It is a type of narrative Ryukyuan dance known as Kumi odori or Kumi wudui. The name refers to a combination of dances or a group ensemble.
As this dance originated in the Ryūkyūan capital of Shuri, Okinawa in 1719, its purpose was originally to offer amusement and distraction, referred to as ukwanshin, for the Chinese diplomats visiting Ryūkyū. In the 17th century, a Ryukyuan courtier named Tamagusuku Chokun created kumi odori, one of the more popular court demonstrations. He lived from 1684 to 1734. Kumi odori is an amalgamation of several different styles of East Asian dance and remains an important part of Okinawan culture to this day. It has been designated by the Japanese government as an Important Intangible Cultural Property.
In addition to its Okinawan roots, it incorporates elements of both mainland China and Japan, such as Nogaku and Kabuki. The Kumiodori dramas relate local historical events or legends through the use of a traditional three-stringed instrument. Besides a unique rhythm, the phrases are sung in the ancient language of Okinawa in Ryukyu tonality with distinctive intonations. The performers' physical movements are like those of a pythoness conducting a traditional ritual in ancient Okinawa. Male actors have all played every part, and Okinawan techniques can be seen in the hairstyles, costumes, and decorations used on stage.
Kumiodori performers founded the Traditional Kumiodori Preservation Society in an effort to strengthen transmission, in which they train performers and revive obsolete dramas, as well as perform on a regular basis. Aside from classical works emphasizing loyalty and filial duty, new dramas have been created with modern themes and choreography while maintaining the Kumiodori style. Kumiodori has played a significant role in preserving ancient Okinawan vocabulary, as well as literature, performing arts, history, and ethics.
In the meantime, the future of the kumi odori revival is uncertain, since most performers are well into their sixties, making it challenging to increase interest when they are already too busy teaching and living their own lives (Thornbury 241). Professionals mostly belong to the Dento Kumi Odori Hozonkai, and women now outnumber men. While numbers may be increasing, a lack of dedication will begin to contribute to the decline of the form. In the modern world, few people have the time or resources to devote their lives to studying classical performing arts. However, the Japanese dance world also believes kumi odori must adapt today in order to remain relevant, along with the somewhat waning interest.
References
(https://ich.unesco.org/en/RL/kumiodori-traditional-okinawan-musical-theatre-00405) (https://en.wikipedia.org/wiki/Kumi_Odori)