55:
38:
729:). It was originally an effort to recover from the great damage to the base-dependent commercial city caused by the "Off Limits" ordinance by the U.S. military. As a contest, participating groups were judged by screening criteria such as costumes, formation, technique, the number of performers, and innovativeness. Folklorist Kumada Susumu noted values imposed by the criteria. They clearly emphasized group dynamics, although earlier groups were not necessarily large. Contrary to today's perception of
855:, which is a marked departure from most modern day Ryukyu pop singers, who sing primarily in Japanese, making Hidekatsu's music a vital link for young modern Ryukyuans to the languages of their ancestors, who otherwise receive little exposure to the languages. All of the Ryukyu languages are endangered due to over a century of social and political prejudice against the Ryukyu languages by the Japanese government.
22:
691:
Kobayashi Yukio analyzes modern Eisa as a result of the effort by each community's newly organized youth associations, an influence from sophisticated theatrical performance of Naha, and a social movement of modernization that forced young people to turn from "sexually explicit" gatherings to the
756:
Contest." At first, both events were competitive. In 1975, the latter abolished the contest and changed itself into a non-competitive festival, which was followed by the former in 1977. One reason behind the change was that some youth associations started showing their dissatisfaction at values
763:
had changed itself into spectacular group dynamics that was to fascinate the audience. To give the performance more punch, participating groups adopted an increasingly large number of drums. The adoption of luxurious uniforms was another effort to win the contest.
832:
is characterized largely by its song selection, with groups usually choosing to dance to newer songs, rather than the traditional standards. Hidekatsu, a
Taketomi-born Ryukyu music artist, has become one of the most popular artists that creative
191:
dancers wear various costumes, usually according to local tradition and gender of the dancer; modern costumes are often brightly colored and feature a characteristic, colorful knotted turban. Special vests, leggings, and shoes are also popular.
405:. The fact that their origin had been obscured by the early 18th century suggests that they came from mainland Japan a long time ago. Based on modern-day Shuri Kubagawa-chō (part of the capital Shuri), they performed puppet plays, chanted
104:
dance that is performed by young people of each community during the Bon festival to honor the spirits of their ancestors. It underwent drastic changes in the 20th century and is today seen as a vital part of
Okinawan culture.
1213:
by Manabu
Ooshiro, trans. by Marie Yamazato. Yui Publishing Co. for Okinawa Department of Culture and Environment, Cultural and International Affairs Bureau, Culture Promotion Division, Naha City, 1998.
350:. Other sources confirm that Taichū stayed in the capital region for three years in the early 1600s and converted the king and other high-ranking officials. Some researchers speculate that he introduced
544:
in the Meiji period, when a wealthy farmer invited performers from Shuri and made them teach Bon dance to young villagers. The community of Ganeko, Ginowan has a similar oral history. It appears that
894:
clubs, and has since expanded to form chapters in mainland Japan, Hawaiʻi, the mainland United States, and other locations with
Okinawan populations. Whereas traditionally men would dance
119:
is danced by 20 to 30 young men and women, mainly in doubled lines or circles to the accompaniment of singing, chanting, and drumming by the dancers as well as by folk songs played on the
1150:
Siemann, Yvonne (2017). "'Transmitting the message of
Okinawa by drums': Representations of Japanese-ness and Okinawan-ness in Okinawan dance in Santa Cruz, Bolivia".
948:
has also been exported internationally to virtually anywhere with sizeable
Okinawan populations, such as Hawaiʻi, the continental United States, and South America.
706:, together with other folk performing arts, had been performed as an attraction at various government-sponsored exhibitions in central Okinawa already in 1900s.
633:: mainly performed in central Okinawa. A parade is led by male drummers and is followed by female or mixed dancers. A dozen songs are performed in a mid-tempo.
573:
has gradually changed itself into popular entertainment by incorporating non-Buddhist folk songs and by adding visually appealing choreography although the
820:
groups consist of people from a village or community due to the sacredness of the activity in honoring the ancestors of a specific community, creative
645:
of midwestern
Okinawa. A parade led by hand drummers and followed by a mixed group of men and women. A dozen songs are performed in an unhurried tempo.
239:(16th–17th centuries). This theory is no longer supported. It is more likely that the name derived from an exclamation used in the original song of
1207:
Christopher T. Nelson, "Dancing with the Dead: Memory, Performance and
Everyday Life in Postwar Okinawa." Durham: Duke University Press, 2008.
368:
356:
or dancing nembutsu to Naha. However, Taichū's teaching did not prevail; it was barely carried on by his followers in
Kakinohana, Naha.
771:, is created showcasing traditional Ryukyuan attire and the daily work of weaving cloth, grinding sugar cane, and performance of the
1279:
990:
1274:
700:
was to be performed at the Bon
Festival. It is not known when it extended to other occasions. Newspaper articles confirm that
54:
37:
618:. It has also developed regional variants. Kobayashi Yukio, a researcher of Okinawan folk songs, classified various forms of
942:(1993), Kagoshima Prefecture, and to the Kantō and Kansai regions, where people of Okinawan descent concentrated. Creative
961:
has become an integral part of their cultural identity, providing a vital link between tradition and modern creativity.
687:: distributed in the northern end of Okinawa. A dozen to twenty songs with varying tempo are performed solely by women.
342:. According to the record, he translated Buddhist teaching into the vernacular speech and taught it to the people of
179:), a small hand drum similar to ones used in Buddhist ceremony. The dancers also sometimes play small hand gongs and
419:) on celebratory occasions and sang nembutsu songs as a funeral service. For these reasons, they were also called
985:
867:
455:
from the very beginning or learned later from a different group. Unlike Taichū's followers, they wandered around
826:
teams are usually independent of local communities, and admit anyone regardless of their heritage. Creative
1233:
1219:, "Recontextualizing Eisa: Transformations in Religious, Competition, Festival and Tourism Contexts", in
719:
underwent drastic changes in post-World War II Okinawa. In 1956, then under U.S. occupation, the first
970:
is a crisis in authenticity. In response, youth associations increasingly see their community-based
934:
has become hugely popular in Okinawa, and has also been exported to the Miyako and Yaeyama Islands,
1259:
976:
as Okinawan tradition although the perceived tradition is a result of "growing pains" up to 1970s.
319:
1269:
1264:
8:
1223:, edited by Henry Johnson and Jerry Jaffe. Folkestone, UK: Global Oriental, pp. 196-220.
670:) in northern Okinawa. Men and women line up in a circle around a wooden scaffold where
1167:
852:
408:
915:
groups often create their own choreographies, typically using elements of traditional
678:
is played. Dancers use no drum. A dozen to twenty songs are performed in a fast tempo.
1171:
252:
172:
75:
496:
songs, but at least some of them may belong to a tradition different from Okinawa's
1159:
726:
667:
655:
541:
528:
songs spread to central Okinawa, which later played a central role in transforming
475:
1163:
952:
663:
561:
469:
93:
551:
939:
768:
741:. In fact it was not uncommon to wear Western clothing during the performance.
642:
456:
339:
1243:
851:
dances. Hidekatsu is unique in that his songs are almost entirely sung in the
234:
1253:
659:
487:
343:
335:
31:
750:
Festival," began in Naha in 1964, originally under the name of "All Okinawa
101:
162:
212:
1216:
89:
1246:
troupe performing block-to-block in a neighborhood in Chatan, Okinawa.
879:
347:
935:
260:
131:
are used in various combinations, depending upon regional style: the
909:
In addition to having the freedom of dancing to new songs, creative
331:
550:
spread to northern Okinawa from the late Meiji period to the early
311:
1238:
735:
as Okinawa's tradition, they did encourage the creative nature of
63:
performers (from the Tokeshi Youth Association of Yomitan village)
673:
122:
47:
21:
1221:
Performing Japan: Contemporary expressions of cultural identity
922:
259:). The standardization of the written form was relatively new.
392:
128:
97:
900:
utilizing drums, while women would dance drumless, creative
845:, has become one of the most frequently performed creative
808:," which holds many distinctions from traditional forms of
395:. The other is that its founder was named Kyō (no) Kotarō
906:
features many females who choose to dance with drums.
554:. Several communities in northern Okinawa believe that
468:
from mainland Japan was not limited to Okinawa. In the
971:
965:
956:
943:
929:
916:
910:
901:
895:
889:
883:
873:
865:
859:
846:
840:
834:
827:
821:
815:
809:
803:
797:
791:
782:
772:
758:
751:
745:
736:
730:
720:
714:
701:
695:
682:
671:
649:
636:
628:
619:
592:
586:
580:
574:
568:
555:
545:
535:
529:
523:
509:
503:
497:
491:
481:
463:
450:
444:
438:
432:
426:
420:
414:
406:
386:
380:
366:
360:
351:
325:
317:
309:
303:
288:
276:
264:
246:
240:
232:
222:
216:
211:
is unclear, like for many other folk performing arts.
206:
186:
180:
166:
120:
114:
83:
68:
58:
41:
25:
1127:
502:. Note that these traditions are not identified with
473:
1184:
709:
1102:
1030:
359:Another important factor related to the origin of
1077:
725:Contest was held in Koza (part of the modern-day
46:performer (from the Tokeshi Youth Association of
1251:
1052:
888:, formed in 1982, was one of the first creative
385:records two theories regarding the etymology of
263:newspaper articles used various forms including
1123:
1121:
604:
514:is considered specific to the Okinawa Islands.
147:
132:
1026:
790:The 1980s saw the beginning of a new style of
611:
598:
517:
398:
374:
294:
282:
270:
161:, a medium-sized drum similar to ones used in
154:
139:
1098:
1096:
1024:
1022:
1020:
1018:
1016:
1014:
1012:
1010:
1008:
1006:
1178:
1118:
1073:
1071:
1093:
1003:
564:, a supplying center of seasonal workers.
231:), a phrase appearing in Volume 14 of the
1046:
391:. One is that it indicates their origin,
1068:
964:One consequence of the rise of creative
53:
36:
20:
1149:
991:Ryukyukoku Matsuri Daiko North Carolina
1252:
1143:
1033:Minzoku geinō Eisa no hen'yō to tenkai
324:(1713) attributes the introduction of
13:
1201:
1105:Yūgyō geinin Chondaraa no sokuseki
534:. According to an oral tradition,
14:
1291:
1227:
443:chanter). It is uncertain if the
1139:(in Japanese). pp. 249–313.
1114:(in Japanese). pp. 143–192.
1089:(in Japanese). pp. 313–337.
1042:(in Japanese). pp. 193–244.
780:
744:Another major event, the "Youth
710:Post-World War II transformation
108:
1280:Festivals in Okinawa Prefecture
1187:Shutoken ni okeru Eisa no sōsei
1128:Takahashi Takayo 高橋孝代 (2006). "
986:Ryukyukoku Matsuri Daiko Hawaii
839:groups dance to. His hit song,
955:in the 21st century, creative
928:Since its formation, creative
472:, Bon dance is usually called
379:), a group of puppeteers. The
16:Okinawa traditional folk dance
1:
1275:Culture in Okinawa Prefecture
1185:Kobayashi Kayo 小林香代 (2003). "
1164:10.1080/18692729.2017.1351026
1064:(in Japanese). pp. 5–10.
996:
1239:Youth Furusato Eisa Festival
1110:Okinawa no minzoku geinō ron
1103:Kumada Susumu 久万田晋 (2011). "
1038:Okinawa no minzoku geinō ron
1031:Kumada Susumu 久万田晋 (2011). "
972:
966:
957:
944:
930:
917:
911:
902:
896:
890:
884:
866:
860:
847:
841:
835:
828:
822:
816:
810:
804:
798:
792:
783:
773:
759:
752:
746:
737:
731:
721:
715:
702:
696:
683:
650:
637:
629:
620:
593:
587:
575:
569:
560:was introduced from Sesoko,
556:
546:
540:was introduced to Kamiyama,
536:
530:
510:
504:
498:
474:
445:
433:
421:
407:
387:
381:
367:
361:
318:
304:
289:
277:
265:
247:
241:
233:
223:
217:
207:
187:
167:
115:
84:
69:
59:
42:
30:by the Seragaki Youths from
26:
7:
1078:Sakai Masako 酒井正子 (1996). "
1060:Ryūkyū to Taichū Shōnin ten
979:
874:
672:
605:
581:
524:
518:Pre-World War II traditions
492:
482:
464:
451:
439:
427:
415:
352:
326:
310:
181:
148:
146:, a large barrel drum; the
133:
121:
10:
1296:
1234:Okinawa Zento Eisa Matsuri
1193:(in Japanese) (53): 52–60.
1053:Fujita Reio 藤田励夫 (2011). "
858:Some examples of creative
599:
375:
295:
283:
271:
256:
228:
195:
176:
79:
757:imposed by the contests.
612:
399:
200:
155:
140:
1130:Geinō bunka to aidentiti
1085:Amami utakake no diarōgu
885:Ryukyukoku Matsuri Daiko
868:Ryukyukoku Matsuri Daiko
814:. Whereas traditionally
480:and is accompanied with
215:argued that the name of
1135:Kyōkaisei no jinruigaku
1055:Ryūkyū to Taichū Shōnin
579:dance still began with
64:
51:
34:
522:It is not clear when
100:. In origin, it is a
92:originating from the
57:
40:
24:
1217:Henry Johnson (2008)
346:during the reign of
796:, called "creative
567:In modern Okinawa,
382:Ryūkyū-koku yuraiki
320:Ryūkyū-koku yuraiki
1152:Contemporary Japan
853:Ryukyuan languages
624:into four groups:
65:
52:
35:
1191:Ajia Yūgaku アジア遊学
1189:首都圏におけるエイサーの創成".
1080:Chondaraa no kage
1035:民族芸能エイサーの変容と展開".
940:Okinoerabu Island
692:"healthy" dance.
654:: typical of the
641:: distributed in
127:. Three types of
1287:
1195:
1194:
1182:
1176:
1175:
1147:
1141:
1140:
1132:芸能文化とアイデンティティ".
1125:
1116:
1115:
1107:遊行芸人チョンダラーの足跡".
1100:
1091:
1090:
1075:
1066:
1065:
1050:
1044:
1043:
1028:
975:
969:
960:
947:
933:
920:
914:
905:
899:
893:
887:
877:
871:
863:
850:
844:
838:
831:
825:
819:
813:
807:
802:" or "club team
801:
795:
786:
776:
762:
755:
749:
740:
734:
724:
718:
705:
699:
686:
677:
656:Motobu Peninsula
653:
640:
632:
623:
617:
615:
614:
608:
602:
601:
596:
590:
588:Mamauya Ninbuchi
584:
578:
572:
559:
549:
539:
533:
527:
513:
507:
501:
495:
485:
479:
467:
454:
448:
442:
436:
430:
424:
418:
412:
404:
402:
401:
390:
384:
378:
377:
372:
364:
355:
329:
323:
315:
307:
298:
297:
292:
286:
285:
280:
274:
273:
268:
258:
250:
248:Mamauya Ninbuchi
244:
238:
230:
226:
220:
210:
190:
184:
178:
170:
160:
158:
157:
151:
145:
143:
142:
136:
126:
118:
87:
81:
72:
62:
45:
29:
1295:
1294:
1290:
1289:
1288:
1286:
1285:
1284:
1260:Dances of Japan
1250:
1249:
1230:
1204:
1202:Further reading
1199:
1198:
1183:
1179:
1148:
1144:
1126:
1119:
1101:
1094:
1076:
1069:
1051:
1047:
1029:
1004:
999:
982:
951:For many young
788:
712:
609:
594:Chōja nu Nagari
520:
470:Yaeyama Islands
396:
334:(1552–1639), a
221:was related to
203:
198:
152:
137:
111:
94:Okinawa Islands
88:) is a form of
48:Yomitan village
17:
12:
11:
5:
1293:
1283:
1282:
1277:
1272:
1267:
1262:
1248:
1247:
1241:
1236:
1229:
1228:External links
1226:
1225:
1224:
1214:
1208:
1203:
1200:
1197:
1196:
1177:
1158:(2): 177–192.
1142:
1117:
1092:
1067:
1045:
1001:
1000:
998:
995:
994:
993:
988:
981:
978:
864:clubs include
787:
779:
769:Ryukyu Village
767:A theme park,
711:
708:
689:
688:
679:
646:
638:Paarankuu Eisa
634:
585:songs such as
519:
516:
462:The spread of
457:Okinawa Island
353:odori nembutsu
340:Mutsu Province
205:The origin of
202:
199:
197:
194:
110:
107:
15:
9:
6:
4:
3:
2:
1292:
1281:
1278:
1276:
1273:
1271:
1270:Ritual dances
1268:
1266:
1263:
1261:
1258:
1257:
1255:
1245:
1242:
1240:
1237:
1235:
1232:
1231:
1222:
1218:
1215:
1212:
1209:
1206:
1205:
1192:
1188:
1181:
1173:
1169:
1165:
1161:
1157:
1153:
1146:
1138:
1134:
1131:
1124:
1122:
1113:
1109:
1106:
1099:
1097:
1088:
1084:
1081:
1074:
1072:
1063:
1059:
1056:
1049:
1041:
1037:
1034:
1027:
1025:
1023:
1021:
1019:
1017:
1015:
1013:
1011:
1009:
1007:
1002:
992:
989:
987:
984:
983:
977:
974:
968:
962:
959:
954:
949:
946:
941:
937:
932:
926:
924:
919:
913:
907:
904:
898:
892:
886:
881:
876:
870:
869:
862:
856:
854:
849:
843:
837:
830:
824:
818:
812:
806:
800:
794:
785:
778:
775:
770:
765:
761:
754:
748:
747:Furusato Eisa
742:
739:
733:
728:
723:
717:
707:
704:
698:
693:
685:
680:
676:
675:
669:
665:
661:
657:
652:
647:
644:
639:
635:
631:
627:
626:
625:
622:
607:
595:
589:
583:
577:
571:
565:
563:
558:
553:
548:
543:
538:
532:
526:
515:
512:
506:
500:
494:
489:
488:Amami Islands
484:
478:
477:
471:
466:
460:
458:
453:
447:
441:
435:
429:
423:
417:
411:
410:
394:
389:
383:
371:
370:
363:
357:
354:
349:
345:
341:
337:
333:
328:
322:
321:
314:
313:
306:
300:
291:
279:
267:
262:
254:
249:
243:
237:
236:
225:
219:
214:
209:
193:
189:
183:
174:
169:
164:
150:
135:
130:
125:
124:
117:
109:Popular style
106:
103:
99:
95:
91:
86:
77:
73:
71:
61:
56:
49:
44:
39:
33:
28:
23:
19:
1265:Group dances
1220:
1210:
1190:
1186:
1180:
1155:
1151:
1145:
1136:
1133:
1129:
1111:
1108:
1104:
1087:奄美歌掛けのディアローグ
1086:
1083:
1079:
1061:
1058:
1054:
1048:
1039:
1036:
1032:
963:
950:
936:Yoron Island
927:
908:
875:Chinagu Eisa
857:
842:Mirukumunari
789:
766:
743:
727:Okinawa City
713:
694:
690:
566:
552:Shōwa period
521:
461:
358:
308:consists of
302:The core of
301:
204:
112:
67:
66:
32:Onna village
18:
1082:チョンダラーの影".
753:Seinen Eisa
486:songs. The
431:prayer) or
316:songs. The
235:Omoro Sōshi
227:(Okinawan:
185:castanets.
163:Noh theatre
1254:Categories
1244:Eisa dance
1057:琉球と袋中上人".
997:References
878:(based in
722:Zentō Eisa
630:Taiko Eisa
490:also have
449:performed
338:monk from
224:wesa omoro
165:; and the
149:shimedaiko
90:folk dance
1172:194613505
953:Ryukyuans
781:Creative
648:Drumless
606:Yamabushi
499:Chondaraa
446:Chondaraa
422:Ninbuchaa
388:Chondaraa
369:Chondaraa
336:Jōdo sect
261:Meiji era
182:yotsutake
168:paarankuu
1112:沖縄の民俗芸能論
1062:琉球と袋中上人展
1040:沖縄の民俗芸能論
980:See also
582:nembutsu
525:nembutsu
493:nembutsu
483:nembutsu
465:nembutsu
452:nembutsu
434:Yanzayaa
428:nembutsu
327:nembutsu
312:nembutsu
253:Okinawan
213:Iha Fuyū
173:Okinawan
76:Okinawan
1137:境界性の人類学
938:(1992)
880:Hawaiʻi
777:dance.
681:Female
674:sanshin
668:Nakijin
603:), and
542:Ginowan
348:Shō Nei
287:), and
196:History
123:sanshin
113:Modern
1170:
923:karate
664:Motobu
562:Motobu
476:Angama
440:banzei
416:manzai
409:Banzei
376:チョンダラー
332:Taichū
278:yaisaa
266:yensaa
245:, the
201:Origin
177:パーランクー
134:ōdaiko
1168:S2CID
643:Uruma
600:長者の流れ
393:Kyoto
290:ensaa
272:イェンサー
229:ゑさおもろ
129:drums
98:Japan
85:Eisaa
1211:Eisa
973:Eisa
967:Eisa
958:Eisa
945:Eisa
931:Eisa
925:.
921:and
918:Eisa
912:Eisa
903:Eisa
897:Eisa
891:Eisa
872:and
861:Eisa
848:Eisa
836:Eisa
829:Eisa
823:Eisa
817:Eisa
811:Eisa
805:Eisa
799:Eisa
793:Eisa
784:Eisa
774:Eisa
760:Eisa
738:Eisa
732:Eisa
716:Eisa
703:Eisa
697:Eisa
684:Eisa
666:and
660:Nago
651:Eisa
621:Eisa
576:Eisa
570:Eisa
557:Eisa
547:Eisa
537:Eisa
531:Eisa
511:Eisa
505:Eisa
400:京小太郎
362:Eisa
344:Naha
305:Eisa
296:エンサー
284:ヤイサー
257:継親念仏
242:Eisa
218:Eisa
208:Eisa
188:Eisa
116:Eisa
80:エイサー
70:Eisa
60:Eisa
43:Eisa
27:Eisa
1160:doi
882:).
365:is
330:to
299:).
275:),
156:締太鼓
141:大太鼓
102:Bon
1256::
1166:.
1156:29
1154:.
1120:^
1095:^
1070:^
1005:^
662:,
613:山伏
591:,
508:.
459:.
255::
175::
96:,
82:,
78::
1174:.
1162::
658:(
616:)
610:(
597:(
437:(
425:(
413:(
403:)
397:(
373:(
293:(
281:(
269:(
251:(
171:(
159:)
153:(
144:)
138:(
74:(
50:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
