We woke up bright and early yesterday to meet in the hostel lobby at 9:20am to get to Kyoto Terminal, which was about a 20 minute walk away. There we met with Monica Bethe, who is a specialist in Noh. We hurried up to the second floor and were given a detailed preparation course of the Noh and Kyogen that we will be watching tomorrow. It was very helpful and detailed, with hands-on activity, and I’m looking forward to seeing a lot about what she talked about in the Noh plays themselves!
She started with talking about the 5 categories of Noh plays, the categorization system being a formalization that was created in the ceremonial period of Noh, but the general concept which had existed much earlier. She went over some of material from our past reading as well, and it was interesting to hear about the progression of Noh plays being a cycle or circle, as the first category play is Deity Noh, involving the emperor as a symbol of Japan, prosperity, and peace, and focused on a specific location with a shrine or god, and the fifth category play also involving demons or gods, usually needing to be vanquished, but in the case of the Iwafune, can also be auspicious. While traditionally, one would watch 5 Noh plays, one of each category, with kyogen interspersed, we will be watching 3 plays (deity/1st category, woman/3rd category, and demon/5th category) and 1 kyogen.
We also went over Okina, a sort of “play” with no plot and little text, that we will also be watching tomorrow. It is an incredibly congratulatory play, usually only done in the new year or very special events, such as the opening of a new building. The shite will go through very ritual purification in advance, doing activities such as bathing in frigid, January waters, and also cannot touch anything touched by women. As Bethe-sensei said, it’s very primitive and natural, and very much done by the self, in a way to become closer to being deified. The mask during the performance is considered to have the soul of the deity as well, and during the performance, it is carried out in its box and bowed to. The senzai purifies the corners of the stage as well as the mask is being taken out to be put on the shite. Another important aspect I understood was the triangle of heaven, earth, and man, which is the shite himself. The movement in this triangle symbolizes their relationship and also prays for peace and harmony. Later, the sanbaso mask is brought out, which contrasts in color from the white mask previously–an interesting symbolism of the concepts of heaven nd earth. The sanbaso actor is also stamp areas of the stage, as if the wake up the earth god, then puts on his mask and dances, planting seeds and watching them grow. While okina may not have a lot with regards to plot or text, I could see how much symbolism and ritual was put into the “play” especially when thinking about how the actor would purify far in advance to its performance.
Going to Noh, we also learned about the general format of Noh plays that quite a few Noh plays follow, then going into the specific plays we will be watching. We talked about Yumi Yawata, which is set in Iwashimizu Shrine, which deifies Hachiman, who is the guardian deity. Specifically, while sometimes Hachiman is deified as a god of war, in this play, the god is purposely used to represent peace, as he protects the peace. The bow given to the emperor in this play is not a weapon used to start war, but a wrapped, unopened weapon meant to maintain peace. During this time, we also learned about the kamimai, a god dance to flute and drums. Bethe-sensei showed us each position appropriate, symbolizing different moments in the dance, where the fan starts closed, then opens, then is held backwards, then in the left hand, then back in the right and backwards, and finally is extended. This was super interesting to see as an example as well, so I’m looking forward to also seeing it in the play itself.
We also reviewed the instrumentalists, which was of specific interest to me, as a classical flutist who also dabbles a bit in Chinese bamboo flutes. I also love the rhythmic aspect of music and spend a lot of time working on rhythms, as in Western 20th century music, unusual rhythm is emphasized sometimes as a musical feature. Here, we had a very hands-on activity, where we mimicked the large and small drums, calling back in forth in a dialogue. Unlike a majority of music that I’m used to, with a very set meter and tempo that doesn’t change unless otherwise noted, the Noh ensemble follows jo-ha-kyu, in which the beat will start fairly slow, and them build momentum and get faster at the end of the phrase. After doing the rhythms a few times, I started to understand the essence of this concept, though I’m sure it takes a lifetime in order to master it. Additionally, the 2nd, 4th, and 6th beats of silence between both drums are importance and a source of togetherness. Interestingly enough, it is not a point in time where both make noise and play together that represents the ensemble being together, but a lack of it.
I’m also looking forward to watching Niwatori Muko, which seems very amusing, being about a son-in-law who was tricked into believing that the proper way to do first greetings to the father-in-law was to act like a rooster. Funnily enough, the father-in-law goes along with the son in order to not embarrass him!
And then we went to Toboku, a kazura Noh. These types of Noh are extremely poetic and lyrical, often with dance, and also express yugen, or elegance. In this, there is the significance of the plum tree and its various meanings to piece of poetry. Especially, its color and scent, which becomes stronger each year for its love of its late mistress, the great poetess Izumi Shikibu, who achieved Buddhahood, and in essence, became one with the plum tree, something the monk, who is speaking to her, does not know quite yet. The connection of poetry and Buddhahood is quite meaningful, as poetry lasts forever, can please gods and quell demons, and fulfills the Way of Heaven, as Bethe-sensei was telling us. Poetry is essentially everywhere, especially surrounding us in nature. Buddhism involves the life and death cycle, which is the law for humans, but if we free ourselves from this cycle, we can rise above to achieve enlightenment, and can escape the Burning House, which is similar to a life of human passion and suffering. The Noh play also talks about various plum trees, such as one that was ordered to be given to the emperor, where the owner, a famous poet’s daughter, wrote a piece of poetry, saying she could not disobey the emperor, but, in short, “what would she tell the warbler (the first bird of spring, similar to how the plum tree is the first tree of spring) when he cannot find his accustomed nest?” But, in the end, everything goes back to its home or roots, the plants, the birds, the spirits, the temples, all symbols of enlightenment, and finally the monk experiencing this… wakes up from his dream! The whole thing was a dream, in fact, which is a common feature of these plays, often called dream plays.
Finally, there is the finale, or 5th category play. The kanze version in particular, which we will be watching, is shortened, and Bethe-sensei specially translated it for us. Thank you! In this, the god of Sumiyoshi protects trade, which places emphasis on the fact that, at that point in time, Japan recently established trade with China and Korea. An imperial envoy is sent by the emperor to get some of these new goods, and meets a dragon rowing a stone boat. Obviously, something is quite off–stone boats shouldn’t float to begin with! And, the boat is full of treasure, all for the emperor in order to wish his reign peace and prosperity and good trade. This play itself is quite short, but also has an auspicious message.
We also talked afterwards about how the tradition of Noh is passed on throughout the generations. It is still a hereditary system, where the community of performers rally to fill in gaps of missing positions in the art, to make sure it can be sustained over the generations. Overall, even if some direct descendants do not want to go into Noh, sometimes even one descendant is enough. Additionally, there are often outsiders who wish to enter the world, which can also replace deficiencies. Noh in itself is also a good job to have, with less worries of replacement and decent salaries, from a more practical standpoint. Many heirs are essentially “trained from the womb,” as Bethe-sensei pointed out, and are exposed constantly to the music and rhythms and performance, and thus primed to learn it.
All the information that we got from Bethe-sensei was truly helpful in augmenting my knowledge of Noh–I’m looking forward to seeing the plays tomorrow!
After the workshop, we split up into two groups, and I went to Nijojo, which is the shogun castle, with Breelyn, Franky, Leah, and Joanne. It was very beautiful! I didn’t think I was very into castles, but the gardens were something I really enjoyed. In a sense, I felt at peace with myself walking around there. There were very little people around as well, and it was very nice enjoying the scenery. In the creation of the garden, they specifically chose evergreen plants so that the scenery could be maintained no matter what season. The only thing that would change overall would be the grass color and the sakura nearby. One day, if I’m rich and famous, I want multiple large gardens like that (complete with ponds).
Afterwards, we took the subway to Nazenji, where we climbed the steepest stairs I’ve ever climbed in my life, to the second floor of the temple (gates?). We saw multiple children clutching the railings and stairs for dear life and telling their parents how scary it was. The stairs were almost more than half as tall as the children, so I would be afraid too. However, the view was worth it; look at this panorama I managed to take!
Truly a stunning view! We walked a bit more to Tetsugaku no Michi, or Philosopher’s Walk, named appropriately as Nishida Kitaro, a famous Kyoto University philosopher took the walk as meditation very frequently. It’s famous in the spring for the cherry blossoms that bloom around, but the brisk walk in the fresh winter air is also a different perspective and experience. We started at Nazenji and went to Ginkakuji, which was unfortunately closed at the time.
After the absolutely grueling walk back to Keage station, we made it back to the hostel, where now my feet are absolutely aching, and we could only manage to make it to the restaurant right next to the hostel for dinner. I hope to sleep super early today and let myself rest in anticipation for the long hours of Noh play ahead!
