#水舞

[tshxoudfh77g]

禮拜日到嘉義蘭潭拍攝水舞😲😆

[ebisusan-jpidol]

蓬莱舞チャン₍ᐢ⑅•ᴗ•⑅ᐢ₎♡

Mai Hourai Japanese gravure idol

[sugarfield]

茜あずさ

川菜美鈴

槇原愛菜

水希舞

[doppelgenkan]

[capricorn-mitsu]

おにぎり担当

[wankohouse]

ヤマガタンver9 > 獅子舞見聞記2

成田の獅子舞～角力のまわし締上げ　成田八幡神社

かなりキツク締めるので長時間はさぞ大変だろうと察する

水垢離

水垢離し身を清めて行衣に着替え、獅子舞いに臨む気持ちを高める

祭りの際、この公民館は「獅子宿」と呼ばれる

角力も水垢離する

稽古の二週間、あらゆる性的交渉も禁じられている

サラシを巻き修験道の行衣を着る

角力の化粧まわし

笛の���を背中で聞きながら神社参道を進む

引用元：ヤマガタン　↓

https://yamagatan.com/?p=log&l=393172

[yuzukahibiscus]

Minami Maito on Bling! – A closeup on the updates of Senka members.

(Source from 2024 TAKARAZUKA GRAPH November Issue)

— You transferred from Flower Troupe to Senka in late April 2923, and your first performance was the Star Troupe performance “ME AND MY GIRL” in Hakataza.

I was really nervous before the first day of rehearsals, but I became more reassured with the presence of Maisora (Hitomi) who was in Flower Troupe with me before. I met Ari-chan (Akatsuki Chisei) for the first time and with Maisora Hitomi, the three of us had our first interview together. Ari-chan and I were both really shy with each other, and we couldn’t’ talk to each other without the help of Maisora (LOL), but later when we went to Fukuoka for our press conference, the three of us quickly got along in that 2-day-1-night trip. Afterwards, our relationship was really good when rehearsals began. As rehearsals started, I truly felt that since Maisora had a more important status (as Top Musumeyaku) now, that compared to her Flower Troupe times she worked even more diligently, and I realised that I could only do my very best to support her. I feel like I knew her, but at the same time discovered something new from her as I watched her performance… I’m grateful to spend this time with her. Ari-chan and I played either Bill or Sir John in the role swap arrangement, and there was so much to remember about the details of these 2 roles, so it was really challenging… But it can be a form of support being close with someone who’s also playing the same role, and we can cooperate together. We’d point out and be careful in scenes when we’re wearing tap shoes but not dancing in tap yet. We’d remind each other, “What about the playing cards? And the hat? Don’t forget the watch!” (LOL) Through our role swap arrangement, we had th experience of looking at our roles objectively and creating our own, so it was really fun.

— How was Star Troupe?

When I was in Flower Troupe, I find Star Troupe a contrasting troupe, because I see different colours in this troupe. So while I imagined how I’d feel, I found it stimulating to have rehearsals with them. When I tried something, I was surprised how fast they adapted to my acting. I realized that I used to be too reserved with my acting, and I learned the importance of just trying things without overthinking them. What’s more, Star Troupe members have this energetic and bright ambience so I felt very comfortable with them.

— Were there any changes becoming a Senka member?

I had a long rest before “ME AND MY GIRL” performances, and I went to London, Paris and the Versailles Palace…at that time I didn’t know I would be performing in the “Rose of Versailles 50” concert (LOL)… In that vacation, I took dance lessons in London, and surely I had a change in mindset. As I become more senior in year, with much gratitude I took on more important roles and received more attention from the audience, but that’s also why I have to aim higher, and have more things I want to pursue. With that, I could only see my weaknesses, and at one point there were more things that “I needed to do” rather than “I wanted to do”. Yet, in the lessons in London, there were people wearing pointe shoes; some weren’t; some were dancing the same moves over and over again…the people were dancing freely and enjoying it. Then I realise: that’s right! It’s because I wanted to enjoy dancing freely that I entered Takarazuka. I was able to return to my primal joy and these lessons became a very significant experience for me.

— Later, it was announced that you were performing in the external performance of “HiGH&LOW: THE SENGOKU” produced by LDH. When I heard the news, I really didn’t know what was going to happen. I thought, “Am I playing an otokoyaku? Or a woman? Or am I part of a choir?” (LOL) I had so many question marks in mind, at the same time I believe it would be an interesting experience to have during my time in Takarazuka so I was excited. During the interview, many asked if I felt the difference between Takarazuka and LDH, but I think both companies wanted to create good stage performances, so fundamentally they can’t be too different. But in comparison with Takarazuka where the director basically manages everything, the scriptwriter, the director and the music directors in LDH have different sections to guide us , so it was refreshing to lean from their way of work. What’s more, when there’s professionals of different fields all in one place, in one-to-one sessions, they teach us the techniques generously and I really learnt more new things. Also, we have Top Stars in Takarazuka as leading roles of each story, so the story would be created to make the Top Star stand out, but it’s different in LDH. Certainly, I’d say they have a concept of making every member as important as a lead role, and there are directions which I question, “Is it okay when the audience cannot see Katayose-san in this scene?!”. At first I was really confused with Seo, who also performed with me this time. LDH members said that we could ask them if we have any questions, and so we told them things that didn’t make sense to us “That in Takarazuka, we would…”, and discussed these parts thoroughly with the members.

— It must be a rare experience to play otokoyaku among men.

Since we were always supported by musumeyaku around us, so I’d always feel that I want to play my roles more masculine! But they advised me that, “Men don’t stand with arms that wide apart. You’ll be fine as long as you’re keeping your mindset as if you’re a real man.” But since I felt really apprehensive if people would see me as a woman when the performance started, I think this frustration helped me shape Kamisuzaki Yusui’s troubles and concerns as the leader of a state. After the first day finished successfully, I was relieved that I could tone down my thick eyebrow makeup (LOL) and I applied lighter makeup, in which I became more confident in conveying my role as a man, rather than simply relying on makeup.

— You had various swordfight choreography scenes with the men.

I love swordfight choreography, and they have this momentum as men and it was so satisfying learning, “That’s how I have to fall down when I’m being slain!” (LOL). Since this was a performance about 5 warring states, our teacher said that we’d be learning different fighting styles depending on which state we belonged to. I was the state leader of Nogi-kuni, a state holding pride for its flourishing waters, so the teachers taught us swordfight choreography that is smooth as the flow of water. It was really difficult, but I enjoyed learning it.

— Continuing from there, you played Andre in “Rose of Versailles 50” with the distinguished OGs.

A total opposite to LDH! (LOL). But I savoured the experience of being one of the youngest underclassmen again while playing among legends (LOL). Well~ the rehearsals every day was so fun and as I checked the schedule timetable, I’d be excited when I realized, “Oh, tomorrow’s the day they’re going to play Oscar! I look forward to it~!” I know that’s not a timetable is really for (LOL). But actually it was super thrilling being in the same rehearsal classroom with those legendary Oscar, Andre, Fersen actresses. Originally, these OGs have established their individual careers, but when they’re all assembled in one place, it felt so extravagant that it was a feast for the eyes. Kacha-san (Nagina Ruumi) who paired up with me as Oscar was busy performing in the bow hall for an external performance, so it was really me that was still a current Takarasienne…and I couldn’t believe I had the chance of rehearsing with other legendary OG Oscars during rehearsals. I panicked so much because “the people I looked up to are looking at me! They’re holding me in their arms~!” (LOL). I develop these different feelings depending on which OG I’m acting with. Of course, the ambience changed drastically from the different combinations, and I wanted to take all these experiences with me. When I wore the costume on stage, and when they watch me from the audience, they come to give me advice, “Mina-chan! You’d look better this way!” I couldn’t be more grateful to have spent this time.

— And now, you’re rehearsing the Moon Troupe national tour performance “In the Amber Hued Rain” and “GRANDE TAKARAZUKA 110!” You’re performing with Houzuki An again after being in Flower Troupe together in the past.

That’s right! First of all, many people are looking forward to Chinatsu-san (Houzuki) and Juri-chan (Amashi Juri)’s debut performance so I’m very glad to be part of it. And I really love Moon Troupe’s acting, so I look forward to seeing how they create a play from start to finish. This is also a troupe that I haven’t performed with, so I believe I’ll be inspired by them. I acted with Chinatsu-san before in “Stardom” back in the Flower Troupe times, but I was still an underclassman at that time, and I didn’t know much about acting or how to establish my presence in the troupe yet, now that I’m an upperclassman, I believe we can talk more about those issues. What’s more, I really love Chinatsu’s acting, so I want to feel more concretely how it feels and I will do my best to follow her.

[bgrav222]

Alt Megami guide (1 of 3)

Miura Sakura, Shinonome Mirei

Asuka Kirara, Takahashi Shoko (Takasho)

Hongo Ai (Nikaido Yume), Mayuki Ito

Ayami Shunka, Shinoda Yuu

Yoshikawa Aimi, Yumeno Aika

[ebisusan-jpidol]

澪川舞香チャン₍ᐢ⑅•ᴗ•⑅ᐢ₎♡

Maika Miokawa Japanese gravure idol

[asnowperson]

Laila from Hideko Mizuno's Rondo (輪舞). This manga was published in Big Comic for Lady, between January and July in 1981.

[missmyloko]

Kanzashi of The Month: March - Daffodils

Nearly two years ago I made what I thought would be my last kanzashi series entry, but then Kazurasei sucks me right back in with a motif that they've never posted before and thus, I never got a chance to cover before. So, here we are, once again, with another kanzashi motif! As always, kanzashi are courtesy of Kazurasei.

Image is courtesy of Kazurasei. Suisen (水仙) - Daffodil One of the rarer motifs, daffodils have some interesting symbolism. Their scientific name, Narcissus, is an ode to the Greek nymph of the same name who fell so in love with his own reflection that he eventually turned into a flower that drooped down towards water to eternally watch himself. Even its Japanese name, Suisen, translates to "Water Hermit," alluding to its Greek origins. Like its origin story, daffodils grow on upright stems but flower outward, slightly drooping, and can be found growing wild in fields, marshes, or near water. They're a perennial bulb, so they come back year after year, but don't need to be dug up like other bulbs as they're extremely cold hardy. They're praised worldwide as being heralds of spring as they're among the first flowers to bloom once the weather begins to warm. Since they're a bulb they're often grown inside and given as gifts to wish others a happy spring before the perennial kind bloom outside.

Image courtesy of Onihide-san. When it comes to maiko, daffodils are only worn by senior maiko, like Ichifuku (市福) of Masunoya (桝之矢) in Pontocho (pictured above). Single flowers or bunches of three are the most commonly seen, but in rare cases, like above, you'll see a cluster of them!

[y-a35-blog]

DA: https://www.deviantart.com/fujikoasako 

twitter: https://twitter.com/A35F15

[tonyyblee]

[escapefromgravureidolsinjapan]

水野舞菜

[koch-snowflake-blog]

名前水野 舞菜

生年月日2000年11月8日

出身地神奈川県

身長158cm

趣味アニメ、恋リア鑑賞、女性アイドルを見る

特技ドラム、バドミントン、水の早飲み

[hiro395]

太鼓鐘貞宗