Ryukyu dance is roughly divided into koten, or classical dance, which depicts the lives of the warrior class during the period of the Shuri Royal Government, and zou-odori, or miscellaneous dance, which depicts the lives of ordinary people after the Meiji period. During the Shuri Royal Government era, Ryukyu dance was performed by the Ryukyu warrior class on the ukanshin-udoui stage to welcome envoys from China. In the post-Meiji era, Ryukyu dance became a form of entertainment for the common people. The tachikata is mainly performed to the accompaniment of a singing sanshin to express the scenes in the songs and the emotions of the characters.
A framework enabling participants to continue with hands-on experience (practice) of traditional performing artsOffice IKD Co.,Ltd. runs classes in Ryukyu buyo and Sanshin in the metropolitan area, so instructors can be introduced to those who wish to continue with lessons after the hands-on experience program has ended.
For the people of Okinawa, folk songs and dance are always a part of their lives. When the immigration from Okinawa to Hawaii and the main-land of the U.S. started at the turn of the 20th century, it was not unusual for Okinawans to bring the sanshin (3 stringed banjo) with them.
Within this setting, the Geino-bu, or the Performing Arts Committee, was organized within the Okinawa Association of America in November 1987. Under the leadership of charter president Yasukazu Takushi, a veteran Okinawan classical sanshin instructor, an annual showcase of Okinawan classical and folk music and dance was started at venues of an event facility and a hotel facility.
Geibo-bu, itself, was a driving force to create a youth organization within the Okinawa Association. In 1990, Chogi Higa, then president of the Geino-bu, visited the Koza city (now Okinawa city) mayor to ask his help in starting a youth taiko group which is now Ryukyukoku Matsuri Daiko, Los Angeles branch. Yasukazu Takushi introduced Mr. Higa to the mayor. In 1991, Aiko Majikina, then president of the Geinobu and Majikina Honryu dance instructor, went to Washington, D.C. to observe a stage performance by Ryukukoku Matsuri Daiko (RMD) from Okinawa and made arrangements for the first workshop of RMD in Los Angeles.
Ways to enable participants to continue with practical skills experience (other than programs covered by this grant) after the end of the eventThis group holds Ryukyu buyo dance and sanshin classes for the public in Tokyo, so participants can continue learning even after the hands-on experience program ends.
I started to learn Ryûkyû-buyô when I was in elementary school. Then, through karate-buyô (a mixture of karate and dance), I became interested in Ryûkyû-tûdî, which I started to study in earnest about 19 years ago. I think that karate has allowed me to deepen the meaning of Ryûkyû-buyô movements. I also practice taiko (Okinawan drum) and sanshin (guitar/banjo/lute.) Taiko also has something in common with karate. When I think about it, all the arts that have been passed down in Ryûkyû, dance, taiko, sanshin and koto have something in common with karate.
The performance of Ryûkyû-buyô by Ebata-sensei shows its difference from the Japanese dance. Soft fingers, slightly bent waist, the body changes direction by these specific movements. Gamaku-ire (putting gamaku) is a specificity of Ryûkyû-buyô.
Research has shown that, depending on the sensei, their filiations, the awareness of placing the gamaku, is different. Some focus on the hip joint area and others on the area between the waist and the hips. This may be due to the gender of the dancers or to the evolution of times. Until the war, male dancers focused their awareness on the area around the hip joint to express their femininity, while female dancers emerged after the war and began to express feminine softness through movements around the waist.
Before the game, we will enjoy the traditional Okinawan dance performance for celebrating the new year 2016 by a certified teacher, Setsuko Kuniyoshi, Miyagi-ryu Nosho-kai Ryukyu Dance School in Austin. We will also have opportunity to share new year's sweets with some participants.
Okinawa is known throughout Japan and abroad as having a distinct flavor in the performing arts, due to once being an independent sovereignty known as the Ryukyu kingdom (from the 15th to 19th century.) The Miyagi Ryu Nosho-kai Ryukyu Dance School is an Okinawan dance school operated under the Master Nosho Miyagi. The school has 10 branch schools across the nation making it the largest Ryukyu dance school in the USA. Sensei Setsuko Kuniyoshi operates the Austin Branch in Texas.
"Bingata" is a traditional Ryukyuan textile that involves intricate stenciling and dyeing by hand. Originally produced for royalty in Shuri, it is now often seen on kimono worn by Ryukyu Buyo (traditional Okinawan dance) dancers. Its bright colors and distinct patterns featuring nature have become a symbol of Okinawan style.
Olivares, who had lived in Okinawa for about 10 years from when she was age 8, is well-versed in the regional culture and has won a top prize in a Ryukyu buyo dance competition, which was organized by The Okinawa Times.
Like the modern Western musical, Noh includes both music and dance, leading some to describe it as "Japan's musical." The musical element of Noh is called hayashi, and the singing or chanting is called utai. Both are completely distinct from Western forms of instrumental and vocal music, however. The dance element is called mai, but dance in Noh is quite restrained and the basic locomotion pattern is based on a kind of sliding step in which the foot is not lifted from the stage floor. Another feature of Noh that clearly distinguishes it from the Western musical is that all of the actors in Noh are men, and they are frequently masked.
Kyogen is performed on the same kind of stage as Noh and is a theatrical art with a strongly comic tone. Though the comedic element is emphasized in Kyogen, the full range of human emotions is present in its humor. It is predominantly a spoken form, but includes some song and dance as well. With equal depth and breadth, Kyogen is also a highly refined theatrical genre.
Initially a single art, Noh and Kyogen emerged as separate genres in the Muromachi period (1336-1573), with Noh emphasizing song and dance and Kyogen emphasizing the spoken word. Kyogen evolved into the form that we recognize today in the mid-Edo period, when it was perfected to suit the tastes of the feudal lords, or daimyo, of the warrior class.
Gagaku refers to a genre of music and dance systematized in Japan in the mid-Heian period (784-1185). Many different kinds of music and dance are actually included in this single term. Hearing the word "Gagaku", even most Japanese think of the two kinds of music known as togaku ("Tang Music") and komagaku ("Korean Music"), but actually Gagaku is a much broader category of music and dance. Togaku refers to music introduced to Japan from China and the Asian continent, while komagaku is music introduced from the Korean Peninsula. Both of these were so extensively adapted by the Japanese aristocracy of the Heian period that, for all intents and purposes, they are Japanese music. Gagaku also embraces various kinds of native Japanese music and dance, as well as original compositions by Heian-period aristocrats.
Though all Japanese have heard of Kagura, most don't actually know much about it. Written with the characters for kami ("god") and music, it is, literally, entertainment for the native Japanese gods, or kami, and consists of dances and music performed as part of Shinto ritual. Kagura can be divided into two main categories, mikagura, which is performed as a kind of Gagaku in the imperial court, and kagura, which was transmitted among the Japanese people. We will discuss the latter in this section.
Kagura can be found throughout Japan and it varies from place to place. In most cases the historical origins of the songs and dances are not precisely known. Kagura was performed to purify the seat to which the kami were invited to descend as well as to entertain the kami. Since the kami were regarded as enjoying anything performed for them, it can be said that any performance for the kami is Kagura. Given the broadness of this definition, it's not at all strange that there should be so many different kinds of Kagura.
Generally, Kagura is divided into four categories: (1) dances by shrine maidens (miko Kagura); (2) dramatic performances of myths about the origins of the land of Japan (Izumo-style Kagura); (3) dances performed around a large cauldron of boiling water used to purify the kami's seat (Ise-style Kagura); and (4) dances in which the kami is thought to dwell in a large lion mask worn by dancers who perform to drive away evil spirits (shishi Kagura). The most frequently seen types are shrine maiden Kagura and Izumo-style Kagura. Shrine maiden Kagura is performed at Shinto shrines throughout Japan, and there are many varieties of Izumo-style Kagura as well, such as the Iwami Kagura of Shimane Prefecture, the Bichu Kagura of Okayama Prefecture, the Takachiho Kagura of Miyazaki Prefecture, and the Edo Sato Kagura of the Tokyo area.
Nihon Buyo refers to a specific form of traditional Japanese dance. The term buyo is a recent coinage. Bu and yo are read separately as mai and odori, and they refer to two different styles or categories of Japanese dance. Mai is a dance style in which the feet rarely if ever leave the floor as the dancer moves; odori, in contrast, is much less constrained and focuses on movements, steps, and leaps.
The mai of Nihon Buyo developed from the tradition of Kamigata mai practiced as a form of entertainment as banquets and high-class restaurants mainly in the Kayoto-Osaka region, which is referred to as Kamigata. The odori of Nihon Buyo derives from Kabuki dancing. Okinawan dance and the various folk dances performed throughout Japan are not considered a part of Nihon Buyo. 781b155fdc