•Ryukyuan Classical Music

The sanshin (Okinawan samisen) was introduced from China at the end of the 14th century to the beginning of the 15th century and was initially established as a musical instrument in the royal court. It was well liked by aristocratic men. Under the Ryukyuan monarchy, recitals were held in the presence of Yoshihisa Shimazu, head of the Shimazu Clan, in 1575. In 1610 Ryukyuan King Sho Nei and his group of envoys visited Satsuma’s Sendai Nitta Hichimankyo Shrine in Kyushu and offered up Sangen no Kikyoku, a secretly transmitted sanshin songbook. Evidence such as this indicates the historical fact that advanced performance techniques for the sanshin existed at the time. Additionally, in 1612, it is believed the Royal Government Magistrate of Shell Polishing (an official office which oversaw the production of tribute items) sanshin production section indicated that it was used as an official court instrument. Tansui Uekata (Kochi Kenchu 1623-1683) is said to have been the one who expanded sanshin music into the range of fine arts music. Tansui excelled in his talent for performing arts, endeavored to maintain and promote sanshin music and established one of the traditional styles called Tansui ryu. Following Tansui, renowned figures include Takushi Ryotaku (1653-1702), Shinzato Choju (1651-1713) and also Terukina (Mongaku) Meisen (1682-1753). Mongaku is credited with leaving behind the Kun Kun Shi, the traditional sanshin music scores. Mongaku’s style was passed on to Yakabi Choki (1716-1775), whose research resulted in what is called the “Yakabi Kun Kun Shi,” comprising 117 songs. Aka Chokusei (1721-1784), a student of Mongaku, did the same as Yakabi and also created a version of the Kun Kun Shi scores. One other figure that inherited the Yakabi style was Chinen Sekiko (1761-1828). Chinen possessed an extraordinary intellect and unrivaled abilities; he devised a superior version within the Yakabi Kun Kun Shi and passed on his magnificent and elegant performance techniques to his students. Chinen was considered “accomplished in samisen sound and melody.” In other words, his voice, melody and sanshin performance are all integrated.
Some of the students that emerged from Chinen include Afuso Sengen (1785-1865) and Nomura Ancho (1805-1871). Both the Afuso and Nomura traditions have been continued to the present day. In short, from the same founder came the three major styles passed on to the present; the Tansui Ryu School, the Afuso Ryu School and the Nomura Ryu School. Today the sanshin, koto, Okinawan flute, the kucho, a three-stringed bowed lute, and taiko drums are used in performances of classical Ryukyuan music.
It is thought that the sanshin played a great role in the transformation from the Koyo songs and ballads, called Kwena, and the Umui narratives over to the short lyric poetry of the Ryuka. Deep ties formed between sanshin music and Kumi Odori (Ryukyuan Classical Theater). Without the sanshin, Okinawan performing arts would not be what they are today.