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While ''kumi odori'' continued to be performed for Chinese envoys up until the abolition of the kingdom, it also quickly came to be performed within the Ryukyuan aristocratic community as well, both in full stage performance and in oral recitation alone.
While ''kumi odori'' continued to be performed for Chinese envoys up until the abolition of the kingdom, it also quickly came to be performed within the Ryukyuan aristocratic community as well, both in full stage performance and in oral recitation alone.
The form came into peril following the dissolution of the kingdom, and with it the aristocratic class and lifestyle. Attempts in the early 20th century to maintain it as a more popular artform failed, as that which was performed for the masses transformed into a different form, known as ''[[Okinawa shibai]]''. However, traditional ''kumi odori'' continued to be practiced and passed on by a number of families, and was revived beginning in the 1970s. The National Kumi Odori Theatre opened in 2004, and the early 2000s have also seen performances at ''[[gusuku]]'' (castle) sites, as well as the composition of new plays.
The form came into peril following the dissolution of the kingdom, and with it the aristocratic class and lifestyle. ''Kumi udui'' was no longer restricted to the court or the aristocracy, and could now be performed and viewed more widely; however, its survival rested on performers maintaining the traditions, and on audiences continuing to show interest. Attempts in the early 20th century to maintain it as a more popular artform failed, as that which was performed for the masses transformed by 1919 into a different form, known as ''[[Okinawa shibai]]''. However, traditional ''kumi odori'' continued to be practiced and passed on by a number of families, and was revived beginning in the 1970s. The National Theatre Okinawa opened in 2004, and the early 2000s have also seen performances at ''[[gusuku]]'' (castle) sites, as well as the composition of new plays.
Practitioners of [[Kin Ryosho|Kin Ryôshô's]] school of dance contend, however, that even the ''kumi udui'' performed at the National Theatre Okinawa is more ''shibai''-influenced in style, and that their school maintains forms more accurate to those performed at the royal court, continuing the legacy of the truer "Shuri style."<ref name=gima>Charlene Gima, "Sustaining Tradition through Change in Shuri-Style Kumiwudui," EWC International Conference in Okinawa, Sept 2014.</ref>
==Style==
==Style==
==References==
==References==
*Foley, Kathy. "Kumi Odori's Historical Context and Performance Practice." in ''Ryukyu Geino: The Legacy of Kin Ryosho''. Jimpu Kai USA Kin Ryosho Ryukyu Geino Kenkyusho Hawaii Shibu, 2008. pp45-56.
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==External Links==
==External Links==
