Jan Bardsley

Professor Emerita, Asian and Middle Eastern Studies, UNC Chapel Hill

Tag: hanamachi (Page 2 of 2)

Treat a Maiko to Dinner (Hint: Mac and Cheese, Please).

March 25, 2021 / / 6 Comments

Fine dining.
Jamie Coupaud. Unsplash.

How do maiko get treated to fancy dinners?
What maiko misadventures occur in stories of these events?

Today’s post explains the custom of clients taking maiko out to dinner, gohan tabe. We see the custom described in a TV drama, memoir, and a girls comic.

Dining out with the dashing talent scout

Talent manager talks with maiko Yumehana and her twin Megumi. in a scene from NHK-TV drama Dandan, 2008-09.

How exciting to be on a “date” with the young dashing talent scout Ishibashi-san! Usually only her twin Megumi, a college student, gets to do fun stuff.  Dressed in her formal finery, maiko Yumehana basks in Ishibashi’s attention.
Little does she know this elegant dinner is prelude to calamity.  For now, she enjoys the delight of the gohan tabe custom–when generous, long-time clients treat a maiko to dinner at a fine restaurant.

But before we discover the path to Yumehana’s misadventure, let’s explore the changing conventions of gohan tabe.

Dinner to the rescue of the busy maiko

Fine dining. Photo by Johen Redman on Unsplash

Having only two days off per month, maiko follow a busy schedule of daytime arts lessons and evening parties. To give the maiko a break, and with the permission of her okiya mother, a client will invite her for a meal at a fine restaurant. The client pays for the maiko’s time from the point that she leaves her okiya to the time she returns. He covers all costs of the meal and taxis.  For maiko, gohan tabe events are a welcome rescue from the strict supervision of their seniors–older maiko, geiko, and teahouse managers.

Watch your table manners

Arai Mameji. 2015.

In her memoir, Arai Mameji, who became a maiko in 1969, recalls gohan tabe experiences. In the 1970s, okiya mothers accompanied maiko on these dinners. They insisted on chaperoning a maiko on any client outing. Arai also remembers being told to take care to follow proper table manners. Today, however, clients may take maiko to dinner without a chaperone.

As more women become teahouse clients, I wonder whether they, too, will participate in gohan tabe.  So far, I have seen no evidence of that.

Maiko Taste: Macaroni over Posh Cuisine

On gohan tabe outings, maiko taste an elite world of luxury dining. But many report feeling out of their depth. French menus, elaborate table settings, and hushed environments are all new.  Fictional maiko are befuddled, too.

Maiko Momohana dines out with client and okiya mother. Koyama Aiko. Maiko-san-chi no Makanai-san, Vol. 4, Episode 40. page 116. (2017).

After paying for an exorbitantly priced meal, clients may be surprised to learn that maiko much prefer macaroni.  This scene from Koyama Aiko’s maiko cooking manga shows Momohana on a gohan tabe outing. Having no idea how to read the menu, she orders what her mother does.  Later, she tells other maiko that she has no idea what she ate. Back home at the okiya, she happily tucks into macaroni gratin.

Maiko Yumehana’s Gohan tabe Mishap

Returning to maiko Yumehana’s dinner with Ishibashi, we notice an unusual situation. Most teahouse clients are much older men, but Ishibashi is only in his twenties.  This transforms gohan tabe into a cool date.

Calamity ensues when Ishibashi coaxes Yumehana to accompany him next to a “live house,” a young people’s hang out with live music. A talent scout, Ishibashi wants Yumehana to become a professional pop singer. Soon we see maiko Yumehana singing a pop song with Megumi at the live house. Big mistake! 

Actress Ishida Hikari as geiko Hanayuki.https://www2.nhk.or.jp/archives/jinbutsu/detail.cgidas_id=D0009070162_00000

Suddenly, Yumehana’s geisha mother Hanayuki appears! She catches Yumehana in the act of disrespecting her maiko uniform.  Ever the poised professional, Hanayuki gently scolds Ishibashi. She thanks him for inviting Yumehana to gohan tabe, but reminds him of the custom’s boundaries. At teahouse parties, he may request any maiko dance in Yumehana’s repertoire. However, he must never ask her to go beyond the bounds of the maiko’s traditional arts.  She cannot sing pop songs and certainly not dressed as a maiko. Yumehana must hurry to her next engagement, unsettled by her love of pop singing (and affection for Ishibashi).

For Hanayuki, this is definitely a case of gohan tabe gone wrong.

 

Jan Bardsley, “Treat a Maiko to Dinner (Hint: Mac and Cheese, Please).” janbardsley.web.unc.edu. March 25, 2021

I designed this website and blog for educational and informational purposes only. I strive to  locate the names of the creators of texts and images cited, and properly acknowledge them.

Maiko strap
Photo: Jan Bardsley Mar 2021

Maiko and the Charm of Small Things

March 22, 2021 / / 6 Comments

 

Maiko turn up in Kyoto as all kinds of small things.
How does that affect their public persona?

Maiko Stickers.
https://hyogensha.net/products19/card/seal.pdf

Maiko keychains, stickers, cell-phone straps, and tiny candies abound in souvenir shops—a veritable cornucopia of girlish delights.  Uniformly bright, perky, and inexpensive, they fit easily in your pocket. Portable talismans of kawaii, like Hello Kitty goods, they bring a dash of charm to daily routines.

But Hello Kitty is a fiction. Maiko are real people. So, how do these charming “small things” help define the public image of the maiko herself?  Three aspects stand out.

1．Maiko are childlike.

Child maiko. 1920s.
Photo by Kurokawa Suizan.
Kyoto Institute, Library and Archives.

Many souvenir maiko look cherubic. This recalls how maiko of the 1920s and 1930s really were children, sometimes as young as eleven. Now maiko trainees (shikomi) must be at least fifteen years old. Still, an air of girlish innocence remains essential to the maiko’s appeal.  In Maiko Masquerade, I discuss how some maiko find “living down” to this naivete constraining, while others feel free in their girl role.

Of course, even ferocious characters like Godzilla can become childlike as plastic toys. The maiko’s girlish persona makes the transformation especially easy.

 2. Maiko are kawaii.

Maiko candies.
Photo: Jan Bardsley Mar 2021.

The maiko defines a certain stripe of kawaii. The kind of kawaii that sits at  “the juncture of ‘cute,’ ‘tiny,’ or ‘lovable” (Merriam-Webster).  According to scholar Joshua Paul Dale, kawaii things convey the “unabashed joy found in the undemanding presence of innocent, harmless, adorable things.”

While “kawaii” encompasses different registers, including the grotesque and creepy, maiko kawaii embraces this sense of  “unabashed joy.”

Travel and fashion guides portray the maiko, too, as a fan of kawaii things. She likes bite-size sushi and colorful fruit sandwiches. She may carry Minnie Mouse or Hello Kitty goods in her handbag.  In the Kyoto visual field, the kawaii maiko and her adorable souvenir likeness blend to produce an aura of charm.

As Kyoto girl and Kyoto souvenir, the maiko lightens the cultural weight of ancient temples, gardens, and Zen-inspired arts. Transferred into countless small objects, the maiko makes Kyoto accessible and consumable. Yet, as Kyoto’s mascot, the maiko continually reminds tourists that they are in the old capital.

3. Maiko make Kyoto a girls’ playground.

Maiko strap

Photo: Jan Bardsley Mar 2021

Charming maiko goods, kawaii maiko images recreate Kyoto as a leisure space friendly to girls and women.  While the historical maiko emerged, too, in a world of play for purchase, it was a world geared to providing pleasure to Japanese men.  Contemporary maiko and their souvenir look-alikes, however, shift the concern from pleasing men to inviting girls to have fun. Girlish play extends into all kinds of small consumables and sweet experiences. Crossing gender boundaries, tourists of all sexes today may enjoy the invitation to have fun.

The maiko trinkets on my desk and bookcase always make me smile. Maybe they’re telling me to relax and enjoy the moment.

 

Jan Bardsley, “Maiko and the Charm of Small Things,” janbardsley.web.unc.edu.  March 22, 2021.

 

 

Ōishi Kuranosuke Yoshio, Leader of the Forty-Seven Loyal Retainers. Artist: Tsukioka Yoshitoshi (Japan, 1839-1892). Los Angeles County Museum of Art. Wikimedia Commons.

Maiko, Noodles, and the 47 Rōnin

March 18, 2021 / / 2 Comments

The Storehouse of Loyalty – Chūshingura (47 Rōnin) ukiyo-e set by Hiroshige Utagawa, circa 1836.  Wikimedia Commons.

Maiko dancing and serving soba noodles to guests?  What was the story behind this March event?  In today’s post, I take up an annual Gion event with one foot in history and the other in myth.

Honoring Ōishi Kuranosuke, Leader of the 47 Rōnin

Ichiriki Teahouse Photo: Mariemon Wikimedia Commons

On March 20, Gion Kōbu honors the memory of Kyoto revolutionary Ōishi Kuranosuke, the leader of the 47 rōnin (masterless men). The ceremony takes place at the exclusive Gion teahouse, Ichiriki. Only regular clients are invited.

Inoue Yachiyo V Vhttps://www.kyo.or.jp/brand/award/grand.html

At the Ichiriki ceremony, Inoue Yachiyo V, designated a Living National Treasure, performs.  She dances Fukaki kokoro (Deep Heart) in front of a Buddhist mortuary tablet (ihai) honoring the men.  Maiko and geiko also dance.  They later serve tea and hand-made soba noodles to the guests (Mizobuchi, 15).

Who was Ōishi Kuranosuke? What’s his connection to Gion?

As part of an elaborate plot to avenge the death of his lord, the stalwart Ōishi assumed deep cover by disguising his true character. He played the part of a dissolute. For two years,  he frequented the Ichiriki teahouse until he and the 47 rōnin were ready to attack and kill their lord’s enemy.  The men were arrested and ordered to commit ritualized suicide (seppuku), which they did on March 20, 1703. Long romanticized in all manner of Japanese arts as symbolizing samurai loyalty, Ōishi and the 47 rōnin are buried at Sengakuji, a Zen temple near Shinagawa, Tokyo—their graveyard now a tourist site.

Why soba noodles?

Photo Masaaki Komori  Unsplash

Lori Brau highlights the soba symbolism here. She explains how  uchiiri soba (soba of the raid) allude to the story that Ōishi and his band gathered at a soba shop. They ate this simple meal together before launching their raid and accomplishing their vendetta. Brau notes, “Soba’s tendency to break easily, due to its lack of gluten (which adds viscosity), renders it an apt symbol for parting (71).”

According to Lesley Downer, doubt exists as to whether the current Ichiriki was actually the site of Ōishi ’s debauchery. But, the connection has worked in the teahouse’s favor as “there were always people willing to dissipate an evening at the scene of the most celebrated partying in Japanese history (162).”

Why do tales of the 47 Rōnin  endure?

The Gion ceremony offers only one way of remembering Ōishi and the 47 Rōnin. All manner of art forms–puppet theater, Noh, film and TV, graphic novels and anime–have recounted versions of the tale. The tale has been put in service of widely different movements, including “popular rights, Christianity, capitalism, Marxism, pacifism, and contemporary cartoon culture (Tucker, 3).”

I caught up with John Tucker, Professor of History at East Carolina University, to ask why the tale endures. He’s the author of The Forty-Seven Rōnin: The Vendetta in History (Cambridge UP, 2018).   John responded, “The historic 47 Rōnin vendetta became an unparalleled sensation in Japan due to its retelling on stage as Chūshingura (Storehouse of Loyal Retainers). And of the eleven acts in that play, the most popular ones present Ōboshi Yuranosuke (Ōishi  Kuranosuke) as a dissolute hedonist enjoying himself in Kyoto’s pleasure quarters even while plotting to take murderous revenge on his late-lord’s enemy.”

Ōishi’s “shrewd tango with life”

Author John A. Tucker
Cambridge UP, 2018

“Everyone knows the grisly end and so relishes the chance to share vicariously Ōishi’s last and quite shrewd tango with life,” explained John. “After all, his time in the pleasure quarters made Ōishi most fully human, alive with passions and flaws even if the latter were so much subterfuge for his mortal sincerity and lethal vengeance. In affirming life unto death, Ōishi epitomized an existential ideal that all admire, though few might actually realize.”

Want to learn more?  I recommend John Tucker’s The Forty-Seven Rōnin for an approachable, well-researched guide. Historian Peter Nosco praises the book as,  “The definitive book-length study by a uniquely qualified scholar of one of Japanese history’s most contested events.”   Perhaps read The Forty-Seven Rōnin this March while enjoying soba.

References

Brau, Lori. 2018. “Soba, Edo Style:  Food, Aesthetics, and Cultural Identity.” In Devouring Japan: Perspectives on Japanese Culinary Identity, edited by Nancy Stalker,  65-80.  New York: Oxford University Press.

Downer, Lesley. 2002. Women of the Pleasure Quarters: The Secret History of the Geisha. New York: Broadway.

Mizobuchi Hiroshi.  2002.  Kyoto kagai. Kyoto: Mitsumura Suiko Shoin Publishing Co., Ltd.

Tucker, John A.  2018. The Forty-Seven Rōnin: The Vendetta in History.  Cambridge University Press.

Jan Bardsley, “Maiko, Noodles, and the 47 Rōnin,” janbardsley.web.unc.edu.  March 18, 2021.

Welcome to my blog

March 3, 2021 / / 14 Comments

Solar Dolls.　”We bow with solar power.”
https://store.shopping.yahoo.co.jp/tennmaya/303-010.html

Welcome to my blog

Happy Girls’ Day!  Celebrated in Japan on March 3 with displays of dolls representing the ancient court,  Girls’ Day features special foods, too. Now there’s even a KitKat bar flavored like “strawberry daifuku” (mochi balls filled with strawberries), a Girls’ Day treat.

 

For my Girls’ Day celebration, I’m choosing to display solar-powered maiko dolls.  The dolls capture the playful spirit of maiko souvenirs. Solar dolls coax you to relax, smile, and show your childlike side. The perky solar maiko atop my desk reminds me to have fun with this blog.

Toy maiko solar

Solar maiko  also calls to mind the associations of “solar power” and feminism in Japan. In 1911 when Seitō (Bluestockings) burst on the scene, it’s rallying cry became, “In the beginning, woman was the sun.”

Manga artist Takenaka Ranko’s 1996 graphic history of the Bluestockings and leader Hiratsuka Raichō

Produced by young Japanese women in Tokyo, Seitō invited women to seek adventure and expand their boundaries, even as they advocated for education and equality.

My blog follows these twin trajectories, having fun while expanding knowledge. I begin with posts about maiko, Kyoto’s apprentice geisha. Researching my book Maiko Masquerade, I ran into lots of stories about maiko and geisha past and present, about art and objects, books and movies, people and places. I’m writing this blog to tell these stories, the comic and the serious, and share images. Let’s see where this solar-powered path goes.

I look forward to your comments. Happy Girls’ Day and thanks for visiting.
Jan Bardsley.

Jan Bardsley, “Welcome to my blog,” janbardsley.web.unc.edu. March 3, 2021

I designed this website and blog for educational and informational purposes only. I strive to  locate the names of the creators of texts and images cited, and properly acknowledge them.

 

 

 

Maiko Yumehana photographed near Tatsumi Daimyōjin Shrine. NHK TV Guide to drama Dandan, 2008.  Japan Broadcasting Publishing Association

Celestial Rescue for the Anxious Maiko

September 29, 2020 / / 6 Comments

Closing her eyes, she clasps her hands. The maiko prays before the Shinto shrine. Her silver kanzashi hair ornament glitters. But her anxious posture shows how much she wants the kami to hear her plea.

Who is this anxious maiko?
Why does she pray for celestial comfort at this shrine?

The maiko is Yumehana (given name Nozomi), the TV drama is Dandan, and her anxieties center on dance. It has been a tough day.  First, we saw Yumehana’s dance teacher harshly correcting her at the morning lesson. Next, we saw Yumehana’s rival, maiko Suzuno, taunting her at the evening party. Wickedly clever, Suzuno even maneuvered Yumehana into performing her weakest dance in front of clients at the party.  Desperate to improve her dance skills —the maiko’s signature art—Yumehana makes her plea at Tatsumi Daimyōjin Shrine辰巳大明神神社.

Tatsumi Daimyōjin Shrine, petite and unassuming, sits right at the heart of Gion’s most photographed, picturesque location.

You will find the shrine at the foot of Tatsumi Bridge which spans Shirakawa (White River), a gentle stream. Old teahouses on one side of Shirakawa amid weeping cherry trees make this a picturesque sight. One of the most photographed in Kyoto, the scene calls to mind romantic notions of Gion’s past.

Photo of bridge over Shirakawa stream in Gion.

Taken on 26 July 2010. Credit gorian21  Wiki Commons.

But what attracts maiko Yumehana here to pray for dance proficiency? 
A little digging produced two important clues.

First, we learn that the kami of the shrine is Benzaiten 弁財天, who is “a deity highly popular among artists and musicians, as a patroness and guardian deity of the arts (Reader).”

Wooden sculpture of the goddess Benzaiten at the Hogon-ji Temple. Watsky, A. M. (2004).  Wikimedia Commons

Originally a Hindu deity, Benzaiten, also known as Benten, has found homes in Japan in Buddhist temples and Shinto shrines alike. She’s also one of the Seven Lucky Gods, “a multicultural, mixed gender, and religiously diverse group of deities who share the common cause of providing benefits to people (Reader & Tanabe,157).”

 

Next, we find that the sound “tatsu” in Tatsumi reminds us of the verb tatsu, “to improve one’s skill.” In fact, maiko and geiko really do pray for arts improvement at Tatsumi Daimyōjin Shrine, invoking Benzaiten’s blessings to “improve” their arts.

But Dandan does not leave everything up to Benzaiten. 

When Yumehana’s mother, the successful geiko Hanayuki, catches sight of her daughter, viewers see her empathy. Hanayuki remembers battling the same anxiety in her own maiko days.  But she faces Yumehana with practical advice and parental tough love, “Well, if that’s the case, then there’s nothing else to do but concentrate on your lessons every single day.”

The scene underscores one of the prime messages of Dandan—struggle against insecurity and work hard at achieving your goals.

Setting this exchange at Tatsumi Daimyōjin Shrine, Dandan acquaints viewers with this small Gion landmark, inviting us to find out about its history and the celestial comfort it offers to townspeople and artists alike.

Visitors to Kyoto can easily find Tatsumi Daimyōjin Shrine on tourist maps of the Gion. Shinto ceremonies are performed at the shrine four times a year by a priest from the much larger Fushimi Inari Shrine.  The petite shrine is especially beautiful in spring when nearly covered by the weeping cherries.

Featured Image:  Maiko Yumehana photographed near Tatsumi Daimyōjin Shrine. NHK TV Guide to drama Dandan, 2008.  Japan Broadcasting Publishing Association.

References:

Gion Shopping Street Promotion Associates  祇園商店街振興組合  Japanese-language website: https://www.gion.or.jp/about/

Ian Reader. 2008. Shinto. Simple Guides series.  Kuperard.

Ian Reader and George J. Tanabe. 1998. Practically religious: Worldly benefits and the common religion of Japan. Honolulu: University of Hawaiì Press.

Jan Bardsley, “Celestial Rescue for the Anxious Maiko.” janbardsley.web.unc.edu  Sept. 29. 2020
This blog is for educational purposes only. I strive to locate and credit all sources and images cited here.

 

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