•Classical Dance

The Kingdom of the Ryukyus, established in 1492, was linked to China under a lord-vassal relationship. A ceremony called Sappo was conducted in the Ryukyu Kingdom when there was a change of king. The Sappo protocol was the appointment of the king of a subject country by the Emperor of China. The envoys that came to the coronation ceremony carrying this imperial edict were called Sapposhi (investiture envoys). In addition to the emperor’s edict, the crown to be worn by the new king was also carried by the envoys, so the ships that brought over the investiture envoys were called Kansen (Crown Ships). When pronounced, the honorific go is added as a prefix and the word is pronounced Okansen (Okinawan dialect: Ukwanshin). The Crown Ships began arriving in 1404 and continued until 1866. During that period, the Sappo was conducted 24 times with envoys numbering in the hundreds for each occasion and visiting for four to eight months at a time.

When the envoys arrived, the events not only included funeral rites for the late king and confirmation of the new king’s ascension, but also luxurious banquets given by the Ryukyuan king to entertain the investiture envoys. The royal government held seven such events during the envoy’s stay, which came to be called the Shichien (Seven Banquets). The Shichien banquets consisted of the following; Yusai (Offering Condolence), Sappo (Investiture), Chushu (Mid-Autumn), Choyo (Late Autumn), Senbetsu & Haij (Farewell), and Boshu (Hopeful Journey). With the exception of the banquet following funeral rites for a deceased king, these banquets were lively affairs with luxurious entertainments. The leading figures in these entertainments were all male.

To provide performance arts at banquets for the investiture envoys, the royal government appointed a magistrate in charge of music, dancing, and drama called the Odori Bugyo. As a result, diverse performance arts were created. These performance arts were collectively referred to as Kansen Odori or Okansen Odori (Okinawan dialect: Ukwanshin Udui). As the name implies, these were performance arts presented to entertain emissaries from China who had traveled on the Crown ships.

The Okansen Odori are now referred to as Classical Dance to distinguish them from the Popular Dances (Zo Odori), which were created after the Meiji period (1868-1912) and establishment of the prefectural system. Classical dance was very accomplished in the 18th century. The foundations were laid by dance and music magistrate Tamagusuku Chokun (1684-1734) and have been fleshed out and polished by numerous excellent performance artists since then.

Ryukyuan classical dances are classified into the following genres; the Rojin Odori (Elders’ Dances), Wakashu Odori (Boy's Dances), Nisai Odori (Young Men's Dances), and Onna Odori (Women's Dances).

However, these performance arts did not spring into being in a day. Their basis was the saishi, performing arts for religious and ceremonial rites that existed in Okinawa from ancient times. Even today in Okinawa, festivals are flourishing in each region and a myriad of performing arts are performed. These arts are referred to as Folk Performing Arts. There are many of these whose choreography and structure, though simple, have become the foundations for Classical Dance.

(1) Rojin Odori (Elders’ Dances) Kagiyadefu (Okinawan: Kajadifû )

This dance is very esteemed as a celebratory dance and is generally performed as the opening at banquets, recitals and public performances. The dance is performed in a number of ways including a solo performance with the performer wearing an old man’s makeup, with both a white-bearded man with a white-haired woman in makeup, a style where the old man and woman bring along their children and descendants, and others. The old man is called Choja and is said to possess the triple virtues of long life, wealth and rank as well as prosperous descendants. The dance is related to the Noh play Takasago. It is danced to the song Kajadifû Bushi. The lyrics are filled with admiration and joy at the beauty of a flower bud, ready to bloom, on which the morning dew has come to rest. The old man holds a sensu, or folding fan, and the old woman holds an uchiwa, or round fan, as they perform this dance.

(2) Wakashu Odori (Boys’ Dances) Wakashu Koteibushi (Okinawan: Wakashu Kuti Bushi)

Wakashu, the term for young boys, refers to those who have yet to undergo the coming of age ceremony and are 14 or 15 years old. During the Ryukyu Dynasty, young boys who served in the court were called wakashu and the dances performed by them received the term Wakashu Odori. Dancers perform wearing a scarlet kimono with broad sleeves under a haori, a brocade vest-like overgarment, and red tabi socks.
Wakashu Kuti Bushi is a celebratory dance. The dancer enters the stage matching the rhythm of the flute and drum. This dance is performed holding folding fans in both hands. The lyrics are adapted from the Japanese tanka classic Kokinwakashu (Vol. 1 - In Spring) and go “Each year with the advent of spring, the pine foliage increases in beauty.” As the pine is an evergreen, the song carries the wish that human life be as eternal as the pine’s greenery.

(3) Nisai Odori (Young Men’s Dances) Nubui Kuduchi

Nisai refers to young men who have completed the coming of age ceremony and their dances were termed Nisai Odori. Generally the dance is performed in black kimono with a raised hem (Ajimaa or Azamaa in Okinawan dialect), for walking on uneven terrain, with a wide sash. Black and white vertical striped leggings and white tabi socks are also worn. The dancers arrange their hair in a topknot and tie a white headband in the front.
The song Kudoki (Kuduchi) is often used. While other Ryukyuan folk songs are in 8-8-8-6 meter, this song is in the mainland Japanese scale of 7-5 or 7-7 meter and is repeated. Kuduchi is characterized by the incorporation of hayashi (rhythmical choral accompaniment).
The musical form is called kuduchi and the influence of mainland Japanese literary and performing arts can be seen from the raised hem of the kimono. The Nisai Odori can be said to be a dance related to the mainland Japanese Furyu style. However, the postures are common to Okinawan karate forms and the dance exhibits the lively movements of youth.
In 1609 the Ryukyu Kingdom yielded to the military power of the Satsuma clan of Kyushu. Subsequently, envoys were required to travel to Satsuma. These were referred to as nubui, traveling north or upwards, and the trip back was called kudai, traveling south or down. Nubui Kuduchi sings of the journey on the way from Shuri to the departure from Naha Harbor and the voyage to Satsuma, and as such the dance incorporates the gestures of travel. This dance is performed holding fans in both hands.

(4) Onna Odori (Women’s Dances) Kasekake (Okinawan: Kashikaki)

Out of all the classical dances, the Onna Odori, or Women’s Dances, are the most refined and exhibit a unique style. In addition to being colorful, these dances are very elegant. The performers wear the ceremonial dress of young women from the Ryukyuan aristocracy under a colorful bingata stencil-dyed kimono overgarment. The dancer’s hair is arranged in the Ryukyuan karaji style tied with a purple headband decorated with an artificial flower and stiff tassels on each side. The dancers wear scarlet tabi socks. Some performers wear silver rings called fusayubiwa, characterized by ornaments that dangle from short chains off the top of the ring and sparkle with the movement of the dancer’s hands.
Onna Odori utilizes distinctive methods of foot movement, posture, use of the hands and fingers and the direction of the face, eyes, hands and fingers. Because of the tiny movements and gestures incorporated in the dance, the performer is required to have the ability to express (infuse) delicacy and emotion. The minimum of movement and posture used to express a maximum of emotion is said to be the appeal of the women’s dance.
Kasekake is performed with an arm out of one sleeve of the bingata stencil-dyed kimono with the performer holding a spool and a frame used in weaving. It is beautifully danced showing the movements of winding thread on the frame. Wearing the right sleeve of the kimono down off the shoulder symbolizes the posture of labor (winding thread and weaving). Fluttering with thoughts of weaving beautiful cloth, which was customarily presented to one’s beloved, the young woman pours great effort into spinning the thread and weaving the cloth.
At present many performances are accompanied by two songs, Fishibushi and Shichishakubushi; however, originally the songs Sasabushi or Hyakunabushi were performed during the final section of the dance. The use of a three-song structure, Deha (entrance), Naka Odori (middle dance), and Iriha (stage exit) in dances is characteristic of Onna Odori.