 |
|
Omoro--old chants sung in the Okinawa and Amami archipelago between the 12th and 17th centuries.
Omorosoushi--during the former Shuri government, Omoro chants were written down, forming the volumes of the oldest book in Okinawa, the "Omorosoushi." Omoro were sung by male artists at the royal government and by priestesses as religious ceremonial songs. As men became specialized musicians, the Omoro was gradually sung with the Sanshin (lute-like musical instrument) by following generations.
|
|
1532
The "Omorosoushi" is compiled |
 |
|
Saint Taichu came to Okinawa, introducing Buddhist prayers and chants.
Translating them into plain language, he created a profusion of Buddhist
Ryukyuan poems. Adding a melody to them, he transformed these works so
that they could be sung.
With some Buddhist monks specializing in these prayers, it became a custom to call upon them to sing these songs for the spirits of deceased ancestors during the Bon festival, a three-day observance in Okinawa when ancestor spirits visit their families in this world (Shuri).
These Buddhist monks, known as Chondara (religious puppeteers begging for alms), started performing Buddhist dances as demand for their services grew.
|
|
1603
Saint Taichu comes to Okinawa.
1609
Satsuma takes control of the Ryukyus. |
 |
|
The present day Sanshin, a three-stringed lute, already existed at that time, and the practice of using it for dancing and singing appeared (Ninpucha dance).
From Shuri to central Okinawa, there was a custom where sons of noble families, except the eldest, were expected to master the arts of dance and Sanshin and other musical instruments. Therefore, it was naturally the role of young males to perform Eisa at memorial services during the Bon observance.
On the other hand in the agricultural areas of northern Okinawa, Omoro chants were sung by priestesses, women playing the key role in religious observances according to the belief of Onarigami (women as goddesses possess the ability to provide spiritual protection).
This is how the Eisa of Shuri and central Okinawa came to be danced by men only, while women performed Eisa in Ogimi and Kunigami.
|
|
1650
Choshu Haneji writes the "Chuzan Seikan," the first official
history of the Ryukyu Kingdom. |
 |
|
From Buddhist dances to Eisa performances during "Mo Ashibi" or revelries.
In 1868, the Edo period (1603-1868) segued into the Meiji period (1868
- 1912). The advent of modernization and public moral reforms forced
outdoor revelry traditions to collapse and dancing energies were then
transferred to Eisa.
Furthermore, from long Buddhist songs a boom of new folk music arose at that time and was adopted by modern youth associations, thus new Eisa performances similar to those of the present day began.
|
|
1868
Meiji Restoration
1879
According to the abolition of clans and establishment of prefectures in Japan, Okinawa became Okinawa Prefecture. |
 |
|
Through exchanges between youth associations, Eisa, having developed a
stronger sense of being a performing art, started to spread, with each
group incorporating positive elements of other areas, making Eisa much
more enjoyable to watch.
|
|
1941
Beginning of the Pacific War |
 |
|
In the Okinawa burned to ashes during World War II and under U.S.
military administration post-war, Eisa slowly made a comeback. However,
instead of continuing in the path of its original form, Eisa aficionados
developed a new style.
|
|
1945
End of the Pacific War |
 |
|
Beginning in 1956, the "Island-wide Eisa Competition" was
held. Meanwhile, Koza City (present-day Okinawa City) was being established.
The event was centered on Koza, with youth associations from central
Okinawa competing more and more on costume attractiveness and drum
techniques. Each group also exercised its ingenuity through performance
direction and song repertoire.
|
|
1958
The currency used in Okinawa changes to the dollar. |
 |
|
From 1977 on, the Eisa Festival continued to be held as at present,
without competition. |
|
1972
Reversion of Okinawa to Japan |
