著者

笠井 純一 笠井 津加佐 KASAI Junichi KASAI Tsukasa

出版者

金沢大学大学院人間社会環境研究科

雑誌

人間社会環境研究 = Human and socio-environmental studies (ISSN:18815545)

巻号頁・発行日

no.40, pp.135-151, 2020-09

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This paper is a study of the Nanchi-Yamatoya family and Kuni Sato's family, who influenced the performances given at Osaka kagai, as well as the organic development of jiuta and jiutamai from the end of the Meiji era to the early Shyowa era, and is based on surveys of historical materials and interviews. The following inferences is considered from the above mentioned result. Based on this investigation, it can be seen that, from the beginning of the Taisho era, the names of jiutamai choreographers did not appear in the leaflets of the haru-no-odori of the kagai of Osaka except Nanchi. However, geiko kept training jiuta and jiutamai. It was confirmed that jiuta and jiutamai were taught as basic elements of art at the Naichi-Yamatoya Geiko Training Center. In addition, Han Takehara, Chiho Hida, and En Kanzaki, make the performance of jiutamai spread in Tokyo, and became well-known. Kuni Sato, also went to Tokyo to teach jiutamai. In addition, the performances of kamigatamai-taikai was maintained by the relationship of Yoshitaro Nanki and Komajiro Sato. In 1937, the name of the jiuta player Kotoji Kikuhara appeared in the leaflet of hokuyo-naniwa-odori. It seemed that jiuta has returned to the haru-no-odori performed in kagai. Unfortunately, the performance of haru-no-odori was interrupted by the war between Japan and China. The following inferences is considered from the above mentioned result. Geiko at Osaka kagais was taking various dances with customer's demand and their own quest. They also made an effort for practice of jiuta and jiutamai which originated in Osaka. The posture of such geiko projected her sentiment as well as dignity as an entertainer.