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Tamagusuku Chôkun was a [[Kingdom of Ryukyu|Ryukyuan]] aristocrat-bureaucrat credited with the creation of the Ryukyuan dance-drama form known as ''[[kumi odori]]''.

Tamagusuku Chôkun was a [[Kingdom of Ryukyu|Ryukyuan]] aristocrat-bureaucrat credited with the creation of the Ryukyuan dance-drama form known as ''[[kumi odori]]''.

Tamagusuku was born in what is today the Giho 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, Tamagusuku had already journeyed to [[Edo]] and [[Kagoshima]] five times before being named ''[[udui bugyo|udui bugyô]]'' (J: ''odori bugyô''; Magistrate of Dance) in [[1715]]. The title was first held by [[Tansui Ueekata]] (1622-1683), 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>.

Tamagusuku 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, Tamagusuku had already journeyed to [[Edo]] and [[Kagoshima]] five times before being named ''[[udui bugyo|udui bugyô]]'' (J: ''odori bugyô''; Magistrate of Dance) in [[1715]]. The title was first held by [[Tansui Ueekata]] (1622-1683), 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 bugyô'' 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 bugyô'' 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/>.