Who is Kazuhide Hosho?

Kazuhide Hosho, the 20th head (soke) of the Hosho school of Noh, traces his lineage back to Ren’ami (the brother of Ze’ami and son of Kan’ami, prominent figures in early Noh), and has since carried on the tradition of the Muromachi period. Making his stage debut at the young age of five, he formally inherited headship at 22. While placing great emphasis on traditional Noh performances, he has also actively expanded his activities abroad, engaging in cultural exchange projects in Italy, Hong Kong, the Middle East, and beyond.

Most recently, Hosho contributed to the Emmy Award-winning American TV series SHOGUN, produced and starring Hiroyuki Sanada, by producing and performing the Noh segments (including chanting). He also serves as supervisor for the manga Shite no Hana, serialized in Weekly Shonen Sunday (published by Shogakukan). Through these efforts, Hosho continues to bring the world of Noh into the new era.

In this interview, he shares insights on the relationship between the world of Noh and the unique cultural landscape of Japan.

Table of Contents

• Inheriting the Soke at 22

• The "Serenity" of Noh and Its Role as a Nexus of Interacting Multicultural Influences

• Oriental Culture

Inheriting the Soke at 22

As the head of the Hōshō school, you’ve been active not only in Japan but globally as well.

I have performed in Italy and Hong Kong, and also in the Middle East, and had opportunities to speak as a lecturer. Most of these came through cultural exchange programs. The initial trigger was the 2015 Milan Expo in Italy. I performed there as an artist representing Japanese culture, but honestly, it was a very frustrating experience.

We weren’t the only performers on stage, there was also traditional Japanese music, and after us, Kyary Pamyu Pamyu performed as the grand finale. Somehow, we still felt oddly out of place. While other performances were lively and energetic, the Noh segment was noticeably quiet, and that was deeply frustrating.

Later, reflecting on why that happened, I realized our goals were different from the others right from the start. The others’ role was to entertain and energize the audience, but Noh fundamentally belongs to a serene, more laid-back culture. If you mix one calm piece into an otherwise “amped-up” lineup, the audience naturally feels it is out of place. Events like that end up being a mix-and-match of Japanese cultural elements without a cohesive full-course meal, and more like an arbitrary à la carte. To convey Japanese culture in an interesting way, you need to create and present a proper narrative. This made me keenly aware that the way we showcase Noh has to be thoughtfully considered.

So, in 2016, I decided I had to take matters into my own hands and entered the Milan Triennale. I took on a debt of five million yen and gave it my all, thinking it would be my first and last overseas performance. That effort turned into a great success. The audience sent many messages to the organizers asking why Noh performances weren’t held repeatedly throughout the event, and the producers highly praised the shows. Since then, that producer has managed all cultural exchanges related to Italy. To develop Italy as a base, I settled in Milan and have performed six times there as of two years ago. From 2023 to 2024, I also served as a visiting professor at the University of Milan.

Alongside Italy, I participated in the Agency for Cultural Affairs’ East Asian cultural exchange program, where I was introduced to supporters of Japanese culture in Hong Kong. Thanks to one supporter's lifelong work of spreading Japanese culture among Hong Kongers, I have had the opportunity to perform Noh at the University of Hong Kong. Additionally, in the Middle East, I regularly hold performances in Dubai.

You succeeded as head of your family’s Noh school at the young age of 22 and have since been active overseas. Were there any hardships along the way?

After graduating university, I became the official soke (head) at age 22. While I was destined from a young age to inherit the Hosho school, I was still unusually young amongst other recent Noh performers taking on such roles.

In Noh, there are only five heads of “Shite” schools. Unlike some arts that have many named disciples or recognized apprentices, the Hosho school’s leadership is quite exclusive. Being just 22, I was clearly a novice among the directors of the school, so naturally, I faced some difficulties. Many of the senior Noh masters, often in their 70s or 80s, have a strong attachment to tradition. Even if I felt that some things were outdated for the current era, it was difficult to openly voice opposition.

During that period, I received advice from various quarters, with a common theme: “Endure the first five years no matter what.” Even if I had my own ideas or things I thought should be done differently, as a young upstart, people wouldn’t listen. If I pushed back too hard, I wouldn’t be able to accomplish anything. So, I was told to endure with a spirit of patience and perseverance. But at the same time, I was encouraged to do whatever I could on my own.

That led me to start an event company separate from the Noh stage. I organized reading events and small-scale plays connected to Noh, using my own funds to learn the ins and outs of theater production and management. That period of self-invested effort provided me with invaluable learning experiences.

Another key point, in terms of pride as a Noh performer, is that your influence depends on the strength of your artistry. If you improve and become skilled, you gain trust; if you’re not good, your opinions won’t be heard. So, I strongly resolved to develop a craft in my twenties that would earn respect. I worked hard to build the skills and presence necessary to satisfy the senior figures, both in artistic and management aspects.

Now, at 39, I have been able to establish my own style and brand in a world where even people in their 40s or 50s were once considered “young.” In that process, I’ve been able to take on overseas performances and pursue a path that feels true to myself.

The “Serenity” of Noh and Its Role as a Nexus of Interacting Multicultural Influences

You describe Noh as chill‑out culture, but what exactly defines Noh? Can you tell us about its history and its appeal?

Culture and art, not just Noh, are deeply shaped by the political climate and society of their country. Noh emerged in Japan’s Muromachi period: an agrarian society prone to disasters, favoring calm over conflict, serenity over stimulation. For example, before going into battle, warlords didn’t prepare with a mindset of “I’m going to kill my enemy.” Instead, they practiced rituals like tea ceremony to cultivate a quiet spirit that accepted the possibility of their own death, so they could face the battlefield with composure. In such an environment, especially during chaotic times, it was natural for a peaceful cultural art like Noh to emerge and be passed down.

As time moved into the Edo period, infrastructure developed and society stabilized, so people began seeking stimulation in times of peace. That’s when Kabuki thrived as a culture designed to excite and uplift people. While both Noh and Kabuki share the stage as Japanese performing arts, their purposes and the experiences they offer their audiences are completely different.

Noh has continued from the Muromachi period for over 600 years, until the present era. What do you think Noh conveys today, what role does it play today?

Due to the emergence of cultural diversity, it’s becoming difficult for a single thing to appeal to everyone. People’s interests and needs are now much more segmented. In that sense, I believe Noh’s relaxing atmosphere holds distinct value. In today’s world where everything seems to move too quickly, there’s been a boom in activities that encourage slow, mindful enjoyment such as weight training or saunas. Noh fits naturally into that trend, which is why I think it resonates well with contemporary Japanese society in the Reiwa era.

As human beings grow, the catharsis and pleasure that come from gaining knowledge are very important. That kind of intellectual growth includes exploring history and engaging with both old and new cultures. The more you research, the more you realize how much you don’t know, and that deepens your interest. Traditional Japanese culture, in that sense, is an endless source of fascination for those who want to keep exploring. In fact, many of the people who become interested in Noh are very proactive when it comes to self-investment and the pursuit of knowledge, and it's those kinds of people who are drawn to studying Noh.

How does watching Noh differ from learning it?

Performing Noh is ultimately a pursuit of beauty. It’s often described as “moving sculpture,” which in Noh’s terminology refers to the of perfecting “kata” (forms). Each and every form in Noh must be shown with precision, grace, and beauty. Noh is about exploring and expressing the beauty that emerges from a poised stillness, a posture that suits one’s own body. This requires precise physical control, and through this pursuit, one comes to know their own body more deeply. This is the unique appeal of learning Noh. Performing Noh is ultimately a pursuit of beauty. It’s often described as “moving sculpture,” which in Noh’s terminology refers to the of perfecting “kata” (forms). Each and every form in Noh must be shown with precision, grace, and beauty. Noh is about exploring and expressing the beauty that emerges from a poised stillness, a posture that suits one’s own body. This requires precise physical control, and through this pursuit, one comes to know their own body more deeply. This is the unique appeal of learning Noh.

What do you personally value the most in your work as a Noh performer?

To put it simply, I think it’s important to approach it as a “self-imposed challenge,” a kind of creative constraint. Working within the constraints of Noh and its technical artistry, it’s crucial to understand both its necessities (what makes this art what it is), and its limitations.

For instance: what if Noh became purely entertainment? That’s essentially already what Kabuki is, and for this reason, there’s no need for Noh to force itself into a similar kind of entertainment mould. Additionally, wearing Noh masks prevents performers from becoming part of “oshi culture,” where fans passionately support individual personalities. However, if we were to perform without masks, we would no longer be performing Noh.

When looking at Noh in the context of our current era, I see a direction for it to establish itself as part of ambient culture or culture of relaxation. This positioning is a bold contrast, and even defiance to the current entertainment market, and to me, it’s an extremely exciting challenge. Personally, I enjoy entertainment’s immediacy and ease, but at the same time, this fun often comes from strong simulation which people get desensitised to overtime.

Sometimes, I feel that entertainment can numb our human sensitivity. For instance, being startled by loud sounds or dazzled by flashy lights can create impact, but in exchange, we risk losing our sensitivity to appreciate more subtle experiences in our everyday life like the changing of the seasons, the scents that drift in the air, or the enjoyment of feeling of a gentle breeze.

In those moments when you’re overstimulated, I recommend visiting an art museum. I love visiting them myself, and even while appreciating a painting or sculpture, as you often find yourself engaged in internal dialogues. I believe such introspection is essential to growth, and in that regard, I see Noh as akin to fine art. I’m working to expand Noh as a form of ambient culture that calms the senses and stimulates intellectual curiosity, which I believe lies at the very heart of human growth.

Oriental Culture

You noted that Noh is a performing art that can be studied and learned. Have you had international visitors come to watch the plays, or try learning it?

My brother-in-law runs tours and programs aimed at overseas audiences to let them experience Noh firsthand. My brother-in-law has also helped provide Noh experiences for inbound guests at foreign-owned hotels.

Noh is a part of Japanese culture that dates back to the Muromachi period, but at the same time, it also belongs to a broader Oriental tradition. Rather than being something purely Japanese, Noh is a theatrical art that was shaped from the convergence of Islamic, Chinese, East and Southeast Asian, and Indian influences. When watching Noh Theatre, you will be able to notice traces of Islam, Hinduism, Buddhism, Christianity as well as Korean and southern island cultures. Noh is essentially a condensed form of all these diverse influences brought together into one expression in Japan. I think if we present it as such, international audiences can find it very engaging.

In other words, Noh seems to be a meeting point for various cultures to converge in, where different influences come together in one place. Could you share a message for visitors coming to Japan and for those involved in cultural exchange?

How you enjoy Noh is up to you. If possible, I encourage you to feel the cultural similarities that connect us through these plays. Across centuries, Noh has absorbed various influences from many countries and developed them into something uniquely Japanese, which has since been passed down through generations. Now, we believe it is our turn to give something back through cultural exchange. I hope you’ll take the opportunity to sense how elements of your own culture may be reflected in Noh, and how they’ve left their mark and contributed to its evolution.