Thoughts on the forthcoming Kei’un-kai INI Gala Recital 2016

Next Sunday (August 21st) I will join the Kei’un-kai, INI Taikai Gala Recital celebrating Udaka Michishige’s 70th birthday. I am going to perform in a number of pieces, among which the shimai solo dance excerpt from the Noh Kurama Tengu. Although this is the only piece in which I will perform as a dancer, hence one may think it is the highlight of the day from my point of view, I am more concerned with practising the many other numbers in which I will sing as a member of the jiutai chorus.
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Kongo School chant books, and the program for the forthcoming recital.

As for Kurama Tengu, I have performed the maibayashi (longer excerpt with music) just a couple of weeks ago. For the Taikai recital I will perform the relatively shorter, latter part of the dance as shimai (solo excerpt to the accompaniment of a chorus of four, without music). In the Kongo school this shimai follows the choreography of the hakuto (‘white wig’) variation of the play, featuring complex kata sequences (movements). The play narrates the encounter between the boy Ushiwakamaru, who will later become the General Minamoto no Yoshitsune, and the Great Tengu of Mount Kurama. The Tengu, impressed by Yoshitsune’s courage, promises to train the boy in the martial arts, preparing him for his future battles against the rival Heike family, which he will eventually defeat. The difficulty of this dance lies in being able to make strong yet controlled movements, expressing the power as well as the stateliness and supernatural nature of the elder Tengu.
However, as I mentioned before, my major concern is not this dance, but rather the various other pieces in which I will serve as chorus member. Looking at the program from the beginning (9:00am) I am slated to sing in
  1. The chorus for Kami-uta, the recitation of the chant from the ritual performance Okina, often performed at the beginning of celebrations such as an important birthday. Difficulties: here Kami-uta serves as ‘opening ritual’ – we will perform with formal kamishimoIt is an honour for me to partake in this recitation.
  2. Immediately after Kami-uta I will perform in the su-utai solo chant recitation of the full Noh Shunkan, recounting the story of three men exiled to Kikai Island after they failed a coup attempt against Taira no Kiyomori. Two of them (tsure) are pardoned, while Shunkan (shite) has to remain on the island alone. I am going to take the role of one of the tsure, Taira no Yasuyori. However, in su-utai recitations singers chanting the part of shite, waki or tsure are also singing in the chorus. Difficulties involved in this: 1. Yasuyori and Naritsune (the other shite) get to sing long sections in unison. 2. Yasuyori reads the pardon letter – highly dramatic scene. 3. The chorus part in this play is particularly difficult.
  3. Chorus for a round of 12 different shimai. Difficulties: 1. shimai chant typically is faster and with shorter pauses compared to chant performed with music, putting more emphasis on adjusting the tempo to the shite’s acting. Without musicians as reference, being able to follow the chorus leader is crucial. 2. being the lowest in rank, I will be sitting upstage right, the farthest from the chorus leader (sitting upstage center-left). It will be more difficult to isolate and follow the leader’s voice while hearing one more voice to my left, as well as while producing a loud voice myself. 3. this round of shimai consists of basic pieces, but still, twelve assorted dances is a good number. It will be important to be able to quickly switch from mood to mood.
  4. Chorus for the maibayashi from the noh Tomoe, the only warrior piece in which the shite is a woman. Difficulties: 1. Tomoe is a long piece, featuring chant sections that range from melodic to dynamic, from poetic description to energetic narration. 2. A chorus for a maibayashi is typically composed of four members, meaning that individual mistakes are clearly heard. 3. Once more my position is the farthest from the chorus leader, yet the closest to the flute player (in this case Sugi Ichikazu-sensei, one of the highest ranking flute players in Kyoto), who will be able to hear every syllable slip or rhythmical inaccuracy. Sugi-sensei listening to my chant is on my mind every time I practice Tomoe 🙂
  5. Chorus for the full Noh Sesshoseki – nyotai (The Death Stone). This is the second time I sing in the chorus for this play, which is very useful as I understand the development of the mood of the play better. Difficulties: 1. downside of having sung the play already: my position is not the lowest. I am now sitting to the extreme left of the front row, meaning that I am the closest to the audience, as well as to the waki who will be sitting in the downstage left corner for most of the play. Luckily during our last training session in Matsuyama I could practice the chorus chant alone, while another students and Udaka-sensei would play the drums. Thiswas very useful for memorizing the ‘ma’, or pauses between phrases.
All in all, this is quite a bit of work for a non-professional like me. I am spending most of my practice time memorising chant. At the same time, I am very grateful to have so many chances to sing in such a great variety of pieces. 頑張ります!I’ll do my best!

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