refers to the classical Japanese performing art of dance. developed from earlier dance traditions such as and , and was further developed during the early

Edo period The or is the period between 1603 and 1867 in the history of Japan, when Japan was under the rule of the Tokugawa shogunate and the country's 300 regional '' daimyo''. Emerging from the chaos of the Sengoku period, the Edo period was characte ...

(1603–1867), through the medium of

kabuki is a classical form of Japanese dance- drama. Kabuki theatre is known for its heavily-stylised performances, the often-glamorous costumes worn by performers, and for the elaborate make-up worn by some of its performers. Kabuki is though ...

dances, which often incorporated elements from the older dance genres. Although the term means "Japanese dance", it is not meant to refer to Japanese dance in general, and instead refers to a few dance genres such as , which are performed in theatre. differs from other varieties of

Japanese traditional dance Japanese traditional dance describes a number of Japanese dance styles with a long history and prescribed method of performance. Some of the oldest forms of traditional Japanese dance may be among those transmitted through the tradition, or fol ...

, in that it is a refined style intended as entertainment on a public stage. The term is a modern term coined during the

Meiji period The is an era of Japanese history that extended from October 23, 1868 to July 30, 1912. The Meiji era was the first half of the Empire of Japan, when the Japanese people moved from being an isolated feudal society at risk of colonization ...

(1868–1911) as a term for "dance", and the writer

Tsubouchi Shōyō __NoTOC__ was a Japanese author, critic, playwright, translator, editor, educator, and professor at Waseda University. He has been referred to as a seminal figure in Japanese drama. "Wetmore deals cleanly with Japanese theatre as part of the mode ...

is believed to have been the first to use the term . Prior to this, dance was generally referred according to its particular dance genre, such as and . The term is a combination of the characters , which can also be pronounced , and , which can also be pronounced . Shōyō intended to be a term for , a form of dance drama in kabuki plays, but the term has now grown to cover several Japanese dance styles, including the modern dance form . As a genre of dance that has multiple influences, borrows from many different dance traditions developed over a long period, overlaps with theatre and has many different schools, there is some difficulty in defining and categorizing .

Definition

Wider definition

In the broad sense, refers to the dances , and . * - in the exact definition refers solely to alone * or - dance born and developed in the region of Kyoto and Osaka (the Kamigata region). developed during the Edo period, and would be performed at private parties on a relatively small surface, such as the surface of one tatami mat. Its movements are slow and gentle. It can be accompanied by music (), composed for a soloist. It is also called , referring to the name of the room () where it is practiced. * or – has known European and American influences during the 20th century. In the Taishō period (1912–1926), Western arts-inspired writer Tsubouchi Shōyō proposed changes to the performance of kabuki theater, resulting in a new style of dance known as , performed by artists wanting to experiment with a new form of expression.

Narrower definition

In the narrow sense, refers solely to . The term dates to the Meiji period. Until then, was referred to by various names such as , , or more simply . The choreographers of , whose first appearance dates back to around 1673, founded schools to teach this dance to amateurs. , listed as an important intangible cultural property since 1955, is performed by both a kabuki actor and a dancer.

Dance styles and elements

Unlike

Noh is a major form of classical Japanese dance-drama that has been performed since the 14th century. Developed by Kan'ami and his son Zeami, it is the oldest major theatre art that is still regularly performed today. Although the terms Noh and ' ...

, ,

and theater, which feature male performers, is also performed by women. There are two different dance styles taught in : , "female roles", and , "male roles". Thus, a woman can play a male role, and a man can play a female role. has three main elements: , and . is a static and abstract movement with an emphasis on the ritual aspect, which is often present in the adaptation sequences of the nô theater; is a dynamic and rhythmic movement resulting from , a dance invented by a Buddhist monk around the 10th century; includes theatrical, dramatic and figurative body language (such as writing a letter, drinking sake, etc.), representing the actions of everyday life in the Edo period.

Influences

Kabuki

schools were founded by choreographers (who were originally kabuki musicians or actors), or by actors. These two backgrounds mean that both still share the same dance repertoire.

Noh

There are many plays which are inspired by Noh theater plays. The three major series of - , and - are adapted from the Noh plays , and , as well as the repertoire series, adapted from Noh during the Meiji period, with inspiration taken from the approach of kabuki adapting Noh dramas. For these plays, Noh dance () is integrated into the choreography.

Even before the Meiji period, there were already -origin kabuki dance plays, but, like Noh, was much adapted after the Meiji period, and this repertoire was appropriated by kabuki actors of this period.

The plays , and , are acts in the kabuki plays adapted from , and . In addition, during climaxes of plays adapted from (, ), (a style of acting imitating the movements of puppets) is used: the character is supported by puppeteers standing behind him and moves as if he was a puppet.

Plays

plays consists mainly of kabuki dance plays () created in the Edo period, such as and . In addition, there are plays choreographed with the kabuki dance technique. The themes of the plays are plentiful: legends, classical literature, historical figures, crime stories, and life and customs in the Edo period. There are also adaptations of Noh, , and theater. Plays danced by one person take up about 60% of the repertoire, and plays danced by more than two people make up the rest of the repertoire. About 60% of the plays consist of pure dance plays without drama (metamorphosis play, Edo period daily life play, festive play), compared to around 40% dramatic plays. Not all parts can be classified perfectly, but they can be roughly grouped into the following categories:

In the Noh play , the most sacred play mixing dance and prayer ritual for a bountiful harvest and prosperity, three characters, Okina, Senzai and Sanbasō, appear. The latter's dynamic dance gave rise to a series of repertoires in kabuki: the play is the most ritualistic, and the rest of the repertoire develops the more entertaining aspects for kabuki: , , , , , , etc.

The Noh play, inspired by the myth of the Dōjōji temple, was adapted in the kabuki dance as , which then gave birth to the main series of the repertoire: , , , , , , etc.

The Noh play , in which the Buddhist monk sees mythical lions playing with peonies at Mount Seiryo in China, was adapted as an (female role) dance in the early kabuki period, resulting in the plays , and . It was around the Meiji period that the adaptation came closer to Noh: the majestic lion dance is performed by a (male actor) in the plays and .

A number of center around stories of ghosts or phantoms. ; : A newly-engaged man burns the letter of a

courtesan Courtesan, in modern usage, is a euphemism for a "kept" mistress or prostitute, particularly one with wealthy, powerful, or influential clients. The term historically referred to a courtier, a person who attended the court of a monarch or other ...

, with whom he had a love affair. In the smoke, the spirit of the courtesan appears and speaks resentfully. The play, , gave variations such as (confession of (literally "castle-toppler", a moniker given to courtesans) Takao). ; : Two characters with totally identical appearances dance together, and one reveals his true, ghostly nature: this style, which originated in a Noh play , has become in vogue with many plays as from . The most famous plays are (the last act of the kabuki play ) and . In these plays, the main character is a ghost with two spirits inside. The souls of two lovers who have killed each other come together in an vengeful half-male, half-female spirit. Fukusuke Nakamura VI as Madman Onatsu 1939

Fukusuke Nakamura VI as Madman Onatsu 1939

Inspired by the category of Noh plays about madness, this theme was developed in dance plays from the earliest period of kabuki. Apart from themes of madness in love, another common theme in is madness due to the loss of a child: in the Edo period, a child could be taken away to be sold to circus troupes. In , the central character of the child's mother commonly loses her mind to grief, and becomes a traveling artist who searches for her child, singing and dancing. In Noh, this theme is featured in the plays , and . * Madness among men: , * Madness among women: , , , .

; Description of the landscape : For a long time in Japanese art there has been a style called which describes a journey to a destination. This theme was very popular with the people of the Edo period, as it depicted the freedom of travelling in contrast to the constriction of movement under the shogunate. However, travellers would also be depicted facing melancholy, such as retribution for wrongdoing or attachment to a person met along the journey they must leave. themes are found in the plays (Act VIII of the kabuki play ), (Act IV of the kabuki play ), (Act IV of the kabuki play ). ; Double love suicide : Since the play (double suicide in Sonezaki) by Chikamatsu Monzaemon, the genre of has been associated with themes of a double suicide: a couple consider killing each other at the end of their journey. There, character psychology is brought to the fore, and the description of the landscape becomes a background. Later, a new style entered into vogue: a peddler or a street artist intervenes during the couple's journey, remonstrating with them: (Act IV of the kabuki play ), , .

In , the same actor transforms into different characters with a rapid change of costume, and plays between three to twelve (usually seven) characters, one after another – male and female of all ages, from different periods and of all social strata, animals, apparition, and gods. was very popular at the start of the 19th century, particularly with the two great actors Bandō Mitsugorō III and Nakamura Utaemon III, who competed to develop this genre. Today, the genre of is broken down into several plays, one for each character, which are performed independently, like the famous play , which was originally the first part of a series of five quick-changes: the girl changes into a , a , a and a boatman. Nowadays, many quick-change plays no longer exist in their entirety, with one exception: (six great poets), a play of one performer transforming into 5 poets, for which all 5 quick-changes are still extant and known of. The most famous plays are , , , , , , and .

* Traditional festival (): The pleasure of popular life was undoubtedly the and many pieces on this theme show the people's passion for this festival: , etc. * Annual events: , etc. * Peddler: The variety of occupations among the citizens of Edo was surprising, including a peddler or a street performer, who animated the city of Edo. A peddler was not just a salesman, but was accompanied by various performances or songs, sometimes comical, to attract children, and in some cases with an extravagant costume: , etc. * Street artist: , etc.

* Noh: In the Edo period, when belonging to the warrior class was distinguished from the kabuki which was an entertainment of the popular classes, the adaptation of Noh in the kabuki dance tended to move away from the original piece by completely changing the context, the characters, and the staging. However, in the Meiji era, when the kabuki tried to renew the popular image by introducing the Noh of a high dress, the adaptation of this medieval theater was made by approaching this noble taste, while keeping the content and style of the original piece: , etc. * : Like Noh, was adapted in kabuki dance after the Meiji era: , etc. However, even before this period, there was already an adaptation of , such as pieces , etc., but it was transformed into kabuki style.

The genre, which already existed in the Edo period in the field of music, consists of pieces created to celebrate the founding of a new school, the inheritance of a name or the inauguration of an establishment etc. Also, around the beginning of the Meiji era, musicians broke away from the kabuki world, and school leaders performed new pieces every New Year. These festive pieces, celebrating prosperity and auspiciousness, were given choreography, often in the style of Noh dance: this genre is called , presented in general in the style called (dance with the kimono or the , without costume): .

Schools

Japan has about two hundred nihon-buyō schools, including "five great schools": # founded in 1849 by Hanayagi Jusuke Ist, who was a disciple of Nishikawa Senzō IVth. This is the school with the most disciples. # founded by Fujima Kanbei Ist during the Hōei era (1704–1711). # founded in 1893 by Wakayagi Judō Ist, who was a disciple of Hanayagi Jusuke. # founded by Nishikawa Senzō Ist during the Genroku era (1688–1704). At the origin of many schools, it is the oldest school of . # founded by Bandō Mitsugorō IIIrd, kabuki actor representing the Kasei period (1804–1830).

References

Bibliography

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