The following is a direct except from the English language section
from the Miyako Odori programme of 1933, graciously provided from
the private collection of Bijinga.com.
This has been copy-typed verbatim, along with scans, from the original
programme by Naomi Graham-Diaz.
It goes without saying that, in our classical capital of over a
thousand years, the veritable queen of the spring attractions, natural
as well as artificial, is no doubt the Miyako Odori or Cherry Dance
reputably known not only at home but throughout the world. Soaring
amidst the various floral shows of the season, it is fascinatingly
admired as the most beautiful sight of this fairyland. No wonder
that it yearly attracts countless numbers of visitors, regardless
of sex, age and classes, from all parts of the Empire.
The Miyako Odori was originally promoted and consummated by Madam
Haruko Inouye, a veteran dancing teacher, and Mr. Jiroemon Sugiura,
the renowned proprietor of the most famous tea-house in the country.
Thanks to the valuable guidance of the then Governor of Kyoto Mr.
Hase and Councilor Makimura, it was successfully started in March
1872, the very year Japan saw her first and foremost exposition.
Ever since, this popular dance has made a marked progress as seen
at present.
The pretty staff of the Miyako Odori consist of 28 dancers, 1 star-singer,
11 singers, 5 tzuzumi (hand drum) players, 5 taiko (small drum)
and kane (bell) players, 1 O-daiko (bigger drum) player and 1 fue
(flute) player, forming a company of 51 in all. There are four companies
with a total of 204 girls, who change their turn every four days
during the period of performance. These girls are all the select
geishas of Gion, the most fashionable red-light quarter dating back
to 1790.
It is earnestly hoped that those who want to appreciate a typical
dance of this country, simultaneously studying the life of our old
Imperial seat, should not fail to pay a visit to the Cherry Dance,
a mighty pride of Kyoto. All are cordially welcome.
The Cherry Dance for 1933
“The Corner-Stones of the Sunrise-Land”
The Cherry Dance for the current year is designed upon the noted
places of interest closely connected with the pre-eminent loyalist
who are enshrined as gods for guarding the country. As stated
in the following pages, they consist of the loyal subjects chosen
from among the many who rendered distinguished services to the
State in the interval between the 6th century and the present
day. The order of their respective periods, however, is not necessarily
followed for the convenience of the four seasons and stage settings,
which would make all the scenes look much more varied and attractive.
And each dance is performed in accordance with the scene.
Scene I
The Morning Sea
The above title has been taken from the subject given at the Annual
Poetical Contest Party held last January at the Imperial Court
to which tens of thousands of poems were submitted by the high
and the low. Indeed, nothing would offer a poet or poetess an
hour greater than to win in this refined contest.
According to a time-honoured custom, the stage is stately furnished
with the four big sliding-screens of silver-foil, which are depicted
with the morning sun rising over the smooth sea. It is a familiar
view seen on works of art, and it has been beloved by the people
of Nippon since early days, because they regard it as a sight
of joy and congratulation.
The beautiful dancers in two groups, handsomely attired in a most
attractive costume particular to the Cherry Dance, make their
appearance amidst a shower of loud applause from the so-called
Hanamichi or Flower Passage on the right and left sides, finally
joining on the main stage. Holding in their pliant hands the fans
made of the artificial cherry-blossoms and willow-branchlets,
these skilled dancers of the gentler sex perform a lovely dance
perhaps nowhere else to be found. Without exaggeration, it is
certainly the prettiest dance to be enjoyed in the ancient capital
of fair Japan.
Scene II
Plum Blossoms of Tokiwa Shrine
Year in and year out, the floral forerunner of the smiling spring
is invariably represented by the sweet-smelling plum-blossoms
which are untiringly admired by the nation, especially by the
intellectual circles. The air about the blooming plum-trees fills
one’s heart with joy and fascination. Really, the real charm
of plum-blossoms can be best appreciate after sunset, particularly
in a breezeless evening, calm and serene. Because, stage as it
might sound, their fragrance grows much stronger after dark.
The present scene represents the grounds of the Tokiwa Shrine
of Mito in early spring with its park of charming plum-blossoms.
This shrine is dedicated to Tokugawa Mitsukuni (1629-1700), the
scholarly lord of Mito Province and a grandson of Ieyasu, the
first Shogun of the Tokugawa dynasty. Mitsukuni is by far famously
known as “Mito Komon” and he was extremely loyal.
He was well versed in literature, so that he complied quite a
number of literary works. Among others, the most worthy work was
the Nihon-Gwaishi (History of Japan) which elucidates the importance
of loyalty to the Imperial House and which eventually paved the
way for the destruction of the Tokugawa family to which he belonged.
He was one of the wisest men in the Tokugawa dynasty and maintained
strict impartiality in every respect. No wonder he came to be
defied and to be worshipped with deep reverence.
Scene III
Utagaki Party in Front of Shujaku Gate
Perhaps, one would fail to find an interlude of the Cherry
Dance as fascinating as this scene. The Utagaki means a party
taken part by a mixed group of men and women who danced to the
accompaniment of singing on some spacious ground, usually in large
numbers. The fact, the Bon Odori or the popular dances of the
Feast of Lanterns took its origin in the Utagaki. In the Nara
period, the Utagaki was very fashionable and the scene before
us is based upon the historic Utagaki party held in front of the
Shujaku Gate of the Nara Court on the 1st of February, 734. It
was participated by more than 240 courtiers and enjoyed the hour
to be seen by the Emperor Shomu.
The above subject has specially been selectes
so as to have it associated with Wake-no-Kiyomaro who achieved
a signal service for the country at the risk of his life. In truth,
it was he who prevented the Imperial crown from being defiled.
Once, the Empress Koken wished to have her most favourite Buddhist
priest Dokyo accede the throne. Under such state of affairs, Kiyomaro
was sent to the Usa Hachiman Shrine in Kyushu whence he brought
back a divine oracle repulsing the unlawful schemes intrigued
by the dirty bonze. Thus the Imperial line was narrowly saved
from scandal.
This lovely interlude is danced by three girls attired in the
men’s costume in company with six others in the female dress
of the remote Tenpyo era. As a matter of course, their movement
is classical and graceful, highly pleasing to the eyes. There
is no doubt that it should prove a success.
Scene IV.
Lightning and Thunder on Mt. Tenpai
As a masterpiece of scenery, here is shown Mt. Tenpai
at Dazaifu, where it is lightening and thundering fiercely. Indeed,
it is a thrilling spectacle of summer too realistic to be staged.
It was at Dazaifu that Sugawara-no-Michizane, the greatest statesman,
loyalist and scholar in his days, died in exile. And this imaginary
scene has been devised from the “Historical Sketches of
the Kitano Shrine”.
Sugawara-no-Michizane (844-908) was a gentleman of flawless personality
and was thoroughly mastered in the native as well as Chinese classics.
Thus, as proved in many cases, he became an object of envy. In
901 when he occupied the post of the Udaijin (Minister of the
Right), he fell an unfortunate victim to an intrigue machinated
by Fujiwara-no-Tokihira, theyouthful Sadaijin (Minister of the
Left). As its results, he was exiled to Dazaifu, Kyushu, where
he passed away in his solitary abode, completely severed from
his family and friends. It was a tragedy that piercingly touched
the whole nation. He is at present being worshipped as the God
of Literature and calligraphy under the honorific title of Tenjin.
Not a single dancer appears in this extraordinary scene in which
singing and music play the most outstanding part. And a star-singer
gifted with a melodious voice, being accompanied by no less talented
Samisen-players, expresses her exquisite skill to an intense delight
of the audience.
Scene V.
Morning Breeze of Seta
The scenic beauty, undoubtedly an enviable property of
Nippon, is internationally known. Especially, Lake Biwa is justly
regarded as a national pride. The so-styled “Eight Scenic
Views of Lake Biwa” include “Sunset Glow at Seta”,
a favourite subject for men of art and letters as well. The famous
Seta Bridge lies on the romantic highway of Tokaido and it was
crossed by the valiant general Oda Nobunaga on his way to the
ancient capital of Kyoto in 1568, so that it is reproduced here
in his connection.
Oda Nobunaga (1534-1582) was a powerful feudal lord of Owari Province.
As he was an uncommonly brave warrior, he succeeded in quickly
conquering all his neighbouring provinces in the Age of Wars.
IT happened to be the period so miserable to the Imperial House
that wrds would be utterly useless to try its full description.
Most of the Court nobility could hardly eke out a scantly livelihood,
while others were compelled to seek shelter somewhere far from
home. It was at this critical moment that Nobunaga made his appearance
and showed his foremost loyalty to the Emperor by repairing the
dilapidated Palaces and by renewing the broken streets throughout
the City of Kyoto. He afforded comforts to the royal family and
also to the people within reach of his power. As bad luck would
have it, however, he was suddenly assassinated by his general
Akechi Mitsuhide just on the threshold of his further improving
the country. Nevertheless, in recognition of his immense services
to the State, he is now revered as a Shinto god.
Scene VI
Store Room of Nishi Hongwanji
There is no denying the fact that a grand sight of the
Nishi (west) Hongwanji Temple is its Store Room, likewise called
O-Hiroma (Big Hall). IT contains 162 mats (1 mat measures 8ft.
by 6 ft.) and is used as the Abbot’s Audience Hall. Formerly,
it belonged to Toyotomi Hideyoshi’s Fushimi Castle and was
removed here in 1680. And on account of its splendour, it is now
registered as a “protected building” of the state.
This spacious room is surprisingly beautiful, being decorated
with a rare masterpiece by Kano Tan-yu, one of the greatest artist
Japan ever saw. The Store Room is so named from the storks on
the ramma carved by the renowned sculptor Hidari Jingoro.
Toyotomi Hideyoshi (1586-1598) was of humble birth, yet he reached
the highest rank open to a subject. He was a faithful general
under Oda Nobunaga whom he succeeded on his assassination by Akechi
Mitsuhide. Brave and Sagacious as Hideyoshi was, it did not take
him long in subduing all the feudal lords throughout the Empire
and grasped the reins of administration, enabling the people to
enjoy peace and order. He was admirably loyal and spared no pains
whatever in making the Imperial House comfortable, while he had
a lot of temples and shrines constructed in succession. He built
the celebrated Fushimi Castle of dazzling beauty at the Momoyama
in the southern part of the City of Kyoto and ruled the land in
the so-called gorgeous Momoyama period when luxury was at its
climax.
Scene VII
The Hokoku Dance
Of millions of beautiful screens extant, the famous “Hokoku
Festival Screen” should be taken for a priceless piece of
art. On this screen is painted a historic dance widely known as
“Hokoku Odori” by Kano Naizen Shigesato. The word
“Hokoku” is the title designating the Shinto shrine
sacred to Toyotomi Hideyoshi, Japan’s unexampled hero. The
present interlude is modeled after the Hokoku Dance which took
place in August, 1604 when there was held the 7th year memorial
service for the late Hideyoshi. And it is performed by the 12
skilful dancers in front of the screens depicted with the Paulownia
crest of the great man. On the day of the service, the precincts
of the hokoku Shrine swarmed with a huge number of men and women
in gala dresses, who dance as merrily as butterflies, the scene
of which was sketched by the artist Shigesato.
The spirt of Hideyoshi is enshrined in the Hokoku
Shrine, while he is interred on the picturesque peak of Amidagamine
in its immediate east. This shrine was first erected by the order
of the Emperor Goyozei in 1597 and was considered to be the most
splendid building in Kyoto. But it fell into gradual decay in
the Tokugawa period and became totally ruined in 1662. Rumour
said that the finest parts of the Shrine were carried over to
the Nikko temples previous to its final destruction by the Tokugawa
Shogunate. Nevertheless, soon after the Restoration of Meiji,
the Government had it re-constructed in 1878.
Scene VIII
Autumn Tints of Tonomine
Unquestionably, one of the autumnal attractions is the
maple tints that fascinatingly adorn all the hillsides and glens
of this country, for which Tonomine, no far off the Nara, is particularly
noted. From ancient times, Tonomine has been well known not only
as the burial-place of Kamatari, the founder of the illustrious
Fujiwara family but also as a scenic spot. The present lovely
scene represents the Danzan Shrine dedicated to Kamatari in the
midst of thickly wooded surroundings. Those gorgeous temples at
Nikko are said to have been copied in a great measure from this
shrine. The red leaves around the precincts seldom fail to delight
the visitor’s eyes.
Fujiwara-no-Kamatari (619-669) is buried under the thirteen-storied
wooden pagoda of the Danzan Shrine. This imposing pagoda is the
unique of its kind and perhaps the most interesting object at
Tonomine. It was first erected by his son Joi, a Buddhist priest,
on his return home from China in 679. Kamatari rendered meritorious
services towards the Imperial family in the reign of the Emperor
Kotoku and he played the most important role in connection with
the Emperor Tenchi’s accession to the throne. IT was by
the Emperor Tenchi that he was given the honourable family-name
Fujiwara (Wistaria-Plain), while he was formerly called Nakatomi-no-Kamatari.
From the Fujiwara family were born the Five August Families on
which was conferred the title of prince after the Meiji Restoration.
Scene IX
Snow on the Ruins of Chihaya
Being intensely esteemed as an incarnation of loyalty
and patriotism, Kusunoki Masshige, whose equestrian statue of
bronze is installed in the park just outside of the main gate
of the Imperial Place of Tokyo, immortally teachers the sons and
daughters of Nippon how to be loyal to the Emperor and to be patriotic
to the country. He was indeed a perfect model of man. The scene
before us is meant to be looking on from the old site of the Castle
of Akasaka towards the ruines of the Castle of Chihaya located
half-way up Mt. Kongo. Kawachi Province. And the snow makes it
still more impressive. It was in these places that Masashige fought
for the Imperial cause against an overwhelming army of Hojo.
Kusnoki Masashige, the most trusted retainer of the Southern dynasty,
was a great strategist and served the Emperor Godaigo as faithfully
as one fails to express. Once in 1321, he boldly withstood an
army of 800,000 strong dispatched by the Hojo Regent of the Kamakura
Shogunate. His men were handful, yet he succeeded in repulsing
the huge enemy. Finally, he came to fight at Minatogawa near Kobe
with the army commanded by Ashikaga Takuji who established the
Ashikaga Shogunate. HE was ill-starred and count not resist the
heavy odds, as the restult of which he committed suicide with
his faithful followers on the battlefield like the true Samurai.
May Masashige sleep in peace!
Scene X
Cherry Blossoms of Yasukuni Shrine
For ages eternal, the flower to be beloved by the people
of Nippon from the bottom of their heart would be the cherry-blossoms,
a national emblem of beauty and sincerity. The spirt of the Sunrise
Land was sung by Motoori Norinaga (1780-1891), the matchless scholar
on Shinto, in his famous poetry. He says: “Should anyone
ask you the spirity of Yamato (Japan), show him the wild cherry-blossoms
fragrant under the morning sun.”
The final scene represents the cherry-blossoms displayed around
the Yasukuni Shrine of Tokyo, at the approach of which stand the
biggest Torii and the loyalist Omura’s statue. In this shrine
are reverentially preserved a large number of the spirits of those
military and naval men who bravely and gladly lost their lives
in order to obtain peace not merely for their fatherland but also
the world. The Yasukuni Shrine is strongly revered by the Imperial
family, not to say of the whole nation, inasmuch as the Emperor
pays frequent visits to it. Its precincts are profusely grown
with the cherry-trees that present a magnificent sight in full
bloom and appear as if it were an annual flowery offering to the
noble spirits.
In conclusion, let us take up a big cup brimful of Sake and toast
for the health of the visitors to the far-famous Cherry Dance,
shouting three cheers of Banzai! Banzai! Banzai!
The text above is a direct except from the English
language section from the Miyako Odori programme of 1933, graciously
provided from the private collection of Bijinga.com.
This has been copy-typed verbatim, along with scans, from the original
programme by Naomi Graham-Diaz.
