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*''Born: [[1684]]''
[[File:Kumiudui-sueyoshi.jpg|right|thumb|400px|A monument to ''[[kumi udui]]'' in Naha's Sueyoshi Park]]
*''Died: [[1734]]''
[[File:Grave-tamagusuku-chokun.JPG|right|thumb|400px|The grave of Tamagusuku Chôkun, just outside the Maeda Tunnel, in [[Urasoe]] City]]
*''Titles: ''udui bujô'' (Magistrate of Dance)''
*''Born: [[1684]]/8/2''
*''Japanese/Okinawan'': 玉城朝薫 ''(Tamagusuku Choukun)''
*''Died: [[1734]]/1/26''
*''Titles'': 踊奉行 ''(udui bujô, Magistrate of Dance)''
*''Other Names'': [[向]]受佑 ''(Shou Juyuu)''
*''Japanese/Okinawan'': [[玉城]] 朝薫 ''(Tamagusuku Choukun)''
Tamagusuku Chôkun was a [[Kingdom of Ryukyu|Ryukyuan]] aristocrat-bureaucrat credited with the creation of the Ryukyuan dance-drama form known as ''[[kumi odori]]'' (O: ''kumi udui'').
Tamagusuku Chôkun was a [[Kingdom of Ryukyu|Ryukyuan]] aristocrat-bureaucrat credited with the creation of the Ryukyuan dance-drama form known as ''[[kumi odori]]'' (O: ''kumi udui'').
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/>.
In [[1716]], Chôkun was appointed ''waki bugyô'' overseeing a [[Naha]] port public works project; this involved dredging of the port, constructing bridges, and other work.<ref>Gallery labels, Okinawa Prefectural Museum.[https://www.flickr.com/photos/toranosuke/49599881326/sizes/h/]</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/>.
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/>.
Though it's presumed that he wrote many more, five plays by Tamagusuku survive today, and are still performed<ref name=jinmei/>. They are known today as ''Chôkun no Goban'' ("The Chôkun Five Plays") or just ''Goban'' ("The Five Plays")<ref name=shimpo/>. The other three are: ''Mekarushi'', ''Kôkô nu Maki'' (Filial Piety), and ''Unna Munu Gurui'' (The Madwoman)<ref name=foley/>.
Though it's presumed that he wrote many more, five plays by Tamagusuku survive today, and are still performed<ref name=jinmei/>. They are known today as ''Chôkun no Goban'' ("The Chôkun Five Plays") or just ''Goban'' ("The Five Plays")<ref name=shimpo/>. The other three are: ''Mekarushi'', ''Kôkô nu Maki'' (Filial Piety), and ''Unna Munu Gurui'' (The Madwoman)<ref name=foley/>.
Chôkun's lineage remained prominent arts practitioners, following after him. His son [[Okudaira Choki|Okudaira ''peechin'' Chôki]] performed six Noh dances for King [[Sho Kei|Shô Kei]] in [[1738]], and Chôki's son, [[Okudaira Chogi|Okudaira ''peechin'' Chôgi]], is known to have practiced ''[[kusemai]]'' Noh.<ref>Miyagi Eishô 宮城栄昌, ''Ryûkyû shisha no Edo nobori'' 琉球使者の江戸上り, Tokyo: Daiichi Shobô (1982), 49.</ref>
==References==
==References==