Anarchy of the Body: Undercurrents of Performance Art in 1960s Japan

Cover
Contents
	Translation Credits
	Notes on the Translation
	Prologue. Underground Constellation
	PART I
	PART I. TOWARD A HISTORY OF ANTI-ART PERFORMANCE
		Chapter 1. The Nether Regions of Art, Art History’s Private Parts
			Is a History of Performance Possible?
				1.	The Aim and Structure of This Book
				2.	Reviewing the History of Postwar Japanese Art
				3.	The Exclusion of Politicality
				4.	Is a History of Japanese Performance Art Possible?
				5.	What Makes an Artist? Deviating from The Arts
				6.	Upper-Echelon Courtiers, Bottom-Rung Samurai
				7.	From Historical Uncertainties to Real, Shared Feelings
		Chapter 2. The Spectrum of Bodily Expression
			Actions not yet Nameable
				1.	“Artists in Action”—Through the Eyes of Yoshida Yoshie
				2.	Bodily Expression in the 1960s
		Chapter 3. Beyond Anti-Art
			The Descent into the Everyday and its Diffusion
				1.	Performance Art and the Anti-Art Debates in Four Acts
				2.	Act One: Tōno Yoshiaki in the Spotlight, 1960
				3.	Act Two: Starring Miyakawa Atsushi, 1964
				4.	Act Three: Ishiko Junzō, after 1967
				5.	Act Four: Tone Yasunao, circa 1970
				6.	Anti-Art Performance
	PART II. THE EVOLUTION OF ANTI-ART PERFORMANCE
		Chapter 4. A Pre-History of Anti-Art Performance
			From the 1950s to Gutai
				1.	1957 as a Starting Point
				2.	1970 as an End Point
				3.	The Age of Kyūshū-ha and Zero Jigen
				4.	Pre-history 1: MAVO
				5.	Pre-history 2: Jikken Kōbō
				6.	Pre-history 3: Gutai
		Chapter 5. Waves of Demonstration (1957–1959)
			Action Informel
				1.	Shinohara Ushio: Action in the Mass Media
				2.	Kudō Tetsumi: From Action to Body
				3.	Kazakura Shō: Objet-ification of the Body
				4.	Itoi Kanji and Unbeat: Organically Generated Action
				5.	Kyūshū-ha: Farmers’ Festivities in the City
		Chapter 6. Direct Action and Anti-Art (1960–1963)
			From Publicity to Provocation
				1.	A Youthful Spring of Happenings
				2.	The Neo Dada Artists
				3.	Unbeat’s Coming-of-Age
				4.	Group Ongaku Meets the Artists Returning from the U.S.
				5.	Intervention as Expression
				6.	League of Criminals: Violating the Border of the Politics and Popular Culture
				7.	VAN and Jikan-ha: Provoking the Audience
				8.	The Launch of Hi-Red Center
				9.	The Fieldwork of Mizukami Jun
				10.	The Early Experiments of Zero Jigen
				11.	The Middle Period of Kyūshū-ha: An Attempt at Audience Participation
				12.	The Last Yomiuri Independent Exhibition
				13.	The Beginnings of Joint Performance Events
				14.	Interventions and Provocations
		Chapter 7. Onto the Streets! Away from the Capital! (1964–1965)
			The Spread of Action-Expression
				1.	The Outskirts of Art
				2.	Performance at Regional Independent Exhibitions
				3.	A Watershed Moment: The Gifu Independent
				4.	Into the Space of the City
				5.	Joint Performance Events
				6.	Artists at Crossroads
				7.	Activities of Individual Artists
		Chapter 8. Angura Culture and Happenings (1966–1968)
			The Ritualists at High Tide
				1.	Pre-Expo ’70: the Crossover between Angura and Intermedia
				2.	The Spread of Intermedia Events
				3.	A Stage Named Shinjuku
				4.	Happenings Hit the Media
				5.	Jack Society and the Public at Large
				6.	The Mass Media Strategies of Chida Ui, Koyama Tetsuo, and Chiba Eisuke
				7.	Ritualists, Assemble! 1: May Day and Other Outdoor Spaces
				8.	Ritualists, Assemble! 2: The Stage of Low Culture
				9.	The Ritualists’ Climax 1: Insanity Trade Fair (Honmoku-tei Theater)
				10.	The Ritualists’ Climax 2: Grand Insanity Trade Fair (Iino Hall)
				11.	Movements in Kansai: From Remandaran to The Play
				12.	Quest for the Commune
				13.	The Recognition and Spread of Happenings
		Chapter 9. The Various Anti-Expos (1969–1970)
			From Revolt to a Revolution in Consciousness
				1.	The Beginning of the End
				2.	From Intermedia to Ibento (Event)
				3.	The Rise and Fall of Expo ’70 Destruction Joint-Struggle Group
				4.	The Aims of Expo ’70 Destruction Joint-Struggle Group
				5.	The Rituals of Expo ’70 Destruction Joint-Struggle Group
				6.	The “Suicide” of Collective Kumo
				7.	Ibento Spread to Provincial Cities
				8.	Challenging the Arts/Systems
				9.	The Transformation of The Play
				10.	A New Generation of Collective Action: From “Underground” into the Light of Day
				11.	From the City into Nature: Toward Open, Fluid Spaces
				12.	Anti-Art Artists after 1970
		Chapter 10. The Rise and Fall of Anti-Art Performance
			From Action to Activism
				1.	From “Public Demonstration” to “Publicity” to “Autonomous Performance”
				2.	From “Intervention” to “Independence” to “Diffusion”
				3.	From “Individual” to “Collective” to “Collective of Collectives” to “Network”
				4.	From “Event” to Ibento
				5.	New Social Spaces: The Street and the Mass Media
				6.	Beyond the Political: Toward Cultural Reformation
				7.	Anti-Art and Performance
				8.	On the Development of Individual Artists and Groups
	PART III. TRAJECTORIES OF ANTI-ART PERFORMERS
		Chapter 11. Kyūshū-ha
			The Folk in the City
				1.	Kyūshū-ha and Anti-Art
				2.	Early Period: Painting (1957–59)
				3.	Middle Period 1: Objets (1960–61)
				4.	Middle Period 2: Happenings and Installations (1962–64)
				5.	Late Period (1965–68)
				6.	The Avant-Garde in Transition: Farm Folk and Urban Masses
		Chapter 12. Asai Masuo
			Dreaming of Revolution from the Bottom
				1.	Pioneering the Commune
				2.	Children as Subjects
				3.	“Rise Up, Organizers of the Bottom Zenith!”: Revolution from the Far Margins
				4.	Jōmon Festival
				5.	After the Jōmon Festival
				6.	Dreaming of Revolution from the Bottom Zenith
		Chapter 13. Zero Jigen
			Bodies Revolting against Modernity
				1.	A Zero Jigen Revival?
				2.	Proto Zero Jigen (1960–62)
				3.	Early Period (1963–64)
				4.	Middle Period (1965–68)
				5.	Anti-Expo (1969)
				6.	Late Period (1970–72)
				7.	Key Features of Zero Jigen’s Rituals
		Chapter 14. Kurohata
			Political Theater on the Street
				1.	From Leftists to the Ritualists
				2.	Religious Rituals and Political Theater
				3.	Ascent and Demise
		Chapter 15. Koyama Tetsuo
			A Visceral Rebellion
				1.	Jack Society
				2.	“Dating” with Chida Ui
				3.	Solo Career
		Chapter 16. Kokuin
			The Search for a Revolution of Consciousness
				1.	Secession from “Art”
				2.	The Rituals of Kokuin
				3.	Ever-Expanding Mind Revolution
		Chapter 17. Women Performers
			Challenge and Isolation
				1.	Absent Entirely? Few in Number? Or Just Underestimated?
				2.	The Erasure of the Body: Tanaka Atsuko, Ono Yōko, Shiomi Mieko
				3.	Challenge to Femininity: Kishimoto Sayako, Chida Ui, Tabe Mitsuko
				4.	Gender, Underground
		Chapter 18. Itoi Kanji
			Dadaist Devotee
				1.	The Legend of Itoi
				2.	Spiritual Life of the Wartime Generation
				3.	Body of Steel
				4.	The Plastic Arts as Shumi (1951–62)
				5.	From Objet to Action (1962–64)
				6.	The Evolution and End of Action (1966–70)
				7.	The Performance of Itoi Kanji
				8.	The Voices of Rage Now Quiet
		Chapter 19. Collective Kumo
			The Total Negation of Expression
				1.	The Logic of Negation
				2.	First Period: From Zelle to the Spider Uprising
				3.	Second Period: From the Kokura Happening to Crazy Grand Rally of the Three Deformed Sects
				4.	Third Period: From Anti-Competition Actions to the Denshūkan High School Struggle
				5.	Fourth Period: The Obscenity Trial
				6.	From Body to Concept
				7.	Ecstasy
	PART IV. THE SPIRIT OF ANTI-ART PERFORMANCE
		Chapter 20. The Nether Regions of the Body
			Rituals in Secular Space
				1.	The Nether Regions of the Body
				2.	Secular Space: The City and The Media
				3.	Performance as Ritual
				4.	Why Ritual?
				5.	Memories of Traditional Body Culture
		Chapter 21. The Nether Regions of the City
			From Sukima to Angura
				1.	Lost Rituals, Ritual Losses
				2.	Shinjuku: Big Niche in the Big City
				3.	The Nether Regions of the City: Earth, Garbage, and Body
		Chapter 22. The Nether Regions of Culture
			Marginal Art and the Quest for Popularity
				1.	Marginal Art
				2.	The Masses in the Post-Anpo Period
				3.	Kitsch as a Popular Aesthetic
				4.	From Popularity to Anti-Art
		Chapter 23. The Nether Regions of the Politics
			Undercurrents of Revolt
				1.	The Generation of Anti-Art Performers and Their Political Action
				2.	The Political Experience of the Artists
				3.	The Ethics of Apolitical Revolt
				4.	“Direct Action” in the Media
				5.	From “Art and Politics” to “The Politics of Art”
				6.	Anarchy of the Body
				7.	The City and Asphalt
	Afterword for Myself
	Another Afterword, Twelve Years On
	Groups mentioned throughout the book
	Chronology
	Bibliography
	Illustration credits
	Index of Subjects
	Index of Names