Kumi Odori - Repertory

Repertory

Although approximately sixty kumi odori pieces have been accounted for, Chokun remains the most influential figure. Not surprisingly, all of his pieces were related to no in some way, which is understandable given the success of kabuki theater’s adaptation of the same. His presentations were roughly half an hour long, unlike the two hour and forty minute performances that would come later (Foley 3). These works are generally categorized into two groups by subject matter: domestic plays, called sewa mono and historical plays, or jidai mono. Jidai mono, or vendetta plays as they are often called (kataki-uchi mono) are frequently based on revenge, while love and filial devotion and piety are the main focus of the sewa mono (Foley 8). Shushin kaneiri remains the most important piece of kumi odori, and shares many similarities to the Dojoji legend told through many other types of theatre arts. “Chokun’s five pieces,” or Chokun no goban, are completed with the addition of three more pieces: Mekarushii (The Children Left Behind), Onna monogurui (The Grief-Crazed Woman), and Koko no maki (A Tale of Filial Piety) (Thornbury 232). Tasato Chochoku, who lived from 1703–1773, was another great figure who created enduring works like Manzai tekiuchi, which translates as “Vengeance Fulfilled.” His contributions mainly centered on the theme of revenge, which in turn dealt with loyalty and devotion, as well as the creation of some comedic pieces (Thornbury 232). Five new kumi odori were developed in 2001 by Oshiro Tatsuhiro, in the first major attempt to revamp the repertoire since 1976. 1976 marked the year Kin Ryosho, a renowned kumi odori performer and teacher finished his alteration of parts of previous works, something that is inevitable when an art form is passed from generation to generation. Kin Ryosho (金武良章, 1908–1993) taught kumi odori to both sexes at his studio in Naha. He was taught by his father, Kin Ryojin (1873–1936), a student of Amuru Pechin, who was a famous performer in the last ukwanshin in 1866. Noho Miyagi (宮城能鳳) is the other notable kumi odori performer and dancer of the twentieth century. After studying under Genzo Tamagusuku, he taught at the Okinawa Geino Daigaku (University of the Arts), providing his students with the skills necessary to perform and pass on this cultural treasure (Foley 237).