#shimeyo

[birdblitz]

[atokniiro]

Daily drawing, day 21

@yvngbird's Shimeyo

[missmyloko]

What’s In a Book? Part 29

While going through my collection I managed to find a few books that have yet to be featured on here yet. I decided to go with this one as, upon further review, I noticed that it actually contained a wealth of information that I had previously ignored ^^;

Image of book’s cover courtesy of myself. Hana Akari: Showa Meigiren (はなあかり: 昭和名妓連) - Brilliant Flowers: The Showa Period’s Finest Geisha by Kobunshi Katsura (桂小文枝) (ISBN Unknown). Date of Publication: 1988 Language: Japanese and English (Some Essays and Names Only) Format: Hardcover Availability: Can be found up for auction on a fairly regular basis Price: Anywhere from $30 - $80 Errors: 0 This book is interesting, and that’s putting it mildly. Basically, it provides us with some of the best raw data for its time: The names of the most prominent geisha in each district of each city across all of Japan. It is a literal who’s who guide to the karyukai across the country in the late 1980s and is illuminating both in small essays that can be found at the front and back of the book explaining various schools and styles, but especially because it provides us with images, most in full color, of these amazing women.  The book overall is divided into regions which are then broken down further from there. The regions, cities, and districts of each named geisha are: Part 1: Hokkaido (北海道) Set 1: Asahikawa (旭川) - Kofune (小舟) Set 2: Sapporo (札幌) - Onobu (お信), Itoko (い登子), Izumi (いづみ), and Charako (茶良子) Set 3: Otaru (小樽) - Komomo (小桃), Mametarō (豆太郎), Kiku (㐂久), and Gorō (吾朗) Set 4: Muroran (室蘭) - Chonko (﹅子) Set 5: Hakodate (函館) - Nantoki (喃登希) and Kohide (小ひで)  Part 2: Tohoku (東北) Set 1: Morioka (盛岡) - Tsutamaru (都多丸)   Set 2: Hanamaki (花巻) - Kimiko (君子) and Keiko (桂子) Set 3: Aomori (青森) - Chame (茶目) Set 4: Yamagata (山形) - Kochō (小蝶) and Kinta (金太)   Set 5: Akita (秋田) - Chiyogiku (千代菊) Set 6: Obara (小原) - Ikkyū (一休), Aki (秋), and Kogiku (小菊) Set 7: Fukushima (福島) - Sakura (さくら) and Hidemi (秀美) Part 3: Kanto (関東) Set 1: Takasaki (高崎) - Kiyoko (清子) Set 2: Kusatsu (草津) - Sankoma (三駒) and Harumi (春美)   Set 3: Sarugakyo (猿ヶ京) - Kikutaro (菊太郎), Koshizu (小静) Set 4: Minakami (水上) - Yutaka (ゆたか) Set 5: Oyama (大山) - Kunika (くに香) Set 6: Tokyo (東京) - Fumie (冨美江) and Wakaryū (若龍) Set 7: Yugawara (湯河原) - Okame (お加目), Matsue (松栄), and Taeko (多恵子) Part 4: Chubu (中部) Set 1: Niigata (新潟) - Chiyogiku (千代菊) Set 2: Takada (高田) - Kazuko (加津子) Set 3: Shibata (新発田) - Renko (れん子) Set 4: Kamidayamadatogura (上山田戸倉) - Senryū (泉竜), Suzuyakko (鈴奴), Saizō (才三), and Utamaru (歌丸) Set 5: Kamisuwa (上諏訪) - Chiyomaru (千代丸) Set 6: Isawa (石和) - Miki (美樹) and Koyakko (小奴) Set 7: Kōfu (甲府) - Misako (美佐子), Kimika (君香), and Hisayo (久代) Set 8: Inuyama (犬山) - Misako (みさ子) Set 9: Hamamatsu (浜松) - Gonza (権三), Ichitarō (市太郎), Otomi (乙美), Koman (小萬), Eiko (栄子), Hatsutarō (初太郎), Tsuruchiyo (鶴千代), Yasuyo (泰世), Sakura (佐久良), Sachiko (幸子), Toshie (利枝), Komomo (小百々), Momoko (百々子), Fumiya (二三弥), Mitsugiku (光菊), Azuma (吾妻), Akiko (明子), and Ichiha (市羽) Set 10: Kanazawa Higashi/East (金沢東) - Koman (小まん) Set 11: Kanazawa Kazuemachi (金沢主計町) - Hitoha (一葉) and Kyōko (京子) Set 12: Kanazawa Nishi/West (金沢西) - Mineko (峯子), Sachiyo (幸代), and Marichiyo (まり千代) Set 13: Fukui (福井) - Makiko (真㐂子) and Yurako (由良子) Set 14: Yuzawa (湯沢) - Katsumaru (勝丸) and Hiromi (弘美) Set 15: Nagoya (名古屋) - Fukuchiyo (福千代), Takako (敬子), Tsuruko (つる子), Mitsuyo (光代), Kiku (喜久), Emiya (英美弥), Sanchō (三長), Satoyo (里代), Mitsu (未津), Ayako (あや子), Kinmaru (金丸), Naoe (直枝), Fukuwaka (福若), Hisae (比三枝), Mako (間子), Yasuko (康子), Toshino (とし乃), Koie (鯉恵), Mariko (まり子), Katsuko (かつ子), Maiko (舞子), Kingyo (金漁), Hideka (秀佳), Chiyoe (千代江), and Motoko (素子) Part 5: Kinki (近畿) Set 1: Osaka (大阪) Part A: Osaka Minami (大阪南) - Yukiharu (雪春), Kikutsuru (菊つる), Kikue (菊恵), Rikimaru (力丸), Kinko (きん子), Yukiji (ゆき路), Kōjirō (廣二郎), Yoshiko (よし子), Terugiku (照菊), Midori (美登利), Hankō (はん幸), Kazumi (かず美), Yukie (ゆき恵), Yūka (勇花), Suzuka (鈴佳), Masako (まさ子), Fukuemi (福笑), Masachiyo (政千代), Kikufumi (菊二三), and Yūko (祐子). Part B: Osaka Horie (大阪堀江) - Temari (てまり) Part C: Osaka Shinmachi (大阪新町) - Hatsuko (はつ子) and Tamao (玉緒) Part D: Osaka Kitashinchi (大阪北新地) - Komaka (駒香), Umesada (梅さだ), Umetomi (梅十三), Suzume (寿々女), and Umemitsu (梅充). Set 2: Kyoto (京都) Part A: Gion Kobu (祇園甲部) - Komame (小まめ), Hisae (久栄), Katsuyū (かつ勇), Haruyū (春勇), Miyokazu (美代一), Fukusono (フク園), Satoharu (里春), Yoshigiku (義㐂久), Kōsono (晃園), Teruha (照葉), Mamekō (まめ晃), Fukuyū (福勇), Kanoko (かの子), Machiko (真知子), Kumiko (玖見子), Kohana (子花), Takayū (孝友), Teruchiyo (照千代), Takeha (竹葉), Nakako (奈加子), Mameyū (まめ勇), Sonoko (その子), Tomichiyo (斗美千代), Yoshimame (芳豆), Kofumi (小富美), Kanoju (かの寿), Mamechiyo (豆千代), Katsufuku (かつ福), Mameji (豆爾), Toyochiyo (豊千代), Katsuji (佳つ二), Ichigiku (市季久), Mamezuru (まめ鶴), Koman (小萬), Michiko (道子), Miyokichi (美与吉), Aika (愛香), Teruyo (照代), Fumichiyo (富美千代), Kikuharu (菊春), Masuko (ます子), Momoko (桃子), Kosode (小袖), Chōji (長治), Tomigiku (冨菊), Komasu (小ます), Emiji (恵美二), Dan-e (だん栄), Koyū (小ゆう), Yukiryō (幸良), Hanachiyo (花千代), Miyuki (美ゆき), Masaru (勝), Kanoji (かの次), Hiromi (廣美), Kotomi (小とみ), and Ainosuke (愛之介). Part B: Pontocho (先斗町) - Miyofuku (美代福), Hisakō (久幸), Raiha (来葉), Momiha (もみ葉), Ichiko (市子), Shinatomi (シナ富), Mameharu (豆治), Hisafumi (久富美), Ichisen (市扇), Mameyuki (豆幸), Umeyū (梅佑), Ichitoyo (市豊), Mameshizu (豆志津), Ichisono (市園), Mamechiyo (豆千代), Hisaroku (久ろく), Ichimitsu (市光), Momizuru (もみ鶴), Hide-e (英江), Tomizuru (富鶴), Emiju (笑寿), Fudeya (フデ哉), Miyosaku (ミヨ作), Ichihiro (市宏), and Shinateru (シナ照). Part C: Gion Higashi (祇園東) - Toyoji (豊治), Fumie (章栄), Chika (ちか), Tsurukazu (つる和), Tsunekazu (つね和), Tsunehisa (つね久), Masuko (ます子), Toyohisa (豊寿), and Masako (満佐子). Part D: Miyagawa Cho (宮川町) - Wakaharu (若晴). Kanae (叶恵), Fumichō (富美蝶), Mikiryū (三木竜), Wakachika (若千加), Fukukazu (ふく和), Toshiyū (敏祐), Suzuchiyo (鈴千代), Hinachō (雛蝶), Chikayoshi (千賀俊), Mieko (美恵子), Fukusome (冨久染), Tane-e (種栄), and Tanekazu (たね和). Part E: Kamishichiken (上七軒) - Tei (てい), Emi (恵美), Katsukiyo (勝㐂代), Tamafuku (玉福), Fukuzuru (福鶴), Hisazuru (久鶴), Tsuruzō (鶴三), Hisawaka (久若), Tamaryō (玉龍), Shimeyo (〆代), Katsumaru (勝丸), Naoko (尚子), Kokimi (小㐂美), and Kohan (小はん). Set 3: Nara (奈良) - Suzumi (須寿美) Set 4: Genrō (彦桹) - Kikuyū (菊勇) and Masaya (政弥). Set 5: Otsu (大津) - Omasa (おまさ) Set 6: Kinosaki (城崎) - Tomiyū (富勇) and Kanoko (佳乃子) Set 7: Wakayama (和歌山) - Kikuchiyo (菊千代) Set 8: Shirahama (白浜) - Tsutagiku (蔦菊) Set 9: Osaka Imasato (大阪今里) - Koito (小糸) and Kichihide (吉秀) Set 10: Imasato (今里) - Kichitama (吉玉) Set 11: Kyoto Shimabara (京都島原) - Hana Ōgi Tayū (花扇太夫) Part 6: Chūgoku (中国) and Shikoku (四国) Set 1: Tamatsukuri (玉造) - Naoko (尚子), Yae (八重), and Kishi (貴志). Set 2: Okayama (岡山) - Yakko (奴) and Chizu (知寿) Set 3: Takamatsu (高松) - Hamachiyo (浜千代) Set 4: Matsuyama (松山) - Ippei (一平) Set 5: Tokushima (徳島) - Fukuyo (福代) and Akiyo (明代) Set 6: Kochi (高知) - Kimiryū (君龍) and Sadamaru (貞丸) Part 7: Kyushu (九州) Set 1: Hakata (博多) - Mieko (美恵子) Set 2: Kurume (久留米) - Okiyo (お清) Set 3: Ureshino (嬉野) - Hisamatsu (久松), Komatsu (小松), Koshin (小新), Hisaryū (久竜), and Marikō (まり幸). Set 4: Isao (武雄) - Fumiya (文弥) Set 5: Beppu (別府) - Mitsugiku (光菊), Fujikatsu (ふじ勝), Umesono (梅園), and Tomiko (富子) Set 6: Kumamoto (熊本) - Ayako (あや子) Set 7: Kagoshima (鹿児島) - Aimaru (愛丸) The only areas that I noted are missing are some of the hot springs towns. I’m not too sure why they were skipped over, but it’s possible that the author did not have any connections to them. The most informative part that I admit I skipped initially is the small print under each geisha’s name: their natori specialty, natori teachers, and natori names. This means that we can trace back what schools were the main specialty of each region going back decades. Since this is invaluable for anyone studying geisha over time, I’ll write in what schools were followed, but I will keep names a secret. Districts are as follows: Part 1: Hokkaido (北海道) Set 1 Asahikawa (旭川) - Kineya (杵屋) Set 2: Sapporo (札幌) - Wakayagi (若柳) for dance and Tadeko (蓼胡) for song Set 3: Otaru (小樽) - Fujima (藤間) for dance and Tadeko (蓼胡), Kineya (杵屋), Kiyomoto (清元), Shunnichi (春日), and Tokiwazu (常磐津) for song. Set 4: Muroran (室蘭) - None Given Set 5: Hakodate (函館) - Tanaka (田中) for dance and Matsunaga (松永) for song. Part 2: Tohoku (東北) Set 1: Morioka (盛岡) - Tokiwazu (常磐津) for song. Set 2: Hanamaki (花巻) - Wakayagi (若柳) for dance and Kineya (杵屋) for song. Set 3: Aomori (青森) - None Given. Set 4: Yamagata (山形) - Fujima (藤間) for dance.    Set 5: Akita (秋田) - None Given.  Set 6: Obara (小原) - None Given Set 7: Fukushima (福島) - None Given. Part 3: Kanto (関東) Set 1: Takasaki (高崎) - Hanayagi (花柳) for dance and Okayasu (岡安) for song. Set 2: Kusatsu (草津) -  Hanayagi (花柳) for dance.    Set 3: Sarugakyo (猿ヶ京) - Kineya (杵屋) for song. Set 4: Minakami (水上) - Kineya (杵屋) for song. Set 5: Oyama (大山) - Kineya (杵屋) Set 6: Tokyo (東京) - Taguchiko (田口湖) for dance and Kineya (杵屋) for song. Set 7: Yugawara (湯河原) - Tanaka (田中) and Fujima (藤間) for dance and Tokiwazu (常磐津), Kineya (杵屋), and Tadeai (蓼相) for song. Part 4: Chubu (中部) Set 1: Niigata (新潟) - None Given. Set 2: Takada (高田) - None Given. Set 3: Shibata (新発田) - Okayasu (岡安) for song. Set 4: Kamidayamadatogura (上山田戸倉) - Bandō (坂東) for dance and Tōsha (藤舎), Shunnichi (春日), Kineya (杵屋), and Kiyomoto (清元) for song. Set 5: Kamisuwa (上諏訪) - Kineya (杵屋) for song. Set 6: Isawa (石和) - Hanayagi (花柳) for dance and Mochizuki (望月) for song. Set 7: Kōfu (甲府) - Hanayagi (花柳) for dance and Kiyomoto (清元), Okayasu (岡安), and Nagami (長巳) for song. Set 8: Inuyama (犬山) - Nishikawa (西川) for dance and Kineya (杵屋) for song. Set 9: Hamamatsu (浜松) - Fujima (藤間) and Fukuwara (福原) for dance and Kiyomoto (清元), Yoshimura (芳村), Shunnichi (春日), Nishikiharu (錦春), and Tokiwazu (常磐津) for song.    Set 10: Kanazawa East (金沢東) - Kamizaki (神崎) for dance. Set 11: Kanazawa Kazuemachi (金沢主計町) - Fujima (藤間) for dance and Kineya (杵屋) and Mochizuki (望月) for song. Set 12: Kanazawa Nishi/West (金沢西) - Nishikawa (西川) for dance and Tōsha (藤舎), Okayasu (岡安), and Kashida (堅田) for song. Set 13: Fukui (福井) - Fujima (藤間) for dance and Utazawa (哥沢) for song. Set 14: Yuzawa (湯沢) - None Given. Set 15: Nagoya (名古屋) - Nishikawa (西川) for dance and Kiyomoto (清元), Tokiwazu (常磐津), Sumida (住田), Kineya (杵屋), Kishizawa (岸沢), Shunnichi (春日), and Fujimatsu (ふじ松) for song. Part 5: Kinki (近畿) Set 1: Osaka (大阪) Part A: Osaka Minami (大阪南) - Onoe (尾上), Fujima (藤間), Bandō (坂東), and Hanayagi (花柳) for dance and Kiyomoto (清元), Kondo (今藤), Mochizuki (望月) and Tokiwazu (常磐津) for song. Part B: Osaka Horie (大阪堀江) - Nishikawa (西川) for dance. Part C: Osaka Shinmachi (大阪新町) - Nishikawa (西川) for dance and Kineya (杵屋), Shunnichi (春日), and Ogie (荻江) for song. Part D: Osaka Kitashinchi (大阪北新地) - Nishikawa (西川) and Hanayagi (花柳) for dance and Kineya (杵屋), Tamura (田村), Uji (宇治), Tokiwazu (常磐津), Tagawa (田川), Kiyomoto (清元), and Yoshimura (吉村) for song.  Set 2: Kyoto (京都) Part A: Gion Kobu (祇園甲部) - Inoue (井上) for dance. Part B: Pontocho (先斗町) - Onoe (尾上), Nishikawa (西川), and Wakayagi (若柳) for dance and Tōsha (藤舎), Kondo (今藤), Nakamura (中村), Ogie (荻江), Bungo (豊後), Kineya (杵屋), and Tokiwazu (常磐津) for song. Part C: Gion Higashi (祇園東) - Fujima (藤間) for dance and Tokiwazu (常磐津), Yanagi (柳), Nakamura (中村), Kineya (杵屋), and Tōsha (藤舎) for song. Part D: Miyagawa Cho (宮川町) - Umemoto (楳茂都), Wakayagi (若柳), and Rokugō (六鄕) for dance and Kondo (今藤), Bungo (豊後), Kiyomoto (清元), Yanagi (柳),  Yamakishi (山岸), Utazawa (哥沢), Tadeko (蓼胡), and Umeya (梅屋) for song.    Part E: Kamishichiken (上七軒) - Hanayagi (花柳) for dance and Tokiwazu (常磐津), Shunnichi (春日), Toyomoto (豊本), Kiyomoto (清元), Tōsha (藤舎), and Kiyoyuki (清之) for song. Set 3: Nara (奈良) - Kineya (杵屋) for song. Set 4: Hikone (彦桹) - None Given. Set 5: Otsu (大津) - Yanagi (柳) for song. Set 6: Kinosaki (城崎) - Wakayagi (若柳) and Onoe (尾上) for dance. Set 7: Wakayama (和歌山) - Onoe (尾上) for dance. Set 8: Shirahama (白浜) - Okayasu (岡安) for song. Set 9: Osaka Imasato (大阪今里) - Kineya (杵屋), Shunnichi (春日), and Kiyomoto (清元) for song.     Set 10: Imasato (今里) - None Given. Set 11: Kyoto Shimabara (京都島原) - None Given. Part 6: Chūgoku (中国) and Shikoku (四国) Set 1: Tamatsukuri (玉造) - Fujima (藤間) for dance and Kineya (杵屋) for song. Set 2: Okayama (岡山) - Onishi (小西) for dance. Set 3: Takamatsu (高松) - Kiyomoto (清元) for song. Set 4: Matsuyama (松山) - Kiyomoto (清元) and Tamura (田村) for song. Set 5: Tokushima (徳島) - Yoshitō (芳膛) for dance and Kiyomoto (清元) and Tamura (田村) for song. Set 6: Kochi (高知) - Kiyomoto (清元) and Tamura (田村) for song. Part 7: Kyushu (九州) Set 1: Hakata (博多) - Kondo (今藤), Shunnichi (春日), and Kashida (堅田) for song.   Set 2: Kurume (久留米) - Tokiwazu and Shunnichi (春日) for song. Set 3: Ureshino (嬉野) - Hanayagi (花柳) and Fujima (藤間) for dance and Matsunaga (松永) and Tagoto (田毎) for song.   Set 4: Isao (武雄) - Fujima (藤間) for dance. Set 5: Beppu (別府) - Tokiwazu (常磐津), Kiyomoto (清元), and Hisago (瓢) for song. Set 6: Kumamoto (熊本) - Hanayagi (花柳) for dance and Kondo (今藤) for song. Set 7: Kagoshima (鹿児島) - Kineya (杵屋) and Tagoto (田毎) for song. The reason why this book has no ISBN is because it was self published. The original cover price was ¥30,000, which is almost $300 USD. This price was likely set due to the vast amount of research done, including acquiring the many photographs, and printing costs. This price was also likely due to it being targeted at serious karyukai connoisseurs as that price in the 1980s would have been much higher now due to inflation. Nowadays you don’t have to pay as much for this book as most Japanese sellers see it as outdated and it can be found quite regularly on Japanese retail sites, such as Yahoo Japan Auctions or Rakuten.   The only “errors: that I could find were some spelling issues, but that’s because they’re using the Japanese way of writing Romaji and not the Hepburn System. So, I’m not counting them as errors, but rather just making note of them to anyone who purchases this book. Rating: ✪✪✪✪ (out of 5)

[rowdarker]

research on samuri helmet crests

i am doing some research on some samurai helmet crests and us this in my work on my model and seeing what i like about it and what parts i don’t want on it 

apanese helmets dating from the fifth century (long before the rise of the samurai class) have been found in excavated tombs. Called mabizashi-tsuke kabuto (visor-attached helmet), the style of these kabuto came from China and Korea and they had a pronounced central ridge.

Kabuto, which is now known as a samurai helmet, first appeared in the 10th century Heian period with the appearance of ō-yoroi. In the Sengoku period in the 16th century, when battles between samurai changed into gun and group battles, ō-yoroi and dō-maru went out of fashion and tosei-gusoku (gusoku) was born, and the style of kabuto changed greatly.

In the Edo period, when the Tokugawa shogunate defeated the Toyotomi clan at Summer Siege of Osaka and the society became peaceful, armor with a revival of the medieval times became popular, and ō-yoroi and dō-maru style kabuto were made again.

The kabuto was an important part of the equipment of the samurai, and played a symbolic role as well, which may explain the Japanese expressions, sayings and codes related to them. One example is Katte kabuto no o wo shimeyo (lit. "Tighten the string of the kabuto after winning the war"). This means don't lower your efforts after succeeding (compare to "not to rest on one's laurels").Also, kabuto wo nugu (lit. "to take off the kabuto") means to surrender.

[azzafromtazza]

So I got bored...

And when I get bored, my mind wanders. Today it wondered two things:

. What lines Torbjorn would have if he was allowed some Swedish lines similar to how Symmetra has a few Hindi lines . What lines Hanzo would have if he had more Japanese lines outside of his ult lines

I decided to tackle Torbjorn first. Using the power of Google Translate, I came up with these:

. Turret Set-Up: Visa dem vad du kan göra! = Show them what you can do! . Turret Destroyed: Min älskling! = My darling! (My baby!) . Armour: Rustning härifrån! = Armour from here! (Armour over here!) . Low Scrap: Behöver mer skrot = Need more scrap . Hallå = Hello . Tack = Thanks

These could be wrong, ‘cause I know Google’s not the most trusted translator out there. Feel free to correct any mistakes.

Now onto Hanzo. He struck me as the kind of guy that would use Japanese proverbs to get his thoughts across, so I found a website that had a couple of proverbs and chose the ones I thought best suited Hanzo:

. During Set-Up:  かってかぶとのおをしめよ/Katte kabuto no o o shimeyo = After victory, tighten   your helmet strap (Meaning: Keep your guard up until the very end) . Interaction with Genji:  . Genji: 私たちの使命を完了する準備ができていますか？/Watashitachi    no shimei o kanryō suru junbi ga dekite imasu ka? = Are you ready to    complete our mission, brother?  . Hanzo: あなたは借りた猫のように行動している/Anata wa karita neko no yō ni    kōdō shite iru = You act like a borrowed cat (Supposed to be “You’re acting like    a borrowed cat”) Calling somebody a borrowed cat means that they act more well-mannered than they usually are, like a cat outside of its home apparently. This was Google Translated, so I’m not 100% on the wording. . Eliminated Lucio:   なくねこはねずみをとらぬ/Naku neko wa nezumi o toranu = A loud cat doesn't   catch mice . Respawn:   ななころびやおき/Nana korobi ya oki = Stumble 7 times, get back up 8 . Kills Soldier 76, Reaper, Ana, Reinhardt, or Torbjorn:  としよりのひやみず/Toshiyori no hiyamizu = An old person's cold water  (Meaning: An old person's acting recklessly for their age) . Damage Increased:  Like giving a kanabō to an oni (Meaning: To give an extra advantage to somebody that already has the advantage, the strong made stronger)

Feel free to add any extras you may think of!

[kamishichiken]

November 2016: geiko Ichimari, Ichimomo, Katsune, Ichitomo, Naokazu, Satonosuke and Ichisumi with maiko Ichitaka and Umechie at party held by the Ookini Zaidan (source).

The Ookini Zaidan is a cultural foundation dedicated to supporting Kyoto’s hanamachi. They offer a scholarship for young geiko working to become independent and two different awards for senior geiko for their dedication to the traditional arts. This year five senior Kamishichiken geiko (Teruyo, Katsumaru, Naoko, Fukuzuru, and Shimeyo) won one of these awards, for geiko over 65 working to pass down their knowledge of traditional arts to the next generation. 

[ghostsandgod]

Ema of Harajuku Togo Shrine : 原宿東郷神社の絵馬 by Toshihiro Gamo Via Flickr: The portrait of Admiral Togo is accompanied by the words "Katsute Kabuto no owo shimeyo." "Katsute-Kabuto no owo shimeyo" means "Don't relax your guard after you've won." In English. Heihachiro Togo became famous for what he said at the end of the "Combined Fleet Dissolution". This picture was taken in the precincts of Togo Shrine in Jingu 1-chome (Harajuku) in Shibuya Ward, Tokyo.

[birdblitz]

these bitches do NOT know how to wash a car

[birdblitz]

yuujiro and shimeyo, hired guns

[birdblitz]

[missmyloko]

Kotobukikai 寿会 - 2017

Although much more streamlined than Gion Kobu or Miyagawa Cho, Kamishichiken’s Kotobukikai features the same program each day, so viewers don’t have to choose between which maiko and geiko they want to see performing on stage. However, jikata geiko are not listed (which is a bit of a downer seeing as they’re integral to the show). Kotobukikai takes place from October 8th to 12th at the Kamishichiken Kabukai. Scene 1: Seigaiha 青海波 - Blue Ocean Waves Performers: Umeka (梅嘉), Naohiro (尚ひろ), Umewaka (梅わか), Ichitomo (市知), and Katsune (勝音). Scene 2: Hane No Kamuro 羽根の禿 - Kamuro Playing Shuttlecock Performers: Umechie (梅ちえ), Ichitaka (市多香), Naokinu (尚絹), Ichikoma (市こま), Naoai (尚あい), Umehina (梅ひな), Ichiaya (市彩), and Fumiyuki (ふみ幸). Scene 3: Yoi No Kuzetsu 宵の口説 - Early Morning Lover’s Quarrel  Performers: Naoko (尚子), Tamayuki (玉幸), and Umegiku (梅ぎく). Scene 4: Shiki No Hana 四季の花 - Flowers of the Four Seasons Performers: Umeharu (梅はる), Umeshizu (梅志づ), and Ichimomo (市桃). Scene 5: Ennen No Mai 延年の舞 - Dance of Longevity  Performer: Fukuzuru (福鶴). Scene 6: Atamayama あたま山 - Mount Atama Performers: Naosuzu (尚鈴), Umechika (梅智賀), Umeha (梅葉), Naokazu (尚可寿), and Ichimari (市まり). Bonus: Current Known Jikata Geiko Shimeyo (〆代), Katsumaru (勝丸), Teruyo (照代), Satonosuke (里の助), Katsuna (勝奈), and Ichisumi (市純).

[jnadonza]

KABUTO The Kabuto undoubtedly played a very prominent and long-lasting role in depicting the ancient war code of the Japanese warriors, however, the symbolism of samurai helmet far surpassed its military application and seeped into Japanese wisdom and everyday sayings. One Japanese saying ‘Katte Kabuto no o o shimeyo, translated as ‘tighten your kabuto after winning’ and points towards the wisdom that ‘one must not adhere to rest very soon after one’s victory as this could be a loss in and of itself’. Another such phrase that uses Kabuto symbolism is ‘kabuto o nugu’ which literally means ‘take off the kabuto’ which is used to depict surrender or sometimes defeat. Design: Kunihiko Kasahara Paper: Post It (2) 90/ #365origamichallenge #samurai #samurais #kabuto #kabutohelmet #samuraihelmet #origami #instaorigami #paperflexn #origamiartist #origamifun #origamipaper #origamilover #paperfolding #origamicraft #origamifolding #paperoflexia #paperliscious #origamidecor #origamichallenge #origamicrane #paperart #foldingpaper #origamiwork #3dorigami #paperartistcollective #origami3d #origamiUSA (at Palmdale, California) https://www.instagram.com/p/B1ziuxup5dB/?igshid=1p4jdvo80ehl3

[missmyloko]

Thinking About Statistics

While going through a friend’s scans of odori programs last night I was stunned to see the differences of retention rates in the karyukai over an approximately 15 year stretch. My findings are thus: Miyagawa Cho Kyō Odori 2000 and Kyō Odori 2016 (16 years) Out of 16 tachikata geiko only 5 are still left, and they're the most senior (Fumichō, Fukuha, Chizuru, Fumiyū, and Haruyū, who's now a jikata). For the 17 jikata (minus the tachikata that appear twice), 8 are still active (Toshiyū, Kanae, Tanekazu, Mieko, Chieko, Takae, Chikafuku and Fukuka). For some reason Fukuka is only listed as jikata for this year, even though she's also tachikata. Out of the 20 maiko there's 2 still active (Kanachisa and Fumimari).So, for math fun: -31.3% tachikata geiko stay for approximately 15-16 years -47.1% jikata geiko stay for the same amount of time -10% of maiko stay for the same amount of time Gion Kobu Miyako Odori 1999 and Miyako Odori 2015 (16 years) I tried to keep it as close as possible so I had to go back an extra year to keep the length of time the same.  Out of 56 (!) tachikata geiko 23 are still active (Kofumi, Mameko, Nakako, Tomichiyo, Yoshimame, Mamechiyo, Mameji, Mamezuru, Koman, Sonomi, Takazuru, Mamehiro, Mameka, Korin, Fukue, Mamechizu, Terutoyo, Katsuma, Fukunami, Mameryō, Satomi, Fukuha, Mamechō, and Mameya). Geiko that aren’t listed as performing but were still active (and are still active) include Takeha, so that makes 24/57. 3 of those geiko (Yoshimame, Mamechiyo, and Fukunami) are now jikata geiko. Of the 18 jikata geiko 8 are still active (Dan-e, Komasu, Yukiryō, Kimihiro, Emiji, Kimiya, Komomo, and Danyū).   From the 17 maiko 4 are still active (Kokimi, Sonoe, Sayoko, and Fumikazu). Breaking it down: -41.1% of geiko stay for approximately 15-16 years -44.4% of jikata geiko stay for the same amount of time -23.5% of maiko stay for the same amount of time Already we can see a large difference between the two hanamachi. Although the tachikata geiko count is far higher in Gion Kobu, the jikata and maiko are quite similar and give a better comparison.  Pontocho Kamogawa Odori 1998 and Kamogawa Odori 2014 (16 years) Looking at Pontocho is always the most interesting as they’ve always kept a very high retention rate for well over 50 years. Of the 28 tachikata geiko 19 (!) are still active (Ichiko, Shinatomi, Hisafumi, Ichisono, Mamechiyo, Ichimitsu, Shinako, Ichikazu, Ichiwaka, Ichiume, Mamechika, Hisamaru, Ichiyoshi, Ichichō, Momino, Momicho, Ichiho, Ichikiku, and Aya). Of these Shinateru, Hisafumi, Hisamaru, and Shinako are now jikata geiko. For the 14 jikata geiko (not including repeats of tachikata) 8 are still active (Tomizuru, Fudeya, Momizuru, Miyosaku, Miyoji, Makiko, Hisaroku, Kazumi). Of the 12 maiko only 2 are still around (Hisakayo and Ichisayo), which is the most surprising result. Their rate has gone up significantly since then, so it’s interesting to see this drop that is quite comparable to other districts at the time. For numbers: -67.9% of tachikata geiko stay for approximately 15-16 years -57.1% of jikata geiko stay for the same amount of time -16.7% of maiko stay for the same amount of time Kamishichiken Kitano Odori 1997 and Kitano Odori 2013 (16 years) This one went back an additional year again due to the lack of scans. However, the numbers have also stayed fairly constant in this time period. Of the 12 tachikata geiko 7 are still active (Katsukiyo, Fukuzuru, Umegiku, Umeka, Naosuzu, Umeharu). For some reason senior geiko Tamayuki and Naoko were not listed in 1997, even though they were active at the time. They were not included in the count though. For the 7 jikata geiko 3 are still active (Shimeyo, Katsumaru, and Teruyo). Of the 7 maiko 1 is still active (Naohiro), so this is pretty comparable to the other districts too. Breaking it down: -58.3% of tachikata stay for approximately 15-16 years -42.9% of jikata geiko stay for the same amount of time -14.3% of maiko stay for the same amount of time Unfortunately the program scans for Gion Higashi around the same time have not been completed (mostly around the year 2000), so I can’t make any accurate deductions. To put everything together as a ranking: Most Tachikata Geiko Present  1st: 67.9% (Pontocho) 2nd: 58.3% (Kamishichiken) 3rd: 41.1% (Gion Kobu) 4th: 31.3% (Miyagawa Cho) Most Jikata Geiko Present 1st: 57.1% (Pontocho) 2nd: 47.1% (Miyagawa Cho) 3rd: 44.4% (Gion Kobu) 4th: 42.9% (Kamishichiken) Most Maiko Present 1st: 23.5% (Gion Kobu 2nd: 16.7% (Pontocho) 3rd: 14.3% (Kamishichiken) 4th: 10% (Miyagawa Cho) From looking at these numbers we can conclude the following: -Pontocho has the best rates by far and is 1st in almost every category (it drops to 2nd place for maiko). -Miyagawa Cho has the worst rates with a 4th, 2nd, and 4th place ranking respectively. Comparatively, Gion Kobu had 3rd, 3rd, and 1st and Kamishichiken had 2nd, 4th, and 3rd. -Rates for jikata geiko and maiko were fairly close (14.2% gap and 13.5% gap respectively). When it came to tachikata geiko the gap grew to 26.6%, which is pretty significant.  -The rates for tachikata geiko and maiko are very interesting considering that the women who were maiko during these time frames are almost all natori now and all of the tachikata are natori too. While this is all pretty cool we don’t actually have an answer as to why this has happened. It’s likely due to  how the maiko are raised and treated as they’ll become the future geiko, but we can’t know for sure. We can possibly assume that it was at this time that the internet began having an effect on the karyukai and numbers would grow, but that’s a completely different set of numbers to look at. So, after seeing these numbers, what do you all think? Do you think I missed something or want better clarification on things? Feel free to send in any comments or questions as numbers can have different interpretations based on who’s looking at them and I’d love to know what you all think ^^

[missmyloko]

A late thanks for answering my question about jikata geiko so thoroughly! You said that the best and oldest jikata can equal the fame of the best dancers in their districts, so could you tell me who the most famous jikata of each district are?

Gion Higashi has Masako (満佐子) of Man (まん). She’s been active since at least the 1960s and is the currently the most senior active geiko in her district. Miyagawa Cho has Hinachō (雛蝶), founder of Komaya (駒屋). She’s technically considered retired but her okiya and ochaya are arguably the most successful in the district. She still helps to run the okiya even though Toshiyū is considered the current okasan.Kamishichiken has Shimeyo (〆代). The Kamishichiken Tumblr did a great piece on her a week ago.Pontocho has Fudeya (フデ哉), the longest known active geiko currently in Kyoto. Her specific debut date isn’t known, but she was active prior to World War II and has been through so much that I’d love to hear her stories of how the karyukai has evolved since she began ^^Gion Kobu has Yoshimame (芳豆) of Shibata (柴田), who is so amazing that this may end up being long (lol). She was actually a natori geiko who debuted in 1965, the same year as Mineko Iwasaki. She transitioned into a jikata in the late 1990s and has been one of Gion Kobu’s most esteemed geiko for her amazing insight on both dance and music for decades. Besides being the okasan of Shibata, she’s the onesan or grand onesan to almost every Mame (豆) maiko and geiko in Gion Kobu right now (minus Mamechizu of Kineya and the Mame girls of Arai). Of her current 5 active imoto 3 are natori geiko (Mamehiro, Mameryō, and Mameka), which is pretty impressive as only one other long serving geiko has that many active natori imoto (the other is Kofumi, whose natori imoto are Koman, Korin, and Kokimi). 

[kamishichiken]

Spotlight on: Shimeyo 〆 代

Shimeyo is a senior geiko and one of Kamishichiken’s four jikata (musician) geiko. The date of her debut is unknown; she was a geiko by 1960 and may have debuted as a geiko. This year she was one of the recipients from Kamishichiken of an award offered by the Ookini Zaidan Foundation for geiko over 65 wanting to pass on their knowledge of traditional arts to younger generations. In 2003 she received another award from the Ookini Zaidan Foundation for continuing excellence in the traditional arts. This award is given to geiko over 60 who haved worked for more than 30 years in the karyukai. You can hear her singing with other geiko in this video. 

Photo sources: 1/2/3

[kamishichiken]

Hi there, on the post about Teruyo (I have to mention I love this spotlights you are writing) you stated she is one of Kamishichiken four jikata, could you tell me who are the other three? Have a nice day!

Thank you :) The other three jikata geiko are Katsumaru, Shimeyo, and Satonosuke. Katsumaru and Shimeyo are senior geiko (I’m writing spotlight posts for them too) and Satonosuke debuted from Nakazato okiya 2013.