琉球舞踊における流会派の発生と展開

Abstract

One of the characteristics of the transmission system in the Japanese classical performing arts is an exclusive, closed relationship between a teacher and pupil under the Iemoto system. A pupil has a fixedly bonded relationship with a particular teacher and school and is not allowed to study under other teachers or other school's teachers without the permission of his/her own teacher. The world of Ryukyuan dancing today is in the same situation. With the emergence of schools (Ryukaiha) at the beginning of the 1960s, the Iemoto system was introduced into this world and since then, such a fixedly bonded relationship with a teacher and school has been gradually strengthened. But, previously it had been the custom to study under more than one teachers to learn their best performances, under the thought that “a skill is for everyone = a shared treasure.”This paper clarified the process in which the Iemoto system was introduced into the world of Ryukyuan dancing and has permeated while changing in a socialcultural context, in comparison with the traditional Iemoto system in the world of arts of the Japanese mainland. Furthermore, it also considered the problems that such a traditional transmission system poses to the practice of the performing arts today. The result is as follows. (1) Before the emergence of Ryukaiha In order to grasp the situation before the emergence of Ryukaiha, I conducted a hearing survey of four informants (Important Intangible Cultural Properties [collective recognition]).Three informants among four have studied under more than one teacher,while one informant has learned from only one teacher in a fixed way. The teacher of the latter informant is said to be the person who really introduced the Ryukaiha system into the world of Ryukyuan dancing. The result reconfirmed the process of the style shifting from “transmission from more than one teacher” to “transmission from one teacher,” that is, a “fixedly bonded relationship with a particular teacher and school” which characterizes the Iemoto system. (2) Emergence and development of Ryukaiha (Iemoto system)Each Ryukaiha of Ryukyuan dancing is under the umbrella of either of two newspaper companies that sponsor dance contests--Okinawa Times and Ryukyu Shimpo. This paper dealt with the Ryukaiha belonging to Okinawa Times. I analyzed the situation of emergence and development of the Ryukaiha using published chronological tables and newspaper articles. Then I classified the process of the permeation of Iemoto system into the three periods: (1) “the beginning of Iemoto system” in 1960s, (2) “the formation of Iemoto system” from 1970s to 1980s, and (3) “the establishment of Iemoto system” from 1990s to the present. I also mentioned how it differs from the Iemoto system of the Japanese mainland. For example, it uses an original naming system instead of the Natori system and attaches importance to a contest system. (3) Problems that Ryukaiha system (Iemoto system) poses to the practice of the performing arts today Finally, I outlined the problems that such a transmission system poses to the practice of the performing arts today. First, the traditional transmission system causes the restriction of the arts. Second, learners lose their goals after the examination of a contest and the acquisition of a license. Third, an economic burden is imposed in acquiring a license and maintaining the life of performing arts. Fourth, learners' senses of values have changed (If a learner receives an education at the school based on democracy and egalitarianism, they are reluctant to accept the traditional morality that forms the basis of the transmission system).