Performing arts are an important part of Japanese culture – these have emerged through the centuries and are still as popular today as they were hundreds of years ago.
Below we explore some of the most well-known:
Kabuki
Kabuki has been part of the Japanese culture since the early 1600’s and is a traditional art; combining music, dance and drama on the stage with elegant and dramatic costumes to compliment the stories it tells. It was originally performed only by females; inspired by a woman called “Izumo no Okuni”. However, due to the nature of some of the dancing styles being considered “too suggestive” it was banned for a while by the Government. Moving towards the 17th Century, Kabuki became popular once more but this time only men were allowed to perform. This is still the case today.
Noh
Noh dates back to the 14th Century in Central Asia. Each Noh play tells a story while combining singing with acting performed in slow dramatic movements.
Noh is a Buddhist term. Performers are generally linked in some way to the Shinto and Buddhist temples. Noh was formed by a man named Kannami back in 1363 and became well-known when he performed to Yoshimitsu, the ruler at that time. Yoshimitsu loved it so much he established Kannami’s troupe of performers in his palace and from then on it became a popular entertainment for court nobility.
Hundreds of Noh plays have been written through the centuries, many by Kannimi’s son – Zeami. Zeami continued the Noh art long after the death of his father and became one of the most famous icons in Japanese theatre.
Kyogen
Kyogen was created in the 15th Century and focuses on classic comedy rather than the drama of Noh. It is believed in fact that the creation of the court jester may have originated from this art. It was originally used to relieve the tension at intervals during Noh plays, but overtime has been recognised in its own right.
It has two distinct styles – Okura and Izumi and comprises of over 200 different plays. The beauty of Kyogen is its expressive style; those performing in the art must move and speak to the strict dialogue set in training which has not changed in the past 600 years.