History Eisa (dance)

1 history

1.1 origin
1.2 pre-world war ii traditions
1.3 post-world war ii transformation

history
origin

the origin of eisa unclear many other folk performing arts. iha fuyū argued name of eisa related wesa omoro (okinawan: ゑさおもろ), phrase appearing in volume 14 of omoro sōshi (16th–17th centuries). theory no longer supported. more name derived exclamation used in original song of eisa, mamauya ninbuchi (okinawan: 継親念仏). standardization of written form relatively new. meiji era newspaper articles used various forms including yensaa (okinawan: イェンサー), yaisaa (okinawan: ヤイサー), , ensaa (okinawan: エンサー).

the core of eisa consists of nembutsu songs. ryūkyū-koku yuraiki (1713) attributes introduction of nembutsu taichū (1552–1639), jōdo sect monk mutsu province. according record, translated buddhist teaching vernacular speech , taught people of naha during reign of shō nei. other sources confirm taichū stayed in capital region 3 years in 1600s , converted king , other high-ranking officials. researchers speculate introduced odori nembutsu or dancing nembutsu naha. however, taichū s teaching did not prevail; barely carried on followers in kakinohana, naha.

another important factor related origin of eisa chondaraa (okinawan: チョンダラー), group of puppeteers. ryūkyū-koku yuraiki records 2 theories regarding etymology of chondaraa. 1 indicates origin, kyoto. other founder named kyō (no) kotarō (京小太郎). fact origin had been obscured 18th century suggests came mainland japan long time ago. based on modern-day shuri kubagawa-chō (part of capital shuri), performed puppet plays, chanted banzei (manzai) on celebratory occasions , sang nembutsu songs funeral service. these reasons, called ninbuchaa (nembutsu prayer) or yanzayaa (banzei chanter). uncertain if chondaraa performed nembutsu beginning or learned later different group. unlike taichū s followers, wandered around okinawa island.

the spread of nembutsu mainland japan not limited okinawa. in yaeyama islands, bon dance called angama , accompanied nembutsu songs. amami islands have nembutsu songs, @ least of them may belong tradition different okinawa s chondaraa. note these traditions not identified eisa. eisa considered specific okinawa islands.

pre-world war ii traditions

it not clear when nembutsu songs spread central okinawa, later played central role in transforming eisa. according oral tradition, eisa introduced kamiyama, ginowan in meiji period, when wealthy farmer invited performers shuri , made them teach bon dance young villagers. community of ganeko, ginowan has similar oral history. appears eisa spread northern okinawa late meiji period shōwa period. several communities in northern okinawa believe eisa introduced sesoko, motobu, supplying center of seasonal workers.

in modern okinawa, eisa has gradually changed popular entertainment incorporating non-buddhist folk songs , adding visually appealing choreography although eisa dance still began nembutsu songs such mamauya ninbuchi , chōja nu nagari (okinawan: 長者の流れ), , yamabushi (山伏). has developed regional variants. kobayashi yukio, researcher of okinawan folk songs, classified various forms of eisa 4 groups:

kobayashi yukio analyzes modern eisa result of effort each community s newly organized youth associations, influence sophisticated theatrical performance of naha, , social movement of modernization forced young people turn sexually explicit gatherings healthy dance.

eisa performed @ bon festival. not known when extended other occasions. newspaper articles confirm eisa, other folk performing arts, had been performed attraction @ various government-sponsored exhibitions in central okinawa in 1900s.

post-world war ii transformation

eisa underwent drastic changes in post-world war ii okinawa. in 1956, under u.s. occupation, first zentō eisa contest held in koza (part of modern-day okinawa city). effort recover great damage base-dependent commercial city caused off limits ordinance u.s. military. contest, participating groups judged screening criteria such costumes, formation, technique, number of performers, , innovativeness. folklorist kumada susumu noted values imposed criteria. emphasized group dynamics, although earlier groups not large. contrary today s perception of eisa okinawa s tradition, did encourage creative nature of eisa. in fact not uncommon wear western clothing during performance.

another major event, youth furusato eisa festival, began in naha in 1964, under name of okinawa seinen eisa contest. @ first, both events competitive. in 1975, latter abolished contest , changed non-competitive festival, followed former in 1977. 1 reason behind change youth associations started showing dissatisfaction @ values imposed contests. eisa had changed spectacular group dynamics fascinate audience. give performance more punch, participating groups adopted increasingly large number of drums. adoption of luxurious uniforms effort win contest.

a new form of eisa, so-called club team eisa, came on scene in 1980s. ryukyukoku matsuri daiko, formed in 1982, typical example. while traditional eisa performed community-based youth associations, new clubs independent of local communities. characterized break perceived tradition with, example, adoption of okinawa pop music , participation of female drummers. okinawa pop in turn approached eisa in 1990s.

club team eisa grew significant success. managed export eisa miyako , yaeyama of okinawa prefecture, yoron island (1992) , okinoerabu island (1993) of neighboring kagoshima prefecture, , kantō , kansai regions, people of okinawan descent concentrated. ryukyukoku matsuri daiko has oversea chapters.

one consequence of rise of club team eisa crisis in authenticity. in response, youth associations increasingly see community-based eisa okinawan tradition although perceived tradition result of growing pains 1970s.