Shamanistic rituals of possession performed in
Shinto shrines
Development of basic circular and up and down movements
Style of rhythmical stamping of feet and lifting of both hands originated in Kagura dance.
Both hands were lifted in an attempt of the performers to invite gods to be present.

Props were often held by dancers and considered to be sacred and inhabited by deities presiding over dances. Props include tree branches, paper pendants, fans, and swords.
Today the term Kagura is used to describe generic Shinto ceremonies and theatricals. Some still reflect the Shamanistic origins while others show influences of No and Kabuki theater as well as western styles of dance.
Adaptations of popular theatricals are followed by processions and folk dances that reflect local traditions.
Traditionally performed by female (miko) professional Shaman dancers in Shinto shrines. The movements are often trance inducting.

Today miko dances are performed at major centers of worship and there is little evidence of the trance inducing movements of the past.
Kagura performances consist of two parts. The first is a sequence of rituals for purification and the calling of spirits with hymns. The second entertainment for the spirits present. The ritual elements remain virtually unchanged while the entertainment that follows tends to follow contemporary trends.

Mikagura: performed at imperial court each year for the emperor. The ritual is an unchanged version of the 11th century courtly liturgy. It is composed of solemn slow dances and hymns performed at night in an open courtyard at the imperial palace. It is dedicated to the emperor’s ancestors.
Satokagura (“village kagura”): embodies the local traditions and performed by local dancers and musicians.
There are 3 major traditions. The first two are associated with the geographical locations that give the kagura its name. The third is the use of lion masks and incorporates acrobatics, magic acts, and dance plays.

Kagura Flower Festival performed between 12\2 and 1\18
Festival takes name from exiled Kazan-In (name translates to flower).
The festival takes place in local villages and traditionally danced for repossessing the emperor’s soul. In today’s popular culture the festival is associated with flowering of rice crops.
Dance floor made of earth and prepared for entrance way of whomever’s house is chosen for that year’s festival.
Large caldron filled with boiling water is placed in the middle of the dance floor and boils throughout the night.
A variety of vigorous dances are accompanied by flute and drum music performed by young men.

The first dances are performed without masks then the final dances are masked figures. The dances with out masks are:
“preparing the ground”, “dance for 3:, “dance for 4”, “flower dance”, and “shamanic dance” The shamanic dance is characterized by energetic jumping motions. The dancers range in age from age 6 and up. The masked dances are “excitement over the boiling water”.
Towards the end of the night young boys scatter the crowd by splattering the crowd with boiling water for the purpose of purification. As morning approaches the masked lion dancer and several devil masked dancers mill about the crown in a mood of elation. Traditional steps give way to spontaneous movement. At dawn 2 masked dancers “the spirit of the water” and “the spirit of the fire” restore peace and tranquility terminating the festival.

Introduction of Buddhism to Japan in the 6th and 7th century transformed culture adding new dimensions to dance including the use of sophisticated masks and brightly colored silk costumes.
Gigaku processional and pantomimic performances rapidly spread through Japan and reached peak popularity during the first half of the 8th century.
When new forms of dance in Japan were introduced
Gigaku gradually faded away. Traces can still be seen today in masked precessions and pantomimes usually performed in remote temples.

Court dances of military origin from the Japanese
Imperial Court
Movements characterized by symmetry, a slow pace, and refined attention of the performers.
Components of what became bugaku reached Japan in waves and reflected traditions of remote lands and elite society of Imperial Courts.
The creative vitality of early bagaku gave way to formalized conservatism and was a direct reflection of the courts loss of contact with forces shaping the culture outside palace walls.

Structural elements of dances having a beginning, middle, and end were developed by Bugaku.
The forceful, symmetrical, and emotionally detached movements meant to express the solemn force that gives birth to all movement and to celebrate the human ability to conform to the order of the universe.

Brought to the Japanese performing arts the structural elements of beginning, middle, and end, which later became essential elements of N  .
Introduced into Japanese dance a concern for using body movement and musical rhythms to express the harmonies of the celestial spheres.
The forceful, symmetrical, emotionally detached movements were meant to express the vast, solemn force that gives birth to all movement and to celebrate the way in which human behavior can conform to the order and rhythm of the universe.

In Japan, folk dance has always been performed in ritual or religious contexts.
The recreational purpose is secondary.
Japanese fold dance can be classified into three major divisions
Kagura: rites for prolonining life
Dengaku: rites related to agriculture
Furyu: rites to drive away bad spirits

O-bon or bon is a Japanese Buddhist holiday to honor the departed spirits of one’s ancestors.
Has evolved into a family reunion
The style of celebration varies from region to region.
Each region has a respective local Bon dance and music accompanying the dance.

The way in which the dance is performed also varies from region to region.
The typical Bon dance involves people lining up around a high wooden building made especially for the festival called a yagura.
The yagura is also the bandstand for the musicians and singers of the Obon music.
Some dances proceed clockwise and some counterclockwise around the yagura. Often dancers proceed in a straight line through the streets.
The dance of a region can depict the area’s history and specialization (the coal miners dance)