48:
118:
564:(Foley 9). When performed in the present day, the musicians will sit either stage left or in the wings, preserving the uncluttered look of the original, and at no time are there more than six actors on stage (Thornbury 231). It is said that the essence of the action holds the importance, rather than the action or peripheral elements themselves. Similarly, realistic props were avoided, and would rather symbolize ideas instead of being taken literally.
1272:
414:, which were prevalent in villages of the past (Foley 2). A true conglomerate, it merges music, song, narrative, and dance all for a dramatic effect. Originally performed by completely male casts of aristocratic origin, today it is also performed by women who typically take on the roles of females or young males. In the past, casting was dependent greatly on body type, and smaller males would perform these parts. The movements of the
344:
now had the chance to enter the schools and become performers (Thornbury 233). After the
American occupation of Okinawa came to an end and Okinawa was ceded back to Japan in 1972, there was a revival of sorts of all the indigenous art forms. The Japanese support of local Okinawan arts is a source of much debate. Although Okinawan culture was suppressed by the Japanese government during the war, but the On May 15, 1972
686:, and women have surpassed men in number, and while numbers may be growing, the lack of dedication compared to the earlier years will begin to take a toll on the art form. Few people have the time or resources to fully devote their lives to the study of classical performing arts today. Along with this somewhat waning interest, leading figures in the Japanese dance world believe that
419:
ballet, it is said that it is more difficult to truly master bourrees (tiny connected steps en pointe which travel across the floor) than it is to complete multiple pirouettes, although the latter may look more impressive, and the same notion applies here. Generally speaking, the easier a step may seem, the harder it is to perfect. There are three levels of
695:
becomes complacent, interest is lost, and the true artistic value starts to fade. Kin Ryosho, another important figure in the
Japanese dance world has said “When something becomes too rigid, it is dead” (Foley 11). In order to faithfully represent Okinawan culture, it must develop and grow with the area while remaining true to its cultural identity.
391:-shi, near the city of Naha in 2004. The reasons for this are not entirely clear, but despite government funding shortages, the officials in Tokyo agreed to support the project. Not only does the theatre attach importance to the city of Okinawa, but it is also a tourist attraction, which gives a more rational basis for their support (Thornbury 243).
427:, within the storyline would fulfill the third (Foley 7). This is common in many forms of dance, especially in the classical ballet. Often, the main storyline will be subverted by peasant dances or divertissements provided purely for the dance itself, rather than substantially promoting the storyline. Although
694:
will need an overhaul (Thornbury 241). This seems an extraordinary feat, as the repertory has not expanded much since the kingdom years, but it has been demonstrated time and again that dance needs to change to keep up with the talents of those pushing its boundaries and vice versa. When an art form
343:
was all but forgotten. The aristocrats who previously enjoyed the luxuries of time and money that allowed them to study court dance were now scarce in number but, through a few notable figures, it was passed down through the generations and performed for the general population. Even the common people
452:
performers express their characters through makeup and other means (Foley 3–4). Facial expressions are understated and emotion is displayed through the movements of the head or the cast of the eyes (Foley 7). The eyes always lead the head, and just as in classical ballet, the eyes arrive first and
418:
are very slow and deliberate. There are no shows of bravura nor are there any obvious feats of difficulty, rather the complexity of the steps lies in its restrained simplicity (Foley 6). Highly stylized, its characteristic gliding walk is said to be one of the hardest steps to master. In classical
278:
consented to follow the tribute system with China and, as part of this system, Chinese envoys settled in
Okinawa for approximately six months out of the year whenever the succession of a new king needed to be confirmed by the Chinese emperor (Foley 2). It was essential that these important visitors
243:
in order to take advantage of its connections with China, and ruled only indirectly until the 1872 (Smits 91). Coincidentally, this actually served to promote
Chinese culture. The ambiguity of Ryūkyū's political status while under Japanese control was a debate that concerned most of the elite. Even
423:(dance): realistic actions, emotional actions, and dances within a dance. The characteristic walk discussed earlier would be an example of a realistic action, meant to tell a story. The addition of dance steps to these actions would comprise the second level, and the inclusion of travel dances, or
547:
players, who were the most important instrumental component, and songs were used to heighten the mood in intense situations. These songs were crucial to the performance, and often replaced dialogue much like in
Broadway musicals (Foley 8). And as opposed to the spirited music of Okinawa's common
223:
in the early fifteenth century (Smits 90). Eventually
Okinawa conquered the rest of the Ryūkyū Islands, expanding its small kingdom. Trade was booming in East Asia in the late fifteenth and early sixteenth centuries and Ryūkyū's position as a middleman helped foster relationships with Japan and
560:, which was used for female or young male roles (Foley 8). Most of the important singing was done by the musicians. The musicians either sat onstage or stage left during the performances, or sat behind a drop since the stage was ordinarily an eighteen-foot platform, much like that of the
210:
are composed of more than 140 islands, 40 of which inhabited, that lie beneath the southernmost
Japanese main islands. A point of contention throughout the years, ownership of Ryūkyū was often disputed by major powers. The island of Okinawa was first ruled by warlords, called either
435:
style of performance, there are also several characteristics that provide distinction between the two. Both feature sparse settings, eliminating the need for elaborate backdrops or scenery. Similar material, structure, and quality of performance echo in both. However, where
287:, or minister of dance, Tamagusuku Chokun. Appointed to the position in 1715, his main responsibility was to commission entertainment for the lavish banquets held for the visiting emissaries. He had previously made five trips to Japan, stopping in both Satsuma and
584:
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
665:
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).
681:
revival is up in the air, as the average performer is around the age of sixty, and it is difficult to raise interest when these professionals are already busy teaching and living their own lives (Thornbury 241). Most professionals belong to the
548:
folk, this music was formal and somewhat austere, projecting the idea of nobility through the music. Delivery is formal and full of metaphors just as in
Japanese literature of the time. Two styles were applied: strong singing, or
86:
637:, 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
384:- all musical or narrative arts- would join them in this esteemed category (Thornbury 233–234). After a decade of petitioning for an arts complex to house the prefecture's native arts, the National Theatre Okinawa
244:
though it was under
Japanese domination and its leaders were aware of this, it maintained its autonomy until 1879 (Smits 107). By this time, Ryūkyū began to come under more formal Japanese control.
649:
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
480:, or innate grace, is also important (Foley 11). This does not come immediately and can only be achieved after years of hard work and dedication. It is said that one cannot be a good performer of
476:, on the other hand, is the culmination of the skills acquired through years of experience. All performers must have both characteristics in order for a performance to be deemed good. The idea of
191:
492:, until at least fifty, which is quite the opposite of the baby ballerinas favored by many in western dance. Perhaps most importantly, while no focuses on past events, the
453:
the rest of the body follows. Such careful attention to detail gives a refined and controlled action life, without which the art would cease to give the desired impression.
106:
331:(The Children's Revenge), which were Chokun's first works, were performed by male aristocrats and remain a major part of the repertory to this day. With the fall of the
830:
402:
is a mixture of dance styles that has its roots in Okinawan, Chinese, and Japanese methods. In addition to this, it incorporates qualities from religious dances,
175:, for the Chinese diplomats who traveled to Ryūkyū. Tamagusuku Chokun, a Ryūkyūan courtier who lived from 1684 to 1734, is credited with the establishment of
311:, which greatly influenced his work (Foley 3). He was inspired by the Chinese arts as well, and at this time Chinese literature, Confucianism, and even the
1311:
633:(A Tale of Filial Piety) (Thornbury 232). Tasato Chochoku, who lived from 1703 to 1773, was another great figure who created enduring works like
823:
839:
816:
519:, the classical poetry of Okinawa, and classical music for his songs. Instruments typically included three stringed instruments: the
37:
1011:
705:
690:
needs to adapt in order to remain relevant today. Miyagi Noho, famous performer and teacher, has stated that in order to survive,
727:
349:
184:
576:
pieces have been accounted for, Chokun remains the most influential figure. Not surprisingly, all of his pieces were related to
264:. In 1972 it was finally returned to Japan as a result of years of friction between the Okinawans and the U.S. military.
76:
739:
179:
as a frequently presented court demonstration. An amalgamation of several different types of East Asian dance, the
771:
645:, in the first major attempt to revamp the repertoire since 1976. 1976 marked the year Kin Ryosho, a renowned
653:
to both sexes at his studio in Naha. He was taught by his father, Kin Ryojin (1873–1936), a student of Amuru
385:
886:
183:
has continued to hold a place in Okinawan culture, and is now recognized by the Japanese government as an
808:
708:(Possessed by Love, Thwarted by the Bell): A Kumi Odori by Tamagusuku Chokun, as Staged by Kin Ryosho."
916:
171:
in 1719, the original purpose of this dance was to provide amusement and diversions, which were termed
17:
728:“National Treasure/National Theatre: The Interesting Case of Okinawa’s Kumi Odori Musical Dance-Drama"
601:) are frequently based on revenge, while love and filial devotion and piety are the main focus of the
1301:
1296:
47:
1306:
1221:
856:
1231:
1206:
1016:
881:
795:
444:
leans toward Confucianism, choosing to promote moderation rather than enlightenment. Where
8:
1291:
236:
207:
332:
253:
232:
195:
926:
261:
139:
256:
of Japan, and then it was occupied by the United States from 1945 to 1972 following
228:. Once trade diminished, Ryūkyū faced the threat of invasion by Japan. In 1609, the
1061:
941:
642:
472:
is similar to the idea of innate stage presence, something that cannot be learned.
961:
946:
921:
617:
legend told through many other types of theatre arts. “Chokun’s five pieces,” or
149:
1131:
376:(other traditional Japanese dances) as corporate entities. After its inception,
117:
1256:
1236:
1211:
1161:
1006:
951:
911:
229:
168:
164:
1285:
1186:
1181:
1166:
1126:
1051:
1041:
1036:
851:
249:
245:
1251:
194:. It remains today a prime example of native art sustained by the people of
1261:
1226:
1201:
931:
871:
717:"Ambiguous Boundaries: Redefining Royal Authority in the Kingdom of Ryukyu"
257:
838:
220:
1246:
1156:
1111:
1071:
1046:
796:"MODERN TWIST ON 'KUMIODORI' – Artists update classic Ryukyu dance"
552:, which was reserved for powerful male roles, and soft singing, known as
749:
1216:
1196:
1081:
1031:
744:
716:
896:
891:
323:
was staged for the first time at the Choyo banquet in spring of 1719:
1241:
1096:
1056:
378:
gidayu bushi, tokiwazu bushi, itchu bushi, kato bushi, miyazono bushi
336:
956:
275:
1176:
936:
906:
861:
295:). While there, he studied all the fine arts, gaining knowledge of
192:
Representative List of the Intangible Cultural Heritage of Humanity
319:
performances, had been absorbed into Okinawan culture (Foley 2).
1151:
1146:
1141:
1136:
1106:
901:
876:
327:(Possessed by Love, She Takes Possession of the Temple Bell) and
312:
1271:
270:
was born out of the necessity of diplomatic acts. In 1372, King
1171:
1116:
1101:
1026:
996:
991:
976:
775:
654:
388:
301:
297:
240:
188:
504:
both lack the heavy emphasis on music that is so important to
1191:
1121:
1091:
1086:
1076:
1066:
1021:
1001:
986:
971:
966:
360:
was the fifth performing art to be selected as such, joining
292:
271:
225:
58:
981:
866:
580:
in some way, which is understandable given the success of
307:
288:
802:(Tuesday, Jan. 30, 2007) (Retrieved on January 13, 2008)
621:, are completed with the addition of three more pieces:
201:
356:, under the Cultural Properties Protection Law, or
772:"Kumiodori, traditional Okinawan musical theatre"
661:in 1866. Noho Miyagi (宮城能鳳) is the other notable
1283:
737:
840:UNESCO Oral and Intangible Heritage of Humanity
734:16.2 (1999) 230–247, ; (accessed 24 July 2007).
160:means "combination dance" or "ensemble dance".
30:Kumiodori, traditional Okinawan musical theatre
597:, or vendetta plays as they are often called (
133:
824:
496:style focuses on present action (Foley 4).
712:22.1 (2005) 1-32 ; (accessed 24 July 2007).
456:There are two qualities that define a good
831:
817:
46:
789:
657:, who was a famous performer in the last
1312:Intangible Cultural Heritage of Humanity
448:performers would typically wear a mask,
248:forced the Kingdom to become a Japanese
14:
1284:
613:, and shares many similarities to the
543:. The lyrics were usually sung by the
348:was proclaimed a nationally important
185:Important Intangible Cultural Property
812:
609:remains the most important piece of
394:
239:and forced the King to become their
219:, and was unified under the rule of
669:
252:in 1872, and in 1879 it was made a
202:Historical and political background
187:. In 2010 it was inscribed on the
148:is a form of narrative traditional
38:UNESCO Intangible Cultural Heritage
24:
738:Nishimura, Kunio (February 2002).
721:Harvard Journal of Asiatic Studies
315:, an instrument later adapted for
25:
1323:
1270:
116:
764:
629:(The Grief-Crazed Woman), and
535:, a flute; and two drums, the
431:shows greats parallels to the
13:
1:
698:
572:Although approximately sixty
440:deals with Buddhist thought,
283:was developed in 1719 by the
625:(The Children Left Behind),
567:
350:intangible cultural property
7:
917:Bumba-meu-boi from Maranhão
857:Albanian folk iso-polyphony
358:Bunkazai Hogoho. Kumi odori
354:kuni no juyo mukei bunkazai
10:
1328:
641:were developed in 2001 by
523:(brought from China), the
1268:
847:
684:Dento Kumi Odori Hozonkai
589:and historical plays, or
134:
115:
105:
97:
92:
82:
72:
64:
54:
45:
34:
29:
1012:Georgian vocal polyphony
757:
510:
364:(ancient court music),
726:Thornbury, Barbara E.
1232:The Song of the Sibyl
740:"Performing Miracles"
732:Asian Theatre Journal
710:Asian Theatre Journal
882:Ashiqs of Azerbaijan
723:60.1 (2000) 89-123 ;
87:Asia and the Pacific
279:be entertained, so
163:Originating in the
93:Inscription history
677:The future of the
368:(puppet theatre),
333:Tokugawa shogunate
101:2010 (5th session)
1279:
1278:
927:Dainichido Bugaku
706:“Shushin Kani’iri
395:Elements of style
262:Battle of Okinawa
124:
123:
16:(Redirected from
1319:
1302:Culture of Japan
1297:Ryukyuan culture
1274:
1207:Slovácko Verbuňk
1077:Khorasan Bakhshi
942:Cante Alentejano
833:
826:
819:
810:
809:
803:
793:
787:
786:
784:
782:
768:
753:
748:. Archived from
715:Smits, Gregory.
643:Oshiro Tatsuhiro
599:kataki-uchi mono
335:and the rise of
147:
137:
136:
120:
50:
27:
26:
21:
1327:
1326:
1322:
1321:
1320:
1318:
1317:
1316:
1307:Dances of Japan
1282:
1281:
1280:
1275:
1266:
1142:Ojkanje singing
1042:Jongmyo Jereyak
962:Cremona violins
947:Cantonese opera
922:Byzantine music
887:Azerbaijani tar
843:
837:
807:
806:
800:The Japan Times
794:
790:
780:
778:
770:
769:
765:
760:
701:
675:
635:Manzai tekiuchi
619:Chokun no goban
607:Shushin kaneiri
570:
513:
397:
325:Shushin kaneiri
204:
131:
68:Performing arts
41:
23:
22:
15:
12:
11:
5:
1325:
1315:
1314:
1309:
1304:
1299:
1294:
1277:
1276:
1269:
1267:
1265:
1264:
1259:
1254:
1249:
1244:
1239:
1237:Tumba francesa
1234:
1229:
1224:
1219:
1214:
1212:Song of Sana'a
1209:
1204:
1199:
1194:
1189:
1184:
1179:
1174:
1169:
1164:
1162:Qudud Halabiya
1159:
1154:
1149:
1144:
1139:
1134:
1129:
1124:
1119:
1114:
1109:
1104:
1099:
1094:
1089:
1084:
1079:
1074:
1069:
1064:
1059:
1054:
1049:
1044:
1039:
1034:
1029:
1024:
1019:
1014:
1009:
1007:Garifuna music
1004:
999:
994:
989:
984:
979:
974:
969:
964:
959:
954:
952:Cantu a tenore
949:
944:
939:
934:
929:
924:
919:
914:
912:Bistritsa Babi
909:
904:
899:
894:
889:
884:
879:
874:
869:
864:
859:
854:
848:
845:
844:
836:
835:
828:
821:
813:
805:
804:
788:
762:
761:
759:
756:
755:
754:
752:on 2002-05-23.
735:
724:
713:
704:Foley, Kathy.
700:
697:
674:
668:
627:Onna monogurui
569:
566:
512:
509:
410:, and chants,
396:
393:
339:Rule in 1868,
237:Ryūkyū Kingdom
230:Satsuma domain
208:Ryūkyū Islands
203:
200:
169:Shuri, Okinawa
122:
121:
113:
112:
111:Representative
109:
103:
102:
99:
95:
94:
90:
89:
84:
80:
79:
74:
70:
69:
66:
62:
61:
56:
52:
51:
43:
42:
35:
32:
31:
9:
6:
4:
3:
2:
1324:
1313:
1310:
1308:
1305:
1303:
1300:
1298:
1295:
1293:
1290:
1289:
1287:
1273:
1263:
1260:
1258:
1255:
1253:
1250:
1248:
1245:
1243:
1240:
1238:
1235:
1233:
1230:
1228:
1225:
1223:
1220:
1218:
1215:
1213:
1210:
1208:
1205:
1203:
1200:
1198:
1195:
1193:
1190:
1188:
1187:Samba de roda
1185:
1183:
1180:
1178:
1175:
1173:
1170:
1168:
1165:
1163:
1160:
1158:
1155:
1153:
1150:
1148:
1145:
1143:
1140:
1138:
1135:
1133:
1130:
1128:
1125:
1123:
1120:
1118:
1115:
1113:
1110:
1108:
1105:
1103:
1100:
1098:
1095:
1093:
1090:
1088:
1085:
1083:
1080:
1078:
1075:
1073:
1070:
1068:
1065:
1063:
1060:
1058:
1055:
1053:
1052:Istrian scale
1050:
1048:
1045:
1043:
1040:
1038:
1037:Hudhud chants
1035:
1033:
1030:
1028:
1025:
1023:
1020:
1018:
1015:
1013:
1010:
1008:
1005:
1003:
1000:
998:
995:
993:
990:
988:
985:
983:
980:
978:
975:
973:
970:
968:
965:
963:
960:
958:
955:
953:
950:
948:
945:
943:
940:
938:
935:
933:
932:Beijing opera
930:
928:
925:
923:
920:
918:
915:
913:
910:
908:
905:
903:
900:
898:
895:
893:
890:
888:
885:
883:
880:
878:
875:
873:
870:
868:
865:
863:
860:
858:
855:
853:
852:Aka polyphony
850:
849:
846:
841:
834:
829:
827:
822:
820:
815:
814:
811:
801:
797:
792:
777:
773:
767:
763:
751:
747:
746:
741:
736:
733:
729:
725:
722:
718:
714:
711:
707:
703:
702:
696:
693:
689:
685:
680:
672:
667:
664:
660:
656:
652:
648:
644:
640:
636:
632:
628:
624:
620:
616:
612:
608:
604:
600:
596:
592:
588:
583:
579:
575:
565:
563:
559:
555:
551:
546:
542:
538:
534:
530:
526:
522:
518:
508:
507:
503:
499:
495:
491:
487:
483:
479:
475:
471:
467:
463:
460:performance:
459:
454:
451:
447:
443:
439:
434:
430:
426:
422:
417:
413:
409:
405:
401:
392:
390:
387:was built in
386:
383:
379:
375:
371:
367:
363:
359:
355:
351:
347:
342:
338:
334:
330:
329:Nido tekiuchi
326:
322:
318:
314:
310:
309:
304:
303:
299:
294:
290:
286:
282:
277:
273:
269:
265:
263:
259:
255:
251:
250:feudal domain
247:
246:Emperor Meiji
242:
238:
234:
231:
227:
222:
218:
214:
209:
199:
197:
193:
190:
186:
182:
178:
174:
170:
166:
161:
159:
155:
151:
145:
141:
130:
129:
119:
114:
110:
108:
104:
100:
96:
91:
88:
85:
81:
78:
75:
71:
67:
63:
60:
57:
53:
49:
44:
40:
39:
33:
28:
19:
1262:Xoan singing
1252:Wayang kulit
1202:Silbo Gomero
1017:Gong culture
872:Arabic maqam
799:
791:
779:. Retrieved
766:
750:the original
743:
731:
720:
709:
691:
687:
683:
678:
676:
670:
662:
658:
650:
646:
638:
634:
631:Koko no maki
630:
626:
622:
618:
614:
610:
606:
605:(Foley 8).
602:
598:
594:
590:
586:
581:
577:
573:
571:
561:
557:
553:
549:
544:
540:
536:
532:
528:
524:
520:
516:
515:Chokun used
514:
505:
501:
497:
493:
489:
485:
481:
477:
473:
469:
465:
461:
457:
455:
449:
445:
441:
437:
432:
428:
424:
420:
415:
411:
407:
403:
399:
398:
381:
377:
373:
369:
365:
361:
357:
353:
345:
340:
328:
324:
320:
316:
306:
296:
284:
280:
267:
266:
258:World War II
216:
212:
205:
180:
176:
172:
162:
157:
153:
143:
127:
126:
125:
36:
1257:Xi'an guyue
1247:Vedic chant
1112:Morin khuur
1072:Koodiyattam
1047:Iraqi Maqam
506:kumi odori.
404:kami ashibi
285:odori bugyo
167:capital of
98:Inscription
1292:Kumi Odori
1286:Categories
1222:Sutartinės
1217:Sosso Bala
1197:Shashmaqam
1192:Seto Leelo
1082:Kumi odori
892:Baul music
745:Look Japan
699:References
692:kumi odori
688:kumi odori
679:kumi odori
671:Kumi odori
663:kumi odori
651:kumi odori
647:kumi odori
639:kumi odori
623:Mekarushii
611:kumi odori
595:Jidai mono
591:jidai mono
574:kumi odori
527:, and the
494:kumi odori
482:kumi odori
458:kumi odori
450:kumi odori
442:kumi odori
429:kumi odori
416:kumi odori
400:Kumi odori
382:ogie bushi
346:kumi odori
341:kumi odori
321:Kumi odori
317:kumi odori
281:kumi odori
268:Kumi odori
254:prefecture
181:kumi odori
177:kumi odori
158:Kumi wudui
154:Kumi odori
144:Kumi wudui
128:Kumi odori
18:Kumi odori
1242:Vallenato
1097:Long song
1057:Kgal Laox
659:ukwanshin
603:sewa mono
587:sewa mono
568:Repertory
425:michiyuki
291:(today's
221:Shō Hashi
173:ukwanshin
73:Reference
1177:Rebetiko
1132:Nhã nhạc
937:Candombe
907:Biyelgee
862:Angklung
798:–
539:and the
408:chondara
260:and the
165:Ryūkyūan
150:Ryūkyūan
140:Okinawan
1227:Táncház
1157:Quan họ
1152:Pirekua
1147:Pansori
1107:Meshrep
1062:Khuumii
902:Bigwala
897:Bećarac
877:Arirang
842:: Music
558:yuwajin
545:sanshin
541:kodaiko
521:sanshin
474:Konashi
466:konashi
366:bunraku
313:sanshin
233:invaded
196:Okinawa
152:dance.
65:Domains
55:Country
1172:Reggae
1137:Nongak
1127:Nanyin
1117:Mugham
1102:Maloya
1032:Hua'er
997:Gagaku
992:Fujara
977:Eshuva
957:Ca trù
776:UNESCO
655:Pechin
615:Dojoji
582:kabuki
550:kyogin
537:odaiko
531:; the
498:Kabuki
490:kabuki
389:Urasoe
380:, and
374:kabuki
372:, and
362:gagaku
302:kabuki
298:kyogen
276:Chūzan
241:vassal
189:UNESCO
83:Region
1167:Radif
1122:Muqam
1092:Lhamo
1087:Kunqu
1067:Klapa
1027:Gwoka
1022:Guqin
1002:Gagok
987:Frevo
972:Duduk
967:Doina
781:2 May
758:Notes
673:today
554:wagin
533:hanso
529:kucho
517:ryuka
511:Music
421:odori
352:, or
337:Meiji
293:Tokyo
272:Satto
226:China
59:Japan
1182:Sama
982:Fado
867:Aqyn
783:2011
525:kutu
500:and
464:and
412:umui
305:and
235:the
217:anji
206:The
107:List
556:or
488:or
478:hin
470:Kan
462:kan
406:or
308:Noh
289:Edo
274:of
215:or
213:aji
156:or
77:405
1288::
774:.
742:.
730:,
719:,
593:.
578:no
562:no
502:no
486:no
484:,
468:.
446:no
438:no
433:no
370:no
300:,
198:.
142::
138:,
135:組踊
832:e
825:t
818:v
785:.
146:)
132:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
