Ph.D. (Japanese studies; concentration in traditional Japanese theatre and gender studies) (SOAS, University of London)
M.A. (Gender studies)
M.A. (Japanese Studies; concentration in Japanese literature and linguistics)  
遐皮ゥカ螳、シ615 蜿キ螳、
繧ェ繝輔ぅ繧ケ繧「繝ッ繝シシ啀lease make an appointment by email or through Teams.
遐皮ゥカ蜀螳ケシ售ee bottom of page


Specialising in Japanese and Asian traditional performing arts, cross-cultural studies, and gender studies.




Introduction to Art and Literature/闃ク陦薙サ譁蟄ヲ蜈・髢 

Japanese Culture Studies/譌・譛ャ譁蛹冶ォ

Cross-Cultural Studies/逡ー譁蛹冶ォ


University years can be the best time of your life. It's entirely up to you what you make of it. You will make friends for life; you will grow intellectually and emotionally. How much you learn depends on you. Your teachers are here to help you and to stimulate you to learn, not to force you. Be curious 窶 everything is interesting if you pay close enough attention. Use these four years well and you will gain both solid knowledge and confidence. But, most of all, learn to think critically, to analyse and understand human behaviour and society 窶 this is the purpose of a university education. And spend time studying abroad. For me, this was my most constructive experience.


My scholarly interests include traditional performing arts in Asia, focusing on Japan, and gender studies. My recent research projects focus on regional performing arts in Japan such as kagura and various dances, and the female versions of all-male traditional performing arts and kabuki masculine heroes in Japanese culture.


  • Cultural representation of gender and the body
  • Construction of idea(l)s of femininity and masculinity onstage
  • Interweaving of performance, power, gender, and identity
  • Traditional performing arts in Asia 窶 mutual influences and distinctive features, role in contemporary society
  • Women in performance, representations of femininity
  • Gender construction in kabuki
  • Local performing arts in Japan 窶 issues of identity and gender
  • Shared narratives in Asia
  • Lion dances in Asia and Asian diaspora around the world


As a Japanese studies specialist with a deep interest in every aspect of premodern Japanese society and culture explored within the context of Asia and the world, my research is highly interdisciplinary and comparative. I mostly work in the field of performance studies and gender, examining the way in which societies construct, maintain, enforce, transform and subvert through cultural re/presentation their ideas of gender and gender relations, and especially their ideals of masculinity and femininity. My general research focus has its theoretical basis in contemporary critical thought, more specifically in the modern conceptualisations of the body, power, gender, and performance. Other key terms are the notions of cultural ideology, cultural production, identity, embodiment, hegemony, performativity and citationality of gender.
My recent main research topics are:

  1. Production of gender on the stage of Japanese traditional performing arts, from ancient to modern times, as both reflecting societal perceptions and ideals of gender and influencing those. My particular focus has been the exploration of gender and body construction in Edo-period kabuki theatre, which I view as essential for understanding gender construction in premodern Japan, and its influence on contemporary Japanese concepts of 窶彿deal窶 traditional femininity and masculinity.

  2. Conception of female versions of popular all-male performing arts and masculine heroes in the predominantly male traditional performance culture in Japan. There versions include genres such as onna sarugaku 窶彷emale sarugaku窶, onna bunraku 窶彷emale bunraku窶, onna-zumo 窶彷emale sumo窶, etc., and kabuki productions such as Onna Narukami 窶廡emale Narukami窶, Onna Shibaraku 窶廡emale Shibaraku窶, etc. 

  3. Local performing arts in Japan (e.g. nenbutsu kyテエgen, rokusai nenbutsu, Kurokawa noh, nテエson kabuki, kodomo kabuki, sato kagura, dengaku,etc.) as cultural heritage, and the role of performance in regional communities in terms of gender, identity, policymaking, promotion of local culture and products, food, and tourism.


  • 窶弃rojecting Classicism in Classical Kabuki Theatre 窶 A Gender Perspective窶 (2020).縲主商蜈ク縺ョ譛ェ譚・蟄ヲ : Projecting Classicism縲, 闕呈惠豬ゥ闕堤キィ縲∵擲莠ャシ壽枚蟄ヲ騾壻ソ。縲}p. 811-835 (invited) (隧ウ邏ー縺ォ縺、縺縺ヲ縺ッ縲碁未騾」諠蝣ア縲阪r縺泌盾辣ァ縺上□縺輔>)
  • 窶廚onsumption, Adolescent Women (Shoフjo), and Cute Pop Culture in Japan窶 (2016). Japanese Studies 25th Anniversary Conference Papers Collection, Sofia: Sofia University Press pp.291-308 (invited)
  • 窶廾nna Mono: The 窶炉emale Presence窶 on the Stage of the All-Male Traditional Japanese Theatre窶 (2015). Asian Theatre Journal, Vol. 32 (2) (Special Issue Section 窶弩omen in Asian Theatre窶), Honolulu: University of Hawaii Press, pp.387-415 (peer-reviewed) (譟サ隱ュ縺ゅj)
  • 窶廾nna and Onnagata: Representation of Women and the Female Body in Early Kabuki窶 (2013). Bulgaria-Japan-The World. Japanese Studies 20th Anniversary Conference Papers Collection, Sofia: Sofia University Press, pp.289窶298 (invited)
  • 窶廨ender and Body Construction in Edo-period Kabuki窶 (2009). Core Ethics, Vol. 5, Kyoto: Ritsumeikan University Graduate School of Core Ethics and Frontier Sciences, pp.71-87 (peer-reviewed) (譟サ隱ュ縺ゅj)


  • Female Deities, Dancers and Impersonators: from Mythology to Kabuki Theatre (2019). Sofia: HAINI Publishing House 
  • Japan: History and Traditional Culture (2008). Sofia: University of Library Studies and Information Technologies Publishing House
  • History of Japanese Literature (2008). Sofia: University of Library Studies and Information Technologies Publishing House
  • Book chapter 窶廳abuki: Performance of Gendered Bodies窶 (2020). In Irina Holca & Carmen Tトノaネ, eds., Forms of the Body in Contemporary Japanese Society, Culture, and Literature. Lanham, MD: Lexington Books, pp.49-72


Japanese studies, Asian studies, traditional performing arts, performance studies, gender, cultural representation, the body, power relations, identity, cultural heritage

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