During my two-week training with INI, I had the opportunity to experience and embody nō forms and expressions while learning about the philosophy behind them. We formed a warm and supportive group, practicing together with the teachers every day. The final recital was incredible, and performing on stage alongside professional actors was an unforgettable experience.
(Oana Maria Ghiorghilas)
I attended the INI program in order to provide supplemental research/training for the completion of my thesis project. Though I had been researching Noh for quite some time prior to this, I did not see it playing a major role in my life moving forward. Even as I entered Japan this time round, I viewed the upcoming training as a nice excursion from my other interests. However, through INI, I was able to enter into a world completely unlike the one I was prepared for.
I found myself rubbing shoulders with practitioners of all different backgrounds, including academics, theater artists, professionals and more. These were entirely different people who shared a passionate devotion to the practice of Noh. I was deeply moved by the depth of this commitment which was woven into the fabric of each person’s very being. And I realized that this deep connection to Noh, and to a greater extent Japanese culture, was one that I, too, shared.
My entire life I have loved Japan. I have dreamt of coming here to experience the essence of Japanese culture. This is a devotion that I had never been able to adequately share before. INI provided to me a place of belonging I have been missing for as long as I can remember.
Each day, in lessons, in performance, and in the personal interactions fostered by the INI staff, I felt truly connected to a living community who cares for each other, who supports each other, and who pushes each other forward. It is an experience I will cherish all my life. I cannot recommend this program strongly enough to my fellow Japanophiles who search for community, because you will find it here at INI.
I am forever grateful to the Udaka family and Diego Pellecchia for the community they have fostered, and for the experience they provided to all of us students.
(Christopher Ellars)
To start to know noh, you must know humility. As children, learning to walk is a milestone, and for noh, it is the same. When you are asked to forget what you understand about standing and begin to move as demons, divine beings, and wandering humans, you strip away the attachment to being right, and instead devote yourself to curiosity.
My greatest takeaway from INI’s Noh Intensive is that the simplest gesture or the thinnest wrinkle carved upon a mask can have the grandest meaning. Whether you are the suffering Yuya scanning the horizon for the solace of sakura, or Shojo bestowing the gift of everlasting sake to the generous shopkeeper, all these can be encapsulated in the gaze of the face or stream of the arm. Although there may have been fumbled footwork or warbled words, our eager inquiry into the imagery of the art form stripped us of our pride so we could breathe inside each character.
As the final demonstration ended, my reaction when ducking through the stage door was, “I wish I could perform again.” To me, that is the true sign of inspiration: longing to learn and share more. From the tips of my tabi socks to the final fold of the fan, I hope to humbly offer my knowledge of this art form to others through my work as an educator and writer. May this be the first step, the first kata, in a lifelong dance of coming to know Noh, and cheerily chanting that song to anyone willing to sing along.
(MC Crosby)
The INI Summer Intensive 2024 was an invaluable experience, offering a rare opportunity to engage deeply with the world of Noh. The program culminated in a full day of performances, where we presented the dances we had trained for during the two weeks.
A key highlight of the program was the diverse team of instructors. Lessons were led by Noh Masters Udaka Tatsushige and Udaka Norishige, Professor Diego Pellecchia, and Mask Carver Udaka Keiko. Each brought a unique perspective to teaching Noh, enhancing our understanding of the complexity behind its stylized tradition.
I felt that this year was particularly special, as Diego Pellecchia featured his performance of Funa Benkei, an unforgettable Noh play. This gave us a rare glimpse into backstage practices and allowed us to witness a very rare rehearsal process firsthand, unusual for the world of Noh professionals. We also attended two additional plays, which we discussed together, enriching our appreciation with Diego’s expert insights.
Beyond the structured lessons, the program fostered casual conversations, creating a relaxed atmosphere where participants could ask questions freely. These spontaneous exchanges often led to profound discussions, enriching our learning experience even further.
Finally, I must mention the unique training environment of the INI program, the Udaka family’s training space. For me, it is an incredibly special place. INI offers the chance to train in the same space where Noh is taught and practised daily. Every time I entered, I felt a sense of humility and excitement, surrounded by the tools, books, and materials that speak to the living tradition of Noh and its daily life practices.
I am deeply grateful to the Udaka family and Diego Pellecchia for their intellectual generosity. I highly recommend the INI Summer Intensive Program to anyone interested in exploring the world of Japanese Noh theatre.
(Luca Domenico Artuso)
I am a PhD student under the supervision of Prof. Dr. Christine Greiner. My research focuses on nō as an important theatrical pedagogical tool for the training of both Japanese and foreign actors, maintaining the structure and content of traditional training while fostering theatrical pedagogical exchange. The aim is to create a “nō without borders” that continues to resonate today, both in Japan and in the West. For these foreign actors to engage with nō, they received support from masters with an intercultural vision, such as Udaka Michishige Sensei and Rebecca Teele Ogamo Sensei, among others at INI. Throughout my studies, I found it crucial to complement the bibliography I was reading with practical experience and hands-on training at INI.
During the two-week practical studies for my theoretical research, I particularly appreciated the interaction with the masters, who demonstrated attentiveness and specific pedagogical skills crucial to nō training. The INI provided a welcoming and supportive atmosphere, where I felt part of a family, with everyone contributing to each other’s progress. Experiencing the support, encouragement, and joy from the masters as they guide you is one of the most valuable memories to cherish for a lifetime.
I am deeply grateful to everyone who has supported me along this journey in life and scholarship. Special thanks to Christine Greiner Sensei, Rebecca Teele Ogamo Sensei, Udaka Tatsushige Sensei, Udaka Norishige Sensei, Udaka Keiko Sensei, Diego Pellecchia Sensei, and Monique Arnaud Sensei.
(Scarlett Siqueira do Valle)
Details regarding the program, the application process, and relevant dates will be announced at the beginning of March.
Prior to the INI summer intensive program, my understanding of dance and drama was limited to the Western context. Further, my appreciation for the potential of the two was restricted by my cultural upbringing. During the two weeks of the program, through the instructions of the teachers, I learned to appreciate the depth of what Noh could be. Daily teachings and interactions with the teachers and hearing about the many plays and stories we could perform changed my view of how one could engage with a cultural activity and live life through its vehicle. Learning the chanting, the dancing, as well as the forms and symbols was challenging but deeply rewarding. To ultimately perform a Noh piece, as the culmination of days of hourly practice, was one of my proudest moments. I would recommend the summer intensive program to anybody who is interested in appreciating and understanding the potential of a tradition with a rich history that continues to thrives in modern times through its impact on those experiencing it.
(Mahdi Sabour)
Having the opportunity to learn and immerse myself in Noh theater in Japan under the guidance of Diego Sensei, Tatsushige Sensei, Norishige Sensei, Keiko Sensei, and Monique Sensei has been a life-changing experience that I will cherish for the rest of my life. I am grateful for the wise words, love, and passion that you have all shared with me, and for the trust that you have placed in me. You have helped me to fall even more in love with Noh and with my profession.
(Òscar Franco i Morró)
The INI – International Noh Institute is now accepting applications for its 2022 Summer Intensive Program. Participants will study noh dance and chant according to the Kongo school tradition, and learn about various aspects of noh performance, including masks and costumes. The training period will culminate with the participation in a recital.
Fees include : Dance/chant lessons, materials, Kongo school fan, participation in the July 24th recital, and a certificate of completion. Fees do not include: White tabi (split-toe socks – around ¥700- ¥1000/pair) Transportation, accommodation, and any other personal expenses.
Instructors: Udaka Tatsushige, Udaka Norishige (Kongo school actors), Udaka Keiko (noh mask carver)
Director: Diego Pellecchia (Kyoto Sangyo University)
How to apply: Send an email to ini.kyoto[at]gmail.com Please attach your C.V. and a brief statement of interest. We are aware that traveling may be difficult during the current pandemic. Feel free to contact us for more information about the program.
Application deadline: June, 5th 2022
I am currently living in Japan, with a Cultural Activities Visa that allows me to make a tailored program for myself. In addition to Noh Theatre, I am also currently studying butoh, kyūdō, and several dance styles. I arrived in Kyoto after having studied the Ko-tsuzumi for a few months in Kanazawa. I was lucky enough to get into Japan, considering the global pandemic that was going on. This also explains the special conditions in which I took the Summer Intensive Course. I was the only student who was able to get into the country. Therefore, my experience was, once again, quite unique.
I was born in a family that treasures the arts and have always felt a strong connection to them, especially theatre. I first encountered Noh through a workshop I took out of curiosity a few years ago, when I was living in Belgium. I was practicing Iaido at the time and it seemed like a natural meeting point between Japanese Martial Arts and Theatre.
At first, I didn’t really know what to think of it. I knew I was in love with it, but couldn’t explain where my fascination for it was coming from. Everything about it seemed like it came from so far away that I doubted I would ever begin to understand it. I imagined it’d be a one-time workshop that’d just be a little experience outside my comfort zone.
I entered a Lecoq Technique Movement Theatre school in Brussels. That’s where I crossed paths with Noh again. Indeed, part of Jacques Lecoq’s work method was created from research and work with Noh professionals; mask-makers, and actors. This discovery, among other things, made me realize that, to become the actress I wished to be, I needed to broaden my horizons and truly emerge myself in foreign performing art forms, and that Japan was the place where I’d start my research. With all that in mind, I participated in the Intensive Summer Workshop at the INI in Kyoto.
My time with Udaka Tatsushige-sensei wasn’t just about learning to dance and to sing one piece. I am truly thankful for the gift of time and of knowledge he gave me.
He made me see that Noh is more than just an ancient art form, but that it has very modern sides to it, that it evolves while respecting its roots. What makes it come to life, and, in my opinion, has helped to keep it alive for so many centuries, is its unique structure and the dedication with which it was passed onto the following generations. Being able to witness it, and to get a glimpse of what it means to be a Noh professional (an actor, mask-maker, or even musician), was incredibly inspiring to me. When I arrived on the first day, my knowledge of Noh theatre was similar to a seed that had just been planted in fresh ground. It needed that little push for its roots to go through the shell, and for the plant to start growing in hope of reaching the surface.
On a more personal note, I can say that Noh gave me a kind of stability that I’d never experienced before. Working with kata that have been passed down for hundreds of years gave me a feeling of safety and grounding during the practice. Repeating, again and again, the same movements without having to question myself every step of the way was very refreshing. The different concepts found in the practice of Noh showed me a new way to work on my future projects.
Udaka-sensei’s teaching method helped me get rid of the feeling of being just an outsider trying to get a grasp of a different culture. Through conversations before or after okeiko, he shared his insights with me and helped shape the way I look at theatre today. And for that, I will always be thankful to him and to the INI members. There is an infinitely long path ahead of me. One that I cannot wait to continue walking on.
The International Noh Institute 