Nō Theater and Cultural Diplomacy. With a Glimpse into Philippine Practices

Japan’s post-war cultural diplomacy has focused on improving its image in the world and on recovering prestige. In this effort, Nō Theatre has played an important role in cultural exchanges with other countries. Nō aesthetics and philosophy have come to influence playwrights and directors from the East and West. Newly-created Nō plays (called Shinsaku) written by contemporary Japanese and foreign playwrights, have enriched the centuries-old repertoire with the use of traditional themes and of characters derived from historical and literary figures from different parts of the globe. The year 2013 marked 40 years of Japan-ASEAN (Association of South-East Asian Nations) Friendship and Cooperation. Four years later, in 1977, shortly after the First Japan-ASEAN Summit Meeting in Kuala Lumpur, Japanese Prime Minister Fukuda Takeo announced during a Manila visit the “Fukuda Doctrine” — also known as “heart-to-heart” diplomacy — which spelled out Japan’s diplomatic principles in its engagement with the ASEAN. It is in the spirit of the Fukuda Doctrine that an international conference, that included performances, was convened for August 2013 to celebrate 40 years of Japan-ASEAN Friendship and Cooperation (although inclement weather forced a rescheduling to February 2014). The conference focused on global cultural exchanges by examining the development of Japan’s Nō in Japan, and the performance of Western traditions by individual Filipino artists. The conference, that brought together experts from various disciplines, descendants of Meiji Restoration-era grand masters of Nō theatre, scholars of Japanese culture, diplomats, and a cultural writer to talk about global exchanges and the role of Nō Theatre in cultural diplomacy, became now an original and current book. The book, from a plural point of view, also discusses the practice of adapting Western theatrical performances in the Philippines and its role in cultural diplomacy.