CiNii Articles ID：40007328690, CiNii Books ID：AN00118438 - ケイ・タケイの作品《ライト、パート12（石の畑）》(1976)の特性
細川江利子
Number：23, First page：35, Last page：50, 2006 - アイディア集めて みんなで創る 想像空間―山梨発！場の演出を生かしたダンス・サーキット―
細川江利子; 高野牧子; 樋川君子
First page：29, Last page：43, 2006 - A study about introduction of contact improvisation into Hyougen (physical expression practice class): focus on body skills and communication skills
相馬秀美; 細川江利子
Journal of Saitama University Faculty of Education, Volume：55, Number：2, First page：1, Last page：15, 2006
Japanese
ISSN：0387-9321, CiNii Articles ID：40015547322, CiNii Books ID：AN10467207 - 動きを捉える目
細川江利子
Volume：48, Number：10, First page：10, Last page：13, 2006 - 舞台上に体をどう置くか 木佐貫邦子
細川江利子
女子体育, Volume：48, Number：6, First page：6, Last page：9, 2006
Japanese
ISSN：0288-9935, CiNii Articles ID：40007328690, CiNii Books ID：AN00118438 - ケイ・タケイの作品《ライト、パート12（石の畑）》(1976)の特性
細川江利子
日本女子体育連盟学術研究, Volume：2006, Number：23, First page：35, Last page：50, 2006
This thesis aims to clarify the characteristics of Kei Takei's (1939-)"LIGHT, part 12 (The Stone Field)"(First performance 1976) by analyzing the VTR (Recorded in 1979 in Japan) of this performance and based on 19 critical reviews (9 American and 10 Japanese).
Consequently, in "LIGHT, part 12 (The Stone Field)", the use of stones as its subject distinguished this performance and the following 4 points are extracted as characteristics that differ from the other "LIGHT" series: 1) The performance composition was carried out with only limited movements and scenes created based on the relationship with the stones; 2) The audio effects differed due to the noise from the stones, Takei's singing and the yells by the group; 3) The visual effects were noticeable, from the abstract beauty of the stone locations; 4) The white cotton-made costume with a black line and the big black X painted on Takei's face stood out. Both American and Japanese critics rate this performance highly as a dance performance for giving the stones life and for its simplicity. The Japanese critics also found the Japanese-like elements in the performance, while the American critics saw images of primitive characteristic common in the "LIGHT" series and the human figures engaged in Sisyphean work. This is the difference between the Japanese and American critics.
Japan Association of Physical Education for Women
DOI：https://doi.org/10.11206/japew2003.2006.35
DOI ID：10.11206/japew2003.2006.35, ISSN：1882-0980, CiNii Articles ID：130003855345 - アイディア集めて みんなで創る 想像空間―山梨発！場の演出を生かしたダンス・サーキット―
細川江利子; 高野牧子; 樋川君子
第40回全国女子体育研究大会研究紀要, First page：29, Last page：43, 2006 - コンタクト・インプロビゼーションを導入した表現の実践授業に関する研究―身体スキルとコミュニケーション・スキルに着目して―
相馬秀美; 細川江利子
埼玉大学紀要, 教育学部 教育科学, Volume：55, Number：2, First page：1, Last page：15, 2006
Japanese
ISSN：0387-9321, CiNii Articles ID：40015547322, CiNii Books ID：AN10467207 - 動きを捉える目
細川江利子
女子体育, Volume：48, Number：10, First page：10, Last page：13, 2006
Japanese
ISSN：0288-9935, CiNii Articles ID：40007475472, CiNii Books ID：AN00118438 - 表現における『いい動き』とは？ー動きを指導する際の5つのポイントー
細川江利子
2005 - 舞踊家としての挑戦ー踊るべき舞踊を求めて ケイ・タケイ
細川江利子
Volume：47, Number：2, First page：6, Last page：9, 2005
Japanese
ISSN：0288-9935, CiNii Articles ID：40006607290, CiNii Books ID：AN00118438 - Evaluation of student's dancing skill in a creative dance class: establishment of a dancing skill evaluation standard
細川江利子; 佐藤みどり; 宮本乙女
Japan journal of dance education, Number：7, First page：3, Last page：17, 2005
Japanese
ISSN：1345-0336, CiNii Articles ID：40015564826 - 舞踊批評家市川雅(1937-1997)の業績ー舞踊家ケイ・タケイ(1939- )との関わりを通してー
細川江利子
Volume：54, Number：1, First page：269, Last page：280, 2005 - ダンスの指導言語 リアリティの共有にむけて
細川江利子; 寺山由美; 八木ありさ
Volume：47, Number：6, First page：10, Last page：13, 2005 - 表現における『いい動き』とは？ー動きを指導する際の5つのポイントー
細川江利子
デジタル版 新しい小学校体育授業の展開 CD-ROM.1新しい小学校体育授業の展開ーカリキュラム開発と授業づくりー, 2005 - 舞踊家としての挑戦ー踊るべき舞踊を求めて ケイ・タケイ
細川江利子
女子体育, Volume：47, Number：2, First page：6, Last page：9, 2005
Japanese
ISSN：0288-9935, CiNii Articles ID：40006607290, CiNii Books ID：AN00118438 - 創作ダンス授業における学習者の技能評価ー技能評価規準作成の試みー
細川江利子; 佐藤みどり; 宮本乙女
舞踊教育学研究, Number：7, First page：3, Last page：17, 2005
Japanese
ISSN：1345-0336, CiNii Articles ID：40015564826 - 舞踊批評家市川雅(1937-1997)の業績ー舞踊家ケイ・タケイ(1939- )との関わりを通してー
細川江利子
埼玉大学紀要, 教育学部 教育科学, Volume：54, Number：1, First page：269, Last page：280, 2005
Japanese
ISSN：0387-9321, CiNii Articles ID：40007330749, CiNii Books ID：AN10467207 - ダンスの指導言語 リアリティの共有にむけて
細川江利子; 寺山由美; 八木ありさ
女子体育, Volume：47, Number：6, First page：10, Last page：13, 2005
Japanese
ISSN：0288-9935, CiNii Articles ID：40006786823, CiNii Books ID：AN00118438 - 舞踊教育を考える : 身体表現の教育的価値(1)教育・研究交流
佐藤 みどり; 宮本 乙女; 細川 江利子; 古木 竜太; 浅野 緑; 高岸 照代; 魚住 孝至
Volume：9, First page：241, Last page：250, 31 Mar. 2004
Japanese
ISSN：1341-8505, CiNii Articles ID：110000950057, CiNii Books ID：AN10578161 - 踊るからだ
細川江利子
Volume：46, Number：6, First page：4, Last page：5, 2004 - 日本人が捉えたケイ・タケイの作品《ライト(Light)》の特性
細川江利子
Number：21, First page：1, Last page：20, 2004 - 踊るからだ
細川江利子
女子体育, Volume：46, Number：6, First page：4, Last page：5, 2004 - 日本人が捉えたケイ・タケイの作品《ライト(Light)》の特性
細川江利子
日本女子体育連盟学術研究, Volume：2004, Number：21, First page：1, Last page：20, 2004
This thesis aims to reveal the characteristics of the representative dance series"Light" by Kei Takei (1939), which has been well received by Japanese critics. The results of this study are as follows.
1.After an analysis of 24 performance reviews, the characteristics of"Light"as considered by Japanese critics are summarized as such:
(1) Ordinary movements are used.
(2) The series employs Japanese primal scenes in our memories, such as children's plays and songs, festivals and farming.
(3) The performance evokes various images to the audience without limiting their understanding.
(4) The series describes human life with hardships such as heavy burdens, labor, despair and death and their relationship with nature.
(5) The dancers'bodies are specific and look pathetic.
(6) The creation is based upon Takei's Japanese sense of body.
2.After comparing the characteristics of "Light"considered by Japanese and American critics (Hosokawa 2003), the following results are revealed.
(1) The two characteristics of using ordinary movements and evoking various images to the audience without limiting their understanding are also regarded as characteristics of"Light" in America.
(2) Elements such as children's plays and songs, festivals and farming, which are considered as Japanese primal scenes by Japanese critics, are regarded as "primitive"by American critics.
(3) Both Japanese and American critics consider the theme of the series is a life filled with hardship, but Japanese critics tend to accept such a life in the relationship with nature.On the other hand, American critics understand this is an expression of strong human nature by finding humans' will to fight and confront the hardship of life in"Light."
(4) The view point of focusing attention on dancers'bodies is specific to Japanesecritics (specifically, Miyabi Ichikawa).Both Japanese and American critics focus attention on the violent movements and ultimate status of the mind and body at the time.Although Japanese critic (Ichikawa) credited this as exposure to a new phase of the body and American critics evaluated the appearance of a new phase of mind such as primitive emotions.
3.Japanese critics recognized the characteristics of post-modern dance such as ordinary movements in "Light", as well as Japanese characteristics such as the Japanese primal scene, to a greater extent than American critics.In addition, it is revealed that Ichikawa recognized the characteristic of the pathetic look of the bodies, which is common in Japanese Butoh.
Japan Association of Physical Education for Women
DOI：https://doi.org/10.11206/japew2003.2004.1
DOI ID：10.11206/japew2003.2004.1, ISSN：1882-0980, CiNii Articles ID：130003855336 - ケイ・タケイの作品「初期のライト」（パート1－6）について
Volume：48, Number：1, First page：151, Last page：161, 1999 - ケイ・タケイ ポストモダンは土の匂い
First page：135, Last page：146, 1999 - ケイ・タケイの作品「初期のライト」（パート1－6）について
鈴木(細川) 江利子
埼玉大学紀要, 教育学部 教育科学 Ⅱ, Volume：48, Number：1, First page：151, Last page：161, 1999
Japanese
ISSN：0387-9321, CiNii Articles ID：40004093714, CiNii Books ID：AN10467207 - ケイ・タケイ ポストモダンは土の匂い
20世紀舞踊の作家と作品世界, First page：135, Last page：146, 1999 - 動きや表現を見る目と指導言葉
Volume：11, First page：207, Last page：212, 1998 - 動きや表現を見る目と指導言葉
SPASS中学校体育・スポーツ教育実践講座, Volume：11, First page：207, Last page：212, 1998 - ケイ・タケイの創作の持続性－「ライト」の3つのソロ作品を通して－
鈴木 江利子
Volume：46, Number：1, First page：155, Last page：163, 1997
Japanese
ISSN：0387-9321, CiNii Articles ID：40004093284, CiNii Books ID：AN10467207 - ケイ・タケイの創作の持続性－「ライト」の3つのソロ作品を通して－
埼玉大学紀要, 教育学部 教育科学 Ⅲ, Volume：46, Number：1, First page：155, Last page：163, 1997 - 現代の舞踊－モダニズムを超えて－
First page：52, Last page：61, 1991 - 現代の舞踊－モダニズムを超えて－
舞踊学講義, First page：52, Last page：61, 1991
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