The Inoue School of Dance

On The Ninth Day Of Fun I present... a new feature! I’ll be looking at each of the dance schools in turn, so for now enjoy the first one! History The Inoue School, and thus the Inoue Style, began with Inoue Sato (井上サト), who lived from 1767 - 1854. She was entrusted to the care of the Konoe family in Kyoto from an early age as a lady-in-waiting, and showed great promise in the traditional arts. Since the Konoe were of the nobility, Sato had access to the same education as those of the aristocracy, so she was taught only the best. Eventually she went on to become the dance instructor for the Konoe children. When she left their care in 1797, the Konoe family bestowed upon her the name Yachiyo (八千代) and gave her use of the well frame (bishimon) kamon to start her own school of dance.  From there she gained her first students of the style and in her old age eventually named a successor, Inoue Aya (井上アヤ) (1770 - 1868), who was granted the title of Yachiyo Inoue II. Not too much is known about Aya, except that she was supposedly the niece of Sato and recognized the talent of a young girl named Katayama Haruko (片山春子) from a very young age and raised her up to be her successor, which would end up being pivotal in the Inoue school’s history. Haruko (1838 - 1938), who inherited the title of Yachiyo Inoue III, would be the one who would be called upon by the governor and mayor of Kyoto to choreograph a dance for the 1872 World Expo to showcase the talents of her students, who at this point happened to be the maiko and geiko of Gion. Her dances became the first Miyako Odori, whose success was so grand that she was granted any wish that the governor could provide. As we know by now, her wish was to unite eight of the finest neighborhoods in the Gion district into its own new kagai named Gion Kobu where only her style of dance would be taught and leave the rest to be called Gion Otsubu. Like Aya before her, Haruko also found a talented dancer from a very young age to eventually replace her, but this time, it was another special young girl: Aiko.  Inoue Aiko (井上愛子) (1905 - 2004) began dancing at the age of 3, when those who are of prominent artistic lines usually begin their training instead of age 6. Although not related by blood, she would marry Haruko’s grandson and be adopted into the family. While not a standout beauty, her dancing skills were peerless and it would be the young Aiko who would lead the school as Yachiyo Inoue IV beginning in 1947. It was during her tenure that the world saw much change, specifically, the hardships endured during and after World War II and the slow decline of the karyukai when the bubble economy burst in the 1990s. During her lifetime she was named a Living National Treasure and received various awards and honors from the government for her dance. Like Haruko, Aiko recognized the talent of her granddaughter, Michiko, and named her successor upon her retirement in 2000. Inoue Michiko (井上三千子) (1956 - present) is the currently the fifth holder of the title Yachiyo Inoue. Like her grandmother before her, she began dancing at the age of 3 and showed great promise. Also like her grandmother before her, Michiko has also been named as a Living National Treasure, one of the youngest ever to boot. Michiko’s leadership through the corona virus pandemic has been nothing short of the definition of strength and endurance and hopefully she can continue to pull through as Gion Kobu rebuilds.  Now, unlike previous generations, the next Yachiyo Inoue has already been chosen so quickly after the last head’s passing. Michiko’s daughter, Inoue Yasuko (井上安寿子) has already been chosen by committee to eventually replace her mother upon her death. Like the previous heads before her, Yasuko has been groomed since the age of 3 to be a dancer, and her skills are quite impressive. She’s been noted to be a dancing prodigy, hence why her selection has already been made.     Style The Inoue style of dance is derived from the Noh court dances, so its movements are usually slow and punctuated by quick, dramatic ones.    Natori Those who become natori in the Inoue style are given a special fan signed by the current Yachiyo Inoue and is decorated with a camellia flower, a symbol of the school. Each year they receive a new fan with a new design at Kotohajime. Unlike other dance schools, those who are natori in the Inoue school cannot teach dance unless they are an accredited teacher.       

The natori graduation fan. The background is actually pink, but the gold flakes make it appear orange. 

What’s In a Kimono? Part 9

On The Second Day Of Fun I present... a new kimono! The last time I presented a kimono it was karyūkai related in that it was a geiko’s hikizuri. This one is also karyūkai related, but in a slightly different way.

Name: Karyūkai (花柳界) - The Flower and Willow World Type: Kurotomesode (黒留袖) Time Period: Heisei Period (1989 - 2019) Condition: Excellent - Like New Material: Silk Motifs: Kyoto Scene With Maiko Execution and Techniques: Yuzen Value: $100 USD When I saw this for sale I knew I had to have it as it’s just so fitting to my interests and so unique to boot! I can honestly say in all my years of buying, selling, and researching kimono I had never come across one with maiko on it! You can occasionally find some obi, but kimono with maiko are extremely rare. Whoever designed or commissioned this kimono has specific knowledge of the karyūkai, with Gion Kobu in particular, as you can make out the noren of the Ichiriki down at the bottom. Overall it depicts the karyūkai at the height of its beauty in the spring when the cherry blossoms are in full bloom and the maiko are busy travelling from one ochaya to the next (or, in this case, possibly slowing down to take in the blossoms themselves). All of it is delicately rendered in the Kyō Yuzen style of painting. This piece is truly meant to be appreciated up close not only for its subject matter, but for the addition of copious amounts of gold paint that outline nearly everything on the kimono! 

Even though it’s rare, it’s not very valuable as kurotomesode are among the least valuable types of kimono due to their overall plainness and the very limited times that you can wear them. This is why kurotomesode are often remade into other garments, such as dresses or skirts. I plan on keeping this one as is though ^^

What’s In a Book? Part 31

On The Fourth Day of Fun I present... a new book review! This one’s a different from normal, which you’ll see soon!

Book’s cover courtesy of myself. Gion Maiko No Shiki: Yujiro Itakura Shashinshū (祇園舞妓の四季 极倉有士郎写真集) - Gion Maiko of The Four Seasons: The Photo Album of Yujiro Itakura by Yujiro Itakura (极倉有士郎) (No ISBN) Date of Publication: 1989 Language: Japanese Format: Softcover Availability: Really Rare Price: $30+ Errors: 3 (Sort Of) This book is exactly as the title suggests: the photographs of author Yujiro Itakura spanning the entirety of the 1980s. I reads like a book by Hiroshi Mizobuchi in that it’s organized into sections based on the seasons and is full of absolutely gorgeous photographs! The book is laid out as follows: Spring (春) Begins with images of the Miyako Odori, both on stage and at the tea ceremony. This is followed by images of maiko in May with their beautiful wisteria kanzashi. My favorite image in this set is of now natori geiko Mamehiro (豆弘) with wisteria shidare framing her face.  Summer (夏) With the heat comes the Gion Festival, but more importantly it sees maiko and geiko getting dressed up in their finest for Hassaku. This entire section is made up of primarily Hassaku images and a gorgeous show of kuromontsuki with a small sprinkling of random images taken in September. Autumn (秋) From there we go to Onshukai and the great performances by the best that Gion Kobu has to offer, including Yachiyo Inoue IV and V. After Onshukai comes Kanikakuni Sai with maiko from Shibata (the outfits and geimei give them away). Winter (冬) December sees Kaomise Soken and Kotohajime, but more importantly it brings the pagentry of Setsubun and Obake! Finally, we end with Oishi Ki and its grand performances within the Ichiriki. Becoming Brilliant (華やぐ) This section shows off minarai, misedashi, sakko, and erikae. This is my favorite sections as the outfits are sumptuous and includes famous geiko such as Takazuru (孝鶴) and Katsuno (佳つ乃). It ends with the kanzashi calendar. At the end we’re treated to short essays by various people associated with the karyukai, including the actresses from the movie Gion Bayashi, and a map of Gion Kobu ochaya.   The only errors that I could find were with a few image placements, such as an image of a geiko and maiko in December placed in the Summer section. They don’t detract from the book in any way, but sort of stand out as being not in the right sections. But now, we’ve reached the elephant in the room: availability. I’ve only seen this book for sale once, and I bought it right there and then. I can’t seem to find any other copies floating around anywhere, which is really sad since the images are beautiful and the book acts like a time capsule of the 1980s in Gion Kobu. If you can find it then it’s well worth it just from a historical standpoint.  Rating: ✪✪✪✪ (out of 5)

December 17th, 2019: Congratulations to Kyoto’s newest geiko Tomoko (朋子) of Nishimura (西村) in Gion Kobu on the occasion of her erikae! She is the first imōto of the very popular geiko Makiko (槇子) to have her erikae. Her apprenticeship was relatively short at only 42 months (3½ years), but it’s plain to see that she’s clearly matured into the role ^^! おめでとうさんどす朋子さん ^o^! Images are courtesy of Joiruyomiya.

December 13th, 2019: Kotohajime (事始め) has taken place in each kagai, with maiko and geiko visiting their teachers to exchange new year’s gifts and in return receive a new dance fan for the upcoming year. Over in Gion Kobu Tsurui (つる居), Hiroshimaya (廣島屋), Odamoto (小田本), and Nishimura (西村) proudly made the rounds with their shikomi in tow who will be debuting in 2020. More exciting though is seeing Tomoko (朋子) of Nishimura finally wearing the sakkō hairstyle! Her erikae is this week on December 17th, so look forward to it! Pictured above are the women of the Nishimura okiya. They are (from R to L): Mihoko (美帆子), Yukako (有佳子), Makiko (槇子), Tomoko (朋子), Mariko (槇里子), Miwako (美羽子), Asako (亜佐子), Shikomi, and Masako (槇沙子) ^^ Image is courtesy of Yojiya.

November 6th, 2019: Congratulations to Mameharu (まめ春) of Tama (多麻) in Gion Kobu on the occasion of her erikae! She is wearing the same outfit that her okiya partner Mameryū wore for her erikae last year, showing just how close the two girls are. Photography was carefully monitored in the neighbourhood, but was allowed overall for such a special occasion.  おめでとうさんどすまめ春さん ^o^! Images are courtesy of Onno No Komachi.

October 25th, 2019: Welcome back to Mamefuji (まめ藤) of Tama (多麻) in Gion Kobu! This move is a bit unprecedented as it’s been decades, if at all, since a maiko has made her return to Gion Kobu as a geiko. Mamefuji was extremely popular during her tenure as a maiko, so hopefully she will bring that same level of popularity back to Tama ^^ Image courtesy of Kyotogokagaigeimaiko.

October 17th, 2019: Mameharu (まめ春) of Tama (多麻) in Gion Kobu has switched to the sakkō hairstyle ahead of her upcoming erikae! It will be taking place on November 6th, so she’ll be wearing the style for just shy of three weeks. Hers will be the first of three erikae taking place in November and will be a great event to look forward to! As a bonus, she’s wearing the same kanzashi that her partner Mameryū (まめ柳) wore during her sakkō period last year ^^! Images are courtesy of Exclusive Kyoto.

Kyōmai

An event of legendary proportions, the Kyōmai is an event that’s seldom been staged over the years, with the last one taking place 19 years ago! Unlike a normal odori, this one takes place at the National Theatre in Tokyo and features the masters of Inoue Kyōmai together on stage. It is one of the rare instances where Yachiyo Inoue will dance in public, and her pieces are always the highlight of the event. Also unlike odori, each performance features different pieces, so you could see all 3 of them and be treated to a new experience! Kyōmai will be taking place on November 29th and 30th at the National Theatre in Tokyo. November 29th, 3pm Piece 1: Kyō No Shiki (京の四季) - The Four Seasons of Kyoto Dancers: Koeri (小衿), Katsuhana (佳つ花), Mamekinu (まめ衣), Mitsuki (美月), Kohana (小花), Tomoko (朋子), Konami (小なみ), and Mametama (豆珠). Piece 2: Ashikari (芦刈) - Reed Cutting Dancer: Inoue Yoko (井上葉子) Piece 3: Kayō Kami (通う神) - Attendants of The Gods Dancers: Inoue Takazuru (井上孝鶴) and Inoue Fukue (井上フク愛) Piece 4: Matsu No Hagoromo (松羽衣) - Hagoromo In The Pines Dancers:  Fisherman (漁夫): Inoue Terutoyo (井上照豊) Heavenly Maiden (天人): Inoue Mamechizu (井上豆千鶴) Piece 5: Azusa (梓) - The Spider Woman Dancer: Inoue Mamezuru (井上まめ鶴) Piece 6: Mitsumen Wankyū (三つ面椀久) - The Three Masks of Wankyū Dancers: Wankyū (椀久): Inoue Yachiyo (井上八千代) Omōru (面売): Inoue Yasuko (井上安寿子) Piece 7: Kuruwa No Nigiwai (廓の賑) - Pieces of The Flourishing District Pieces: Shichifukujin (七福神) - The Seven Lucky Gods and Shakkyō (石橋) - Stone Bridge Performers: Mamezuru (まめ鶴), Koman (小萬), Sonomi (そ乃美), Takazuru (孝鶴), Mameka (豆花), Korin (小りん), Fukue (フク愛), Mamechizu (豆千鶴), Terutoyo (照豊), Fukuha (福葉), Mameya (まめ弥), Kokimi (小喜美), Kogiku (小菊), Yukako (有佳子), Ichiyuri (市有里), and Kosen (小扇). Fue: Mamesuzu (まめ鈴) Taiko: Satomi (里美) and Mao (真生) Singers: Komasu (小ます), Komomo (小桃), Yukizono (幸苑), Danka (だん香), and Yoshimame (芳豆) Shamisen: Emiji (恵美二), Danyū (だん祐), Masuho (ます穂), Kimizuru (君鶴), and Mahori (まほ璃) November 30th, 11am Piece 1: Kyō No Shiki (京の四季) - The Four Seasons of Kyoto Dancers: Koeri (小衿), Katsuhana (佳つ花), Mamekinu (まめ衣), Mitsuki (美月), Kohana (小花), Tomoko (朋子), Konami (小なみ), and Mametama (豆珠) Piece 2: Mizugakami (水鏡) - Reflection of Water Dancers: Inoue Korin (井上小りん) and Inoue Mameryō (井上豆涼) Piece 3: Yumi Nagashi Monogatari (弓流し物語) - Tale of The Arrow Festival Dancer: Inoue Koman (井上小萬) Piece 4: Masazuki (正月) - New Year Dancers: Inoue Mameka (井上豆花), Inoue Fukue (井上フク愛), Inoue Mamechizu (井上豆千鶴), and Inoue Terutoyo (井上照豊) Piece 5: Chitose No Haru (千歳の春) - 1,000 Years of Spring Dancer: Inoue Kazue (井上和枝) Piece 6: Mitsumen Wankyū (三つ面椀久) - The Three Masks of Wankyū Dancers: Wankyū (椀久): Inoue Yachiyo (井上八千代) Omouru (面売): Inoue Yasuko (井上安寿子) Piece 7: Jūnitsuki (十二月) - Twelve Months Dancers: Inoue Fukuha (井上福葉), Inoue Satomi (井上里美), Inoue Mameya (井上まめ弥), Inoue Kokimi (井上小喜美), Inoue Kogiku (井上小菊), Inoue Mamesuzu (井上まめ鈴), Inoue Mihoko (井上美帆子), Inoue Koai (井上小愛), Inoue Mao (井上真生), Inoue Yukako (井上有佳子), Inoue Makiko (井上槇子), Inoue Ichiyuri (井上市有里), Inoue Koyō (井上小耀), Inoue Kosen (井上小扇), and Inoue Sayaka (井上紗矢佳). November 30th, 3pm Piece 1: Manzai (萬歳) - 10,000 Years Dancers: Kohana (小花), Tomoko (朋子), Konami (小なみ), Mametama (豆珠), Tatsuha (多都葉), Yuriha (ゆり葉), Mamesaya (豆沙弥), and Katsuharu (佳つ春). Piece 2: Sangoku Ichi (三国一) - Unparalleled In Asia Dancers: Inoue Fukuha (井上福葉) and Inoue Satomi (井上里美) Piece 3: Toribe Yama (鳥辺山) - Mount Toribe Dancers: Osome (お染): Inoue Mamehiro (井上豆弘) Hankurō (半九郎): Inoue Mameka (井上豆花) Piece 4: Shin Kyō No Shiki (新京の四季) - New Four Seasons of Kyoto Dancers: Inoue Sonomi (井上そ乃美), Inoue Mameya (井上まめ弥), Inoue Kokimi (井上小喜美), Koeri (小衿), Katsuhana (佳つ花), Mamekinu (まめ衣), and Mitsuki (美月). Piece 5: Shino (信乃) - Your Fidelity Dancer: Inoue Yasuko (井上安寿子) Piece 6: Mushi No Ne (虫の音) - The Sound of Insects Dancer: Inoue Yachiyo (井上八千代) Piece 7: Kuruwa No Nigiwai (廓の賑) - Pieces of The Flourishing District Pieces: Shichifukujin (七福神) - The Seven Lucky Gods and Hana Zukushi (花づくし) - Many Flowers Performers: Mamezuru (まめ鶴), Koman (小萬), Sonomi (そ乃美), Mamehiro (豆弘), Takazuru (孝鶴), Mameka (豆花), Korin (小りん), Fukue (フク愛), Terutoyo (照豊), Fukuha (福葉), Satomi (里美), Mameya (まめ弥), Kokimi (小喜美), Kogiku (小菊), Mihoko (美帆子), Koai (小愛), Yukako (有佳子), Makiko (槇子), Ichiyuri (市有里), Koyō (小耀), Kosen (小扇), and Sayaka (紗矢佳). Fue: Mamesuzu (まめ鈴) Taiko: Mao (真生), Masaki (真咲), and Mameroku (豆六) Singers: Komasu (小ます), Komomo (小桃), Masuho (ます穂), Danka (だん香), Yukizono (幸苑), and Danmitsu (だん満) Shamisen: Emiji (恵美二), Danyū (だん祐), Kimizuru (君鶴), Fukunami (福奈美), Mahori (まほ璃), and Emino (恵美乃) Jikata Performers Gion Kobu: Komasu (小ます), Emiji (恵美二), Kimiya (君彌), Komomo (小桃), Danyū (だん祐), Mamechiyo (豆千代), Yoshimame (芳豆), Kimizuru (君鶴), Danka (だん香), Fukunami (福奈美), Masuho (ます穂), Yukizono (幸苑), Danmitsu (だん満), Mahori (まほ璃), Emino (恵美乃), Fumino (章乃), Satsuki (紗月), Mamesumi (豆純), Tomichiyo (斗美千代), Masaki (真咲), and Mameroku (豆六). Outside Performers: Takemoto Komanosuke (竹本駒之助), Tsuruzawa Tsukazu ( 鶴澤津賀寿), Uji Haru (宇治はる), Uji Oto (宇治をと), Umetsuji Rie (梅辻理恵), Koike Noriko (小池典子), Kondo Masako (今藤政子), Kondo Tamami (今藤珠美), and Tōsha Rosen (藤舎呂船).

September 25th, 2018: Meet minarai Tomihoshi (富豊志) of Tomikiku (富菊) in Gion Higashi! She appeared in the Gion Odori photo shoot earlier in the month, but has now officially made the switch to her minarai outfit. The pronunciation of her geimei is very unique as it immediately brings to mind “Stars” (spelled as “星” and pronounced as “Hoshi”)! She’ll be debuting on September 26th, which is tomorrow! As her uchi iwai shows, she will not be debuting with an onesan, but will rather have the assistance of her fellow maiko and geiko of Tomikiku to help show her the ropes ^^ Images are courtesy of Gion Rinken.

Onshūkai 温習会 - 2019

For the first time in decades the date for Onshūkai has changed! Onshūkai will be held from October 3rd to 8th at the Kyoto Prefectural Center for Arts and Culture at The Kyoto Prefectural University of Medicine. Participants Natori Geiko: Mamezuru (まめ鶴), Koman (小萬), Sonomi (そ乃美). Mamehiro )(豆弘), Takazuru (孝鶴), Mameka (豆花), Korin (小りん), Fukue (フク愛), Mamechizu (豆千鶴), Terutoyo (照豊), Mameryō (豆涼), Fukuha (福葉), Satomi (里美), Mameya (まめ弥), Kokimi (小喜美), Kogiku (小菊), Mamesuzu (まめ鈴), Koai (小愛), Mihoko (美帆子), Mao (真生), Yukako (有佳子), Makiko (槇子), Ichiyuri (市有里), Koyō (小耀), Kosen (小扇), and Sayaka (紗矢佳). Geiko: Mayuha (満友葉), Koyoshi (小芳), Mamemaru (豆まる), Fumino (章乃), Satsuki (紗月), Katsutomo (佳つ智), Masaki (真咲), Mameroku (豆六), Katsuhina (佳つ雛), Eriha (恵里葉), Ichitomi (市十美), Katsue (佳つ江), Shino (紫乃), Ichiharu (市晴), Marika (茉利佳), Mamesumi (豆純), and Mameryū (まめ柳). Jikata Geiko: Emiji (恵美二), Kimiya (君彌), Komomo (小桃), Danyū (だん祐), Mamechiyo (豆千代), Yoshimame (芳豆), Kimizuru (君鶴), Danka (だん香), Fukunami (福奈美), Masuho (ます穂), Yukizono (幸苑), Danmitsu (だん満), Mahori (まほ璃), and Emino (恵美乃). Maiko: Mameharu (まめ春), Koeri (小衿), Katsuhana (佳つ花), Mamekinu (まめ衣), Mitsuki (美月), Tomoko (朋子), Kohana (小花), Konami (小なみ), Mametama (豆珠), Tatsuha (多都葉), Yuriha (ゆり葉), Mamesaya (豆沙弥), Katsuharu (佳つ春), Katsumomo (佳つ桃), Mizuno (瑞乃), Mameyo (豆誉), Nanoha (菜乃葉), Asuka (あす佳), Ichihiro (市紘), Konatsu (小奈都), Mariko (槇里子), Katsuemi (佳つ笑), Miwako (美羽子), Mameyui (豆結), Mameju (まめ樹),  Suzuno (鈴乃), Kosumi (小純), Mameaya (まめ彩), Asako (亜佐子), and Masako (槇沙子). Shift 1: October 3rd and 6th Scene 1: Shiki San Basō (四季三葉草) - Three Grass/Leaves of The Four Seasons Dancers Sennen/1,000 Years (千歳): Mameya (まめ弥) Okina/Old Man (翁): Mameryō (豆涼) San Basō/Third Dance Expression (三番曳): Satomi (里美) Joruri Singers Kiyomoto Nobuhatsuma (清元延初磨), Kiyomoto Nobukiyoe (清元延清恵), and Yoshimame (芳豆) Shamisen Kiyomoto () and Emiji (恵美二) High Pitch Shamisen  Kimiya (君彌) Scene 2: Hime Sanja (姫三社) - Three Shrine Princesses Dancers Mizuno (瑞乃), Katsuharu (佳つ春), Konatsu (小奈都), Miwako (美羽子), Mameyo (豆誉), and Mameyui (豆結) Singers Kimiya (君彌), Danka (だん香), and Danmitsu (だん満) Shamisen Masuho (ます穂), Yukizono (幸苑), and Mahori (まほ璃) Scene 3: Yuki Tsuki Hana (雪月花) - Snow Moon Flower Part 1: Yuki (雪) - Snow Dancers Chūbei (忠兵衛): Mamesuzu (まめ鈴) Umegawa (梅川): Ichiyuri (市有里) Singers Komomo (小桃) and Masuho (ます穂) Shamisen Danyū (だん祐) and Fukunami (福奈美) Part 2: Tsuki (月) - Moon Dancer Mamechizu (豆千鶴) Joruri Performers Mamechiyo (豆千代) and Danka (だん香) Shamisen Emiji (恵美二) and Kimizuru (君鶴) Part 3: Hana (花) - Flower Dancers Yukiko/Snow Child (雪子): Mihoko (美帆子) Kōko/Happiness Child (幸子): Koyō (小耀) Miyoko/Mysterious Child (妙子): Makiko (槇子) Joruri Performers Uji Haru (宇治はる) and Uji Shiho (宇治しほ)  Shamisen Uji Oto (宇治をと) and Uji Han (宇治はん) Scene 4: Yukari No Tsuki (由縁の月) : Acquaintance of The Moon  Dancer Mamezuru (まめ鶴) Musicians Komasu (小ます), Danyū (だん祐), Masuho (ます穂), and Yukizono (幸苑) Scene 5: Musume Dojoji Yori (娘道成寺より) - An Excerpt From Musume Dojoji Dancers Geiko (芸妓): Fumino (章乃), Satsuki (紗月), Mameroku (豆六), and Katsutomo (佳つ智) Maiko (舞妓): Tomoko (朋子), Yuriha (ゆり葉), Mametama (豆珠), Mameharu (まめ春), Tatsuha (多都葉), and Mitsuki (美月) Singers Komomo (小桃), Danka (だん香), and Yukizono (幸苑) Shamisen Danyū (だん祐), Kimizuru (君鶴), and Kogiku (小菊) Shift 2: October 4th and 7th Scene 1: Hime Sanja (姫三社) - Three Shrine Princesses Dancers Katsuemi (佳つ笑), Katsumomo (佳つ桃), Ichihiro (市紘), Mariko (槇里子), Nanoha (菜乃葉), and Asuka (あす佳) Singers Kimiya (君彌), Danka (だん香), and Danmitsu (だん満) Shamisen Masuho (ます穂), Yukizono (幸苑), and Mahori (まほ璃) Scene 2: Kiku No Sakazuki (菊の盃) - Chrysanthemum Sake Cup Dancers Mameka (豆花), Fukue (フク愛), and Terutoyo (照豊) Joruri Performers Mamechiyo (豆千代), Fukunami (福奈美), and Emino (恵美乃) Shamisen Emiji (恵美二), Tokiwazu Mitsumi (常磐津三都貴), and Kimizuru (君鶴) Scene 3: Hōshō (老松) - Old Pine Tree Singers Komomo (小桃), Mamechiyo (豆千代), Fukunami (福奈美), and Emino (恵美乃) Shamisen Masuho (ます穂), Kimizuru (君鶴), Mahori (まほ璃), and Danmitsu (だん満) Fue Makiko (槇子) Kotsuzumi Koyoshi (小芳), Mamemaru (豆まる), and Sonomi (そ乃美) Otsuzumi Yukako (有佳子) Taiko Mao (真生) Scene 4: Yukari No Tsuki (由縁の月) : Acquaintance of The Moon Dancer Koman (小萬) Musicians Komasu (小ます), Danyū (だん祐), Masuho (ます穂), and Yukizono (幸苑) Scene 5: Suki No Otaue (主基の御田植) - The Rice Planting Festival Dancers Tanushi/Main Rice Planter (田主): Mayuha (満友葉)   Saotome/Young Rice Planters (早乙女): Shino (紫乃), Katsue (佳つ江), Mamesumi (豆純), Marika (茉利佳), Eriha (恵里葉), Ichiharu (市晴), Mameryū (まめ柳), and Ichitomi (市十美) Singers Mamechiyo (豆千代), Yukizono (幸苑), and Yoshimame (芳豆) Shamisen Danyū (だん祐), Kimizuru (君鶴), and Emino (恵美乃) Shift 3: October 5th and 8th Scene 1: Shiki San Basō (四季三葉草) - Three Grass/Leaves of The Four Seasons Dancers Sennen/1,000 Years (千歳): Kogiku (小菊) Okina/Old Man (翁): Kokimi (小喜美) San Basō/Third Dance Expression (三番曳): Fukuha (福葉) Joruri Singers Kiyomoto Nobuhatsuma (清元延初磨), Kiyomoto Nobukiyoe (清元延清恵), and Danka (だん香) Shamisen Kiyomoto Shiba (清元紫葉) and Emino (恵美乃) High Pitch Shamisen Kimizuru (君鶴) Scene 2: Momiji Gari (紅葉売) - Selling Red Maple Leaves Dancers Mameaya (まめ彩), Suzuno (鈴乃), Kosumi (小純), Masako (槇沙子), Mameju (まめ樹), and Asako (亜佐子) Singers Yukizono (幸苑) and Emino (恵美乃) Shamisen Komomo (小桃), Fukunami (福奈美), Fumino (章乃), and Satsuki (紗月) Scene 3: Yuki Tsuki Hana (雪月花) - Snow Moon Flower Part 1: Yuki (雪) - Snow Dancers Chūbei (忠兵衛): Mao (真生) Umegawa (梅川): Kosen (小扇) Singers Komomo (小桃) and Masuho (ます穂) Shamisen Danyū (だん祐) and Fukunami (福奈美) Part 2: Tsuki (月) - Moon Dancer Sonomi (そ乃美) Joruri Performers Mamechiyo (豆千代) and Yoshimame (芳豆) Shamisen Emiji (恵美二) and Kimizuru (君鶴) Part 3: Hana (花) - Flower Dancers Yukiko/Snow Child (雪子): Sayaka (紗矢佳) Kōko/Happiness Child (幸子): Yukako (有佳子) Miyoko/Mysterious Child (妙子): Koai (小愛) Joruri Performers Uji Haru (宇治はる) and Uji Shiho (宇治しほ) Shamisen Uji Oto (宇治をと) and Uji Han (宇治はん) Scene 4: Kiku No Sakazuki (菊の盃) - Chrysanthemum Sake Cup Dancers Mamehiro (豆弘), Takazuru (孝鶴), and Korin (小りん) Joruri Performers Mamechiyo (豆千代), Yukizono (幸苑), and Emino (恵美乃) Shamisen Emiji (恵美二), Tokiwazu Mitsumi (常磐津三都貴), and Komomo (小桃) Scene 5: Musume Dojoji Yori (娘道成寺より) - An Excerpt From Musume Dojoji Dancers Geiko (芸妓): Koyoshi (小芳), Mamemaru (豆まる), Masaki (真咲), and Katsuhina (佳つ雛) Maiko (舞妓): Konami (小なみ), Mamekinu (まめ衣), Mamesaya (豆沙弥), Kohana (小花), Koeri (小衿), and Katsuhana (佳つ花) Singers Komomo (小桃), Yukizono (幸苑), and Danmitsu (だん満) Shamisen Danyū (だん祐), Kimizuru (君鶴), and Koyō (小耀). Notes About Scenes Shiki San Basō (四季三葉草) - Three Grass/Leaves of The Four Seasons This one is a bit complicated as it’s taken from a very old piece that has multiple parts to it. Each part is portrayed by the specific dancer (Sennen, Okina, and San Basō). This piece traditionally opens the bunraku puppet shows, so think of it as the opening warm up act ^^ Hime Sanja (姫三社) - Three Shrine Princesses I’ve covered this one before, and you can read my breakdown here.  Momiji Gari (紅葉売) - Selling Red Maple Leaves A very simple piece that’s danced at ozashiki in the autumn, it’s about a woman selling maple leaves.  Yuki Tsuki Hana (雪月花) - Snow Moon Flower This is another three part dance, although I can’t find much information on either part. Kiku No Sakazuki (菊の盃) - Chrysanthemum Sake Cup Based on a poem by Matsuo Basho, it is the story of a chrysanthemum cup whose imagery brings to mind that of a waterfall. I have no idea how this will be translated into dance though. Yukari No Tsuki (由縁の月) : Acquaintance of The Moon This one tells the story of a courtesan who thinks back on her lover and the time when she had to part from them, which lead her through a marshy field while the moon was bright in the sky. She does so while gazing on the moon in the present. Hōshō (老松) - Old Pine Tree This piece is used purely as a vocal intermission and tells the story of an old pine tree. Suki No Otaue (主基の御田植) - The Rice Planting Festival This piece is based on a real event that takes place annually in Kagawa and features brightly dressed participants who plant the first rice of the year while other participants dance around the field to keep things extra lively! Musume Dojoji Yori (娘道成寺より) - An Excerpt From Musume Dojoji Musume Dojoji is a very famous kabuki play about the dance of a maiden while at Dojoji Shrine. It’s very lively and playful, so it will be interesting to see how the Inoue School interprets it, especially with so many dancers on stage!

August 1st, 2019: The rounds of Hassaku (八朔) greetings have once again taken place in the gokagai. While most kagai opt to wear just simple iromuji or tsukesage to do their visits, the maiko and geiko of Gion Kobu dress in their finest kuromontsuki. It is said that wearing such a heavy outfit at the height of the summer heat shows their fervent dedication to improving themselves and their gei in the coming year. From the various rounds we got to see a glimpse of the shikomi from Tsurui (つる居), Nishimura (西村), and Arai (新井)!  Since this is a public event and maiko and geiko are rushing from one place to the next it’s often a bit rude to show their faces as they’re usually drenched in sweat. So, please enjoy these lovely images taken from behind or at a distance that allowed the geimaiko to do their visits without being blocked by photographers. Bonus points if you can name who’s who ^^ Images are courtesy of Une Renarde Au Japon, Megu Yamaphoto, and Suzukoma1214.

May 30th, 2019: Congratulations to Mamesumi (豆純) of Ninben (亻) in Gion Kobu on the occasion of her erikae! I am absolutely IN LOVE with her outfit as it appears to be custom, meaning that we’ll see her wearing much more of it in the future! The kimono itself features a massive Takarabune (宝船 - Treasure Ship) sailing through crashing waves while golden turtles swim around it. The obi compliments the kimono beautifully with shells featuring cranes that are tied together by Kumihimo (組紐 - Braided Cords). The juban appears to have old style fishing nets that feature a Shōchikubai (松竹梅 - Pine/Bamboo/Plum) theme, which are also symbols of luck and prosperity. Her obiage features beaded chrysanthemums, likely as a nod to her being the first geiko of the new Reiwa Period. She’s also wearing the simple yet beautiful circular jade kanzashi that most Ninben geiko have worn on their erikae. Turtles, especially those with long tails, are symbols of longevity as a turtle will grow an illustrious tail after 1,000 years and use it to fly to the heavens. Cranes mate for life and are symbols of fidelity. Cranes and tortoises are commonly found on wedding attire, so seeing it on a kimono for an erikae is just as auspicious as an erikae is the confirmation that a maiko will become “married” to her profession. Treasure ships feature the items associated with the Seven Lucky Gods, which you can read more about here. Her onesan Mamehiro (豆弘) also wore an obi with takarabune on it! Kumihimo are viewed as extravagant additions to items, especially those of the nobility, such as partitions. To add kumihimo means that you’re adding extra value because you have the means. The shells themselves are also associated with Kai Awase (貝合わせ), which is an old shell matching game associated with the nobility due to its cost to produce.   The cost must have been enormous, but stands as a testament to the prosperity of Ninben and the geimaiko associated with the prestigious okiya! おめでとうさんどす豆純さん ^o^! Images are courtesy of Emi Blue who allowed me to use some exclusive images ^^

A New Rhyming Duo!

I finally have better information, so it’s time to announce what I know about the two minarai in Gion Kobu! Both are from Nishimura whose geimei are Asako (亜佐子) and Masako (槇沙子)! Asako will be the imōto of Yukako (有佳子) and Masako will be the imōto of Makiko (槇子)! This is very cute as Yukako and Makiko are known as the YukaMaki combo, so now their imōto could become the AsaMasa pair! Asako’s misedashi will be on May 14th whereas Masako’s will be approximately 1 week later ^^

The Miyako Odori 2019 - Complete

The deban has finally been published on the official website, so it’s time to see what this year has in store!

The 2019 Miyako Odori will be taking place from April 1st to 27th at the Minamiza Theatre. Due to the limitations of the new location there will be no tea ceremony. Participants Natori Geiko: Mamezuru (まめ鶴), Koman (小萬), Sonomi (そ乃美), Mamehiro (豆弘), Takazuru (孝鶴), Mameka (豆花), Korin (小りん), Fukue (フク愛), Mamechizu (豆千鶴), Terutoyo (照豊), Mameryō (豆涼), Fukuha (福葉), Satomi (里美), Mameya (まめ弥), and Kokimi (小喜美). Geiko: Kogiku (小菊), Mayuha (満友葉), Mamesuzu (まめ鈴), Koai (小愛), Mihoko (美帆子), Mao (真生), Yukako (有佳子), Makiko (槇子), Katsugiku (佳つ菊), Ichiyuri (市有里), Koyō (小耀), Kosen (小扇), Sayaka (紗矢佳), Tsuruha (つる葉), Koyoshi (小芳), Mamemaru (豆まる), Fumino (章乃), Satsuki (紗月), Katsutomo (佳つ智), Masaki (真咲), Mameroku (豆六), Katsuhina (佳つ雛), Eriha (恵里葉), Ichitomi (市十美), Katsue (佳つ江), Mikako (実佳子), Shino (紫乃), Ichiharu (市晴), Marika (茉利佳), and Mameryū (まめ柳).        Jikata Geiko: Emiji (恵美二), Kimiya (君彌), Komomo (小桃), Danyū (だん祐), Mamechiyo (豆千代), Yoshimame (芳豆), Kimizuru (君鶴), Danka (だん香), Fukunami (福奈美), Masuho (ます穂), Yukizono (幸苑), Koemi (小恵美), Danmitsu (だん満), Mahori (まほ璃), and Emino (恵美乃).  Maiko: Mamesumi (豆純), Mameharu (まめ春), Koeri (小衿), Katsuhana (佳つ花), Mamekinu (まめ衣), Mitsuki (美月), Tomoko (朋子), Kohana (小花), Konami (小なみ), Mametama (豆珠), Tatsuha (多都葉), Yuriha (ゆり葉), Mamesaya (豆沙弥), Katsuharu (佳つ春), Katsumomo (佳つ桃), Mizuno (瑞乃), Mameyo (豆誉), Nanoha (菜乃葉), Asuka (あす佳), Ichihiro (市紘), Konatsu (小奈都), Mariko (槇里子), Katsuemi (佳つ笑), Miwako (美羽子), Mameyui (豆結), and Mameju (まめ樹).  

Scene 1: Okiuta (置歌) - Opening Scene

Set 1a: April 1st, 7th, 13th, 19th, and 25th Set 1b: April 4th, 10th, 16th, and 22nd  Sou Odori (総をどり): Fumino (章乃), Satsuki (紗月), Mariko (槇里子), Koyō (小耀), Mameyui (豆結), Mamesumi (豆純), Mamemaru (豆まる), Koeri (小衿), Katsuhana (佳つ花), Mameju (まめ樹), Mamesaya (豆沙弥), Mamekinu (まめ衣), Mameroku (豆六), Katsugiku (佳つ菊), Ichitomi (市十美), and Mikako (実佳子).

Set 2a: April 2nd, 8th, 14th, 20th, and 26th Set 2b: April 5th, 11th, 17th, and 23rd Sou Odori (総をどり): Sayaka (紗矢佳), Tatsuha (多都葉), Ichihiro (市紘), Mameharu (まめ春), Eriha (恵里葉), Kohana (小花), Asuka (あす佳), Masaki (真咲), Katsue (佳つ江), Nanoha (菜乃葉), Mameryū (まめ柳), Mametama (豆珠), Ichiharu (市晴), Katsuemi (佳つ笑), Mayuha (満友葉), and Tomoko (朋子).

Set 3a: April 3rd, 9th, 15th, 21st, and 27th Set 3b: April 6th, 12th, 18th, and 24th Sou Odori (総をどり):Kosen (小扇), Katsuharu (佳つ春), Konami (小なみ), Mitsuki (美月), Konatsu (小奈都), Tsuruha (つる葉), Mameyo (豆誉), Shino (紫乃), Katsuhina (佳つ雛), Miwako (美羽子), Katsutomo (佳つ智), Mizuno (瑞乃), Koyoshi (小芳), Katsumomo (佳つ桃), Yuriha (ゆり葉), and Marika (茉利佳).

Scene 2: Hatsu Ebisu Fuku Sasa Kubari (初恵美須福笹配) - Handing Out Lucky Bamboo at Hatsu Ebisu

Set 1a: April 1st, 7th, 13th, 19th, and 25th Set 1b: April 4th, 10th, 16th, and 22nd Sou Odori (総をどり): Fumino (章乃), Satsuki (紗月), Mariko (槇里子), Koyō (小耀), Mameyui (豆結), Mamesumi (豆純), Mamemaru (豆まる), Koeri (小衿), Katsuhana (佳つ花), Mameju (まめ樹), Mamesaya (豆沙弥), Mamekinu (まめ衣), Mameroku (豆六), Katsugiku (佳つ菊), Ichitomi (市十美), and Mikako (実佳子).

Set 2a: April 2nd, 8th, 14th, 20th, and 26th Set 2b: April 5th, 11th, 17th, and 23rd Sou Odori (総をどり): Sayaka (紗矢佳), Tatsuha (多都葉), Ichihiro (市紘), Mameharu (まめ春), Eriha (恵里葉), Kohana (小花), Asuka (あす佳), Masaki (真咲), Katsue (佳つ江), Nanoha (菜乃葉), Mameryū (まめ柳), Mametama (豆珠), Ichiharu (市晴), Katsuemi (佳つ笑), Mayuha (満友葉), and Tomoko (朋子).

Set 3a: April 3rd, 9th, 15th, 21st, and 27th Set 3b: April 6th, 12th, 18th, and 24th Sou Odori (総をどり):Kosen (小扇), Katsuharu (佳つ春), Konami (小なみ), Mitsuki (美月), Konatsu (小奈都), Tsuruha (つる葉), Mameyo (豆誉), Shino (紫乃), Katsuhina (佳つ雛), Miwako (美羽子), Katsutomo (佳つ智), Mizuno (瑞乃), Koyoshi (小芳), Katsumomo (佳つ桃), Yuriha (ゆり葉), and Marika (茉利佳).

Scene 3: Hōjūji Dono Ima You Awase (法住寺殿今様合) - The Feudal Lord Appears at Hōjūji

Set 1a: April 1st, 7th, 13th, 19th, and 25th Set 1b: April 4th, 10th, 16th, and 22nd Shirabyoshi Harugiku (白拍子春菊): Kogiku (小菊) Shirabyoshi Wakagiku (白拍子若菊): Mihoko (美帆子) Yūjo Otomae (遊女乙前): Eriha (恵里葉) Young Boy Akomaru (童子あこ丸): Tsuruha (つる葉) Set 2a: April 2nd, 8th, 14th, 20th, and 26th Set 2b: April 5th, 11th, 17th, and 23rd Shirabyoshi Harugiku (白拍子春菊): Mamesuzu (まめ鈴) Shirabyoshi Wakagiku (白拍子若菊): Yukako (有佳子) Yūjo Otomae (遊女乙前): Ichitomi (市十美) Young Boy Akomaru (童子あこ丸): Mamemaru (豆まる) Set 3a: April 3rd, 9th, 15th, 21st, and 27th Set 3b: April 6th, 12th, 18th, and 24th Shirabyoshi Harugiku (白拍子春菊): Mao (真生) Shirabyoshi Wakagiku (白拍子若菊): Katsugiku (佳つ菊) Yūjo Otomae (遊女乙前): Mikako (実佳子) Young Boy Akomaru (童子あこ丸): Masaki (真咲) Scene 4: Shijogawara Okuni No Mai (四条河原阿国舞) - Okuni Dances On The Shijo Riverbed Set 1a: April 1st, 7th, 13th, 19th, and 25th Set 1b: April 4th, 10th, 16th, and 22nd Okuni (阿国): Mamehiro (豆弘) Nagoya Sanza (名古屋山三): Mameka (豆花) Attendant Kiku (従者菊): Mayuha (満友葉) Attendant Shirahagi (従者白萩): Katsutomo (佳つ智)

Set 2a: April 2nd, 8th, 14th, 20th, and 26th Set 2b: April 5th, 11th, 17th, and 23rd Okuni (阿国): Mamechizu (豆千鶴) Nagoya Sanza (名古屋山三): Fukue (フク愛) Attendant Kiku (従者菊): Koyoshi (小芳) Attendant Shirahagi (従者白萩): Satsuki (紗月)

Set 3a: April 3rd, 9th, 15th, 21st, and 27th Set 3b: April 6th, 12th, 18th, and 24th Okuni (阿国): Mameryō (豆涼) Nagoya Sanza (名古屋山三): Terutoyo (照豊) Attendant Kiku 従者菊): Fumino (章乃) Attendant Shirahagi (従者白萩): Mameroku (豆六) Scene 5: Warashi Bechō Jajusse No Kotobuki (藁稭長者出世寿) - The Story of The Straw Man Millionaire

Set 1a: April 1st, 7th, 13th, 19th, and 25th Set 1b: April 4th, 10th, 16th, and 22nd Chōta (長太): Satomi (里美) Chiyo (ちよ): Makiko (槇子) Millionaire Ottokenzō (長者夫兼蔵): Koai (小愛) Millionaire Tsumaaya (長者妻あや): Ichiharu (市晴) Naokichi (直吉): Katsuhina (佳つ雛)

Set 2a: April 2nd, 8th, 14th, 20th, and 26th Set 2b: April 5th, 11th, 17th, and 23rd Chōta (長太): Mameya (まめ弥) Chiyo (ちよ): Kosen (小扇) Millionaire Ottokenzō (長者夫兼蔵): Koyō (小耀) Millionaire Tsumaaya (長者妻あや): Marika (茉利佳) Naokichi (直吉): Shino (紫乃)

Set 3a: April 3rd, 9th, 15th, 21st, and 27th Set 3b: April 6th, 12th, 18th, and 24th Chōta (長太): Kokimi (小喜美) Chiyo (ちよ): Ichiyuri (市有里) Millionaire Ottokenzō (長者夫兼蔵): Sayaka (紗矢佳) Millionaire Tsumaaya (長者妻あや): Mameryū (まめ柳) Naokichi (直吉): Katsue (佳つ江) Scene 6: Katsura Rikyū Momiji Gari (桂離宮紅葉狩) - Viewing Maple Leaves at Katsura Imperial Villa

Set 1a: April 1st, 7th, 13th, 19th, and 25th Set 1b: April 4th, 10th, 16th, and 22nd Sou Odori (総をどり): Fumino (章乃), Satsuki (紗月), Mariko (槇里子), Koyō (小耀), Mameyui (豆結), Mamesumi (豆純), Mamemaru (豆まる), Koeri (小衿), Katsuhana (佳つ花), Mameju (まめ樹), Mamesaya (豆沙弥), Mamekinu (まめ衣), Mameroku (豆六), Katsugiku (佳つ菊), Ichitomi (市十美), and Mikako (実佳子).

Set 2a: April 2nd, 8th, 14th, 20th, and 26th Set 2b: April 5th, 11th, 17th, and 23rd Sou Odori (総をどり): Sayaka (紗矢佳), Tatsuha (多都葉), Ichihiro (市紘), Mameharu (まめ春), Eriha (恵里葉), Kohana (小花), Asuka (あす佳), Masaki (真咲), Katsue (佳つ江), Nanoha (菜乃葉), Mameryū (まめ柳), Mametama (豆珠), Ichiharu (市晴), Katsuemi (佳つ笑), Mayuha (満友葉), and Tomoko (朋子).

Set 3a: April 3rd, 9th, 15th, 21st, and 27th Set 3b: April 6th, 12th, 18th, and 24th Sou Odori (総をどり):Kosen (小扇), Katsuharu (佳つ春), Konami (小なみ), Mitsuki (美月), Konatsu (小奈都), Tsuruha (つる葉), Mameyo (豆誉), Shino (紫乃), Katsuhina (佳つ雛), Miwako (美羽子), Katsutomo (佳つ智), Mizuno (瑞乃), Koyoshi (小芳), Katsumomo (佳つ桃), Yuriha (ゆり葉), and Marika (茉利佳). Scene 7: Gion Chaya No Yuki Geshiki (祇園茶屋雪景色) - The Snowy Landscape Around The Gion Ochaya

Set 1a: April 1st, 7th, 13th, 19th, and 25th Set 1b: April 4th, 10th, 16th, and 22nd Geiko (芸妓): Mamezuru (まめ鶴) and Takazuru (孝鶴) Maiko (舞妓): Tomoko (朋子), Mitsuki (美月), Mameharu (まめ春), Katsumomo (佳つ桃), and Mametama (豆珠).

Set 2a: April 2nd, 8th, 14th, 20th, and 26th Set 2b: April 5th, 11th, 17th, and 23rd Geiko (芸妓): Koman (小萬) and Korin (小りん) Maiko (舞妓): Konami (小なみ), Mamekinu (まめ衣), Mamesumi (豆純), Katsuharu (佳つ春), and Yuriha (ゆり葉)

Set 3a: April 3rd, 9th, 15th, 21st, and 27th Set 3b: April 6th, 12th, 18th, and 24th Geiko (芸妓): Sonomi (そ乃美) and Fukuha (福葉) Maiko (舞妓): Kohana (小花), Katsuhana (佳つ花), Koeri (小衿), Mamesaya (豆沙弥), and Tatsuha (多都葉). Scene 8: Daikakuji Sakura Kurabe (大覚寺桜比) - Comparing Cherry Blossoms at Daikakuji

All dancers who appeared on stage each day will take part in the finale. Jikata Performers - Nagauta Singer/Shamisen  Set 1a: April 1st, 7th, 13th, 19th, and 25th Performers (長唄): Danka (だん香), Yukizono (幸苑), Kimiya (君彌), Fukunami (福奈美), and Emino (恵美乃). Fill In Singer (立唄): Touon Matsumura Maya (東音松浦麻矢) Fill In Shamisen (立三味線): Emiji (恵美二) Fill In Both (交替): Kimizuru (君鶴) Fill In Singer (13th only): Komomo (小桃) Set 1b: April 4th, 10th, 16th, and 22nd Performers (長唄): Yoshimame (芳豆), Mamechiyo (豆千代), Mahori (まほ璃), Danmitsu (だん満), and Sasaki Naoko (佐々木尚子) Fill In Singer (立唄): Komomo (小桃) Fill In Shamisen (立三味線): Danyū (だん祐) Fill In Both (交替): Masuho (ます穂) Set 2a: April 2nd, 8th, 14th, 20th, and 26th Performers (長唄): Yoshimame (芳豆), Mamechiyo (豆千代), Mahori (まほ璃), Danmitsu (だん満), and Sasaki Naoko (佐々木尚子) Fill In Singer (立唄): Komomo (小桃) Fill In Shamisen (立三味線): Danyū (だん祐) Fill In Both (交替): Masuho (ます穂) Set 2b: April 5th, 11th, 17th, and 23rd Performers (長唄): Danka (だん香), Yukizono (幸苑), Kimiya (君彌), Fukunami (福奈美), and Emino (恵美乃). Fill In Singer (立唄): Touon Matsumura Maya (東音松浦麻矢) Fill In Shamisen (立三味線): Emiji (恵美二) Fill In Both (交替): Kimizuru (君鶴) Set 3a: April 3rd, 9th, 15th, 21st, and 27th Performers (長唄): Danka (だん香), Yukizono (幸苑), Kimiya (君彌), Fukunami (福奈美), and Emino (恵美乃). Fill In Singer (立唄): Touon Matsumura Maya (東音松浦麻矢) Fill In Shamisen (立三味線): Emiji (恵美二) Fill In Both (交替): Kimizuru (君鶴) Set 3b: April 6th, 12th, 18th, and 24th Performers (長唄): Yoshimame (芳豆), Mamechiyo (豆千代), Mahori (まほ璃), Danmitsu (だん満), and Sasaki Naoko (佐々木尚子) Fill In Singer (立唄): Komomo (小桃) Fill In Shamisen (立三味線): Danyū (だん祐) Fill In Both (交替): Masuho (ます穂) Non-Geiko Joruri Narrators - 浄瑠璃語り Takemoto Ayanosuke (竹本綾之助) - April 1st, 9th, 10th, 16th, 18th, and 20th Takemoto Tohsako (竹本土佐子) - April 2nd, 3rd, 4th, 5th, 12th, 13th, 14th, 15th, 24th, and 25th  Takemoto Kyonosuke (竹本京之助) - April 6th, 7th, 8th, 19th, 21st, 22nd, 23rd, 26th, and 27th Non-Geiko Joruri Shamisen - 浄瑠璃三味線 Tsurukawa Hirosuke (鶴澤寛輔) - April 1st, 2nd, 4th, 5th, 12th, 13th, 20th, 24th 25th, 26th, and 27th Tsurukawa Tsukazu (鶴澤津賀寿) - April 6th, 7th, 8th, 9th, 10th, 11th, 14th, 15th, 16th, 17th, 18th, 19th, 21st, and 22nd Toyokawa Hinafumi (豊澤雛文) - April 6th, 7th, 8th, 9th, 10th, 14th, 15th, 19th, 23rd, 24th, 25th, 26th, and 27th Tsurukawa Tsukae ( 鶴澤津賀榮) - April 1st, 2nd, 3rd, 4th, 11th, 12th, 13th, 16th, 17th, 18th, 21st, and 22nd Notes About Scenes Scene 1: Okiuta (置歌) - Opening Scene The opening scene each year. It’s performed in front of a background painted to look like silver folding screens. This is reminiscent of the Inoue style’s roots in performances at the villas and castles of the nobility. Scene 2: Hatsu Ebisu Fuku Sasa Kubari (初恵美須福笹配) - Handing Out Lucky Bamboo at Hatsu Ebisu Hatsu Ebisu, which takes place every year on January 11th, features Shinto priests and shrine maidens who bless bamboo branches that are then purchased by the public for good luck in the new year. They can also purchase small amulets and decorations for the branch to make it even more lucky. This event is extremely popular as maiko from Gion Kobu and Miyagawa Cho actually hand out the bamboo to each person who purchases a branch, so it’s a unique chance to get close to real maiko. Scene 3: Hōjūji Dono Ima You Awase (法住寺殿今様合) - The Feudal Lord Appears at Hōjūji I really can’t find much information about this scene at all, so I’m not exactly sure what happens besides that there are shirabyoshi there. The shirabyoshi were female performers who entertained nobility, often dressed as men, and are said to be the precursors to geisha. The Shirabyoshi’s names translate to Spring Chrysanthemum (Harugiku) and Young Chrysanthemum (Wakagiku). The yūjo with them doesn’t specifically have a name, but rather a title; Otomae means “Of The Second Rank,” so we know that she’s not an oiran, but is pretty close. Scene 4: Shijogawara Okuni No Mai (四条河原阿国舞) - Okuni Dances On The Shijo Riverbed Okuni is the inventor of kabuki and “created” the style form when she danced on the dry riverbed of the Shijo River in 1603. Her unique style was then adopted by others and soon kabuki spread across the country. Okuni is a prominent figure in the dance world and a statue exists of her in Kyoto. Nagoya Sanzo was her lover and is said to have promoted her style of dance. He eventually went on to become a kabuki actor after the pair moved to Edo. The attendants in the story are members of their troupe. Their names mean Chrysanthemum (Kiku) and White Bush Clover (Shirahagi). Scene 5: Warashi Bechō Jajusse No Kotobuki (藁稭長者出世寿) - The Story of The Straw Man Millionaire This is an extremely old folk tale that’s managed to spread around the world and is now found in many cultures. The story begins with a man, who the story names as Chota, that prays to the goddess Kannon to escape poverty. She tells him to pick up the first thing that he sees after exiting the temple and then to travel with it west. The first item that he finds is a piece of straw, hence the title. As he travels he comes across an annoying horsefly, which he then ties to his straw. In the next town he comes across a mother, who’s named Chiyo in this account, whose baby can only be soothed by the buzzing of the fly. He exchanges his straw with the fly for three oranges and continues on his way. As he continues on he comes across a woman who’s severely dehydrated. He helps her by giving her the oranges and in return she gives him an expensive piece of silk cloth. Continuing on his journey he comes across a millionaire, who’s named Ottokenzō, who asks to trade his weak, and presumably near death, horse for the cloth, which Chota agrees to. Chota then spends some time nursing the sick horse back to health and then continues on his journey. While travelling he’s stopped by another millionaire, Tsumaaya in this case, who noticed the quality of his horse and invites him to stay at his villa. At the villa he is introduced to Tsumaaya’s daughter. It turns out that the daughter, whose name is Naokichi, is the same woman who Chota saved with the oranges. Tsumaaya sees this as a sign from the gods and suggests that Chota marry Naokichi. By marrying Naokichi Chota would marry into Tsumaaya’s house, which then makes Chota a millionaire. Scene 6: Katsura Rikyū Momiji Gari (桂離宮紅葉狩) - Viewing Maple Leaves at Katsura Imperial Villa Katsura Imperial Villa is considered the most important culturally important land outside of the imperial palace in Kyoto. The land was given to Prince Toshihito by Hideyoshi Toyotomi as a separation gift; Toshihito was adopted by Hideyoshi to be his heir but then ended up having a son of his own. The entire villa was built with parts of The Tale of Genji in mind and construction began in 1624. The villa and its splendid gardens were added onto by subsequent children of Toshihito and even became the residence for Emperor Go Mizunoo who had abdicated his throne. The gardens and the architecture at the villa are said to be among the best in Japan. Its many gardens contain a multitude of maple trees, whose colors in the fall are unparalleled.  Scene 7: Gion Chaya No Yuki Geshiki (祇園茶屋雪景色) - The Snowy Landscape Around The Gion Ochaya Not too much is known about this scene, but it seems to be about maiko and geiko who frolic in the snow that has settled around the ochaya in Gion Kobu during the winter months. Scene 8: Daikakuji Sakura Kurabe (大覚寺桜比) - Comparing Cherry Blossoms at Daikakuji The final scene always sees the entire cast of the day admiring cherry blossoms at a famous site in Kyoto. This year they’ve chosen the very prestigious Daikakuji Temple, which is known for its tall pagoda that can be seen almost anywhere in Kyoto. This pagoda is also mentioned in various songs that maiko and geiko perform at ozashiki. 

Higashiyama Hanatoro Lineup

For those of you who may be in Kyoto or are just looking forward to the images, this year’s Higashiyama Hanatōro (東山花灯路) at Yasaka Shine (八坂神社) participantss are: March 9th - Gion Kobu 祇園甲部 Dancers: Mamesumi (豆純) of Ninben (亻) and Koeri (小衿) of Hiroshimaya (廣島屋) Jikata: Fukunami (福奈美) March 10th - Miyagawa Cho 宮川町 Dancers: Toshiemi (とし恵美) and Toshinana (とし七菜) of Komaya (駒屋) Jikata: Toshiteru (とし輝) of Komaya (駒屋) March 15th - Pontocho 先斗町 Dancers: Ichisato (市沙登) and Ichiai (市愛) of Masunoya (桝之矢) Jikata: Kazumi (かず美) March 16th - Kamishichiken 上七軒 Dancers: Umehina (梅ひな) of Umeno (梅乃) and Ichiaya (市彩) of Ichi (市) Jikata: Ichisumi (市純) of Ichi (市) March 17th - Gion Higashi 祇園東 Dancers: Masano (満彩野) of Man (まん) and Kanotomo (叶朋) of Kanoya (叶家) Jikata: Miyako (美弥子) of Kanoya (叶家)

February 15th, 2019: Congratulations to Masanao (満彩尚) of Man (まん) in Gion Higashi on the occasion of her misedashi! To see a misedashi outside of odori season in Gion Higashi is rare, so for Man to be debuting a maiko so early in the year is a good sign of prosperity! Masanao is very cute and has such an adorable smile that she’ll fit into her new role in no time ^^ おめでとうさんどす満彩尚ちゃん ^o^! Images are courtesy of Hide-san.