Dance : Fujiko Fujima at Japan America Theatre

A 10-minute film shown prior to her appearance Saturday at the Japan America Theatre quickly demonstrated why Fujiko Fujima, 83, has been designated by the government of Japan as a Living National Treasure.

In film clips of her performing four disparate Kabuki roles, Fujima appeared not only to change the weight, size and density of her body to conform to each character--no easy feat for any dancer--but also to redirect the quality and flow of her energy accordingly.

She demonstrated these extraordinary abilities in person when she danced “Kagekiyo,” a scene in which the samurai warrior of the title visits a courtesan.

Dropping her center of gravity and extending force into her thighs, she created the power walk of the warrior. With the slightest moves of her eyebrows, she flashed his commanding glance, his capacity for intrigue. With the lightest shudder through her body, she traced the intoxicating effects of his sipping wine.

Deftly reconfiguring the line of her body and density of her movements, she became the courtesan, in turn worried, coy, absorbed.

At an age when some critics anticipate being in the rocking chair, Fujima took not a single faltering step, blurred not one movement. She held every pose with rock steadiness and perfectly modulated tension but moved fluidly and speedily.

Little wonder that she has taught some of the most prominent names in modern Kabuki, including Tamasaburo Bando V and Danjuro Ichikawa XII, both seen locally with the Grand Kabuki of Japan in 1985, and Tatsunosuke Onoe, who died in 1987.

Among her students, also count her daughter, Rankei Fujima, born in 1929, who demonstrated the family talent in changing character in mid-dance.

In “Mitsumen Komori,” Rankei had the additional challenge of doing this with her face covered by various masks. Her task, discharged brilliantly, was to convey not only the different characters, but also the one attempting to impersonate them.

Continuing the tradition is grandson Rankoh Fujima, at 28 a mere youngster in the art form but already sweetly accomplished. In “Kairaishi,” he portrayed an itinerant puppeteer who magnifies the moves of his puppets, then becomes them, even in parodying such heroes as seen in “Kagekiyo.”

Chiseye Fujima, no blood relation to the other Fujimas, opened the program with the ceremonial “Matsu no Okina” and moved with weight and dignity. Fujisumi Fujima danced the two-part (costume change) “Shima no Senzai” with grace and security. Both dancers are based in Los Angeles.

Among the excellent musicians were Kichisaburo Kineya, samisen, and Kisaku Katada, hourglass drum. The troupe offered a different program Sunday.