Tamagusuku Chokun, a Ryūkyūan courtier who lived from 1684 to 1734, is credited with the establishment of kumi odori as a frequently presented court demonstration.

Trade was booming in East Asia in the late fifteenth and early sixteenth centuries and Ryūkyū's position as a middleman helped foster relationships with Japan and China.

In 1609, the Satsuma domain invaded the Ryūkyū Kingdom and forced the King to become their vassal in order to take advantage of its connections with China, and ruled only indirectly until the 1872 (Smits 91).

Emperor Meiji forced the Kingdom to become a Japanese feudal domain in 1872, and in 1879 it was made a prefecture of Japan, and then it was occupied by the United States from 1945 to 1972 following World War II and the Battle of Okinawa.

While there, he studied all the fine arts, gaining knowledge of kyogen, kabuki and Noh, which greatly influenced his work (Foley 3).

Kumi odori was staged for the first time at the Choyo banquet in spring of 1719: Shushin kaneiri (Possessed by Love, She Takes Possession of the Temple Bell) and Nido tekiuchi (The Children's Revenge), which were Chokun's first works, were performed by male aristocrats and remain a major part of the repertory to this day.

The aristocrats who previously enjoyed the luxuries of time and money that allowed them to study court dance were now scarce in number but, through a few notable figures, it was passed down through the generations and performed for the general population.

Kumi odori was the fifth performing art to be selected as such, joining gagaku (ancient court music), bunraku (puppet theatre), no, and kabuki (other traditional Japanese dances) as corporate entities.

Not only does the theatre attach importance to the city of Okinawa, but it is also a tourist attraction, which gives a more rational basis for their support (Thornbury 243).

In addition to this, it incorporates qualities from religious dances, kami ashibi or chondara, and chants, umui, which were prevalent in villages of the past (Foley 2).

In classical ballet, it is said that it is more difficult to truly master bourrees (tiny connected steps en pointe which travel across the floor) than it is to complete multiple pirouettes, although the latter may look more impressive, and the same notion applies here.

However, where no deals with Buddhist thought, kumi odori leans toward Confucianism, choosing to promote moderation rather than enlightenment.

It is said that one cannot be a good performer of kumi odori, no or kabuki, until at least fifty, which is quite the opposite of the baby ballerinas favored by many in western dance.

The lyrics were usually sung by the sanshin players, who were the most important instrumental component, and songs were used to heighten the mood in intense situations.

Shushin kaneiri remains the most important piece of kumi odori, and shares many similarities to the Dojoji legend told through many other types of theatre arts.

Tasato Chochoku, who lived from 1703 to 1773, was another great figure who created enduring works like Manzai tekiuchi, which translates as “Vengeance Fulfilled.” His contributions mainly centered on the theme of revenge, which in turn dealt with loyalty and devotion, as well as the creation of some comedic pieces (Thornbury 232).

After studying under Genzo Tamagusuku, he taught at the Okinawa Geino Daigaku (University of the Arts), providing his students with the skills necessary to perform and pass on this cultural treasure (Foley 237).

Few people have the time or resources to fully devote their lives to the study of classical performing arts today.

Along with this somewhat waning interest, leading figures in the Japanese dance world believe that kumi odori needs to adapt in order to remain relevant today.

Miyagi Noho, famous performer and teacher, has stated that in order to survive, kumi odori will need an overhaul (Thornbury 241).

This seems an extraordinary feat, as the repertory has not expanded much since the kingdom years, but it has been demonstrated time and again that dance needs to change to keep up with the talents of those pushing its boundaries and vice versa.