Changes

*''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.

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. ''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.  

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>

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> 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>

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