“Okina” is often described as “Noh, and yet not Noh,” making it a truly exceptional piece. It does not belong to any category, nor does it follow a narrative structure. Rather, it is a sacred ritual in which the performer becomes a deity and dances to pray for peace across the land and safety for the nation.
Zeami referred to Shiki Sanban—a set of three ritual dances—as consisting of Chichi-no-jō, Okina (also called Okinamen), and Sanbasarugaku. Each of these pieces features an aged deity performing a dance to pray for longevity and prosperity, and they were traditionally performed as a trio. Later, Chichi-no-jō ceased to be performed, and today the sequence typically consists of Chitose, Okina, and Sanbasō.
In modern times, aging is often viewed negatively. However, traditionally, growing old was seen as something positive. Interestingly, the Chinese character “老” (lǎo) in modern Chinese also carries a positive connotation in certain contexts, expressing respect or affection. In ancient times, when life expectancy was short, living a long life was seen as extraordinary and worthy of admiration. Elders who lived to an old age were believed to possess a mysterious spiritual power.
For example, according to the Shoku Nihon Kōki (Continued Chronicles of Japan), in the 12th year of the Jōwa era (845) during Emperor Ninmyō’s reign, a renowned dancer named Owari no Hamamori—said to be 130 years old at the time—performed a traditional dance piece called Wafū Chōjūraku in the emperor’s presence, earning great praise. It is said that on this occasion, Hamamori recited the following verse:
“Though I am but an old man, how could I not dance? In an age where even grasses and trees flourish, I too shall step forth and dance.”
This episode offers a glimpse into the ancient cultural mindset that saw the song and dance of elders as a blessing for the world. Within traditional performing arts, Okina came to embody this very role—as a bearer of sacred prayers and, ultimately, a powerful symbol of good fortune and longevity.