Finale of Yuubi Program at Aratani Theatre: Bando Hidesomo (center left) and Bando Hideko (center right) Cultural News Photo
LOS ANGELES, CA - Elegance and grace were on full display at the Aratani Theatre in Downtown Los Angeles on Sunday, January 18, 2026, for Yuubi: Elegance and Grace of Nihon Buyo. The dance recital marked the 30th anniversary of Bando Hidesomi’s Nihon Buyo school of Japanese classical dance, which she established after years of intensive training in Tokyo. A Los Angeles native, Hidesomi Sensei has dedicated her career to preserving and sharing this traditional art form.
The program featured 25 Los Angeles–based students, including four advanced dancers who were awarded their professional stage names, or natori, by a Headmaster of the Bando School in Tokyo: either the late Bando Mitsugoro X or the current 11th Headmaster, Bando Minosuke. Twelve guest artists from Japan—specialists in makeup, wigs, stage design, kimono dressing, and on-stage dancer assistance—lent their expertise to the production, adding a spectacular flair to the twelve dances. Each curtain opening often drew audible gasps of delight from the audience.
Stage sets were created in Los Angeles by three professional guest artisans from Okada Stage Co., Ltd., who spent days crafting the sets before assembling them onstage between dance numbers. Because some of the hues used were not available in the United States, the colors were brought from Japan. Music editing was also professionally prepared in Japan, producing a clarity and richness of sound so convincing it felt as though live singers and musicians were performing behind the curtains.
Most of the vibrantly colored kimono and professionally styled wigs were brought from Japan, further enhancing the dazzling performances, which were complemented by expert lighting design from Japanese artists. Stage makeup was applied by skilled professionals from Japan, while two koken—stage assistants from the Bando School in Tokyo—supported the dancers with on-stage costume changes and prop handling, ensuring smooth and flawless performances throughout the evening.
The program opened with the classical dance Fuji, choreographed by the late Headmaster of the Bando School in Japan, Bando Mitsugoro X, following the passing of his mother. The piece was performed by his sister and special guest artist, Bando Hideko, who is also the teacher of Bando Hidesomi. The dance paid tribute to majestic Mount Fuji, whose enduring grandeur reflected the late Headmaster’s mother’s hope that the Bando School, like the revered natural symbol, would continue to flourish through future generations.
Fuji was followed by Hanakurabe, a dance centered on flowers and performed by five young girls. The floral theme continued with Sakura, another work choreographed by the late Bando Mitsugoro X, created in memory of his father, who passed away in the spring—during the season of the beloved cherry blossoms.
The curtain then opened on a striking scene: five geisha, attired in elegant long black kimono, appearing in Shinhitotsutoya, a celebratory dance welcoming the New Year.
This was followed by Bando Hideakiyo (Stephanie Aki Nakatomi), who performed the classical piece Shiokumi in her debut appearance as a natori. The Bando version of this dance was first performed in Japan in 1811 by the late Headmaster Bando Mitsugoro III. Hideakiyo wore a striking red brocade kimono with black court headgear and carried a pole balanced across her shoulders with a bucket suspended from each end, as she made her way toward the sea to gather seawater for salt making. The image of Hideakiyo bearing the water buckets evoked the charm of traditional Japanese doll displays often seen in gift shops.
In the following dance, a geisha appeared amid the lively atmosphere of a matsuri (festival). Guest artist from Japan, Bando Noriyuki, enhanced the performance in his role as karami, playfully engaging with the geisha through stylized, dramatic, and at times comical interaction, much to the audience’s delight.
Concluding the first half of the program was one of the most beloved classical dance works, Fujimusume (Wisteria Maiden). The dancer wore a black hat and an elegant black kimono adorned with wisteria motifs, carrying a branch of wisteria over her shoulder. She danced before a majestic pine tree, behind which she was assisted by koken in an onstage costume change—an impressive display of theatrical artistry.
After a short intermission, the program continued with Yutaka, a dance celebrating the important rice harvest season. Often performed on auspicious occasions, the piece expresses themes of prosperity and abundance.
Yutaka was followed by the appearance of six young dancers in Hanafubuki, a joyful piece depicting maidens dancing beneath cherry blossoms.
New natori Bando Hidereimi (Aly Mayumi Minamide) made her debut in Yashima Kanjo, a dance portraying a noble court lady whose status is reduced to that of a village fishing maiden after her clan’s defeat in battle.
Two additional newly awarded natori, Bando Hideshizumi (Lauren Minako Parham) and Bando Hideyoshina (Konami Masui), took the stage as the Father Lion and Cub in the classic Renjishi, or Lion Dance. During the interlude, as the lions briefly exited to change costumes, two young dancers appeared as butterflies, gliding gracefully among peony blossoms. When the Father Lion and Cub returned, the highly anticipated climax—the powerful swinging of their manes—brought enthusiastic applause, highlighting the athleticism and precision required of this demanding work.
The program concluded with Kane no Misaki, choreographed by the late Headmaster Bando Mitsugoro VIII. This challenging dance, which emphasizes emotional depth over dramatic movement, was performed by instructor Bando Hidesomi with quiet intensity and refinement.
Following her performance, Bando Hidesomi was joined on stage by all of the dancers. She expressed heartfelt gratitude not only for the audience’s presence, but also to her sponsoring organization, Wa no Kai; the guest artists from Japan; the parents and volunteers working behind the scenes; and all those who have supported her throughout her fifty-year dance journey.
Indeed, Nihon Buyo exemplifies elegance and grace, and the Yuubi program made this very clear. The production captivated the audience with a presentation that closely resembled performances seen in Japan—an achievement made possible through the guidance and artistry of the visiting Japanese masters.
(Text by Aileen Willoughby)
