When we consider the meaning of "movement or transfer" in connection with the performing arts, we must first take into account the nature of performing arts as intangible cultural products, and thus we must assume a viewpoint that differs from that used in our consideration of the movement or transfer of tangible physical objects.
      First, we must realize that while "movement" of actural objects is recognized by its movement through time and space, with physically intangible performing arts, "movement or transfer" is necessarily different because the performing art is not an actual object in and of itself. Rather, the existence of this performing art can be first recognized when there are humans enacting the performing art, and the performance of that art occurs within space and time. Thus, the actual nature of "transfer or movement" in the performing arts can be perceived in either the movement related to the humans who enact the performing art, or the movement or transfer related to the space and time of its performance.
      Further, if in the case of a physical object, an object is moved or transferred from point A to point B, the physical object ceases to exist at the point A starting point of its movement or transfer. In the case of the performing arts, on the other hand, movement or transfer does not necessarily mean that the performing art has disappeared or ceases to exist at the starting point of its movement.
      Next, when we consider movement or transfer in the performing arts, we must also recognize the major differences that exist between the meaning of movement or transfer in the classical performing arts and in the folk performing arts. Classical performing arts are recognized as intangible cultural properties with relatively few restrictions in terms of performers or place/time of performance, whereas folk performing arts have relatively large restrictions on such details as performers and place/time of performance.
      To clarify discussion, this paper will suggest three categories of "movement or transfer" in the performing arts. Then it will discuss movement in each category, with a particular focus on folk performing arts where "movement or transfer" is of unusual and specific importance.
      In the first category, only the persons performing the work move or transfer. The No'se Jôruri, a style of samisen music, handed down in the town of No'se in Osaka Prefecture will be considered as an example of the "transmission" of a specific performing art form.
      In the second category, only the space of a performing art moves or is transferred. The Nagashi Niwaka, a type of impromptu skits performed in Mino city, Gifu prefecture, is considered as an example of a performing art that has a particularly specific type of movement or transfer in that its movement or transfer is carried out on the premise that the original place of performance will be moved or transferred. The Kanko Odori dance of Suzuka, Mie prefecture is considered as an example of a special performance type which is separated from its original location through the holding of various types of events.
      In the third category, both the humans performing the work and the place/time in which it is performed are moved or transferred. This applies to the phenomena by which performing arts are disseminated or copied, or become widespread trends. A particular phenomena in recent years can be seen in cases like the Kôenji Awa Odori dance festival, or the Yosakoi So-ran Odori dance festival. Both of these performing arts originated in specific regions of Japan, and then became nation-wide trends.
      This paper will consider these three different types of movement and transfer, and discuss specific folk performing arts as examples in a consideration of the meaning of movement and transfer in various types of performing arts and the influence that movement or transfer has had on each performing art.