Behind the Mask: Navigating the World of Noh at Kanazawa Noh Museum

Join me as we step into Kanazawa Noh Museum — a haven that unravels the rich history, cherished traditions, and emotional tapestry of Noh, a time-honoured Japanese performing art.

Sense of Wander: ★★★☆☆

In Noh theatre, Ko-omote masks, literally translating to “small face," are used for main or secondary roles, portraying either a young girl or a supernatural being. Image courtesy of Kanazawa Noh Museum.

KANAZAWA, Japan — Readers familiar with my previous articles on Kanazawa know the city as a guardian of Kaga culture. Amidst a mosaic of centuries-old arts and culture, Noh quietly adds its distinctive brushstroke to the tapestry of Kaga heritage.

Wait, what is Noh?

Noh comes from the Japanese word for “skill” or “talent.” It’s a traditional Japanese performing art that combines dance, drama, music, and poetry, boasting a rich history. Though Noh emerged from the fusion of various performing arts genres during the 14th century, its roots can be traced back to as early as the Nara Period (710-794), when Japan was introduced to gagaku — this later became Japan’s imperial court music — and a collection of folk arts known as sangaku.

Noh, standing alongside Kabuki, holds a prominent status among Japan’s traditional performing arts. While Kabuki captivates with its animated flair, exaggerated makeup, and dynamic choreography, targeting a broad audience, Noh distinguishes itself as a classical and refined form of theatre. It features stylised movements, symbolic masks, and poetic themes, historically cherished by the elite.

I first encountered Noh during my postgraduate studies at SOAS, University of London. Immersed daily in the arts and cultural traditions of East Asia, I was fascinated by the deliberate, slow, and stylised movements inherent in a Noh performance. The actors, adorned in intricate costumes and the iconic Noh face masks, which symbolise the characters’ social status, age, and gender, left an impression on me.

The canonization of Noh can be traced back to Kan’ami Kiyotsugu (1333-1384) and his son Zeami Motokiyo (1363-1443), who, during the Muromachi period (1336-1392), incorporated music, chant, dance, and storytelling into this distinctive form of performing art.

“Picture artisans, from gardeners to carpenters, serenading the town with mesmerising tunes of Noh as they worked high above in trees and on rooftops, steeping the entire town in echoes of enchantment.”

Noh consists 3 essential elements: mai (dancing), utai (chanting), and hayashi (musical accompaniment). The hayashi is performed with 4 musical instruments: fue (flute), kotsuzumi (small hand drum), otsuzumi (large hand drum), and taiko (stick drum).

The use of masks is a defining aspect of Noh, symbolising distinctive emotions or character types. The principal character, known as the shite, employs a mask to portray a supernatural being, ghost, or deity, engaging in dialogues with the supporting character, referred to as waki. It’s said that Noh masks are imbued with “seishin-sei,” meaning spiritual depth.

The Okina (翁) Noh mask is regarded as the oldest in the Noh repertoire. Depicting an elderly man with a long white beard — a symbol of wisdom — Okina masks are occasionally seen as embodiments of gods associated with longevity and prosperity.

Sketches and “blueprints” for crafting Noh masks.

Noh plays often delve into themes related to the supernatural, nature, and Buddhist philosophy, drawing inspiration from classical literature, myths, or historical events. At times, these narratives evoke intense emotions conveyed through stylised, conventional gestures.

As an emotionally charged art form, Noh theatre finds balance through the companionship of comedic interludes known as Kyogen (Noh farce). Evolving from its origin in sarugaku, Kyogen waves comical performances with spoken words and gestures, including mimicry.

This dynamic fusion of Noh and Kyogen gave rise to “Nohgaku.” Coined during the Meiji period (1868-1912), Nohgaku was recognised as an “Important Intangible Cultural Property” in Japan in 1957. Later, it ascended to global acclaim, securing its place as a “Masterpiece of Oral and Intangible Cultural Heritage of Humanity” by UNESCO.

In Kanazawa, “Noh chants fall from the heavens”

Historically, Noh was considered an art form for the elite in Japanese society, primarily performed for the samurai class and the aristocracy. These performances often unfolded within the residences of feudal lords and during religious ceremonies and events.

Less acknowledged is the significant prominence of Noh in Kanazawa, a legacy owed to the patronage of the Maeda clan. As one of the most powerful feudal lords in Japan during the Edo period (1603-1868), the Maeda clan governed the expansive Kaga Domain, which included present-day Ishikawa Prefecture, including Kanazawa.

It was during the Edo period when Noh evolved into an exclusive form of samurai entertainment, making the establishment of the Five Schools for the main shite role. In the Kaga domain, particularly in the castle town of Kanazawa, the flourishing Hosho School gave rise to the so-called “Kaga Hosho”.

Encouraged by the lords, commoners in Kanazawa embraced the learning of Noh chants, leading to Noh becoming a performing art accessible to ordinary people. It was said that “Noh chants fell from the heavens” in Kanazawa. How? Picture artisans, from gardeners to carpenters, serenading the town with mesmerising tunes of Noh as they worked high above in trees and on rooftops, steeping the entire town in echoes of enchantment.

Following a decline during the Meiji Restoration (1868-1889), when the Shogunate was abolished, the Kaga Hosho school persevered with support from nobles, affluent merchants, and high-level bureaucrats, ensuring the continuity of this unique art form.

Sano Kichinosuke (1864-1919), a local Nohgaku actor hailed as the father of the Kaga Hosho revival, wholeheartedly dedicated himself to promoting Noh in Kanazawa. In 1901, he founded the Kanazawa Noh Association, a steadfast guardian committed to preserving and promoting Kaga Hosho Noh theater for over a century.

The Kanazawa Noh Museum is found in the heart of Kanazawa city, in close proximity to the renowned 21st Century Museum of Contemporary Art.

Video clips of Noh performances are projected onto the kagami-ita or “mirror board,” which acts as a backdrop for the main stage within a Noh theatre.

This miniature model of the Kanazawa Noh Theatre offers museum visitors a bird’s-eye view of the theatre constructed in the early 20th century.

Inside Kanazawa Noh Museum

To delve into the enchanting world of Noh in Kanazawa, a visit to the Kanazawa Noh Museum in the Hirosaka district, near the former location of the Kanazawa Noh Theatre, is a must. Despite its compact size, the museum has everything you need to know about Noh arts and traditions.

Intriguingly, the ground floor’s blueprint is a scaled-down replica of an actual Noh theatre. Visitors traverse through a “corridor” resembling the hashi-gakari walkway – it’s more than a stage entrance; it serves as a metaphorical passage connecting the offstage “spirit world” to the onstage “temporal world.”

Inside the exhibition, visitors can indulge in video clips showcasing Noh performances and delve into a treasure trove of artefacts associated with Noh theatre. On display are meticulously crafted Noh masks, the tools employed in their creation, Noh costumes, and a miniature model providing a comprehensive glimpse of a Noh Theatre in its entirety.

Before heading to the first floor, visitors have the opportunity to don Noh masks and costumes, providing a unique experience of what it’s like to be a Noh actor. Unfortunately, the try-on area was closed during my visit, accessible only on Fridays, weekends, and national holidays.

The Hukure (ふくれ) Kyogen mask portrays an ugly woman with a somewhat humorous facial expression.

It's interesting to note that the Noh mask, though appearing devoid of emotions, can actually convey different emotions when viewed from different directions.

At the Kanazawa Noh Museum, there is a dedicated section in the permanent exhibition for visitors interested in trying on Noh masks and costumes.

“The Noh play itself unfolds as a fluid museum unlike any other, allowing you to immerse yourself in the beauty of this medieval performing art.”

Special exhibition on Noh masks & costumes

The first floor of the museum is dedicated to special exhibitions. During my visit, the exhibition The Stage of Kaga Hosho: Noh Masks and Costumes (加賀宝生の舞台 能面・能装束) was on display.

This exhibition centres around Noh costumes crafted by the Yamaguchi Noh Costume Research Institute. Spearheaded by Ken Yamaguchi. this research endeavours aim to revive the lost techniques of Noh costumes from the Edo period.

During the Edo period, the crafting of Noh costumes involved intricate techniques, encompassing silkworm farming, weaving, colour-dying, and embroidery. These costumes, presented before us, embody the aesthetic sense and spirit of ruling samurais and feudal lords. Having the opportunity to witness the meticulous and elaborate craftsmanship up close is a truly fascinating experience.

Notably, almost every Noh costume is accompanied by a photograph, vividly illustrating how these garments, far beyond serving as mere objects for display or restoration, were once worn by master actors of the Hosho school. This visual testament breathes life into the very essence of this time-honoured tradition, seamlessly bridging the splendour of the Edo period with the vibrant pulse of Kanazawa’s cultural tapestry today.

Special exhibition The Stage of Kaga Hosho: Noh Masks and Costumes was held at the Kanazawa Noh Museum in the autumn of 2023.

Noh garments reproduced by the Yamaguchi Noh Costume Research Institute reflect the aesthetics and taste of the ruling elite during the Edo period. Image courtesy of the Kanazawa Noh Museum.

Observant readers may have noticed that, despite the enriching offerings of the Kanazawa Noh Museum, I rated my visiting experience with only 3 stars at the beginning of the article. This is not to diminish the museum's value; indeed, the museum is a must-visit for those keen on exploring the world of Noh and understanding its role in shaping Kaga culture. However, no museum experience can compare to attending a live Noh theatre performance in person. The Noh play itself unfolds as a dynamic museum experience like no other, allowing you to fully immerse yourself in the timeless beauty of this medieval performing art.

Unfortunately, there wasn't any scheduled Nohgaku play during my stay in Kanazawa (though I did manage to catch one at the National Noh Theatre in Tokyo afterwards). So whether you’re planning a visit to Kanazawa or happen to be in the city, make sure you book a ticket in advance, so that can get a glimpse of one of the few performing arts in the world that’s passed down in an unbroken line for more than 600 years!

Reference:
The Nohgaku Performers’ Association. (n.d.) Enjoying Noh and Kyōgen. The Nohgaku Performers’ Association.