Outline

Dance of the Left Sanju

One legend has it that Sanju (‘Dispersing [the Enemy]’) depicts the exploits of Empress Jingū (consort of Emperor Chūai, the son of the mythical hero Yamato Takeru no Mikoto), who is said to have pacified extensive areas of the Korean peninsula, as recorded in Japan’s ancient histories, Nihon shoki (‘The Chronicles of Japan’) and Kojiki (‘Record of ancient matters’). Another legend takes it back to the birth of the historical Buddha (Śākyamuni), when it was composed by one of the multitude of Lion Kings present. Performing it is said to calm the earth. Emperor Saga (786–842, r. 809–23) is said to have favored it.

Structure of the Dance

The accompaniment for the dance as a whole is made up of four sections: 1. Taishikichō no chōshi, modal prelude (on E), with the transverse flutes ryūteki, playing the Bongen of the mode, for the entrance of the dancer; 2. Tōkyoku no jo, the jo movement of Sanju; 3. Tōkyoku no ha, the ha movement of Sanju; and 4. Chōshi (Kanjō), a version of the opening prelude played for the exit of the dancer.

The dancer enters the stage and performs the derute entrance movements during the first section. When he puts the halberd down, the lead flute player plays the concluding phrase (fukidomeku). The Jo is in free rhythm, and the Ha is measured, in a slow tempo. Two to six attendants (banko) hand the halberd to the dancer before the dance, and take it from him at its conclusion.

Costume

The costume is a very impressive one, in red and gold. The dancer wears a ryōtō (battle tunic) of the fringed type (keberi), typical for vigorous dances for 1 or 2 dancers. The mask is a large one representing a warrior, and the helmet (kabuto) is said to depict a dragon holding a globe of some sort. The dancer wields a halberd with golden maki-e designs on black lacquer, and wears a sword.

Points for appreciation

The dance, costume, and halberd held by the dancer indicate that this dance is one of a warrior who subdues a ferocious enemy. It appears to have originally had the three movements of the ideal jo-ha-kyū form, and even in its present form is a deservedly well-known example of a bu-no-mai (military dance). The dancer moves rapidly around the stage, and wields the halberd with vigor. It is one of the most difficult of the Dances of the Left for a single dancer, requiring a high level of technical expertise.