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Though originally a separate performance art, ''kusemai'' was incorporated by [[Kan'ami]] in the late 14th century into [[Yamato province|Yamato]] ''[[sarugaku]]'', the art form which would later develop into [[Noh]] theatre. In doing so, Kan'ami not only introduced specific stylistic elements of chant and dance from ''kusemai'' into ''sarugaku'', but also set the stage for the development of more extended narratives in ''sarugaku'', which had previously focused on simpler plot set-ups and dances. He also combined elements of ''kusemai'' music with elements of ''[[kouta]]'', the musical form native to the Yamato ''sarugaku'' tradition, producing a softer form of ''kusemai'' music which came to be known as ''kouta bushi kusemai''. ''Sarugaku'' performers also came to perform ''kusemai'' pieces independently, as ''kusemai''.

Though originally a separate performance art, ''kusemai'' was incorporated by [[Kan'ami]] in the late 14th century into [[Yamato province|Yamato]] ''[[sarugaku]]'', the art form which would later develop into [[Noh]] theatre. In doing so, Kan'ami not only introduced specific stylistic elements of chant and dance from ''kusemai'' into ''sarugaku'', but also set the stage for the development of more extended narratives in ''sarugaku'', which had previously focused on simpler plot set-ups and dances. He also combined elements of ''kusemai'' music with elements of ''[[kouta]]'', the musical form native to the Yamato ''sarugaku'' tradition, producing a softer form of ''kusemai'' music which came to be known as ''kouta bushi kusemai''. ''Sarugaku'' performers also came to perform ''kusemai'' pieces independently, as ''kusemai''.

Much of what is known today about ''kusemai'' comes from the writings of [[Zeami]], Kan'ami's son, the most prominent theorist and playwright of Noh. According to Zeami, in his time, professional ''kusemai'' dancers were divided chiefly into five groups: the Kamidô, Shimodô, Nishino-take, Tenjiku, and Kagajo. The members of this last group claimed a direct master-student lineage tracing back to the dancer [[Hyakuman]]. Kan'ami studied with members of this last group, who Zeami identifies as the last surviving bearers of the tradition, and as the style of ''kusemai'' performed on floats during the [[Gion Festival]]. In incorporating elements of ''kusemai'' into Noh, Zeami contrasts it with the "plain chanting" (''tada utai'') native to his own ''sarugaku'' tradition, writing that where ''kusemai'' chanting stresses rhythm, ''sarugaku'' chanting (''tada utai'') places primary emphasis on the qualities of the voice.

Much of what is known today about ''kusemai'' comes from the writings of [[Zeami]], Kan'ami's son, the most prominent theorist and playwright of Noh. According to Zeami, in his time, professional ''kusemai'' dancers were divided chiefly into five groups: the Kamidô, Shimodô, Nishino-take, Tenjiku, and Kagajo. The members of this last group claimed a direct master-student lineage tracing back to the dancer [[Hyakuman]]. Kan'ami studied with members of this last group, who Zeami identifies as the last surviving bearers of the tradition, and as the style of ''kusemai'' performed on floats during the [[Gion Festival]]. As represented in Noh, [[Yamanba]] is also a ''kusemai'' dancer.<ref>Thomas Hare, ''Zeami Performance Notes'', Columbia University Press (2008), 157n16.</ref> In incorporating elements of ''kusemai'' into Noh, Zeami contrasts it with the "plain chanting" (''tada utai'') native to his own ''sarugaku'' tradition, writing that where ''kusemai'' chanting stresses rhythm, ''sarugaku'' chanting (''tada utai'') places primary emphasis on the qualities of the voice.

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