Dear Takahiko Toshiyagi Sensei,
This year’s early spring brought unusually unstable temperatures—perhaps due to global warming. Ironically, this instability allowed the cherry blossoms to linger longer than usual. Recently, I’ve become increasingly aware of how the seasonal transitions we once took for granted are shifting. As the traditional cycle of the four seasons—so integral to Japanese culture—begins to fade, I find myself, perhaps prematurely, concerned that this change may hinder younger generations from truly connecting with and appreciating classical art forms.
Though society is not directly imitating changes in nature, long-standing structures and values seem to be wavering as well. In recent years, scandals involving the overreach of those in power—and the sycophantic behavior of their subordinates—have forced institutions once seen as unshakable to undergo reform or even collapse. I see this as part of a broader societal transformation.
The world of Nihon Buyo is no exception. We are now facing a significant period of transition, particularly with the reconstruction of several key theatres. Most notably, the National Theatre—so important to all of us—has not yet entered its demolition phase. As a performer, I feel powerless to affect the situation, which makes it all the more frustrating. Still, I believe that once the theatre is rebuilt, our responsibility will be to train diligently, refine our artistry, and create performances compelling enough to fill the seats and broaden our audience. Even so, the current reduction in performance opportunities remains a serious concern.
When I think of the National Theatre, I remember the long line of people waiting outside the Small Theatre for your recital, extending well around the corner. What left an even deeper impression on me was the composition of the audience: not only industry professionals, but a broad and diverse group of attendees, including many younger people. I also recall how the performance program and accompanying materials were visually striking, accessible, and thoughtfully written.
In this time of dramatic societal change and expanding diversity of values, I have been reflecting on how best to cultivate and deepen interest in classical performing arts such as Nihon Buyo. I’ve been offering introductory lessons to the next generation—from preschoolers to university students—modest steps, but ones I believe are important. More recently, I’ve begun to feel that the ‘answers’ may already be out there, and perhaps are already being put into practice. While it remains important to search for my own approach, I also believe there is much to learn from exemplary role models close at hand. With that in mind, may I ask what you consider most essential when it comes to conveying the appeal of Nihon Buyo to those unfamiliar with it? If there are particular challenges you’ve encountered in doing so, I would be deeply grateful to hear them. And if you would be willing to share even a glimpse of the mindset with which you pursue your artistic goals, it would be an invaluable source of guidance and inspiration as I continue to walk my own path.
April 2025
Yuko Nishikawa
Dear Yuko Nishikawa Sensei,
Thank you very much for your letter.
As you noted with concern, I too feel that the transitions of the seasons—as well as the culture, customs, and values that the Japanese people have cultivated over generations—are gradually fading from our lives. Seasonal festivals, daily rituals and etiquette, a spirit of empathy toward others, and the discipline to govern oneself once formed the quiet foundation of our way of life, grounded in the principle of ‘knowing sufficiency’. Today, these are no longer taken for granted. I often find myself reflecting on how we may have lost our reverence for nature, and how our sense of gratitude may have diminished as a result.
It remains a deeply perplexing and ongoing challenge to consider how we might help more people come to know and appreciate Nihon Buyo.
For my part, I believe it is essential to devote myself each day to practice and discipline, quietly nurturing personal growth as both an artist and a human being. Before people can come to know Nihon Buyo, I believe it is important to meet and talk with many individuals, allowing them to learn about Japanese culture and the art form through those personal encounters. If that leads them to eventually attend a performance, I would be truly grateful.
There are many ways to promote Nihon Buyo—through mass media, social media, and other channels—but I believe what matters most is staying grounded, avoiding the distractions of excessive information, and instead helping those closest to us discover Nihon Buyo through lessons and live performance. Above all, I believe our responsibility lies in safeguarding the tradition of Japanese classical dance.
I have been able to continue my work—to maintain and pass down the tradition I now represent, and to welcome many audiences to recitals and stage performances—thanks to the constant support of those around me: my family, friends, staff, fans, devoted students, and even my ancestors, whose spirit I continue to feel guiding me. They graciously overlook my shortcomings and support my intentions, and for this I am deeply grateful.
In return for their support—and to ensure I never disappoint those who place their trust in me—I am determined to walk the path of Nihon Buyo with sincerity. I believe that doing so is the truest expression of ‘Makoto no Michi’, the way of integrity.
Takahiko Toshiyagi (Nihon Buyo Dancer)