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kumi odori
is a form of narrative traditional Ryūkyūan dance. ''Kumi odori'' or ''Kumi wudui'' means "combination dance" or "ensemble dance".
Originating in the Ryūkyūan capital of Shuri, Okinawa in 1719, the original purpose of this dance was to provide amusement and diversions, which were termed ''ukwanshin'', for the Chinese diplomats who traveled to Ryūkyū. Tamagusuku Chokun, a Ryūkyūan courtier who lived from 1684–1734, is credited with the establishment of ''kumi odori'' as a frequently presented court demonstration. An amalgamation of several different types of East Asian dance, the ''kumi odori'' has continued to hold a place in Okinawan culture, and is now recognized by the Japanese government as an Important Intangible Cultural Property. In 2010 it was inscribed on the UNESCO Representative List of the Intangible Cultural Heritage of Humanity.〔(【引用サイトリンク】title=Kumiodori, traditional Okinawan musical theatre )〕 It remains today a prime example of native art sustained by the people of Okinawa.
==Historical and political background==
The Ryūkyū Islands are composed of more than 140 islands, 40 of which inhabited, that lie beneath the southernmost Japanese main islands. A point of contention throughout the years, ownership of Ryūkyū was often disputed by major powers. The island of Okinawa was first ruled by warlords, called either ''aji'' or ''anji'', and was unified under the rule of Shō Hashi in the early fifteenth century (Smits 90). Eventually Okinawa conquered the rest of the Ryūkyū Islands, expanding its small kingdom. Trade was booming in East Asia in the late fifteenth and early sixteenth centuries and Ryūkyū’s position as a middleman helped foster relationships with Japan and China. Once trade diminished, Ryūkyū faced the threat of invasion by Japan. In 1609, the Satsuma domain invaded the Ryūkyū Kingdom and forced the King to become their vassal in order to take advantage of its connections with China, and ruled only indirectly until the 1872 (Smits 91). Coincidentally, this actually served to promote Chinese culture. The ambiguity of Ryūkyū’s political status while under Japanese control was a debate that concerned most of the elite. Even though it was under Japanese domination and its leaders were aware of this, it maintained its autonomy until 1879 (Smits 107). By this time, Ryūkyū began to come under more formal Japanese control. Emperor Meiji forced the Kingdom to become a Japanese feudal domain in 1872, and in 1879 it was made a prefecture of Japan, and then it was occupied by the United States from 1945-1972 following World War II and the Battle of Okinawa. In 1972 it was finally returned to Japan as a result of years of friction between the Okinawans and the U.S. military.
''Kumi odori'' was born out of the necessity of diplomatic acts. In 1372, King Satto of Chūzan consented to follow the tribute system with China and, as part of this system, Chinese envoys settled in Okinawa for approximately six months out of the year whenever the succession of a new king needed to be confirmed by the Chinese emperor (Foley 2). It was essential that these important visitors be entertained, so ''kumi odori'' was developed in 1719 by the ''odori bugyo'', or minister of dance, Tamagusuku Chokun. Appointed to the position in 1715, his main responsibility was to commission entertainment for the lavish banquets held for the visiting emissaries. He had previously made five trips to Japan, stopping in both Satsuma and Edo (today's Tokyo). While there, he studied all the fine arts, gaining knowledge of ''kyogen, kabuki'' and ''Noh'', which greatly influenced his work (Foley 3). He was inspired by the Chinese arts as well, and at this time Chinese literature, Confucianism, and even the sanshin, an instrument later adapted for ''kumi odori'' performances, had been absorbed into Okinawan culture (Foley 2). ''Kumi odori'' was staged for the first time at the Choyo banquet in spring of 1719: ''Shushin kaneiri'' (Possessed by Love, She Takes Possession of the Temple Bell) and ''Nido tekiuchi'' (The Children’s Revenge), which were Chokun’s first works, were performed by male aristocrats and remain a major part of the repertory to this day. With the fall of the Tokugawa shogunate and the rise of Meiji Rule in 1868, ''kumi odori'' was all but forgotten. The aristocrats who previously enjoyed the luxuries of time and money that allowed them to study court dance were now scarce in number but, through a few notable figures, it was passed down through the generations and performed for the general population. Even the common people now had the chance to enter the schools and become performers (Thornbury 233). After the American occupation of Okinawa came to an end and Okinawa was ceded back to Japan in 1972, there was a revival of sorts of all the indigenous art forms. The Japanese support of local Okinawan arts is a source of much debate. Although Okinawan culture was suppressed by the Japanese government during the war, but the On May 15, 1972 ''kumi odori'' was proclaimed a nationally important intangible cultural property, or ''kuni no juyo mukei bunkazai'', under the Cultural Properties Protection Law, or ''Bunkazai Hogoho. Kumi odori'' was the fifth performing art to be selected as such, joining ''gagaku'' (ancient court music), ''bunraku'' (puppet theatre), ''no'', and ''kabuki'' (other traditional Japanese dances) as corporate entities. After its inception, ''gidayu bushi, tokiwazu bushi, itchu bushi, kato bushi, miyazono bushi'', and ''ogie bushi''- all musical or narrative arts- would join them in this esteemed category (Thornbury 233-234). After a decade of petitioning for an arts complex to house the prefecture’s native arts, the National Theatre Okinawa () was built in Urasoe-shi, near the city of Naha in 2004. The reasons for this are not entirely clear, but despite government funding shortages, the officials in Tokyo agreed to support the project. Not only does the theatre attach importance to the city of Okinawa, but it is also a tourist attraction, which gives a more rational basis for their support (Thornbury 243).
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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