The Islands of Music and Dance or Treasurehouse of Culture, are appropriate names to the Ryukyu Islands where a unique culture emerged during its Golden Age, and which still survives today after the kingdom's many misfortunes and suffering. The dances of Ryukyu first have their roots in the religious rites of the nuru or priestess who honored the gods with the ancient chants and dances. Then, during the high point of the Ryukyu Kingdom, classical dances and musical plays were created to entertain the visiting envoys from China. These ukwanshin or "crownship" dances and the kumiudui (classical plays) were performed only in the court and primarily by young males called wakashu. The performing arts of the Ryukyu flourished and took on its unique beauty and style with influences from Southeast Asia and Japanese Noh plays. Tamagusuku Chokun is credited with systemizing the dance and is also referred to as "the father of kumiudui." With the integration of Ryukyu into Meiji Japan, the court was dissolved and the classical arts went underground to avoid persecution as Okinawans were forced to adopt the Japanese culture. However, due to this, to preserve the arts, dances were dispersed to the regular classes in which women were allowed to participate in the art and continue to dominate today.

The dance art of Ryukyu can be described in six genres and described as such:

1. Ryojin Udui (Old Man's Dance)

This was usually the first to be performed to bring good wishes to the guests and represent ancestral spirits dancing to the auspicious song, Kageyadefu.

2. Wakashu Udui (Young Boy's Dance)

Performed by young boys dressed in the costume of the court page, these dances customarily followed the ryojin udui. The long flowing sleeves of the red kimono and the flowing but masculine movements were typical of these dances. This genre flourished until the dissolution of the initiation rite of young boys in the Meiji Period (1868-1912), the repertoire of dances diminished quickly and only a few remain today -- Kutibushi, Shiki Kuduchi, and Binuchibushi.

3. Nisei Udui (Men's Dance)

This genre can be recognized by the typical solid black kimono worn in the tsibudi or hiked-up style with kihan (black and white leggings) and shiru saji (white headband). The dances are energetic and movements adapted from the martial art form of karate. The music used was usually in the seven-five syllable meter from mainland Japan, and usually represented some sort of travel. Nisei udui was not included as part of the ukwanshin udui.

4. Unna / Inagu Udui (Woman's Dance)

The inagu udui was the most prominent and important of the classical dances. The dancer was usually a male representing a woman and dressed in the pleating long skirt and undergarment with the beautiful bingata kimono and red tabi socks. The hair was worn in the Chinese kamuro style, tied with a purple sash and decorated with a flower and long curled hairpins. The dances consisted of three parts: irifwa, nakafwa, njifwa (entry, middle, and exit, respectively). The stories told by the dances usually involves a woman expressing her love. The most popular and well preserved come from the famous nana udui (seven dances) which include Kashikake, Mutu Nuchibana, Amakawa, Nufwa Bushi, Tsikuten, Yanaji, and Shudun.

5. Fwa Udui (Folk Dance)

This is the newest group as these dances emerged from the Meiji Era and contrasts to the serious and dignified style of classical dance. The costumes used are of the common and country classes and usually depict folklife and work. Many of the dances from this group were created for young girls and also called angwa moi or young girl's dance.

6. Kumiudui (Classical Plays)

The name Kumiudui literally means combined dance and uses the combination of the three main performing arts of Ryukyu: song, music and dance. It was influenced by the Japanese Noh drama, but has its origin in the Okinawan village plays. Plots and stories are taken from tales and legends passed down from generations, along with historical events during the feudal era. These plays can be compared to European opera which were being created around the same time. The ryuka or Ryukyuan poems used can probably rival Shakespeare.

Much more can be said about the dance art of Ryukyu as this art has found its renaissance in the many dance schools and government-supported performances which travel around the world. Ryukyu has entered a second Golden Age as it now enjoyes a surge of interest in its unique culture which permitted unbelievable trade with countries all over the globe during the Kingdom Period. Its dances now represent a symbol to perpetuate peace and friendship from a former island kingdom which endured so much and faces the challenge of the next century.

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All photographs are of Eric Wada, Kyoshi Tamagusuku Ryu Shosetsu Kai Hawaii, from his 1998 performance at the Hawaii Theatre called Wakasho. (Read the Honolulu Star-Bulletin article.)

Bibliography - Okinawan Dance and Music

Buyo Ni Okeru, Kinjo, Mitsuko, Sapporo Daigakkou (1988), Fukuoka, Japan.

Islands with a Brilliant Sun, Okada, Teruo, Shimpo-Shuppan (1982), Okinawa, Japan

Keys to Okinawan Culture, Okinawa Prefectural Office, Nan-sei Printing (1992), Okinawa, Japan

Okinawa, the History of an Island People, Kerr, George H., Tuttle Books (1958), Tokyo, Japan

Ryukyu Kingdom, Okinawa Prefecture Historical Society, Mitsubundo Printing (1993), Okinawa, Japan

Studies on Okinawa, Smith, B., University of Hawaii Press (1990), Honolulu, Hawaii

Various field studies (unpublished)

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