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''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, 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.
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.