Paper short abstract:

Through analysis of descriptions in official histories and books of ceremonies, this paper discusses the political importance of ceremonial music and dance performance in the ancient Japanese court, seen as bodily action. It draws on previous historical studies and ethnomusicological perspectives.

Paper long abstract:

Reflecting ethnomusicological theory, this paper considers music and dance performance as kinds of body action appropriate to their social situation. This perspective comprises two aspects: expression (sending) and perception (receiving). Examples in ancient Japanese court (seventh-twelfth centuries) ceremonies are drawn from descriptions in official histories and protocols. Using earlier historical studies, analysis identifies those who performed, the political significance of where and why the performance took place, and who listened and why. From this, I suggest why bodily action accompanying live sound functioned as a vital part of the ceremony.

Some historical studies have recognized two types of ancient Japanese court ceremonies: perquisite and offertory according to whether the emperor made distributions to his/her vassals, or vassals declared their loyalty to the emperor. At the same time, there were two imperial music and dance organizations, namely, Gagakuryo and Konoefu, with nearly identical repertoires and personnel. The two were distinguished by the types of ceremonies or occasions at which they would perform; that is, Ggakuryo performed at the perquisite type while Konoefu worked on offertory occasions. Previous studies hold that both types of ceremony served to confirm the relationship between sovereign and subject. Significantly, some items given or received were directly related to the body and its senses. For example, in one perquisite-type ceremony, the emperor feted the vassals with food and drink and bestowed special robes expressing particular indebtedness. Moreover, it is observed that the absolute ruler ate local products to incorporate the land's spirit. To render service, on the other hand, devoting one's body to the sovereign, was an important symbol of subordinance at that time; thus, the organization which performed in those ceremonies declaring loyalty also provided imperial bodyguards.

Analysis makes it clear that both performing and perceiving music and dance, as ceremonial bodily actions, played critical roles in ratifying the social order of the ancient Japanese court, just as eating, drinking, or wearing. This study may prove useful in considering the place of ritual music and dance in imperial society, not simply as royal entertainment, but in the maintenance of the social order.