Noh Play 'Unoha' at Udo Shrine Brings Myth to Life

The Noh play Unoha, meaning "cormorant feathers" was performed for the first time at Udo Shrine on May 4. The shrine is situated on the Pacific Ocean at the tip of Cape Udozaki in Nichinan City, Miyazaki Prefecture. 

After being banned by the shogun Tsunayoshi Tokugawa, the play was finally revived in 1991, almost 300 years later. What made this May's performance of Unoha exceptional was its setting — the very location where the play's story unfolds.

Esteemed performers, including national treasure Bunzo Otsuki of the Kanze school, introduced an audience of around 300 to the story's mythical world.

A World of Myths and Legends

Although it had been raining all day, the weather cleared before the program began. On stage, flickering bonfires glowed in the darkness of dusk.

The program opened with Bunzo Otsuki's rendition of a kamiuta (divine song). His fervent singing conveyed prayers for peace and tranquility across the nation.

This was followed by the Kyogen performance Hinosake, presented by popular Kyogen stage actor Mansai Nomura. His comedic acting delighted the audience.

In the performance of Unoha, real cormorant feathers were used to construct a birthing hut as a prop. Powerful dances depicted the mystical birth of the shrine's deity, Ugayafukiaezu, transporting the audience back thousands of years into the realm of the gods.

A Tale of Two Brothers

Unoha was created by playwright Zeami Motokiyo (c 1363–c 1443), who perfected Noh theater during the Muromachi period. The play was based on the story of Yamasachi-hiko and Umisachi-hiko. The elder Umisachi-hiko was a skilled fisherman, while the younger Yamasachi-hiko was a mountain hunter.

One day, the brothers swapped their respective tools. Then, Yamasachi-hiko inadvertently lost Umisachi-hiko's treasured fishing hook in the sea. After trying and failing to gain his brother's forgiveness, Yamasachi-hiko went to the sea god Watatsumi's palace to search for the hook. There, he fell in love with Watatsumi's daughter, Toyotama-hime.

Three years elapsed before Yamasachi-hiko remembered his mission and implored the sea god to gather the fish, ultimately retrieving the hook. However, Umisachi-hiko remained dissatisfied. This provoked Yamasachi-hiko to punish his brother using two jewels bestowed upon him by the sea god that could control the tide.

Birth of Emperor Jimmu's Father

After some time, Toyotama-hime, who was pregnant by Yamasachi-hiko, went into labor. Despite her plea for Yamasachi-hiko not to witness the birth, he took a peek, breaking his promise. To his surprise, Toyotama-hime had transformed into a shark (or, in some versions, a crocodile). Overwhelmed with shame, Toyotama-hime left her child behind and returned to the sea.

According to The Nihon Shoki (Chronicles of Japan), Toyotama-hime gave birth before the birthing hut's roof, made of cormorant feathers, could be completed. This story is believed to be the origin of the name of the deity worshipped at the shrine. The son whom Toyotama-hime left behind later became the father of Emperor Jimmu, Japan's first emperor.

In the play, Unoha, Toyotama-hime, in the guise of a female diver, shares her tale with a monk in the rock cave where she had given birth. There, her divine presence manifests, dancing and performing miracles with the two jewels.

Mythology holds that this took place in the rock cave now home to Udo Shrine. In the cave is a rock formation known as "Breast Rock." Legend has it that before leaving her newborn, Toyotama-hime severed her breasts and attached them to the rock out of anxiety for her child's well-being.

In the play, Toyotama-hime's profound grief is expressed through a passionate dance, its poignancy heightened by the backdrop of a shrine dedicated to her son.

Sealed for Centuries

Unoha, a Noh masterpiece, remained concealed from public view for 300 years. Its last known performance dates back to 1441. That year, Ashikaga Yoshinori, the sixth shogun of the Muromachi shogunate, was assassinated during the Kakitsu Rebellion. The tragic event led Tsunayoshi Tokugawa, the fifth shogun of the Tokugawa Shogunate, to deem the play an omen of misfortune, banning its staging.

At the time, Noh was under the protection of the samurai. Despised by the Tokugawa family, Unoha remained sealed for centuries. It wasn't until 1991 that Bunzo Otsuki revived the play after nearly 300 years.

Reflecting on Unoha's inaugural performance at Udo Shrine, Otsuki remarked, "The play exudes musicality and a richness of movement. I am extremely gratified to offer this performance to the gods in a setting so deeply intertwined with its roots."

Mansai Nomura, who starred in the production, remarked, "Udo Shrine truly coexists with nature. Performing the Kyogen dance of the cormorant here was an unforgettable experience."

Success Through Crowdfunding

Experienced Noh performers are difficult to find in rural areas, unlike in big cities like Tokyo and Osaka. Nichinan City, the home of the shrine, faces logistical and financial challenges in organizing such events.

It was in May 2023 that Chief Priest Akihiko Kuroiwa approached Otsuki with the request to stage Unoha at the shrine. Overcoming financial hurdles, they managed to crowdfund the project.

Expressing his gratitude, Kuroiwa stated, "This event was made possible by the 140-plus individuals across Japan, from Hokkaido to Okinawa, who contributed a total of ¥7.4 million JPY (about $47,000 USD)."

The audience on May 4 was mostly locals. Mitsuo Shimizu, Chairman of the Nichinan City Tourist Association, remarked, "This performance introduced me to Unoha for the first time. It was an opportunity I never had before."

Mythology and Nature

Udo Shrine is reportedly witnessing a rise in inbound visitors. On May 4, I came across a French family at Udo Shrine, who said they would like to see Unoha if they had the chance.

Bunzo Otsuki reflected, "A shrine is a place of both faith and tourism — it has many facets. I believe it would be interesting for people from overseas to delve into Japan's roots, where various deities coexist."

Japanese traditional performing arts like Noh and Kyogen have a legacy spanning over 600 years. Witnessing a Noh performance at a location intricately connected to the story, where Japanese mythology and nature converge, was an unparalleled experience. Hopefully, such performances, brought to life through the determination of the shrine's chief priest, will continue to flourish.

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(Read the article in Japanese.)

Author: Mika Sugiura