Shōdan in Okina

Momidashi

This dance-to-text shōdan, the first of Okina’s second act (named Sanbasō - Black Mask), is structured in three parts. The first two are exclusively instrumental, with the vocal part confined to the final, third part:

Part	Sanbasō's Action	Duration in honji
I	Enters the stage as the nohkan performs its Momidashi pattern.	7
II	Sits at Square 1.	15
III	Stands and moves to Square 3 to deliver his text.	12

Part I

The shōdan opens with a three-measure introduction. In the middle of the second measure, the nohkan introduces its energetic hishigi pattern, followed in the subsequent measure by the momidashi pattern, which calls Sanbasō-to-be to the main stage and triggers the three kotsuzumi to begin an eight-beat pattern that they repeat throughout the shōdan:

While the three kotsuzumi play a steady, on-the-beat pattern, the ōtsuzumi adds density and momentum by interjecting off-beat strokes. After a sequence of these strokes, Sanbasō-to-be, who has advanced to Square 3, returns to Square 1, kneels, ending this part in a position that he will retain for the whole next part.

Part II

This section features the motionless Sanbasō-to-be with the four percussionists. The ōtsuzumi leads, performing what amounts to a solo with a series of mainly off-beat strokes against the kotsuzumi’s steady beat. As the tempo gradually accelerates, Part II reaches a climax at the twenty-first honji with a sequence of intense ‘iya’ kakegoe, shouted by the ōtsuzumi player, which spurs Sanbasō-to-be to rise to his knee in prepartion for the following part.

Part III

After standing up, Sanbasō-to-be, goes to the strong Square 3, where he begins delivering a text that promotes joy, supported by the ōtsuzumi with a two-measure sequence of off-beat strokes. Over the still-driving percussion he performs a sequence of very rapid kata while chanting emphatically. The momentum is maintained as he carries his message of hope to the powerful, front-of-stage, Square 4.

Then, just before the shōdan’s final two words, Sanbasō-to-be walks to Square 2 and freezes, while the driving pattern cuts to sudden silence. He chants the last two words unaccompanied and with minimal movement, with his voice rising dramatically on the final syllable. This is followed by four sharp, sparse strokes from the ōtsuzumi alone that close the part and the shōdan.

Momidashi