165:, a Shuri-based group of puppeteers, who also had mainland Japanese roots. Folklorist Shinjō Toshio argued that what Miyara Chōjū learned must have been Taichū's one. Sakai Masako, a researcher on folk music, questioned Shinjō's theory. Pointing out that Yaeyama has a larger repository of nenbutsu songs than Okinawa, she presumed multiple origins of nenbutsu songs. It was considered taboo to sing nenbutsu songs out of season.
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and the other is of commoners in rural communities and remote islands. He argued that the latter had better preserved its traditional way. In the samurai communities of
Ishigaki, a group of people with drums
200:(親の御恩, or Nzō Nenbutsu 無蔵念仏) was sung to mark the beginning, and dancers clap with the beat. Dances and songs alternate with question and answer, in which two masked character
208:(old woman) represent ancestral spirits and answer in a humorous way to questions about the afterlife asked by villagers. Kishaba noted that what distinguished samurai's
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traveled to
Okinawa to pay tribute. It is known from other sources that by that time nenbutsu practice had spread to the capital Shuri–Naha region of
223:, depending on regional variants, and they are surrounded by male and female dancers. "Shichigwachi Nenbutsu" (七月念仏), "KōKō Nenbutsu" (孝行念仏) and "
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parades around houses of each village. They enter a house that is surrounded by a larger number of spectators. Once everyone sits,
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dances are performed in the garden. A group of people forms a circle. In the center people sing and play drums, flutes, gongs and
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traditions can be divided into two groups: one is performed by the four samurai communities of
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songs. According to the genealogy of the San'yō lineage, nenbutsu practice was brought from
147:. There were at least two traditions of nenbutsu practice. One was started in the 1600s by
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dance) is a style of dancing that is performed in many communities of
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Hateruma: socio-religious aspects of a South-Ryukyuan island culture
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from the rural one was that the former was an indoor performance.
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in
Okinawan). Some argue that it might mean "disguise of a mask".
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106:(possibly a diminutive suffix). Another theory relates
60:(精霊)) in Yaeyama. A related performance is known as
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125:shares its mainland Japanese origin with Okinawa's
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353:
336:宗教(2)‐仏教の伝播と信仰‐". In Miyara Takahiro 宮良高弘 (ed.).
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129:. The songs to which people dance are called
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139:in 1657 when Yaeyama's samurai leader
78:while the southern community performs
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334:Shūkyō 2: Bukkyō no denpa to shinkō
227:Nenbutsu" (仲順念仏) were mainly sung.
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173:According to the local historian
365:(in Japanese). pp. 313–337.
343:(in Japanese). pp. 173–214.
304:. E.J. Brill. pp. 198–199.
287:(in Japanese). pp. 387–390.
260:(in Japanese). pp. 335–363.
251:Yaeyama guntō ni okeru bon gyōji
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102:(possibly meaning mother) and *
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276:Kishaba Eijun 喜舎場永珣 (1977). "
249:Kishaba Eijun 喜舎場永珣 (1977). "
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332:Shinjō Toshio 新城敏男 (1973). "
298:Ouwehand, Cornelius (1985).
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354:Sakai Masako 酒井正子 (1996). "
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339:Yaeyama no shakai to bunka
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361:Amami utakake no diarōgu
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215:In rural communities,
278:Angama to Nzoninbujā
52:, which is known as
283:Yaeyama minzoku-shi
256:Yaeyama minzoku-shi
110:to "elder sister" (
383:Buddhism in Japan
311:978-90-04-07710-2
118:Nenbutsu practice
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253:八重山群島における盆行事".
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363:奄美歌掛けのディアローグ
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358:チョンダラーの影".
198:Uya nu Ugun
48:during the
377:Categories
231:References
155:monk from
341:八重山の社会と文化
153:Jōdo sect
86:Etymology
317:31 March
162:Chondarā
132:nenbutsu
68:Hateruma
225:Chonjon
221:sanshin
202:Ushumai
193:sanshin
63:mushāma
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217:angama
210:angama
190:) and
179:angama
149:Taichū
137:Ryūkyū
123:Angama
108:angama
98:into *
96:angama
92:angama
76:jiruku
58:shōryō
56:(<
38:angama
18:Angama
188:taiko
112:angwā
70:. In
54:sōrin
42:Japan
319:2012
306:ISBN
127:Eisā
104:gama
25:アンガマ
206:Nmi
66:in
44:'s
30:or
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266:^
239:^
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100:an
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36:(
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22:(
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