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The world's oldest existing masked drama, Noh, has been passed down for 700 years and is composed entirely of “human power”. In addition to the voices of the chorus and the physicality of the dances, Noh masks, costumes, fans, and musical instruments, which can be considered the best of Japanese crafts, have all been made by human hands. Noh plays are performed in the language of the Muromachi period (1333-1573), which tends to give the impression of “difficult.” However, Noh plays are filled with “beautiful Japanese words,” including waka poems and classical literature such as the Tale of Genji and the Tale of the Heike. We believe that knowing the meaning of these words and singing them in words is a major element in opening one's sensibility. By unraveling these “secrets that Noh has cherished for 700 years” and connecting them to the present day, and by “opening” the aesthetic sense and sensitivity that the Japanese people have cherished, we will work to share these values with a diverse range of people from around the world and to serve as a catalyst for the new creations that will be born from them.
(Examples of workshops)
The meaning of Noh costumes ・Wonder of Noh masks ・Words of Noh ・Sounds of Noh ・Movements of Noh, etc.
*We would hold several workshops within these 2 hours.

【Reflection】
In this workshop, led by Yamamoto Noh Theater, participants were invited to engage with Noh—the world’s oldest surviving masked drama—through a series of immersive mini-workshops held over two hours.
Activities included trying on authentic Noh costumes, actually placing a Noh mask on one's face, and handling and playing traditional Noh instruments under the guidance of experts. Through these hands-on experiences, participants were gently guided into the rich “secrets” of this 700-year-old tradition, offering a rare chance to encounter the essence of beauty in Noh.

Many participants expressed that they had perceived Noh as distant or difficult to access, but that the direct experience sparked a sense of familiarity and appreciation. Comments included:

“I always thought Noh was too formal or inaccessible, but actually wearing the mask and hearing the rhythms made it come alive.”
“I was surprised that the mask’s lack of facial expression could evoke such deep emotion.”

The event attracted strong interest across ages and nationalities. For many international participants in particular, this was a rare opportunity to connect with the core of Japanese spiritual and aesthetic culture, transcending performing arts and offering a form of sensory and emotional education.

A highlight of the program was a live performance of an excerpt from the Noh masterpiece "Hagoromo"—staged right inside the Jellyfish Pavilion. The refined beauty of the piece stood out brilliantly within the ethereal atmosphere of the space.
Participants, along with our KURAGE Pavilion team, were deeply moved and somewhat astonished by the richness of the experience. Many remarked:

“This is exactly what the Expo should be—truly extraordinary, beyond borders and expectations.”

One point of reflection was that we were unable to distribute printed materials in advance as originally planned. We had hoped participants would sing along with the Noh chanting (utai) by following the lyrics, but unfortunately, this could not be realized this time. Since the workshop was designed to bring Noh closer through active participation, this remains a regret—but also a valuable lesson for future events.

【Post EXPO Initiatives】
Building on the momentum of this workshop, we aim to reinterpret the traditional values of Noh through a contemporary lens, creating opportunities for the general public to engage with it in an experiential and accessible way. By doing so, we hope to bridge the past and the present—and extend that connection into the future.
In particular, we witnessed many participants, including youth and international guests, moved by their direct experiences with Noh, awakening their own sensibilities. These moments have provided valuable insight for the future of cultural transmission.

Looking ahead, we plan to collaborate with educational institutions and regional cultural facilities to develop hands-on programs centered around themes such as: Noh × Language / Noh Masks × Form / Noh × Body × STEAM (Technology)...

Especially from the perspectives of STEAM education and inquiry-based learning, we believe that the interdisciplinary and holistic artistic nature of Noh can be effectively integrated into global educational programs.

We are also working to model this program and restructure portions of it as online content and educational materials, with the aim of sharing it widely both in Japan and internationally.
In addition, we are exploring new STEAM experiments that blend mathematics, technology, craftsmanship, and the arts—for example, utilizing interactive technologies so that the timbre of a Noh flute subtly changes in response to the dancer’s movements, creating new forms of real-time cultural interplay.

In this way, we will continue our efforts to bridge the deep spirituality and embodied expression of Noh—handed down over 700 years—with both contemporary society and the international communities of the future.

Yamamoto Noh Theater Foundation