Shikisanba - Shikisanba

The name of a ritual dance. In Zeami's "Fushikaden," it is written that performing 66 Sarugaku pieces at a ritual was too long, so they were shortened to three pieces, Shiki Sanban, which refers to Chichinojo, Okina, and Sanbaso. In the early modern period, Shiki Sanban came to refer to the Kyogen "Sanbaso" dance performed as a wedding or ceremony. In Nagauta, it refers to "Okina, Senzai, and Sanbaso," and in Tokiwazu, there is "Shukugen Shiki Sanbaso." In folk performing arts, the dance performed as a ceremony before the start of Kagura music is called Shiki Sanban. At the Flower Festival and Dengaku in Mikawa (Aichi Prefecture), before the beating of the drums begins, a dance is performed to purify the drumsticks, which is then followed by a Kagura dance; this Kagura dance is called Shiki Sanban, and it is interpreted as being so called because the dance is performed in three folds. In the Kagura dance of Fudono, Shiiba village, Higashiusuki district, Miyazaki prefecture, a ritual ground is prepared, and rituals such as cutting up wild boar meat are performed, as well as purification rituals, descent from the spirit, reciting prayers, and offering sacred branches. Next, a drum is placed in the center of the dance area and the origin of the drum is recited, followed by ritual dances such as Ichi Kagura, Jigatame, Mendonomeshiage, Mon no Kagura, Tentoko, Shirahayumitsushi, Shogondono, Shinin no Okami, Chinchi Kagura, and Mikuma. These 10 songs are called Shiki Sanban, but the number of songs is not necessarily set at three. In Shiiba Kagura, Shiki Sanban is also called Jinjimai, and is considered sacred. During this time, no musical accompaniment or singing was permitted. It is known that Shiki Sanban was a kind of ritual dance.

[Kyoko Goto]

"Goto Yoshiko's 'Shiki Sanban Ko' (A Study of Shiki Sanban)" (included in 'The Origin of Nohgaku Continued', 1981, Mokujisha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

儀式舞の名称。世阿弥(ぜあみ)の『風姿花伝(ふうしかでん)』に、祭式のとき、猿楽66番を演ずるのは長すぎるので、それを3番にしたのが式三番で、それは父尉(ちちのじょう)、翁(おきな)、三番叟(さんばそう)のことだと書かれている。近世になると祝言、儀礼として舞う狂言の『三番叟』のことを式三番というようになった。また、長唄(ながうた)では『翁・千歳(せんざい)・三番叟』のことをいい、常磐津(ときわず)に『祝言式三番叟』がある。民俗芸能では神楽(かぐら)などのときに、神楽の曲目が始まるに先だって、儀礼として舞う舞を式三番といっている。三河（愛知県）の花祭や田楽では太鼓を打ち始めるにあたって、太鼓の桴(ばち)を清める舞を舞い、続いて神楽を舞うがその神楽を式三番といい、舞を三折りに舞うので式三番というのだと解釈している。宮崎県東臼杵(ひがしうすき)郡椎葉(しいば)村不土野(ふどの)の神楽では、祭場をしつらえ、イノシシの肉を切るまねをし、修祓(しゅうばつ)、降神(こうしん)、祝詞奏上(のりとそうじょう)、玉串奉奠(たまぐしほうてん)の祭儀を行い、次に舞場の中央に太鼓を据えて太鼓の由来を語り、続いて一神楽(いちかぐら)、地固(じがため)、面殿(めんどの)めしあげ、紋の神楽、テントコ、白羽弓通し、しょうごん殿、四人大神、ちんち神楽、みくまなどの儀式舞を行うが、この10曲を式三番といい、かならずしも曲数が3番とは定まっていない。椎葉神楽では式三番を神事舞(じんじまい)ともいっており、神聖視され、この間は囃子(はやし)を入れず、せり歌も出してはいけなかった。式三番が一種の儀礼の舞であったことが知られる。

［後藤　淑］

『後藤淑著『式三番考』（『続能楽の起源』所収・1981・木耳社）』

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