Eisa (dance)

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Eisā by the Seragaki Youths from Onna Village

Eisā (エイサー?) is a form of folk dance originating from the Okinawa Islands, Japan. In origin it is a Bon dance that is performed by young people of each community during the Bon festival to honor the spirits of their ancestors. However, it underwent drastic changes in the 20th century and is today seen as a vital part of Okinawan culture.

Popular style[edit]

Eisā as we see it today is danced by 20–30 young men and women, mainly in a circle to the accompaniment of singing, chanting, and drumming by the dancers, and folk songs played on the sanshin. Three types of drums are used in various combinations, depending upon regional style: the ōdaiko (大太鼓?), a large barrel drum; the shimedaiko (締太鼓?), a medium-sized drum similar to ones used in Noh theatre; and the pārankū (パーランクー?), a small hand drum similar to ones used in Buddhist ceremony. The dancers also sometimes play small hand gongs and yotsutake castanets. Eisā dancers wear various costumes, usually according to local tradition and sex of the dancer; modern costumes are often brightly colored and feature a characteristic, colorful knotted turban. Special vests and leggings are also popular.



The origin of Eisā is unclear just like other folk performing arts. Iha Fuyū argued that the name of Eisā was related to wesa omoro (ゑさおもろ?), a phrase appearing in Volume 14 of the Omoro Sōshi (16th–17th centuries). This theory is no longer supported. It is more likely that the name derived from an exclamation used in the original song of Eisā, the Mamauya Ninbuchi (Mamaoya Nembutsu, 継親念仏). The standardization of the written form was relatively new. Meiji era newspaper articles used various forms including Yensā (イェンサー?), Yaisā (ヤイサー?) and Ensā (エンサー?).[1]

The core of Eisā consists of nembutsu songs. The Ryūkyū-koku yuraiki (1713) attributes the introduction of nembutsu to Taichū (1552–1639), a Jōdo sect monk from Mutsu Province. According to the record, he translated Buddhist teaching into the vernacular speech and taught it to the people of Naha during the reign of Shō Nei. Other sources confirm that Taichū stayed in the capital region for three years in the early 1600s and converted the king and other high-ranking officials.[2] Some researchers speculate that he introduced odori nembutsu or dancing nembutsu to Naha.[1] However, Taichū's teaching did not prevail; it was barely carried on by his followers in Kakinohana, Naha.[3]

Another important factor related to the origin of Eisā is Chondarā (チョンダラー, 京太郎?), a group of puppeteers. The Ryūkyū-koku yuraiki records two theories regarding the etymology of Chondarā. One is that it indicates their origin, Kyoto. The other is that its founder was named Kyō (no) Kotarō (京小太郎). The fact that their origin had been obscured by the early 18th century suggests that they came from mainland Japan a long time ago. Based on modern-day Shuri Kubagawa-chō (part of the capital Shuri), they performed puppet plays, chanted Banzei (manzai) on celebratory occasions and sang nembutsu songs as a funeral service. For these reasons, they were also called Ninbuchā (nembutsu prayer) or Yanzayā (banzei chanter). It is uncertain if the Chondarā performed nembutsu from the very beginning or learned later from a different group.[4] Unlike Taichū's followers, they wandered around Okinawa Island.[3]

The spread of nembutsu from mainland Japan was not limited to Okinawa. In the Yaeyama Islands, Bon dance is usually called Angama and is accompanied with nembutsu songs. The Amami Islands also have nembutsu songs, but at least some of them may belong to a tradition different from Okinawa's Chondarā.[4] Note that these traditions are not identified with Eisā. Eisā is considered specific to the Okinawa Islands.[1]

Pre-World War II "traditions"[edit]

It is not clear when nembutsu songs spread to central Okinawa, which later played a central role in transforming Eisā. According to an oral tradition, Eisā was introduced to Kamiyama, Ginowan in the Meiji period, when a wealthy farmer invited performers from Shuri and made them teach Bon dance to young villagers. The community of Ganeko, Ginowan has a similar oral history.[5] It appears that Eisā spread to northern Okinawa from the late Meiji period to the early Shōwa period. Several communities in northern Okinawa believe that Eisā was introduced from Sesoko, Motobu, a supplying center of seasonal workers.[1]

In modern Okinawa, Eisā has gradually changed itself into popular entertainment by incorporating non-Buddhist folk songs and by adding visually appealing choreography although the Eisā dance still began with nembutsu songs such as Mamauya Ninbuchi, Chōja nu Nagari (長者の流れ?), and Yamabushi" (山伏?). It has also developed regional variants. Kobayashi Yukio, a researcher of Okinawan folk songs, classified various forms of Eisā into four groups:[1]

  1. Taiko Eisā: mainly performed in central Okinawa. A parade is led by male dancing drummers and is followed by female or mixed teodori (dance with hand movements) dancers. A dozen of songs are performed in a mid-tempo.
  2. Pārankū Eisā: distributed in Uruma of midwestern Okinawa. A parade led by hand drummers and followed by a mixed group of men and women. A dozen of songs are performed in an unhurried tempo.
  3. Drumless Eisā: a typical of the Motobu Peninsula (Nago, Motobu and Nakijin) in northern Okinawa. Men and women line up in a circle around a wooden scaffold where sanshin is played. Dancers use no drum. A dozen to twenty songs are performed in a fast tempo.
  4. Female Eisā: distributed in the northern end of Okinawa. A dozen to twenty songs with varying tempo are performed solely by women.

Kobayashi Yukio analyzes modern Eisā as a result of the effort by each community's newly organized youth association, an influence from sophisticated theatrical performance of Naha, and a social movement of modernization that forced young people to turn from "sexually explicit" gathering to the "healthy" dance.[1]

Eisā was to be performed at the Bon Festival. It is not known when it extended to other occasions. Newspaper articles confirm that Eisā, together with other folk performing arts, had been performed as an attraction at various government-sponsored exhibitions in central Okinawa already in 1900s.[1]

Post-World War II transformation[edit]

Eisā underwent drastic changes in post-World War II Okinawa. In 1956, then under U.S. military occupation, the first Zentō Eisā Contest was held in Koza (part of the modern-day city of Okinawa). It was originally an effort to recover from a great damage to the base-dependent commercial city caused by the "Off Limits" ordinance by the U.S. military. As a contest, participating groups were judged by screening criteria such as costumes, formation, technique, the number of performers and innovativeness. Folklorist Kumada Susumu noted values imposed by the criteria. They clearly emphasized group dynamics although earlier groups were not necessarily large. Contrary to today's perception of Eisā as Okinawa's tradition, they did encourage the creative nature of Eisā. In fact it was not uncommon to wear Western clothing during the performance.[1]

Another major event, "Youth Furusato Eisā Festival" began in Naha in 1964, originally under the name of "All Okinawa Seinen Eisā Contest." At first both events took a form of competition. In 1975 the latter abolished the contest and changed itself into a non-competitive festival, which was followed by the former in 1977. One reason behind the change was that some youth associations started showing their dissatisfaction at values imposed by the contests. Anyway, Eisā had changed itself into spectacular group dynamics that was to fascinate the audience. To give the performance more punch, participating groups adopted an increasingly large number of drums. The adoption of luxurious uniforms was another effort to win the contest.[1]

A new form of Eisā, so-called "club team Eisā," came on the scene in 1980s. The Ryukyukoku Matsuri Daiko, formed in 1982, is a typical example. While "traditional" Eisā is performed by community-based youth associations, new clubs are independent of local communities. They are characterized by a break from perceived tradition, for example, with the adoption of Okinawa pop and the participation of female drummers. Okinawa pop in turn approached Eisā in 1990s.[1]

Club team Eisā grew into a significant success. They managed to export Eisā to Miyako and Yaeyama of Okinawa Prefecture, to Yoron Island (1992)[1] and Okinoerabu Island (1993)[5] of neighboring Kagoshima Prefecture, and to the Kantō and Kansai regions, where people of Okinawan descent concentrated.[6] The Ryukyukoku Matsuri Daiko now has oversea charters.[1]

One consequence of the rise of club team Eisā is a crisis in authenticity. In response, youth associations increasingly see their community-based Eisā as Okinawan tradition although the perceived tradition is a result of "growing pains" of up to 1970s.[1]


  1. ^ a b c d e f g h i j k l m Kumada Susumu 久万田晋 (2011). "Minzoku geinō Eisā no hen'yō to tenkai 民族芸能エイサーの変容と展開". Okinawa no minzoku geinō ron 沖縄の民俗芸能論 (in Japanese). pp. 193–244. 
  2. ^ Fujita Reio 藤田励夫 (2011). "Ryūkyū to Taichū Shōnin 琉球と袋中上人". Ryūkyū to Taichū Shōnin ten 琉球と袋中上人展 (in Japanese). pp. 5–10. 
  3. ^ a b Sakai Masako 酒井正子 (1996). "Chondarā no kage チョンダラーの影". Amami utakake no diarōgu 奄美歌掛けのディアローグ (in Japanese). pp. 313–337. 
  4. ^ a b Kumada Susumu 久万田晋 (2011). "Yūgyō geinin Chondarā no sokuseki 遊行芸人チョンダラーの足跡". Okinawa no minzoku geinō ron 沖縄の民俗芸能論 (in Japanese). pp. 143–192. 
  5. ^ a b Takahashi Takayo 高橋孝代 (2006). "Geinō bunka to aidentiti 芸能文化とアイデンティティ". Kyōkaisei no jinruigaku 境界性の人類学 (in Japanese). pp. 249–313. 
  6. ^ Kobayashi Kayo 小林香代 (2003). "Shutoken ni okeru Eisā no sōsei 首都圏におけるエイサーの創成". Ajia yūgaku アジア遊学 (in Japanese) (53): 52–60. 

Further reading[edit]

  • Eisa by Manabu Ooshiro, trans. by Marie Yamazato. Yui Publishing Co. for Okinawa Department of Culture and Environment, Cultural and International Affairs Bureau, Culture Promotion Division, Naha City, 1998.
  • Henry Johnson (2008), "Recontextualizing Eisa: Transformations in Religious, Competition, Festival and Tourism Contexts", in Performing Japan: Contemporary expressions of cultural identity, edited by Henry Johnson and Jerry Jaffe. Folkestone, UK: Global Oriental, pp. 196-220.

External links[edit]