Japanese Classical Dance

Glimpses of the Wave of
New Japanese Classical Dancers
Hirano Hidetoshi

1. Hanayagi Shotaro Ⅲ, Onoe Kikunojo Ⅲ, and Shida Maki
It’s no exaggeration to say that the five members of the Goyokai (including thethree who are directors at Buyo Kyokai), Nishikawa Minosuke, Hanayagi Motoi,
Yamamura Tomogoro, Hanayagi Juraku and Fujima Ranko, are at the top of theJapanese classical dance world. But last year, the activities of three other dancers
who are approaching the pinnacle of these five were particularly striking.
The first dancer that I would like to feature is Hanayagi Shotaro III. In

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Shotaro no Kai (April 2, Cerulean Tower Noh Theatre), she performed the Ichu
piece Matsukaze (The Pining Wind), based on the classical Noh play, and the
Nagauta piece Aya no Tsuzumi (The Damask Drum), also based on a Noh play. In
a recital by dancers at her school, the 61st Ginreikai (October 2, National Theatre,
Small Theatre), she played the poet-priest Saigyo in the Nagauta piece Shigure
Saigyo (Saigyo in the Autumn Rain) (the courtesan Eguchi was played by
Hanayagi Rikasen) and Hanjo no Mae in the Kiyomoto piece Sumidagawa (The
Sumida River), (The boatman was played by Hanayagi Suketaro.) In these dances,
she fully displayed the unique qualities of a female Japanese classical dancer. In
the male role such in Aya no Tsuzumi she exuded strength of character, and as
Saigyo in Shigure Saigyo, she fully became the role.
Next, I would like to discuss Onoe Kikunojo III. Like Fujima Kanjuro VIII, heis one of the most active choreographers that is creating new dances for kabuki
theatre. Although it has been 11 years since he took the name of Kikunojo, thisyear for the first time he had his own recital, Onoe Kikunojo no Kai (September 3, National Theatre, Large Theatre). He performed two dances with theTheatre in Japan

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choreography of Onoe Kikunojo I (1910–1964), the Itchu Bushi piece Shojo (TheSake Loving Water Sprites) (original choreographic plan by Onoe Kikunojo I
and choreographed by Onoe Bokusetsu), playing the Shojo spirits together withkabuki actor Onoe Matsuya and Onoe Bokusetsu as the sake seller Kofu, and theGidayu piece Cho no Michiyuki (The Lovers Reborn in Hell as Butterflies), playing
the role of Sukekuni while the role of his lover Komaki was played by kabuki
onnagata Onoe Kikunosuke. In addition to these two classical dances, there wasalso a new piece, Sosaku Nagauta Yamata no Orochi, based on the ancient mythof the god vanquishing the eight-headed serpent. Kikunojo played the eightheaded serpent Yamata no Orochi to the narration of Onoe Matsuya. This performance showed that Kikunojo is a dancer on a scale far above the other young
dancers of his generation, and I look forward to seeing how he will contribute to
the Japanese classical dance world in the future.
The third dancer I would like to feature is Shida Maki, the second head of
the Choyo School of Ryukyu Buyo. For Maki no Kai (September 16, Cerulean
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Tower Noh Theatre), she performed classical dance for the female characters(onna odori) Nuhwa Bushi, Sosaku Kunnohra and Sosaku Kurokami (Black Hair),choreographing a new dance in the style of Ryukyu Buyo to a piece of Japaneseclassical music. She has a well-deserved reputation for performing classicaldances for female characters, but with Kurokami, she created a new dance in theform of a classical dance for a female character and used that colorful figure tosqueeze out a deep and wide range of feelings of women that I felt represented abreath of fresh air for Japanese classical dance. The dance had a feeling of combining Japan and Okinawa, and I believe that it was like a cord connecting
Japanese classical dance and Ryukyu Buyo.
I would like to list some of the dancers and the pieces that they performedthat were special achievements last year. Among classical dances, Izumi Shoyo
performed the Kiyomoto piece Bunya (The 6th Shoei Kai, March 12, National
Theatre, Small Theatre) with highly polished dance artistry. Nishikawa Yuko
created a piece carrying on the achievements of Hanayagi Shigeka with Tagitsu(Turbulent Water) (Yuko no Kai, Hanayagi Shigeka director and choreographer,
November 22, National Theatre, Small Theatre). The appearance of Hanayagi

Motoi in the piece as well brought new life into it, which was extremely moving.
Among new pieces, Gojo Tamami’s Sosaku’s Orphée (81st Tamami Kai / Gojo
Tamami Recital, written, directed and choreographed by Gojo Tamami III,
October 13, National Theatre, Small Theatre) was particularly excellent. There
was a perfectly balanced collision of the understanding of the roles and expressive powers of the three main performers playing Orphée (Tamami), Euridice(Fujikage Shizue) and Persephone (kabuki onnagata Nakamura Kyotae) that brilliantly created a space where the worlds of the living and the dead could struggle
against each other. Fujima Kiyotsugu has long been focused on creating the artof onnagata for Japanese classical dance, and his activities through the year wereparticularly impressive. In his own dance Senju Kai (April 17, National Theatre,
Large Theatre), he performed a work which he not only wrote but also produced,
choreographed and directed, Yamato-Hime Gojunko – Yamato-Hime to Sada
Yakko (The Journey of Princess Yamato – Princess Yamato and Sada Yacco), whichjuxtaposed the journeys of the mythical Princess Yamato from the ancient chronicles with the world travels of Sada Yacco (1871–1946), known as the first actress085

in modern Japan. At the Buyo Onnagata no Kai (July 24, National Theatre, Small
Theatre), which he organized and produced, he danced the Nagauta piece Kishu
Dojoji. And in another of his own recitals, Hanatsugu Kai in Tokyo (November
1, National Theatre, Large Theatre), he performed an original dance for which hewrote the lyrics and created the choreography for a dance version of Mizukami
Tsutomu’s novel (and famously directed by Shinoda Masahiro in the 1977 film)
Hanare Goze Orin, which is about a blind female traveling musician. The way
he equally emphasizes the creation of new works and a search for techniques of
onnagata that are unique to Japanese classical dance is quite wonderful.

2. Performances to Say Farewell to the First National Theatre
The National Theatre was built in 1966, and since it will close in a year forrebuilding, this year’s performances are dedicated to saying farewell to the first
National Theatre building. As part of this, on September 23, the National Theatre
presented its 170th performance of Japanese classical dance in the Large Theatrewith the Buyo Meisaku Shu I (Masterpieces of Traditional Japanese Dance I). The
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program began with the Kiyomoto piece Shiki Sambaso (Okina with the Flowersof the Four Seasons), with Onoe Bokusetsu as the Okina, Onoe Yukari as the
Senzai and Onoe Kikunojo as the Sanbaso. Second was the Gidayu piece Oshichi,
with Inoue Yasuko as the girl prepared to burn down the city of Edo for the sakeof love. Third was the Tokiwazu piece Awa Mochi (The Millet Dumpling Peddlers),
with Nishikawa Senyoichi as Kinehachi, Bando Tomona as Ousu, Mizuki Sensho
as a torioi female street musician, Fujima Toka as a woman from an archery stall,
Hananomoto Kotobuki as a peddler of fukujuso spring blossoms and Nishikawa
Shinsho as a peddler of yomena greens. The program concluded with the Nagauta
piece Kurozuka (The Black Mound: The Demoness of the Adachi Plain), with
Hanayagi Juraku as Yukei Ajari, Hanayagi Genkuro as the mountain priest
Yamatobo, Hanayagi Suzuhiko as the mountain priest Sanukibo, Hanayagi
Jutaichiro as the luggage porter Tarogo and Hanayagi Motoi as the old woman
Iwate who is actually the demoness of the Adachi plain.
The performance assembled the top veteran dancers, and they were all086

appropriately cast, for a stable, dependable program. However, although the performance was billed as Masterpieces of Traditional Japanese Dance, only the firstpiece, Shiki Sanbaso, could be said to be pure Japanese classical dance. The othertwo dances originated in the kabuki theatre and required acting skills as well as
pure dancing ability. Hanayagi Motoi in Kurozuka has acting skills to rival
kabuki actors, but the same is not necessarily true for the other dancers in the
program. I think that one of the key challenges for the National Theatre will be toplan programs that will make clear the essential differences between kabuki
dance and Japanese classical dance.
Another performance in the farewell series was the National Theatre’s 171stclassical dance performance with Mai no Kai – Keihan no Zashiki Mai(Traditional Kyoto-Osaka Dance) (November 26, Small Theatre). The first part ofthe program beginning at 12 p.m. presented the Jiuta pieces Neya no Ogi (Fan of
the Bedchamber) by Yoshimura Yukari, Hayafune (The Swift Boat) by Yamamura
Waka, Miyako Junitsuki (Twelve Months in Kyoto) by Umemoto Sensho, Yashimabased on the Noh play about the ghosts of the battles between the Genji and
Heike clans by Inoue Mameka, the Kamigata Uta piece Fumitsuki (The SeventhMonth) by Umemoto Umesakuya and the Jiuta piece Kigisu (The Pheasant) by
Yoshimura Kisho and Yoshimura Teruyuki. The second part of the program
beginning at 3.30 p.m. presented the Jiuta pieces Cha Ondo (The Tea Dance) by
Yoshimura Nao, Kantan, based on a Noh play about a man who experiences all
the glories of the world in a brief dream and awakens to the emptiness of worldly
success by Inoue Yasuko, Naniwa Junitsuki (Twelve Months in Osaka) by
Yamamura Tomogoro, the Kamigata Uta piece Kiri no Ame (Misty Rain) by
Umemoto Umekinuhana and the Jiuta pieces Masazuki (The New Year) by
Yamamura Hikari and Tamatori Ama (The Diving Girl Retrieves the Jewel) by
Inoue Yachiyo based on a Noh play about a girl who brings back a precious jewel
from the undersea palace of the dragon god for the sake of her son but at the costof her life. There were representatives of all the major schools of Mai presenting awide range of things to enjoy, with Yoshimura Nao from the Yoshimura school
displaying a fresh charm. The Umemoto school was represented by its head
Umemoto Sensho (the dance name of Kabuki actor Kataoka Ainosuke),
Umemoto Umesakuya and Umemoto Umekinuhana, showing that its tradition087

is being properly transmitted to the next generation. Yamamura Tomogoro fromthe Yamamura school skillfully conveyed the light and easygoing feeling of thecity of Osaka, and Yamamura Hikari evoked the felicitous atmosphere of New
Year through a loving couple. Inoue Mameka from the Inoue school served as afine example of the art of a Gion geiko, and Inoue Yachiyo’s dance could be said
to be sheer perfection and was very profound.
In addition to these two programs, to commemorate the 55th anniversary of
its opening, the National Theatre produced Suodori no Sekai (Traditional
Japanese Dance without Adornment) (March 5, Small Theatre). Although muchof the repertoire of Japanese classical dance comes from kabuki theatre, the mostdistinctive type of dance might be suodori, where the dancer performs without astage set or costume and expresses everything in a formal kimono with minimal
props except, most importantly, a dance fan. This means that the performer must
express everything through pure dance movement. In this presentation, the useof mime in kabuki dance was explained, and then they showed how it is transformed in suodori. For a presentation titled Suodori no Sekai, this emphasis on
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kabuki dance could hardly be said to have focused on the essence of suodori. It is
sad that this was such a missed opportunity. Also, it presented Hanagata –Meisaku Buyo Kansho Kai (Star and Masterpiece Traditional Japanese Dance
Performance) (July 23, Small Theatre), and all the dances were originally fromkabuki. It’s almost as though the producers at the National Theatre believe thatJapanese classical dance consists only of kabuki dance, which if true would be
extremely unfortunate. They must emphasize the unique qualities of Japaneseclassical dance much more.

3. Performances Sponsored by the Buyo Kyokai
Like the previous year, the major dance recital of Buyo Kyokai (Japanese Classical Dance Association), scheduled for February 19–20 in the Large Theatre of the
National Theatre, was canceled due to the pandemic. But Buyo Kyokai did
produce three performances. It sponsored Nihon Buyo – Sono Tasai na Hyogen(The Diverse Expressions of Nihon Buyo) (October 21, Kanze Noh Theatre) and088

Todoke Asu e – Keisho no Wadachi – Nihon Buyo Koen (Classical Japanese Dance
Recital – Bring the Path of the Transmission of Tradition for the Sake of Tomorrow)(October 12, National Theatre, Small Theatre). Then, to feature a new work, as thefifth presentation of Mirai-za – “Sai,” it presented Ginga Tetsudo 999 Hitori no
Shonen no Saichi no Monogatari (Galaxy Express 999 – The Story of a Boy’s
Wisdom) (June3–5, National Theatre, Small Theatre).
In the performance at the Kanze Noh Theatre, the geisha of the Shinbashi
district appeared and gave a simple introduction to the songs and dances of thegeisha districts and dance movements. Then there were two pieces by Japaneseclassical dancers, Yoichi no Dan – Sosaku Kyogen Gakari (Yoichi’s Verse: Creative
Kyogen Opening). The choreography was by Onoe Bokusetsu, the music wascomposed by Handa Junko and the flute and percussion was arranged by Tosha
Rosen. The dancers were Hanayagi Genkuro, Nishikawa Senshigero andHanayagi Shue. The program also featured Onoe Yukari in Fuji Musume (The
Wisteria Maiden). In the performance at the National Theatre, Small Theatre, themain piece was Odette Ultimate Love – from Swan Lake, choreographed by
Hanayagi Tokijukyo. There were also two rare Nagauta pieces choreographed by

Hanayagi Suketaro, Kanjaku Keisei (The Courtesan), a portrait of a courtesan
based on the version originally performed by kabuki actor Nakamura Kanjaku
and Futatsu Domoe (The Double-Swirled Crest). The pieces were performed bygroups of female dancers. I was very happy that both performances inspired hopefor the future.
The new piece was a staging of Matsumoto Leiji’s famous comic. I imagine
that it was intended to show the contemporary relevance of Japanese classicaldance. But I find that I must agree with what the designer of Japanese gardens
Tatsui Takenosuke wrote in the monthly Nihon Buyo (v. 78, no. 8): “After watching it, it made me think that I had even less of an idea of the image that present
day dancers have of Japanese classical dance than before. It even made me thinkthat maybe the best thing would be to just take Japanese classical dance and dismantle the whole thing.” I believe that the problem is probably that contemporaryclassical dancers are trying for expressions that are the total opposite of the techniques that they have been taught. I can’t help but think that they have discarded
the goal of totally expressing the lyrics of the music with their entire bodies.

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4. Activities of Veteran Classical Japanese Dancers
At the Onoe Kikune Momoju o Iwau Kai (Recital to Celebrate Onoe Kikune’s 100thYear) (July 21, Kioi Small Hall), Onoe Kikune and Onoe Bokusetsu danced theTomei piece Kono Kimi (‘My Lord,’ - the Japanese title uses a poetic word forbamboo) in choreography by Bokusetsu. Even though there were no stage costumes or adornments of any kind, the two performers had a unique presence.
They evoked the bamboo of the title vividly, suggesting their straight and uprightlives and careers as dancers over long years.
There was a recital of suodori on April 18 at the Small Theatre of the National
Theatre to commemorate the recognition of Nishikawa Senzo as a Person of Cultural Merit. Senzo danced Matsu no Midori (The Green of the Pine). His use of thedance fan was extremely precise and careful and seemed to express his long yearsof devotion to Japanese classical dance and his passion for dance itself. This issomething unimaginable in the West.

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5. A
 s Always, Many Commemorative Recitals Were Produced byDance Schools
There were many recitals put on by schools of dance including the following:
Shosei Fujima Murasaki Jusan Kaiki Tsuizen – Sandaime Fujima Murasaki
Shumei Hiro Murasaki-ha Fujima-Ryu Buyo Kai (Fujima School Murasaki Branch
Dance Recital Commemorating the Thirteenth Anniversary of the Death of Fujima
Murasaki I and the Name Taking of Fujima Murasaki III) (January 30, National
Theatre, Large Theatre), Nidaime Saruwaka Kiyokata Sanju Kinen Dai 74 Kai
Saruwaka Kai (Recital Commemorating the 80th Year of Saruwaka Kiyokata II –The 74th Saruwaka Recital) (April 23, National Theatre, Large Theatre), Hossoku
70 Shunen Kinen Dai 58 Kai Seiha Wakayagi-Ryu Teiki Koen (58th Regular
Recital of the Seiha Wakayagi School Commemorating the 70th Anniversary of its
Founding) (August 20, National Theatre, Large Theatre), Bando Kai Soritsu 100
Shunen Kinen Kai (Recital Commemorating the 100th Anniversary of the Bando
Kai) (September 17–18, National Theatre, Large Theatre), Wakayagi Ryota
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Aratame Wakayagi Kichiryozo Nabirome Koen Wakayagi Kai (Wakayagi School
Recital Commemorating the Name Taking of Wakayagi Ryota to Wakayagi
Kichiryozo) (November 20, National Theatre, Small Theatre) and Shichisei
Nakamura Shikan Junen-Sai Jakusei Kai (The Jakusei Recital Commemorating the10th Anniversary of the Passing of Nakamura Shikan VII) (November 27, National
Theatre, Large Theatre). Among them, particularly noteworthy was Fujima
Murasaki I’s granddaughter Fujima Sawako taking the name Fujima Murasaki III
as a Japanese classical dancer. She commemorated this by dancing the Nagauta
piece Kyoganoko Musume Dojoji (The Girl at Dojoji Temple) and by playing
Shizuka Gozen in the Kiyomoto piece Michiyuki Hatsune no Tabi (The First
Birdsong of Spring) with her older brother Fujima Takahiko, who took the nameof Fujima Kakeru on this occasion, as Tadanobu. This was the birth of a star, who
is both an actress and a Japanese classical dancer, and we can expect great thingsfrom her in the future.

6. Fresh Shoots for the Future in Groups of Young Dancers
Fresh shoots could be seen in Reimei no Kai (New Dawn Group) (January 29,

Nihonbashi Koukaido), featuring dancers from the school of Fujima headed by
Fujima Kanemon, Fujima Yukihiro, Fujima Hirotaro, Fujima Toyohiko andFujima Naozo, and in Dai Yonkai Soten Koen (4th Blue Sky Concert) (August 24,
Tsukishima Shakai Kyoiku Kaikan), featuring the same Fujima Naozo together
with Hanayagi Kiina and collaborating with traditional musicians. The first performance focused on developing the techniques of suodori, while the second
sought to find the appeal of Japanese classical dance through connections with awide variety of traditional performing arts. The fact that Fujima Naozo is amember of both these groups promises great things in the future.
Also, there were performances by veteran artists like Hanayagi Sonokisuke’s
Nihon Buyo Taku no Tsudoi (March 6, National Theatre, Small Theatre), the 6th
Hanayagi Tamaito / Izumi Yuki Recital Tamayu no Kai (November 8, National
Theatre, Small Theatre) and Nishikawa Zuisen’s Toki no Kai (November 13,
Cerulean Tower Noh Theatre). These performances had the high level of technique and creativity that is worthy of artists with their experience. You could saythat these are the people keeping the Japanese classical dance world alive today.

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7. Topics
In 2021, Nishikawa Senzo was recognized as a Person of Cultural Merit, but thisyear, there were no appropriate candidates for the Agency for Cultural Affairs
Art Award or New Face Award from the world of Japanese classical dance. Inpart, this is due to the rise of ballet in Japan, but it can also be said that this isbecause Japanese classical dance, here including Ryukyu Buyo and regional traditional performances, has not gone far enough in finding the essence of theJapanese way of using the human body for artistic expression. In 2022, Futabakai
of Yamamura school dance won the prize for excellence in the National Arts Festival. From next year, the Arts Festival Prize will no longer be awarded. This
marks the end of the role of this prize.

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Hirano, Hidetoshi
Nihon buyo (Japanese classical dance) critic. Born in 1944 in Sendai and graduated from thetheatre division of the literature department of Waseda University majoring in kabuki.
Worked for a publishing house as an editor for such periodicals as Okinawa Performing Arts,
the quarterly journal Folk Performing Arts, and the monthly magazine, Japanese Music andClassical Dance. To explore the art of physical expression, he became a critic and is a memberof advisory committees for institutions, including the Japanese Cultural Agency and theSociety for the Advancement of the Arts in Japan. In 2016, his book Critique: History ofJapanese Physical Expression—Ancient, Medieval and Early Modern Period (Nihon Buyo-sha)
was published.
(Translation: Mark Oshima)092