siedentop, D (2001) Introduction to Physical
education, fitness, and sport (4th Ed) Los Angeles
cA. Mayfleld Publishing Company
LevelIntemational Amateur Aetic Federation
theory Intemational Amateur Athletic Federation
Monaca Cedex.
.. .eality? Journal of Physical Education,
Recreation and Dance, 67(4), 46-48
Tune., A., & Martinek T J (1999) An
investigation into teaching games for understanding:
Ects on skill,owledge, and play Research
Quarterly for Exercise and Sport, 70, 3-21
wassmer, D. J, Mooee S, A (2002)
Descriptive Prome of Elie US Women's Collegiate
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and Physical Fitness, 42(2) 165-17 1
weme., p., Thorpe, R, & Bunker D (1996)
Teaching games fbi -derstanding: Evolution of a
model. Journal of Health, Physical Education,
Recreation & Dance, 67(1), 28-33
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wilmo.e, J. H., & Costill, D L (1994)I Physiology of
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publishing Company
www.fsskj.upsi.edumy
Education, 55, 161-176
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Mitchell, S. A., Ghn, L L, Oslin, J L (1994)
Tactical awareness aS a developmentally appropriate
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Rovegno, I, Nevett M & Babiarz M (2001)
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10
Jane Barlow and Witaly Osins, Ballet Teachers Who Woked in Postwar Japan, and Their Smdents
Jane Barlow and Witaly Osins, Ballet Teachers Who Worked in
Postwar Japan, and Their Students
Yukihiko Ybshida
Keio Research lnste at SFC, Senior siting Researchean
Abstract Jane Barlow and Witaly Osins were ballet teachers working ln POStWar Japan _Jr - _
~~~ ~ ~~r~i~~ ~"ii~~~~e )~~"′"′Y""1"00
of General Headquarters and the American cultural policy after 1945 Ballet de Bled came about as a result of
their sents, and Houhshed as a star ballet company The ballet company, Ballet 1957, also emergedom
students of Osins An analysis of their history aRer compiling historical data and material reveal the ballet and
ballet culmre of that time.
Keywords: Jme Barlow, Witaly Osins, Ballet, GHQ, American Culme Cnt
duing the occation
Oliga Sapphire Ar the war, in 1946, Masahide
Komaki@ founded the Tokyo Ballet Company, and it
was thest Japanese company to perfbm "Swan
Lake,D Before 1 945, althoughditional Nihon Buyo
and mode dmce had already been considered
mainstream in Japan this perfo-ance brought about
Eliana Pavlova came to Japan aromd 1919 Many
talented shdents of JaneSe ballet staed amving here.
@ Oliga Sapphire studied at the Imperial Ballet School and
came to Jan in 1936. She was the mst ballehna t
bdng traditional md onhodox Russian classical ballet
to Jan. She conthbuted to the establishment of
technique theory, and staging Of ballet in Japan. Masahide Komaki was bom in Jan and leaned ballet
in Habin From 1940, he danced in Shmghai Ballet
Russe and came back to Tbkyo in 1946. He was a
dmCe Chtic, and Biryo Ashihara and he premiered in "Swan LakeD in Japan in 1946 He founded Komaki
Ballet Company in 1947 and has been involved with it
since He htroduced many worksom Ballet Russe in
Japan.
American occation, consequently leading to the
fo-ation of two separate genres of ballet and
mode dance ine Westem dmce cure. The
Tokyo Ballet Company JOined forces with the
Komaki Ballet Company which imoduced popu
pieces, including works by the Ballet Russe, into
Japan This was during the time that Japan was
occupied by the General Headquarters or GHQ.
GHQ promoted the democratization of me
perf0-mg arts in postwar Japan@ In 1946, the
Recreation and Amusement Association (RAA) was
orgmized to provide entei-ent for the occupation
forces In 1947 the Govemment Corporation
(cunently how as the Special Procuement Agency,
Defense Facilities Administration Agency.) was
established as an extemal bmeau of the Prime
Minister's oce This agencys enteiment
department facilities were constituted for use by the
US military relations, equlpment repalr, and
EIJI TAKEMAE, TAKAHIDE NAKAMURA ed History
of GHQ Occupation Theatre and Film, Japan Book Centre,
Vol. 19, 1996
activities. However, aS Eiko Arai has pointed out as a
pan of operations the activities of the Comrort Place
‰ occion forces was includedds has been
considered as taboo@ I Masaharu Sato discussed
RAAs summary Or these activities@
Further studies on the role played by the
Govement Coporation in s0-g me
performing aHs Will be discussed later in this
article. The Emie Pyle Theatre and the popular
mode dmCe p10neer Michio Io are Welmown in
Japan Theaters dances muSicals and revues have
all been staged in this venue Japanese audiences
were unable to ey Such productions, however,
becSe GHQ reisitioned the- in order to
provide a venue for the entebainment of the
occupation army Rep Saito summarized Michio Ito's
activities mde reWes perfb-ed dngtime
in the theatre, and Fujio Fujita discussed Ito's works
including remarkable musical titles such as ''The
Mikado". A selection of materials on meaC, reWeS,
and related articles appeared in the publication or the
Gordon W Prange Collection ''Matehal
coendi- 1-e I Mass Culme'' Still,e
is no record ofballetom me caShow to Or me
ballet teacherso c-e to Jom America
purpose of the research on Jane
Barlow and Witaly Osins
years visiting JapanO The goal of this paper is to
study these two ballet teachers
Matehal on these two remarkable flgureS is limited;
this paper relies on inqulry Surveys tO dete-ine the
style or ballet that they indoduced to Japan their
activities during this time, ande activities ofr
students.
o GOVERNMENT CORPORATION The History or
procmement by Occupylng Force,, Govemment
cαporation, 1957, pp 3-103
@EIKO ARAI, "Sex in occupation and Chhstianity"
christianity History Association, 2006, pp 1 73- 1 88 @MASAHARU SATO, "Policy to Japan duhng GHQ
occupation and Entenainment in
Japan"<http : "wwwmeij igakuin ac j p/-soc/fuzoku/men/men
35ronbun/3 5satopdf>(Accessed 201 0- 1 0- 1 2) ms refers to the gove-e-I deparment how
as the Procurement Agency (Chotatucho''in
Japanese)
mie Pyle Theade was named aRer the Tokyo Takaraduka
Theatre in the age of the GHQ occupation from 1945 to
1955. In Nana, Okinawa, mere was a Cinema "Emie Pyle
lntemational Theatre "
1998
shiuSha Buko 2007, pp 213-257
@TAKETOSHI YAMAMOTO Matehal Compendium Vol
I Mass Cul-', Wl 1, Iwm-i Press 2008, pp 260-317
12
the Ballet Year Book of 1974@ Yoshiko Kuzutani@ a
student of both Barlow and Osins left Japan and
worked in America for many years; therefore articles
on the two teachers have been wriden based on
speculation and impressions@ Thus it was necessary
for this research to review the contents and
descript10nS Of remainlng material by conductlng a
survey or interviews with including Kuzutani Toshi
Nakatall, Hyo Takahashi12 Mitsuko Fujii Shigemi
Arai, Yumiko Ohnishi Setsu Asakura and Donald
Richie.
Figs 1 and 2) a student of Bronislava Nijinska13
et al., "Roundtable The history of
Japanese Ballet 60 years, 1975 pp 3-40 @sHINSUKE TOMITA "Jane Barlow" Ballet Year Book
1974, Japan Ballet Association 1974 p 110 ‰shiko KSed wie Barlowom 1947
to 1955. Wim Hyo Takahashi, she staBallet de Bleu
she studied with Witaly Osins Eom 1955 to 1958 Later
she moved to Amehca YosHIKO KUZUTANI Interview by Yukihiko Yoshida
February 15, 2009 and Feb 17 2010 ll Toshi Nakata studied with Yusaku Azuma Jane Barlow
and Witaly Osins She retired in 1959 12Hyo Takahashi was a ballet choreograPher He studied
with Masahide Komaki Jane Barlow and Witaly Osins
He staked Ballet de Bled with Yoshiko Kuzutani His
masteeCeS Were "Co-Ct Set R" mdA robe of
wlng'' 13 she is Nijinskys sister Her masterpiece is "Les
AKIRA KAWAJI
Jane Barlow and Witaly Osins, Ballet Teachers Who Worked in Postwar Japan, and Their
danced with the Ballet Theatre (cumently hown as
the American Ballet Theatre in New York City) tiom
the very begi-ing She was a conteOrary of
Marjorie Tallchief@ , with whom she perfomed
Nnska's Ballet de Hollywood. Ballet Russe de
Mont Carlo was created in 1938 by members of the
Ballet Russe In 1942, Serge Demam became the
director of the company Ballet Russe de Monte Carlo
came to Amehca for a tour, in which Barlow
pamcipated in New Yok Barlow alsopeared in
numerous Hollywood moviesncluding the Elm
"One Hundred Men and a Girl," where she danced as
a stand-in for Deanna Durbin. An article in the
Febmy 22, 1948, publication of the Nippon Times
"American Ballet Dancer in Tbkyo Masters Nippon
Classical Dance" discussed Barlows perfb-ances
in over 80ms. Her husband Richard Larsh was not
soldier, but the editor of a newspaper well read in U.S.
military seice circles Pacic Stars and Smpes
Tbmita illusated that Blow entered the theatre unit
of me occation any ln Order to have a chance of
comlng tO Japan Thus, she len for her new post in
Japm as stage director of me Emie Pyle Theatre in
the theatre division An amcle in Music Press,
trade paper on -sic and dance, dated April 15, 1951,
describedthest perfbmance of the Jane Barlow
Ballet Company in Japann with the followlng
descrlPt10n Of Barlow: uBarlow was invited by Emie
Pyle Theae and she came to Japan She was
teaching at a ballet company whileinlng With a
dance specialist in Japan. This was the belief at
that time, yet sueys and research on media matehal
Om those days reveals that oplnions were dirent
omcts. In the amcle "Amehcan Ballet DmCer in
Tokyo Masters Nippon Classical Dance"@, it is
revealed that Barlow came to Japan as a member ofa
Noches''From 1938, she taught in Lo§ Angeles
HIROSHI EGUCHI, "Ballet Book," Meikyohdo, 195 1
she is one of the representative ballehnas ofAmehca. She
was the first prima ballehna of New York City Ballet. "American Ballet Dancer in Tbkyo Masters Nippon
Classical Dance,D Nippon Times, Feb 22, 1 948.
ippon Times. op cit
@shinsuke Tomlta, OP Cit
Dance Press, Aphl 15, 1951 6Nippon Times, op °it.
Students
private actlng group aS pan of a special seice. me
same amcle describes that "in coIUmCtion w
Amehcan soldiers and Japanese dancers, she
appeared in such hits as "0Limits,Boogle in
Blues,``Showtime,''and …On the Midway." As
described in this amcle, she came to Jan aS an amst
in the special seice, not as a civilian employee of
the a-y or a stage director Tbmita stated that
Barlow and Larsh got maHied before their visit to
Japan, and smdents of Barrow, Kutani, hkahashi,
and Nakata wimessed Barlow came to Japan as
Larsh's w In the amcle published in PacC
Stars and Spes in 1950, Barlow aHived in Japan
four years before, in 1946 The dance critic, Hiroshi
Eguchi in theBallet BookD, reamed that she
came to Japan dming that year
In those days, Mary Jenis was a member of the
General Headquarsll In 1953, Antony Hdor12
came to perfom in Japan with the ballerina Nora
Kaye13 Them critic, Donald Richie, remembers
at mdor came to Japan because of his relationship
with GHQ14 In addition to Barlow, Hdor, and Snia
Arova (in 1952), mose aliated with the Ballet
Theatre came to dance h Japan. Barlow came to
Jan aS a member of the prlVate Sector, and tght
ballet to Japanese students. Later, she founded
another ballet group and perfbmed as a pan of the
company in Japan Early on, Barlow taught in KaO
Hasegawa's amst smdio in Shibuya In 1947,
@shinsuke Tomita, op cit
Feb 15, 2009 CRANE ESTER "Imovations Promised In Hesday
Ballets" Pacljic Stars andStrlPes, Nov 28, 1950 @HIROSHI EGUCHI, op cit
1 lMASASHI KUBO,<
2010-09-06) 12Antony Hdor is one of representative choreogrhers in
ballet His mastemleCeS are Pillar of Fire" and -Lilac
Garden. '' 13Nora Kaye is one of representative ballehnas in Amehca.
She danced in the premiere of `Pillar of Fire and
perfbmed ``Lilac Garden''in Japan 14DONALD RICHIE, Inteiew by mhiko Yoshida md
Nobuo Shiga, Feb 9, 2008
Dance cic Natsuya Mitsuyoshiroduced astsom
England and America, for example, Tudor, Kaye, and Sonia
Arova.
Richie pointed out that the suppon by the GHQ existed
in me background ofHdors anival in Japan
13
article and started studying ballet with her at this
locationO. At that time Americans were not Permided
to do business in the pnvate SeCtOr and because of
S, she begm by teachingee Ha
Yokoyama, Yoko Komatsubara and Kuzutani also
studied in this studio@ She started getting more
pop- as Japmese ballet dmCerS gamered to s
under her. Later the same year Barlows class moved
to soshigaya, Toshima-ku@ The newspaper Asahi
shimbun amounCed the news.Jane Barlow Ballet
Technique School has started"@ At this point they
began uslng the name Jane Barlow Ballet Company"
when perrO-ing Eguchi pointed out that Barlow
brought elements Of AmehcmOdem ballet to
Japanese audiences Eguchi also stated that during
this season Of development for Japanese ballet
audiences imagined "classical ballet" when hearing
tem "ballet";S, Amehcm "mode ballet"
appealed only to limited audiences while its stage
productions which were Ses on mode
combined wan Amehcan sense OHmmor, le
impression on those in a"endance@ Kuzutanl POinted
out that Barlow preferred modem ballet to both
classical and romantic ballet@ The members making
up the company Were Yoshiko Kuzutani Toshi
Nakata, Mitsuko Fujii Tetsuko Ando Reiko Takebe
Tomotake Nakamura Chosei Sekiguchi Shigemi
Arai, and Yumiko Arai Kuzutani Nakata and Fujii
were prlnCipals and Kuzutani perfo-ed major
roles.
Barlow? Nakata recalls that her technique was
classic; however, She has undersdings in new
music"@. Hyo Takahashi later JOined this ballet
company Takahashi came tO Tokyo in 1948 and was
dained in the Komaki Ballet Company Takahashi
believed that Kom-is swas Originally deved
from Diaghilev in the style of Ballet Russe and that
OJANE BARLOW, To The Ballet Dancers in Japan nP
.a
Feb 15, 2009
Later. Classes required for a payment tO be made YosHIKO KUZUTANI Interview by ‰kihiko Yoshida
Feb 15, 2009 Jme Blow, ¢ cit
once Again Ballet Teacher Jane
its style therefore cameom Shanghai Ballet Russe
where Komahad perfb-ed in me paste This was a
version of ballet innuenced by mode dance Later,
around 1952, Takahashi left Komaki and joined the
Jane Barlow Ballet Coany Taashi asse
Barlows swas dientom me sowed
by Russian ballet dancers and one example of this
diHerence is in the styles of Pavlova Sapphire and
Komaki from Shanghai Ballet Russe Barlow's ballet
was dientom me elegmt Russim sof
Nikolai Legat, the teacher or Vaslav Nijinsky and
Mimail Fohn, who I- woked in England For
example. Sapphire studied in Legats class at the
Impehal Ballet School in her youth Takahashi points
out that Russian ballet is dramatic and romantic but
Barlows is jaZZy'StaCCatO and dry That was quite a
contrast. According to Takahashi Barlow's style
ehasizeding andexperiences of daily
in those days, as well as me innuence Ofjazz -Sic
Therefbre, Barlow,s style had classicalm
Takahashi was innuenced bys element her
tecme He trained in poons such as ``Coupe,
coupe, Jete" in class and had a light and nimble style
Taashi was ienced bye Allegro inlow's
method@. Arai remembered that Barlow was the
instructor Who lectured about the importance Of
feeling, and in the environment Of her class he felt
e moodsd elemes representing Americm
culC, Such as Hollywood where Barlow had once
worked. It felt nesh for him to experience those
moods and elementsll Japanese Students or Barlow
found the spirit of "jazz" and
"Hollywood"-symbols of American culture in those
days-in Blows expression md her class
"In JaneSe, at Lesson "UnCe Agalll D)")~"~~ ~~~~
Blow, AsShinbum AsShinbun Press Feb 8, 1949
HIROSHI EGUCHI, "‰shiko K-Prole''(np,
n.d.,) YosHIKO KUZUTANI Interview by Yukihiko Yoshida
Feb 17, 2010
Feb 15, 2009
@TOSHI NAKATA, Interview by Yukihiko Yoshida Jam 15,
2012 HYO TAKAHASHI, Ieiew by kihiko Yoshida Oct
12, 2008 mdAug 6 2011 ll MITSUKO FUJII, YUMIKO OISHI, SHIGEMI
ARA1, Inteiew by kihiko Yoshida Jm 12, 2012
Jane Barlow and Witaly Osins, Ballet Teachers Who Worked in Postwar Japan, and Their Smdents
Figs. 1 and 2: Jane Barlow (Phvate Collection)
,_-.
Fig 4: ``Gahsei Fantasy,''
DmCe Press March 24,1957)
Pacic Stars and Sthpes, November 28, 1950.)

Fig 5: Jane Barlow's Ballet Concena, April 24, 1952: Program
National Diet Library, JPN Eiryo Ashihara Collection)
.a./ +∴ ∴ ∴ i.yL _ '- "Δ?2 "%B
!∴ ∴∴∴ ∴∴ ve_. 8---I. ∴ a
i 8>RX&
*_iF
Fig 7: Osins in Ace (om Music and (Phvate Collection)
enviroment They were also able to distinguish
between Russian and American ballet on obse1ng
dance styles andom their class expehences.
On January 1, 1947, young Donald RichieO came to
Japan accidentally as a soldier Half a year later, he
begm to write amcles, lnCludingm reviews, in
He is am and -sic chtic Hence, he composes and
directs lms. He introduced Akira Kuosawa and
Yasuiro Ozu to the intemational world. He is hewn for
his whthg on them and for his mderstanding ofJ
Pacic Stars and Smpes under Larsh's editohal
supeision This was the begimlng Of his activities
as a chtic Larsh was mends with the yomg stage
designer Setsu Asahra, and he imodced her to
Barlow Richie Joined this small groaS a
composer, and later, in 1948, the work,Pany''was
setsu Asaha is one of the representative stage designers
in postwar Japan.
15
____________-
coany perfb-ed me s-e WOrk in me Imperial
Theatre, which opened to Japanese audiences on
Deceer 4, 1950 Inrecital, "Cocktail Pa'
Gakusei Divertissement: "Gakusei Fantasy" (Fig
4), mdC-oscur were perfb-ed In Nippon
Times on December 23, 1950, Hans E Pringsheim
praised the recital for its conthbution to the
development of the perf0-lng arts in Japan
pringsheim also pointed out - "Gsei
Divertissement" and "Cocktail Party" depicted
aspects of the occupation a-y for instance, ln a
scene of Tokyo, while poaylnge lives of sents
at Hibiya Park Soldiersnostalgic toward home,
especially aRer observing the pordait of the occupied
area in Ja- Onowing day, Deceer 5
Barlow perfb-ed me same work at Stilwell Thea
"cocktail Party" was staged again on March 5 1951
(Fig 5) At - time, Barlow saidshe hoped to
prodce the wok, "Gate of Flesh" byiro Tamra,
a popular novel descng the lives of prostis
dngat time
Mami, One of me representative composers in
the postwar period, to coOSe music for this pleCe,
though this did not come tO Huition Later in 1950
Mayuzumi composed the piano music "Dance of the
Golden Bough" amaking sketches ons work
Jane Barlow Ballet Coany COmed coorative
work tmough perfb-ce in joint recitals The
compmy pe-ed with the Yaoko KaiBallet
company ln The Fou Seasons" in the US-Japan
Ballet Festival, and also wim the Hahikohama
Ballet Coany in March 1951,e s-e yeart
me compmy perfb-edChiaroscoM in me Tbkyo

The scenery Was made or newsPaPerO and it was the
flrSt WOrk of Setsu Asakura one Or the popular stage
designers or the postwar era Richie recalled that the
stage was in "neoclassical Sand that the -sic
wriden for that was his first COmPOSition This music
reseled that of SvinskyS He went on tO
compose other titles for Barlow including ''Gakusei
D ivess ement. "
until 1953. At that time, Barlow tomed and
perfo-ed in Japan with her company and also
perfb-ed fbre pnvate SeCtOr Nakata points Out
that it was i0nt md ectiv)I Barlow to have
LarshS support since he was innuential at the GHQ
Nakata remembers the support brought about by
Larshs innuence The chen of Amehcan soldiers
sometimes perfo-ed For Barlows company and
therefore, the wives of these soldiers supported the
companys activities@ Barlow herself was not a
civilian employee of the a-y The nuer of
JapmeSe dmCerS grew in her s-o md this ened
her to have her own ballet coany Fors reason
the GHQ cooperated with her endeavors Tms,
Barlow Ballet Company Perfo-ed both in camp
shows for the occupation a-y and in perfomances
for the pnvate seCtOr In contrast Only the occupation
amy could see caShows, which included Michio
ltos works in the Emie Pyle Theatre It can be said
mat Barlow,s circumstance WaSrare exceptlOn at
time, someng mat was Characteristic of
r Blow's activities.
pa (Fig 3) at Stilwell Theatre (cunentlyown
as Nippon Seinen-kan Hall) in a caShow in
January 1950@ The planist was Koji Taku one orthe
sETSU ASAKURA,Inteiew by kihiko Yoshida, April
28.2008
HIROKO MNAKAWASestu AStage mde,''
2000, Mainichi Shinbmsha, p 49 DONALD RICHIE, Inteiew by kihiko Yoshida, Feb 9,
2008 - TOSHI NAKAm, Inteiew by Yukihiko Yoshida, Jam 5,
2012 MITSUKO FUJII, YUMIKO OISHI, SHIGEMI ARAI,
Inteiew bykihiko Yoshida, Jam 12, 2012
@sHINSUKE TOMITA op cit
16
2012 "Miss Jme Barlow Billst lst Mode Ballet Here," Pac
stars andStripes, Dec 2 1950 pringsheim, Hans E "Modem Ballet'NIPpon Times, Dec
23, 1950 @"Jane Barlow, Ohno and Wainai" Music and Dance Press
Music DmCe Press, ug 25, 1951
@TOSHIRO MAYUZUMI "Dance Of Golden Bough tiom
Ballet Princess Kaya, Zenongamshppansha, I 997
Jane Barlow and Witaly Osins, Ballet Teachers Who Woked in Postwar Japan, and Their
Press Creative Dance Joint Recital in Hibiya Hall on
November 1 0.
Japanese ballet dancers
occupation a-y were oized during this time.
Inteiews widmCerS Who danced with Barlw
have provided clear details of these perfbmances.
Barlow's camp show was fbi brass hats They
perfbmed in January and December of 1950. There
was also a program of camp shows organized by the
rieClub at Hibiya Hall (conducted by Koreaki
Kitamura, stage set by Edward S. Stephenson) (Fig.
6) In this perfbmance, which included
"Chiaroscuro" andThe Fou Seasons," one of the
representative ballehnas of the time, Mikiko
Matsuyama appeared These variety shows were a
great success According to uThe History of
Procuement by Occupylng Force," between May
1951 and Febmary 1952, the shows were held 1783
times and they mobilized 22870 people.
Additionally, camp show tours were oanized fbi
the camp that included various gemes of perfb-lng
aHs and enteinment The dancers woking with
Barlow sometimes dmCed in these independent of
their association to Barlow. Kuzutani and Takahashi
were among mese A pianist collaborated with the
perfb-ers for pumOSeS Of live entenainment. The
openlng perfb-ance was titled "Hm Chick Suite,"
with a Polonaise by Chopin perfb-ed primarily by
kahashi In the second show, they pemed a
"Romantic Suiteto a Nocmme by Chopin They
HYO mKAHASHI, Inteiew by kihiko Yoshida, Oct
12, 2008
YOSHIKO KUZUmNI Inteiew by kihiko Yoshida,
Feb 2009 @Jane Barlow S Ballet Concertina Presented by The Varie
Club Tlent N0. 40 Ton,0, April 24, 1952 @ "Table 14 Amount of supplylng entertainment"
GOVERMENT CORPORATION, ¢ °it, p 84 HYO TA-HASHI, Interview by kihiko Yoshida, Oct
12, 2008
Feb 15, 2009
sometimes danced a pan of the nrst act of "Swan
Laken This type of camp show took place for around
thy to sixty brass hats. They perfbmed ineen
mat rooms, and the whole perromance was for a
minimum of twentyve The numbersr each
perfomance was the same. Takahashi asserted that it
was considered shameI for the Japanese to perfom
Westem dance before brass hats, which included
whites Ku-ani and Hkahashi danced in ca
shows for the camp, as well as for the occupation
a-y and for the pnvate sector, which was open to
the JaneSe.
Another American ballet dancer and teacher was
Witaly Osins (dates of him and death unhown). He
taught ballet in Japan ar the GHQ's occupation.
Academic papers have not been wren on Osins,
though there remains an amcle by Sumio Kanbayashi
in the Ballet Year Book of 1975. The contents and
descrlptlOnS Of remaining materials were checked
through the survey of Kuzutani, Takahashi, Nakata
Kenji Usui, Kanako Yui, and Shigem Yokoi.
Kanbayashi provided a proe for Osins. Osins was
Latvian and a graduate of the Riga Choreography
School, the ballet school for the Latvian National
Opera He woked for the National Opera; howevel
he evenmally went to Englmd In 1947, he danced h
the Meopolitan Ballet in London In 1952, in
Hamburg he organized the gr00p, Ballet de Saal
Modemer, and perfomed in the Theatre du Chatelet
in Paris and oer Westem comes. He danced with
the representative ballehna Alexandra Danilova md
HYO TAKA-SHI, Inteiew by 1kihiko Yoshida, Oct
12, 2008
YOSHIKO KUZUmNI, Inteiew by kihiko Yoshida,
Feb 15, 2009 sUMIO KANBAYASHI`taly Osins, "Ballet Year
Book 1975," Jan BalletAssociation975, pp 105-106
shigem Yokoi is the leader of Tbkyo Ballet Gr(Since
1960), which leads mode ballet h the postw
era as one of representative ballet companies @GBL Willison, -Metropolitan Ballet, In A Dictiona,y of
Ballet, ed by GB.L Willison, (London: Adam
Charles Black Ltd, 1957), p. 333. Alexandra Danilova sied ballet h Impehal Ballet
17
me eehence of worg wFokin md Serge
Li. He becme a Civilim employee of the amv ln
order to Cam Americm Citizenship He came to Japm
as a linguist in 1954 since he could speak many
Emopem ImageS On Aph1 28 0f he same year
me GHQ,s occupation of Japm Was OVer In 1955,
me AmehcCe Center (ACC) hed of his
artistic skill, and with the support or the US
Embassy, appealed to the US Any to cancel his
military service so that he could teach ballet For the
necessary time @ ACC was an Organization
spOd by me United Ses)-ation Agency
SIA), which recapitulated cultual aHairs for the
United Ses Govemment aS a pan ofe American
cural Policy UsIA was independent
instiion mderdirect conl of me president,
promotlng tour perfb-ances, exhibitions, md
academic exchmgeS fbi American cJHe ine age
ofe Cold Win me 1950S
some of these activities, for example were Tor
publicity for the cultual activities and with this in
mind, ACC organized jazz concerts and lent Jazz
records in Osaka@ Similarly ACC founded dance
schoolsd orgmized workshops on ballet md
modem dmCe aS a pan of meculal policy At
ACC, Kanbayashi worked for the translator for ballet
md mode dance Ace concludedOsins's
teaching would be a part of American Cultual AHairs
(Fig 7) This sio stad on October 3, 1955 The
ballet histo.ian, Kenji Usui, studied with Witaly
osins at that time Usui pointed out that a good ballet
S.hoot. In 1924, she len Russia andjoined Ballet Russe
men, she noshed in Ballet Russe de Monte Carlo and
woked h Amehca serge LSied ballet wm Nska and johed Ballet
msse in 1923 He noshed in the Pas Opera Ballet
@MASASHI KUBO, op cit
Information Science, A-ual Conference Proceeding 2008
pp 45-54 FRc MAHEL, De la Cu1e en Amerie,''
Editions Gallimd, 2006
post-Wmd Jazz, Setsmm Jo-al of English Education,
setsunanUniversity'Vol 4 2010 pp 71-103
18
teacher like Osins taught in Japan at that time and
spoke about his expehence studying with Fokin Usui
went to ACC to get the latest info-ation on record
oubooks, magazines,d newspaperSom
Russian one. In comparing his ballet method to the
ceccheMemod, which ise representative ballet
memod in Russiad Engld, Osins's had coIex
adagio and allegro in long time for thirty-two
meases Of -sic, which is longer mmone at
present Bane exercises were me same h bo
methods. The results of his memod and class were
positive, and mere was agreement between his
method mdmeds used bymous mssim
ballet teachers who came to Japan much later@
Kanbayashi mentioned that two leaders of modem
ballet in Japan at that time Hyo Takahashi or Ballet
de Blue and Shigeru Yokoi of the Tokyo Ballet Group
were inHuenced by Osins However, ‰koi renects
t he was inHuenced mainly by Jerome Robbing
d not so much by Osins
osins had not worked for the perro-anCe tom for
the U.S. Military Services in Japan which is different
from what Barlow had done In 1957 at ACC
eSe Sments of his class, which was a pa of
American cultural afrairs, Organized the ballet group
called Ballet 1957 The meers were Kmako Yui,
Usui, and Nakata, among Others In their concerts
‰i was insped by new eehences in me
choreography of Osins, when she dmCed in ``Ma
Mere lOye, wea-g his ohginal cosmme Wim me
long white skirt@ She points out that he introduced a
new expression of ballet to Japan His ballet
innuenced Usui, Wi, Takahashi,d JmeSe
smdents of tece ArS he taugm ballet md
choreogred at me Ha-i-Shimada Ballet
coy and Nichigeki Dancing -m in the Nippon
Theatre known as Nichigeki In those days ballet had
@KENJI USu Interview by Yukihiko Yoshida Jam 29
2011 @sUMIO KANBAYASHI, 1975 op cit
sHIGEYOKOI, Inteiew by ‰kihiko Yoshida Dec
2,2009 KAKO YUI, Interview by Yukihiko Yoshida Oct ll
2009
Jane Barlow and Witaly Osins, Ballet Teachers Who Worked in Postwar Japan, and Their Smdents
Just staned broadcastlng On television His work, Pied Piper'' was prohced by me national
broadcasting station, NHK, and was released in the
TV program, "NHK Evenlng Of Ballet. osins also
choreographed his wok, "Kiss me, Kate" to be
perfomed by Kuzutani Osins left Japan in 1958@.
This research helped clarify the relationship
between Barlow and Osins. The two did not know
each other in the begimlng Kutani andkahashi
worked in the Jane Barlow Ballet Technique School
in 1952 md 1953 In 1955, with the inoduction of
the Emie Pyle TheaC, Kutani hew of Osins
tugh his work teaching at Ace. Barlow needed to
come back to America because of her childen md
relocation, which prompted Kutani to ask Osins to
teach in Barlow's smdio. Kutani recalled that Osins
had taught both in Barlow's smdio md Ace.
Additionally, he also tght at the HaShimada
Ballet Company aRer being mtrOduced by Kuzutani.
kahashi went on to shdy with him in classes of the
ballet companykahashi polnted out that Osins,s
ballet method was Russian ballet, similar to Legat
He leaned tecmique prlmahly md was inHuenced
by classicism Inont ofkahashi, Osins did ten
plrOuetteS and perfomed the Noctume of ''Les
Sylphides" as directed by Fokin, the orlglnal
choreogrher of this wok Barlow leJan in
1955, and Kuzutmi andkahashi succeeded in
Barlow's smdio and continued its activities In 1956,
they staned a new group Ballet de Bleu, which
emeed ultimatelyom both ballet teachers, Barlow
and Osins.
kahashi asked her to continue the name of the Jane
Barlow Ballet Technique School for their new ballet
"TV Ballet Pied Piper by ACC Ballet Group, Music and
Dance Press, MCh 24, 1957
YosHIKO KUZUTANI Inteiew by ‰kihiko Yoshida,
Feb 15, 2009 YosHIKO KUZUTANI, Inteiew by nkihko Yoshida,
Feb 15, 2009 HYO TAKAHASHI, Interview by Yukihiko Yoshida, Sept
23, 2008 mdOct 12, 2008 HYO TAJnHASHI, Interview by ukihiko Yoshida, Oct
12, 2008 JANE BARLOW. °it
company That same year, they held theJane Barlow
Ballet Technique School Recital" at Dai'ichi seimei
Hall On mat stage, hkahashi choreographed hisst
work using "Sonater Klavier N 21 C-Dur' by
Beethoven. Afterward, Takahashi recruited one of the
representative choreogrhers in JaneSe ballet
dming the postwar era Then, in the same year, mey
named their company Ballet de Bleu and began meir
activities.kahashi selectede word "Bleu" aer
insplration om der Blaue Reiter in Geman
Expressionism In the pre-recital of s gro,
Richie composed their music and wrote the text in me
program Ballet de Bleu also perfb-ed
"CapricclO,''choreogrhed by Osins fbi another
recital, ``An evening Of Stravinsky D
Students of Barlow and Osins in
Jap an
Ballet de Bleu and detemined how the ballet
company worked. They were leaders in mode ballet
in postwar Jan Kutani moved to Amehca in
1958 In 1961, along withriko Kimua, own as
her canier in the Mama Graham Dance Company,
and other dancers,kahashi released his
representative work, ``Compact Set R," based on
Lady Aoom "les of GeI''This wok was glVen
an award by the Dance Pen Club Upon seeing this
work young Tetsuhiko Maeda, the representative
stage desier Of the time, hoped to become "stage
desier In this season,kashi staned his
career as a ballet choreographer, and not as a ballet
dancer His techique was inHuenced by Barlow and
Osins However, in his work, he reconstmcted their
HYO TAEAHASHI, Interview by Ydihiko Yoshida, Sept
23, 2008
oBUO IKEMIYA, Hyo Takahashi," -Bijsutu Techou,-
BIJUTU-Shuppamsha, Jme 1970, pp 82-85 JAPAN WESTERN DANCE HISTORY RESEARCH
GROUI "Japan Westem Dance Histov 1960-1969 2,''
JapanAs Co-Gil, 2005, p 28
HYO TAKAHASHI, Inteiew by kihiko Yoshida, Sept
19, 2009
occupation a-y and in perfo-ances for the private
sector. It can be said that there were few example ora
ballet compye-gom a rionship w
ocction -y, not limited to the US Mili
services, performing both in camp shows and private
sectors. Aseeing her wok soldiersnostalgic
about home and the dancers portrait of the occupied
area. Japanese audiences at that time were also able
to discover mode Americand its sense of
mor. Her memod md eeSSions were dient
omtraditional RussieeSSions of ballet,
which was very elegmt Osins c-e tO Japan as a
civilian eloyee of the -Iy in order to galn
Amehcan citizenship He -ght ballet fbllowlng me
traditional Russian methods and expressions as a part
of me Amehcan Cual Policy Memwhile, Out of
the group that studied both with Barlow and Osins
Ballet de Bleu was fbmed Additional1om his
seSom ACC,Other gr-, Ballet 1957,
appeared There were also several examples or ballet
companies appearing Hom American cultual afrairs
Even today, American cultural afrairs and the
presence of military seices can be seen all over me
world. However, these two ballet teachers, Barlow
md Osins, were interesting eXaIes boin ballet
history and cultural policy
E-mail . yo shida yukihiko<yukihikoyo@gmail I com>

body Dance Critic Miyabi Ichikawa explained
Takahashi was different nOm Westem
choreographers. and by challenging the limits of
hmbody as bomds of nonexistence, he pursued a
visible spirituality@ Kuzutani was introduced to
serge Demam during an audition of Ballet Russe de
Monte Carlo She passed and was invited to work in
the company After the company dissolved she
danced ine Brooklyn Acadeand woked in
Bro adway
Barlow came back to Japan in 1993 and then moved
to Hawaii. She passed away in 1998 ARer leavlng
Japan, Osins worked in Westem countries He
appeared in the 1961 fllm Baile de Graduacion" by
carlos Toussaint as an aCtOr With David Lichine
sergio Unger, and Famesio de Bemel He
choreographed me mode balletLes hations
DodecaphonieS- Het Nationale Ballet in 1963
and Opera "De droom" at the Holland Festival in
1965@. In Japan, ballet historian Kenji Usui and
dancer Yui Kanako were students of Osins
C onclusion
Americm Culmal Policy a1954 coined the
cumral activities of ballet
Barlow cme tO Japm aS a pafme pnvate SeCtOr
The GHQ had an interest in her activitiesd
HYO TAKAHASHI, Iiew by kihiko Yoshida,
March 15, 2012 MIYABI ICHIKAWAHyo Takahashi, "Dance Wrk''
DmCe Work Press, Wl 17, 1976 pp 64-67 osHIKO KUZUTANI, Interview by Yukihiko Yoshida
Feb 15, 2009; Kuzutani met Osins while he was working at
Dmilova's shdio Baile De Graduacion; Cine Mexicano Sin
censura<h//cinemexicano sincensurablogsp otj p/20 1 I /0
9ile-dedacionhm→(20 1 2- 0 8 - 0 8-acces sed)
@ Leg variations dodecaphoniques - Het Nationale Ballet -
1963-06-19<
%C3%A9caphoniques_-_Het Nationale Ballet - 1963-06 - 1 9 >(20 1 2-08-08-accessed)
De Doom-Holland Festival-1965-06-16<
ndTestival_-_I 965-06- I 6→(20 I 2-08-08-accessed)
20
The Relationship Between Physical Education Teachers Selcacy and Collective Teacher Ecacy ln
The Relationship Between Physical Education Teacher's
SelrEcacy and Collective Tbacher Ecacy in Elementary
Schools
ipei Physical Education College,ipel
Abstract A new phase of curriculum refo- took place after Grade 1-9 Curriculum was adopted in 2001. This
newend consolidated heam edcation cumculm and physical edcation cumculm to create the Health md
Physical Education Le-lng Domain Health education teachers and physical education teachers were required
to actively Improve their capabilities across the curriculum Teachers'self-eff:lCaCy refers to teachers'subjective
perception that they are able to emance their multi-dimensional cabilities md their evaluation of how well
they can improve leamlng effectiveness of students Collective errlCaCy refers to the judgment of all group
members that me groCan SuCCeSSmly execute a task The pupose of this sdy is to investigate me
relationship between the health and physical edcation teachers, seliecacy and the collective ecacy m
elementy SChools By uslng Cluster sampling'we adopted the Health and Physical Education Teachers
Self-EfrlCaCy in Elementary Schools Questio-aire" as the measuring tool and distributed the questiomaire to
276 elementy health and physical education teachers The data of all 276 copleS Of ective questiomaires
were analyzed by using deschptive analysis and hierarchical linear models. The results showed that (a) the
seliecacy of elemenhealth and physical education teachers in Taipei.was above average; ¢) the
collective ecacy of elementy health and physical education teachers in Taipel Was above average; (C) there
was no dirence in the subjective perception of selFecacy mong health and physical education teachers h
different Taipel elementary schools
Introduction
guideline in 1998 that idened seven leamlng areas,
including αHealth and Physical Education''. It mnher
ocially released detailed mles for the Grade 1-9
Cuniculm Refbm in 2003, comprlSlng Seven
leamlng domains hcluding Health and Physical
Education. It is imperative to conduct smdies related
to health and physical education leaning domain in
the Grade 1-9 Cumculum to have a thorough
-derstanding of the execution of the health and
physical education cumculm. Funhemore, since
teachers are the key to me implementation of
educational refb-, we camot iOre me challenges
and strategies experienced by health and physical
education teachers in the process of edcational
refbm Therefore, mi§ smdy aims to conduct a
comprehensive investlgation of issues concemmg me
Grade 1-9 Health and Physical Ecation CuHiculum,
including teachers' selrecacy, teaching
comitment, and teaching practice.
one'S professional capacity to assist students to lean
ectively (Zhong, 2003). Guskey and Passaro (1 994)
argue that teachers'self-emcacy lS teaChers'belier for
their own capabilities to act the leammg of
smdents, including smdents who lack leamlng
motivation. In ct,e dennition of teachers'
sellecacy changes according to direntctors
However, if teachers do not have conndence in
teaching nor the belief for inHuenclng Smdents, they
will not have enough positive motivation to improve
21