Bugaku: Ancient Imperial Court Dances of Japan

Bugaku, the ceremonial court dance of Japan, offers a fascinating window into the nation’s cultural history. It is said to have been performed at Itsukushima Shrine on Miyajima since the time of Taira no Kiyomori, over 1000 years ago. It can be viewed at Itsukushima Shrine several times a year.

Rooted in music and dance traditions imported from the Korean peninsula and the Chinese mainland, Bugaku flourished during Japan’s Heian period (9th to 12th centuries). This art form represents a harmonious blend of foreign influences and uniquely Japanese refinement.

The dancers wear intricate traditional Buddhist costumes, which usually include impressive masks that present exaggerated versions of human faces, animals, and birds. The music and dance pattern is often repeated several times and is performed on a square platform, usually 6 yards by 6 yards.

The dances of Bugaku are divided into two categories: Dances of the Left (samai) and Dances of the Right (umai), each showcasing distinct origins, costumes, and musical styles.

Dances of the Left draw inspiration from China and regions of Central and South Asia. These performances, accompanied by tōgaku (“Tang music”), feature a vibrant ensemble of wind and percussion instruments. Dancers in striking red costumes enter the stage from the left and synchronize their movements to flowing melodies.

Dances of the Right, influenced by Korea and northeast China, are paired with komagaku (“Korean music”), which uses slightly different instrumentation. These dancers wear costumes in green, blue, or yellow hues, enter from the right, and align their movements to the rhythm’s cadence.

This dual structure of Bugaku reflects a reorganization of imported traditions during the Heian era. Beyond aesthetics, the Left-Right division was deeply integrated into court life, performed by palace guards, and shaped by concepts like yin-yang philosophy, with the Left symbolizing yang (light, active) and the Right representing yin (dark, passive). Performances alternated between Left and Right dances in a system called tsugaimai (“pair dances”), reinforcing the balance and symmetry central to Bugaku’s essence.

Parts of a Bugaku program

Bugaku programs are usually divided into three sections as follows.

Purification dance
First, one dancer, each from the Left and the Right, holding long halberds, performs Enbu, a dance to purify the stage by praying to the gods of heaven and earth and the spirits of ancestors. The first section is performed by the dancer on the Left and the second by the dancer on the Right. A final third section is performed together. Accompaniment is on flutes and percussion, first from the Left, then from the Right, and finally by both.

Dances of the Left and Dances of the Right
Dances of the Left and Dances of the Right are performed alternately, with a Dance of Left answered by a Dance of the Right of a similar nature.

Closing music
Finally, the tōgaku piece Chōgeishi is performed together by both Left and Right musicians in a relatively quick tempo to bring the program to its conclusion.

Give Bugaku a chance!

Bugaku endures as a ceremonial art form, offering a captivating glimpse into Japan’s imperial past and its dedication to preserving tradition. It is, however, rather slow, and the music is an acquired taste, to say the least. Viewing a Bugaku performance on Itsukushima’s open-air stage is well worth it if you have the opportunity, and we hope that this little introduction might help you appreciate its esoteric nature.

Bugaku Performances at Itsukushima and affiliated shrines