著者

中原 逸郎

出版者

慶應義塾大学大学院社会学研究科

雑誌

慶應義塾大学大学院社会学研究科紀要 : 社会学・心理学・教育学 : 人間と社会の探究 (ISSN:0912456X)

巻号頁・発行日

no.73, pp.57-77, 2012

被引用文献数

2

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論文The purpose of this study is to clarify how they have promoted the traditional art performance, which is created in a city. For this purpose, I have selected one of the five Geisha Community of Kyoto known as Kamishichiken. By reviewing information on the history through interviews with hosts and guests, I analyzed the dance performance and the aspects of Geisha Community which were devoted to the culture of hospitality.Kamishichiken is small scale, self-enclosed but focused on quality of arts, and has a close relationship with Nishijin merchants in Kyoto. Mainly By this close relationship was with Nishijin, an excellent textile maker and primary patrons of these arts, after WW II in 1952 during the important festival of Kitano shrine, Kamishichiken disclosed the performances.It was an excellent opportunity for them to show their new arts. However, they had to develop new performances to suite the changing society.Their performances were created under the direction of a movie director, Tamizo Ishida (1901‒1972) with a respectable knowledge of dance performances, he worked out new plans. By caring not to spoil the traditional dance of the Hanayagi school,Ishida created continuous hybrid performances with another dance schools and with a new type of music.In this thesis, Iwill clarify how the hybrid performances opened to the new audiences and the difficulties in promoting these new performances in a changing society.

著者

中原 逸郎

出版者

日本オーラル・ヒストリー学会

雑誌

日本オーラル・ヒストリー研究 (ISSN:18823033)

巻号頁・発行日

no.9, pp.94-106, 2013-09-11

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The purpose of this paper is to clarify the conditions for the succession of a traditional Japanese art. For this purpose, I have selected Kamishichiken, one of the five geisha communities of Kyoto that have fostered a culture of hospitality. I analyzed the aspects of succession by participant observation and by collecting the conversations of hosts and guests. In comparison with the Gion-kobu geisha community, I found Kamishichiken is small in scale and self-enclosed but focused on the quality of arts. Furthermore, it has a close relationship with Nishijin textile merchants. And I found that "patrons," called danna, have three features: financial patron, educator of geisha, and individual developing in relation to Kamishichiken. From the viewpoint of the customer, we can see the synergism of social change in the distinctive geisha community by interlacing micro and macro perspectives. Although changes are inevitable, by looking at the change and continuity from various perspectives it is possible to understand the geisha community within the context of broader social changes.