| Budget Amount *help |
¥4,290,000 (Direct Cost: ¥3,300,000、Indirect Cost: ¥990,000)
Fiscal Year 2014: ¥1,560,000 (Direct Cost: ¥1,200,000、Indirect Cost: ¥360,000)
Fiscal Year 2013: ¥1,430,000 (Direct Cost: ¥1,100,000、Indirect Cost: ¥330,000)
Fiscal Year 2012: ¥1,300,000 (Direct Cost: ¥1,000,000、Indirect Cost: ¥300,000)
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| Outline of Final Research Achievements |
This study revealed the “who,” “what,” “where,” “when,” and “how” of ancient Japanese ceremonial performances and their audiences, using descriptions in official histories, protocols, and records of the time. I thereby examined “why”-what ceremonial music and dance performances meant in their respective political situation, including funeral rites, royal ceremonial visits (gyoko), grand harvest festivals (daijosai), New Year's grand banquets (taikyo), 10-day cyclical rites (shunnogi), fifth of May ceremonies, and sumo wrestling.
I concluded that native Japanese dance was considered a symbol of the land’s spirit. Additionally, it is likely that the performance, and the idea of “music as a way to extol the emperor’s virtue,” were introduced from China with the foundations of the Ritsuryosystem. Finally, Imperial guards (Konoefu) managed the performances based on former idea, while the Music Department (Gagakuryo) applied imported ideology.
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