Session two focused on another critical aspect of traditional Japanese theater’s presence in contemporary time: the transmission of noh and koto music education to non-Japanese learners and audiences. All papers focused their discussion on non-Japanese receptions, with a strong emphasis on Southeast Asia. The first presenter Diego Pellecchia was not able to attend in person due to unforeseen circumstances. We arranged for a Skype presentation and he discussed noh ethics through his experience as a member of the International Noh Institute in Kyoto. Nagai Hiroko and Kitai Sakae’s paper, presented by Nagai, highlighted the individual trajectory of transmission of koto music in the Philippines, Singapore and Thailand. Terai Chikage, a Kanze school shite performer, shared her experience in teaching noh to Singaporean performing arts students. The last speaker of the day Takiguchi Ken had been an active participant of the Asian Shakespeare Intercultural Archive A|S|I|A, since its start. In his paper Takiguchi discussed his translation work in the archive.