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Classical Japanese performing art of dance From Wikipedia, the free encyclopedia
Nihon-buyō (日本舞踊, lit. 'Japanese dance') refers to the classical Japanese performing art of dance.
Nihon-buyō developed from earlier dance traditions such as mai and odori, and was further developed during the early Edo period (1603–1867), through the medium of kabuki dances, which often incorporated elements from the older dance genres.[1][2] Although the term nihon-buyō means "Japanese dance", it is not meant to refer to Japanese dance in general, and instead refers to a few dance genres such as kabuki buyō, which are performed in theatre.[3][4] Nihon-buyō differs from other varieties of Japanese traditional dance, in that it is a refined style intended as entertainment on a public stage.[5][3]
The term buyō is a modern term coined during the Meiji period (1868–1911) as a term for "dance", and the writer Tsubouchi Shōyō is believed to have been the first to use the term nihon-buyō.[6] Prior to this, dance was generally referred according to its particular dance genre, such as mai and odori. The term is a combination of the characters mai (舞), which can also be pronounced bu, and odori (踊), which can also be pronounced yō.[7] Shōyō intended nihon-buyō to be a term for Furigoto Geki (振事劇), 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 sosaku buyō.[3] 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 nihon-buyō.[8]
In the broad sense, nihon-buyō refers to the dances kabuki-buyō, kamigata-mai and shin-buyō.[9]
In the narrow sense, nihon-buyō (日本舞踊) refers solely to kabuki-buyō (歌舞伎舞踊).[10]
The term nihon-buyō dates to the Meiji period. Until then, kabuki-buyō was referred to by various names such as shosagoto (所作事), keigoto (景事), furigoto (振事) or more simply odori (踊).[11]
The choreographers of shosagoto, whose first appearance dates back to around 1673,[12] founded schools to teach this dance to amateurs.[13] Kabuki-buyō, listed as an important intangible cultural property since 1955, is performed by both a kabuki actor and a nihon-buyō dancer.
Unlike Noh, kyōgen, kabuki and bunraku theater, which feature male performers, nihon-buyō is also performed by women. There are two different dance styles taught in nihon-buyō: onnagata, "female roles", and tachiyaku, "male roles".[12] Thus, a woman can play a male role, and a man can play a female role.
Nihon-buyō has three main elements: mai, odori and furi.[14] Mai 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;[15] odori is a dynamic and rhythmic movement resulting from nenbutsu-odori, a dance invented by a Buddhist monk around the 10th century;[14] furi 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.[16]
Nihon-buyō 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.[17]
There are many nihon-buyō plays which are inspired by Noh theater plays. The three major series of nihon-buyō - sanbasō mono, dōjōji mono and shakkyō mono - are adapted from the Noh plays Okina, Dōjōji and Shakkyō,[18] as well as the matsubame mono repertoire series, adapted from Noh during the Meiji period, with inspiration taken from the approach of kabuki adapting Noh dramas.[19] For these plays, Noh dance (mai) is integrated into the choreography.[20]
Even before the Meiji period, there were already kyōgen-origin kabuki dance plays, but, like Noh, kyōgen was much adapted after the Meiji period, and this repertoire was appropriated by kabuki actors of this period.[21]
The nihon-buyō plays Ochiudo, Hachidanme and Yoshinoyama, are acts in the kabuki plays adapted from bunraku, Kanadehon Chūshingura and Yoshitsune Senbon Zakura.[22]
In addition, during climaxes of nihon-buyō plays adapted from bunraku (Yagura no Oshichi, Hidakagawa), ningyō-buri (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.[23]
Nihon-buyō plays consists mainly of kabuki dance plays (shosagoto) created in the Edo period, such as Kyōganoko Musume Dōjōji and Fuji Musume. In addition, there are plays choreographed with the kabuki dance technique.[24] 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, kyōgen, and bunraku 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.[25]
Not all parts can be classified perfectly, but they can be roughly grouped into the following categories:[26]
In the Noh play Okina, 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 sanbasō mono repertoires in kabuki: the play Kotobuki Shiki Sanbasō is the most ritualistic, and the rest of the repertoire develops the more entertaining aspects for kabuki: Ayatsuri Sanbasō, Ninin Sanbasō, Shitadashi Sanbasō, Hinazuru Sanbasō, Shiki Sanbasō, Kuruwa Sanbasō, etc.[27]
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The Noh Dōjōji play, inspired by the myth of the Dōjōji temple, was adapted in the kabuki dance as Kyōganoko Musume Dōjōji, which then gave birth to the main series of the repertoire: Ninin Dōjōji, Meoto Dōjōji, Kane no Misaki, Otsue Dōjōji, Futaomote Dōjōji, Yakko Dōjōji, etc.[28]
The Noh play Shakkyo, in which the Buddhist monk sees mythical lions playing with peonies at Mount Seiryo in China, was adapted as an onnagata (female role) dance in the early kabuki period, resulting in the plays Aioi Jishi, Shūjaku Jishi and Makura Jishi. It was around the Meiji period that the adaptation came closer to Noh: the majestic lion dance is performed by a tachiyaku (male actor) in the plays Kagami Jishi and Renjishi.[29]
A number of nihon-buyō center around stories of ghosts or phantoms.
Inspired by the category of Noh plays about madness, this theme was developed in dance plays from the earliest period of kabuki.[30] Apart from themes of madness in love, another common theme in kyōran mono 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 kyōran mono, 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 Sumida Gawa, Sakura Gawa and Miidera.
In henge mono, the same actor transforms into different characters with a rapid change of costume, and plays between three and 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.[35] Henge mono 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.[36] Today, the genre of henge mono is broken down into several plays, one for each character, which are performed independently, like the famous play Fuji-musume, which was originally the first part of a series of five quick-changes: the girl changes into a blind person (zatō), a celestial deity (tenjin), a servant of the samurai (yakko) and a boatman. Nowadays, many quick-change plays no longer exist in their entirety, with one exception: Rokkasen (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 henge mono plays are Sagi Musume, Shiokumi, Asazuma Bune, Ame no Gorō, Ukare Bōzu, Mitsumen Komori, Tomo Yakko and Kamuro.[35]
The goshūgi mono 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 goshūgi mono, presented in general in the style called su odori (dance with the kimono or the hakama, without costume): Oimatsu, Hokushū, Shima no senzai, Ume no sakae, Matsu no midori, Tsurukame.[40]
Japan has about two hundred nihon-buyō schools, including the "five great schools":
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