The individual genres of the traditional Japanese performing arts rarely stood alone. Each instrument or genre had a role to play, either religious, theatrical or social, and Japanese instrumental music, with a few exceptions, existed to provide accompaniment to song, dance or theater.

Although concerts focusing on a single instrumental genre are common nowadays, historically this tends to be the exception rather than the rule.

Perhaps the most obvious example is the noh theater. The hayashi music which accompanies noh, comprising the flute, various drums (and the drummers' vocal calls) and the chorus of male voices, all find their meaning because of their relationship to the dramatic movement and poetry uttered by the actors. All the elements come together in a synthesis to create a theatrical experience which transcends the individual action. One cannot imagine the noh theater otherwise.

The same is true with kabuki. The interaction of the various performing musical groups onstage (nagauta, Kiyomoto, Tokiwazu, Itchu-bushi, etc.) and the music and sonic effects of the kuro misu musicians hidden just offstage play an integral part in the story and add a dimension of synesthesia, a melding of senses, which, like the noh theater, transcends individual actions.

When not performing in the kabuki theater, these musical groups often accompany nihon buyo dance. Although on a smaller scale than the lavish production of kabuki, these dance performances are yet a further example of the synthetic nature of the Japanese performing arts; the story or suggestion of a story in the musical lyrics informs the movements of the dance, and one "sees" the music come to life.

Three dance performances this month are excellent examples of synesthesia in hogaku.

The Shishi no Kai, founded in 1977, consists of seven mid-career dancers from various schools who came together to present both classical and contemporary buyo to a variety of audiences. Their technical and artistic abilities are second to none, and the choice of material insures that even a first-time viewer of Japanese dance will be highly entertained.

Their upcoming performance includes the well-known nagauta version of "Dojoji," a tale of a woman who, consumed with passion and rage, turns into a serpent onstage.

The flashy nagauta dance piece "Shakkyo" will also be performed. Originally from a noh play, "Shakkyo" tells the story of a Japanese sage who travels to China, looking for the holy land. He is told by woodcutters in the mountain about a famous bridge of stone (the literal meaning of the title) which leads to his destination, at which point a lion emerges and begins dancing on the bridge.

Two pieces relating to spring will also be performed; the Itchu-bushi "Hanago," which is also a well-known kyogen piece, and the nagauta "Harude Oborode Nagaya no Hanami."

Shishi no Kai Buyo Koen, 6:30 p.m. March 21, 2 and 6:30 p.m. March 22 at the National Theater Small Hall. Admission 6,000 yen. For information and tickets call the Shishi no Kai Office, (03) 3385-3791.

Because of the necessary number of props, costumes, accompanying musicians and attendants, performing buyo requires a significant outlay of expense, and many excellent dancers find themselves constrained due to the overwhelming costs. Buyo dancer Takako Kato is an exception to this. She has brought together an ability to find sponsorship with a high standard of artistic excellence and has built an illustrious career of performing Japanese dance both in Japan and around the world. Her upcoming performance will feature two of her own choreographed pieces, along with dance performed to noh music. The performance will take place on a noh stage. A lineup of first-rate hogaku musicians will be accompanying her.

"Sekidera Komachi" will feature the inimitable female joruri (shamisen narrative) singer Asaju Takemoto on narration, accompanied by shamisen, and Toru Fukuhara on fue transverse flute. "Oi Tsubaki" will feature Shisui Arai and Seisui Arai on biwa and Hiroyuki Matsuda on noh flute. "Koi no Omoni" will feature the noh actor Reijiro Tsumura and the noh ensemble of flute, drums and chorus.

"Mai, Oi no Sekai" 3 p.m. March 18 at Umewaka Noh Theater, 2-6-12 Higashi-Nakano, Nakano-ku. An eight-minute walk from JR Higashi-Nakano Station, six minutes from Nakano-Sakaue subway station. Admission 5,000 yen. For more information, call Kato at (044) 954-3066.

Jiuta-mai is another genre of Japanese dance. Not quite as programmatic (storytelling) in nature as kabuki-style buyo, it is characterized by an elegance of movement which reflects the inner emotional processes of the dancer. Keiin Yoshimura is a young jiuta-mai dancer who is building a solid reputation as a classical dancer while having the flexibility and active interest in creating new forms and exploring new venues for her art. She will be presenting the jiuta piece, "Chikubushima" (also based on a noh piece) in an intimate setting near Shibuya.