What’s That Thing? Part 24

We’ve covered this topic before when it comes to modern usage, but we’ve never really talked about the historical roots! Anonymous asked: “At risk of sounding kinda dumb, what is a hagoromo? I Googled it and I mostly got results about a Naruto character lol” Hagoromo (羽衣), literally meaning “Feather Robe,” is a special cloak that the gods use to fly to and from heaven in Japanese mythology. It comes from the story of “Hagoromo” in that one day a celestial maiden was washing herself in a lake and a fisherman spotted her hagoromo. Enchanted by her beauty and knowing that she couldn’t return to heaven without it, the fisherman stole the robe, stranding the maiden on earth. Depending on who tells the tale, the fisherman either withheld the information that he had the robe or he used the robe to barter for the maiden’s hand in marriage. Either way, after years of being married to the fisherman the maiden finds her robe and flies back up to heaven. There’s a famous Noh play that was later adapted for kabuki called “Hagoromo In The Pines” (松羽衣) that tells this tale on stage. Now that we know the “why” of things, let’s look at the “what,” specifically what a hagoromo looks like:

Image courtesy of Kyoto Kimono Rental. For the most part it resembles that of a peacock or even a phoenix. You can tell that it’s a hagoromo because it has no head, instead replacing it with golden “hooks” that would tie around a god’s shoulders or neck.   In contrast, the Noh outfit is always orange with golden feathers embroidered into it. Since it’s sometimes hard to see in pictures of the stage version we have this lovely wall scroll that perfectly illustrates the story:

Image courtesy of Jyu Luck Do. For the more kabuki version we have Hiroshige to thank for this wonderful depiction:

Image courtesy of Ukiyo-e.org.

Kanzashi of The Month: December - Maneki and Mochibana

On The Second Day Of Fun I present... the monthly kanzashi feature! I was hoping that Kazurasei would upload a new image for 2018, but they haven’t yet and the month is almost over, so we’ll have to make due! You may have noticed that this is the only title to use the Japanese terms instead of the English ones; this is because both maneki and mochibana do not exist in the West, and adding their full names would make the title extremely long ^^; As always, all kanzashi are from Kazurasei.

Image courtesy of Kazurasei. Maneki (招き) - Kabuki Sign Boards Mochibana (餅花) - Pounded Rice Cakes For the final month of the year the karyukai celebrates what is actually the beginning of the kabuki year! During the first week of December the maiko and geiko of each kagai visit the Minamiza Theatre and watch the inaugural performances. Afterwards, all of the maiko will go backstage and ask their favorite actors to sign the maneki on their kanzashi. To explain what a maneki is, let’s look at an image: 

Image courtesy of Kazurasei. The plates proudly display the names of the actors who are active at that location. The larger the board, the more important/senior the actor. Maneki are a part of a maiko’s kanzashi due to the close bond that the karyukai shares with kabuki; both were part of the same entertainment districts during the Edo Period and many still share the same art teachers. The actors sign the kanzashi in black if they usually act as male characters on stage while others will sign the kanzashi in red if they usually act as female characters. The ones who take on the roles of female characters are known as Onnagata (女形), which means “The Form of a Woman,” and are considered some of the best in their field for convincingly portraying women while on stage, even though they’re biologically male. 

Image courtesy of Kyoto Foodie. Mochibana, the other main motif, is a bit different. In areas where there’s a great deal of snow and long winters, like up in Hokkaido, people would decorate branches with small rice balls in pink and white to bring some color to the otherwise dull winter. Mochibana literally means “Pounded Rice Cake Flowers,” where pink ones are meant to represent peach blossoms while the white ones are supposed to be orange blossoms. The bare branches of trees, usually willow for their graceful weeping shape, would be decorated around New Year’s and would be taken down after Girl’s Day on March 3rd. The colors of the mochibana are chosen deliberately as peach and orange blossoms are popular motifs for Girl’s Day celebrations.

Image courtesy of Onihide-san. Going back to the maiko themselves, the overall themes and colors change drastically depending on their seniority. For senior maiko, like Ayano (彩乃) of Fukushima (福嶋) in Gion Kobu above, her maneki and mochibana are flanked by pine and bamboo leaves on a green trellis. The gold and green are simple and speak of her high level of maturity. The only part that breaks the mould are Tanzaku (短冊), which are paper wish strips that are often tied to decorative tree branches, like the mochibana ones and the bamboo ones for Tanabata. These papers act almost like bira to catch the eye of an onlooker. 

Image courtesy of Onihide-san. In comparison, the junior maiko’s kanzashi is a burst of color and activity, as seen above on Fumino (章乃) of Fukushima (福嶋) in Gion Kobu! The maneki almost seem lost among the red and green branches of the mochibana and the abundance of playful motifs that are meant to bring good luck. Although it may take some concentration, the motifs on the junior maiko’s kanzashi are as follows: Fuku Warai (福笑い) - A Japanese “Pin The Tail on The Donkey,” but is done with faces instead of a donkey’s rear. Hagoita (羽子板) - Battledores traditionally used for playing at New Year’s that’s similar to badminton. They always feature plum blossoms.  Hamaya (破魔矢) - Demon dispelling arrows that keep bad luck away. Koban (小判) - An old style of gold coin to bring financial success. Maneki Neko (招き猫) - “Lucky Cat” or “Beckoning Cat” that is meant to invite fortune. Osu Ushi No Me (雄牛の目) - A bull’s eye, likely added as a way to remember what one’s goals are and to shoot for them.  Saikoro (骰子) - Dice, which represent luck. Tai (鯛) - Sea bream, a lucky fish eaten during auspicious occasions and celebrations to wish for strength and success.   Tanzaku (短冊) - Papers with wishes for the future on them. With so many motifs meant to bring the wearer good luck it’s no wonder that they’re worn at the end of the year as they’re not meant to bring immediate success, but rather success in the coming year. You can’t rush good things ^^ 

The Kamogawa Odori 2018

In a rare turn of events the Pontocho Kabukai has decided to upload the Kamogawa Odori deban to their website this year! So, for the first time ever I present, the Kamogawa Odori Deban for 2018! The Kamogawa Odori will be held from May 1st to 24th at the Pontocho Kaburenjo.

Tea Ceremony Schedule

May 1st: Ichiemi (市笑) and Ichiaya (市彩) May 2nd: Hizuru (ひづる) and Ichiteru (市照) May 3rd: Hisamomo (久桃) and Minarai Makoto (眞壽) May 4th: Chizu (千鶴) and Ichisumi (市すみ)  May 5th: Ichimame (市真芽) and Minarai Hitomi (瞳) May 6th: Taka (多香) and Mitsuhana (光はな) May 7th: Momifuku (もみ福) and Ichiyū (市結) May 8th: Ichiraku (市楽) and Ichisato (市沙登) May 9th: Ayano (あや野) and Momika (もみ香) May 10th: Mitsuna (光菜) and Ichiai (市愛) May 11th: Hizuru (ひづる) and Minarai Hitomi (瞳) May 12th: Momiyuki (もみ幸) and Minarai Makoto (眞壽) May 13th: Hisachō (久蝶) and Ichiaya (市彩) May 14th: Ichifuku (市福) and Ichisato (市沙登) May 15th: Taka (多香) and Momika (もみ香) May 16th: Tomoka (朋佳) and Ichisumi (市すみ) May 17th: Hisakayo (久加代) and Minarai Hitomi (瞳) May 18th: Hisamomo (久桃) and Minarai Makoto (眞壽) May 19th: Ichino (市乃) and Ichiai (市愛) May 20th: Hisasuzu (久鈴) and Ichiteru (市照) May 21st: Ayano (あや野) and Momika (もみ香) May 22nd: Chizu (千鶴) and Ichiyū (市結) May 23rd: Ichisayo (市さよ) and Ichisato (市沙登) May 24th: Momiyuki (もみ幸) and Mitsuhana (光はな)

The Scenes

As a preface I have never read or seen A Midsummer’s Night Dream, so I made educated guesses as to who each character is. With that said, I listed both the literal Japanese pronunciation of the role and which character I believe that matches up to. If you have read the story or seen the play and can point out who should be who then please let me know ^^

Part 1 W. Sheikusupia Manatsu No Yo No Yume ~ Yori Sora Omoi (W. シェイクスピア 真夏の夜の夢より~空想い) - W. Shakespeare’s A Midsummer’s Night Dream 

Set 1: May 1st, 4th, 7th, 10th, 13th, 16th, 19th, and 22nd White Dog (Theseus?) (白狗丸): Ichigiku (市菊) One Who Helps With a Bright Light (Robin Starveling?) (出味明之丞): Ichiyoshi (市㐂) Refined Feather Princess (Hippolyta?) (羽雅姫): Ichisayo (市さよ) Protector of Gates and Wells (Peter Quince?) (来井左衛門): Momiyuki (もみ幸) Lotus Song Princess (Titania?) (蓮音姫): Ayano (あや野) The Four Fish/Your Insect (Robin Goodfellow?) (鯉四郎•蛀の君): Aya (亜矢) White Lily (白百合): Hisasuzu (久鈴) Dianthus (撫子): Hisamomo (久桃) King of The Forest (Oberon?) (松の王): Kazuko (一子) Set 2: May 2nd, 5th, 8th, 11th, 14th, 17th, 20th, and 23rd White Dog (Theseus?)(白狗丸): Ichiho (市穂) One Who Helps With a Bright Light (Robin Starveling?) (出味明之丞): Momino (もみ乃) Refined Feather Princess (Hippolyta?) (羽雅姫): Momichō (もみ蝶) Protector of Gates and Wells (Peter Quince?) (来井左衛門): Mitsuna (光菜) Lotus Song Princess (Titania?) (蓮音姫): Tomoka (朋佳) The Four Fish/Your Insect (Robin Goodfellow?) (鯉四郎•蛀の君): Hisachō (久蝶) White Lily (白百合): Momifuku (もみ福) Dianthus (撫子): Hisamomo (久桃) King of The Forest (Oberon?) (松の王): Hisamaru (久丸)  Set 3: May 3rd, 6th, 9th, 12th, 15th, 18th, 21st, and 24th White Dog (Theseus?)(白狗丸): Hisakayo (久加代) One Who Helps With a Bright Light (Robin Starveling?) (出味明之丞): Ichiemi (市笑) Refined Feather Princess (Hippolyta?) (羽雅姫): Ichiwaka (市若) Protector of Gates and Wells (Peter Quince?) (来井左衛門): Ichino (市乃) Lotus Song Princess (Titania?) (蓮音姫): Ichimame (市真芽) The Four Fish/Your Insect (Robin Goodfellow?) (鯉四郎•蛀の君): Ichiraku (市楽) White Lily (白百合): Ichifuku (市福) Dianthus (撫子): Chizu (千鶴) King of The Forest (Oberon?) (松の王): Mamechika (豆千佳) 

Ensō Rokuon (演奏録音) - Musical Interlude - All Days

Singers (唄): Mamechika (豆千佳), Hisamaru (久丸), Momino (もみ乃), Miyosaku (ミヨ作), and 鳴物 藤舍呂船社中 Shamisen (三味線): Mamechiyo (豆千代), Kazumi (かずみ), Momichō (もみ蝶), and Ichigiku (市菊). 

Part 2: Hana No Irodori Kyō Nana Ko Machi (花姿彩京七小町) - The Seven Colorful Blooms of The Capital

Scene 1: Jojō (序章) - Prologue

Set 1: May 1st, 4th, 7th, 10th, 13th, 16th, 19th, and 22nd Maiko (舞妓): Ichiteru (市照), Taka (多香), Mitsuhana (光はな), Momika (もみ香), Ichisato (市沙登), Minarai Hitomi (瞳) Set 2: May 2nd, 5th, 8th, 11th, 14th, 17th, 20th, and 23rd Maiko (舞妓): Taka (多香), Ichiaya (市彩), Ichiyū (市結), Mitsuhana (光はな), Momika (もみ香), Ichisumi (市すみ), and Ichiai (市愛). Set 3: May 3rd, 6th, 9th, 12th, 15th, 18th, 21st, and 24th Maiko (舞妓): Ichiteru (市照), Ichiaya (市彩), Ichiyū (市結), Ichisato (市沙登), Ichisumi (市すみ), Ichiai (市愛), and Minarai Hitomi (瞳).

Scene 2: Shikibu No Shō (式部の章) - Shikibu Chapter

Set 1: May 1st, 4th, 7th, 10th, 13th, 16th, 19th, and 22nd  Murasaki Shikibu (紫式部): Ichisayo (市さよ) Set 2: May 2nd, 5th, 8th, 11th, 14th, 17th, 20th, and 23rd  Murasaki Shikibu (紫式部): Tomoka (朋佳) Set 3: May 3rd, 6th, 9th, 12th, 15th, 18th, 21st, and 24th  Murasaki Shikibu (紫式部): Ichimame (市真芽)

Scene 3: Shizuka No Shō (静の章) - Shizuka Chapter

Set 1: May 1st, 4th, 7th, 10th, 13th, 16th, 19th, and 22nd  Shizuka Gozen (静御前): Ichiyoshi (市㐂) Set 2: May 2nd, 5th, 8th, 11th, 14th, 17th, 20th, and 23rd  Shizuka Gozen (静御前): Ichiho (市穂) Set 3: May 3rd, 6th, 9th, 12th, 15th, 18th, 21st, and 24th Shizuka Gozen (静御前): Ichifuku (市福)      

Scene 4: Yokubue No Shō (横笛の章) - Yokobue Chapter

Set 1: May 1st, 4th, 7th, 10th, 13th, 16th, 19th, and 22nd  Yokobue (横笛): Ichisono (市園) Takiguchi Nyūdō (滝ロ入道): Hisafumi (久富美) Set 2: May 2nd, 5th, 8th, 11th, 14th, 17th, 20th, and 23rd  Yokobue (横笛): Ichimitsu (市光) Takiguchi Nyūdō (滝ロ入道): Hisamaru (久丸) Set 3: May 3rd, 6th, 9th, 12th, 15th, 18th, 21st, and 24th  Yokobue (横笛): Ichiwaka (市若) Takiguchi Nyūdō (滝ロ入道): Mamechika (豆千佳)

Scene 5: Okuni No Shō (阿国の章) - Okuni Chapter

Set 1: May 1st, 4th, 7th, 10th, 13th, 16th, 19th, and 22nd  Okuni (阿国): Aya (亜矢) Nagoya Sanza (名古屋山三): Kazuko (一子) Female Kabuki Troupe Members (女歌舞伎衆): Momiyuki (もみ幸), Ayano (あや野), and Hisasuzu (久鈴). Set 2: May 2nd, 5th, 8th, 11th, 14th, 17th, 20th, and 23rd  Okuni (阿国): Momino (もみ乃) Nagoya Sanza (名古屋山三): Hisachō (久蝶) Female Kabuki Troupe Members (女歌舞伎衆): Mitsuna (光菜), Momifuku (もみ福), and Hisamomo (久桃). Set 3: May 3rd, 6th, 9th, 12th, 15th, 18th, 21st, and 24th  Okuni (阿国): Hisakayo (久加代) Nagoya Sanza (名古屋山三): Ichiraku (市楽) Female Kabuki Troupe Members (女歌舞伎衆): Ichino (市乃) and Chizu (千鶴)

Scene 6: Yoshino Tayū No Shō (吉野太夫の章) - Yoshino Tayū Chapter

Set 1: May 1st, 4th, 7th, 10th, 13th, 16th, 19th, and 22nd  Yoshino Tayū (吉野太夫): Ichigiku (市菊) Set 2: May 2nd, 5th, 8th, 11th, 14th, 17th, 20th, and 23rd  Yoshino Tayū (吉野太夫): Momichō (もみ蝶) Set 3: May 3rd, 6th, 9th, 12th, 15th, 18th, 21st, and 24th  Yoshino Tayū (吉野太夫): Ichiemi (市笑)

Scene 7: Fuji No Shō (藤の章) - Wisteria Chapter (Finale)

Set 1: May 1st, 4th, 7th, 10th, 13th, 16th, 19th, and 22nd Maiko (舞妓): Ichiteru (市照), Taka (多香), Mitsuhana (光はな), Momika (もみ香), Ichisato (市沙登), and Minarai Hitomi (瞳). Geiko (芸妓): Ichisayo (市さよ), Ichiyoshi (市㐂), Ichisono (市園), Hisafumi (久富美), Aya (亜矢), Kazuko (一子), Momiyuki (もみ幸), Ayano (あや野), Hisasuzu (久鈴), Ichigiku (市菊), and Hisamomo (久桃). Set 2: May 2nd, 5th, 8th, 11th, 14th, 17th, 20th, and 23rd Maiko (舞妓): Taka (多香), Ichiaya (市彩), Ichiyū (市結), Mitsuhana (光はな), Momika (もみ香), Ichisumi (市すみ), and Ichiai (市愛). Geiko (芸妓): Tomoka (朋佳), Ichiho (市穂), Ichimitsu (市光), Hisamaru (久丸), Momino (もみ乃), Hisachō (久蝶), Mitsuna (光菜), Momifuku (もみ福), Hisamomo (久桃), and Momichō (もみ蝶). Set 3: May 3rd, 6th, 9th, 12th, 15th, 18th, 21st, and 24th Maiko (舞妓): Ichiteru (市照), Ichiaya (市彩), Ichiyū (市結), Ichisato (市沙登), Ichisumi (市すみ), Ichiai (市愛), and Minarai Hitomi (瞳). Geiko (芸妓): Ichimame (市真芽), Ichifuku (市福), Ichiwaka (市若), Mamechika (豆千佳), Hisakayo (久加代), Ichiraku (市楽), Ichino (市乃), Chizu (千鶴), and Ichiemi (市笑).

Jikata Musicians

Set 1: May 1st, 4th, 7th, 10th, 13th, 16th, 19th, and 22nd Singers (唄): Hisaroku (久ろく), Miyosaku (ミヨ作), Ichiho (市穂), and Ichimame (市真芽).  Shamisen (三味線): Mamechiyo (豆千代), Kazumi (かずみ), Hisakayo (久加代), and Hizuru (ひづる). Fue (笛): Momino (もみ乃) Kotsuzumi (小鼓): Ichiwaka (市若) and Ichifuku (市福) Otsuzumi (大鼓): Ichiraku (市楽) Taiko (太鼓): Ichimitsu (市光) Set 2: May 2nd, 5th, 8th, 11th, 14th, 17th, 20th, and 23rd Singers (唄): Mamechika (豆千佳), Miyosaku (ミヨ作), Hisaroku (久ろく), and Momiyuki (もみ幸). Shamisen (三味線): Kazumi (かずみ), Mamechiyo (豆千代), Ichino (市乃), and Chizu (千鶴).   Fue (笛): Aya (亜矢) Kotsuzumi (小鼓): Ichiyoshi (市㐂) and Ayano (あや野) Otsuzumi (大鼓): Ichichō (市兆) Taiko (太鼓): Ichiemi (市笑) Set 3: May 3rd, 6th, 9th, 12th, 15th, 18th, 21st, and 24th Singers (唄): Hisamaru (久丸), Kazuko (一子), Ichichō (市兆), and Hisasuzu (久鈴). Shamisen (三味線): Momichō (もみ蝶), Ichigiku (市菊), Hizuru (ひづる), and Tomizuru (富鶴).  Fue (笛): Momifuku (もみ福) Kotsuzumi (小鼓): Tomoka (朋佳) and Mitsuna (光菜) Otsuzumi (大鼓): Hisachō (久蝶) Taiko (太鼓): Ichisayo (市さよ)

The Answers Revealed!

A month ago I explained Satsuki and Mikako’s Setsubun/Obake outfits, and then asked you who you think was from where: one was from Osaka and the other from Tokyo. So, here’s what you said: Anonymous said: “I guess Satsuki is portraying the character from Tokyo, since the color purple usually represents Edo, and by elimination Mikako is portraying the character from Osaka, but I have no idea of which elements would give it away.” Anonymous said: “I just watched the links you posted of Tamasaburo dancing Fuji Musume and I THINK the voice over gave away the answer, so I’m shooting my shot here— I’m guessing Satsuki represents Tokyo and Mikako represents Osaka.”   Sadly, you’re both wrong! Satsuki is from Osaka and her character is named Aburaya Osome (油屋お染) while Mikako is from Tokyo and her character is named Yagura Oshichi (櫓お七). Now, how were you supposed to figure this out? Without the character names it would have been quite hard, .but if you put the pieces together the answer could have been found! The biggest hint was Satsuki’s hairstyle, which I mentioned was Osome. Doing a quick search of kabuki characters named Osome would lead you to the story of Nozaki Village, in which Osome, the daughter of the Aburaya’s owner, dies in a love suicide pact with Hisamatsu, an apprentice at the Aburaya. Even though the play is called Nozaki Village, the Aburaya is located in Osaka. You can read about this play here. By default, that makes Mikako’s character from Tokyo. Her character is based on Yaoya Oshichi (八百屋お七), the daughter of a greengrocer, that was burned alive for attempting to commit arson. She is also featured in kabuki plays and you can read her Wikipedia page here.

Weekend Update 8/5

I’ve recently come down with a cold, so I’ve been trying to rest instead of getting stressed over convention things, but this week has been quiet in the karyukai due to Golden Week. Life will return to normal tomorrow and hopefully long awaited news of sakkō will follow! For now, we can just enjoy images of the Kamogawa Odori that pop up daily ^^   Blog News -I did a Third of The Year Review to sum up what’s been going on in the karyukai since January. -What’s In a Kimono? Part 7 looked at an Early Showa hybrid tomesode. -The Random Fact of The Week looked at a new anime about kabuki. -Mylo’s Pick of  The Week featured Hizuru (ひづる) of Katsumi (勝見) in Pontocho. -Your questions have been great as always! Thanks for sticking by during some slight delays in postings ^^;

A Random PSA On The Gei of Geisha - Part 1

The questions surrounding what arts that maiko and geiko practice comes up regularly, and instead of just posting them onto one of the tabs I’d rather lay it out in a post here first.   The “Gei” (芸) in Geisha(芸者)/Geiko(芸妓)/Geigi(芸妓) means “Art” and there are many branches and types of art that one can master. For this part we’ll be looking at the direct performing arts that everyone knows the geisha are renowned for: music and dance. Dance - Mai (舞) All traditional Japanese dance styles have their roots in Shinto ceremonies that date back at least two millennia. There are two main styles to traditional dance practiced today: -Noh (能): Originally arrived in Japan from China in the 8th century and developed into the style we know today in the 13th century by Kan’ami (assisted by his son Zeami). Derived from the classical court style dances, it features small, precise movements to tell a story. It can be seen as “boring” or “obscure” if you’re not sure what to look for as you need to understand the movements to appreciate them to the fullest. This isn’t to say that it isn’t beautiful to behold without prior knowledge as it is quite enchanting! Gion Kobu’s Inoue school is part of the Noh tradition.  -Kabuki (歌舞伎): Derived directly from Shinto ceremonies, it was created in 1603 by Izumo No Okuni, a shrine priestess who created her own style of dance and performed it on the dry riverbed of the Kamo River. She became so famous that she was invited to perform in front of the emperor! After seeing how popular the style of dance had become rival dance groups sprung up around her and established the kabuki that we know today. The style is known for its dramatic and often “wild” movements that are meant to be appreciated by the common people. Pontocho’s Onoe, Miyagawa Cho’s Wakayagi, Kamishichiken’s Hanayagi, and Gion Higashi’s Fujima schools are part of the Kabuki tradition. Music - Raku (楽) What would dance be without music? Music, like dance, can be broken down into two types: voice/song and instruments. Singing - Uta (歌): Maiko and geiko learn traditional ballads that are performed alongside dance. There are two types: Kouta (小唄) which means “short songs/ballads” and Nagauta (長唄) which means “long songs/ballad.” They are learned by listening to an instructor and then repeating and/or transcribing the words and melody together. There’s no “set” way of reading or learning a song like there is for Western music, so it takes a large amount of practice to perform any uta properly (although there are a few methods that do exist). Instruments - Gakki (楽器) There are many instruments practiced in the karyukai, but I’ll only go over the most common ones that are seen and heard on a regular basis. -Shamisen (三味線): A three stringed instrument that is played with a plectrum. It is the most common instrument in the karyukai as it developed as an instrument that the common people used. Most uta were created to be played with a shamisen. It resembles a simplified guitar and is played in a similar fashion. -Tsuzumi (鼓): The all encompassing word for drums, but specifically dual sided drums that are roped together. There are three main types learned by maiko and geiko: -Kotsuzumi (小鼓): Literally “Small Drum,” or sometimes known as the “regular” tsuzumi, it is held onto one’s shoulder and played by striking the drum with the free hand.  -Ōtsuzumi (大鼓): Literally “Large Drum,” it is a larger size of the tsuzumi and features one end that is larger than the other. It produces a much deeper sound when struck. -Taiko (太鼓): Literally “Great Drum,” they’re not the gigantic ones that are often seen at summer festivals, but rather closer in size to an otsuzumi. The taiko sits on a stand while the musician strikes it with rods known as bachi (桴). It is the closest equivalent to Western style drums. -Fue (笛): The all encompassing word for flute, which in traditional Japanese style is usually made from bamboo. There are two types of fue that include: -Shakuhachi (尺八): The high pitched iconic flute that is actually rare in the karyukai, it features 5 holes (4 on top and 1 underneath). Its sound is often described as “haunting” as it gently pierces through silence to deliver melodies full of both happiness and sadness. -Shinobue (篠笛)/Yokobue (横笛): Flutes that are much closer to Western ones, but are still made from wood. It features 7 holes that allows it to play more notes than the shakuhachi. This type is often played with the end resting on the musician’s shoulder. -Koto (事): A 13 stringed instrument that’s considered a type of lute although it plays closer to that of a harp. Due to its size it lays flat on the floor and the musician plucks the strings individually to produce sound. Those who are new to the koto often wear metal guards on their fingers to keep the strings from slicing into their skin until their hands have developed enough to withstand the pressure.  -Kokyū (胡弓): Taught exclusively in Miyagawa Cho as it was once considered an instrument of the oiran, a kokyū is a smaller version of the shamisen that’s played upright with a bow instead of a plectrum.