contributor
26,975
edits
Changes
From SamuraiWiki
Jump to navigationJump to search→History
[[File:Amawari.jpg|right|thumb|320px|[[Amawari]], lord of [[Katsuren gusuku]], as represented in the ''kumi udui'' play ''[[Nido tichiuchi|Nidô tichiuchi]]''. From a performance by the Shi no kai 子の会, at Sashiki Shinzato horse grounds, 19 Nov 2016.]]
*''Founded: [[1719]]''
*''Founded: [[1719]]''
*''Founder: [[Tamagusuku Chokun|Tamagusuku Chôkun]]''
*''Founder: [[Tamagusuku Chokun|Tamagusuku Chôkun]]''
*''Japanese/Okinawan'': 組踊 ''(kumi odori / kumi udui)''
*''Japanese/Okinawan'': 組踊 ''(kumi odori / kumi udui)''
''Kumi odori'' is a traditional Okinawan theatrical & dance form created originally as part of formal court entertainments for visiting [[Chinese investiture envoys]]. It was created originally by Minister of Dance (''[[udui bugyo|udui bugyô]]'') [[Tamagusuku Chokun|Tamagusuku Chôkun]] in 1719, and developed and flourished until the abolition of the [[Kingdom of Ryukyu|Kingdom of Ryûkyû]] in [[1879]], but was revived beginning in the 1970s. Following the restoration of Okinawa to Japanese sovereignty in 1972, ''kumi odori'' was named an "important intangible cultural asset" by the Japanese government that same year. In November 2010, it was named an "Intangible Cultural Heritage" of the world by [[UNESCO]].<ref>"[http://search.japantimes.co.jp/cgi-bin/nn20101118a9.html Dance, textiles earn UNESCO heritage status]." Japan Times. 18 November 2010. Accessed 3 December 2010.</ref> It can now be considered in a category with other traditional Japanese performing arts, including ''[[gagaku]]'', ''[[Noh]]'', ''[[bunraku]]'', and ''[[kabuki]]''.
''Kumi odori'' is a traditional Okinawan theatrical & dance form created originally as part of formal court entertainments for visiting [[Chinese investiture envoys]]. It was created originally by Minister of Dance (''[[udui bujo|udui bujô]]'') [[Tamagusuku Chokun|Tamagusuku Chôkun]] in 1719, and developed and flourished until the abolition of the [[Kingdom of Ryukyu|Kingdom of Ryûkyû]] in [[1879]], but was revived beginning in the 1970s. Following the restoration of Okinawa to Japanese sovereignty in 1972, ''kumi odori'' was named an "important intangible cultural asset" by the Japanese government that same year. In November 2010, it was named an "Intangible Cultural Heritage" of the world by [[UNESCO]].<ref>"[http://search.japantimes.co.jp/cgi-bin/nn20101118a9.html Dance, textiles earn UNESCO heritage status]." Japan Times. 18 November 2010. Accessed 3 December 2010.</ref> It can now be considered in a category with other traditional Japanese performing arts, including ''[[gagaku]]'', ''[[Noh]]'', ''[[bunraku]]'', and ''[[kabuki]]''.
Like Japanese traditional dramas, which often draw extensively upon Japanese myths and stories, such as ''[[gunki monogatari]]'', the plots and characters in ''kumi odori'' dance-plays are often pulled from traditional Okinawan legends and history, as seen in the ''[[Omoro soshi|Omoro sôshi]]'' and other oral and written histories.
Like Japanese traditional dramas, which often draw extensively upon Japanese myths and stories, such as ''[[gunki monogatari]]'', the plots and characters in ''kumi odori'' dance-plays are often pulled from traditional Okinawan legends and history, as seen in the ''[[Omoro soshi|Omoro sôshi]]'' and other oral and written histories.
==History==
==History==
''Kumi odori'' was first performed on 1719/9/9, at a banquet for the Chinese envoys on the occasion of the investiture of King [[Sho Kei|Shô Kei]]. It was the day of the annual chrysanthemum viewing festival, and two dance-plays were performed: ''[[Nido Tichiuchi|Nidô Tichiuchi]]'' (The Vendetta of the Two Sons) and ''[[Shushin Kaniiri|Shûshin Kani'iri]]'' (Possessed by Love, Thwarted by the Bell).
''Kumi odori'' was first performed on 1719/9/9, at a banquet for the Chinese envoys on the occasion of the [[investiture]] of King [[Sho Kei|Shô Kei]]. It was the day of the annual chrysanthemum viewing festival, and two dance-plays were performed: ''[[Nido Tichiuchi|Nidô Tichiuchi]]'' (The Vendetta of the Two Sons) and ''[[Shushin Kaniiri|Shûshin Kani'iri]]'' (Possessed by Love, Thwarted by the Bell).
Tamagusuku Chôkun had served as the royal dance minister (''udui bugyô'') since 1715, and had traveled to both [[Edo]] and [[Kagoshima]] at least five times before then, during which time he became quite familiar with Noh plays and perhaps viewed kabuki or other arts as well. He is considered the author of the first five ''kumi odori'' dance-plays, commonly known as "Chôkun no Goban" or simply the "Goban," all of which are relatively short and strongly influenced by Noh.
Tamagusuku Chôkun had served as the royal dance minister (''udui bugyô'') since 1715, and had traveled to both [[Edo]] and [[Kagoshima]] at least five times before then, during which time he became quite familiar with Noh plays and perhaps viewed kabuki or other arts as well. He is considered the author of the first five ''kumi odori'' dance-plays, commonly known as "Chôkun no Goban" or simply the "Goban," all of which are relatively short and strongly influenced by Noh.
For that first ''kumi udui'' performance in 1719, Chôkun erected a stage in front of the Nishi nu udun (North Hall, J: ''Hokuden'') within the central plaza (''Unaa'') of [[Shuri castle]]. Whereas performing arts (''unaa nu geinô'', "performing arts of the plaza," or "in the garden") had previously always been performed in the plaza without a separate stage being constructed, the erection of this sort of temporary stage, known as ''Ugusuku nu butai'' (the castle/palace stage), now became a standard feature of entertainments performed for Qing investiture envoys. The stage was open on four sides (without curtains or walls blocking the view into the stage), and was accessed by a single short bridge (''hashigakari'') at the rear of the stage, leading directly towards or into the Nishi nu udun. ''Jikata'' (musicians and chanters) sat onstage alongside the dancers and other performers. This later evolved such that large blue curtains were hung along the rear of the stage, hiding the musicians and allowing dancers and actors to enter and exit at various places, at one end of the curtains or the other.<ref>"Shurijo Castle and Performing Arts," exhibition pamphlet, National Theater Okinawa, October-December 2020.</ref>
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]]'' or ''kageki'' ("musical theatre"). 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> In this Shuri style, lines are often spoken in a Shuri dialect rather than being chanted; further, there are slight differences in posture, hand movements, and so forth between this Kin/Shuri style and what has become the more widespread standard ''kumi udui'' style in Okinawa. Kin Ryôshô was named a [[Living National Treasure]] for his role as a bearer of this tradition, which is no longer performed in Okinawa. Cheryl Nakasone, head of the Hawai'i branch of the Jimpû Kai Kin Ryôshô Ryûkyû Geinô Kenkyûsho, maintains the Kin family teachings and Shuri-style of dance through her school in Honolulu. They performed Shuri-style dance at the [[National Theatre Okinawa]] in 2015, bringing this style back to the island.<ref>Nobuko Ochner, "Reflecting on Ryukyuan and Okinawan Literary Studies" panel, at Association for Asian Studies annual conference, Washington DC, 23 March 2018.</ref>
==Style==
==Style==
Lines are sung or chanted in stylized forms particular to ''kumi odori''. They often follow Ryukyuan poetic meters and forms, and are written in formal, traditional Okinawan language, laced with poetic imagery and metaphor.
Lines are sung or chanted in stylized forms particular to ''kumi odori''. They often follow Ryukyuan poetic meters and forms, and are written in formal, traditional Okinawan language, laced with poetic imagery and metaphor.
Dance-plays are accompanied by a musical ensemble including ''koto'', flute, ''kûchô''<ref>a bowed instrument.</ref> and drum players, and led by a ''sanshin'' player who also sings as background to dances and in other sections where a song replaces dialogue in relating the plot and plays an important role in conveying mood and emotion.
Dance-plays are accompanied by a musical ensemble including ''[[koto]]'', flute, ''[[kucho|kûchô]]'', and drum players, and led by a ''sanshin'' player who also sings as background to dances and in other sections where a song replaces dialogue in relating the plot and plays an important role in conveying mood and emotion.
===Staging & Programs===
===Staging & Programs===
==Plays==
==Plays==
Though some new plays were written in 2001 by Ôhiro Tatsuhiro, the traditional extant repertoire is considered to consist of only 44 plays. They are divided, like kabuki plays, into ''[[sewamono]]'' ("domestic plays") and ''[[jidaimono]]'' ("period plays"). The former tend to revolve around themes of love, filial piety and the like, while the latter very frequently are tales of revenge.
Though some new plays were written in 2001 by Ôshiro Tatsuhiro, the traditional extant repertoire is considered to consist of only 44 plays. They are divided, like kabuki plays, into ''[[sewamono]]'' ("domestic plays") and ''[[jidaimono]]'' ("period plays"). The former tend to revolve around themes of love, filial piety and the like, while the latter very frequently are tales of revenge.
==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.
<references/>
<references/>
==External Links==
==External Links==
