Appreciate
52nd Gagaku Concert, National Theatre, Tokyo
Musicians and dancers of the Music Department, Board of Ceremonies, Imperial Household Agency
Outline
Ryōō (or Ranryōō, ‘King of Lan Ling’) is a well-known Dance of the Left of the hashirimai (running dance) category, in which the dancer moves vigorously around the stage.
This dance is associated with Chang Gong, Prince of Lan Ling during the Northern Qi dynasty (550–77). This Chinese prince is said to have been so handsome that his soldiers spent of all of their time looking at him, and so he took to wearing a fearsome dragon mask into battle. This ploy was evidently successful, and he went on to win many battles. It is said that this piece was composed in celebration.
The dancer, portraying a warrior-prince leading his troops, wields a gilded baton in his right hand, and whenever his left hand is free he keeps the middle and index fingers extended with the thumb and other fingers folded behind them, in a shape that represents a sword.
Structure of the Dance
The accompaniment for the dance as a whole is made up of six sections: 1. Koranjō; 2. Ryōō-ranjo; 3. Saezuri; 4. Sadachō no netori; 5. Tōkyoku, ‘piece itself,’ or Ryōō; and 6. Ama-ranjo.
A short free-rhythm prelude called Koranjō is performed by solo transverse flute ryūteki,, large drum taiko, and gong shōko. The dancer comes onto the stage and performs the derute (entrance) part of the dance during Ryōō-ranjo. The Saezuri is a short section which begins unaccompanied, and which is often omitted. A short free-rhythm modal prelude (Sadachō no netori) establishes the mode for the central dance Ryōō, also referred to as Tōkyoku no ha (the ha section of the piece itself). Last comes Ama-ranjō, with the percussion in fixed 4/4 meter and the flutes in free-rhythm canon, during which the dancer performs the irute (exit) part of the dance.
Costume
The dancer wears a red-based costume unique to this dance, with a ryōtō (battle tunic) of the fringed type (keberi), typical for vigorous dances for 1 or 2 dancers.
The mask, said to be either a dragon or a garuda (imaginary bird), has a hanging chin and eyes that move up and down with the movements of the dancer. The dancer holds a gilded baton. His appearance expresses the dignity of a leader in command of large army.
Points for appreciation
When performed without abbreviation, this dance takes about 40 minutes. It is one of the bugaku dances most often performed today. The entrance section, accompanied by Ryōō-ranjo, is much longer than that of most other bugaku dances, and may thus correspond to the opening jo movement of the jo-ha-kyū structure.
Apparently based on the true story of a talented warrior-prince, this dance has many points of interest: the fearsome mask that covers his handsome face, the gilded baton with which he encourages his troops, and the rich colors in the embroidery on the ryōtō battle tunic.
The Saezuri movement is often abbreviated in performance, but the movements of the dancer without any musical accompaniment can be very impressive.
* Ryōō has several alternative names: Raryōō, Motsujitsu-kangoraku, and Daimen. The second (‘The Sinking Sun Returns to Noon’) derives from a different story of the piece’s origin: a young Chinese king obtains the help of his dead father’s spirit in calling the sinking sun back to its zenith, thus winning a battle. The third name (‘Large Mask’) can also be found in Chinese and Korean historical chronicles.
