| Description |
Gagaku is one of the Japanese performing arts, which are expressed by playing musical instruments, with long, slow songs and dance-like movements, and performed at ceremonies or banquets at the Imperial Palace or in a theatre, such as the National Theatre in Tokyo.
Gagaku consists of (i) Kuniburi no Utamai, (ii) the Japanized dance and music which had been derived from the Continent, and (iii) Utamono. The substances or repertoires have been created in the history and culture of Japan and become distinctive.
Kuniburi no Utamai had been formed up around the tenth century with original Japanese songs and dances long before foreign music and instruments were brought into Japan in the fifth century. While the dance and music that came via the continent use only musical instruments, Kuniburi no Utamai is mainly composed of songs and played just partly with a Japanese harp and Kagura flute. The choreography of Kuniburi no Utamai is simple but noble and grave.
The Japanized dance and music which had been derived from the Continent consist of an instrumental tune, kangen, which developed from such Asian music and dances that reached Japan via ancient China and the Korean peninsula during the four hundred years from the fifth century through the ninth century, and was shaped by the history and culture of Japan, and (b) bugaku, the ceremonial dance to this tune. The Japanization is the process as follows: (i) the configuration of performance consisting of those derived from China, Central Asia, and India and those from the Korean peninsula: (ii) the selection of foreign music instruments and the formation of the smaller chamber music ensembles. Those used here are wind instruments (Sho, Hichiriki and Fue), strings (Biwa and So), percussion instruments, and others.
Utamono is the vocal music that was newly formed around the tenth century in Japan under the influence of music from abroad. Some of its lyrics are Japanese folk songs and some are ancient Chinese poems.
As briefly explained above, the history of Gagaku stretches over more than a millennium. Gagaku-ryo, i.e. the department of Gagaku, was set up as a national institution by the enactment of the year 701. The Imperial Court aimed at establishing a centralized State under the rule of written laws and regulations, known as Ritsu-Ryo Kokka. Historians think that Gagaku was incorporated into the national system as an essential part of official ceremonies. In 752, for example, these performing arts were performed at the ceremony to bring the soul into Great Buddha statue in the temple of Todai-ji, which has been a UNESCO World Heritage Site since 1998.
In the tenth century the performing arts from the Asian continent were sophisticated and Japanized while new Utamono and new repertoires of Bugaku were composed under the influence of performing arts from abroad; the form of today’s Gagaku was being established. Moreover, the style of acting and the performance space were also being set.
The individual members who compose the Music Department of the Imperial Household Agency in charge of the transmission of Gagaku are mainly descendants of specific families who occupied such posts as a family profession. Although the tradition of Gagaku faced difficulties several times because of the decline of the Imperial Court and the aristocracy, who were patrons of Gagaku, and because of political turbulence and conflicts, certain families in Kyoto, Osaka, and Nara have kept the tradition, and do not let it cease. In the latter half of the 18th century, the Musical Department of the Imperial Household Agency was established, incorporating musicians from several localities, and this was the predecessor of the Musical Department of the Imperial Household Agency.
As explained above, the Department members recognize Gagaku as part of their precious cultural heritage transmitted from their ancestors. As Gagaku has been designated as an Important Intangible Cultural Property of Japan since 1955, it is recognized as an item of important cultural heritage which has high historical and artistic value for the Japanese people.
Gagaku is the oldest tradition among the Japanese traditional performing arts. The Music Department of the Imperial Household Agency is widely recognized as the authentic transmitter of the tradition. The transmitters recognize Gagaku as their own unique culture of which they can be proud before their contemporaries in Japan and throughout the world. The transmission and performance of Gagaku contribute greatly to raising the holding community’s sense of identity and continuity.
Thus, Gagaku has been transmitted from generation to generation for a long time, developed corresponding to the politics and the surroundings of each time, and constantly recreated.
The history of Gagaku illustrates very well how Japan has transformed culture from abroad and sophisticated them as part of our own culture. The performing arts transmitted to-day varies from those originating in ancient Japan to Japanized, sophisticated and developed ones derived from abroad. In this sense, Gagaku is the crystallization of the culture created by the society and history of Japan. In 1955 Gagaku was recognized as a part of cultural heritage, and designated as an Important Intangible Cultural Property. Therefore, Gagaku functions as one cultural tool to reconfirm the Japanese identity. |
| Social and cultural significance |
The members of Music Department of the Imperial Household Agency recognize Gagaku as part of their precious cultural heritage transmitted from their ancestors. As Gagaku has been designated as an Important Intangible Cultural Property of Japan since 1955, it is recognized as an item of important cultural heritage which has high historical and artistic value for the Japanese people.
Gagaku is the oldest tradition among the Japanese traditional performing arts. The Music Department of the Imperial Household Agency is widely recognized as the authentic transmitter of the tradition. The transmitters recognize Gagaku as their own unique culture of which they can be proud before their contemporaries in Japan and throughout the world. The transmission and performance of Gagaku contribute greatly to raising the holding community’s sense of identity and continuity.
Thus, Gagaku has been transmitted from generations to generations for a long time, developed corresponding to the politics and the surroundings of each time, and constantly recreated.
The history of Gagaku illustrates very well how Japan has transformed culture from abroad and sophisticated them as part of our own culture. The performing arts transmitted to-day varies from those originating in ancient Japan to Japanized, sophisticated and developed ones derived from abroad. In this sense, Gagaku is the crystallization of the culture created by the society and history of Japan. In 1955 Gagaku was recognized as a part of cultural heritage, and designated as an Important Intangible Cultural Property. Therefore, Gagaku functions as one cultural tool to reconfirm the Japanese identity. |
| Transmission method |
Gagaku consists of (i) Kuniburi no Utamai, (ii) the Japanized dance and music which had been derived from the Continent, and (iii) Utamono. The substances or repertoires have been created in the history and culture of Japan and become distinctive.
Kuniburi no Utamai had been formed up around the tenth century with original Japanese songs and dances long before foreign music and instruments were brought into Japan in the fifth century. While the dance and music that came via the continent use only musical instruments, Kuniburi no Utamai is mainly composed of songs and played just partly with a Japanese harp and Kagura flute. The choreography of Kuniburi no Utamai is simple but noble and grave.
The Japanized dance and music which had been derived from the Continent consist of an instrumental tune, kangen, which developed from such Asian music and dances that reached Japan via ancient China and the Korean peninsula during the four hundred years from the fifth century through the ninth century, and was shaped by the history and culture of Japan, and (b) bugaku, the ceremonial dance to this tune. The Japanization is the process as follows: (i) the configuration of performance consisting of those derived from China, Central Asia, and India and those from the Korean peninsula: (ii) the selection of foreign music instruments and the formation of the smaller chamber music ensembles. Those used here are wind instruments (Sho, Hichiriki and Fue), strings (Biwa and So), percussion instruments, and others.
Utamono is the vocal music that was newly formed around the tenth century in Japan under the influence of music from abroad. Some of its lyrics are Japanese folk songs and some are ancient Chinese poems.
As briefly explained above, the history of Gagaku stretches over more than a millennium. Gagaku-ryo, i.e. the department of Gagaku, was set up as a national institution by the enactment of the year 701. The Imperial Court aimed at establishing a centralized State under the rule of written laws and regulations, known as Ritsu-Ryo Kokka. Historians think that Gagaku was incorporated into the national system as an essential part of official ceremonies. In 752, for example, these performing arts were performed at the ceremony to bring the soul into Great Buddha statue in the temple of Todai-ji, which has been a UNESCO World Heritage Site since 1998.
In the tenth century the performing arts from the Asian continent were sophisticated and Japanized while new Utamono and new repertoires of Bugaku were composed under the influence of performing arts from abroad; the form of today’s Gagaku was being established. Moreover, the style of acting and the performance space were also being set.
The individual members who compose the Music Department of the Imperial Household Agency in charge of the transmission of Gagaku are mainly descendants of specific families who occupied such posts as a family profession. Although the tradition of Gagaku faced difficulties several times because of the decline of the Imperial Court and the aristocracy, who were patrons of Gagaku, and because of political turbulence and conflicts, certain families in Kyoto, Osaka, and Nara have kept the tradition, and do not let it cease. In the latter half of the 18th century, the Musical Department of the Imperial Household Agency was established, incorporating musicians from several localities, and this was the predecessor of the Musical Department of the Imperial Household Agency.
Gagaku Division of the Ministry of Imperial Household was established in 1870 to unite Gagaku artists residing in Kansai (western areas of Japan) and in Edo (the former name of Tokyo). This Division became what is now known today as the Music Department of the Imperial Household Agency. This history demonstrates the efforts made by the national government to preserve and help maintain the skills by employing skilled artists as government officers as early as the beginning of the Meiji period.
(1) Nurturing the future generations
The Imperial Household Agency has established the seven-year training programme for the purpose of nurturing the young Gagaku artists. Trainees study five days a week and learn about performance methods and theory. After passing the graduation examination, trainees will be employed as Imperial Household Gagaku artists.
(2) Equipment – Repairs and Procurement
(a) The Japanese government subsidizes the cost of repairing and procuring equipment and costumes for Gagaku as required.
(b) The Japanese government invests in artisans who have skills to make musical instruments and costumes and it also researches the availability of raw materials for making them. If the skill is proven to be necessary to preserve, the government regards it as a “Selected Conservation Technique”. For example, the skill required to repair Gagaku wind instruments was already selected as “Selected
Conservation Technique”. The Government has recognized two persons as the bearers of this technique, and the training of successors, improvement of this technique, and documentation projects are under way.
(3) Public Viewing and Publicity
(a) The Music Department of the Imperial Household Agency holds free Gagaku concerts in Spring and Autumn every year at the Imperial Palace and annually at the National Theatre. Furthermore, if requested, the Gagaku group will perform in the regional areas of Japan and pamphlets are distributed to the audiences to help increase their understanding of Gagaku. It is also performed overseas upon the request of Ministry of Foreign Affairs or others.
(b) The performance at the National Theatre is an annual event. The Theatre keeps recordings of the performances for safekeeping and, if required, they will be made available to the general public. The National Theatre enthusiastically chooses rare and grand performances to help raise the profile of Gagaku which gives further meaning to the traditions and increases awareness and understanding of Gagaku.
(c) The Imperial Household Agency cooperates with production of CDs and DVDs in order to promote and increase the understandings of Gagaku.
(4) Documentation
The Kikuyou Court Culture Institute was established in 1993 for the purpose of researching and publicizing of Imperial Culture including Gagaku. The Institute plays an important role in increasing public understanding of Gagaku through the production of Gagaku films and pamphlets. |
| Community |
Music Department of the Imperial Household Agency
Gagaku has been defined since very early times as a performing art which has been performed on the occasion of official ceremonies since very early in Japanese history. At that time, Gagaku performers were in charge of performance and teaching as officials of a governmental institution. Although the name of the institution, number of members, and occasion of performance has varied from time to time according to changes in society, the tradition has been basically transmitted to date. Today’s Music Department of the Imperial Household Agency is the successor to this long tradition. To give official status to performers of Gagaku is a reflection of Japan’s long history and tradition. |
| Type of UNESCO List |
Representative List of the Intangible Cultural Heritage of Humanity |
| Incribed year in UNESCO List |
2009 |
