Janet Goodwin
Formerly, Professor, Center for Cultural Research and Studies
University of Aizu, Japan

The Cultural Tradition of Noh in the Aizu region

from the Perspective of University of Aizu

It is evening at Tsurugajo Castle. After the sun has set, torches are lit. The Aizu Fall Festival`s famous takigi noh (noh performed by firelight) is about to begin. Bathed in the light of moon and fire, the musicians enter the stage. It`s often been said that Japanese people are not all that interested in noh. However, the audience appears to be eagerly awaiting the beginning of the performance. This is probably because of takigi noh `s mysterious aura. Takigi noh resembles the noh originally performed at shrines or temples. I study Japanese history, so I really enjoy noh and especially takigi noh. Not only that, but I understand the importance noh has played in Japanese culture.

Today it may seem that noh is a highly regarded cultural theatre, separated from the general public, but in historical terms I do not think this has always been so. The noh created by Kan`ami and Zeami became a refined theatrical art when a powerful warrior, Ashikaga Yoshimitsu, noticed it`s high artistic value. But, noh did not lose it`s influential roots from dengaku (a dance in celebration of rice harvesting) and sarugaku (a form of popular theatre), from the medieval era. These arts were developed through the combination of popular art and religious ceremony. From this perspective, I think that noh is the representative art of Japanese culture.

In the medieval era, noh was performed by itinerant performers on the stage of shrines and temples. Frequently, these medieval noh actors from the lowest class of society played distinguished roles-such as Buddha, gods, and famous nobles. The performances also became a meeting ground for the low-class and high-class. In the very least, through noh various levels of medieval society were able to mix. Noh became a disguised way of creating a consciousness beyond class society. Similar to the songs of the Tale of Heike, noh fulfilled a culturally unifying role.

Noh`s perception of time is the opposite of modern theatre. Normally, in modern theatre, the action precedes from the past to the future. The majority of noh theatre looks back on the past from the present. Just like the opening of a flower, the shite`s past life is revealed. Little by little, we learn the shite`s identity and personality. In one instance, what appears to be a gentle old woman is really an oni (monster). A young farmer turns out to be the dead Atsumori. Noh doesn`t only bring us the memories of a past age, it also shows us a different perception of time.

The aesthetics of noh arouse much academic interest. In American and European colleges, the aesthetics of "wabi," "sabi," and "yuugen" are well-known. However, the theme of a historical interpretation of noh is perhaps more interesting. For example, if the spirit of Atsumori allowed himself to recognize Kumagai, the man who killed him, he would be overcome with hatred and rage. The play "Atsumori" was written in the feudal era, but it does not present a positive image of war. Instead, war is presented as the unnecessary end of many young lives. I believe that one of the reasons noh became popular during the feudal period (Sengoku period, mid 15th c.-17th c.) was that it expressed a hope for peace in a violent age. This could be a message for our times, as well.

The Aizu region`s has become a famous tradition. While watching takigi noh at Tsurugajo, the people are participating in Aizu`s time-honored culture. If noh is representative of Japan`s long-standing culture, then the University of Aizu represents Aizu`s new technological and international culture. I believe that scholarship and education play a role in supporting a rich cultural environment. Then, doesn`t it seem fitting that a university was established in Aizu Wakamatsu?