My shamisen teacher planned to have a group practice session in Kusatsu.
He has been teaching the shamisen to students in Kusatsu.
Kusatsu Onsen is one of the most famous hot springs in Japan.
He originally started to teach the shamisen to Kusatsu's geisha.
In such hot spring areas, there used to be many geisha, so my shamisen teacher's teacher introduced him to the geisha in Kusatsu to teach the shamisen.
However, over time, there are now fewer geisha in hot spring areas.
At first, I was not so interested in going to Kusatsu with my contemporaries.
Since in the shamisen world, there are class relationships, I imagined that I would have to pay attention to them.
However, in the end, I was glad I went to Kusatsu, because I could get to know my contemporaries more deeply and also see their passion for the shamisen.
On early Sunday morning, we gathered at Ueno station and about 3 hours later we arrived in Kusatsu around noon.
As soon as we arrived at the hotel, we ate our lunch, which we had already bought in the train, in our rooms.
The hotel's owner is also a shamisen student.
I shared my room with 3 people. The most senior person was in her eighties. The others were near my mother's age.
Around 2:00pm, a group practice session started in a hall at the hotel. Almost 25 people gathered to practice.
The main purpose of that group practice session was for our recital in December. There is little time before the recital, so the lesson was very hard.
Some students couldn't play the shamisen well, so our shamisen teacher got angry and instructed them to play each piece dozens of times.
When they played the shamisen alone, they can play it well, however we have to play with other shamisen players, and in addition we have to accompany singers, so it was very difficult.
However I was impressed that they desperately tried to follow our shamisen teacher's tough instructions.
After 2 days of practice session, I talked to some students. They said that our shamisen teacher is a rare teacher, because he has a strong passion for his students, so they are keen to continue to learning from him.
On Sunday night, after a hard practice session, we ate dinner together. I knew our shamisen teacher doesn't drink, and that he disliked to get drunk.
So I wondered that how I should behave myself at such a party, because I like to drink.
I observed the shamisen teacher and other students for some time, and started to drink with a woman who staying in the same room as me.
During the dinner party, one student stared to sing Karaoke.
I was very surprised, because I thought that the shamisen teacher didn't like Karaoke.
Quickly I checked his reaction, however he looked glad, so I decided to request my favorite song which I sometimes sing in front of my customers.
When my turn came, I tried to sing that song cheerfully with dancing. Everyone laughed, so I became happy.
I was really glad to attend the group practice session in Kusatsu, because the distance between the other students and I became closer after the trip.
2010年10月25日月曜日
2010年10月21日木曜日
The introductory lesson of Rakugo
Do you know "Rakugo(落語)"?
Rakugo is a form of Japanese spoken entertainment. A"Rakugoka"(落語家) is a lone storyteller who sits on a stage which is called a "Kouza(高座)".
The "Rakugoka" narrates a long and complicated comical story. The story always involves two or more characters, however the "Rakugoka" depicts the difference between the characters only through a change in pitch or tone of voice or a turn of his head.
The "Rakugoka" uses only a "Tenugui(手ぬぐい)", a Japanese towel and a "Koza-Sensu(高座扇子)", a special paper, fan while they are talking.
The "Tenugui" and the "Koza-sensu" are used to express a book, chopsticks, wallet, pen, katana and so on.
Of course, I already knew Rakugo, however I was not so interested in it.
One day O-ne-san, my geisha senior sister introduced me to her customer. The customer was a "Rakugoka".
The O-ne-san and I went to his Rakugo show.
At his show, I was very impressed with his high-level performance, especially since it was my first time to see Rakugo.
So I searched for Rakugo lessons on the Internet after I saw his performance.
Soon after I found an interesting Rakugo lesson which is offered in Shinjuku.
They offer both daytime and nighttime lessons, so I chose the daytime lesson.
The last day of September was my first lesson.
I was wearing a kimono, and except for the teachers, who are "Rakugoka" and I, nobody else was wearing a kimono.
The first lesson was around 1.5 hours long. In the lesson I learned how to use a "Tenugui" and a "Koza-sense" to express a book, chopsticks, wallet, pen, katana and so on.
The gestures looked like quite realistic.
One "Rakugoka" taught us the difference between performing the way of eating Soba and Udon.
It looked very difficult.
He added that "Rakugoka" can become a first-class "Rakugoka" if he can depict the difference well.
In Rakugo, the most difficult but important thing is the expression of "Kami-te"(上手) and "Shimo-te"(下手).
Let me explain about the concept of "Kami"(上) and "Shimo(下)".
In traditional Japanese society, class relationships have a hierarchical order expressed by the concept of "Kami" and "Shimo".
"Kami" means the position of a higher or senior class person and "Shimo" means the position of a lower or junior class person.
For example, at a tea-house, the tables located farthest from the entrance, are reserved for higher or senior position people. The tables are called "Kami-za(上座)".The tables located nearer to the entrance, are called "Shimo-za(下座)".
Another example, in a taxi, the seat behind the driver is "Kami-za", for higher or senior position people. The passenger seat, "Shimo-za" is for lower or junior people.
Since most Rakugo stories are set in the Edo period, the expression of "Kami" and "Shimo" is very important.
However, Rakugo is performed on a stage*, "Kami-te(上手)" and "Shimo-te(下手)" are used instead of "Kami-za" and "Shimo-za".
* On a stage, "Kami-te" means the right side of the audience, and "Shimo-te" means the left side of the audience.
In a Rakugo story, when a higher or senior position person talks to a lower or junior position person. the "Rakugoka" should turn his head to his right side "Shimo-te", which is the left side for the audience.
Furthermore, in Rakugo, the main entrance of a house or a shop is fixed for "Shimo-te". So when the "Rakugoka" pretends to talk to someone who enters the house through the main entrance, he has to turn his head to "Shimo-te".
However if a character enters the house from the direction of "Shimo-te" is of a higher or senior position, the "Rakugoka" has to move him to "Kami-te" by using his eye.
The teachers explained that this rule is very difficult, but very important in Rakugo.
After the teachers' instruction, all of the students performed a short Rakugo which is called "Kobanashi"(小噺) at the "Koza" stage.
I got tense, however it was very interesting.
The next day after my first lesson, I talked to my geisha sisters at the "Okiya(置屋)", geisha house about my exciting experience. I tried to perform "Kobanashi" in front of them.
On my first try, I couldn't make them laugh, however on the second try, I could succeed.
In addition, one "O-ne-san", geisha sister started to like my performance, she gave me a opportunity to perform Rakugo in front of her regular customer.
So I tried to depict the Kobanashi more realistically with greater expression.
At the "Ozashiki", party, all customers laughed, and I became happy.
The "O-ne-san", geisha sister said to me that she had never heard of geisha performing Rakugo in our working area.
I'll continue to learn Rakugo in order to make our customers laugh.
Rakugo is a form of Japanese spoken entertainment. A"Rakugoka"(落語家) is a lone storyteller who sits on a stage which is called a "Kouza(高座)".
The "Rakugoka" narrates a long and complicated comical story. The story always involves two or more characters, however the "Rakugoka" depicts the difference between the characters only through a change in pitch or tone of voice or a turn of his head.
The "Rakugoka" uses only a "Tenugui(手ぬぐい)", a Japanese towel and a "Koza-Sensu(高座扇子)", a special paper, fan while they are talking.
The "Tenugui" and the "Koza-sensu" are used to express a book, chopsticks, wallet, pen, katana and so on.
Of course, I already knew Rakugo, however I was not so interested in it.
One day O-ne-san, my geisha senior sister introduced me to her customer. The customer was a "Rakugoka".
The O-ne-san and I went to his Rakugo show.
At his show, I was very impressed with his high-level performance, especially since it was my first time to see Rakugo.
So I searched for Rakugo lessons on the Internet after I saw his performance.
Soon after I found an interesting Rakugo lesson which is offered in Shinjuku.
They offer both daytime and nighttime lessons, so I chose the daytime lesson.
The last day of September was my first lesson.
I was wearing a kimono, and except for the teachers, who are "Rakugoka" and I, nobody else was wearing a kimono.
The first lesson was around 1.5 hours long. In the lesson I learned how to use a "Tenugui" and a "Koza-sense" to express a book, chopsticks, wallet, pen, katana and so on.
The gestures looked like quite realistic.
One "Rakugoka" taught us the difference between performing the way of eating Soba and Udon.
It looked very difficult.
He added that "Rakugoka" can become a first-class "Rakugoka" if he can depict the difference well.
In Rakugo, the most difficult but important thing is the expression of "Kami-te"(上手) and "Shimo-te"(下手).
Let me explain about the concept of "Kami"(上) and "Shimo(下)".
In traditional Japanese society, class relationships have a hierarchical order expressed by the concept of "Kami" and "Shimo".
"Kami" means the position of a higher or senior class person and "Shimo" means the position of a lower or junior class person.
For example, at a tea-house, the tables located farthest from the entrance, are reserved for higher or senior position people. The tables are called "Kami-za(上座)".The tables located nearer to the entrance, are called "Shimo-za(下座)".
Another example, in a taxi, the seat behind the driver is "Kami-za", for higher or senior position people. The passenger seat, "Shimo-za" is for lower or junior people.
Since most Rakugo stories are set in the Edo period, the expression of "Kami" and "Shimo" is very important.
However, Rakugo is performed on a stage*, "Kami-te(上手)" and "Shimo-te(下手)" are used instead of "Kami-za" and "Shimo-za".
* On a stage, "Kami-te" means the right side of the audience, and "Shimo-te" means the left side of the audience.
In a Rakugo story, when a higher or senior position person talks to a lower or junior position person. the "Rakugoka" should turn his head to his right side "Shimo-te", which is the left side for the audience.
Furthermore, in Rakugo, the main entrance of a house or a shop is fixed for "Shimo-te". So when the "Rakugoka" pretends to talk to someone who enters the house through the main entrance, he has to turn his head to "Shimo-te".
However if a character enters the house from the direction of "Shimo-te" is of a higher or senior position, the "Rakugoka" has to move him to "Kami-te" by using his eye.
The teachers explained that this rule is very difficult, but very important in Rakugo.
After the teachers' instruction, all of the students performed a short Rakugo which is called "Kobanashi"(小噺) at the "Koza" stage.
I got tense, however it was very interesting.
The next day after my first lesson, I talked to my geisha sisters at the "Okiya(置屋)", geisha house about my exciting experience. I tried to perform "Kobanashi" in front of them.
On my first try, I couldn't make them laugh, however on the second try, I could succeed.
In addition, one "O-ne-san", geisha sister started to like my performance, she gave me a opportunity to perform Rakugo in front of her regular customer.
So I tried to depict the Kobanashi more realistically with greater expression.
At the "Ozashiki", party, all customers laughed, and I became happy.
The "O-ne-san", geisha sister said to me that she had never heard of geisha performing Rakugo in our working area.
I'll continue to learn Rakugo in order to make our customers laugh.
2010年9月29日水曜日
The first lesson of "Tsuzumi"
My shamisen teacher suddenly lent me his "Tsuzumi", which is a hand drum after one of my shamisen lessons.
At that time, he didn't explain to me about why he had lent his "Tsuzumi" to me.
After his lesson, I went to Hachioji as usual in order to work.
As soon as I arrived at the "Okiya", the geisha house, I met my geisha mother at the main entrance of the okiya.
When my geisha mother saw the Tsuzumi, which my shamisen teacher had lent me, she asked why I had it.
So I explained to her about the reason why I had it.
After the explanation, I added that I wanted to start a new lesson to learn the Tsuzumi.
She looked very glad, because there are not so many geishas who can play the Tsuzumi.
Actually, I have been wanting to become a professional geisha, so I was planning to start Tsuzumi and dance lesson in the near future.
I explained to my shamisen teacher about how I would start taking Tsuzumi lessons.
He also looked very glad.
He said to me that geisha must play various kinds of instruments, not only the shamisen.
He added that he wanted me to become interested in other instruments.
I thought that my decision was a good one.
Several days after deciding to start lessons, I went to the new Tsuzumi teacher's house with my geisha mother and my geisha sister.
To tell the truth, before I met the new teacher, my geisha sister told me about the Tsuzumi teacher's strict lesson style.
My geisha sister explained to me that during the Tsuzumi lesson, musical scores are not prepared, so students have to write down the teacher's oral instruction very quickly.
At first, I just watched my geisha mother and sisters' lesson.
I soon understood clearly what my geisha sister had explained to me.
It looked like a very professional lesson, so I thought that I really have to do my best.
After their group lesson, it became my turn. I got tense.
At first, the teacher taught me how to hold the Tsuzumi and how to hit it.
It was very difficult to do it correctly contrary to my expectation.
When I saw my geisha sister playing the Tsuzumi, it looked easy.
However I couldn't make a good sound constantly, and I soon got tired from holding it.
Therefore I realized that my geisha sister, who had taught me about the Tsuzumi teacher, really did her best, because her sounds were beautiful and she could beat it correctly.
I think I will be able to enjoy listening to traditional Japanese music more deeply from now.
By the way, after the first lesson, I listened to my Tsuzumi lesson's recording at the hair salon when I was sitting my next to my geisha sister.
She noticed that I was pretending to practice the Tsuzumi.
I said to her that I couldn't understand one part of the music which I had been taught by our Tsuzumi teacher.
When I went back to the okiya, she asked me that if I had time, we should practice together.
I felt she was very kind.
I thought to myself again, I had found the ideal work place which I had been wanting.
At that time, he didn't explain to me about why he had lent his "Tsuzumi" to me.
After his lesson, I went to Hachioji as usual in order to work.
As soon as I arrived at the "Okiya", the geisha house, I met my geisha mother at the main entrance of the okiya.
When my geisha mother saw the Tsuzumi, which my shamisen teacher had lent me, she asked why I had it.
So I explained to her about the reason why I had it.
After the explanation, I added that I wanted to start a new lesson to learn the Tsuzumi.
She looked very glad, because there are not so many geishas who can play the Tsuzumi.
Actually, I have been wanting to become a professional geisha, so I was planning to start Tsuzumi and dance lesson in the near future.
I explained to my shamisen teacher about how I would start taking Tsuzumi lessons.
He also looked very glad.
He said to me that geisha must play various kinds of instruments, not only the shamisen.
He added that he wanted me to become interested in other instruments.
I thought that my decision was a good one.
Several days after deciding to start lessons, I went to the new Tsuzumi teacher's house with my geisha mother and my geisha sister.
To tell the truth, before I met the new teacher, my geisha sister told me about the Tsuzumi teacher's strict lesson style.
My geisha sister explained to me that during the Tsuzumi lesson, musical scores are not prepared, so students have to write down the teacher's oral instruction very quickly.
At first, I just watched my geisha mother and sisters' lesson.
I soon understood clearly what my geisha sister had explained to me.
It looked like a very professional lesson, so I thought that I really have to do my best.
After their group lesson, it became my turn. I got tense.
At first, the teacher taught me how to hold the Tsuzumi and how to hit it.
It was very difficult to do it correctly contrary to my expectation.
When I saw my geisha sister playing the Tsuzumi, it looked easy.
However I couldn't make a good sound constantly, and I soon got tired from holding it.
Therefore I realized that my geisha sister, who had taught me about the Tsuzumi teacher, really did her best, because her sounds were beautiful and she could beat it correctly.
I think I will be able to enjoy listening to traditional Japanese music more deeply from now.
By the way, after the first lesson, I listened to my Tsuzumi lesson's recording at the hair salon when I was sitting my next to my geisha sister.
She noticed that I was pretending to practice the Tsuzumi.
I said to her that I couldn't understand one part of the music which I had been taught by our Tsuzumi teacher.
When I went back to the okiya, she asked me that if I had time, we should practice together.
I felt she was very kind.
I thought to myself again, I had found the ideal work place which I had been wanting.
2010年9月22日水曜日
My identity
My hometown is in Tokushima(徳島) prefecture, which is located west side of Osaka(大阪).
The most symbolic cultural aspect of Tokushima is "the Awa-odori(阿波踊り)", which is a famous traditional Japanese dance.
It is said that the Awa-odori in Tokushima has over 400 years of history, and now in many towns all over Japan, Awa-odori festivals are held to stimulate for their local economies.
When I lived in Tokushima, I just enjoyed watching it with my family every summer.
After graduating from high school, I left Tokushima in order to go on to the Osaka-city University.
To tell the truth, at that time I disliked my small hometown because its community was too small and the local people were conservative.
After graduating from University, I tried taking an exam to become a judicial scrivener.
However after working at a small law firm part-time, I decided to change my career.
Then I came to Tokyo in order to work for a web company which was expanding at that time.
I worked very hard every day for that company, however I wanted to find something which I could be absorbed in outside of my job.
One day when I was surfing the Internet, I came across "the Koenji-Awa-odori(高円寺阿波踊り)".
In Koenji, which is located near Shinjuku(新宿), the Awa-odori festival is held every summer.
Actually the Koenji-Awa-odori festival is the most famous and biggest in the Kanto region.
I soon decided which Awa-odori group I would join.
Awa-odori groups are called "Ren(連)", and the dancing style is different in each Ren.
So it was important for me which Ren I chose, because I was fastidious Awa-odori.
I chose one Ren whose dancing style was not so flamboyant, however still classical and beautiful.
In that Ren, I tried doing my best in order to become a good dancer.
However 4 years later, I was kicked out from that Ren, because I complained about their leadership.
At first I wanted to discuss that problem with them, because I believed that we could understand each other better after discussion.
However they said to me that they didn't want to dance with me from that time.
To tell the truth, I also felt something was amiss when comparing the difference in Awa-odori culture between Koenji and my hometown, so I decided to leave that group.
I really got depressed, so I couldn't even enjoy just watching Awa-odori for some time.
Around 2 years later since I sadly stopped dancing, I became a geisha.
By the way, I sometimes talk to my geisha mother and sisters about my hometown in Tokushima and how I used to dance Awa-odori.
However I couldn't imagine that I would dance Awa-odori at an Ozashiki(お座敷).
One day, Oka-san, my geisha mother, requested me to dance Awa-odori in front of our customers.
I was very surprised.
She played the shamisen and I taught some customers how to dance.
After my Awa-odori lesson, the customers and I danced together.
The customers unanimously said to me that my dancing and shouting were very professional.
I thought that my dance skill was not so good, but I was very happy because all of the customers seemed to be happy.
Though I have decided to continue living in Tokyo as a geisha, I realized that I love my hometown and Awa-odori.
It was very amazing experience for me that I could recognize my identity at my working place which is so far from my hometown.
Please check some following links in order to enjoy the Tokushima-Awa-odori.
The Tokushima Awa-odori festival vol.1
The Tokushima Awa-odori festival vol.2
The Tokushima Awa-odori festival vol.3
The most symbolic cultural aspect of Tokushima is "the Awa-odori(阿波踊り)", which is a famous traditional Japanese dance.
It is said that the Awa-odori in Tokushima has over 400 years of history, and now in many towns all over Japan, Awa-odori festivals are held to stimulate for their local economies.
When I lived in Tokushima, I just enjoyed watching it with my family every summer.
After graduating from high school, I left Tokushima in order to go on to the Osaka-city University.
To tell the truth, at that time I disliked my small hometown because its community was too small and the local people were conservative.
After graduating from University, I tried taking an exam to become a judicial scrivener.
However after working at a small law firm part-time, I decided to change my career.
Then I came to Tokyo in order to work for a web company which was expanding at that time.
I worked very hard every day for that company, however I wanted to find something which I could be absorbed in outside of my job.
One day when I was surfing the Internet, I came across "the Koenji-Awa-odori(高円寺阿波踊り)".
In Koenji, which is located near Shinjuku(新宿), the Awa-odori festival is held every summer.
Actually the Koenji-Awa-odori festival is the most famous and biggest in the Kanto region.
I soon decided which Awa-odori group I would join.
Awa-odori groups are called "Ren(連)", and the dancing style is different in each Ren.
So it was important for me which Ren I chose, because I was fastidious Awa-odori.
I chose one Ren whose dancing style was not so flamboyant, however still classical and beautiful.
In that Ren, I tried doing my best in order to become a good dancer.
However 4 years later, I was kicked out from that Ren, because I complained about their leadership.
At first I wanted to discuss that problem with them, because I believed that we could understand each other better after discussion.
However they said to me that they didn't want to dance with me from that time.
To tell the truth, I also felt something was amiss when comparing the difference in Awa-odori culture between Koenji and my hometown, so I decided to leave that group.
I really got depressed, so I couldn't even enjoy just watching Awa-odori for some time.
Around 2 years later since I sadly stopped dancing, I became a geisha.
By the way, I sometimes talk to my geisha mother and sisters about my hometown in Tokushima and how I used to dance Awa-odori.
However I couldn't imagine that I would dance Awa-odori at an Ozashiki(お座敷).
One day, Oka-san, my geisha mother, requested me to dance Awa-odori in front of our customers.
I was very surprised.
She played the shamisen and I taught some customers how to dance.
After my Awa-odori lesson, the customers and I danced together.
The customers unanimously said to me that my dancing and shouting were very professional.
I thought that my dance skill was not so good, but I was very happy because all of the customers seemed to be happy.
Though I have decided to continue living in Tokyo as a geisha, I realized that I love my hometown and Awa-odori.
It was very amazing experience for me that I could recognize my identity at my working place which is so far from my hometown.
Please check some following links in order to enjoy the Tokushima-Awa-odori.
The Tokushima Awa-odori festival vol.1
The Tokushima Awa-odori festival vol.2
The Tokushima Awa-odori festival vol.3
2010年8月24日火曜日
The assessment and happy birthday
One day one O-ne-san, geisha sister, asked me to play the shamisen at her "Ozashiki", party, to entertain her regular customer.
She wanted to entertain her customer with her dance and my shamisen playing.
She requested me to play one song which is very popular and used at many parties.
My Oka-san, geisha mother, asked me to practice that song before the day, so I sometimes played it.
I thought that I could memorize that song before playing with my O-ne-san, but I didn't have confidence to play it well. Therefore I consulted Oka-san about my lack of a confidence.
She told me that she wanted to assess my performance level before the party.
So I did my best before the day on which my Oka-san would assess that song.
But in the end, I decided not to perform the song and I told my Oka-san that I would practice much more before performing it at a party.
Finally at the party with my O-ne-san, she didn't dance, she played the shamisen instead of me.
After the party, my Oka-san told me that she still wanted to assess my performance level not only for that song but also for other songs, so we set another day for the assessment.
I really did my best before the appointed assessment day with my Oka-san.
On the day, I felt nervous, so in the early morning I went to Okiya, and practiced for several hours.
My Oka-san sat in front of me, and I started playing the shamisen.
As soon as I started playing, she stopped me to play, because my playing speed was too fast.
She said to me that I was not a solo player, but a "Zikata", who is an accompanist for the dancers.
She started dancing in front of me while I was playing so that I could understand a suitable playing speed.
In addition, she pointed out my second fault.
She said to me that I should sing with my mouth open wider, since the form in which geisha sing is important.
After her assessment, I checked the YouTube pages on which my Oka-san and I played the shamisen at the Hachioji festival, and compared her playing form to mine.
I soon realized what she had made me understand.
After the assessment, one O-ne-san called us, so the Oka-san and I followed her to the kitchen.
I was very surprised that a birthday cake for me had been prepared and all of the O-ne-san sung happy birthday to me.
I hadn't expected such a surprise.
On my birthday party day, some O-ne-sans didn't have any parties, but they still came to the Okiya to celebrate my birthday together.
On that day, the Oka-san said to me that I could perform the song which my O-ne-san had asked me to play in front of her customer.
I was very happy and decided that I would do my best even more from now on.
She wanted to entertain her customer with her dance and my shamisen playing.
She requested me to play one song which is very popular and used at many parties.
My Oka-san, geisha mother, asked me to practice that song before the day, so I sometimes played it.
I thought that I could memorize that song before playing with my O-ne-san, but I didn't have confidence to play it well. Therefore I consulted Oka-san about my lack of a confidence.
She told me that she wanted to assess my performance level before the party.
So I did my best before the day on which my Oka-san would assess that song.
But in the end, I decided not to perform the song and I told my Oka-san that I would practice much more before performing it at a party.
Finally at the party with my O-ne-san, she didn't dance, she played the shamisen instead of me.
After the party, my Oka-san told me that she still wanted to assess my performance level not only for that song but also for other songs, so we set another day for the assessment.
I really did my best before the appointed assessment day with my Oka-san.
On the day, I felt nervous, so in the early morning I went to Okiya, and practiced for several hours.
My Oka-san sat in front of me, and I started playing the shamisen.
As soon as I started playing, she stopped me to play, because my playing speed was too fast.
She said to me that I was not a solo player, but a "Zikata", who is an accompanist for the dancers.
She started dancing in front of me while I was playing so that I could understand a suitable playing speed.
In addition, she pointed out my second fault.
She said to me that I should sing with my mouth open wider, since the form in which geisha sing is important.
After her assessment, I checked the YouTube pages on which my Oka-san and I played the shamisen at the Hachioji festival, and compared her playing form to mine.
I soon realized what she had made me understand.
After the assessment, one O-ne-san called us, so the Oka-san and I followed her to the kitchen.
I was very surprised that a birthday cake for me had been prepared and all of the O-ne-san sung happy birthday to me.
I hadn't expected such a surprise.
On my birthday party day, some O-ne-sans didn't have any parties, but they still came to the Okiya to celebrate my birthday together.
On that day, the Oka-san said to me that I could perform the song which my O-ne-san had asked me to play in front of her customer.
I was very happy and decided that I would do my best even more from now on.
The Hachioji festival
I didn't know that there was a big festival in Hachioji which had such a long history.
The Hachioji festival is held from the first Friday in August to Sunday, over 3 days.
Please check this link for a video of the festival.
http://www.youtube.com/watch?v=r7ECr9LtPM0&feature=player_embedded
The first day of the festival on Friday is called "Yoimiya", when the geisha perform dances in front of the audience. On Yoimiya day, everyone can enjoy seeing professional geisha's performance free of charge.
On the Saturday and Sunday, many floats parade through the central area of Hachioji city. The geisha play the shamisen, drums and flute on a float.
Before the festival I heard from my geisha sister that we must play the shamisen for about 4 hours, in Seiza, Japanese sitting style.
In addition, I had to memorize all of the songs which I had to play, so I had been practicing very hard every day before the festival.
Unfortunately I couldn't participate in the final day of the festival, because I had to attend a group shamisen practice session with my shamisen teacher and other pupils in Asakusa.
So I did my best to really enjoy the 2 days.
On the Friday, Yoimiya, my geisha mother, geisha sister and I played the shamisen together.
It was my first time to play the shamisen as a geisha in front of a large audience.
I felt very nervous, because we used microphones, so if I made any mistakes, they would be amplified.
I had tried to learn all songs by heart, but in the end I used my music scores without making any mistakes.
At the rehearsal for Yoimiya, my geisha mother told me that I should play the shamisen in perfect synchronization with her.
If I followed my music score, it might be difficult play as she expected me to.
I couldn't decide whether to use my music scores or not, but in the end I uesed 2 music scores.
Here are 2 Youtube pages of Yoimiya.
http://
http://
After Yoimiya, all geishas entertained customers at some parties.
On the second day, before playing the shamisen on the float, the geisha and the local people gathered at the shrine to pray.
After praying, all people pulled the ropes of our float and paraded it around Hachioji city.
I want to explain about the float.
There are many kinds of floats which are different in each town.
The following PDF files show some images of various floats.
http://www.hachiojimatsuri.jp/pamphlet/pamphlet2010_kami.pdf
http://www.hachiojimatsuri.jp/pamphlet/pamphlet2010_shimo.pdf
The Hachioji festival was originally separately held in the Kami-area and the Shimo-area, however 50 years ago, these festivals united into one big festival and subsequently became a tourist attraction.
Back to the second day of the festival, it was a very hot and sunny day, so it was very tough for everyone to pull the float, however all people seemed to enjoy the festival.
On the float, "Ohayashi" was performed.
http://www.youtube.com/watch?v=jelDIfBx7Gc&feature=related
The above URL is a scene of "Buttsuke".
People who perform Ohayashi compete with other performances on the nearby float.
The following URL is our geisha's "Niwaka-dashi"(Improvised float).
http://www.youtube.com/watch?v=qcAFeab8-3I&feature=related
The time passed very quickly. I really enjoyed the festival.
I hope I can participate in all days next year.
From participating in the Hachioji Festival, I realized that the geisha are an important cultural element in the town.
The Hachioji festival is held from the first Friday in August to Sunday, over 3 days.
Please check this link for a video of the festival.
http://www.youtube.com/watch?v=r7ECr9LtPM0&feature=player_embedded
The first day of the festival on Friday is called "Yoimiya", when the geisha perform dances in front of the audience. On Yoimiya day, everyone can enjoy seeing professional geisha's performance free of charge.
On the Saturday and Sunday, many floats parade through the central area of Hachioji city. The geisha play the shamisen, drums and flute on a float.
Before the festival I heard from my geisha sister that we must play the shamisen for about 4 hours, in Seiza, Japanese sitting style.
In addition, I had to memorize all of the songs which I had to play, so I had been practicing very hard every day before the festival.
Unfortunately I couldn't participate in the final day of the festival, because I had to attend a group shamisen practice session with my shamisen teacher and other pupils in Asakusa.
So I did my best to really enjoy the 2 days.
On the Friday, Yoimiya, my geisha mother, geisha sister and I played the shamisen together.
It was my first time to play the shamisen as a geisha in front of a large audience.
I felt very nervous, because we used microphones, so if I made any mistakes, they would be amplified.
I had tried to learn all songs by heart, but in the end I used my music scores without making any mistakes.
At the rehearsal for Yoimiya, my geisha mother told me that I should play the shamisen in perfect synchronization with her.
If I followed my music score, it might be difficult play as she expected me to.
I couldn't decide whether to use my music scores or not, but in the end I uesed 2 music scores.
Here are 2 Youtube pages of Yoimiya.
http://
http://
After Yoimiya, all geishas entertained customers at some parties.
On the second day, before playing the shamisen on the float, the geisha and the local people gathered at the shrine to pray.
After praying, all people pulled the ropes of our float and paraded it around Hachioji city.
I want to explain about the float.
There are many kinds of floats which are different in each town.
The following PDF files show some images of various floats.
http://www.hachiojimatsuri.jp/pamphlet/pamphlet2010_kami.pdf
http://www.hachiojimatsuri.jp/pamphlet/pamphlet2010_shimo.pdf
The Hachioji festival was originally separately held in the Kami-area and the Shimo-area, however 50 years ago, these festivals united into one big festival and subsequently became a tourist attraction.
Back to the second day of the festival, it was a very hot and sunny day, so it was very tough for everyone to pull the float, however all people seemed to enjoy the festival.
On the float, "Ohayashi" was performed.
http://www.youtube.com/watch?v=jelDIfBx7Gc&feature=related
The above URL is a scene of "Buttsuke".
People who perform Ohayashi compete with other performances on the nearby float.
The following URL is our geisha's "Niwaka-dashi"(Improvised float).
http://www.youtube.com/watch?v=qcAFeab8-3I&feature=related
The time passed very quickly. I really enjoyed the festival.
I hope I can participate in all days next year.
From participating in the Hachioji Festival, I realized that the geisha are an important cultural element in the town.
2010年7月28日水曜日
I was introduced as a new geisha.
In Hachioji, there is a geisha support organization.
Whoever who pays the annual fee of 10,000 yen, can become a member of the organization in order to support the local geisha.
I think this kind of support system is rare.
Furthermore, parties hosted by the organization for it's members are important for us geisha, because we can increase our opportunities to perform.
By the way, I practiced over 5 songs on the shamisen for the annual party of the support organization, and tried to learn all songs by heart.
Finally I could succeed.
In the morning of the party day, I went to my usual hair salon and asked the stylist, who is also a shamisen player, whether I should play the shamisen without the music score.
She advised me that the most important thing for audience was not playing the shamisen without using the music score, but rather playing it without making mistakes.
So I decided that, in the first session, when I would play with 6 other players, I wouldn't use the music score, but in the second and last session, when I would play with only 2-3 other players, I would look at my music score.
At that time, I realized that my practice was not enough.
I have to try harder to do my best as a professional geisha.
On another note, I helped some o-ne-sans' apply their special geisha make-up, "Shironuri".
To tell the truth, it was my first time to help them with "Shironuri".
I knew that when geisha apply their special make-up, they have to start "Shironuri" 3 hours before a party, because after applying "Shironuri", they have to have their kimonos fitted.
In my role as a geisha, I don't need to wear "Shironuri"*.
* Geisha who wear a special geisha wig which is called "Nihon-gami", also put "Shironuri".
Actually, customers who want to see "Shironuri", need to pay an additional fee.
At the party, I could meet some important people in Hachioji.
Whoever who pays the annual fee of 10,000 yen, can become a member of the organization in order to support the local geisha.
I think this kind of support system is rare.
Furthermore, parties hosted by the organization for it's members are important for us geisha, because we can increase our opportunities to perform.
By the way, I practiced over 5 songs on the shamisen for the annual party of the support organization, and tried to learn all songs by heart.
Finally I could succeed.
In the morning of the party day, I went to my usual hair salon and asked the stylist, who is also a shamisen player, whether I should play the shamisen without the music score.
She advised me that the most important thing for audience was not playing the shamisen without using the music score, but rather playing it without making mistakes.
So I decided that, in the first session, when I would play with 6 other players, I wouldn't use the music score, but in the second and last session, when I would play with only 2-3 other players, I would look at my music score.
At that time, I realized that my practice was not enough.
I have to try harder to do my best as a professional geisha.
On another note, I helped some o-ne-sans' apply their special geisha make-up, "Shironuri".
To tell the truth, it was my first time to help them with "Shironuri".
I knew that when geisha apply their special make-up, they have to start "Shironuri" 3 hours before a party, because after applying "Shironuri", they have to have their kimonos fitted.
In my role as a geisha, I don't need to wear "Shironuri"*.
* Geisha who wear a special geisha wig which is called "Nihon-gami", also put "Shironuri".
Actually, customers who want to see "Shironuri", need to pay an additional fee.
At the party, I could meet some important people in Hachioji.
登録:
投稿 (Atom)