What’s In a Book? Part 26
I’ve mentioned before that I have a pile of books to work through, but I tend to give precedence to new books that arrive (usually). One of the biggest factors in how fast I review a book is how good it is. If I’ve mentioned a book in the past that I’m still getting to, then it’s a good indicator that it’s pretty lacklustre and I’m pulling teeth to finish it. If I get to it and post about it as soon as possible, like this book, then it’s a pretty good indicator of how good it is.
Book’s cover courtesy of Amazon Japan. Now a Geisha 舞妓から芸妓へ (Maiko Kara Geiko He) by John Paul Foster (ISBN 978-7946-0512-2) Date of Publication: 2017 Language: Dual English and Japanese Format: Softcover Availability: Just Released, Can Be Bought Through Amazon Japan Price: $35 New Errors: 1 It’s no secret that John Paul Foster is one of my favorite photographers and people associated with the karyukai, but this is a book like no other (literally). The book’s sole focus in the time leading up to, during, and just after the erikae of three geiko: Mameharu (まめ春) and Manaha (満奈葉) of Tama (多麻) in Gion Kobu and Momifuku (もみ福) of Yamaguchi (やまぐち) in Pontocho. The book is broken down into the following sections: Introduction The images in this book start from page 1, with the image opposite the introductory text being the face of Mameharu wearing sakkō and ohaguro, Here the three girls are introduced and the process which they went through as maiko and later geiko is fleshed out. Most of the images are them against simple backdrops in a studio, but this simplicity helps to bring out the unique features of their transformation. Chapter 1: First Signs We’re told of how the yakko shimada style is the usual precursor to a maiko’s erikae in Gion Kobu, but in Pontocho it can be many styles; for Pontocho we get to see Momifuku wearing the elaborate osafune style. Chapter 2: Sakkō All three girls show off the sakkō hairstyle and the special kimono that they wear with it, while we’re treated to images of them dancing Kurokami. Chapter 3: Makeup On the day of their erikae the makeup process for each girl is showed, which varies from having a professional apply it (Mameharu and Manaha) to self application (Momifuku). Chapter 4: Katsura It’s here that we get to meet the Imanishi family, owners of Kyo Katsura Imanishi, who make almost all of the katsura for the geiko of Kyoto. Once the makeup is done the katsura is the next step in getting a geiko ready for her erikae, and final adjustments are made to make sure that it looks best. Chapter 5: Kimono One of the most important parts of the erikae is the outfit, and it’s here that we get to see how it all comes together. In Gion Kobu we’re shown how Kojima-san and his assistant make sure that everything fits just right. Kojima-san also shows off his own personal trick to keeping the kimono and eri together through the very active erikae days. Over in Pontocho we get to meet Yoko-san, a female kenban officer who does the work of an otokoshi. But, with Yoko-san are Momifuku’s onesan who are eager to help her look her best on such an important day. Chapter 6: Greetings Here we get to see the first steps of the new geiko as they make their erikae greetings around their respective neighbourhoods. For Manaha we also get to see the special second day orei mawari greetings. Chapter 7: New Geiko The new women show off their iromontsuki and share what life as a geiko has been like. Their transformation is complete and, looking back to earlier chapters, it never fails to be anything short of wondrous to see a girl transform into a woman. Afterward: About a Geisha I love the pictures in this book, but this was my favorite part by far! The afterward goes over every chapter in more detail with extra explanations and more words from the women themselves. You’d think that being a maiko for so many years would prepare them for the life of a geiko, but each felt that their roles had changed, and with that brought a deeper appreciation for the geiko around them. “Onesan are amazing!” says Momifuku after being a geiko for a few months as she appreciates the amount of work that they do and how much responsibility she now has as a geiko herself. The only “error” I could find isn’t exactly an error, but an editing issue that was not caught. In the “Thank You” section the author is thanking a Taeko Yoshida and someone named “decoyoshida” (exactly like that). I’m not sure if they’re two separate people or the same, but someone left in a name or part of a name that was not formatted properly. Also, there was a long “ō” put on yakko (yakko shimada) each time, even though it does not have an elongated vowel in real life. That’s the only blemish on an otherwise stunning work, and it shouldn’t be counted against it as a whole. Like all of John’s books, there’s always factoids that I get to learn that I’ve never found anywhere else and seem to be missing pieces of a puzzle I didn’t know I needed but am glad that I have them now. Some from this book include: -Kurokami is rarely ever performed in Pontocho, but has begun to increase in popularity as more customers have been requesting it lately. This is because every other district will dance it during their sakkō periods (this explains why I couldn’t find a full video!). You’ll have to read the book to see why this is though ;) -Erikae can be bumped up to a much sooner date than expected, which accounts for some wardrobe choices. -Maiko outside of Pontocho will wear yakko shimada before sakkō, even if only for a few days. -Even though katsura are heavy, geiko still prefer them to sleeping on a taka makura ^^; What I love about John’s books are how he reminds us that his subjects are people, no matter how mysterious or alluring they may seem under layers of fine silk and thick makeup. Under those katsura are young women who are now taking adult roles in their communities and will help to raise the next generation. He does not shy away from saying that Mameharu and Manaha have left the life of a geiko and breaks down the most common times for geiko to leave the profession. Momifuku herself states that she wants to be a geiko until she’s 30, which is a common “cut off” age in Japan for marriage. It reinforces that this life isn’t for everyone, but this book is a celebration of a milestone, not of how many leave the karyukai. It’s brimming with gorgeous photographs and fun stories that are told to us by the women whose lives we get to see up close and in ways never allowed until now. Rating: ✪✪✪✪✪ (out of 5)
