Bugaku Court Dance

The Ancient Court Dance of Bugaku

Throughout the history of Japanese culture, there are many unique and refined art forms that have survived over many centuries. One of the oldest and most famous examples is the ancient Japanese court dance of Bugaku. Originated in 7th century Japan, Bugaku, along with the Gagaku, the classical Japanese court music, has carved its place into history as one of the longest surviving traditional performance pieces. It’s perseverance serves as a symbol of the importance of music and art in a countries lineage. From its introduction into Japanese society, to the contemporary evolution of art from the East, Bugaku and Gagaku continue to stand as pillar of historical and artistic relevance.

The beginning of much of

Japan’s influential culture started when they were introduced to Buddhism in the 6th century.() Specifically, Mahayana Buddhism, whose followers sought enlightenment and a desire to coexist with all sentient beings, became the dominant branch of religion within Japan.() This would lead to other forms of Buddhism to become accept into Japanese society, including Shingon Buddhism of the 9th century and Zen Buddhism of the 12th century.() However, it was the Taika Reforms, which established a new form of government based on the existing governments of their neighbors, China and Korea that propelled the idea of art and culture for a higher standard of society.() This desire for a refined artistic culture is what gave birth to the idea of Bugaku, but it’s largest, specific influence came from a style of music that originated in China, Gagaku.
As an ancient form of music, Gagaku became the official court music of Bugaku upon its creation. Much of Bugaku’s movement and rhythm was inspired by the slow and steady beat of Gagaku.() Introduced with early Buddhism, Gagaku became the Japanese form of a similar music style from China called Yayue, which was commonly used in aristocratic ceremony.() However, it wouldn’t be until 701 that the term, Gagaku, would first be recorded with the establishment of Gagakuryo, the imperial music academy of Japan.() Today, Gagaku stands as the oldest surviving form of classical music in Japan, as well as one of the oldest in all of recorded history.()
The musical form of Gagaku is performed in three repertories: Kuniburi no utamai, Komagaku, and Togaku.

The first, Kuniburi no utamai, is the native Shinto religious music used to show honor and worship of Buddhism.() This is followed by Komagaku, which was inspired by Korean/Manchurian influence.() It was specifically named after Koma, one of the three major kingdoms of ancient Korea, which was positioned in the Northern and central areas.() The final part, Togaku, was created using Tang Dynasty form, which was an expansion of art and culture due to technological advancements in a newly unified China.() These major musical imports set the foundation for how Gagaku would be utilized once paired with

Bugaku.
Gagaku is formally structured using a set a specific instruments. The first of these instruments to be introduced were a koto or zither and a biwa, which resembles a short-necked lute.() Both instruments served as part of the string section.() As Gagaku developed over time, a wider range of instruments were introduced. These were categorized within three essential sections: wind, string and percussion instruments.() Wind and string instruments have the largest variety utilized in Gagaku with many of its instruments being interchangeable to achieve similar, yet differing sounds.() However, it is the percussion instruments that have the largest effect when paired with Bugaku. Since Bugaku runs on a pentatonic scale, it is vital for the performers to use the drum beats as cues and pace makers.()
Gagaku would serve specifically as music for the imperial courts in a solo performance know as Kangen() for many years before being paired with the ancient court dance of Bugaku. Bugaku, as defined by Carl Wolz, is “a religious dance performed for the celebration of seasons, for the enthronement of emperors, and for the glorification of gods.” (Wolz, 1) The earliest forms of Bugaku, known as “Proto-Bugaku”, were inducted into Japanese culture during the Nara period, which took place from 710 CE to 784 CE.() As Bugaku began to take on a more important role in society, it started to develop and combine with many other native Japanese dances.() The court dance of Bugaku is comprised of two basic primary forms: Saho no mai and Uho sami no mai.() Saho no mai, which translates to “the dance of the left”, is traditionally accompanied by Togaku. Adversely, Komagaku is traditionally paired with Uho sami no mai, or “the dance of the right.” Along with Gagaku, Bugaku is described as one of the oldest living dance traditions in all of history.()
There is much historical and religious relevance to the art of Bugaku dance. Ancient legend tells of the how the sun goddess, Amaterasu,
Because of Bugaku’s place in a higher-class culture, the dance itself had many different forms of organization.

One of the easiest ways to classify the style or character of the dances is through four major genres, which dictate the movement and purpose of any particular dance. Bun-no-mai dances contain the largest selection of any genre, serving as the dances of noble figures and civil officials.() Ideas of elegance and refinement were conveyed through abstract movements that are performed by a company of four to six dancers and a large majority of Bun-no-mai contains no dramatic elements which allows for the dance to stand alone. Defined distinctly by Confucianism, Bu-no-mai are the military class dances. The stories of Bu-no-mai dances are often used to tell historical epics and use broader movements to help with exaggeration. Dancers for Bu-no-mai will often carry weapon, usually a sword. Hashiri-mai is a more advanced form of Bugaku dance, commonly referred to as the “running dance”. These complex dances are typically performed in duets, though there are exceptions with some being solo or four person dances. Containing very dramatic with luxurious robes, masks and settings, dancers would often perform many special movements for Hashiri-mai that are far beyond the basic techniques of Bugaku. Finally, there are Dobu dances, which are performed by children to symbolize youth, innocence and purity. Dobu is very similar to Hashiri-mai, with several pieces crossing over

between the two. Dobu dances were primarily performed in Shinto rites and festivals because of the inherent innocence of the pieces.