#wakayagi

[kodachrome-net]

Wakayagi Shiyukai dancer, Chicago, 1993

[kodachrome-net]

Wakayagi Shiyukai dancer, Chicago, 1993

[missmyloko]

What’s In a Dance? Part 14

On The Eight Day Of Fun I present... another returning feature! It’s baaaaack! I got a few requests for new songs past few months, so I chose one that’s very fitting right now with the new year upon us. However things are not always what they seem.

Ume Wa Saitaka (梅は咲いたか) - Did The Plum Blossoms Bloom?

Image courtesy of Girasolemurano on Instagram.

This song is really beautiful, but there’s one glaring issue: there are two different versions performed in the karyukai. Sometimes they can be divided by kagai, but the reasons for such a divide aren’t clear

Lyrics

Ume wa saitaka, sakura wa madakaina, yanai nayonayo kaze shidai, 梅は咲いたか, 桜はまだかいな, 柳なよなよ風次第, Did the plum blossoms bloom? Are the cherry blossoms still there? The willow bends depending on the wind, Yamabuki ya uwaki te, iro bakkari, shongai na,　 山吹や浮気で, 色ばっかり, しょんがいな,　　 The fickle mountain rose is only its color, shon gai na, Ume ni shō ka, sakura ni shiyo kaina, iro wa midori no matsu ga eda ni, 梅にしようか, 桜にしよかいな, 色は緑の松が枝に, The color, there on the verdant pine, will it be plum blossom or cherry? Ume to sakura wo sakasetai shongai na, 梅と桜を咲かせたいしょんがいな, I want to make the plum and cherry blossoms bloom, shon gai na, Kinō kitakaze, kyō wa minamikaze, ashita wa ukina no tatsumikaze,  昨日北風, 今日は南風, 明日は浮名のたつみ(巽)風, Yesterday, the north wind, today, the south wind, tomorrow, it is rumored to be the southeast wind, Koi no kaze nara, irobakkari shongai,  恋の風なら, 色ばっかりしょんがい,　　 If love is in the air, it is only color, shon gai, Yanagibashi kara kobune de kyū gase, fune wa yurayura nami shidai,  柳橋から小舟で急がせ, 舟はゆらゆら波次第, From Yanagibashi I rush in my small boat, carried by the waves, Fune kara agatte dote Yachō, Yoshiwara e goannai,  舟から上がって土手八町, 吉原へご案内,　 From the ship we go up to the embankment of Yachō as we enter Yoshiwara, Sakura sakura to ukareteiru waina, yayoi sangetsu hanamigetsu,  桜さくらと浮かれているわいな, 弥生三月花見月, Many cherry blossoms float along, the third month that heralds spring and the fourth month of flower viewing, Anata wa hana yori, sake bakkari shongai na,  あなたは花より, 酒ばっかりしょんがいな, My love for you is more than those of the flowers, yet I am already drunk, shon gai na, Asari toretaka hamaguri madakaina awabi kuyokuyo kata omoi,  浅蜊取れたか蛤まだかいな鮑くよくよ片想い,　 Have the steamer clam been harvested? Are there still sushi clams? The abalone broods over unrequited love, Sazae wa rinki de, tsuno bakkari shongai na,  栄螺は悋気で, 角ばっかりしょんがいな,　　　 The turban shell is no more than the horns of jealousy, shon gai na,  Ginza hatchō ikō janai kai na, yama no kitsune ga shibake te,  銀座八丁行こうじゃないかいな, 山の狐が七化けて, Let’s go to Ginza and see the mountain foxes change clothes quickly like the stage actors, Kuroi mayu hiku, sode wo hiku shongai na,  黒い眉引く, 袖を引くしょんがいな,　　 Drawing black eyebrows, drawing down their sleeves, shon gai na,  Koi no Asakusa futari de iko kanai, nani wo Kototoi miyakodori,  恋の浅草二人で行こかいな, 何を言問都鳥, Shall we go to beloved Asakusa, like the miyakodori of Kototoi,  Sue wa chidori de Namida Bashi shongai na.  末は千鳥で泪橋しょんがいな. Or, in the end, will it be the plovers of Namida Bashi? Shon gai na. 

The Breakdown

First off, you may have noticed that a good chunk of the lyrics were italicized; this is because each kagai tends to pick and choose which of those verses it adds on, so you won’t find a single version with all of the lines. The regular verses are the mandatory ones and the italicized verses are the optional ones. You may have also seen the addition on the end of many verses of “shon gai na,” which is kinda like our good friend “yoi yoi yasa” as in it’s there to add that bit of emphasis and rhythm. This is actually an old bit of colloquialism as it was almost like a type of slang when the song was written over 100 years ago. In its simplest terms, it’s an archaic way of saying “sou desu ka,” which means “is that so?”

The four types of plants elude to four different types of women in the karyukai. The plum blossoms refer to the young geiko as plum blossoms are the first to bloom in the spring. The cherry blossoms, on the other hand, represent more mature geiko who wait longer than the plum blossoms to bloom. Willows represent women who change to meet their various situations, but that makes them inconsistent and fickle. Mountain roses are a bit more nefarious as they represent women who are unfaithful and lie. Their yellow color is a symbol of frivolity when it comes to money, which usually then leads to heartbreak. Next, we're asked to wonder what color will bloom on the pine branch. The pine in this case is representing longevity and strength, and most likely a male customer, so they wonder whether a young geiko or a mature geiko will begin a relationship with them.

That being said, from reading the rest of the lyrics you may have been able to tell that this song predominately takes place in Tokyo and not Kyoto. Each of the places it mentions are popular spots in and around Tokyo. To begin, the term “tatsumi” is a play on words that actually represents the Tatsumi Geisha (辰巳芸者) who were found in the Fukugawa district. Next we’re lead around the city, from the famous Yanagibashi, which was once the most prestigious district in Tokyo, to Yachō, another district, and onto Yoshiwara by means of a small boat. The way that the narrator talks about Yoshiwara lets us know that they have a certain fondness for the area and are more of a connoisseur than a casual visitor. They make merry during March and April, the third and fourth months respectively, although when this was written it would have referred to the third and fourth months in the traditional Asian calendar. The narrator remarks about how their enjoyment is fleeting, just like the floating world in which they spend their time.

The inclusion of marine invertebrates seems really random, but it all serves a singular purpose. By harvesting the animals in turn you actually follow a cyclical calendar that takes you through an entire year. Being more specific, the steamer clams and sushi clams are both used for Kai Awase (貝合わせ), which is a shell matching game. Abalone and turban shells does not have a partner, so they stand alone and are looking for love. The turban shell may also elude to Tsunokakushi (角隠し), which are traditional head covers worn by brides to hide their “horns.”

Finally, we continue our trek around Tokyo, first by visiting Ginza to see fox spirits, also known as kitsune, transform like kabuki actors and even witness how their makeup runs down their cheeks and onto the sleeves of their kimono as they try to hide their sadness. From there, we go to Asakusa and then Kototoi, which is another name for Mukojima. Miyakodori, not to be confused with Miyako Odori, are a type of seagull that usually represent winter. Plovers, on the other hand, represent summer, so the narrator is once again talking about time flowing. In the end, they end up at Namida Bashi, which actually means “Bridge of Tears” and likely refers to the floating bridge of dreams in The Tale of Genji. The narrator is quite melancholy yet content as they reflect on their relationships.

Each Kagai’s Version

Gion Kobu (祇園甲部) Version - Inoue School (井上流) Sorry Inoue fans, but I can’t find their version being danced. Pontocho (先斗町) Version - Onoe School (尾上流) Same issue here Onoe fans! Kamishichiken (上七軒) Version - Hanayagi School (花柳流) Even Hanayagi is left out!? Yep. Miyagawa Cho (宮川町) Version - Wakayagi School (若柳流) Finally, some actual performances! Right from the start this dance is full of quick movements that only slow when speaking about the contemplation between the flowers. It uses a mai ōgi almost as much as it does hand movements, so it’s a feast for the eyes throughout its short duration. This version is performed by Kosen (小扇) of Kaden (花傳). Gion Higashi (祇園東) Version - Fujima School (藤間流) Compared to the Wakayagi version, the Fujima one seems a bit slower in pace for the song, but it still has a fair amount of movement compared to other Fujima dances. Some of the frozen kata poses are downright gorgeous and I feel that they really add to the dance. A mai ōgi is also used, but it’s present in the hand of the dancer for the entire duration of the dance, minus a few seconds. This version is performed by Tomitsuyu (富津愈) of Tomikiku (富菊).

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The lyrics provided were translated by myself with the help of a friend and gathered from multiple sources; I began with multiple sets, such as those from here, here, here, and here, and figured out which made the most sense when written out as some versions just wrote the hiragana versions of a few kanji and it made the meanings a bit more ambiguous to people who are not fluent in Japanese. In the original version some older forms of common kanji were used so I updated them as this may also confuse people.

[missmyloko]

What’s In a Dance? Part 13

A song requested from quite some time ago, but one that remains quite popular all year ‘round!

Hime Sanja (姫三社) - Three Shrine Princesses

Image courtesy of KWC Photo on Instagram. An elegant song full of history, it’s a common dance performed during shrine dedication ceremonies.

Lryics

Ya~ Omoshiro no nigiwai te,  やー面白の賑て, Yeah~ In the bustling and lively area,  Kami wo isame no otomoyo ya, 神を勇めの音もよや, A brave god’s song, Dondo to naru mo hyōshi yoku, どんどと鳴るも拍子よく, Rings out with a strong beat, Naru to naranu wa, 鳴ると鳴らぬは, Ringing again and again, Sodefuru te byōshi,  袖振る手拍子, Sleeves swinging as hands clap,  Sōjae shime te shantoe, そうじゃえしめてしゃんとえ, At least it can be seen properly,  Yurume te nikoniko, ゆるめてにこにこ, Loosely smiling, Ōyoawane yochihaya furu, 逢う夜逢わぬ夜千早振る, Meeting, then meeting at night for the last time, after 1,000 early wakes,  Kami no mukashi wa futabashira, 神の昔は二柱, The gods of long ago formed two pillars, Ama no Iwato wo hiraku ya ume no migotoe, 天の岩戸を開くや梅の見事え, The Heavenly Rock Cave opened to the brilliant plum blossoms,  Hana no sakari wa shiorashii. 花の盛りはしおらしい. The main flower is wonderful.

The Breakdown

This is, once again, another song that weaves as much imagery from what it doesn’t say as what it does. The first half is pretty self explanatory as it speaks about the festive atmosphere at a shrine.  Looking at the start of the second half, one of the shrine maidens (presumably) thinks back to her encounter with a certain someone many, many times over. This is where we see the finality of her life and presumed love suicide as she mentioned that they met in the morning, which can represent life, over 1,000 times, yet their final meeting is at night, which can stand for death. Also, most love suicides are done at night, kinda like Romeo and Juliet.  In the final part, we’re reminded of the story of how Japan came to be as written in the Kojiki. The gods of long ago are referring to Izanagi and Izanami, who are the main creation gods in Japanese mythology as they created the first islands of Japan and the first deities too, and are the pillars on which Japan was built. From there, it jumps to the story of Amaterasu hiding a the cave, known simply as the “Heavenly Rock Cave,” because her brother Susanoo pissed her off to the point of her hiding in despair, which then covered the world in total darkness. She was eventually brought out from hiding by Ame No Uzumi, who did a bit of a drunken strip tease that made all of the other gods laugh and piqued Amaterasu’s curiosity. Upon exiting the cave, light was brought back to the world and flowers bloomed once more. Plum blossoms are considered the first “vogue” flower of the nobility, before cherry blossoms and wisteria were adopted, so it speaks of a time long ago. This is one of those dances that you always see done in groups and not solo due to the story that it weaves. Sure, it could be very elegant by a solo dancer, but you really don’t feel the effect quite like you do when you see an entire group of maiko (minimum of three) dance it on a shrine stage. While geiko could dance Hime Sanja, it’s considered more of a maiko song as the song deals with growth and change, which suits maiko much better as they are just as immature when it comes to their overall bloom. It is always danced with Kagura Suzu (神楽鈴), which are tiered bells that are often used in the dances of shrine maidens.

Each Kagai’s Version

Gion Kobu (祇園甲部) Version - Inoue School (井上流) Sorry Inoue fans, but this piece just isn’t danced by the Inoue School (at least not in a public setting). Pontocho (先斗町) Version - Onoe School (尾上流) Sorry again Onoe fans, but this is also left out from their repertoire.  Kamishichiken (上七軒) Version - Hanayagi School (花柳流) Do you see a trend yet? This is also not performed by the Hanayagi School either. Miyagawa Cho (宮川町) Version - Wakayagi School (若柳流) Oh hey, one of the most popular pieces performed by the maiko of Miyagawa Cho in public performances! You can usually guarantee to see it performed at least once a year, either for Setsubun or the dedication dances in April. I’m really not sure why Miyagawa Cho performs it so much, but it’s become a staple spectacle since it requires one hand to hold a mai ōgi while the other holds the kagura suzu. It’s both elegant and beautiful, which partially lends itself from the Wakayagi’s dynamic movements as the dancers do not stop moving at any given time, even if it’s just their head that’s still moving. This version is performed by Koyoshi (小芳) and Koharu (小はる) of Shigemori (しげ森), Kanako (叶子) of Kawahisa (川久), Fukutomo (ふく朋) of Horiyae (堀八重), and Kimitoyo (君とよ) of Toshikimi (利きみ). Gion Higashi (祇園東) Version - Fujima School (藤間流) A bit more of a feast for the eyes compared to the Wakayagi School, the dancers are staggered on stage and move together with their assigned rows. What’s really nice to see is that they all interact with each other and make sure that they’re visible to all four sides of the audience. Unlike the Wakayagi version, the Fujima one only uses kagura suzu and does not use mai ōgi. This is made up for, however, by the graceful hand gestures. This version is performed by Kanoka (叶果), Kanoyumi (叶祐美), and Kanoemi (叶笑) of Kanoya (叶家), Ryōka (涼香) of Sakaemasa (栄政), Fukuharu (富久春) of Okatome (岡とめ), and Tomitae (富多愛) of Tomikiku (富菊).

__________________________________________________________________

The lyrics provided were translated by myself and gathered from multiple sources; I began with a set that a friend had listed, compared it to two other sets (this was one of them and this was another), and figured out which made the most sense when written out as some versions just wrote the hiragana versions of a few kanji and it made the meanings a bit more ambiguous to people who are not fluent in Japanese. In the original version some older forms of common kanji were used so I updated them as this may also confuse people.  

[missmyloko]

What’s In a Dance? Part 9

As per usual I do choose songs based on requests, so if there’s one that you really, really like then send it on in! I may save some for the upcoming 12 Days of Fun that I will be doing again this year, so don’t worry if it’s been delayed. For those of you who weren’t around last year or were just really busy, The Twelve Days of Fun were 12 days in a row where I posted regular features to this blog. It was a tremendous amount of work but you all gave such high praise and feedback for it that I plan on bringing it back. For those of you interested in last year’s line up you can check it out here ^^

Harusame (春雨) - Spring Rain

Image courtesy of Cliff CLF on Flickr. Musings on the spring rain and the feelings that accompany it. When someone asked about props last week I completely forgot to add this addition to the list as it can be danced with a buyōgasa ^^

Lyrics

Harusame ni shippori nururu,    春雨にしっぽり濡るる, In the spring rain everything becomes very wet, Uguisu no hakaze ni,   鶯の羽風に, As the wind blows on the feathers of a nightingale, Niou ume ga ka ya, 匂う梅が香や, You can smell the fragrance from the plum blossoms, Hana ni tawamure, 花に戯れ, Playing with the flowers, Shiorashisa, しおらしや, Who are full of wit, Kotori de saemo hitosuji ni, 小鳥でさえも一筋に, The small birds stand in a line, Negura sadamenuki wa hitotsu.   ねぐら定めぬきは一つ. Where they decide on where they should roost. Watasha uguisu, 私しゃ鶯,   I am the nightingale, Nushi wa ume 主は梅,   You are the plum blossoms, Yagate, mimama kimama ni, やがて, 身まま気ままに, In due time, once my contract expires, Narunaraba, saa, なるならば, サア,  I will be free, Oushukubai ja naikaina, 鶯宿梅じゃないかいな, The nightingale wishes to nest in the plum tree, Saa sa nande mo, サアサなんでも, There everything, Yoiwai na. よいわいな。 Will be well.

The Breakdown

The first part is slightly cryptic, but it becomes incredibly clear as to what’s being said in the second half. Like in Hagi Kikyō, Harusame simply sets the scene and doesn’t really have much to do with the majority of the song at all.   As for meaning, the plum blossoms are, quite obviously, a customer, but the nightingale in this case is actually a yūjo and not a geisha. How do we know that it’s a yūjo? Well, the song mentions that they “stand in a line,” which is how yūjo were presented and sold. They would line up in a special “holding” veranda where customers would come by and pick them out. Plus, they speak of their contracts, and how, “once my contract expires, I will be free,” which is something that we associate with yūjo and oiran rather than geisha. In the second half the song mentions that, “the nightingale wishes to nest in the plum tree,” which is a euphemism for marriage; that is, once the yūjo is free from her contract she wishes to marry her customer. As to whether or not that will happen, mind you, is another story altogether.  This song can be danced alone or in multiples, by either maiko or geiko, and can feature either a mai ōgi or a buyōgasa. However, it’s far more popular to see it danced in pairs ^^

Each Kagai’s Version

Gion Kobu (祇園甲部) Version - Inoue School (井上流) A version danced by three maiko, although only two can be seen for the majority due to the videographer’s seat. Its uniqueness is found in its abundance of hand gestures and punctuating spins, which the other versions lack. Like in Natsu Wa Hotaru, there’s a sudden drop of their fans that seems to draw the viewer in even more and the movements between the three make it quite enjoyable. This version is performed by Masaki (真咲) of Minoyae (美の八重) and Kiyono (清乃) and Shino (柴乃) of Fukushima (福嶋). (Note: this video also contains them dancing the Gion Kouta after Harusame). Pontocho (先斗町) Version - Onoe School (尾上流) A very different approach from all of the others, this version is danced by a single geiko (a natori one too!). The level of emotion expressed due to her experience really makes this dance stand out above all of the others. She is constantly moving, even if it’s subtle, which works well to showcase the emotions of the yūjo in the song. Because of these traits, along with the absolute elegance with which it’s danced, this is my favorite version! This version is performed by Ichisayo (市さよ). Kamishichiken (上七軒) Version - Hanayagi School (花柳流) Not the best quality video (sorry!), but still very easy to see the movements. This version is actually quite similar to the Fujima version, which I detailed a bit more below, although I do feel that the dancers’ faces are far more expressive than their Fujima counterparts. This version is performed by Ichitaka (市多佳) of Ichi (市) and Katsune (勝音) of Daimonji (大文字). Miyagawa Cho (宮川町) Version - Wakayagi School (若柳流) A beautiful example with two maiko, you can really pick out how the song changes in its tone with the addition of the buyōgasa. In the first part it's used to show the yūjo showing themselves off, while later on it's used as the lamentation of the nightingale wanting to roost in the plum tree. This version is performed by Toshisumi (とし純) and Toshimomo (とし桃) of Komaya (駒屋). Gion Higashi (祇園東) Version - Fujima School (藤間流) Another example of a duo, but this time with mai ōgi instead of a buyōgasa. Unlike the Wakayagi version the dancers maintain various levels; that is, the most senior is usually standing tall while the junior is kneeling. The two dancers also rarely interact with each other, which is something that other schools have a distinct advantage with in such an emotionally heavy song. It’s fairly simplistic in its execution too, but nonetheless gets its message across. This version is performed by Tomitsuyu (富津愈) and Tomitae (富多愛) of Tomikiku (富菊). __________________________________________________________________ The lyrics provided were translated by myself and gathered from multiple sources; I began with a set that a friend had listed, compared it to two other sets (this was one of them), and figured out which made the most sense when written out as some versions just wrote the hiragana versions of a few kanji and it made the meanings a bit more ambiguous to people who are not fluent in Japanese. In the original version some older forms of common kanji were used so I updated them as this may also confuse people.

[missmyloko]

What’s In a Dance? Part 4

Since it’s currently erikae season I figured that this dance would be appropriate to cover ^^

Kurokami (黒髪) - Black Hair

Image courtesy of Prado9991 on Instagram. An interesting and passionate song that marks the end of a maiko’s apprenticeship and her first foray into the adult world.

Lyrics

Kurokami no musuboretaru omoi wo ba,   黒髪の結惚れたる思いをば, I let down my black hair, Toke te neta yo no makura koso,   解けて寝た夜の枕こそ, On the pillow that we shared on that evening, Hitori nuru yo no ada makura,   独り寝る夜の仇枕, On this pillow I now sleep alone, Sode wa katashiku tsuma ja to iu te,   袖は片敷く妻じゃと云うて, These sleeves separate me from being a wife, Guchina onago no kokoro to shira de,   愚痴な女子の心と知らで, My female heart and wisdom lament, Shin to fuketaru kane no koe,   しんと更けたる鐘の声, I am lost in the sound of a bell, Yūbe no yume no kesasame te,   夕べの夢の今朝覚めて, In the morning I wake up from last night’s dream, Yukashi, natsukashi, yaruse na ya,   ゆかし,懐かし,やるせなや, Nostalgic, longing, and helpless, Tsumoru to shira de tsumoru shirayuki.   積もると知らで 積もる白雪. My feelings accumulate like the piling white snow.

The Breakdown

This is a very difficult song to translate well as it’s almost as much about what isn’t said as what is. The entire story behind the song is that a courtesan is thinking about the time that she spent with her lover, but because he is not with her she must sleep alone. One of the biggest things to take note of are how the entire song flips from one set of imagery to its opposite. The first line in the song, Kurokami, means “black hair” while the last line, Shiroyuki, means “white snow.”  You can also find this song under the title of “Jet Black Hair” but I kept it as “Black Hair” since that is the literal translation of the song. This song is performed by maiko while they wear the sakkō hairstyle and for a week after they’ve become geiko. However, it can be performed outside of these constraints if the dance school allows it, like during Onshūkai of this year.

Each Kagai’s Version

Gion Kobu (祇園甲部) Version - Inoue School (井上流) For this version I chose a geiko performing it rather than a maiko as the maiko version is very common but a geiko’s is not. The Inoue school is known for their small gestures, and this example is no exception. The most dynamic movement occurs during the time of lamentation where the dancer performs the slide on the ground (thinking about the pillow) and then the swish of the sleeves that’s followed by a punctuating stomp. The Inoue style has the most commonly seen “iconic” poses of the dance too, like in the image above. This version is performed by Kosen (小扇) of Hiroshimaya (廣島屋).    Pontocho (先斗町) Version - Onoe School (尾上流) Don’t ask me why, but the Onoe versions of dances are always the hardest to find. For this example I could only find a short clip, but it’s performed by a geiko and accompanied by a full traditional orchestra of shakuhachi, shinobue, and shamisen players! It is one of two styles that uses a mai ōgi, and I think it looks absolutely beautiful. This version is performed by Ichiemi (市笑) of Tanmika (丹美賀).  Kamishichiken (上七軒) Version - Hanayagi School (花柳流) The slowest of the five versions, it uses the Hanayagi style’s characteristic “frozen” pose style to great effect to punctuate the emotion of the song. There’s something about seeing it performed while wearing a colorful iromontsuki that makes it feel more “real” (if that makes any sense). Unlike the others, the Hanayagi version does not have the section of the dance where the song is not sung. This version is performed by Katsune (勝音) of Daimonji (大文字). Miyagawa Cho (宮川町) Version - Wakayagi School (若柳流) You’d figure that the Wakayagi version would be one of the more dynamic versions, but it’s actually very similar to the Inoue style and far slower than what you’d expect from this style. Unlike the other versions, this one of the styles uses a mai ōgi, which only serves to make an already elegant dance even more refined! This version is performed by Korin (小凛) of Kaden (花傳). Gion Higashi (祇園東) Version - Fujima School (藤間流) The Fujima version is much more lively than most in that it has far more hand gestures and poses with sleeves that lead the viewer’s eye around in its enchanting course. This version is performed by Miharu (美晴) of Okatome (岡とめ).  __________________________________________________________________

The lyrics provided were translated by myself and gathered from multiple sources; I began with a set that a friend had listed, compared it to two other sets (this was one of them), and figured out which made the most sense when written out as some versions just wrote the hiragana versions of a few kanji and it made the meanings a bit more ambiguous to people who are not fluent in Japanese. In the original version some older forms of common kanji were used so I updated them as this may also confuse people.

[missmyloko]

What’s In a Dance? Part 7

We had our first snowfall here this week, so in keeping with the summer theme that I started last week we’ll be looking at another summer staple to remind us all of warmer weather ^^ As a quick note: you may have noticed recently that most songs aren’t very long, and doing the Gion Kouta and Kyō no Shiki first happened to be examples of unusually long songs that don’t really fit the mold of the vast majority of karyukai pieces. Going forward most songs will be short like this one, so please don’t be confused as to why they seem to be getting shorter and shorter ^^;

Hagi Kikyō (萩桔梗) - Bush Clover and Bell Flower

Image courtesy of Yuko_Umeno on Instagram. A simple song that starts out musing about summer flowers and ends with thoughts on love ^^

Lyrics

Hagi kikyō naka ni tamagusa shinobasete, 萩桔梗 中に玉章忍ばせて,  Bush clover and bell flower are hidden in the middle of a secret letter, Tsuki ni nozue ni kusa no tsuyu, 月の野末に草の露,   The moon sits over a field of grass sprinkled with dew, Kimi wo matsumushi yogoto ni sudaku, 君を松虫夜毎にすだく, The crickets in the pine sing each night for you, Fukeyuku kane ni kari no koe, 更けゆく鐘に雁の声, As the sound of a goose over a bell grows louder, Koi wa koushita mono kaina? 恋はこうしたものかいな。 Is love really like this?

The Breakdown

The song starts out with the author stating that she’s taken some bush clover and bell flowers and placed them inside a letter that she’s hidden away. As to why it’s a secret isn’t really expanded on, but it’s quite clear that this is a love letter.

From there, it sets the scenery of the moon glowing over a field of grass that’s covered in dew, to the sounds of crickets that chirp in and around pine trees, to a bell whose sound is being drowned out by a passing wild goose. All along, the author is thinking about the person she loves, and wonders if thinking about a person so much so that trying to concentrate on scenery cannot push thoughts of them away, does it make that “love”?

When you listen to this song you can’t help but think of a young, naive woman who’s trying to figure out whether this newfound feeling that she’s suddenly come across is love, and the ease at which you can empathize with her as we’ve all been in her situation before.

This dance can be performed either solo or in pairs, and always uses a mai ōgi.

Each Kagai’s Version

Gion Kobu (祇園甲部) Version - Inoue School (井上流) Sorry, but I couldn’t find any examples of this being danced in Gion Kobu. It does exist in their repertoire, but I could not find a visual example. Pontocho (先斗町) Version - Onoe School (尾上流) Probably my favorite version as it just seems to flow so naturally, it may also be due to the fact that it’s an experienced geiko dancing it and not a maiko. It feels similar to Kurokami with such expressive movements and makes the short song feel very emotional. This version is performed by Ichino (市乃) of Yamaguchi (やまぐち). Kamishichiken (上七軒) Version - Hanayagi School (花柳流) The use of the Hanayagi’s frozen poses aren’t as obvious here as in other dances, but when they occur it’s absolutely beautiful and portrays such deep emotion! This version is performed by Satoryū (さと龍) of Nakasato (中里). Miyagawa Cho (宮川町) Version - Wakayagi School (若柳流) An oddly slow example of the Wakayagi school, this seems as though it would be the Hanayagi style as it features many frozen kata. However, to make up for this, the version shown here is danced by two maiko, which shows us how the dancer’s movements change between each person and are not the same throughout. This version is performed by Miena (美恵菜) of Ishihatsu (石初) and Korin (小凛) of Kaden (花傳). Gion Higashi (祇園東) Version - Fujima School (藤間流) Like with Gion Kobu, I couldn’t find a visual example of a Gion Higashi geimaiko dancing this piece ^^;

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The lyrics provided were translated by myself and gathered from multiple sources; I began with a set that a friend had listed, compared it to two other sets (this was one of them), and figured out which made the most sense when written out as some versions just wrote the hiragana versions of a few kanji and it made the meanings a bit more ambiguous to people who are not fluent in Japanese. In the original version some older forms of common kanji were used so I updated them as this may also confuse people.

[missmyloko]

What’s In a Dance? Part 6

Although the weather’s getting colder in the northern hemisphere, summer is quickly approaching in the south! So, for you southern readers (and those of you who, like me, enjoy summer more than winter) here’s a summer classic.

Natsu Wa Hotaru (夏は蛍) - Summer Fireflies

Image courtesy of E__M____ on Instagram. A summer staple, this dance brings to mind the thoughts of seeing fireflies along a river, among other things ^^

Lyrics

Natsu wa hotaru no tomoshibi ni, 夏は蛍の灯火に,　  The lamp lights from the summer fireflies, Mijikaki yowa wo kuyokuyo to, 短き夜半をくよくよと, 　 That shortly appear after midnight,　 Nakiakashitaru hototogisu,    泣き明かしたるほととぎす, Are accompanied by the crying of a nightingale,  　 Aogeba kao ni harahara to, 仰げば顔にはらはらと, Looking at me face to face,  　 Are murasame ga sode uchifuri te,   あれ村雨が袖打ち振りて, The passing rain falls off my sleeve, Yoiyoi, yoiyoi, yoi, yoiyasa. よいよい, よいよい, よい, よいやさ。 Yoi, yoi, yoi, yoi, yoi, yoi yasa.

The Breakdown

These songs are all incredibly poetic, and this one takes a bit of background knowledge to fully understand. You’d think that this song is about the fireflies, but they merely create a setting for the main story. The nightingale is a stand in for the geisha herself, so when she (literally) cries it is masked by the sudden rain that makes its appearance. The rain, and her tears, flow off her sleeve and her suitor is none the wiser. The nightingale can also be referred to as a type of cuckoo, but I went with the translation of nightingale as they are birds that are heard during the night and the cuckoo tends to bring up ideas of a cuckoo clock in Western minds. Harahara (はらはら) is an onomatopoeia for the sound that large rain drops make when hitting the ground, but it can also be a stand in for the sound of a heart beating. That was a bit hard to put into the translation, so I left it for this section as it doesn’t really change the meaning.  This piece can be danced by either a single maiko or geiko or done in pairs, and will always involve the use an uchiwa.

Each Kagai’s Version

Gion Kobu (祇園甲部) Version - Inoue School (井上流) This version has a few poses that are reminiscent of the Gion Kouta, but contains far more dynamic movement. One of the more punctuating parts occurs when the performers simply drop their uchiwa instead of placing it on the ground or continuing to use it throughout the dance. The Inoue style relies far more or hand gestures than movement with an uchiwa, so it’s quite unique! This version is performed by Masaki (真咲) and Makino (真希乃) of Minoyae (美の八重) and Kyōka (杏佳) of Tsurui (つる居). Pontocho (先斗町) Version - Onoe School (尾上流) I chose this one because it shows a geiko dancing it rather than maiko. It’s a very flowing dance that feels like a mix between the Inoue and Wakayagi styles; that is, it’s dynamic, but not overly quick or sharp in its movements. I do wonder if the performer gets dizzy as there is a large amount of back and forth movements, although this is part of the dance’s way in expressing emotion, to which it does very well. This version is performed by Ichifuku (市福) of Masunoya (桝之矢). Kamishichiken (上七軒) Version - Hanayagi School (花柳流) This is one of the Hanayagi school’s more dynamic dances as it does not contain as many “frozen kata” as other dances in their repertoire do. It does, however, constantly keep one sleeve up and out for almost half of the dance. This version is performed by Naoai (尚あい) of Nakasato (中里). Miyagawa Cho (宮川町) Version - Wakayagi School (若柳流) For the most part, this version is danced with both dancers doing the exact same kata at the same time, with some variation at the start and at the end. Like the majority of Wakayagi dances it involves constantly movement and its gestures are easier to understand than most. This version is performed by Toshiteru (とし輝) of Komaya (駒屋) and Satono (里乃) of Kawahisa (川久). Gion Higashi (祇園東) Version - Fujima School (藤間流) Sorry Gion Higashi fans, but I couldn’t find a video of this version being performed. If you can find one then please send it to me ^^ __________________________________________________________________ The lyrics provided were translated by myself and gathered from multiple sources; I began with a set that a friend had listed, compared it to two other sets (this was one of them), and figured out which made the most sense when written out as some versions just wrote the hiragana versions of a few kanji and it made the meanings a bit more ambiguous to people who are not fluent in Japanese. In the original version some older forms of common kanji were used so I updated them as this may also confuse people.