Gigaku

Gigaku (伎楽), also known as kure-gaku (呉楽)[1] refers to an extinct genre of masked drama-dance performance, imported into Japan during the Asuka period.

History

Records state that it was introduced during the 20th year of reign of Empress Suiko (612.[1][2]) by a certain Mimaji (Mimaji (味摩之))[1][3] from Kudara kingdom (Baekje), one of the Three Kingdoms of Korea.

The masked dance was performed in silent mime,[1] to the accompaniment of music.[1] The flute, waist drum (or hip drum;[4] (yōko (腰鼓)), also known as kuretsuzumi (呉鼓 "Wu(China) drum")[1]), and shōban (鉦盤), a type of gong, were the three instruments used in the Nara Period, though the gong was superseded by a type of cymbal (dobyōshi (銅鈸子)) in the early Heian Period (9th century).[5]

About the only surviving description of the performance comes from the musical treatise forming a part of the Kyōkunshō (『教訓抄』; "Selections for Instructions and Admonition" [4]) authored by Koma no Chikazane (died 1242).[1] According to this, the netori or tuning of instruments signals the start, followed by a prelude of instruments.[4] Then there is a parading of the whole cast, both dancers and instrumentalists.[3] It has been speculated that the character mask named Chidō (治道) "Govern the way" probably took position at the front of the parade,[6] especially as this mask is listed first off in the assets ledgers (Shizaichō (資材帳)) for some of the temples that house gigaku masks.[6] The program opens with the Lion Dance (Shishimai),[4] and solo dances by the Duke of Wu,[4] wrestler, the birdman karura, and the Brahman priest.

There are two wrestler archetype characters, the Kongō (金剛) or "Vajra-yakṣa" who is open-mouthed,[7] and the Rikishi (力士) who is closed mouthed.[7][8] These two are said to be analogous to the two Niō or guardian gate statues, who respectively form the open and closed A-un shapes in their mouths.[7][8]

With the exaggerated features of many of the masks, the content of the play is described as being farcical.[4] Indeed, the two-part play of the Kuron (崑崙) (or Konron; Chinese:Kunlun nu which denotes a black man or negrito[4]) and the Rikishi (wrestler or "Strong Man") is outright obscene.[4]

In the ribald performance, the lascivious Kuron falls in lust for the Gojo (Wu woman or Chinese maiden), and expresses his desire by holding up his phallic prop called marakata (陽物(マラカタ)), and beating it with his hand fan.[8] The comic dance maneuvers are referred to as marafuri-mai (マラフリ舞 "phallus-swinging dance"). In subsequent development, the Kuron is subdued by the Rikishi who binds the Kuron by his equipment (marakata), and drags him along by the noose around his manhood.[8]

The gigaku is closely related to sangaku (散楽), and may be considered a variant imported via the Korean route, rather than more directly from China.[1]

Masks

Gigaku masks from Horyuji temple

See also

References

  1. 1 2 3 4 5 6 7 8 Shinchosha 1985, p.357-8, on gigaku men" (mask)
  2. ↑ Banham, Martin (1995). The Cambridge Guide to Theatre (preview). Cambridge University Press. ISBN 9780521434379., under Japan, subsection "Chinese and Korean influence" p.559
  3. 1 2 Heibonsha 1969 volume=5, page=483-4, article on gigaku by ja:吉川英史 (Kikkawa, Eishi, 1909~2006, traditional music related art historian)
  4. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Araki 1964, p.37-
  5. ↑ Tokyo National Museum (1984). 伎楽面: 法隆寺献納宝物(Gigaku men: Horyuji kenno homotsu (snippet). Benridō., p.207
  6. 1 2 3 Shinchosha 1985, p.914 on "Chido""
  7. 1 2 3 4 5 Shinchosha 1985, p562, on Kongō" and p.1559 on "Rikishi"
  8. 1 2 3 4 Hayashiya 1988, p.85, p.101, etc.
  9. ↑ Shinchosha 1985, p.633 on 'shishimen"
  10. ↑ Shinchosha 1985, p.633 on 'shishiko-men"
  11. 1 2 Shinchosha 1985, p.862 on "Taiko"
  • Shinchosha (1985). 新潮世界美術事典 (Shincho Encyclopedia of World Art). Shinchosha. ISBN 4-10-730206-7. 
  • Heibonsha (1969) [1964]. 世界百科事典 (Sekai hyakka jiten).  (world encyclopedia, in Japanese)
  • Hayashiya, Tatsusaburō (林屋辰三郎) (1988). 芸術の周辺 (Geijutsu no shūhen) (snippet). 日本史論聚. 8. Iwanami. ISBN 9784000034883. , p. 85
  • Araki, James T. (1964). The Ballad-Drama of Medieval Japan (preview). Publications of the Center for Japanese and Korean Studies. University of California Press. LCCN 64-24887. , p. 36ff, illustrated.
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