#Kyōgen

[sophiathefallen]

Ado's Release Schedule Issue

Zanmu came out today and I was very excited to listen to it! It's definitely a light album than Kyōgen, which I think was necessary so she doesn't get trapped in the box/label of "that one angry/sad Japanese singer" (which I've unfortunately see happen to a lot of artists).

However, the release of single before the album was...not what I was hoping for. Out of the 16 songs on the new album, 14 of them were singles, the first of which being released in March of 2022 and the most recent of which being released 5 days before the album came out.

To her credit, a big reason behind this could be that half (yes, HALF, I counted) of the songs on her new album were created for projects besides Zanmu (Missing, Dignity, Chocolat Cadabara, Kura Kura, Rebellion, All Night Radio, Himawari, and Show). This means that she had to put these songs out early to meet deadlines for projects. It also wouldn't benefit her to use part of the songs for the projects and then not make money off of them during the heights of their popularity.

I don't know what role her music label played in Ado's release schedule/structure, but here's what I would've done if I was in charge of it. Release a two-part single with Missing and Rebellion on October 14th, 2022 to line up with the release of Karada Sagashi. Then, release Dignity, Kura Kura, and Himawari as singles on the release dates of their respective shows/films/etc. This will occur between July 11th, 2023 and October 7th, 2023. A week later, release All Night Radio alongside the previous singles, or even add in the songs from Karada Sagashi if it needs to be padded out, as an EP.

Now here comes the part where things get a little fuzzy, so just bear with me. Show aired its first commercial for Universal Studios Japan on September 6th, 2023. Chocolat Cadabara aired it's first commercial for Lotte on January 22, 2024. So, my proposal is that Zanmu be given a release date of late January 2024 and have Ado's Utattemita Album pushed back to late July 2024. Show and Chocolat Cadabara would be singles for Zanmu, but that leaves quite a bit of time between the two releases. This leaves the perfect opportunity for Mirror, which was used in most Zanmu promotional materials, to release in November of 2023. This also might've helped promote Ado's world tour, Wish, even better because it began in February 2024, meaning that everyone would be excited from the new, original, album (Show would also still be able to be used for promotional materials).

With Ado's Utattemita Album, all of the songs on there were already available to see Ado sing on YouTube, so it would still make sense if Ado sang them on her world tour. Even if she hadn't, it could be a surprise or sneak peak of sorts for people who attended Wish. (Also, I personally wasn't as excited about Ado's Utattemita Album releasing, so I wouldn't have minded waiting longer for it).

I don't blame Ado, or even the people who produced the music, for any of this. I think this was mostly an oversight on the part of her label and manager with how schedules for her different projects would work out. If you are new to Ado, I still encourage you to listen to Zanmu, but I would suggest listening to Kyōgen first

[arthistoryanimalia]

#LunarNewYear #YearOfTheRabbit at the Metropolitan Museum of Art, New York:

Kyōgen Suit (Suō) with Rabbits Jumping over Waves Japan, Edo period mid-19th century plain-weave hemp with tube-drawn paste-resist dyeing (tsutsugaki) with hand-painted details dimensions: Jacket (a): 31 1/8 × 71 in. (79.1 × 180.3 cm)

"The suō—an unlined hemp suit with double-width sleeves, large sleeve openings, and matching pleated hakama pants—was originally part of the samurai wardrobe and was later adapted to Kyōgen comic theater. White rabbits hop over waves on this suit, the playful motif referring to the story “The Hare of Inaba,” from the Records of Ancient Matters (Kojiki, ca. 710). This text was later referenced in the Noh play Chikubushima (Chikubushima Island), which describes the moon’s reflection in Lake Biwa as a rabbit (a legendary inhabitant of the moon) running over the waves. Suō with large patterns and bright colors were used for roles of benevolent characters such as a bridegroom, daimyo, or wealthy man. As the long hakama pants are subject to intense wear, it is rare to find a complete ensemble like this one."

Photographed on display at the Met's Kimono Style exhibition (catalog entry here).

[princessfromthelandofporcelain]

Back of a suō (jacket) with a design of lotuses, worn with trousers as a costume for a samurai lord in a kyōgen play 

Japanese, Edo Period, early 19th century

resist-dyed and painted plain-weave bast fiber

Metropolitan Museum of Art

[limelyrics]

Deep Cover/ディープカバー

Under

It’s all the same, that worthless dependence

Under

That need for warmth that lowers your defenses 

Useless now, and useless then

You're so damn full of it, you're full of it, the worst and

Under

It still won't change, the queen will play her own game

Under

We stay the same, yet stealing for our own gain

Useless now, and useless then

And yet you love them and you're trying to make amends

So weigh the scales in your brain

Show me who’s wrong and take aim

That's why I swore that I would always have your back

Be the fanged hero on the attack

Fixed the problems that you couldn't fix

So why then, oh, why then did it come to this?

Don't stop me! Leave me be!

I need a reason to dish justice, can’t you see?

Inform me and warm me

Give me the solemn purpose I need

Under

Hiding from light, greedy, in spite of your conscience

But in the night, praying the righteous can imprint

Useless now, and useless then

Do you remember what you’re doing this for, instead

Under

He can't be found, chained and bound in his memories

Under

You wanna play? I’ll show you justice with ease

Useless now, and useless then

Let's knock the door down and begin!

So be my reason, be my motivating task

Don't you see? Pity’s just there to distract

Can't you hate evil for what it is?

Can’t you make the choice to not forgive?

Don't stop me! Leave me be!

I need a reason to dish justice, can’t you see?

Inform me and warm me

Give me the solemn purpose I need

Under

Under

I wanna find the justice I’ve been seeking

I wanna crush the evil I’ve been reaping

Useless now, and useless then

Count on me and I’ll defend

That's why I swore that I would always have your back

Be the fanged hero on the attack

Fixed the problems that you couldn't fix

So why then, oh, why then did it come to this?

Don't stop me! Leave me be!

I need a reason to dish justice, can’t you see?

Inform me and warm me

Give me the solemn purpose I need

Let me be! I’m not weak!

Give me the solemn purpose I need

Under

You think you’ve 1, you worthless parasite?

Under

That vulgar slut needs someone 2 hold tight 

Under

It’s easy 4 me to see through her lies

Under

5fold suffering, dissecting what is alive

Under

7’s a liar, acting in a kyōgen*

Under

See that warden, that useless eleven

Useless now, and useless then

You all depress me now, you’re all so damn annoying

*Kyōgen (狂言) is a traditional comic Japanese theatrical form that is usually performed in between Nō plays. In Cat, the word kyōgen (狂言) is used to refer to the theatrical form, whereas in Deep Cover, the word used is kyogen (虚言), meaning liar.

[easternmind]

Artwork for the upcoming adventure game Kitsune: The Journey of Adashino, by RIAS.

Since its reveal last year, the it has been showcased in select independent game events with a brief playable demo that has nevertheless managed to attract the attention of the western press. It has also been listed on Steam and is expected to launch in 2024.

Its use of 3D character models over hand-drawn backgrounds evokes the style and atmosphere of late 1990s RPG adventure games, a genre which Japanese developers have allowed to perish to a large extent. The author and lead designer, RIAS, has noted that when contemplating the creation of a game, he opted to embrace the traditional Japanese folklore motifs with which he has been in contact with his entire life. These images attest to this keenness, as seen in the countless references to Shinto deities and iconography, in which kitsune, the fox, is often portrayed assuming the shape of a young woman; together with the presence of many other elements so closely associated with the traditions of Kyōgen and Noh theater.

[ultimashadowx]

Some of these can change depending on my mood, but I felt like sharing a 3x3 of my favorite albums:

Demon Dayz - Gorillaz

American Idiot - Green Day

Kyōgen - Ado

El Camino - The Black Keys

Random Access Memories - Daft Punk

No One Ever Really Dies - N.E.R.D.

Collision Course - Jay-Z & Linkin Park

Czarface Meets Metal Face - Czarface & MF DOOM

Pax Volumi - Youngblood Brass Band

[hontokana]

藤真利子 (Mariko Fuji) - 花がたみ / 鬼狂言 (Hanagatami / Oni Kyōgen) Region: Japan (Tokyo) / Style: Techno kayō / Year: 1981 LIKED

[asagayalife96]

After Joey left I feel slighly melancholic. But yesterday I got very good news that I can return to Norway and still do my masters online!

Here is my new kimono, for autumn. I actually want one more... one which has a very bright color, but the problem is I am tall and finding a kimono (I could always have one specially made, but no time) is almost impossoble.

I went to Ginza as I was to watch Kabuki. I bought my own Nihonbuyo fan and spent a lot of time in cafés meditating about my life.

Kabukiza by day and night. I actually did not enjoy Kabuki at all... I prefer Nōh and Kyōgen forever!

Dessert and sumowrestlers loincloth.

[fmp2carolynnunn]

Kyōgen Mask: These masks are very similar to Noh masks expect they are less serious. Kyōgen theatre is a type of comedy theather that uses masks designed to make the audience laugh. Most Kyōgen have happy expressions or are extremely distorted.

Bugaku Mask: Bugaku is a type of Japanese dance performance practiced in Japan for centuries. Like Noh or Kyõgen plays, Bugaku needed its artist to wear crafted masks. Bugaku masks were used to portray one of the 20 regular characters in Bugaku. They were traditionally made of cypress wood and covered only the performers face. The expressions were not as exaggerated as in the Gigaku style, and used to have moving parts, such as the chin.

[byronsmuse]

Hasimoto Chikanobu (1838-1912), Saruwaka Kyōgen 'The Inner Palace of Chiyoda', 1895

[redsnerdden]

Kyohei Ishiguro's Bright: Samurai Soul Premieres Stunning New Trailer and Visual, Set for October Release

Kyohei Ishiguro's Bright: Samurai Soul Premieres Stunning New Trailer and Visual, Set for October Release #Bright #BrightSamuraiSoul #ネトフリアニメ #netflix #anime #イシグロキョウヘイ

Netflix made the announcement yesterday that the Spin-off Series titled Bright: Samurai Soul, based on the 2017 Original Sci-Fi Film Bright, which starred actor Will Smith would be premiering on October 12th. Taking place in Japan from the end of the Edo period to the Meiji period, depicting Izou, a ronin who lives as a bouncer, and Raiden, an orc assassin, who throws themselves into a fierce…

[archaic-stranger]

the japanese students

characters copied down with your favorite pen

the vibrant green of high-quality matcha

writing hiragana, katakana, and kanji until the symbols are familiar

strolling through a botanical garden

practicing suffixes, learning the social contexts that determine when different honorifics should be used

the satisfaction of seeing your grasp on the language improve

studying ancient poetry, reading pages of the man’yōshū

a scattering of cherry blossom petals in your hair

watching your favorite shows, recognizing the words and phrases you’ve learned and picking up new ones

recognizing the global influences of japanese culture

busy city streets and neon lights

picking up takeout from your local sushi restaurant

learning to cook authentic dishes

a stack of manga paperbacks with beaten-up corners and broken spines from each re-read

coming up with mnemonics to improve memorization 

relishing the challenge of talking with a native speaker

the gently curved roofs of traditional architecture

organized notes, the title written at the top of the page in multiple alphabets

celebrating the theater traditions of noh and kyōgen

analyzing the intersections of japanese culture and contemporary western influences

studying various periods of history, from the Heian to the Meiji

[yorkeantiquetextiles]

Nō or Kyōgen theater costume (Noshime-type)

1800-1849, Japan

Kasuri (ikat) weave silk

Purchase: William Rockhill Nelson Trus

Nelson-Atkins Museum of Art

[legend-collection]

Hakuzōsu

Hakuzōsu is the name of a monk, as well as the kitsune who transformed into the priest and stole his identity. The story has been adapted many times over the centuries, with the names, places, and other details changing across different adaptations. Ehon hyaku monogatari places the story in Yamanashi Prefecture, at the base of Mount Atago. The kyōgen theater piece Tsurigitsune is based on a 14th century version of this story from Shōrinji, a temple in Sakai, Osaka.

Long ago lived a trapper named Yasaku. He made his living by trapping foxes and selling their pelts in the market. An old, silver furred kitsune lived in the mountains where Yasaku worked. He had lost his friends and family members, one by one, to Yasaku’s traps until only he remained. He decided he would teach the trapper a lesson.

The kitsune knew that Yasaku’s uncle was a monk named Hakuzōsu. The kitsune disguised himself as Hakuzōsu and paid Yasaku a visit. He scolded him for hunting foxes, preaching the Buddhist precept that killing any living being is a grave sin. He referenced the story of Tamamo no Mae, whose sins caused her to be transformed into a boulder as a punishment. He even gave Yasaku some money in exchange for the rest of his snares. Finally Yasaku promised to stop killing foxes. Pleased with his success, the kitsune skipped back into the forest.

However, the money was not enough to support Yasaku’s lifestyle. He quickly spent all that the kitsune had given him. He decided to travel to his uncle’s temple to ask for more money. The old kitsune discovered Yasaku’s plan, and realized that his deception would be discovered. He went to the temple ahead of Yasaku and located Hakuzōsu. He lured Hakuzōsu away from the safety of the temple and devoured him. The kitsune once again disguised himself as the old monk. When Yasaku arrived to ask for money, the kitsune disguised as Hakuzōsu scolded him and sent him away empty handed.

For the next fifty years, the kitsune lived at the temple, disguised as Hakuzōsu, and faithfully performed the old monk’s duties.

One day, a deer hunt took place at a nearby farm. Many people traveled to the farm to witness the hunt. Hakuzōsu (the kitsune) went to spectate as well. At the farm, two dogs belonging to a samurai sensed the kitsune’s true identity. The leaped upon Hakuzōsu and ripped him to pieces. When the dogs were finally called off of the old monk, the torn body of an old, silver-furred kitsune was discovered and Hakuzōsu’s true form was exposed.

The villagers, fearing that the kitsune’s spirit would return and curse them, buried the body in the shade of a nearby mountain, and erected a small shrine over it.

[missmyloko]

Happy New Year, Justine. What is the difference between nihon buyo and kyo mai, and kabuki, noh and kyogen?

Nihonbuyō (日本舞踊) is a blanket term for any kind of traditional Japanese dance. Kyōmai (京舞) is a style of dancing developed in Kyoto. Kabuki (歌舞伎) is a type of dance that was created in the 17th century for the masses. It's more upbeat and dramatic compared to its Noh predecessor. Noh (能) is a type of dance that was created in the 11th century for the court nobility. It's very slow and punctuated by small bits of actions compared to its kabuki successor. Kyōgen (狂言) are small little skits performed between acts of noh plays to liven up the crowd from the slow pacing of the noh dances.

[burlveneer-music]

VA - Anthology Of Experimental Music From Japan (Unexplained Sounds Group)

Modern-day noise music has escaped the preserve of academics and avant-garde thinkers, uniting conservatory-trained and untutored participants from the worlds of punk, jazz, metal, contemporary classical, electronic music, and sound art in an exuberant and egalitarian collision. While noise conjures up the image of a cacophonous maelstrom of sound, contemporary improvisers utilize a much broader tonal palate, often offsetting abrasive textures with environmental sound, field recordings, and even silence. This is especially true in Japan, which has become a global center for the genre. Artists including Haino Keiji, Merzbow, Ōtomo Yoshihide, and Hijōkaidan rank among the scene’s most respected and influential names. So synonymous, in fact, is the country with this style of music that the term “Japanoise” was coined to provide a convenient catch-all. Some of the elements of traditional Japanese music seem to a novice like mere “noise” and have clear parallels in modern experimental music: a relative absence of harmony; the dissonant tonal clusters produced by banks of shō mouth organs in the court music called gagaku; the spluttering, wheezing, trills and flutter-tonguing of the shakuhachi; the stop-start rhythms, droning, repetitive vocals, and shrill, unmelodious flute of nō and kyōgen drama; the strident, uartertone jōruri narration and plink-plonk samisen that accompany bunraku puppet theater; and the gaping silences and austere arpeggios plucked out on traditional string instruments like the koto and biwa. No wonder a music coming from the merging of such tradition with new music developments from the West had to take its direction to something “other”. David McMahon This anthology of experimental music from Japan showcases the young generation of musicians alongside established names and provides an insight into the current experimental scene, confirming the adventurous character of the Japanese music research.  Edited by ©Unexplained Sounds Group Co-curated by Raffaele Pezzella and Farabi Toshiyuki Suzuki Cover image: “Fine Wind, Clear Morning” by Katsushika Hokusai