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Ticket stub (front & back) for a yokobue transverse flute (横笛) concert by Fukui Tsuyoki (福井幹) held in the delightful gardens of Kōtaiji Temple (広泰寺) in Tamaki, Mie Prefecture

(Acquired October 1, 1996)

#japanese music #三重県 #mie prefecture #玉城町 #tamaki #広泰寺 #kotaiji #福井幹 #fukui tsuyoki #横笛 #yokobue #flute #ephemera #printed ephemera #paper ephemera #crazyfoxarchives

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)

Pamphlet for a yokobue transverse flute (横笛) concert by Fukui Tsuyoki (福井幹) held at Kōtaiji Temple (広泰寺) in Tamaki, Mie Prefecture, a Sōtō Zen temple founded in the Muromachi period (1336-1573)

The musician was born in 1957 and had spent several years living off the grid in the forests of Kumano before releasing his first album (recently as of this concert) in 1994, with two more since in 1999 & 2003

(Acquired October 1, 1996)

#japanese music #三重県 #mie prefecture #玉城町 #tamaki #広泰寺 #kotaiji #福井幹 #fukui tsuyoki #横笛 #yokobue #flute #ephemera #printed ephemera #paper ephemera #crazyfoxarchives

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.