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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.
