石井漠舞團在「滿洲」的巡迴演出

Ishii Baku Dance Company Tours in Manchuria

中日戰爭期間，日本現代舞蹈家石井漠和他的舞團一起屢次前往中國的日本佔領區－－「滿洲」進行舞蹈巡遊。他的目的是舉辦舞蹈表演，為駐紮在當地的日本軍隊和居住在「滿洲」的普通人提供娛樂。
有關舞蹈家在戰爭期間進行的這種中國大陸舞蹈巡遊，戰爭期間石井漠和宮操子曾出版過旅行記，然而戰後卻幾乎沒有人進行過考察。到目前為止，日本舞蹈學者一直不願意研究這些舞蹈家的戰時活動。究其原因，可能是因為舞蹈研究者通常是這些舞蹈家的弟子，他們不想揭發師門曾參與戰爭的事實。石井的傳記和回憶錄的作者在提到大陸巡遊時，也將其說成是石井在戰爭期間的艱難經歷，卻沒有根據當時的日本政府文化政策等來進行舞蹈情況的考察。然而，石井漠遵守日本帝國主義的政策過頭，他的巡迴工作與該政策密不可分。本文首先將考察巡迴演出的背景，其次將會介紹石井漠在日本現代舞蹈中的地位。在此基礎上，本文將考察石井訪問中國的城市同路線，以及他去過的地點，從這個過程中，我們可得知石井漠忠實地遵照了日軍的要求，引領並鼓舞了戰爭期間的舞蹈家動員，他透過舞蹈向公眾傳播，起到了帝國宣傳的作用。

During the Sino-Japanese War, Japanese modern dancer Ishii Baku and his dance company traveled to Manchuria several times. After returning to Japan, Ishii often published his travel notes. However, since the end of the war, few scholars have studied these travel experiences. Even now, Japanese dance scholars have neglected to study the wartime activities of these dancers.
Japanese dance scholars’ lack of interest may be because many dance researchers in Japan are the disciples of these dancers. As such, they do not want to expose the fact that their respected teachers were involved in the war. When the authors of Ishii’s biography and memoirs refer to his tour in Manchuria, they describe it as a period of wartime hardship endured by Ishii. However, they do not place Ishii’s tour within the context of the cultural policies of the Japanese government at that time. Indeed, Ishii complied with the policies of the Japanese empire, and his tour was inextricably linked to those policies. This article first examines the circumstances surrounding the tour, and then explores Ishii Baku’s position and status within the Japanese entertainment industry. On this basis, the paper examines the route Ishii’s company took as well as the places it visited. This approach reveals that Ishii faithfully complied with the orders of the Japanese army, assisting with the mobilization of dancers during the war. Moreover, he played an important role in spreading imperial propaganda among the public through dance.