The performance is composed of three sections: the musical ensemble (including taiko (drums), transverse flutes, and kane (gongs)), the vocal section (chants and recitations), and the dancers. Compared with the Bangaku handed down in other regions, this style features faster dance movements and a more rapid musical tempo. Moreover, within a single basic movement, dancers must combine five types of variations in fan manipulation, limb movements, and facial expressions. That is why a high level of physical endurance is required of the performers.

In this Bangaku, the lion dance is performed first, followed by dances such as the Sakimai (Purification Dance), Tori-mai, Jichin-mai, Sennin-giri (Ushiwaka and Benkei), Bushi-mai, and Kanemaki. In the past, additional dances such as Hataori, Waraori, Sanbasō, and Shinobu were also included. Although there are no specific rules of dance etiquette, it is said that when performing for ground-purification rituals, even a single misstep or rhythmic error would prevent the ritual from being fulfilled.

Those who perform and maintain the Bangaku are collectively referred to as the Bangaku troupe. When a member of the troupe passed away, it was customary to perform a memorial Bangaku at the family home after the funeral.

For me, the Yakunai Bangaku represents a source of connection to the local community. Through my involvement with the Bangaku—both in performing it and in observing how performers and local residents engage with it—I am able to sense the values, emotions, and cultural appeal embedded in the region, which reinforces my own sense of belonging. It is precisely because the Bangaku exists that I feel able to maintain an ongoing relationship with the community. Moreover, just as the Yakunai Bangaku includes a dance based on the battle between Ushiwakamaru and Benkei, its performances are structured around historical episodes, allowing audiences to experience these narratives through dance. I also find its fast tempo and dynamic movements, which distinguish it from other Bangaku traditions, particularly compelling.

I hope that the Yakunai Bangaku will become something that local residents can regard with pride. Given that the settlement is small, aging, and experiencing population decline, some residents may perceive their community in negative terms. In this context, if the Yakunai Bangaku were to be recognized as a source of local pride, it might help residents develop greater confidence in their community and foster the belief that “our community has something truly remarkable.” Such a shift could serve as a catalyst for revitalizing the area.