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Chôkun was born in what is today the Gibo neighborhood of [[Shuri]]<ref name=shimpo>"[http://ryukyushimpo.jp/news/storyid-42043-storytopic-121.html Tamagusuku Chôkun]." ''Okinawa Konpakuto Jiten'' (沖縄コンパクト事典, "Okinawa Compact Encyclopedia"). Ryukyu Shimpo. 1 March 2003. Accessed 2 November 2009.</ref>. A member of the aristocrat-bureaucrat class of the Kingdom of the Ryûkyû, Chôkun was named ''sô-jitô'' of Tamagusuku ''[[magiri]]'' in [[1692]]. He traveled to [[Kagoshima]] for the first time in [[1704]], and again in [[1706]] as a page (''koshô'', a musician and/or dancer) within a mission led by Prince Goeku congratulating [[Shimazu Yoshitaka]] on his succession to become ''daimyô''.<ref>Itaya Tôru 板谷徹, “Kinsei Ryukyu no tai-Satsuma kankei ni okeru geinô no yakuwari,” ''Minzoku geijutsu ethno-arts'' 25 (2009), 113.</ref> Chôkun then first traveled to [[Edo]] in [[1710]], as ''shisan'' and interpreter, and again in [[1714]], as part of formal [[Ryukyuan missions to Edo|embassies to the shogunate]]. He journeyed to Kagoshima at least one additional time before being named ''[[udui bujo|udui bujô]]'' (J: ''odori bugyô''; Magistrate of Dance) in [[1715]]. The title was first held by [[Tansui Ueekata]] (1623-1683), and was a post chiefly responsible for organizing the formal entertainments of the [[Chinese investiture envoys]] to Ryukyu<ref name=foley>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.</ref>.

Chôkun was born in what is today the Gibo neighborhood of [[Shuri]]<ref name=shimpo>"[http://ryukyushimpo.jp/news/storyid-42043-storytopic-121.html Tamagusuku Chôkun]." ''Okinawa Konpakuto Jiten'' (沖縄コンパクト事典, "Okinawa Compact Encyclopedia"). Ryukyu Shimpo. 1 March 2003. Accessed 2 November 2009.</ref>. A member of the aristocrat-bureaucrat class of the Kingdom of the Ryûkyû, Chôkun was named ''sô-jitô'' of Tamagusuku ''[[magiri]]'' in [[1692]]. He traveled to [[Kagoshima]] for the first time in [[1704]], and again in [[1706]] as a page (''koshô'', a musician and/or dancer) within a mission led by Prince Goeku congratulating [[Shimazu Yoshitaka]] on his succession to become ''daimyô''.<ref>Itaya Tôru 板谷徹, “Kinsei Ryukyu no tai-Satsuma kankei ni okeru geinô no yakuwari,” ''Minzoku geijutsu ethno-arts'' 25 (2009), 113.</ref> Chôkun then first traveled to [[Edo]] in [[1710]], as ''shisan'' and interpreter, and again in [[1714]], as part of formal [[Ryukyuan missions to Edo|embassies to the shogunate]]. He journeyed to Kagoshima at least one additional time before being named ''[[udui bujo|udui bujô]]'' (J: ''odori bugyô''; Magistrate of Dance) in [[1715]]. The title was first held by [[Tansui Ueekata]] (1623-1683), and was a post chiefly responsible for organizing the formal entertainments of the [[Chinese investiture envoys]] to Ryukyu<ref name=foley>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.</ref>.

Having studied and viewed various Japanese dance and drama forms during his trips to Edo and Kagoshima, including [[Noh]], [[kabuki]] and [[kyogen|kyôgen]]<ref name=jinmei>"Tamagusuku Chôkun." ''Okinawa rekishi jinmei jiten'' (沖縄歴史人名事典, "Encyclopedia of People of Okinawan History"). Naha: Okinawa Bunka-sha, 1996. p46.</ref>, after regaining the title of ''udui bujô'' in [[1718]], Tamagusuku formulated the dance-drama form known as ''kumi udui'' in [[Okinawan language|Okinawan]], and as ''kumi odori'' in Japanese. It was then performed for the first time, before the Chinese investiture envoys, on a chrysanthemum-viewing day, the ninth day of the ninth month of the lunar calendar, the following year<ref name=foley/>.

Having studied and viewed various Japanese dance and drama forms during his trips to Edo and Kagoshima, including [[Noh]], [[kabuki]] and [[kyogen|kyôgen]]<ref name=jinmei>"Tamagusuku Chôkun." ''Okinawa rekishi jinmei jiten'' (沖縄歴史人名事典, "Encyclopedia of People of Okinawan History"). Naha: Okinawa Bunka-sha, 1996. p46.</ref>, after regaining the title of ''udui bujô'' in [[1718]], Tamagusuku formulated the dance-drama form known as ''kumi udui'' in [[Okinawan language|Okinawan]], and as ''kumi odori'' in Japanese. It was then performed for the first time, before the Chinese [[investiture]] envoys, on a chrysanthemum-viewing day, the ninth day of the ninth month of the lunar calendar, the following year<ref name=foley/>.

The two plays performed that day are called ''Nidô Tichiuchi'' (The Vendetta of the Two Sons) and ''[[Shushin Kaniiri|Shûshin Kani'iri]]'' (Possessed by Love, Thwarted by the Bell)<ref name=foley/>.

The two plays performed that day are called ''Nidô Tichiuchi'' (The Vendetta of the Two Sons) and ''[[Shushin Kaniiri|Shûshin Kani'iri]]'' (Possessed by Love, Thwarted by the Bell)<ref name=foley/>.