The following is a direct except from the English
language section from the Miyako Odori programme of 1937, from the
private collection of Naomi Graham-Diaz,
ImmortalGeisha.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 know 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 Councillor 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 as present.
The pretty staff of the Miyako Odori consists of 28 dancers, 1
star-singer, 12 singers, 5 tsuzumi (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 52 in all.
There are four companies with a total of 208 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.
Miyako Odori or Cherry Dance
For 1937
Furyu O-Kuni Kabuki (O-Kuni’s Elegant Play)
The Cherry Dance for the current year is designed
in allusion to the life of the famous O-Kuni of Izumo Province,
who is highly respected as the ancestress of Kabuki or the theatrical
performance of the old school. Her merit towards its development
is certainly invaluable and is being felt much thankful.
O-Kuni was a lovely daughter of a blacksmith in the town of Kitsuki
and became a sacred dancer of the Grand Shinto Shrine of Izumo.
It was in the Eiroku era (1558-69) that she came up to Kyoto where
she happened to meet and marry a handsome-looking Samurai, Nagoya-Sanzaburo
by name. Then he used to compose many a song for her and acted
as her partner on the stage, which paved the way for the appearance
of the grand Kabuki theatre as seen at the present day.
Scene I. “Grand Shrine of Izumo”
It has been a long established custom to furnish the first scene
with the plain silver-foiled sliding-screens on the upper part
of which is painted a fine bamboo-shade in a row. But, the screens
for the present year are decorated with a beautiful scene of the
Grand Shrine of Izumo in memory of the actress O-Kuni who was
once one of its sacred dancers. Also, she was born in the town
where this celebrated shrine is located.
The Grand Shinto Shrine of Izumo, popularly known as the taisha,
lies on the coast of the Sea of Japan, being dedicated to the
Terrestrial God Okuni-nushi-no-Mikoto. It was he who surrendered
the whole earthly region to the God Ninigi-no-Mikoto, grandson
of Amaterasu-Omikami (Sun-goddess), who descended up on Earth
from Heaven in obedience to the august command of his divine grandmother.
The style of the Grand Shrine of Izumo is the oldest in existence
and is regarded as a precious model representing the mythological
architecture. Ever since its foundation in the Age of the Gods
it has stood on the present spot, having been renewed every sixty
years, yet retaining all its original forms except a few minor
points. It is indeed a great sight not only for architects but
for sight-seekers.
Scene II. “Lovely Plum Blossoms
at Kitano”
The stage before us represents the hallowed precincts
of the Kitano-Tenmangu Shrine and a part of its ancient Ukon (Right
Guard) riding-course in an early spring when plum-trees were in
full blossoms. The reason why such a scene is brought out here
owes to the fact that O-Kuni had a temporary theatre built in
1604 in the Ukon riding-course and displayed an attractive dance
called “Kabuki-Odori.” It was on this occasion that
she won a loud applause from a vast crowd swarming the theatre
from all different directions with great joy and excitement.
The Kitano Temmangu Shrine is a very famous Shinto shrine on the
north-western side of Kyoto, being dedicated to Sugawara-no-Michizane
(844-903). It was founded in 947 while the present structure,
which is one of the most beautiful, dates to 1607. Michizane was
the Minister-of-the-Right (Udaijin) and the greatest statesman
in his days. His matchless ability was made an object of envy
by his rival minister Fujiwara-no-Tokihira. As its result, he
was exiled in 901 on a false charge to the Kyushu Island where
he died two years later in a lonely hut. He had to pass disagreeable
days in absolute seclusion, having been separated from all his
family. He is now worshipped as the God of Literature and Calligraphy.
Tall trees catch much wind and high regions are never without
storms.
Scene III. “Dance on the Dry River-Bed
of Shijo”
This is one of the two special interludes staged between the regular
Cherry Dance and its expected to afford a keen delight to the
spectator. Now, the stage is meant to represent the dry river-bed
of Shijo in the River Kamo in summer as it appeared in the closing
part of the 16th century. The well-known stream of Kamo runs through
the heart of Kyoto City, adding much to its scenic beauty. It
has been sung in poetry in countless numbers while it is rich
in historical associations. As a mater of fact, it was on the
dry bed of this river that O-Kuni made her theatrical debut when
all eyes were focused upon her and gained an enviable reputation
in those days.
At that time, O-Kuni, the pioneer of the Kabuki theatre, had in
her troupe a number of nice-looking girls who were trained in
dancing. These girls are thought to have danced the so-called
“Yayako Dance” and the “Oharagi Dance”,
being attired in attractive costumes. The present interlude is
based upon these dances of ancient origin and is played by ten
pretty girls who carry on their respective heads a faggot tied
up with a crimson rope and decorated with flowers. Each fair dancer
holds a fan in her pliant hand and dancers as merrily as a butterfly,
revealing a picturesque sight characteristic of the Land of the
Rising Sun.
Scene IV. “Maple Tints on Mount
Hiyei”
Perhaps no nation would find so much delight in autumnal tints
as the Japanese who admire them just as keenly as cherry-blossoms.
They are born a poetical people, so that even a simple crimson
leaf makes them express their feeling, either joyfully or sadly
as occasion requires.
Here is shown a glorious view of autumnal colors displayed around
the grand Enryakuji Temple that stands imposingly on the summit
of Mount Hiyei soaring in the north-east of Kyoto. The Enryakuji
is the headquarters of the Tendai sect of Buddhism and it was
founded in 788 by the priest Saicho, posthumously called Denkyo-Daishi,
one of the most distinguished personages this country had ever
produced.
Although the present scene has nothing to do with O-Kuni, it is
specially staged here in view of the fact that there is going
on, this spring, an extrodinary Buddhist service in the Enryakuji
in commemoration of the 1150th centenary of the foundation of
the Tendai sect. To tell the truth, there are not seen many maple-trees
close by the Enryakuji Temple, but they are growing in abundance
in its northern valley which is regarded as a noted spot for beautiful
autumn-leaves. These gorgeous colors have been applied for the
stage before us so as to make it look wonderful.
Scene V. “Kabuki Play in Fushimi
Castle”
The most magnificent scene in the Cherry Dance for the year 1937
is undoubtedly the present interlude showing the gorgeous parlor
of the far-famed Fushimi Castle built under the command of the
unexampled hero, Taiko-Hideyoshi (1535-98), who once took the
helm of state affairs. It is said, the matchless splendor of this
castle was utterly beyond description. Here the fair O-Kuni of
high repute repeated had the honor of displaying her theatrical
skill soon after she was called up to an Imperial consort’s
Palace, that is to say, on May 6, 1603. The Daimyo Yuki Hideyasu
praised O-Kuni up to the sky, declaring that she was the greatest
woman in the whole word while he regretted he was not the greatest
man on earth.
There appears on the stage a dancer who plays the leading part,
looking as elegant as she could be. She is meant to represent
O-Kuni and dances in company with two comedians, large and small.
And she is clad in a female costume, yet she dances in the style
of the Otako-mai (male dance), wearing a tall golden hat and a
long sword. All of them dance in a group to a sweet tune of the
Samisen, singing several melodious ditties simply fascinating
to listen, The orchestra in this scene is expressly seated on
the main stage, making a rare example for the Cherry Dance.
Scene VI. “A Portrait of Yedo”
The above poetic title signifies a scene of the ancient city of
Yedo or present Tokyo how it appeared towards the Keicho era (1596-1614).
Our favorite actress O-Kuni came up to Yedo in 1607 when Yedo
was beginning to thrive and held a theatrical performance in the
neighborhood of the historic Yedo Castle of nation-wide reputation.
On that occasion an immense crowd of Yedo people visited her perfect
play executed with exquisite skill, for which they felt deeply
impressed and admired her in the extreme. She was then in her
palmist days, enjoying an unrivalled popularity from the general
public. Hence the presentation of the present scene.
Notice on the background Mount Fuji, Japan’s holiest mountain,
towering to the left side of the Yedo Castle. It eloquently tells
us how sparsely Yedo City was inhabited, from which even the slightest
shadow of Tokyo can be obtained. Indeed, it is totally different
from the Imperial capital as it stands today.
The Yedo Castle was founded in 1457 by Ota-Dokwan, a local feudal
lord, and it later passed into the hands of the Tokugawa family
in 1590. Since then, it had been the Tokugawa Shogun’s seat
of rule until the restoration of administrative power to the Throne
in 1869. It is now the Imperial residence, having been thoroughly
rebuilt on a grand scale.
Scene VII. “Snow Round Renka-an
Retreat”
As the title says, the stage represents a snowy scene of the Renka-an
Retreat that once stood in the town of Taisha, Izumo Province.
It was here that the once-prosperous actress O-Kuni retired in
order to spend her westering days. Life is subject to decay and
it is as frail as a morning dewdrop. A beautiful flower of yesterday
is a dream of today. Death spares neither pope nor beggar. Such
is the way of the world.
O-Kuni fell sick one day, which eventually compelled her to return
to her native province where she had a little cottage built near
the Yomeiji, a Buddhist temple. There she was absorbed in offering
prayers to the Buddha. She is said to have lived as old as 87
years, but somewhat doubtful. This retreat used to be also called
the O-Kuni Temple, but it does not exist now. At the present day,
there stands a tiny temple that was put up last April in memory
of O-Kuni.
This scene is principally intended to display the combined skill
of the musicians and singers taking part in it. One or two singers
sing with such a charming voice that it defies description. The
whole house is lost in admiration and listens to the melody with
rapt attention. Accordingly, the dancers enter after much snow
has fallen on the stage.
Scene VIII. “Cherry Blossom on Honoyama
Hill”
Who can deny that Miyako Odori or the Cherry Dance of Kyoto, which
is the fountain-head of all similar dances, is decidedly the greatest
attraction in the much-talked-of spring of Japan? It s by no means
an exaggeration to say that to miss it means to miss one of her
most important sights.
After having heartily enjoyed the preceding senses of absorbing
interest, we are now going to enjoy the final scene of vernal
gaiety that reveals a joyful sight of cherry blossoms in all its
glory. Its charmingly displayed round a pagoda erected in honor
of O-Kuni on the Honoyama Hill in Taisha-machi, a holy town in
the province of Izumo. In point of fact, this spot does not seem
directly related to O-Kuni. But, it is made the background of
the present scene owing to a stone monument near the Renka-an
and a fine view obtained from the hill.
In conclusion, the whole staff of fair dances express their profound
gratitude to the visitors from distant lands and drink cups after
cups brimful of Sake or rice-wine for their health, saying “Adieu.”
Banzai! Banzai! Banzai!
The text above is a direct except from the English
language section from the Miyako Odori programme of 1937, from the
private collection of Naomi Graham-Diaz,
ImmortalGeisha.com. This has been copy-typed verbatim, along with
scans, from the original programme by Naomi
Graham-Diaz.
