NOH

THEATRE

Contents

What is Noh?
To begin with, what kind of thing is noh?
Origins and History
When did noh first begin? Is noh the same as Saru-gaku?
Composition of Noh
What are the roles of the shite and the waki?
Shite-kata
The shite is the main performer in a noh, shite performers also sing in the chorus.
Other Roles
The shite, performs together with other major characters on the stage.
Stage
Noh was originally performed in open fields, the noh stage seen today was constructed later.
Noh Masks
What is the meaning of the mask that noh performers wear?
Props
What are the kind of props used on the noh stage?
Vocal
The melody of noh is quite unique.
Music
Noh music is made up of a delicate blend of melodies and sensitive, penetrating rhythms.
Noh Dance
Generally dance serves as the foundation through which the performers express the musical aspects of noh.
Movement Patterns
The refined movement is created through the beautiful execution of the set patterns.
Costumes
Another pleasure of noh are the exquisitely designed and embroidered costumes.
What is Kygen?
Unlike noh, kygen is an art form dedicated to laughter and comedy.
Noh Masks Catalogue











































Zeami, the Originator of Noh
Stemming from the popular entertainments in Nara during the Heian period (794-1185), in
conjunction with various ritual offering dances, noh was created during the latter half of the
Kamakura period (1185-1333) and the early part of the Muromachi period 1336-1573. While
under the patronage of the shgunate and high-ranking noblemen, noh also came under the
influence of some of the Muromachi periods popular arts including Zen Buddhism and ink
painting.
Nohs founder, Zeami, is one of the most important historical figures in Japanese theatre. A
collection of his treatises on noh, Fshi Kaden, was published some 200 years before
Shakespeares theatrical debut. Even today, his treatises affect the lives of Japanese in
unexpected ways.

Although Zeami is credited with having perfected Noh as it exists today, his book
"Jroku-bu-sh" was not discovered until 1883 (Meiji 16). Until that time, this
historical genius of Japanese culture, whose talent was equivalent to that of Sen no
Rikyu, the founder of the tea ceremony, and Basho Matsuo, a haiku poet, had been
forgotten not only among the public but also even among Noh performers.

The gem-like words Zeami left for posterity show us his sharp insight into the art of
performance as well as into society. Beyond the bounds of the centuries, his words
impress us, living in the twenty-first century, and provide wisdom on how to live in
modern life.
His Dramatic Life
Zeami was born in 1363, during the Namboku-cho era, as the oldest son of Kannami, who was
the favored star in the Yamato-yoza (four sarugaku performance groups in the Yamato
region). His childhood name was Oniyasha, and his true name was Motokiyo.
When he was eleven years old, he performed the role of shishi (a lion) with his father in a Noh
performance competition in Imakumano. Beginning with this performance, Zeami was
recognized for his talents and became a star actor. Also, at this performance, he met the young
shogun of the Muromachi Shogunate, Yoshimitsu Ashikaga, and was invited to serve
Yoshimitsu intimately thereafter. Yoshimoto Nijo, who was the most sophisticated members
of the culturati of that time, also favored Zeami and provided him with the knowledge of
Japanese classics, such as the Kokinsh and renga poem (linked verse).
In Zeami's day, the shogun and aristocrats were quite important as patrons for newly emerging
arts. Therefore, it was a great opportunity for Kannami and Zeami to be recognized by the
shogun. Regarding his relationship with Yoshimitsu as a "peg boy," Masako Shirasu, a writer
who also learned Noh, notes in her book "Zeami," that "pederasty was neither unusual in
Zeami's time nor considered unhealthy as it is today. It was not considered sexual degeneracy
but rather was the extreme expression of the attachment between master and apprentice.
Ancient Japanese pederasty did not seek feminine beauty in naive boys but recognized boys as
the symbol of youth and beauty and sought the ideal of maleness within them. Among
Buddhism monks, there was a story of a monk who decided to enter the priesthood because he
found a personified Kannon (Deity of Mercy) within a beautiful boy." She continues that
"Zeami was not a person who indulged himself in the love of Yoshimitsu. He was a clever boy
full of curiosity. In his writings, he showed his appreciation for his debts to Yoshimitsu, but
he was not particularly boastful of his relationship with the shogun, and of course he did not
attempt to take advantage of the shogun's patronage."
Shortly after Zeami turned twenty, his father, Kannami, passed away while he was traveling
for a performance in Suruga (in present-day Shizuoka Prefecture). From that time on, Zeami
became the leader of the Kanze group in deed and in name and managed the group as
the shite, who was the stage director and the protagonist. He arranged and improved his
father's repertory dramas as well as created many new Noh dramas.
Although enjoyed favor in his own life, he suffered over the matter of choosing a successor.
Since he was not blessed with a child, he adopted a child, so-called Onnami, who was a son of
Zeami's younger brother, Kanze Shiro, Zeami started to think of carrying on the tradition of
his performance art and to write "Fshi kaden." This was a sort of guide written for his
successors to sustain the highest status in the world of Noh, while it is recognized as a book of
quintessential art theory today.
Zeami and his wife were finally blessed with three children, the oldest son, Juro Motomasa,
the second son, Shichiro Motoyoshi, and a daughter, who later became the wife of Komparu
Zenchiku. Zeami suffered between favoring his blood-related son, Motomasa, and favoring
the Shiro/Onnami family since Onnami, Zeami's nephew and adopted son, was once
determined as his successor. Ultimately, Zeami handed down the "Fshi kaden" to Motomasa,
when it was completed in 1418.
Although Zeami was once favored by the shogun Yoshimitsu, their relationship changed over
the years. Yoshimitsu came to favor Zeami's rival Noh actor, Inuoh, in his last years and
ranked "Dohami (Inuoh) as the best sarugaku actor." However, after Yoshimitsu's sudden
death from illness, Yoshimochi, who was a member of the culturati and familiar with Zen
Buddhism, became the next shogun. The new shogun favored Zohami, a dengaku actor,
instead of Dohami.
In 1428, Yoshimochi died and Yoshinori became the sixth shogun. Zeami's adopted son,
Onnami, performed the grand Noh performance for Yoshinori's accession to shogun, instead
of Zeami. From there on, Onnami became the leader of the Noh world, and the Kanze group
split into the mainstream of the Onnami group and the anti-mainstream of the Zeami and
Motomasa group. Around this period, Zeami's second son, Motoyoshi, entered the priesthood
probably out of despair regarding his future. Two years later, the first son, Motomasa, passed
away in his early thirties while performing in Ise (in current Mie Prefecture).
After losing his successor Motomasa, Zeami mentally relied on Komparu Zenchiku, his son-
in-law. In his very last years, Zeami passed down "Noh as a philosophy," including the theory
of Noh performance, to Zenchiku.
During such a period, another ordeal came to Zeami. In 1434, seventy-two-year-old Zeami
was suddenly expelled from the capital city of Kyoto and was banished to Sado Island (in
present-day Niigata Prefecture). It is unknown why the government expelled him because no
official record was left about his exile. The fact is barely known through the existence of his
letters to Zenchiku and "Kintoh-sho," his travel notes from Sado.
In 1441, the sixth shogun, Yoshinori, was murdered, and Yoshimasa Ashikaga assumed the
position of the eighth shogun. Onnami however maintained his privileged star position. The
current Kanze School is the lineage of Onnami.
No one knows when and where Zeami passed away. According to the tradition of the Kanze
family the date was 1443. If this is true, he was eighty-one years old at his death. It is said that
he probably died in Sado Island.

Funabenkei Toshiro Morita
Simplifying the Noh Stage, Dance and Music
One of nohs characteristics is that it is simple. Unlike Kabuki or modern theatre, the stage
for noh does not contain large set pieces or many props. In addition, the audience is not cut off
from the open stage by a curtain.
In the singing of noh, the leadership responsibilities on stage are shared between the chorus
and the musicians. They, along with the performers, all appear on the stage together. The
music, like the movement, is stripped down to create a sparse, concentrated atmosphere
wherein the vocal and instruments can better express through nuance.
Highly Valued Overseas, Becoming an Intangible
Cultural Heritage
From the Meiji Period (1868-1912), noh was widely introduced overseas to many thinkers and
theatre artists, and their work was greatly influenced by what they saw and heard. From the
1950s the establishment of performances of noh outside of Japan increased its visibility. Due
to the high regard in which the international community came to think of noh, it was
designated an Intangible Cultural Heritage.







From Sangaku to Sarugaku
During the Nara Period (710-794), a form of popular entertainment named sangaku was
imported to Japan from China. This led to the development of sarugaku which included
pantomime, acrobatics and magic; and gagaku, a more solemn form of music and dance.
While gagaku was being performed for the noblemen and the imperial court at festivals and
ceremonies, sangaku (or sarugaku as it became) was spreading throughout Japan being
performed at shrines and on the roadsides.
As time went on and sangaku went through numerous changes, it took on the characteristics
of noh and kygen and became known as sarugaku. From the Heian and Kamakura periods to
the Edo period, noh was called sarugaku or sarugaku noh.
Sarugaku Noh and Dengaku Noh
It is not clear when the word noh was first used, but long ago the word may have been used to
describe all kinds of performances. From the Nambokucho period through to the Muromachi
period, noh was widely divided into two categories called sarugaku noh and dengaku
noh. Sarugaku noh was largely based on mimetic movements whiledengaku noh was more
associated with symbolic movement. And while dengaku noh was accepted by the nobility
and performed largely in the capital, sarugaku noh was not accepted in the capital and played
largely in Omi, Tanba, Ise and the areas surrounding the capital gaining popularity.
The Four Seats of Yamato and Tachiai Noh
At that time both sarugaku and dengaku had formed groups known as the Sarugaku-za and
the Dengaku-za. Each group had a leader who acted as the chief support for the performances.
In Yamato there were four particularly strong groups: Yusaki-za, Sakado-za, Tobi-za and
Enmai-za. These four groups became the four oldest noh schools that remain today the Kanze,
Kong, Hsho and Komparu schools respectively.
It was each groups desire to rise to be considered the best in the capital. For that purpose,
they gathered to perform in a kind of arts competition known as tachiai noh. Whoever was the
winner would be deemed the best and this led to a fiercely fought battle. Whoever was in the
top seat would have the most influence on the development of the art. It can also be thought of
as one of the reasons Zeami wrote his treatises Fshi Kaden.

Photo from National Noh Theatre
After the Introduction of Zeami
The founder of the Yuzaki-za, Kanami, adapted a form of storytelling dance
from sarugaku called, kusemai. He was the first to introduce this kind of dance into
noh. Kanami also created to famous noh Sotoba Komachi and Jinen Koji.
Kanamis son, Zeami inherited noh from his father and perfected it. In the Muromachi Period,
with the support of the shguns Ashikaga Yosimitsu and Nijo Motoe, Zeami was able to
develop his own art, borrowing the techniques of his rivals. It was during this time
that Zeami developed his notion of Yugen or mysterious beauty which he included in a
number of his mugen noh (phantasmal noh) including the masterpiece Izutsu which is one of
over 50 noh that are attributed to Zeamis hand. Even now the same poetry and prose that he
wrote are still being performed.
Following the death of Zeami, his nephew, Onami and the son in law of Komparu Zenchiku,
took over as head of the troupe and continued developing the art even as the Onin Wars
destroyed the capital. As all this was happening, noh still played a very active role in the lives
of the military commanders. Among them, Toyotomi Hideyoshi one of the great unifiers of
Japan, took a great interest in noh and studied with a Komparu Tay and commissioned noh
with themes about himself to be created.
Recent and Modern Noh
Noh continued under the protection and patronage of the Tokugawa Shgunate. The second
Shgun Tokugawa Hidetada made it a law that noh and kygen would be the official art forms
of the shgunate and that the four sarugakutroupes from Yamato and the newly
formed Kita troupe would be recognized as the official licensed performance troupes. From
this, nohs standing in society was fixed and it continued to grow in popularity with both the
elite and the commoners. To this day, it continues to refine itself, however the creative genius
from the artists of the middle ages has been lost.
Following the fall of the Tokugawa Shgunate, noh too was in crisis. The following Meiji
Period (1868-1912) saw the birth of a new government and industrial system in Japan as well
as a return of entertainment for ordinary citizens. Noh too went through a kind of
transformation with the development of the iemoto system, the merging of noh
and kygen into nohgaku, and the building of indoor noh stages. Recently, with the
development of people practicing utai (vocal) andshimai (short dance) noh is poised to spread.









Present Time Noh and Mugen Noh
Many noh are taken from the Heike Monogatari (Tale of the Heike) and the Konjaku
Monogatari (Tales of Long Ago), very popular stories from the Muromachi Period (1336-
1573). Within these, noh can be divided into two categoriesgenzai noh (present time noh)
and mugen noh (phantasmal noh). Genzai noh, are noh with stories happening in the present.
While mugen noh have more complicated stores that involve dream states or visions
intersecting with present time stories as well. Though perhaps confusing, each of these types
of noh have a system of patterns, that once learned can make following easier.
The Structure of Mugen Noh
A traveler visits a place and meets a local person.

The local person tells of an incident that occurred there.

Finally the local person says, I am the person related to that incident and then
vanishes.
This is the end of the first half and is known as the maeba. At this point the protagonist
or shite is behind the curtain offstage and the interval or naka iri begins.
Following the naka iri, the shite re-emerges from back stage for the nohs second
half or the nochiba.

The spirit of the person from the first half then appears to the traveler in his dream
and through dance, in some way re-enacts the event discussed in the first half. The
traveler then awakens from the dream.
With that in mind, let us take a closer look at how the structure plays out in an actual noh.
Summary of Izutsu
Lets take a look at the noh Izutsu as an example. This is a mugen noh by Zeami considered
one of his greatest masterpieces. The story is drawn from the Ise Monogatari or the Tales of
Ise. A summary of the noh follows.
Maeba (First half)
or the souls of Arihara Narihira and his wife. A village woman appears.

The woman, while drawing water from the well and tending to an old grave, tells
of Narihiras infidelity and his eventual realization that his own wife was not having
an affair and his re-falling in love with her. She then tells the priest, The two were
childhood friends and they often played around this well, even when they became
adults. I am the woman of this well and the mans wife. Having revealed herself
she disappears.

Naka iri

Nochiba (Second half)
The priest decides to pray for the soul of the woman of Izutsu, Narihiras wife.
Then, while sleeping, the spirit of the woman appears to him wearing the robe
of Narihira. She then dances retelling the story, conjuring thoughts of Narihira and
seeing her reflection in the waters of the well. Before long, dawn breaks, the
woman vanishes and the priest arises.
In the first half, a village woman relates to a traveling priest, the episode of Narihira and the
woman of Izutsu. As she says, Actually, I am the woman of Izutsu revealing her true self
and then disappears. Following the interlude, in the second half the spirit of the woman
of Izutsu appears to the priest in a dream wearing the cloak of Narihira and dances about her
longing for him. The woman who had appeared in the first half to the traveling priest, then
appears to him in his dreams and in this way shows us the typical form of a mugen noh.
The Appearance of Living People, The Development
of Genzai Noh
In mugen noh, the shite is either a ghost, vengeful spirit or some otherworldly character.
In genzai noh, the shite portrays a living person whose story develops throughout the piece
rather than reliving the past. Examples of genzai noh where mothers are searching for lost
children are Sumidagawa (Sumidagawa River), Miidera (Miidera Temple) and
Sakuragawa (Sakuragawa River). Funabenkei (Benkei on the Boat) is an example of a genzai
noh in which the famous general Yoshitsune is escaping to the western provinces of Japan.

Roles in Noh
The main performer in a noh is called the shite. The range of characters that a shite can
portray is vast, including: gods, warrior ghosts, female ghosts, madwomen, living men or
women, or fanciful otherworldly beings like tengu (long-nosed goblins) or dragons. In the first
half of a noh the shite is called the maeshite or maeshiite, and in the second half the shiteis
called the nochishite or nochijite. In a mugen noh, the maeshite and the nochishite may be
completely different characters but are almost always played by the same performer.
A noh really centers on the shite and could be called, shite-centric. It is generally the role of
the shite to not only perform the main role in a noh, but to act as both producer and director in
stage action as well as casting to a degree.
Another role, the waki, while known as the secondary role, is in some ways an equally
important part of a noh and included in nearly every noh. The waki plays a variety or roles like
a traveling priest or the former foe of the shite, but in amugen noh there is one large
difference. The waki is always a living character. In the mugen noh, it is generally that
theshite is in some way afflicted and the waki is there to help the shite receive some kind of
release.
It is not at all unusual in noh to have just a shite and a waki as the main players or tachikata on
the stage. Tachikata are the performers portraying characters on stage.
In addition, there are sometimes accompanying performers with the shite or the waki. In this
case, they are known asshite tsur or waki tsure respectively. An attendant to the shites
character (not a stage attendant) is known as a tomo. There are also roles for children in noh.
These roles are called kokata. A kokata does not necessarily have to play the role of a child,
but it is a role designed to be played by a child.
In mugen noh the maeba and the nochiba are separated by the naka iri in which
the waki receives advice from a local person regarding the encounter he has just had. In these
cases the role is played by a kygen actor in a role known as theai kygen or sometimes
simply as the ai.
Types of Noh
Noh can be divided into five different categories: god, man, woman, mad-woman, demon. In a
full noh program, on noh from each category would be played. This is known as goban date.
The tradition of gobandate was developed in the Edo period. In between each noh a
separate kygen play would be performed. A typical gobandate would start in the morning
with an invigorating god noh followed by the brave tales of a warrior noh. This would be
succeeded in the afternoon by the beauty of a womans story. Heading into evening would be
a madwomans tale, which would employ a variety of emotions. When evening fell, the time
for otherworldly spirits to be awakened, a demon noh would be performed. Due to the
exhaustive number of hours required of both performer and audience, the gobandate is rarely
held today. However, these categories are carefully considered when deciding a noh program
today.
In addition, when a gobandate is being performed, it is proceeded by a piece called Okina.
Originally developed by theOkina Sarugaku this has become to be known as the noh that is
not a noh as it is more of a ritual ceremony than a noh. Due to its revered status, it is
performed as an opening for New Year performances and at important anniversaries or events.
Noh Categories and Examples

God (First Category)
Noh in which the shite plays the role of a god are called (shobanme mono). Since these noh also
sometimes accompany Okina, they are also known as waki noh (accompanying noh). The
appearance of a god can signify the promise of peace, happiness, abundant crops or the like. Often
the maeshite is in the form of an old man and the nochishite enters as the true embodiment of the
god. Takasago, Oimatsu and Yoro are noh in this category.
Man (Second Category)
Men are the main role in this category and the shite usually plays the tormented soul of a warrior.
This category is also known as shura mono (warrior hell). These tales are taken predominately from
the Heike Monogatari (Tales of the Heike) in which a warrior is seeking redemption or forgiveness
from warrior hell, where all warriors are fated to enter. Noh in this category include: Atsumori,
Kiyotsune, Yashima, Tomoe.
Woman (Third Category)
The woman category is also known as kazura mono (wig noh). It is the central noh in
the gohbandate and is usually about the ghost of a woman and the themes center around love and
suffering. Often the ghost is condemned to wander the earth trapped somehow by the love that she
feels. Noh in this category include Hagoromo, Izutsu, Matsukaze, Teika.
Crazed (Fourth Category)
Also known as kyjo mono (crazed woman) or kurui mono (crazed), in these noh, the shite takes the
role of a crazed person. In this case, crazed is not meant in terms of being clinically insane, but rather
being driven mad by some terrible situation that has befallen them. Zatsu noh (Other noh) is another
name sometimes given to this category as noh which do not easily fit in elsewhere are often put in
this category. Noh in this category include: Sumidagawa, Hyakuman, Kanawa, Dj-ji .
Demon (Fifth Category)
Shite performing in this category portray demons, goblins, fairies, dragons and otherworldly
creatures. As this is the fifth and final noh in a gobandate it is also known as kiri noh mono (ending
noh). With intense dance, complicated drumming and lively music, these noh are in some ways the
flashiest pieces. Noh in this category include: Nue, Sesshseki, Kurozuka/Adachihara, Shj.



Noh is an art form in which the division of the roles is very clearly defined. Thetachi kata are
the three main roles in charge of song and dance: shite, wakiand kygen. The hayashi are the
musicians at the back of the stage and they are divided into four instrument
groups: fue (flute), kotsuzumi (shoulder drum), tsuzumi (hip drum), and taiko(stick drum).
Furthermore, each of the aforementioned groups is also broken up into a number of
different ry or schools.
Up until the Edo Period waki, hayashi, and kygen were known as san-yaku and
each shite school had its own group of these specialist to work with. From the Meiji
Restoration this system began to fall apart and today these san-yaku are independent from
the shite school and split into seven different disciplines and twenty-four different schools.
Each school in the different disciplines of shite, waki and kygen has developed its own style
of dance and delivering prose and poetry, while each school in the different instrument
disciplines has developed its own patterns and notation. Basically shite are no longer in
control of the other players that accompany them in their performances. Also members of the
other disciplines are free to form alliances with other theatres as they like.
The Five Shite Schools
Along with the assuming the main role in a noh, the shite are responsible for fulfilling the
roles of the chorus, as well asshite-tsure, and kokata should that particular noh require them.In
addition, at the back of the stage, two kken (stage attendants) sit to help with costume
changes, retrieve props and feed the shite lines should he forget. The koken are also shite-
kata from the same school as the main performer. As theshite performers have considerably
more responsibilities, it makes sense that compared to the waki, kygen and hayashi, their
numbers are far greater.
The five current shite schools are Kanze, Hsho, Konparu, Kong and Kita, of which the first
four were founded in the Muromachi period and were known as the Yamato Sarugaku Yoza.
Kanze School ()
The Kanze school, is named after a childhood name of its
founder Kannami.Kannamis son, Zeami was the second leader of
the school, who was then succeeded by his nephew Onnami as his
son, Motomasa, died young.

During the Muromachi period, only the Kanze school received
protection from the shgunate. Then, during the Edo period,
the Kanze school assumed the head of the four schools designated by
the Tokugawa Shgunate. The Kanze school had formed a
relationship with the Tokugawa's back before they came to power
and were living in Hamamatsu Castle, thereby securing their
preferred status in the noh world.

Another cause for their prosperity was the popularity of their singing
style even from the Muromachi period. To this day, theKanze school
holds the most influence among the noh schools and performs with
grace, and characteristic sensitivity.

The Hsho School ()
Founded by Kannami's eldest brother Hsho Dayu,
the Hsho School originated from the Tobi-za, one of the
four Yamato Sarugaku Yoza. The group eventually named
themselves after their main performer Hsho Dayu. The fifth shgun
of the Tokugawa period was particularly taken by the Hsho style
and was their top patron. They were also the favorite troupe in
Kagahan (current Ishikawa area) and because of this, they still have
a strong influence in the noh of modern day Tokyo as well as Hokuriku area. In addition, the 11th
shgun Ienari was very fond of theHsho School. The Hsho style is described as dignified and the
Hsho Singing is said to be sensitive and refined.
The Komparu School ()
Ancestral links between the Komparu School and Hatano
Kawakatsu can be made. Among the three shimogakari schools
(Komparu, Kong and Kita. TheKanze and Hsho schools are
known as the uegakari schools,) The Komparuschool has the longest
lineage and therefore the most notable social status. The roots of this
school are in Nara and consequently they have a strong relationship
with Kofukuji Temple as well as the Kasuga Palace.

The name of the schools founder, Komparu Gonnokami, can be found in theSarugaku
Dangi (Discussions on Sarugaku). Other notable members of this school are Zeamis son-in-
law Komparu Zenchiku and Zenchikus grandson Zenp, who are remembered not only for their
performance but for their theoretical as well as their dramatic writing. Zenchikus
masterpieces, Bash and Teika are well known for their markedly different use of ygen (mysterious
beauty) as compared to the works of noh master Zeami. When the shgunate was under the control
of Hideyoshi Toyotomi and his nephew Hidetsugu, the Komparu school prospered and flourished,
but when the Edo period began, both the Kanze and Kita schools became more popular as
the Komparu school fell out of favor.

Today Komparu school activity centers around Tokyo and Nara. Their performance can be
characterized as having residual grandiosity from the time-honored traditions. Their singing style is
thought of as possessing a free, open-hearted sense to it.

The Kong School ()
The Kong School seems to have been formed out of
the Sakado-za sarugakugroup which was connected to Horyu
Temple. From the Muromachi period to the Edo period, it was
not held in high favor. In 1576 7th master Kong Ujimasa died
thereby bringing an end to the traditional family line of
sarugaku. Towards the end of the Edo period through the Meiji
period, the Kong school produced some unusually strong
talents such as Kong Tadaichi (who developed the idea for the
1000 string performance of Tsuchigumo). Then in 1937 (Showa period year 11) with the death of the
23rd generation Kong master Kong Ukyo, the Saka-do Konglineage came to an end. Today
disciples from the Nomura family line of Kongperformers center their activity in Kyoto and Tokyo.
Today the Kong Dance is known for its magnificent grace.




The Kita School ()
Starting at the beginning of the Edo period, the Kita school was
founded byShichiday Chn(or Osayoshi). Chn started as
a shite in the Kong school and then in the Genna period
(1615-1624) he set out independently and thus began
the Kita school. Even though the heads of the Tokugawa
shgunate Ieyasu and his son Hidetada were patrons of
the Kita school, it was eclipsed in popularity by
the Kanze and Hsho schools. These days, their popularity stems from the vestiges of their firmly
planted roots. Their performance style can be characterized as samurai-like with a thick layer of
spiritualism, full, simple and vigorous.














Waki-kata
From the Muromachi period the specialty roles of the waki were developed separately from
the shite and became a family business in that the art was handed down from generation to
generation. After the period of za-tsuki, in which theshite schools were in control of the waki,
the waki schools are now independent and are hired separately by the shite. The
current waki schools include: Takayasu, Fuku and Shimogakari Hsho.
Hayashi-kata
Hayashi-kata are responsible for the instrumental music of noh. The noh hayashi or orchestra
is comprised of four instruments: fue (flute aka noh-kan), kotsuzumi (small hand drum played
at the shoulder), tsuzumi (large hand drum akakawa played at the hip) and taiko (stick
drum) altogether they are also called shibyoshi. The musicians study all the instruments, but
specialize in only one. The traditional teaching method is one that is handed down from
generation to generation.
The current schools are as follows
Flute Iss, Morita, Fujita
Kotsuzumi Kanze, kura, K, Ksei
tsuzumi Kadono, Takayasu, kura, Ishii, Kanze
Taiko Kanze Komparu
In a noh performance, the four musicians, one of each instrument, sit at the back of the stage
in an area called the hayashi-za. Occasionally a musicians assistant sits behind them during a
performance.
Kygen-kata
Kygen, developed at the same time as noh from sarugaku, can be divided into three
classifications: hon-kygen(performed independently), ai-kygen (performed as part of a noh)
and Sanbas aka betsu-kygen (performed as part of the noh Okina).
In general, when one thinks of kygen, one thinks of hon-kygen. Hon-kygen is a comedic
farcical form commenting on everyday life. Typical stories involve characters such as: a
feudal master and his servant Taro Kaja, a father and son-in-law, a nagging wife or a foolish
thief to name a few. There characters were typical inhabitants of life in feudal Japan and these
stories are humorous, and take on the everyday occurrences from that time.
The kygen performed in the middle of a noh is called the ai-kygen or the ai for short. In a
two act noh, while the shiteis changing costumes between the maeba and
the nochiba the ai will frequently perform the i-gatari. The i-gatari is usually a local person
who will retell the story of the shite from the first half in order for the audience to more easily
understand. The local person may also have a dialogue with the shite or waki to introduce the
second half. This is known as ashirai-ai.
The schools of kygen-kata include the Okura school and the Izumi school.







The noh stage is an extremely simple
space in which there is no curtain
between the playing area and the
audience. Originally, noh was played
in open fields. In order to retain the
idea of performing outdoors, the
modern noh stage, though fashioned
indoors, is designed complete with
details such as a roof, bridge with a
handrail and a pine tree painted on the
back wall.
Another example of the thoughtful
design is the change in perspective of
the three pine trees that run along
the hashigakari (bridgeway). The tree closest to the stage entrance is smaller than the one
closest to the stage in order to give a sense of distance. In addition the lighting is arranged in
such a way as resemble natural lighting.
In terms of the sound, various devices are used to help amplify the natural sound. It is said that
under many noh stages large empty clay jars are placed to aid in the sound of not just
the shites stamping, but the resonance of the drums and flute as well as the voices from the
chorus (The National Noh Theatre does not have jars under its stage.)
Noh Stage Construction
The noh stage is constructed from hinoki (Japanese cypress). At the back of the stage is
the kagami-ita (back panel, usually displaying a painted pine tree). In the front of the stage is
the kizahashi (decorative staircase). Coming off the left side of the stage is
the hashigakari (bridgeway). At the end of the hashigakari is the agemaku (curtain) which
marks the entrance to the backstage area. It is thought that this current standard stage
construction was established just before the reign of the well known Shgun Oda Nobunaga
(circa 1550). The Northern Noh Stage, located Nishi Honganji Temple in Kyoto, is the oldest
standing stage of this type of construction and is said to have been built by Toyotomi
Hideyoshi.
The complete noh stage is comprised of the hon-butai (main playing
area), hashigakari (bridgeway), ato-za (seating section for musicians and stage attendants) and
the jiutai-za (seating section for the chorus). The main playing area is 5.4m per side.

Hashira
The main stage has four hashira or bashira (columns): the sumi-bashira, waki-bashira, shite-
bashira, and the fue-bashira. As the shite wears a mask while performing, the hashira are a very
important tool for the shite to gauge their location on stage. The sumi-bashira is a particularly
important marker and also has the name metsuke-bashira or eye-fixing column.
Kagami-ita
The back wall of a noh stage is called the kagami-ita on which a pine tree called the oi-matsu is
painted. This is said to be the eternal backdrop of noh. The Yg no matsu (The Yg Pine Tree) is
said to be the model for which the kagami-ita is based, and can still be found at the Kasuga Shrine in
Nara. While the noh stories may change, the backdrop does not. All noh are performed in front of
the kagami-ita.
Jiutai-za and Ato-za
Off to the right side of the main playing area is the jiutai-
za (seating for the chorus). The back of the stage is known as
the ato-za and is the spot reserved for the hayashi(musicians) and
the koken (stage attendants). In contrast to the main playing area
where the boards lie vertically, in the ato-za the boards are laid
horizontally, and is also known as the yoko-ita.
Hashigakari
Running from the ato-za off to the left of the main playing area is
the hashigakari(bridgeway). The hashigakari is used not just for
entrances and exits, but also as another playing area for some
important scenes. As opposed to the openness of the main playing
area, the hashigakari is linearly laid out and consequently aids in
creating a feeling of depth. The shite then can use
the hashigakari to better express their mental state.
Agemaku and Kiridoguchi
There are two entrances to the noh stage, the agemaku and
the kiridoguchi orkirido. The agemaku is located at the end of
the hashigakari and is the five-colored curtain that is raised and
lowered for the entrance and exit of the shite, waki, tsure,waki-
tsure, kygen, and hayashi. The kiridoguchi is located on the right
side of theato-za and is a small sliding door that is used for
entrances and exits of the kken(stage attendants) for both
the shite and the hayashi, as well as for the jiutai(chorus).
Kagami-no-ma
The kagami-no-ma (mirror room) is located behind
the agemaku and is where theshite puts on the mask being used for
the noh. This is also where the hayashi playoshirabe (warm-up
music). It can be said that when the shite and hayashi enter this
area, the noh has begun.
Kensho
The audience seating area in a noh theatre is called the kensho. The seats located in front of the stage
are called shmen, while the seats on the left side of the stage are called the waki shmen. Audience
members sitting in the shmen section have the best view of the mask effects, while the advantage of
sitting in the waki shmen is the close proximity to the hashigakari. In between the two are the naka
shmen seats which lie in front of the metsuke bashira. Older noh theatres have tatami rather than
seats, while almost all large modern noh theatres are made with fixed seats. Some noh theatres are
also equipped with balconies.
Noh Theatre
Long ago, noh was performed in open fields, while today it can be seen in a wide variety of
settings: noh theatres, public concert halls or temporary stages. When performed in open fields
it was many times in the service of a temple ceremony or a festival. Takigi noh (fire light noh)
still utilize open fields to perform in. Above all, there are many noh performances, many
locations, really any place can be a noh theatre.

National Noh Theatre Stage National Noh Theatre
At the National Noh Theatre in Tokyo you can enjoy performances from all five shiteschools
and both kygen schools year round at a reasonable price. Along with performances, the
National Noh Theatre also sponsors lectures and exhibits throughout the year. In addition,
they have a substantial library containing books and articles concerning noh.
Each shite school has its own noh theatre: in Tokyo, the Kanze Noh Theatre (with approx. 26
school sponsored performances and approx. 130 associated performances), theHsho Noh
Theatre (monthly performances as well as many other sponsored events) and the Kita Noh
Theatre (monthly performances as well as other sponsored events). In Kyoto the Kong Noh
Theatre presents a number of performances a year. At the Komparu Noh Theatre in Nara there
are currently no performances scheduled.
Takigi Noh

TOSHIRO MORITA
The outdoor performances of takigi noh(torch lit noh) have become popular all over Japan.
Held on the grounds of temples, shrines or public parks, these performances combine the
beauty and feeling of natural surroundings, with the grace and beauty of the performance on
stage. In the early part of evening, a torch lighting ceremony takes place setting the stage for a
magical evening.
Takigi noh has as its origin takigi utage, the precursor to the popular shuni-e ceremony, which
took place at Kofukuji Temple in Nara in the Heian period (794-1185). This eventually
developed into takigi noh. Even today on May 11 and 12 Okina is performed as a dedication
at Kasuga Shrine and Kofuku Temple.
It was only as recently as 1950 that takigi noh started taking on the implication of relaxing
entertainment at the Heian Jingu Shrine in Kyoto.









As Noh is an art form that utilizes masks, there is a great variety of them. There were
originally about 60 basic types of noh masks, but today there are well over 200 different kinds
in use.
Covering the face with a mask is much like wearing makeup. However, noh performers feel
that the noh mask has a certain power inherent in it which makes it much more spiritual than a
prop used to change ones appearance. Taking into account the status of a certain noh, the noh
performer will carefully choose a noh mask, known also as a noh-men or omote. In most
cases, the exact mask is not predetermined, but depending on which noh is being done,
the shite has a variety to choose from. In the end, it is up to the shite to make the final
determination as to which mask is chosen.
Origin of the Noh Mask
Exactly when the noh mask came into being is not entirely clear however it is believed that
masks, and their names still used today, were developed from the mid to latter part of the
Muromachi period (1392-1573). Previous to that time, the mask conventions were not entirely
set and masks themselves had stronger religious connotations. It was during the Muromachi
period that the religious significance of the masks began to wane and they took on more
human characteristics. It is thought that as performers started to think more about the use
of ygen (mysterious beauty) and profundity, they felt they needed to hide the unattractive
aspects of their own faces and concentrate on making the beauty of noh stronger.
Between the end of the Muromachi period and the modern age the art of making noh masks
was established as a hereditary art with a long lineage. Two examples are the Deme family
from Echizen (present day Fukui prefecture) and the Iseki family from Ohmi (present day
Shiga prefecture). Following the establishment of noh mask making families, the stylization of
noh masks significantly advanced. Even today there are many independent mask makers.
While some nohgaku performers still make their own masks, the performance world and the
mask-making world are essentially independent of each other.
Noh Mask Expression: Teru and Kumoru
As it is often difficult to tell the actual feelings expressed in a noh mask, it is said to be made
with a neutral expression. The mask carver tries to instill a variety of emotions in the mask.
It is up to the performer to imbue the mask with emotion. One of the techniques used in this
task is to slightly tilt the mask up or down. With terasu (tilting upwards) the mask appears to
be slightly smiling or laughing and the expression lightens somewhat. While kumorasu (tilting
downwards), produces a slight frown and can express sadness or crying. Basically, by using
minute movements, the performer is able to express very fully.

Putting on a Mask
Noh masks, like costumes and props, are extremely valuable
heirlooms and handed down from generation to generation.
After having the costume put on, the shitethen goes to
the kagami no ma (mirror room) where in front of a mirror,
the shitefaces the mask. In putting the mask on, the
word kaburu (putting on clothing) is not used. Instead the
word kakeru (to hang) ortsukeru (to attach) is used. In this
way, it is implying that the performer is becoming the
mask, and its emotions, in order to better express the
characters feelings.
In reality, a noh mask does not entirely cover a noh
performers face when it is being worn. In fact, it is thought
best if some part of the chin and/or jowls show.
Also, as the eye holes of the mask are very small, the field
of vision of the performer is very limited when wearing the
mask. Consequently the simple design of the stage and the
use of hashira (pillars) assists in helping the performer
know their location during a performance.
Hitamen
Not all the main performers on stage wear masks in noh.
Usually the shite and the tsure wear masks and occasionally
there are instances where the ai will as well. The waki as a
rule, playing a character who is living in the present, does
not wear a mask. This is called hitamen or a direct mask.
However, even without wearing a mask, the performer is meant to make their face a mask.
The performer must inject power and emotion into their performance while not using their
face to express. In some genzai noh the shite or tsure do not wear masks.
Types of Noh Masks
Okina (Old man masks)
This type of mask originated from sarugaku, the predecessor of noh, in the latter part of the Heian
period. This is the oldest type of noh mask.
J (Elders masks)
Examples of this type are the Koj, Asakuraj, Sankj and Waraij masks. These masks are often
used in the first half of first or second category noh when the shite is portraying a spirit.
Onna-men (Woman masks)
When most people think of noh these are the masks that come to mind. That being the case, these
tend to be the most varied and popular masks. These masks are categorized by age and character.
Examples of beautiful young women masks are the: ko-omote, wakaonna, z and
magojir. The miona mask also portrays a young woman, but with more of a working class
background. Fukai and shakumi masks are both used to play mature, middle-aged woman of
elegance and grace however the latter displays a stronger character. The deigan mask has gold
rimmed eyes which implies that the character is otherworldly. Examples of masks for playing old
women are rjo and uba.
Otoko-men (Man masks)
Heida, chj, jroku, hatachi-amari, dji, kasshiki, and yase-otoko are all examples of masks in this
category which are classified according to social class and character.
Kishin (Demons)
These masks were developed early in nohs history and are used for portraying demons, goblins or
other worldly creatures. This category is divided into two main parts, tobide (fierce gods or demonic
spirits) and beshimi (goblins and other creatures).



Onry (Ghosts and Spirits)
These masks are used for spirits of the dead who have regrets of some kind. In this category there are
both male and female masks. Examples of male types are ayakashi, yase-otoko and kawazu.
Examples of female types are yamamba, deigan and the famous hannya masks.









On the noh stage, large realistic props, scenery or revolving stages are not used. That is not to
say there are no props. Noh employs the use of tsukurimono (lit. made things).
There are many types of large tsukurimono. Rather than realistic representations, these simply
made props are more symbolic and can imply a: shack, rock, boat, bed, well, bell, castle, fence
or grave among other things, to effectively help convey the story. For example, four bamboo
pieces can be lashed together with cloth to create the idea for the frame of a house or a well
can be represented as a bamboo frame with a cypress branch attached on the top.



Boat from the noh Eguchi TOSHIRO MORITA

Spider web from the noh Tsuchigumo TOSHIRO
MORITA
As tsukurimono are merely created as symbolic representations, they can be easily built and
broken down. In fact, they are usually made the day of a performance by apprentice
performers at the theatre. Their construction is comprised mostly of a bamboo frame wrapped
in strips of cloth. They can generally be created in about one hour and are taken apart and
returned to storage after being used.
While the use of priceless family heirlooms such as masks and costumes is reserved for the
more experienced performers, apprentices are permitted to make tsukurimono.
The Dj-ji Bell
Apart from all other tsukurimono, the bell from the noh Dj-ji is exceptional. Different from
the simplistic structures of the other tsukurimono, the Dj-ji bell has about 80kg of lead
weight attached to the bottom. The reason for this is that during the climatic scene the shite, in
this case a shira-byoshi (female dancer dressed as a male), leaps into the bell as it falls to the
stage. The weights are needed to maintain the proper balance of the bell as it falls, so that
the shite can gauge the timing.
Due to the complicated nature of the bell, the frame and exterior take about one day to build
and prepare. Consequently, it must be made in advance at the theatre by the apprentices and
covered in a cloth until the performance.
It is the responsibility of the shite to prepare the interior of the bell. Because of its special
nature as being one of the right of passage noh, preparing the interior is a secret. Only the
performer and those who have done it before are permitted inside the bell.

Dj-ji TOSHIRO MORITA



Backstage at the National Noh Theatre,
the bell for Dj-ji is set in preparation.
Shigeyoshi Ohi

The special hardware used to hang the bell for the
noh Dj-ji. D. Shigeki Ogasawara














Noh music is made of two parts; utai (Vocal) and hayashi (music). Utai is performed by
the shite and members of his school, while the hayashi is performed by hayashi-
kata(musicians). While the shite or waki sing to move the story forward, the ji-utai (chorus)
sing as an accompaniment to the dance or sometimes for the inner thoughts of the shite. They
can also sing in the first person, as theshite, in response to questions from the waki, however,
they themselves are not characters in the noh.
As mentioned, the ji-utai are all members of the same school as the shite. They sit in two rows
on the right side of a noh stage called the ji-utai-za. In the center of the back row is the ji-
gashira (lit. chorus head). It is the ji-gashiras job to lead the chorus and make sure they are in
rhythm with the hayashi.
Unlike Western music, there is not a set pitch or musical scale in utai. The pitch is set by
the shite and adjusted by the ji-gashira and can be said to be elastic. The group that makes up
the ji-utai sings as one voice. In contrast to Western music, there are no harmonies. It is the
role of the ji-gashira to adjust tone and be clear with the timing to control the overall feeling
of the noh.
Basic Structure of Utai
Utai is generally based on a 7-5 or 12 syllable count sung over an 8 beat measure. There are
three different types ofhyshi-ai (matched) rhythms in noh: hiranori or knori, chnori and
nori. Hiranori employs the standard 12 syllables over 8 beats, has the most variation and is
the most complicated. Chnori is a rhythm in which there are two syllables for each beat
and nori uses one syllable for one beat. In the hyshi-awazu (unmatched) sections, the drums
and the singing do not correlate with regards to beats and syllables.
In terms of the singing style of utai, there are two main categories. Tsuyo-gin or gogin (lit.
strong singing) is a non-pitch oriented singing style that tends to be classified as solemn and
dynamic. Yowagin or
just wagin (lit. weak) is a
melodic singing style that
can be used to express
sentimentality or beauty.








The music of noh is played by the hayashi. As each part of noh is an integral piece of the
whole, the hayashi is not considered to be accompanying the shite or ji-utai, but is instead
playing with them, equally.
Shibyshi
The hayashi is made up of four instruments: fue (flute), kotsuzumi (shoulder
drum), tsuzumi (hip drum), and taiko (stick drum), these four instruments are also known as
the shibyshi. Most of the musicians are from an established family in the noh world. And
while each musician has studied all the instruments intensively, they specialize in only one
and will only perform that one instrument in their career in noh.
The leader of the hayashi in performance is the taiko, however in noh in which the taiko is not
appearing, daisho-mono, the tsuzumi is considered the leader. Interestingly, the sound of
hitting the drum is not the only way to keep rhythm in noh. The drummers also use their
voices to create drum calls or kakegoe which are used before hitting the drum to help adjust
the timing and drive the rhythm. The sounds, yo, ho, yo-ii, ii-ya and others can be heard
from the drummers while they are playing.
Fue (Flute)
The transverse flute used in noh is made of bamboo and called the fue or noh-kan. And while
among the four instruments it is the only one with a melody, in noh, rhythm is in some ways
more important than melody. It is this emphasis on rhythm rather than melody that makes
the fue unique.

Fue TOSHIRO MORITA
There are two basic playing modes for the noh-kan. Ashirai-fuki, is an unmatched playing
mode, where the noh-kanplays independent of the rhythms of the drums. Awase-fuki is a
playing mode where the noh-kan follows the rhythm of the drums.
In order to de-emphasize the melody of the flute, every noh-kan is made slightly differently by
varying the length of the body as well as the positioning of the fingering holes. This in turn
makes the melodic range and the quality of the sound different from instrument to instrument.
In performance, the noh-kan is striving to create a sound that will ornament the singing and to
help express the feelings of the shite.
The current schools of fue-kata or noh-kan players are the Iss, Morita, andFujita.
Kotsuzumi (Small hand drum)
The kotsuzumi (lit. small drum) is a popular instrument that is one of the components creating
the rhythms of noh. Held in the left hand at the right shoulder and struck with the right hand,
the pitch of the drum can be adjusted through the squeezing and releasing of
the shirabeo (chords used to hold the drum heads onto the hour glass shaped body). Through
this manipulation of the shirabeo, four distinct sounds can be made. In order to create a
beautiful sound, the drum-heads must be kept slightly moist. To maintain this moisture during
a performance, a drummer will diligently either blow hot air on the drum head or more
directly, apply saliva to small pieces of paper that have been stuck to the rear drum head.

Kotsuzumi TOSHIRO MORITA
The current schools of kotsuzumi-kata are the Kanze, K, Ksei and kura.
tsuzumi (lit. large drum) / kawa (lit. big skin)
The tsuzumi can be considered the leader of the two hand drums. The shirabeo (chords used
to tie the drum heads to the body) are tied very tightly and there for the sound produced is
sharp and hard. The variation of the sounds for this drum are determined by the strength of the
hit and whether the drummers hand remains of the drum after striking it. It is held in the left
hand and rests on the left hip while being struck by the fingers of the right hand. To produce
the desired sound the drum heads need to extremely dry. This is achieved by heating the drum
heads over charcoal for about one hour before performances. The contrasting sound of the
soft kotsuzumi with the sharp tsuzumi creates a harmony on stage.
The current schools of tsuzumi are the Kadono, Takayasu, kura, Ishii, and Kanze.
Taiko (stick drum)
The taiko is a barrel-type drum that sits on a wooden stand and is hit with bachi (wooden
drum sticks). There are two overall methods of playing taiko. By leaving the bachi on the
drum head after striking, the drummer can dampen the sound; or to create a resonating sound,
large, medium or small strokes can be used. By using the two bachi to create complicated,
driving rhythms, the taiko can add great effect to noh. Therefore, it is often used to accompany
characters of extreme grace or vibrant characters such as gods, demons or possessed spirits.
Still, as the sound of the taiko is so powerful, even in noh where it does appear, it almost
never plays during the whole piece. Usually it only plays during the second half.

Taiko TOSHIRO MORITA
The current schools of taiko are the Kanze and Komparu.

The mai (dance) of noh, along with the musical
elements of song and instrumental music are
components of this comprehensive art form. Maican be
called the foundation of the form. The dance of noh is
not simply the expression of the body moving through
space, it has a much deeper meaning. When one is said
to perform noh, one is said to dance noh. In a broad
sense of the word, mai expresses much more than just
the music and the movement, it somehow encapsulates
the comprehensive nature of noh.
The word mai is also used for a specific dancing section
of a noh. Thesemai, with names like ch-no-mai or jo-
no-mai, feature the flute and the drums playing in a
rhythmic
fashion, timed to
coincide with
the shitesdance.

Types of Mai
Depending on whether the character is male, female or
other, and depending on the category of noh, shgen-
mono (god-theme), shura-mono (warrior-theme),
or kazura-mono (woman-theme), the mai in a noh will
be different. In many ways, the melody and rhythm of
the flute in a mai are responsible for setting the tone.
Below is an introduction to the principle mai of noh.
Ch-no-mai (Medium tempo dance)
The ch-no-mai is a medium tempo dance that can be
said the other maiare modeled from. There are two
versions of the ch-no-mai: daisho-mono is just with the two hand drums and the flute and taiko-
iri which utilizes all the instruments. In a genzai-noh a female character would generally perform
this mai. Yuya, Matsukaze and Koch are examples of noh which include the ch-no-mai.
Jo-no-mai (Slow tempo dance)
An extremely slow-tempo dignified mai. Jo-no-mai can be performed with or without taiko. Types
of characters who dance this are: shirabyshi(traveling female dancers wearing male attire),
traditional female dancers, ghosts of noblewomen, female spirit or deity. Hagoromo,
Izutsu andEguchi are noh that include the jo-no-mai.
Otoko-mai (lit. man dance)
This is a fast tempo, lively, strong dance used for male characters living in the present and therefore
not wearing a mask, or perhaps to convey a celebratory feeling. Ataka, Kogo, and Kosodesoga are
noh which include the otoko-mai.
Kami-mai (lit. god dance)
The kami-mai, is performed in waki-noh (first category) by male deities. It is an extremely fast
tempo dance performed with gallant dignity. The taiko is included in the this mai. Takasago,
Yr and Yumi Yawata are noh which include the kami-mai.
Gaku (lit. enjoyment)
Drawn from the music and dance of the imperial court, gaku is used in noh which have a Chinese
theme and for noh in which an imperial musician is the shite. The dance starts slowly, but gradually
builds into a quick tempo, stately mai. This maiincludes taiko. Tenko, Kantan and Fujidaiko are
examples of noh which include gaku.
Kagura (lit. god enjoyment)
Kagura is a dance performed by a female deity or a Shinto priestess. Its origins are said to be from
Shinto ritual dance and the flute plays a melody that was adapted from the kami-mai. Depending on
the school, the shite may hold a Shinto wand while dancing. The taiko is included in kagura. Miwa,
Makiginu and Tatsuta are examples of noh that include kagura.
Apart from the above examples other mai include banshiki-hayamai, kakko, ky-no-mai,
and ha-no-mai. The mai-bataraki, in which a dragon, goblin or the like display its power; or
the kakeri, which displays the struggles of a tormented soul, while not considered as mai, are
still a kind of dance.
Depending on the heavy or light nature of the noh, one of these many mai are chosen to best
represent the beauty of the form and the freeness of the expression.
The Difference Between Mai and Dance
Generally speaking, in Japanese within the noh world, the expression noh wo odoru (to
dance noh) or noh no odori (the dance of noh) is not used. Rather another
word, mau or mai is used. It has the same translation, but the meaning is quite different. In
fact the word buy, also meaning dance, is a combination of the two characters mai and odori,
but how really are the two words different, mai and odori. If you look in the dictionary, the
word odori somehow relates to dancing in rhythm, jumping, and using your hands and feet to
articulate. Mai on the other hand conjures images of sliding feet and going around.
From long ago the distinction between the two was made, but exactly when and where that
happened is unclear. There are indeed noh in which stomping to a rhythm and jumping are
used, but for some reason, the word mai has remained as the word used to describe the
movement in noh.
In addition Kagura, Imay, Rei, Ennen-no-mai, Kuse-mai, all stemming from ancient
traditions used the word mai to describe the movement. It seems as if because of nohs
connection with those older traditions, they have remained attached to the use of the word.






Within each noh there are a number of sections with names like kuse or kiri in which the
chorus and the musicians are playing together in rhythm while the shite dances. Of course noh
has given these sections their own name when performed only in traditional Japanese formal
attire. These excerpts are known as shimai when performed out of the context of a noh.
Each of these dances is made up of very detailed kata (movement patterns) strung together in
a fluid series. Some kataabstract, while others are clear gestures. It would be safe to say that
the performing of noh is made up of the composition of very small pieces.
Basic Kata (movement patterns)
Kata are the basic movement patterns of noh. Each kata is given a name and
that kata becomes an important fiber in the fabric of the art of noh.
The most basic kata from which all other movement is based is called kamae. This is the basic
posture for the noh performer. In the lower body, the knees are slightly bent, lowering the
center of gravity of the performer. In the upper body, the arms are slightly bent, elbows out,
making a kind of circle shape with the arms and in the right hand a fan is held.
The basic form of movement is called hakobi. While maintaining the same center of gravity as
in kamae, the feet are slid across the floor one after the other, without lifting them. In order to
change direction, for example to turn left, the right foot is hooked around the big toe of the
left. Then by twisting on the ball of the feet, one foot at a time, the feet will become even and
the turn is complete.

Shiori Sumidagawa River TOSHIRO MORITA
In order to express sadness or grief, thekata known as shiori is used. Forshiori, the head is
slightly bent down and with either one or two hands (depending on the severity of the grief)
the eyes are covered indicating the shedding or stifling of tears. Sashi is another kata in which
the hand holding the fan is brought back even with the body and then in an arcing motion is
put in front of the eyes essentially pointing off in the distance. Sashi can be used for pointing
up at the mountains or down at the sea and may coincide with the descriptive text being sung
by the chorus. While each kata is used to express a specific emotion of scene, the
same kata can be used at different times to express different things.
Noh performers take finely detailed kata and within the dance turn them into a series of
successive, fluid, emotive motions, that in turn give emotional expression to noh.
Shimai and Maibayashi
As mentioned previously, a shimai is a short dance section extracted from a whole noh. There
are a number of types ofshimai, including the principle sections of the kuse and kiri.
Shimai sections are generally used to describe either the location or the emotional state of
the shite.
A maibayashi similarly is an extracted section of a noh and contains at least
one shimai section in it. Whereas a shimai is performed with just a few chorus members
singing for the shite, a maibayashi includes musicians as well as a chorus.
Both shimai and maibayashi are performed not in full costume and mask, but simply in
Japanese traditional formal wear:montsuki (kimono adorned with a family crest)
and hakama (large silk pantaloons resembling a skirt). The shite will of course uses a fan, but
not a chukei, a fan used in a full noh performance. The person performing
as shite in shimai ormaibayashi uses a shizume fan.








The costumes used in noh are called noh shzoku.
A good example is the karaori, an exquisitely embroidered, traditional womans kimono.
Certainly one of the most beautiful theatrical costumes in the world.
During the early stages of noh, around the time of Kannamiand Zeami, the costumes were
more modest, as they were using the their everyday clothes to perform in. However, as noh
became favorable in the eyes of the aristocracy and military ruling classes, they began to
receive more finely crafted kimono to perform and this gradually became the norm.
Furthermore during the Azuchi Momoyama period (approx. 1558-1600), the flourishing of
Japanese culture coupled with great advances in fine arts led to even higher standards for
costumes.
In this way, these costumes were truly works of art and quite separated from reality of the
character. For example, historically, a poor fisherman or a woman who gathers sea-salt would
not be adorned in such finery, but by using such stylized and symbolic costumes, noh is better
able to express a characters feelings.
Noh Costume
Categories
Shzoku (noh costumes) can be divided
into 7 different categories:
Kahatsu (things for head,
concerning hair)
: kazura (wig),
Kaburi-mono (things
worn on the
head): eboshi (hat), tengan (headd
ress), etc.
Uwagi (various outer
garments worn over
kimono): nshi (imperial
robe), kariginu (hunting
cloak), happi (festival
coat), chken (outer
shawl), maiginu (dancing shawl),
etc.
Kitsuke (short sleeved kimono worn under outer
kimono): surihaku, nuihaku, noshime, etc.
Uwagi / Kitsuke (outer kimono): karaori (exquisite womens
kimono), atsuita (exquisite male kimono), etc.
Hakama (Japanese pleated loose-fitting trousers): kuchi (large
warrior hakama), hangiri(lit. half-cut hakama), sashinuki, nagabakama (lit. long hakama),
etc.
Other small items like sashes used for tying things on: kazura-
obi, koshi-obi, koshi-himo, etc.

Example of a Karaori

Karaori by Yamaguchi Yasujir Shigeyoshi Ohi
A karaori, is a fine example of an exquisite outer kimono used in noh to portray women
characters. Karaori means Chinese style fabric as it is said to be modeled after the Chinese
Shokko brocade of the Ming period. This is a short sleeved kimono made using
the uki weaving technique employing gold, silver and other colored thread create gorgeous
flower patterns.
When a female character is introduced in noh and she is wearing a karaori, it is often times
worn in a style calledkinagashi. In this style, the upper part is folded in such a way as to leave
the neck open (for better viewing of under kimono) and the lower part is adjusted at the hem
to create a triangular shape around the legs which gives the impression of refinement.
Costume Stylizations
While noh costumes do not realistically represent the characters they are portraying, the
costumes can tell the audience a lot about the character. As there are a number of set rules in
noh regarding combinations of costume pieces, if one knows enough about these
combinations, one can accurately tell the gender, age, social status, occupation and personality
of that character.
A simple example of this is the notion of color in a noh costume. In female costumes, if
there is red in the costume it is said to be iroiri (lit. red in), if there is not, it is
called ironashi (lit. red nothing). Young women wear iroiri costumes, middle aged and older
wear ironashi. The red that appears may not necessarily only appear in the outer kimono, but
also in the sashes used to fasten the wig and/or the kimono to the performer.
Another example of indicating character through costume would be through the use of the
collar. The eri (collar) can be any number of colors including: white, light blue, red,
yellow/gold, dark blue or brown. Choosing how to arrange these colors around the neck gives
the audience an idea of the characters social status or inner feelings. As white is the color of
purity in noh, if a character is wearing two layers of white collars, this would indicate their
being of the highest level of purity or top.
It is ultimately the decision of the shite as to what costume they would like to wear on stage.
So while there are rules that need to be followed, the shite still has great room for personal
expression in choosing the combination of shzoku for a noh.







The difference between Kygen Plays (hon-kyogen
) and Kygen Interludes (ai-kyogen)


200989 25
Being a stage art that share's noh's roots in sangaku, kygen has had deep links with noh since
early times. The main difference between the two forms is thatkygen is connected with
laughter, which is an emotional state not usually expressed in noh. Because sangaku was
characterized by comedy, one can say that it was kygen that inherited and carried on
sangaku's original form.
Kygen apparently first emerged as an independent art form during the Warring States period
(1467-1568), when it already began appearing on performance programs alongside noh.
Broadly speaking, there are two kinds ofkygen: hon-kygen, which are discreet plays
performed between noh plays; and ai-kygen, or simply ai, which is performed during the
interludes within noh plays an is thus integral to the noh plays themselves. The term "kygen"
used by itself usually refers to hon-kygen. Hon-kygen generally involve two or three actors
who lead the audience to gentle laughter through dialogue performed in a conversational style,
and through carefully honed gestures. In most cases, ai-kygen are performed by a single
actor, who performs the important role of facilitating the smooth progression of the story of
the noh play in which he appears, and deepening audience understanding.

The Meaning of the Word, "Kygen"
As used today, the word "kygen" refers to the comedic stage art being discussed here. This
has not always been the case, however. The roots of the term lie in China, where it was used
to indicate either a joke or something divorced from reason or normal convention. In the
Manyoshu, an 8th century collection of Japanese poetry, the Chinese characters for "kygen"
were read "tawagoto", which means "silly talk." Thus the term was familiar to the Japanese
for many centuries before it began to be used in connection with the stage art.
During the Heian period (794-1185), the phrase "wild words and fancy language," which
appeared in the writings of the Tang poet Bai Juyi, was included in the Wakan
Roeishu ("Collection of Chinese and Japanese Poems for Singing"). The "wild words" referred
to in this phrase are a translation of the term "kygen." Subsequently, the term was used to
condemn stories and utterances that, from a Buddhist perspective, were false or full of empty
ostentation. Gradually, the term that had been disseminated as meaning nonsense, a joke, or
something divorced from common sense took on the meaning of "comical," ultimately coming
to refer to the stage art of kygen.
The Origin and Development of the Comic Art
of Kygen
Sangaku, which entered Japan from China during the Nara period (710-784), was a popular
entertainment that included such elements as comedy, mime, acrobatics, juggling and magic.
During the Heian period, sangaku came to be called "sarugaku," with an increased emphasis
on comic elements. The main thrust of the art came to focus on the comical trials of country
bumpkins who find themselves at a loss in the capital. Noh developed and changed
significantly through the addition of song and dance and a shift in emphasis to the aesthetic of
yugen, while kygen continued the sarugaku tradition of comedy.
Although the origins of kygen are unclear in many respects, kygen actors called okashi first
appeared in historical records in the middle of the 14th century. Zeami himself referred
to kygen actors as okashi, and it's recorded that they belonged to performance troupes and
performed in alternation with noh actors.
It appears that the kygen of Zeami's time was primarily a rather vulgar, improvisational art
with a fair amount of sexual innuendo. As the years passed, however, it gradually became
refined into a regular repertory, with script books first appearing sometime in the second half
of the 16th century. After a fluid period during which there was ample interaction among
various actor groups, two schools in particular won support from the shgunate in the Edo
period (1603-1867): the kura and Sagi schools. A third group, the Izumi school, had the
support of the Owari Tokugawa clan and was active primarily in Kyoto, Owari, and Kaga.
Once it became a performance art of the shgunate, kygen lost much of its improvisational
character and began to focus instead on stylistic beauty.
Like noh, kygen temporarily declined drastically with the Meiji Restoration of 1867, bringing
about the unfortunate demise of the Sagi school. The Izumi and kura schools recovered,
however, and have continued their traditions down to the present day. Thanks to the highly
motivated efforts of kygen actors after World War II, their art is currently enjoying quite a
boom in popularity. All-kygen programs are now often presented not only on noh stages but
in civic halls and other venues. Just as the mainstream sangaku did in its own
day, kygen today has generated considerable power as a well-loved stage art of the people.
Expression in Kygen


20081025 24
Kygen speech is based on the ordinary speech of Muromachi-era (1336-1573) Japan. It
consists of broad dialogue accompanied by mimetic, sometimes exaggerated movement that is
very finely controlled. The usual goal of kygen is to inspire laughter. Zeami
urged kygenactors to avoid vulgar and crude material in favor of a lighter, gentler fun. To
achieve the laughter worthy of the term "mad words," kygen is characterized by a refinement
that avoids sarcasm and tends to integrate two elements: rhythmical language and movement,
and a depth of characterization and story.
Kygen's range extends beyond simple laughter, however. It has a depth of feeling that can
also portray sorrow, sympathy and nostalgia; deliver pointed satire; and explore philosophical
questions regarding human sexuality. Sharing the same formal beauty as
noh, kygen historically incorporates other performance arts such as dengaku and kusemai as
well as popular song, resulting in a great richness of expression.
The Content and Classification of Kygen Plays
There are about 260 kygen plays in the combined repertories of the kura and Izumischools.
A wide variety of characters appear in these stories of everyday life, ready to inspire laughter
through the use of skit-like structures. In Kji, for example, the protagonist is a servant who
eats his master's tangerines and makes humorous excuses to avoid punishment. In Inabad,
the hen-pecked husband of a sake-loving wife seeks escape from his miserable marriage;
inUtsubozaru, a monkey trainer pleads with a feudal lord to spare the life of his young
monkey, which the lord wants to kill in order to make a quiver; in Inomoji and other plays,
men express their desire to find wives; in Kakiyamabushi, a mountain priest steals and eats a
farmer's persimmons; in Hagi Daimy, a rustic feudal lord goes out on a sightseeing tour;
in Shron, two priests belonging to different Buddhist sects meet on the road and fall into a
doctrinal dispute; InTsurigitsune, an old fox who has lost all of his relatives to a hunter's trap
assumes human form to try to convince the hunter to stop killing; and in Kazum, the spirit of
a mosquito appears as a sumo wrestler in order to find a fresh supply of blood. This is just a
small sample of the many characters that can appear in kygen. Each tale is skillfully told
through finely honed words, movement and gestures to create a fascinating and funny
theatrical experience. Most plays involve two or three actors and last 15 to 20 minutes, but
there are also ambitious pieces that last more than 40 minutes, as well as some that involve ten
or more characters.
The repertory can be divided roughly into the following categories, depending on main
character and content.
God of
Fortune Kygen
plays in which the God of Fortune bestows good fortune.
Farmer Kygen plays about farmers pay their taxes.
Feudal Lord Kygen Plays that feature daimyo feudal lords.
Minor Lord Kygen Plays about the servant Taro Kaja.
Son-in-Law Kygen Plays in which a son-in-law does various things related to his
wedding.
Woman Kygen Plays that feature often strong-willed women in the main
role.
Demon Kygen Humorous depictions of demons or of Emma, the King of
Hell.
Priest Kygen Plays in which priests become the object of ridicule.
Mountain
Priest Kygen
Plays about mountain priests with imperfect magical powers.
Blindman Kygen Plays featuring blind masseurs and similar characters.
Dance Kygen Plays that have a noh structure and are parodies of noh
plays.
Miscellaneous Kygen Plays that don't fit into any other category, often with animal
protagonists.
Ai-kygen Interludes
As noted above, ai-kygen are kygen interludes within noh plays. They perform a crucial role
in advancing the story, and are generally found in two types: katariai (storytelling interlude)
and ashiraiai (interactive interlude).
The most typical storytelling interlude is the igatari, or "sitting story." This is often used in
two-part mugen (phantasmal) noh and other noh in which the shite exits after the first half.
Usually, the kygen actor plays a local person who presents the essence of the noh's story
through an extended monologue delivered while sitting on his knees in the center of the stage.
The story is cast in language that is relatively easy to understand, and often includes episodes
or background material that is not mentioned in the noh proper, thus helping the audience
achieve a deeper understanding of the story while setting the scene for the reappearance of
the shite in the second half. Other types of ai-kygen that fall into the storytelling category
include masshaai (branch shrine interlude), in which the god of a small local shrine enters to
the accompaniment of hayashi music; hayauchiai (fast beat interlude), in which the performer
enters quickly to the rapid beat of a drum accompaniment called hayatsuzumi (rapid drums);
and gekiai (dramatic interlude), in which several kygenperformers appear together and
perform a dance or skit.
Interactive interludes are often found in genzai (real world) noh, in which
the kygen performer helps to advance the story by interacting directly with
the waki and shite. In the play Dj-ji, for example, the kygen actors play temple acolytes
who admit the shite, a dancing girl, into the temple precincts despite orders not to let any
women on the grounds. InKurozuka (also known as Adachigahara), the kygen actor is a
member of a priestly entourage who, despite repeated admonitions not to do so by the head
priest, peaks into the bedroom of the woman hosting them, discovers her true nature as a man-
eating demon, and sounds the alarm enabling all to escape. Interactive interludes are thus
often used to develop large scenes. Sometimes, however, they also appear at the beginnings of
plays in a form called kuchiakeai (mouth opening interlude) to set the initial scene. An
example of this is found in the noh play Hanjo, in which the mistress of a brothel, played by
a kygen actor, expels one of the girls in her establishment because of her preoccupation with
a lover who has left her behind.
Stamping Sanbas
There's one more important role for kygen actors that hasn't been mentioned yet: Sanbas,
which is part of the ceremonial piece Okina. Okina, which is often called "the noh that isn't a
noh," celebrates the emperor's peaceful reign, the safety of the nation, and a bountiful harvest.
As such it holds a venerated position within the noh world as a petition to the gods.
The kygen actor carries a box containing the masks used in the performance, and dances the
dance Sanbas, which is a prayer for blessing. (Depending on the shite school involved,
the kygen actor may also play the role of a young man named Chitose [Thousand Years].)
Sanbas is the main role in the second half of Okina, after the old man Okina exits. The actor
begins by dancing the momi no dan (rubbing section), after which he dons a black, old man's
mask and dances the suzu-no-dan (bell tree section). The choreography involves a great deal
of stamping, and there are also mimed movements that portray the sowing of fields. The actors
are thought to become gods as they perform their dances of supplication. Kygen performers
use the verb "stamp," not "dance," to describe what they do when they perform Sanbas.








Noh Masks
C a t a l o g u e








Noh is a type of masque, which is performed by actors with masks. There are sixty basic types
of Noh masks. It is said that today we have two hundred and some dozens different kinds of
Noh masks.

This type is only used for the piece called "Okina",
performed in the New Year or for special occasions.
It is a kind of ritual items derived from sarugaku,
the classic form of the Noh, and it is said that this
type was already used in the late Heian era (12th
Century). It predates any other types of the Noh
masks.

Masks portraying elder people are called J-
men (J masks). They vary in the types
including Ko-j, Asakura-j, Sanko-j, andWarai-j.
They are distinguishable by their hair, and generally
worn by the leading actors in Part One in waki-
n (god plays) orshura-n (warrior plays), in which
they play incarnate spirits.

Depending on roles' social positions or situations in
plays, performers choose masks from various types
of Otoko-men(Otoko masks),
including Heida portraying
soldiers, Chj, Jroku,Hatachi-amari, Dji,
andKasshiki.

Onna-men (Onna masks) is the most popular type
of the Noh masks that first comes into people's
minds. There are a number of variations
including Ko-omote that portrays a young woman.
Depending on ages or characters of roles, the type
is broken into parts, such as Waka-
onna, Shakumi, Uba, and Rjo.

This is assumed to have appeared in the early stage
of the history, describing supernatural substances
such as demons orTengu (long-nosed goblins). It is
distinguishable by its forceful and wild appearance,
and roughly classified into two
types;Tobide portraying demons or savages,
and Beshimi portraying goblins such as Tengu.

This is the type that portrays incarnate spirits of
dead persons. They include male ghosts such
as Ayakashi, Yase-otoko andKawazu, and female
ones such as Yamanba and Deigan. They are all
regretful and revengeful of this world. Hannya, one
of the well-known type of the masks, is also
classified into this group.

OKINA


Name
Hakushiki-j
Category Okina
Comment It is a synonym forOkina, and so named because it is painted white
(haku). There is another variationKokushiki-j, which is painted black
(koku). The lower jaw separated from and hinged to the face is a
distinguishing character of the type of Okina. Hakushiki-jwas born
before Noh in its original forms ofsarugaku or dengaku, and was used in
prayers and celebrations. It has a soft smile of the deity symbolising the
country and the world at peace, bountiful harvests, long lives, and
prosperity of the current and the future generations.
Plays
Okina


Name
Kokushiki-j
Category Okina
Comment It is also calledSanbas because it appears in the third piece of a
programme, and "the third" is translated to "Sanban" in Japanese. It has
been used in celebrations since the dawning of Noh assarugaku, and I
would say it is the first mask created in Japan. Although it has similar
appearance toHakushiki-j, including smiling eyes, swirling wrinkles on the
cheeks, and hinged lower jaw, the mask itself is a bit smaller and painted
black. It is the best choice for using in prayers for the country and the
world at peace, and bountiful harvests.
Plays
Okina

Name
Chichi-no-j
Category Okina
Comment It is only used for "Jnigatsu-rai" and "Chichi-no-j Enmei-kaja", which
are the special representations of "Okina". In these pieces, Chichi-no-
jappears on stage together with enmei-kaja. Enmei-kaja(okina) is an heir
toChichi-no-j, andChichi-no-j portrays a deity symbolises family estates
and prosperity of the current and the future generations. Among other
variations ofOkina, it only has sharp and slanted eyes describing paternal
mightiness and dignity.

Name
Enmei-kaja
Category Okina
Comment There are three old men appear in "Shiki-sanban" (Okina);Hakushiki-
j,Kokushiki-j andChichi-no-j. Enmei-kaja is the son ofChichi-no-j. The
mask has a sunny face that looks as ifOkina has got some years younger,
and makes people blessed with its happy look suitable for the celebrative
play. Although you cannot see in this picture, it has a black beard
indicating youthfulness. It is unusual to see Chichi-no-j or Enmei-kajaon
stage, because they are used only for the special versions of some pieces.
The masks of the three old men have hinged lower jaws, butEnmei-kaja,
the mask of a young man, has no such construction.





J



Name
Sank-j
Category J
Comment The Muromachi era (1336-1573) was the major period of the creation for
the Noh masks. A Buddhist monk from Echizen (currently Fukui), Sank-
b, was good at creating J-menand Ki-men, in particular the type
ofSank-j, which is said to be the reason why this type is so called.
Numbers of deep lines on its cheeks and across its forehead build up an
appearance of a commoner, portraying a powerful fisherman struggling
with a rough sea, a stout farmer working under the blazing sun, or an
uncouth lower-grade samurai.
Plays
Tru , Yashima , Utou



Name
Hanakobu Akuj
Category J
Comment Mask of an aged deity with a bump (kobu) jutting from the nose
(hana), hanakobu akuj are used in performances of waki-noh. Aku, or
evil, refers to a strong sense of austerity in Noh. The mask appears to
have been modelled on the stronger facial features of foreigners, and
has an imposing presence. Thehanakobu akuj mask is often used to
receive the decorativetori-kabuto headdress used in courtly
performances, and this heavy-looking costume fills the stage with the
strange atmosphere of a foreign land.
Plays
Koi no Omoni


Name
Koushi-j
Category J
Comment This type of mask takes its name from its creator, Koushi, a mask
maker who was a near-contemporary of Zeami. It has the most
dignified appearance among variants of J-men, but the features are
tense, with a hairless moustache engraved below the nose and only
the upper teeth showing. The mask is worn by leading actors playing
old men who are incarnations of deities in Waki-n (god plays), such
as "Takasago", "Yr" or "Yumiyawata." The dignity of the characters
is also reflected in their clothing, such as kimonos with small cross-
stripes, white broad hakama trousers, or thin mizugoromo coats with
wide sleeves. This mask is sometimes referred to as Ko-j. There are
two main views about the origin of the alternative name: one is that it
is an abbreviation of Koushi-j; the other is that the Hakushiki-j used
in Okina is known as Dai-j (great J mask), and the mask used in
Takasago is known as Ko-j (lesser J mask).
Plays
Yr , Takasago

Name
Asakura-j
Category J
Comment Like many Noh masks, this one was created around the Period of the
Northern and Southern Dynasties or the early Muromachi era. It was
named after Lord Asakura, who was presented with it in his territory of
Echizen (currently Fukui) by the maker, Fukurai. Compared with Koushi-
j, used for portraying incarnations of deities, the appearance is rustic,
with hair under the nose and lower lip, as well as on the chin, and
somewhat lacking in dignity, with features that give the impression of a
commoner. It is used for soldiers in Shura-n (warrior plays), or old
farmers, fishermen, or woodmen played by leading actors in Part One of
plays before the appearance of incarnations of military commanders or
other spirits. The costume, which is never white hakama trousers or
similar, is appropriately common in appearance.
Plays
Tru , Chikubu-shima ,Yashima , Utou


Name
Warai-j
Category J
Comment Warai means smile, so the name makes the mask's most remarkable
characteristic of smiling distinguished from other J masks. The mask has
more impressive but less graceful features of a commoner thanAsakura-
j or Sank-j. It is because Noh handed over smiling or laughing to
Kygen, so a smiling expression has been deemed to be graceless. The
mask is mainly used for old men played by leading actors in Part One of the
pieces, in which they play incarnations of monsters, infernal spirits, dragon
gods, or common people in Part Two. "Ukai" and "Chikubushima" are
examples. It is also used for incarnations of ghosts of noble people, such as
the old man played by the leading actor in Part One of "Tru".
Plays
Utou , Tru , Chikubu-shima , Yashima , Koi no Omoni


Name
Mai-ko-j
Category J
Comment Mai means a dance; therefore the mask is used for elderly leading
characters who dance in plays. It is a variation of Ko-jthat has a flavour
ofMai-j. Mai-ko-j is as graceful as Mai-j is, and worn by leading actors
in Part Two of the pieces, in which they play elderly characters who
perform a slow dance (jo-no-mai) or a very slow and solemn one (shin-
no-jo-no-mai). It is used for the spirits of old trees in "Yugy-yanagi" and
"Saigy-zakura", as well as for the god in "Oimatsu". Mai-j was originally
created by the Hosho school, andMai-ko-j is descended from it. The
Kanze school has been using Shiwa-jfor similar purposes, and the
schools of Komparu, Kongoh and Kita have been usingIshi-j since the
beginning of the Edo era. However, the distinction is not so strict these
days.


Name
Omoni-akuj
Category J
Comment This mask portrays a revengeful ghost of an old gardener, who loved a
wife of the Emperor seen through a hedge and died of indignation after
being teased by her. The play Koi-no-omoni ardently describes an old
man's afflicting feelings of love, his rapture with a good answer from the
lady, his enthusiasm for the love, and his despair and grudge after being
teased. The mask has saucer eyes staring at people, and a wide open
mouth that seems to say bitter things. It well captures the appearance of
the old man who was proud to die of indignation, even though he was of
low social standing.
Plays
Koi no Omoni


Name
Akobuj
Category J
Comment One type of the old men masks. The kobu of akobuj can be written in
Kanji either as old man or bump, a reference to the bump on the
masks nose. The base of the eyes communicate a deep sadness, with the
mask typically used to represent an old man facing a depressing and
difficult reality. While the akobujmask lacks the elegant quality of
theshj mask used to represent godly apparitions, it has the quality of a
worldly old man and is not as brutish as thesankj. The eyebrows and
beard of the akobuj are depicted in a mix of black and white, with many
variations including the hige-akobuj, or beardedakobuj.
Plays
Utou , Tenko , Yr , Koi no Omoni


Name
Shiwaj
Category J
Comment Worn mainly in performances of Kanze School Noh in the soft dances of
aged deities and to represent the spirit of ancient trees. As indicated by
the nameshiwaj, or wrinkled man, the mask is characterized by
wrinkles on the cheeks. The wrinkles are an obvious representation of age
as well as a symbol that the character has lived so unimaginably long that
he now seems more god-like than human. The shiwaj is used in chants
where theishij and maijmasks are also worn.

Name
Ishij
Category J
Comment One of the old men masks originally created by the mask maker Hye
Ishi, theishij mask is used in the soft dances of aged deities and to
represent the spirit of ancient trees. The mask is characterized by its
long face and large, downward-looking and introspective eyes.
The ishij mask conveys a quiet dignity and reserved air, and its
elegant nature allows it to match excellently with regal, wide-
sleevedkariginu, a traditional Japanese hunting garment. The ishij is
used in chants where the shiwaj and maijmasks are also worn.










OTOKO


Name
Chj
Category Otoko
Comment It portrays Ariwara no Narihira (aka Zaigo-chj, 825-880), a poet of the
early Heian era. The noble look well expresses the characteristic of a
womanish fellow of the aristocracy in the Heian era. It gives us a feeling
of sophisticated and educated nobleman with grace and elegance, who
has a taste of poetry. The knitted and sunken blows produce a sorrowful
mood, and remind us of the noblemen of the Heike clan who had
miserable final days.
Plays
Tsunemasa , Kiyotsune ,Atsumori , Tru


Name
Yoroboshi
Category Otoko
Comment It is exclusively used in the piece called "Yoroboshi". In the play, a
man of the powerful clan, Saemon-no-j Michitoshi, believes a
slander against his son Shuntoku-maru, and expels him. As
Shuntoku-maru has been shocked by his father's treatment and has
had a hard and sorrowful time, he becomes blind. He has no
particular destination in mind, and he finally becomes a waif. The
mask has mixed expressions of innocence of a boy, distress and
sorrow of the utmost limit, and devastation of the life of a waif.

Name
Dji
Category Otoko
Comment It is a beautiful mask with dignified classical features that looks as if it
is a woman, but it actually portrays a pure and innocent pretty boy. It
does not portray a real boy, but symbolises an eternal youth with the
fresh and lively appearance. Showing us a mysterious gracefulness and
fairyism with feelings of clarity and purity, it portrays an embodiment
of a deity. It is used for the pieces such as "Makura-jid", "Kiku-jid"
and "Tenko".
Plays
Tsunemasa , Kokaji ,Shakky , Tamura , Tenko, Atsumori , Iwafune

Name
Kagekiyo
Category Otoko
Comment This is exclusively used in "Kagekiyo," a fourth-group play
(yonban me mono) that has a deranged person for its leading
character. Taira no Kagekiyo was a great soldier of the Heike
clan who was defeated by the Genji clan and exiled to the
western region as a prisoner. This mask portrays his pitiful
state after losing his sight and being reduced to virtual
beggar status. Depending on the school, masks with different
expressions are used. The schools of Hsh, Kita and Konparu
use ones with the appearance of a warrior, with moustache
and beard, while Kanze and Kong use gentle-looking ones,
with no moustache or beard. The costumes also vary: the
Hsh school, for example, uses the style of a warrior,
featuring thick kimono with small cross-stripes and broad
hakama trousers, while the Kanze school uses simple kimono
in a single color and a thin coat with no trousers.

The second photo is a mask mainly used in Hsh scool.

Name
Shunkan
Category Otoko
Comment This is exclusively used in "Shunkan", a fourth-group play (yonbanme-
mono) that has a deranged person as its leading character. In the age of
the Heike clan's prosperity, Shunkan Szu (Priest Shunkan), the senior
priest of the Hshji Temple, conferred with Fujiwara no Naritsune and
Taira no Yasuyori at Shishigatani in Kyoto to plot against the Heike
government. However, the plot was exposed by betrayal, and they were
exiled to Kikai-ga-shima Island in Satsuma (currently Kagoshima).
Although Naritsune and Yasuyori were later granted amnesty and allowed
to travel back to Kyoto, only Shunkan was left behind. This mask depicts
the despair and the emaciation of the priest left alone on a desert island.
Each school has a mask with different expressions: one with emphatically
bitter grief, one with resilient firmness of character, or one with classical
features of a young man.
Plays
Shunkan , Kikaigashima

Name
Jroku
Category Otoko
Comment This mask portrays a nobleman of the Heike clan. The nobleman, Taira
no Atsumori, is a famous character inHeike monogatari (the Tale of the
Heike) who died young in battle between the Genji and the Heike clans.
The mask was so named because Atsumori died at only sixteen,
and Jroku is the Japanese word that means sixteen. It has an
appearance of a fair-skinned beautiful young man that looks like a young
woman. The lips painted in bright red and the dimples also depict
youthfulness. Eyebrows pencilled much above the shaved brows, as well
as the teeth dyed in black, indicate the appearance of the noblemen of
the Heike clan.
Plays
Atsumori , Tsunemasa

Name
Heida
Category Otoko
Comment When pieces ofShura-noh (warrior plays) are based on successful
battles, they are particularly called Kachi-shura(kachi means a win).
Pieces of Kachi-shurawere loved by the samurais who treated Noh as a
formal performing art in the Edo era (1603-1867). This mask, Heida, is
used for a warrior inKachi-shura. The sunburnt face of the warrior who
has spent days in battlefields; the wide opened round eyes; the
dignified appearance of the firm cheeks; the strong eyebrows and the
thick moustache; every expressive feature of the mask gives you an
impression of an energetic warrior. There is a variant that has whitish
skin; it is made laying emphasis on the character's dignity rather than
its rudeness, and calledShiro-heida (whiteheida).
Plays
Tamura , Yashima

Name
Semimaru
Category Otoko
Comment The mask portrays Semimaru, the fourth prince of the Emperor Daigo
(the Emperor of Engi). Because Semimaru was blind from childhood, he
was forced to become a bonze and abandoned in Mt. saka. The fair skin
and the dignified and graceful appearance describe his nobility as well as
his resignation to adversities. Although the masks of the blind, such
assemimaru andyoroboshi, have thin eye slits, when actors wear them,
they will have wider fields of view than those of other masks. However, it
is believed that the performers cannot act as blind persons when they
look through the slits of the masks. Therefore they are instructed to
perform with their eyes shut in order to incorporate the feeling of being
blind.
Plays
Semimaru

Name
Ikkaku-sennin
Category Otoko
Comment This mask portrays Ikkaku-sennin (a wizard with a horn) who lived in
the mountain near Varanasi in India. The wizard was believed to be
mothered by a doe, and had a horn on the head. He had strong
supernatural power. At one time the countryside suffered from a long
drought because he enclosed the dragon deity, who presided over
rainwater, in a cave. Then the Emperor sent a rare beauty, Senda-
bunin, to him to take his power with her charms, and after he lost his
power, the rainfalls resumed in the land. The mask skilfully describes
the hard look of the wizard who acquired supernatural powers through
years of training.

Name
Kumasaka
Category Otoko
Comment Mask of Chhan Kumasaka, a famous thief of the Heian era.
The Kumasaka mask is also referred to aschreibeshimi. The large,
bright eyes that seem to look about vigilantly portray a strong sense
of caution. The large and powerful nose and mouth give the
impression that this is the leader of a band of robbers. Yet
thekumasaka also projects and overall air of foolishness and invokes
a sense of pity for having been beaten by Ushiwakamaru.
Thekumasaka mask is also said to be used by theato-shite of
Tsuchigumo.
Plays
Tsuchigumo

Name
Imawaka
Category Otoko
Comment Appropriate for aristocrats such as the Taira Clan, the imawaka mask has
a gentle, quiet expression. It can be worn in place of thechj mask,
compared to which it has a younger looking expression. The white skin
conveys an air of elegance, and its slightly effeminate nature betrays a
love of music. The eyebrows are etched either slightly above the forehead,
or as in this mask, in their normal location.
Plays
Tsunemasa , Tamura ,Kiyotsune , Yashima ,Tru

Name
Kasshiki
Category Otoko
Comment Kasshiki is the name for a young boy who looks after the meals eaten
at Zen temples. The kasshikis status is between that of a commoner
and Buddhist monk, and they often excelled in performing arts. The
mask is characterized by the single bang of hair on the forehead, and
while usually short, some are shaped like a Japanese gingko nut and
others extend the length of the forehead. The expression of
thekasshiki varies from headstrong to cute and lovable, adding a range
of enjoyment to the performance. The skin is young and beautifully-
colored, often with dimples on the cheeks.
Plays
Kagetsu

Name
Wakaotoko
Category Otoko
Comment The mask of a young man. While thewakaotoko masks included many
different expressions, this mask is quite white and elegant, with a strong
expression. The straight, sharp glance of the mask expresses the
characters deep understanding of his life, and a strong will is
communicated by the mouth and two visible rows of teeth. Appropriate
for the name of the mask, young man, the firmness expressed in the
form of the mask and dimples on the cheeks communicate a sense of
youth.

Name
Kantanotoko
Category Otoko
Comment The wrinkled brow of the kantanotoko mask serves to communicate a
sense of struggle by the character young Rosei. After leaving in search
of a venerated Buddhist teacher, Rosei arrives in the land of Kantan
and borrows a mysterious pillow to sleep. Rosei becomes emperor and
prospers for fifty years, but in reality this has all been a short dream,
about as long as a typical meal. After reaching enlightenment, Rosei
returns happily to his home. The sharp eyes and firm mouth of
thekantanotoko mask give it a serious, stern quality.
Plays
Kantan , Gekky-den ,Tsuru
Kame , Tamura ,Kiyotsune , Yashima ,Yr , Takasago ,Arashiyama




ONNA


Name
Shiro-shakumi
Category Onna
Comment It portrays a middle-aged woman in her forties. The downcast hollow eyes
and the dimple-like wrinkles on the cheeks build up an appearance of an
elder woman, who might have experienced events of joy and anger that a
woman would have in her life, such as encounters with men, falling in and
out of love, marriage, pregnancy, child rearing, family ties, losing children
through death, and divorce.Fukai is another type of masks representing a
middle-aged woman, but Shakumi is tend to have a bit older and concave
face. It is called Shakumibecause of the concaved (shakure) face,
and Shiro-shakumi is a variation with whitish (shiroi) face.
Plays
Kazuraki , Mii-dera , Dj-ji , Utou

Name
Kohime
Category Onna
Comment Ko-omote has a variation indistinguishable from it. The variation has
several slight differences that you can see only if you look carefully,
including the shape and the size of the eyes and the nose, the roundness
and the size of the cheeks, the shape and the size of the forehead, and
the depiction of the hair. These differences are creating an atmosphere
different from Ko-omote. Thus the masks of the variation have names
different from Ko-omote. Manbi andYamada-onna are some of the
examples.Kohime is another example of the variation, which has slight
differences fromKo-omote in the shape of the face and in the depiction of
the hair.

Name
Fukai
Category Onna
Comment It portrays a middle-aged woman in her forties. The downcast hollow eyes
and the dimple-like wrinkles on the cheeks build up an appearance of an
elder woman, who might have experienced events of joy and anger that a
woman would have in her life, such as encounters with men, falling in and
out of love, marriage, pregnancy, child rearing, family ties, losing children
through death, and divorce.Shakumi is another type of masks
representing a middle-aged woman, butFukai looks a bit younger.
Plays
Utou , Kazuraki , Mii-
dera, Tomoe , Yamamba ,Sakuragawa ,Adachigahara , Kurozuka ,Kakitsubata , Ama ,No
nomiya , Yuya , Dj-ji ,Sumida-gawa , Funa-Benkei

Name
Ko-omote
Category Onna
Comment It portrays a girl of fifteen or sixteen, the youngest woman represented by
the masks, with purity, beauty and virginity."Ko" in Ko-omotemeans pretty
or lovely. There is a well-known episode in the life of Toyotomi Hideyoshi, a
feudal ruler who unified Japan in 1590. He was charmed by the threeKo-
omote masks made by Ishikawa Tatsuemon, and named them Yuki no ko-
omote (Mask of Snow), Tsuki no ko-omote (Mask of Moon), and Hana-no
ko-omote (Mask of Flower). Yuki no ko-omote is owned by the Kong
family, andHana no ko-omote is owned by the Mitsui Bunko Foundation.
Unfortunately Tsuki no ko-omote was burnt when the Castle of Edo
(currently the Imperial Palace) was on fire. It is worn by the leading actors
in the performances of the Konparu and the Kita schools.
Plays
Koch , Kazuraki ,Tboku , Tomoe ,Gekky-den , Tsuru
Kame, Yamamba , Matsukaze ,Hanjo , Kakitsubata ,Chikubu
shima ,Nonomiya , Yuya ,Momijigari , Hagoromo ,Izutsu , Aoi no Ue

Name
Uba
Category Onna
Comment Okina and na, or an old man and an old woman respectively, are
often seen among Japanese dolls, especially those for the Girl's
Festival in March. They appear in a well-known piece "Takasago" that
is performed at wedding ceremonies. In the Noh plays, Koushi-j, a
dignified variation ofJ-men, and Uba are used to
portray okinaand na respectively. They are not a real old couple, but
are actually deities incarnate. As a couple, na appears in company
with okina. It symbolises a modest wife who always concurs in her
husband's idea, and together they describe an ideal old husband and
wife in perfect harmony.
Plays
Arashiyama , Takasago ,Sotoba Komachi

Name
Magojir
Category Onna
Comment This mask is said to have been created by and named after Kong
Magojir, the head actor of the Kong school in the middle of the
16th Century. It is believed that the face was made in memory of his
beloved wife, who died at a young age. On the reverse side, he
engraved the inscription "omokage" (her visage). The expression is of
a woman with more maturity than that of Ko-omote, and the features
feel close to those of a person.
Plays
Yuya , Tomoe

Name
Waka-onna
Category Onna
Comment Each school has its own traditional and popular masks for young women,
such as Ko-omote in the Komparu school, Magojir in the Kongoh school,
and Fushiki-z in the Hosho school. They use the masks in third-group
plays (sanbanme-mono orkazura-mono). Though it is not certain whether
the Kanze school intended to compete with others, or whether they were
looking for a substitute for missing masks, they ordered Kawachi Ieshige,
the fourth head of the Izeki family and a master in the early Edo era, to
create an excellent mask of a young woman. His creation was this Waka-
onna. Since it was created, the mask has acquired the representative
position of the female masks used by the Kanze school. It is used in third-
group plays such as "Nonomiya" and "Izutsu", as well as those featuring
young women, such as "Tamakazura".
Plays
Tomoe , Sesshseki ,Matsukaze , Hanjo ,Kakitsubata , Hashitomi ,Nonomiya , Yuya ,Mom
ijigari , Dj-ji ,Hagoromo , Izutsu , Funa-Benkei , Tboku

Name
Z
Category Onna
Comment Z seems more frequently referred to as Z-onna. It is traditionally said
that this mask takes its name from its creator, Zami, a master performer
of dengaku-shin-za (new group ofdengaku) and a contemporary of Zeami.
Its classical features of a broad forehead and tense cheeks show us the
sublimity and the dignity of the character. The mask is used by leading
actors who play goddesses, celestial nymphs, or fairies. The examples
include the celestial nymph in "Hagoromo" and Chj-hime (Princess
Chj) in "Taema". The performer often wears a crown; therefore the mask
is sometimes calledTengan-shita (under the crown).
Plays
Koch , Kazuraki , Tboku, Tomoe , Sesshseki ,Matsukaze , Hanjo ,Kakitsubata , Hashito
mi ,Nonomiya , Yuya ,Momijigari , Hagoromo ,Izutsu , Funa-Benkei

Name
Masukami
Category Onna
Comment The word Masukamimeans "dishevelled hair" or "false hair", or maybe
"possessed by the god" because the Japanese words for "hair" and "god"
both sound kami. The mask is mainly used for a shrine maiden
possessed by the spirit. It has a highly strained countenance, and its
slant eyes, pits in the forehead, and its knitted eyebrows show you an
impression of madness. The determined mouth seems as if on the point
of saying the word of the spirit. The mask has an appearance of a fair-
skinned beautiful woman, so it is also suitable for portraying a
meandering woman entranced by love.
Plays
Kazuraki , Semimaru ,Tomoe , Makiginu

Name
mi-onna
Category Onna
Comment Mask of a young woman whose heart is overcome with love. Made with
the outer corners of the eyes drooping slightly, themi-onna is
characterized by the seductive nature of the face. The slightly offset
glance gives the impression of a troubled heart and at the same time the
sense of unwavering alertness. The skin appears beautifully white and
attractive. The supremely elegant and tasteful expression of the mi-
onna is the stark opposite of the more austere look of theko-omote, or
small mask.
Plays
Sesshseki , Adachigahara, Kurozuka , Ama , Dj-ji, Yamamba

Name
Asai
Category Onna
Comment Mask depicting the face of a middle-aged woman. Asai, meaning shallow
or young, contrasts with the mask of an old woman, fukai, which means
deep or old. The shape of the mask includes a slightly broader face
and nose, wrinkled eyes and the delicate changes in expression that come
with age. The skin is white and elegant. The base of the eyes and mouth
have an air of simultaneous kindness and loneliness representing complex
emotion.

Name
Rjo
Category Onna
Comment Mask of an old woman. While the face is thin and aged, the straight nose
and sparkle in the eyes of the rjo mask allow us to still catch a glimpse of
the beauty of youth. Although this is the mask of an old woman there is
not a single wrinkle, and the face is refined and beautiful. Age is one of
the deepest concepts expressed in Noh, and the rjo, or cold mask, is
one of the most appropriate vehicles for its expression. The yase-onna, or
thin woman, mask is similar to the rjo, with the face representing a
woman who has grown thin from being in love, but who is still
recognizably beautiful.
Plays
Sotoba Komachi

Name
Fushikiz
Category Onna
Comment Mask of a young woman showing a complex expression of grace,
intelligence, beauty and longing. Used in kazuramono,
the fushikiz honmenbelongs to the Hsh School and is considered a
cultural treasure. The name is said to derive from the fact that after the
mask was completed, resin from a knot (fushi) in the wood (ki) forming
the side of the nose escaped, which actually resulted in increasing (z)
the beauty of the mask. Since then, this stain has been recreated in
replicas of the mask. The Kanze School uses the same style of mask
inkazuramono, calling itwaka-onna, or young woman.

Name
Manbi
Category Onna
Comment Mask of a mysteriously beautiful young woman. The name manbi, or
10,000 coquetries, derives from the phrase winning over 100
coquetries. Themanbi mask is typically used to represent a demon that
has transformed into a beautiful woman. The features are stronger and
the face more beautiful than the ko-omote. The various visual
techniques used in the manbi mask include colouring that makes the
eyebrows appear slightly broader and thicker, shading which makes the
eyes more pronounced, and thick rouge on the lips which conveys an air
of seduction. Themanbi mask is said to be the creation of Shjin
Shimotsuma, who put on innumerable Noh performances at the
Honganji temple during the Azuchi-Momoyama era, despite having no
formal training.
Plays
Momijigari , Sesshseki



KISHIN


Name
Shishiguchi
Category Kishin
Comment This is exclusively used in "Shakky", a fifth-group play (gobanme-
mono) that has a demon or a goblin for its leading character. The scene
of "Shakky" is China. In the play, the Japanese priest Jakush sees a
lion dancing on a stone bridge, which leads to another world, the Pure
Land. It is a play of a good omen for expelling evil spirits. The piece is
sometimes performed to show the progress of leading actors. The
majestic appearance of Buddha preaching the truth is traditionally
referred to as Shishi-ku (a roar of a lion) because the face is compared
to that of a roaring lion. The mask manifests Buddha's appearance, and
seems to have the power of exorcism in the highly forcible and
impressive looks. Depending on the school, masks with different
expressions are used.
Plays
Shakky

Name
Kuro-beshimi
Category Kishin
Comment It is a variation of thebeshimi masks, in which the whole surface
is painted black and most of the expression is concealed. From
the pitch-black face, the golden eyes gleam and glare at people.
The mouth is close set as if it is accumulating all its strength, and
the nose expanding to the sides is brimful of superhuman power.
The deeply engraved wrinkles on the forehead and between the
brows are flowing toward the centre of the mask. Those features
may describe the theatrical energy that is concentrated to and
then radiated from the mask. We do not see it on stage very
often, because it is considered a substitute used for special
productions.

Name
Kiba-beshimi
Category Kishin
Comment This is a variation ofbeshimi with two big fangs (kiba). The original
version of this mask was transmitted in the former Kongoh family as a
masterpiece believed to be made by Shakuzuru. It has a large-scaled
character, larger than that of ordinary -beshimi, and is compared to
the leader of the long-nosed goblins. The prominent feature of the mask
is its engraving; the deep wrinkles between the knitted brows are
connected to the eyes, followed by the lines slanting down at the
corners; the nose widely expands to the sides, and the mouth is firmly
closed to describe the strictness of the character. The hair that covers
most of the face is vigorously painted black, and the reddish tint applied
in the wrinkles also improves the dignity of the mask.

Name
Hige-beshimi
Category Kishin
Comment This mask portrays an old long-nosed goblin that has a large following.
The wordbeshimi came frombeshi-guchi (firm set lips), so the name
means that the mask has firm set lips. The original version of this
mask transmitted in the Hosho family is called "Beshimi-akuj."
Although the Japanese word akucommonly means bad or evil, it
actually means "strong dignity" in the context ofakuj in Noh plays.
The mask has an alias of "neko-beshimi" because it has a pointed
moustache like whiskers of a cat, and cats are calledneko in Japanese.
The mask itself has a comical appearance, but when it is seen on
stage, this superb art piece prominently describes the mysterious and
dignified existence of the old goblin.

Name
Kurohige
Category Kishin
Comment This is a mask portraying the dragon deity. The dragon deity lives
underwater, is believed to be the presider over rainwater, and has
been the object of worship since the earliest of times. There are two
variations of the mask; one is calleddei-no-kurohige, which is entirely
painted with gold pigment (kin-dei), and the other is ordinarykurohige,
which has no gold pigment applied. It is common that those with gold
pigment are used to describe the superior dragon deity in heaven and
those with ordinary colours are used for the dragon deity underwater.
The turned-up chin is full of power, and the gold colour applied in the
eyes and on the teeth describes superhuman spiritual power. From the
whole expression of the features, you may see the image of the god
with strange appearance who moves swiftly.
Plays
Chikubu-shima , Iwafune

Name
Fud
Category Kishin
Comment This mask portraysFud-my, or the God of Fire, who repulses demons
by order of DainichiBuddha, or Mahavairocana. There is an interesting
legend surrounding a certain mask of Fud. The legend is that when an
actor used a mask made from the head of the statue ofFud-my, he
was visited with retribution and could not take the mask off. We could
even see the flame behind the deity in the terrifying expression of anger.
The tense features of the face, including the curly hair carefully engraved
from a single piece of wood, as well as the uniqueness of its colour,
closely describe the fierce appearance of the deity.

Name
Tsuri-manako
Category Kishin
Comment This is a mask of strange appearance with glaring eyes and grinning
teeth, and with the whole surface painted gold. It portrays the dragon
deity and is used as a substitute forkurohige. It can also be used as a
substitute for -tobide, which portrays a powerful celestial deity. The
dragon deity is living underwater and believed to be the presider over
rainwater, so the mask also has a touch of gloominess as if it really
appears from the bottom of the dark water. Although the mask has a
hint of a unique spiritual power which other demon masks do not have,
we do not see it on stage very often because it has a monstrous
appearance.

Name
Shj
Category Kishin
Comment This is exclusively used in "Shj," a fifth-group play (goban me
mono) that has a demon or goblin for its leading character.
Shj is a spirit that lives in the sea and loves drinking. In the
play, it appears by the Yangtze River at the foot of Mt. Jinshan in
China, and treats a dutiful son to a drink. The mask has a ruddy
face and disordered hair, suggesting the link with alcohol. It
wears the innocent expression of a smiling boy, which is unusual
for a Noh mask.
Plays
Shj , Midare , Shj Midare

Name
Myga-akuj
Category Kishin
Comment Akuj describes its fierce, strong and grim appearance. There are
several variations of akuj, including Dai-akuj, Omoini-
akuj, Washibana-akuj (akuj with a hooked nose),Hanakobu-akuj,
andBeshimi-akuj. Myga-akuj is named by its eyes shaped like a
Japanese ginger (myga), which portrays a strong and grim old man
with superhuman power.

Name
Yakan
Category Kishin
Comment It has two short horns, uncannily vacant eyes, thin and long lips, and thick,
coarse and wild hair. What strikes us about this mask is the appearance
that could impersonate an old beast having a body of a fox and a voice of a
wolf. It may somehow give us a feeling of humour and charms as well as
fear and duress. It is worn by the Nochi-shite(leading actor in Part Two) in
"Sessh-seki".

Name
-beshimi
Category Kishin
Comment Tengu, one of the most popular goblins in Japanese legends, has a long
nose and ruddy face. -beshimi portrays Tengu in Noh plays. The name
Beshimi comes from heshimu, which means "to close the lips firmly."
The mask has wide-open eyes and tightly drawn lips, expressing the
goblin's power, which brings everything under its control. It is used for
fifth group pieces featuring Tengu, including "Kurama-tengu." Beshimi
is the antithesis of Tobide in the same way that omega (the end of the
world) is the opposite of alpha (the start of the world).
Plays
Kurama-tengu

Name
Ko-beshimi
Category Kishin
Comment The name Beshimi comes from heshimu, which means "to close the lips
firmly." Beshimi is the antithesis of Tobide in the same way that omega
(the end of the world) is the opposite of alpha (the start of the world). Ko-
beshimi has a strained and fierce look, with cold sharp eyes that can see
through our hearts, while -beshimi has the compelling but somewhat
funny look of Tengu. Ko-beshimi has smaller eyes than those of -
beshimi, and features a nose with a less stern look. It is used to portray
infernal spirits, such as the leading character in Part Two of "Nomori".

Name
Shikami
Category Kishin
Comment This mask is used to portray violently malicious spirits or monsters, such
as the leading characters in Part Two of "Tsuchigumo" and "Momijigari".
Shikami was originally a compound of shishi and kami, which mean "lion"
and "bite," respectively. Thus the mask represents the look of a lion
biting something. Shikami could also be a compound of shi and kami
(meaning "teeth" and "bite"). Every muscle appears to be tightening
toward the centre of the mask to form a terrible and angry face with
knitted brows. We call a frowning face shikamettsura, a compound of
shikami and tsura (face).
Plays
Momijigari , Tsuchigumo

Name
-tobide
Category Kishin
Comment The name Tobidecomes from tobideru(to protrude), and the mask is so
called because its eyes stick out of the face. The mask has wide-open
eyes and mouth, and portrays the face of a shrewd deity. It was once
called Hiten, meaning a divine spirit soaring in the sky. According to
"Sarugaku-dangi" (Lectures on Sarugaku) by Zeami, the mask portrays
the vengeful ghost of Lord Sugawara no Michizane (a politician and
scholar of the Heian era). -tobidehas an exaggerated appearance
befitting the fierce and powerful celestial deity flying swiftly. It is used in
first-group pieces ( shobanme-mono) such as "Kamo" or "Arashiyama",
which convey an atmosphere of celebration. Tobide is the antithesis
ofBeshimi in the same way that alpha (the start of the world) is the
opposite of omega (the end of the world).
UPlays
Arashiyama

Name
Ko-tobide
Category Kishin
Comment While -tobide has the features of generous and large-hearted beings,
and is mainly used for cheerful gods in the heaven, Ko-tobide has a
tense expression with small eyes and a flat nose, showing us a sharp and
dauntless appearance. This mask is mainly used for divine spirits
scampering airily on the earth, and sometimes for demons. The
examples include "Kokaji", "Sesshseki" and "Nue", which feature fox
spirits, fairies, spectres, or other divine spirits of like nature. Tobide is
the antithesis of Beshimiin the same way that alpha (the start of the
world) is the opposite of omega (the end of the world).
Plays
Sesshseki , Kokaji , Nue



ONRYO



Name
Hannya
Category Onryo
Comment The expression of this mask is a fusion of jealousy, grudge, sorrow,
and grief of women. It has a demonic appearance with two horns,
knitting her brows and stiffening her cheeks. There are two views
about the origin of its name Hannya; one is that a monk from Nara
Hannya-b translated the creation of this type into art, and the
other is that making the masks of demons required the mask maker
to have the wisdom which opens people's eyes to the reality of
things, and the wisdom was calledHannya in Buddhism.
Plays
Momijigari , Dj-ji , Aoi no Ue , Kurozuka ,Adachigahara

Name
Hiragata-hannya
Category Onryo
Comment It was created in the Kamakura era (1192-1333) in which many Noh
masks were created. It has a primitive, imbalanced, old-fashioned
squarish flat face lacking elaboration, while normal Hannya has a
triangular shape with extreme sophistication. It is said that this type was
the origin ofHannya, and in the Muromachi era, a monk from Nara called
Hannya-b translated it into art and accomplished the type of Hannya.

Name
Yamanba
Category Onryo
Comment The word Yamanba, or mountain witch, reminds the Japanese
people of a mad old woman in fairy tales living in a mountain with
a sickle in her hand and living on human flesh.
HoweverYamanba in the Noh plays is a good goblin living in a
mountain, having strength, grimness and mightiness. Indeed it is
right to say thatYamanba is the spirit of mountains, or she herself
impersonates the bosom of a mountain chain. The mask
of Yamanbasymbolises a mountain nymph.
Plays
Yamamba

Name
Kawazu
Category Onryo
Comment A mask called Yase-otoko portrays a ghost of dead man haunting this
world after he was damned by violating the precept against killing
because his livelihood was butchery. Kawazuis a deformation ofYase-
otoko having hollow cheeks and vacant eyes. It also has wet and
dishevelled hair, which emphasises his weakness and misery, thus
making the audience feel more sorrow and distress.
Plays
Utou

Name
Yase-onna
Category Onryo
Comment Ry-no-onna is a type of masks that portrays a woman with
grudge and jealousy, who could not go to Nirvana and became a
ghost.Yase-onna is one of the variations of Ry-no-onna. Yase-
onnahas a humane look, with vacant eyes and hollow cheeks that
emphasise women's weakness and misery, while Ry-no-onna has
sharp eyes and other features that emphasise the ghost's grudge.
It is used for the pieces such as "Teika" and "Kinuta".

Name
Ayakashi
Category Onryo
Comment The mask is used for the ghost of a military commander died with a
strong grudge. It is considered as a masterpiece because it describes
both dignity and heart burnings together with its trim shape and
beautiful colour, without a trace of blood in warfare or sweaty smell. It
has slant eyes with glittering metal rings mounted, signifying that the
alien character has a strong will and a spite against this world. The
uniquely painted brows express its power, and the moustache and the
sidelocks are drawn at a stroke to describe its energy.
Plays
Funa-Benkei , Nue

Name
Yase-otoko
Category Onryo
Comment The mask portrays a despair man suffered from things. It has ghastly
pale skin, and thin eyebrows and moustache. The mouth is weakly
open a little. The eyes, however, have glittering metal rings signifying
that the character is alien from the human beings, and the red paint
around the pupils make you feel a deep grudge. In the Muromachi era
(1336-1573), a mask maker called Himi was good at making masks
with a shadow of death on their face, like Yase-otoko. It is legendarily
said that he made such kind of masks while observing a dead body of
a lean and scrawny man.
Plays
Kayoi-Komachi , Utou

Name
Rynyo
Category Onryo
Comment This mask is used in the story of a woman diver; in the story, the
diver tries to regain a stolen jewel from the Palace of the Dragon
King for the sake of her son's success in life. In order to protect
the jewel from dragons and sharks in pursuit of her, she stabs
herself in the chest with a dagger, and puts the jewel into her
body. This mask is used in the scene in which the diver dances
after she transforms herself into a female dragon and is taken to
Nirvana. Its face clearly shows you the shape of the skull, and the
two metal rings embedded in the eyes emphasise its eye power.
The mask depicts the overflowing will of the mother who loves her
son. The hair drawn on its forehead portrays a female dragon just
appeared from the sea.
Plays
Ama

Name
Ja
Category Onryo
Comment It is legendarily said that women transform themselves into serpents
if they feel extreme anger or if they hold utmost grudges. The mask
has a much more brutal appearance than Hannya, showing a
frightening face with its mouth widely and menacingly opened. The
gold colour in the eyes and the teeth signifies that the character is
alien from the human beings, and the dark red in the face makes us
feel tumultuous passions never been held. On the other hand, we
can find the creator's intention to leave an image of a woman in the
whitish forehead. It was originally created and has been handed
down by the heads of the Kongoh school.
Plays
Dj-ji

Name
Namanari
Category Onryo
Comment This mask portrays an apparition of a living woman filled with anger
and grudge after being deserted by her husband. It skilfully describes
the state of the woman overflowing with emotion. It has small horns
on the head and widely cloven mouth, and may be considered as a
preliminary stage of becoming a demon, which is depicted byhannya.
The gold pigment in the eyes and on the teeth distinguishes the
inhuman being from the extraordinary world. On the other hand, it has
pencilled eyebrows on the forehead, which remind us of a female
human being. The mask has a fierce but somewhat pitiful look.
Plays
Kanawa

Name
Hashihime
Category Onryo
Comment Mask of a woman transformed into a demon after being
heartbroken over the lost love of her husband. Thehashihime mask
is full of anger and sadness expressed in the deeply furrowed brow.
The broad, open mouth and exposed gold teeth appear ready to let
forth a curse, and the gold outline of the eyes indicate that the
woman has already transformed into a demon. As with
thedeigan and ry-nyomasks, the hashihimemask is used by
thery-nyo, with the strong expression portraying the austere
nature of the character.
Plays
Kanawa , Ama

Name
Deigan
Category Onryo
Comment Mask expressing spite toward a man who has lost love for
thedeigan. The namedeigan, or golden eyes, derives from the gold
flakes (dei) that form the pigment used around the eyes. The gold
pigment appears to sparkle like tears, representing the inner
struggle of the character. Thedeigan mask is characterized by its
unfolded eyelids, and the weeping expression is not seen in any of
the onna-men. The deigan mask is said to traditionally have been
used to represent heavenly roles such as Buddha and is worn by
theatojite acting as ry-nyo to play the role ofama, or female
fishermen who have attained enlightenment.
Plays
Kanawa , Ama , Aoi no Ue,


Artist Credit: TOSHIRO MORITA