Introducing the world of Noh : Noh Dance and Forms


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高砂（金春欣三）　© TOSHIRO MORITA

With vocal and instrumental music elements, Noh dance becomes the foundation of Noh art, which is a type of comprehensive music drama. The word mai (Noh dance in this case), has deep connotation, more than simply representing each style of body movement in Noh drama. To perform a Noh drama is expressed as "to dance Noh." In a broad sense the word "dance (mai)" in the world of Noh generically expresses the comprehensive art work of Noh, which includes both music and physical movement.

We also use the same word "dance (mai)" for a particular part of a Noh drama to distinguish that part from other components of Noh drama. In this case, the "dance" includes chū-no-mai, jo-no-mai, or other sections of dance, which are performed with instrumental music composed of the rhythm of small and large hand drums and a drum and the tone of a Japanese flute.

Also, an actor dances to vocal and percussion music at some specific points in a Noh drama, where are referred to in such terms as kuse or kiri. These are also a type of small-scale "dance." This type of "dance" is often extracted as a shortn informal performance, "shimai," which is performed only with vocal music, and the actor wears informal simple costumes of crested kimono and hakama (Japanese trousers).

These "dances" are composed of a series of "forms" or the delicate patterns of body movements. The beautiful flow of these forms create Noh dance. Forms are sometimes called "shosa" and areare recognized asseem the smallest components of Noh performance.

Types of Noh Dance

Noh "dance" performed with instrumental music has some variations based on the performer's role-such as man, or woman, and deity, or human-and on the type of drama-such as shūgen-mono, shura-mono, or kazura-mono. Besides the difference of the rhythm of the dance, the melody of a Japanese flute plays a major role in Noh "dance" to frame the entire dance. The following are the major types of Noh "dance."

Jo-no-mai — 野宮（津村礼次郎）　© TOSHIRO MORITA

Chū-no-mai（中之舞）: A dance which is neither quick nor too slow. This dance becomes the standard of other dances. It is performed either with the music of a flute and large and small hand drums, or with that of all instruments (flute, two types of hand drums, and drum). The role of woman in genzai-noh usually performs this style of dance. Examples of Noh dramas including this type of dance are Yuya, Matsukaze (Breeze through the Pines), and Kochō (Butterfly).
Jo-no-mai（序之舞）: A very slow dance with dignified atmosphere. This dance is also performed either with the music of flute and large and small hand drums, or with all instruments (flute, two types of hand drums, and drum). This is recognized as a dance for shirabyōshi (a female dancer who wears a male costume), a prostitute, the ghost of a noble woman, and a female spirit or deity. This type of dance is performed in Hagoromo (Celestial Feather Robe), Izutsu (Wellhead), or Eguchi.
Otoko-mai (Male's dance)（男舞）: The dance performed by a male role who does not don a mask. The dancer performs this fast, gallant, courageous piece for celebration in genzai-noh. This is performed with a flute and small and large hand drums. Dramas which include this type of dance include Ataka, Kogō, or Kosode-sogaSoga.
Kami-mai (Deity's dance)（神舞）: The dance performed by male deity in waki-noh (or the first category Noh). This is a very fast dance, performed with dignity and dash. The music performed with this type of dance includes a drum with other three instruments. Dramas such as Takasago, Yōrō, Yumi-Yawata include this type of dance.
Gaku（楽）: This type of dance imitates the tune of the dance and music played in the imperial court. Shite (the lead part), who performs stories of Chinese deities and hermits who originated in China and those of imperial court musicians, dances this type. This solemn dance starts with a slow tempo, but gradually shifts to fast pace. The music performed with this type of dance includes a drum with three other instruments. Noh dramas such as Tenko, Kantan, and Fuji-Daiko include this type of dance.
Kagura (Sacred Shinto dance)（神楽）: The dance performed by the role of female deity or Shinto priestess. This is originally derived from sacred Shinto dance and was arranged with the unique tune of a Japanese flute and included the melody in kami-mai. It is performed in various ways, and shite in some schools holds a Shinto hei wand to dance this kagura. The music performed with this type of dance includes a drum with three other instruments. Noh dramas such as Miwa, Makiginu (Roll of Silk,) and Tatsuta include this type of dance.

In addition to the types listed above, other types of Noh "dance" include Banshiki-hayamai, kakko, kyū-no-mai, and ha-no-mai. Maibataraki that a dragon deity or tengu (long-nosed goblin) shows their briskness, and kakeri, which shows the sufferings of warrior who have fallen into the realm of asura, are not recognized as "dance" in a strict sense. These two pieces of performance are considered as similar to "dance."

From these various Noh "dance" pieces, a suitable piece is selected and performed on different occasions based on the dignity of the Noh drama. In the beauty of these forms, Noh "dance" embraces diverse and protean artistic expressions.

Basic Forms of Body Movement

Forms are the components of Noh performance. Each form is given a name and becomes an important element in the patterned beauty of sophisticated body movement of Noh.

The most basic form is "kamae" which is the basic posture for performing Noh. In this "kamae" posture, you slightly bend your knees to keep your center of gravity low, twist your elbows slightly inwards and make a circle in your arms, and hold a fan in your right hand.

The basic form of movement is called "hakobi." While you keep your balance low, you slide your feet - not stepping - to move forward. To change direction, for example if you turn left, you will cross your right foot at the toe of your left foot, which slides forward. With this movement, you will turn whole your body to the left. At that moment, you will shift your balance little by little so that the axis of your body is well aligned with your right toe.

The form called "shiori" expresses grief. You look slightly toward the ground and cover your eyes with one or both hands to indicate that you are shedding or holding back tears of lament. The form in which you swing your fan in the right hand backward and bring it back in front of your eyes is called "sashi." This form indicates that you are pointing toward distant mountains or a place on the ocean to the description of vocal music. Each form represents a specific emotion, scene, or movement; however, the same form can be used to express different emotions or scenes.

Noh actors finely polish the forms, turn the series of forms into successive, fluid movements in Noh dance, and express diverse emotions through the forms in a Noh drama.

Shimai and Mai-bayashi

As explained above, shimai is a part of Noh "dance," such as kuse or kirii, in which the shite describes the surrounding scenery or his or her emotion through various forms.

Mai-bayashi is also a style of performance that extracts a part where the other "dance" such as chū-no-mai follows shimai, and dances the part with instrumental music. In both shimai and mai-bayashi, actors neither wear formal costume in full attire nor don a mask: they perform in informal simple costume of crested kimono and hakama, usually holding a fan.

Difference between Mai and Odori

In Japanese, there are two different types of dance forms, mai and odori, which are both translated with the same word, "dance," in English. Although it is often misused, in Japanese we never say "Noh wo odoruOdori (dance Noh)" or "Noh no odori (Noh dance)" in the world of Noh art. Instead, it should be expressed "Noh wo mau (dance Noh)." Although these words, "mai (noun) / mau (verb)" and "odori (noun) / odoru (verb)" are lumped together as "dance," what is the difference between these two? According to the dictionary, "odoru" or "odori" refer to movements involving jumping and hopping to rhythm. In "odori"-style dance, the dance mainly consists of active movements of arms and legs. On the other hand, in the case of "mau" or "mai" the dance mainly consists of shuffling movements on the stage. Although we have had distinguished between these two different styles of dance for long time, the boundary between the two has often blurred. Some forms of Noh movement involve active movements, such as stepping beat or jumping. However, including such vigorous movements, we have used the word "mau" to express the art of Noh since ancient times.

Traditional Japanese singing and dancing, including kagura, imayō, rōei, ennen-no-mai, or kusemai, richly involve the elements of subtle mai-style dance. Noh incorporated these traditional arts from various perspectives. This historical background therefore shows us the inseparable relationship between Noh and "mai."

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