10/02/2015

Funabashi and Gyotoku

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. Famous Places and Powerspots of Edo 江戸の名所 .
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Funabashi and Gyootoku, Gyōtoku 船橋 と 行徳 Gyotoku

. Funasshi ふなっしー Mascot from Funabashi, Chiba .


江戸名所図会, 船橋

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Funabashi city is located in northwestern Chiba Prefecture and makes up one part of the Shimōsa Plateau. Funabashi is crossed by the Tone River, and the small Ebi River is located entirely within city limits. Funabashi formerly had wide, shallow beaches, but much of the coast has been industrialized and transformed by reclaimed land.

The name "Funabashi" is mentioned in the Kamakura period chronicle Azuma Kagami. However, the name itself is even more ancient, dating from before the Nara period and the Yamatotakeru mythology. Archaeologists have found stone tools from the Japanese Paleolithic period and shell middens from the Jomon period in the area, indicating continuous inhabitation for thousands of years. A number of Shinto shrines and Buddhist temples in the area claim to have been founded in the Nara period or Heian period. During the Muromachi periods, the area was controlled by the Chiba clan. During the Sengoku period, the Chiba clan fought the Satomi clan to the south, and the Late Hojo clan to the west. After the defeat of the Chiba clan, the area came within the control of Tokugawa Ieyasu.

Under the Tokugawa shogunate, the area prospered as a post town on the river crossing of the Tone River, and was largely retained as tenryo 天領 under the direct control of the Shogunate and administered through a number of hatamoto. The area was also a favored hunting grounds for the Shogun. During the Boshin War of the Meiji Restoration, Funabashi was the location of a minor skirmish between Tokugawa loyalists under Enomoto Takeaki and the pro-Imperial forces of Okayama Domain and Satsuma Domain, during which most of the town burned down.

After the abolition of the han system, the area eventually became part of Chiba Prefecture. Funabashi Town was one of several towns and villages created on April 1, 1889 under Inba District. The area developed rapidly due to its proximity to Tokyo and the presence of numerous military facilities in the area. On April 1, 1937, Funabashi was elevated to city status through merger with neighboring Katsushika Town and Yasakae, Hoden and Tsukada Villages. The new city was host to numerous military installations in World War II, and was bombed in the air raids on Japan in 1945.

The city developed rapidly in the postwar period, with the development of industries, public housing developments and port facilities. With the annexation of neighboring Ninomiya Town in 1953, the population exceeded 100,000. The population exceeded 300,000 in 1969 and 500,000 in 1982. Funabashi was designated a core city on April 1, 2005 with increased local autonomy from the central government. The population exceeded 600,000 in 2006.
- - - More in the WIKIPEDIA !

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source : otonanonurie

船橋駅 天道念仏踊り之図 Tendo Nenbutsu Odori
Funabashi Station

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The Gyotoku Salt Fields 行徳塩田 Gyotoku enden
... Gyotoku, a settlement on the shore of Edo bay about 15 kilometers east of the city. To get there, we have to take a boat ride through the canals of Edo. As I have mentioned in the past, rivers and canals criss-cross most of downtown Edo, and one of the fastest ways to get from place to place is by boat. There are many piers and boat landings in the downtown part of the city, but today we are going to a pier that is used only by a special ferry boat operated by the city officials -- the water taxi to Gyotoku. Gyotoku is a very important site in this region, since it is the home of the Gyotoku salt works.

Gyotoku kashi (Gyotoku wharf), located in the Nihonbashi district, is the starting point for a busy water taxi service . There are always boats preparing to land or depart, since there is a steady stream of townspeople travelling to and from the working-class suburbs east of the Sumida River. The wharf is named Gyotoku kashi after the town of Gyotoku, which is the last stop on the route. The watashi-bune (ferry-boats) follow one of several regular routes through the canals of Edo, but Gyotoku -- at the eastern end of Edo Bay -- is the final destination for all of them.

When Edo was first built, the flat marshy land on the east bank of the Sumida River was almost uninhabited. This low-lying land to the east of Edo was a marshy delta, formed by several large rivers that empty into Edo Bay. Even the isolated areas of solid ground in this area flooded easily during heavy rains, and there were few reliable sources of fresh water along the shore of the bay -- only when you went up-river beyond the high tide line could you get fresh water from the rivers. The marshes were a barrier that blocked traffic east from Edo. To get to the rich rice lands of Shimosa province you had to make a long detour to the north, along the Chiba Kaido, or else travel across Edo Bay by boat, rounding the marshes to the south and then swinging north again, up the coast to the towns of Gyotoku and Funabashi, which serve as the gateway to Shimosa province.

When Tokugawa Ieyasu first arrived in Edo, one of his first priorities was to find a way to build transportation links across the marshes east of the Sumida River. To secure the necessary food and goods needed for the city of Edo to grow, it was essential to transport the rich harvest of rice and vegetables from the provinces to the North and east of Edo to markets in the downtown area. The city also needed salt from Gyotoku, which is the only town in the area suited for salt production. Therefore, in around 1602 Ieyasu ordered his men to begin building canals through the marshlands to connect all of the major river systems in the eastern Kanto region. The network of canals and rivers now extends across a wide area to the north and east of Edo

One main canal, known as the 小名木川 Onagigawa (Onagi river), runs due east from the Sumida River near Nihonbashi to Gyotoku. This was one of the first canals to be built, though today, many other channels have been built, and the marshlands are crisscrossed by a checkerboard of canals. Once the canals were completed, transportation through the area became even smoother than travel by land. More and more people moved into the area as fresh water was made available, and today the area is a bustling neighborhood of blue-collar homes and small businesses.

When the boat is full of passengers, the captain uses his long bamboo pole to push off from shore. The watashi-bune are generally driven by two boat pilots using long poles of bamboo. There is also a broad rudder on the stern of the boat, which can be used to propel the craft in places where the water is too deep for the poles to reach bottom.

The boat travels down the canal from Nihonbashi to the Sumida River. When we reach the river the pilots slow down as they try to maneuver their way through the crowd of boat traffic. The Sumida river is Edo's main thoroughfare, carrying even more traffic than the Tokaido or any of the other main roads. The city is quite crowded and many of the streets are narrow, so it is hard to transport goods through the streets. Horse carts would be a nuisance to pedestrians, so they are hardly ever used in the downtown area. Instead, all goods are carried by boat to the nearest wharf, and then transported to their destination on the backs of nimpu (porters). The Sumida river is always thronged with boat traffic, and it is amazing to watch the boat pilots skillfully guiding their craft in and out of traffic. It seems amazing that there are so few collisions.

The boat sails past the huge, arching span of Eitaibashi (Eitai Bridge). This towering bridge links the port districts of Nihonbashi, Minato and Tsukiji with the blue-collar neighborhood of Fukagawa. It is supported by several dozen huge columns, each carved from the trunk of a single huge hinoki (cypress) tree. The wood is highly resistant to water and rot, and it may last for as much as a hundred years before the bridge needs to be repaired. On the opposite shore of the Sumida river, just a short distance upriver from the bridge, is a broad waterway branching off from the main river channel. This is the Onagigawa (Onagi River 小名木川).

The Onagigawa runs due east from the Sumida River, near Nihonbashi, to the Ara River, just a short distance from Gyotoku. The shoguns built this canal shortly after they moved to Edo, in order to provide quick and easy transportation between Edo and the rich provinces to the east. In addition to the constant stream of ferry boats, there are also many takase-bune (large cargo boats), which use the canal to carry loads of rice, vegetables and other agricultural products from the rich farms in Shimosa, Kazusa and Kotsuke Provinces.

The Onagigawa cuts a wide path through the marshy lowlands to the east of Edo. There are many explanations for how the canal got its name. The characters O - NA - GI ("small", "name", "tree") do not make much sense unless they were a person's name -- perhaps this was the name of the person who oversaw construction of the canal. Another likely explanation is that the name was originally Unagi-gawa (eel river). The river is, in fact, filled with eels, and many unagi fishermen can be seen along the river, fishing for these delicacies. Perhaps the pronunciation changed over time, and people forgot the original source of the name.

. Sarue 猿江町 Sarue - "Monkey Inlet" along the Onagigawa .

As our boat glides down this busy waterway, it passes through a series of small farming villages separated by occasional broad stretches of reeds and marshes. Before Edo was settled, this area of rivers and marshes was virtually uninhabited, but now it has become a thriving center of vegetable farming. Because of the rich soil, and the strong demand for vegetables from city dwellers, farmers in the towns along the Onagigawa have become quite prosperous. In fact, many varieties of vegetables take their names from farming communities in this area, such as Sunamura melons and Kasai leeks.

However, as your boat moves further and further east, the small farming villages become fewer and more widely scattered, and the swamps and marshes broader and more filled with wildlife. The broad East-West canal continues onward through the marshes. Though there are few signs of habitation along the banks of the canal, boat traffic remains heavy. Your own boat continues to glide along the flat surface of the canal. The sun is rising higher into the sky, and the two boat pilots are sweating heavily as they propel the craft with their long poles. They seem to be poling more energetically now, since you have almost reached your destination.

At last, the sparkling waters of Edo Bay come into view, and you can see the small but busy village of Gyotoku strung out along the shoreline. Clouds of steam rise from the low buildings along the canal, and on the flat land beside the bay, the sun sparkles off the salt fields, where salt is being produced for sale in Edo. Salt is a very important commercial commodity in most countries, and in Edo, the situation is no different. Salt is very important in the daily live of Edo's citizens for many reasons.



Salt is an important part of the diet. Japanese food tends to be rather plain, especially the staple meals of the lower classes, which consist mainly of rice and perhaps a small amount of fish or vegetables. To spice up their diet, the people are very fond of shoyu (soy sauce) and miso. Both of these are made mostly from soybeans and salt. Salt is also needed to preserve fish. Naturally, most people in Edo prefer their fish to be as fresh as possible. However, many of the fishing villages that supply Edo with food may take several days or even weeks to ship their produce to the markets in the city. If the fish is not sold right away, it has to be preserved in salt or else it will get rotten. A very large amount of salt is used to preserve fish -- many times more than the amount needed just for a healthy diet. For this reason, many fishing villages produce salt locally, at least on a small scale

In addition, people in Japan use salt in many rituals, as a symbol of purification. Priests throw salt on new building sites to purify them, and throw salt on the temple grounds for the same reason. When a person dies, the relatives throw salt outside the door of the house to keep evil spirits away. Merchants often put little piles of salt just outside their door to keep away bad luck. This is especially common at the beginning of the New Year. Finally, sumo wrestlers throw salt into the ring before they start wrestling, in order to purify the ring for the start of the match.

The demand for salt is so great that the price is quite high in Edo. Merchants ship large loads of salt all the way from Western Japan. The best places to make salt are places with a long, flat beach that is fairly hard-packed, and which gets fairly large changes in the water level from high tide to low tide. There are many places like this along the Seto Inland Sea, in Western Japan, and these are the main centers of salt production. In the Edo area, though, Gyotoku is about the only good location in the area which has a beach that is wide enough and sandy enough to be suitable for producing salt.

We have arrived at low tide and the sun is quite hot. This is a good time to see the salt workers in action, since it is an ideal time for drying the salt. People are busily walking to-and-fro, carrying buckets on poles on their shoulders. There is a steady and constant traffic of people from the edge of the sea to the flat, hard-packed square fields that are laid out in a checkerboard across the wide, flat beach.

The salt workers fill their buckets with sea water from a small channel that has been dug to bring the water a little ways up the beach, even at low tide. They then carry the buckets to the drying fields, where they pour the water into the field until a shallow layer covers the flat ground. The sea water is left to evaporate, and when all the water is gone, it leaves a crust salt. The workers will continue to add water a bit at a time and let it evaporate, continuing the process for as long as a week.

After a few days of adding water again and again, then waiting for it to evaporate, there will be a thick crust of salt coating the field. This salt crust can then be raked up into piles and collected. the piles of salt are then stored in little storehouses until other workers can come by to collect it. The dried salt is then carried to the boiling houses further up the beach.

A cluster of boiling houses is located not far from the salt fields; this is where the salt is processed and purified. Workers carry bundles of raw salt into the buildings, where it is carefully wrapped in very finely-woven silk cloth and then placed in a tub of water. The salt dissolves in the water, but the sand, dirt and grit that was mixed with the salt remains trapped inside the cloth. Finally, the supersaturated salt water is poured into huge boiling vats. Fires built underneath the vats boil off all the water, and when the water is all gone, the salt that is left in the bottom of the vats is clean and pure enough to eat.
- source : Edomatsu


行徳塩田
- - - More in the WIKIPEDIA !


. enden 塩田 salt fields - Introduction .

. Umibedaikuchmachi 海辺大工町 Umibe Daikumachi carpenter district on the coast .
along the river 小名木川 Onagigawa

. Chiba Kaido 千葉街道 Chiba Highway .
passing Funabashi

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Gyotoku Kaido 行徳街道 Gyotoku Highway
From 市川市 Ichikawa city in 千葉県 Chiba to 浦安市 Urayasu town.
Now National Highway Nr. 6.



- quoting the wikipedia
Ichikawa City (市川市, Ichikawa-shi)
The city has a concentration of the wide-area traffic network that connects the center of Tokyo with many areas of Chiba Prefecture. Major rail routes and roads pass through the city.
The area around present-day Ichikawa has been inhabited since the Japanese Paleolithic period.
... During the Nara period, Ichikawa was the provincial capital of Shimōsa Province and is mentioned in the Man'yōshū. During the Heian period, this area was the center of the rebellion by Taira Masakado. During the Sengoku period, it was the site of a major battles (Battle of Kōnodai) between the Satomi clan and the Later Hōjō clan. ...

Urayasu (浦安市, Urayasu-shi)
Urayasu is best known as the home of the Tokyo Disney Resort, which opened in April 1983,
... The area around Urayasu was tenryo territory within Shimōsa Province controlled directly by the Tokugawa shogunate during the Edo period. Urayasu served as an important fishing village for the Edo capital. Until the industrialization of the city it was a major center of production of nori, an edible seaweed, hamaguri, the common orient clam, and asari, the Japanese cockle. All three are important elements of the traditional Japanese diet.

- map from Ichikawa city -

. Kaido 街道 Highways of Japan .

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Imai-no-Watashiba Ferry 今井の津頭
The Imai river boat was used to cross Edo River until 1912 (the first year of Taishō) until Imai Bridge was built. - source : Tokyo Metropolitan Library -

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The remains of the ferry at Imai was the eastern gate of Edo in Edo period, and it was the physical distribution base in Edogawa river.
It was on the east bank near the Imaibashi Bridge. Ieyasu Tokugawa, the founder of Edo Bakufu landed near the ferry at Imai and passed through Gongenmichi Road to go hawking at Togane after he moved to Edo after the Seige of Odawara by Hideyoshi Toyotomi.
And it is said that the Second Shogun, Hidetada Tokugawa and the lord of Ootaki, Honda's also used this ferry.
Moreover, the ferry was described on the essay 'Azumaji no Tsuto (the trips in East Japan)' by the renga poet Socho in late Muromachi period so it had existed there at that time. In Edo period, only residents near Imai could use this ferry. Anyway, it was a very beautiful spot that Mt. Fuji could be seen and thousands of ships passed through Edogawa River to bring thousands of products from Tohoku (north east Japan) and Kita Kanto (northern Kanto) region.
In the Meiji era, some steam boats appeared on the river, so Edogawa River was much crowded with people and boats. The remains of the ferry at Imai tells how prosperous water transportation in Edo period was before cars and trains would develop.
- source : travel.smileandhappiness.net/imainowatashi -
Imaibashi 今井橋 Imaibridge, Imai Bridge


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Rakugo Nakishio 落語「泣き塩」"Weeping Salt"

yakishio and nakishio 焼き塩 boiling salt and crying salt


行徳塩、製造工程の最終工程「焼き塩風景」 

泣き塩」の舞台を歩く - 古今亭志ん朝 Kokontei Shincho
- source : ginjo.fc2web.com/219nakisio -

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- - - - - H A I K U and S E N R Y U - - - - -

船橋のふわふわ動く胡蝶哉
Funabashi no fuwafuwa ugoku kochoo kana

the lake butterfly
at Funabashi moves
ever so softly . . .



船橋や花藻もよらず瀬を早み
Funabashi ya hanamo mo yorazu se o hayami


. Masaoka Shiki 正岡子規 .

. WKD : "lake butterfly", kochoo 胡蝶(こちょう) .
- - kigo for spring - -

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行徳の水辺したしき草じらみ
Gyotoku no mizube shitashiki kusajirami

村沢夏風


船橋に夏の日低くなりて没る 山口波津女
船橋に立つ日憧れ卒業す 高林蘇城
船橋に駄馬騒ぎ出す霰かな 会津八一
船橋の船に洩る水温みけり 繞石句集落椿
船橋を少年去らず五月の航 大井雅人

摘草や船橋ゆるゝ風の中 野村喜舟

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. Japanese Architecture - Interior Design - The Japanese Home .

. Famous Places and Powerspots of Edo 江戸の名所 .

. Doing Business in Edo - 商売 - Introduction .

. shokunin 職人 craftsman, craftsmen, artisan, Handwerker .

. senryu, senryū 川柳 Senryu poems in Edo .

. densetsu 伝説 Japanese Legends - Introduction .


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[ . BACK to WORLDKIGO . TOP . ]- - - - - #gyotoku #edobakufu #funabashi #imai - - - -
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9/30/2015

Sukeroku

[ . BACK to DARUMA MUSEUM TOP . ]
. Persons and People of Edo - Introduction .
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Sukeroku 助六

. The famous 18 big spenders of Edo 十八大通 .

Ooguchiya Jihei 大口屋治兵衛 Oguchiya Jihei
was one of them.
It is said he was the real original for the main character of the famous kabuki play SUKEROKU 助六.
He had a special hairstyle and wore special cloths. Even his clogs (geta) were made of especially expensive wood.

CLICK for more photos !
Sukeroku Kabuki

These rich merchants supported the Kabuki actors and theater, even learning shamisen and dance themselves and sometimes took part in the orchestra behind hidden windows.
Since they practiced many forms of art themselves, the artists they sponsored were also of high quality.

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. Kabuki in Edo 江戸の歌舞伎 .

The play "Sukeroku" was staged for the first time in the 3rd lunar month of 1713 in Edo at the Yamamuraza.



Sukeroku Yukari no Edo-zakura 助六由縁江戸桜

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Sukeroku is among the most popular and famous of kabuki plays. Closely associated with the Ichikawa Danjûrô line of actors, it is counted among the Kabuki Jûhachiban.

The story centers on Sukeroku, a samurai and otokodate, a prominent patron of the Yoshiwara, and especially of Agemaki, the top courtesan of the Miura-ya teahouse. Drawing upon elements of the classic Soga Monogatari, Sukeroku is later revealed to be Soga Gorô in disguise, working to seek out his father's killer and avenge his father's death.

The play is well-known for a number of iconic elements, including Sukeroku's purple headband, bullseye-pattern umbrella, and distinctive kumadori (face makeup) pattern. After the hero of Shibaraku, Sukeroku might be among the most recognizable characters in kabuki.



- - - - - Persons
Sukeroku - a samurai, frequent patron of the Yoshiwara, especially of Agemaki of the Miura-ya, and a street tough, who often starts fights on the streets of the pleasure quarters. Secretly Soga Gorô
Agemaki - the top courtesan of the Miura-ya, famous and popular throughout the district; she is known to be especially close to Sukeroku, but Ikyû has his eyes on her as well
Ikyû - an older, bearded samurai who seeks to steal Agemaki away from Sukeroku
Manko - Sukeroku's mother, disguised as a samurai
Shinbei - Sukeroku's brother, secretly Soga Jûrô
Kanpera Monbei - retainer to Ikyû



- - - - - Plot Summary
The play opens with a drunken Agemaki being escorted in by a small entourage. They sit her down on a bench and give her some medicine to help sober her up, along with a letter that has just arrived from Sukeroku's mother, Manko. Manko writes that Sukeroku is supposed to be busy working on avenging his father's murder, and should not be dallying in the Yoshiwara, seeing courtesans and engaging in street brawls; she asks Agemaki to break things off with Sukeroku and to encourage him to get back to his task. But Agemaki says she cannot do this, as she loves Sukeroku too dearly.

An attendant appears and tells Agemaki that the samurai Ikyû is on his way to see her. He enters with a small entourage, as does the courtesan Shiratama. It becomes clear that Ikyû has already seen Agemaki a number of times in the past, and that he is a high-paying and well-known Yoshiwara patron. However, Agemaki dislikes him, and when he begins saying nasty things about Sukeroku, she berates him and exits, despite Shiratama's efforts to calm her down.

A shakuhachi plays, and Sukeroku enters on the hanamichi, swaggering jauntily and showily in wooden geta, performing a type of step, or walk, called tanzen roppô[3]. He has one arm tucked inside his kimono, his umbrella over his shoulder, a purple headband tied to one side, the ends dangling down the right side of his face. He stops at shichi-san, and performs a number of poses and gestures meant to display his bravado, style, and charm. In total, his walk down the hanamichi and dance at shichi-san, known as a deha, takes about fifteen minutes, and is one of the chief highlights of the play, an opportunity for the star actor to show off, and for the audience to enjoy watching the star perform these dramatic poses, prideful walk, and charming character.

Courtesans and others fawn over him as soon as he enters, many offering him kiseru (pipes) to smoke. Ikyû, looking abandoned, his side of the stage relatively empty, declares that he'd like a smoke too, but Sukeroku, now possessing quite a few pipes, says they're all in use. He then offers Ikyû one with his foot, but Ikyû resists losing his temper.

One of Ikyû's retainers, Kanpera Monbei, comes out of the teahouse annoyed, wondering where the girl who was supposed to be entertaining him in the bath has gone. Sukeroku trounces him, and a number of Ikyû's other followers, declaring himself the best in both fighting and in love, and challenging Ikyû, who refuses to be provoked, insisting Sukeroku unworthy of his sword. He and his retainers enter the teahouse, leaving Sukeroku onstage outside.

A saké-seller named Shimbei shows up, and Sukeroku tries to start a fight with him, but Shimbei reveals himself to be Sukeroku's brother in disguise. He tries to get Sukeroku to stop provoking fights, reminding him of their quest to avenge their father's death, and revealing (to the audience) that the two are in fact Soga Gorô and Jûrô in disguise. Sukeroku explains to his brother, however, that he engages in streetbrawls here in the Yoshiwara so that he can see people's swords, in order to determine who it is that possesses the sword which killed their father. Understanding now, Shimbei (Jûrô) joins in, and the two begin picking fights with passersby, Sukeroku showing his brother how.

Sukeroku forces passersby to crawl between his legs, in a famous example of improvisation, or sutezerifu in kabuki. While many plays include short sections where one or two lines might be improvised, this entire section is left open for improvisation, which often includes contemporary references. For example, in one performance in 2008, the characters performed, briefly, a gag "sonna no kankei nai ("it's got nothing to do with that!") popularized around 2007-08 by comedian Kojima Yoshio.

Agemaki then enters with a samurai whose face is hidden by a large hat. Sukeroku tries to provoke a fight with this samurai, but is shocked to discover it is his mother, in disguise, who then scolds the two brothers for their behavior. Sukeroku explains himself, however, and their mother, Manko, is overjoyed to discover her son's devotion to the task of vengeance for their father's death. It is revealed that Ikyû is in fact Iga Heinaizaemon, an enemy of the family, and their father's killer.

Ikyû enters, and Sukeroku quickly hides beneath Agemaki's robes as she sits on a bench. Ikyû quickly finds him, however, and berates him, beating him with his cane and otherwise insulting him. He suggests that perhaps Sukeroku should give up on Agemaki and his shenanigans and that he and his brother should join Ikyû, forming an alliance which might even be powerful enough to take over the country. He seeks to demonstrate his metaphor of the power of three standing together by chopping off one leg from an incense burner, which then falls over, but too late realizes that in doing so he has revealed his sword. Sukeroku now knows for sure that Ikyû is the man he has been searching for: his father's killer.

The play often ends here, but sometimes continues with a final scene in which Sukeroku kills Ikyû and then hides from the police in a vat of water. Ichikawa Danjûrô VIII (1823-54) was quite idolized in his time, and when he performed this play, bottles of water from the vat he stepped in would later be sold to adoring fans.



- - - - - History and Style
Though the plot of Sukeroku is largely fiction, some sources indicate that the characters, and plot, may have been inspired by reality. There may have been a Kyoto- or Osaka-based merchant named Sukeroku in the 1630s who was associated with a courtesan of the Kyoto Shimabara named Agemaki. Some accounts have it that Agemaki became a nun after her affair with Sukeroku, while others tell of a double suicide.

In any case, though the kabuki play as it is known today did not debut until 1713, the characters of Sukeroku and Agemaki appeared on the bunraku stage as early as 1678. Kamigata (Kansai) kabuki theatres soon afterward began to stage productions featuring the couple in love suicide stories, including Sennichi-dera Shinjû ("Love Suicide at Sennichi Temple") and Kyô Sukeroku Shinjû ("Kyoto Sukeroku Love Suicide").

The play as it is known today - the Edo Kabuki version associated with the Ichikawa family - was first developed by Ichikawa Danjûrô II, who witnessed performances of these Kamigata plays while touring in that part of the country, and who then brought it back to Edo, debuting his version in 1713, at the Yamamura-za, with Danjûrô, Tamazawa Rin'ya, Ikushima Shingorô and Yamanaka Heikurô I as Sukeroku, Agemaki, Shimbei the saké merchant, and Ikyû respectively.

Whereas in the Kamigata plays Sukeroku was often a merchant, Danjûrô made him a samurai, giving him a black kimono, red-yellow headband, and a pattern of black face makeup (today, chiefly red on a white foundation). Danjûrô, 26 years old at the time, performed the role in the distinctive aragoto fashion pioneered by his father. Danjûrô also added a number of characters who are now standard elements of the plot, including the fool Monbei, Sukeroku's brother Shinbei (secretly Soga Jûrô), their mother Manko, and the villain Ikyû, many of whom were based on real figures.
Shinbei and the Noodle Vendor served initially as onstage advertisements for specific neighborhood merchants, as was a common practice in kabuki at the time, Shinbei being a reference to the asagao senbei ("Morning Glory Rice Crackers") sold by Fujiya Seizaemon. The noodle vendor, similarly, was introduced by Danjûrô III and named Ichikawa-ya, after an actual local noodle vendor; when the real-life noodle shop changed its name to Fukuyama, Danjûrô VII changed the character's name to Fukuyama as well. Ikyû, meanwhile, was based on the gangster Fukami Jûzaemon, also known as "Bearded Jikyû," who had in 1713 or so, at the time Danjûrô II was first adapting the story, recently returned from exile and who was thus a topic of conversation.

The close ties between the theatre and the broader community extended beyond such onstage references to real merchants. The play would often be performed with the hanamichi lined with real, blooming cherry trees donated to the theatre by the teahouses of the Yoshiwara, and actors playing the lead roles would often pay a visit to the Yoshiwara and offer gifts to the teahouses, receiving in exchange umbrellas, kiseru, lanterns, and other objects for use onstage and for distribution or sale to audience members following the production. The actors' visit was a fairly major affair involving a procession of many actors, and involved various traditions or rituals performed as part of the visit and of the offering of gifts; courtesans and others directly associated with the teahouses would also attend the performances at the kabuki theatres, and performed various customs even as audience members.
When the actor playing Sukeroku addressed the audience as himself (the actor) in the role of the stage manager, the courtesans would clap along with him. This addressing of the audience, incidentally, is not unique to Sukeroku, but the play is distinctive in incorporating more improvisation, and more elements of the actor shedding the character and being himself, the actor, for certain parts of the performance.

In his second performance of the play, three years later, Danjûrô played Sukeroku in a somewhat gentler manner, incorporating elements of the Kamigata wagoto style in his performance. This was the first time that wagoto and aragoto elements were combined in the same character. Danjûrô also introduced at this time other elements which would later become quite standard, and even iconic. It was during this performance that he first wore a purple headband and carried as bullseye-patterned umbrella, today two of the most iconic props or costume elements in kabuki. Purple dye was among the most expensive of colors, and had previously been restricted almost exclusively to shogunal use. The connection to Soga Monogatari was added at this time as well.



Many variations on the play were later developed and performed throughout the Edo period, and down into more modern times. The famous onnagata Segawa Kikunojô appeared in the premiere of Onna Sukeroku ("Woman Sukeroku") at the Ichimura-za in 1764, a variation in which a female Sukeroku is not the man Soga Gorô in disguise, but rather Oiso no Tora, a courtesan who is the lover of one or the other of the two Soga brothers in many of the old stories. Three theatres were staging versions of the Sukeroku story at this time; such competitions would occur in later years as well, with each theatre using a different type, or school, of music, and different interpretations of the characters and story. As is the case with most kabuki plays, it would eventually settle into a single more-or-less standard form, though never becoming wholly static.

The following year (1765), the Morita-za debuted a dance drama version of the story which focused more heavily on Agemaki's kamuro (child attendants). The title "Sukeroku Yukari no Edo Zakura" first appeared in 1782, for a performance at the Ichimura-za starring Ichimura Uzaemon IX.

Sukeroku is quite unique, as well, in its use of the katôbushi style of musical accompaniment. This style has been used for Sukeroku since 1749, when it replaced the itchû bushi style originally used for the play; other versions of the play, employing tokiwazu or kiyomoto musical styles, are still sometimes performed today, having been composed, respectively, in 1870 for Onoe Kikugorô V and in 1915 for Kikugorô VI.

While it is quite typical in kabuki for a combination of different styles of shamisen and chanting, such as kiyomoto and nagauta, to be used within a single play (often switching between styles numerous times within a single scene), Sukeroku is the only play in the current repertoire to make use of katôbushi music (which it employs alongside kiyomoto and nagauta). Due in large part to the unique traditions of the katôbushi style, which employs amateur performers alongside professionals, Sukeroku is the only play in which amateur performers appear on stage having been granted professional status just for the duration of the performance; it is also one of the only plays in which female musicians perform onstage, and the only play in which an actor onstage formally requests the musicians to play.
During the Edo period, katôbushi was especially popular in the Yoshiwara, even after its popularity in the theatre world waned. As part of the close ties between the theatres and the pleasure districts, katôbushi musicians from the Yoshiwara (i.e. not performers professionally associated with the kabuki theatres) were often invited to perform onstage in productions of Sukeroku. This was a great honor, and source of pleasure for the musicians offered this rare opportunity. Unlike in most plays, where the musicians perform behind a kuromisu screen in one corner or end of the stage, in Sukeroku, they are more fully and more centrally onstage, albeit still hidden behind a screen. This helps simulate, or recall, the idea of courtesans on display in the front windows of teahouses, allows these amateur musicians to more easily see Sukeroku's grand hanamichi entrance that is a highlight of the play, and grants them more fully the honor and pleasure of being "on stage" for the performance.


source : d.hatena.ne.jp/Rejoice+Kobikicho...

The Ichikawa family secured its control over the play in 1832, and some histories trace the current version of the play back to this year, rather than to any earlier date. As the play is extremely popular, other families have developed their own versions, such as Sukeroku Kuruwa no Momoyogusa performed by the Onoe Kikugorô line of actors. However, only the Ichikawa family uses the title Sukeroku Yukari Edo Zakura, and various stylistic elements only appear in this version of the play.
- Reference
- source : wiki.samurai-archives.com


. Asagao Senbei 朝顔仙平 / 朝顔煎餅 / 朝顔せんべい .
and the text of senbei zukushi せんべい尽くし


. aragoto 荒事 and kumadori 隈取 - Kabuki .

iegei, ie-gei 家芸 family tradition of an art

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Utagawa Kunisada 歌川国貞 - Toyokuni III

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Kabuki : Hanakawado no Sukeroku 花川戸助六
in the play - SUKEROKU YUKARI NO EDO ZAKURA
- source : kabuki21.com/sukeroku -


The kabuki actor Kawarasaki Gonjuro I as Hanakawado Sukeroku. by Utagawa Kunisada

Hanakawado Sukeroku, Edo zakura (Hanakawado Sukeroku, Edo Cherry Blossom) /
Tosei mitate sanjurokkasen 當盛見立 三十六花撰 (Contemporary Kabuki Actors Likened to a Selection of Thirty-six Flowers)
- source : britishmuseum.org -


. Asakusa Hanakawadochoo 花川戸 Hanakawado machi .

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. shirazake 白酒 (しろざけ) sweet white rice wine .
shirazake uri 白酒売 vendor of white rice wine

A sip of this drink is said to ward off disease for the rest of the year. During the Edo period, vendors used to walk the streets as early as February 20. The appearance of a vendor in the famous Kabuki play "Sukeroku" is especially famous.


Woodblock Print by Kunisada

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. Joge-e 上下絵 Two-way pictures .

This print by Kuniyoshi (c. 1852) shows a Daruma and Tokusakari (a character from a famous Noh play). Viewed upside-down, the Daruma becomes a Gedo (an evil person) and Tokusakari becomes Ikyu (a character from the famous play “Sukeroku”).






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. Food from Edo / Tokyo .

Edomaezushi Edomae Sushi江戸前寿司 / 江戸前 すし / 江戸前鮨
Sushi with fresh fish from the Tokyo Bay
started in the Edo period as a cheap food in the yatai shops.
They all have a kanpyo maki, which many gourmets eat as the last bite.
The name is almost identical in Edo with "nori maki", wrapped in nori seaweed.
. . . CLICK here for Photos !

Sukeroku sushi 助六寿司
Sukeroku is the name of a hero of the Edo period and famous Kabuki play. His beloved was the courtesan "Agemaki", so this sushi contains a some agesushi (inari sushi) and some makisushi.
one of them always kampyo maki, with dried gourd shavings.
CLICK for more photos


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CLICK for many more Sukeroku goods !

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- reference : 江戸 助六 -

- reference : Edo sukeroku -

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. shichi go choo and Kabuki 七五調 Kabuki and the 5 - 7 pattern .

yozakura ya mata Sukeroku no kenkazata (5 7 5 haiku)

Yo-za-ku-ra-ya (5) Evening cherry blossoms
Ma-ta Su-ke-ro-ku no (7) And once again
Ke-n-ka-za-ta (5) Sukeroku fights


Kawajiri Seitan 川尻清潭

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. hagoita 羽子板 battledore, shuttlecock .


助六の流し目に合う羽子板市
Sukeroku no nagashime ni au hagoita ichi

the sidelong glance
of Sukeroku fits so well
at the battledore market


金井喜美枝 Kanai Kimie


角店の助六よかり羽子板市
高澤良一


羽子板の助六の眼の血ばしりぬ
鈴木鷹夫


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けふの空助六よりも奴凧
助六は凧となりても傘挿せる
後藤比奈夫

助六で絵馬を杵屋で餅を買ひ
土屋花峰

助六のうはさあれこれ草の餅
久保田万太郎 Kubota Mantaro

助六や父の名を継ぐ江戸桜
今泉貞鳳

助六を夜寒の狸おもへらく
泉鏡花

水氷る助六染の工場かな
会津八一

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source : facebook

. kumadori 隈取 stage make-up .

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. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .

. Legends and Tales from Japan 伝説 - Introduction .


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9/14/2015

tori-oi chasing away birds ritual

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. - Doing Business in Edo - 商売 - Introduction .
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torioi, tori-oi, tori oi 鳥追 "chasing away the birds" ritual

tori oi uta 鳥追唄(とりおいうた)鳥追歌 song to chase away the birds,
bird dispersing songs, a kind of magic incantation


A ceremony held on the "Small New Year", now January 14 or 15.

A troupe of kado geinin 門芸人 "artists by the entrance" walked from house to house, performed their ritual songs with Shamisen and got some money in return.
They were active from the first day till the 15th day of the lunar New Year.



torioi (bird chasing),
a ceremony to pray for a rich harvest, which takes place on January 14. In the ceremony, children eat rice cakes in special torioi huts made of snow and then parade through the city beating wooden clappers while singing traditional songs in order to chase away birds that might damage crops.
City of Tokamachi, Niigata Prefecture
© web-japan.org/

..... tori oi (tori-oi) 鳥追 "Chasing away the birds".
..... hut, tori-oi goya 鳥追小屋(とりおいごや)
..... tower, tori-oi yagura 鳥追櫓(とりおいやぐら)
..... song, tori-oi uta 鳥追唄(とりおいうた)

tori-oi asobi 鳥追遊び enjoying the Torioi rituals

tori-oi boo 鳥追棒 stick to drive off birds


. WKD - Songs for all seasons .

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torioidayuu, tori-oi dayuu 鳥追大夫 (とりおいだゆう)
bird chasing song performer

..... tataki たたき
tataki no Yojiroo 敲の与次郎(たたきのよじろう)

torioi 鳥追い(とりおい) is an observance performed on January 14 or 15 in the villages. To get the birds (and other unwanted animals) out of the fields.

The torioi performers went from village to villate. They wear a straw sack on the back. They get some money for their performance, also some food like mochi. They were not allowed to wear robes of silk, only simple cotton. They had large straw hats to protect them from the rain.

They had special songs, for example
鶴は千年、亀は万年

"The crane lives thousand years,
the tortoise lives ten thousand years,
when they come together,
we all live long prosperous lives."


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Torioi Kannon 鳥追観音



The Torioi Kannon statue was made by priest Gyoki with the wish to show people an east pass-over to the paradise of Amida.

at the temple
. Myoohooji 妙法寺 Myoho-Ji . Fukushima, Aizu
The temple was founded by priest Tokuitsu in 807.

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Tori-oi in the Kazusa region 上総地方, Chiba 千葉県

. hoojari ほうじゃり Hojari amulets .



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torioibune, torioi-bune 鳥追舟 the Torioi Bird Chasing Boat
a Noh play from the Muromachi period





Tsukioka Kogyo




- reference - torioibune -

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CLICK for more photos !

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- - - - - H A I K U and S E N R Y U - - - - -




人絹の鳥追笠の朱ケの紐
jinken no torioigasa no shuke no himo

the vermillion cord
from artificial silk
of the Bird-Chasing straw hat

Tr. Gabi Greve

竹下しづの女 Takeshita Shizunojo (1887 - 1951)
A member of Hototogisu -

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. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .

. densetsu 伝説 Japanese Legends .


[ . BACK to DARUMA MUSEUM TOP . ]
[ . BACK to WORLDKIGO . TOP . ]- - - - - #edotorioi #torioi #chasingbirds - - - -
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9/09/2015

kotowaza idioms abclist

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kotowaza 諺 / ことわざ idioms, sayings, proverbs
gengen 諺言 / rigen 俚諺 common saying; folk proverb



日本語イディオム辞典 / By Jeff Garrison

- read it at
- source : books.google.co.jp -

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. Idioms and anecdotes about Japanese Food 和食  .

. Idioms about Heaven and Hell 極楽 地獄  .

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- - - - - ABC list of keywords with many proverbs


source : Dalma / fotolia . kawano

. Daruma san 達磨 だるまさん .
nanakorobi yaoki 七転び八起き and more

. nezumi 鼠 rat, mouse .

. oni 鬼 demon, devil, ogre .

saru サル 猿 申 さる monkey 
. saru suberi 百日紅 even monkeys fall from trees .

. tanuki 狸 たぬき badger .

heso no yadogae 遍楚乃屋登可 Grotesquerie Kotowaza
text by Hansui Ikkado, Osaka 1850.

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- - - - - ABC list of individual idioms and proverbs


. ganbari nyuudoo hototogisu がんばり入道ほととぎす Ganbari Nyudo lesser cuckoo .
加牟波理入道, a Yokai monster of the Toilet


. ishibiri 石びり someone stingy, stinginess .
and the deity Daikoku Ten 大黒天

. umewaka no namida ame 梅若の涙雨 teardrop rain of Umewaka .

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新明解故事ことわざ辞典
with an alphabetical index of keywords and one index of the proverbs.


故事ことわざ辞典
- source : kotowaza-allguide.com -

genen 諺苑 - 7 volumes dictionary of the Edo Period (1797

- reference -

Japanese Sayings and Proverbs (A collection of resource links)
Japanese resources: / Japanese Slang:
- source : educating kids in Japan -

- source : hilhorst.eu/kotowaza.org -
with search in English and Japanese

30 awesome Japanese idioms we should start using in English
- source : matadornetwork.com -

- - - - - rigen 俚諺 common saying; folk proverb
- source : yokai database -
83 items to explore (20)

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. kinki 禁忌 taboo, ritual restrctions .

. senryu, senryū 川柳 Senryu poems in Edo .

. densetsu 伝説 Japanese Legends .

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9/02/2015

Nezumi Kozo Jirokichi

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. Persons and People of Edo - Personen .
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Nezumi Kozoo, Nezumi Kozō ねずみ小僧 Nezumi Kozo, a famous thief
Nakamura Jirokichi 仲村次郎吉 (1797 - 1831)

- and other nusutto ぬすっと robbers / villains of Edo - see below

- quote
Nezumi Kozō (鼠小僧) is the nickname of Nakamura Jirokichi (仲村次郎吉, 1797 - 1831), a Japanese thief and folk hero who lived in Edo (present-day Tokyo) during the Edo period.



In 1822, he was caught and tattooed, and banished from Edo. On August 8, 1831, he was captured again, and confessed to the burglary of over 100 samurai estates and the impressive theft of over 30,000 ryō throughout his 15-year career. He was tied to a horse and paraded in public before being beheaded at the Suzugamori execution grounds. His head was then publicly displayed on a stake. He was buried at Ekō-in located in the Ryōgoku section of Tokyo. So many pilgrims chip away pieces of his tombstone for charms that substitute stones have had to be constructed since shortly after his death.

Background
At the time of the arrest, Jirokichi was found to have very little money. This, combined with the public humiliation he dealt out to the daimyo, resulted in the popular legend that he gave the money to the poor, turning the petty crook into a posthumous folk hero similar to Robin Hood. The fact that he died alone, serving his wives with divorce papers just prior to arrest in order to protect them from sharing in the punishment as the law decreed, further enhanced his stature.

Nickname
Jirokichi's nickname, Nezumi Kozō, is not a name. Nezumi is the Japanese word for "rat"; a kozō was a young errand-boy who worked in a shop in the Edo period. The nickname can thus be roughly translated as "rat boy". Since a nickname containing the term kozō was often given to pickpockets, who were often young boys and girls since the profession required nimble fingers, it has been suggested that Jirokichi was a well known pickpocket when he was younger.

In popular culture
His exploits have been commemorated in kabuki theatre, folk songs, jidaigeki movies, video games, and modern pop culture.
- source : wikipedia


Nezumi Kozo never took money from the storehouses of the rich merchants in Edo, since they kept a strong guard around them and often hired Ronin to protect their property.
He stole money from the Samurai estates, since there the guards were not strict, and the pride of a Samurai would forbid many to report a thief.
He also did not give the money to the poor (as in the movies) but spent most of it on women, drinking and gambling.

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Nezumi, Edo o Hashiru 鼠、江戸を疾る
Nezumi-Kozo, Running Around Edo



Jirokichi (Hideaki Takizawa) - Movie after a novel from Jiro Akagawa.



CLICK for more Japanese reference !


- English reference -

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Kokeshi wooden doll ねずみコケシ


- Toys with Nezumi Kozo ! -

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ねずみ小僧見得切る羽子板それがよし
nezumi kozoo mie kiru hagoita sore ga yoshi

a battledore
with Nezumi Kozo striking a pose -
just right

Tr. Gabi Greve

Takazawa Ryooichi 高澤良一 Takazawa Ryoichi




. WKD : Battledore, Shuttlecock (hagoita 羽子板) .
- - kigo for the New Year - -

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gizoku 義賊 honorable thief
nusutto 盗人、ぬすっと robber, thief



日本左衛門 Nihon Zaemon (Nippon Saemon) / 日本駄右衛門 Nippon Daemon
(? - 1747)
He was known as a beautiful man and was the leader of about 30 or 40 followers. They robbed the homes of rich Daimyo lords and merchants, but eventually he was captured and executed at the age of about 30.


Utagawa Kunisada 歌川国貞


He was the first of the group of five bandits :
. Shiranami Gonin Otoko 白波五人男 The Shiranami Five .
"Five Men of the White Waves"



- - - - - The other four are
弁天小僧 菊之助 Bentenkozo Kikunosuke, 南郷 力丸 Nango Rikimaru, 赤星 十三郎 Akaboshi Juzaburo, and
忠信 利平 Tadanobu Rihei.
This group is also the subject of Kabuki.

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. Oni-Azami Seikichi 鬼あざみ清吉 Oniazami Seikichi .

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. Japanese Architecture - Interior Design - The Japanese Home .

. - Doing Business in Edo - 商売 - Introduction .

. senryu, senryū 川柳 Senryu poems in Edo .

. densetsu 伝説 Japanese Legends .


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