Abstract (download PDF)

Translated by Lim Beng Choo

In Japanese universities, we can often find Noh clubs where students learn from licensed noh teachers to chant or dance. Outside of Japan, there has been an increase in interest in learning to perform Noh. Several years ago, I was invited to teach noh to the performing arts students at La Salle College of the Arts in Singapore, and have since been visiting Singapore annually to conduct lessons. My students pursue a BA (Hons) from the School of Dance and Theatre at the College, and noh is part of their syllabus. In this paper, I focus on the challenges I have faced in my teaching, as well as the strategies and methods that I use to solve these problems. It is my hope that my paper will contribute to a better understanding of pedagogy in noh outside of Japan.

In every new class, I find kimono, the fan and the footwear set the tone of the class right at the very beginning. My teaching can be divided into three main parts: movement, chanting and Japanese mannerism. The biggest challenge has been the limited time (three weeks) and the language barrier. I start with the “kamae,” the basic way to hold one’s body when dancing noh. After learning the kamae, we proceed to learn “suriashi” – walking style, and then the dance unit “shimai.” I also teach students the more abstract idea of “ma,” something like a rhythmic pause; as well as “kata,” the “form.” It is difficult to explain these abstract idea, other than actually demonstrate them and then have students practice them. To learn chanting students are expected to memorize all the lines of the plays that they have chosen to perform at the final presentation. Memorization, however, does not limit to just lines. Japanese terminologies often used on noh stage is one other thing that I insist students do. This helps students to learn the form and understand the dance better.

I do not limit my teaching to just noh – as noh is a form of traditional performance, it is important for the students to also learn etiquette often practiced in noh. This includes proper greetings and body movement during class time and at performance.

By keeping a more flexible attitude towards the syllabus and trusting students’ ability and diligence in learning, I have expanded on the syllabus and increase the items that students have to perform during their final presentation. Students’ enthusiasm and the fact that I am close in age with them also help greatly in our communication.  As a young female shite performer, it has been a most valuable experience teaching young Singaporean students the traditional performance art that I have learnt since I was a child.