PRETTY GEISHA GIRLS

Waipawa Mail, Volume XLIX, Issue 149, 7 September 1928, Page 2 (Supplement)

PRETTY GEISHA GIRLS

HONOUR TO NEW MIKADO JAPAN’S CHERRY DANCE The Miyuko Odori, or spring cherry dance, famed throughout Japan lor more than fifty years and performed annually in Kioto, the ancient capital of Japan, is more elaborate this year than usual. Its theme, on this occasion, is to commemorate the present reign, in view of the coronation which will take place in Kioto this year, says Mr Victor Keen in the Now York Her aid TribuneThe title of the dance this year is Asahi-no Kagayaki, which means Brilliant Rising h?un, and refers to the reign of tiie present Emperor. The dance was first held in 1872, being staged by a veteran dancing teacher and the proprietor of the most famous tea house in Japan. It has been held yearly since that date to celebrate the cherry blossom season. In recent years other cherry dances in imitation have been held in Tokio and Osaka, but the Miyako Odori is still pre-eminent. The scenic effects cannot be rivalled on any Western stage, and the rapidity with v hich the settings arc changed in full view of the audience never fails to excite admiration among visitors to Japan. And as for the gorgeously kimonoed dancers themselves, no girl horus ever worked with more perfect unison. On entering the theatre where the Miyako Odori is held, the spectators are first ushered into a large waiting room, where they must wait their turn to go into the chamber where the toi ceremony is given. This room accommodates a limited number. After witnessing all of the graceful intricacies of the tea ceremony and sipping a cup of bitter liquid that does not tempt the Western taste, one passes into th<* auditorium, taking with him Japanese cakes which are given each guest at the tea ceremony, and which it would bo bad manners to eat until reaching ’he privacy of one’s home. A Dance with Eight Scenes Most of the spectators sit on the floor in the pit, but a few benches are provided in the rear of th e theatre for foreigners. On two sides of the pit are runways which extend from the stage nearly to the rear of the theatre. Back of the runways are platforms on which are seated the members of the orchos tra, the samisen players and singers, who are on the right, and the drummers on the left.

t The dancers enter from the runways, sixteen coming on from the right and the same number from the left. The two lines meet at the centre of the stage, forming with those still on the runways a hollow square open at one end. All of the dancers wear kimonos of the same exquisite design and each carries a fan made of artificial cherry blossoms and willow 'eaves, symbolic of spring. Beautiful Peach Blossoms.

At the conclusion of the scene the dancers leave the stage by the runways. Hardly have they disappears when the stage setting for the opening act has given place to a beautiful representation of peach blossoms along rile River Miyakawa. This river, whici means Bhrine River, flows through the Province of Ise, where are situated the inner and outer shrines of Ise, dedi cated respectively to the Bun Goddess, the deity from whom Japan’s first Em peror is supposed to bo descended, and the Goddess of Food. These shrines are reserved for the worship of the Emperor and Empress. Formerly it was customary for pilgrims on their way to the grand shrine of Ise to purify' themselves in the River Miyakawa. The blossoms of the peach trees which are shown on the river bank are not only typical of the locality, but have a special significance, since peach blossoms are believed to possess a miraculous power to ward off evil spirits. Only sixteen dancers take part in this scene and in each of the succeeding scenes except the final one only half of the performers appear. The third scene is a faithful repro duction of the parlour of ‘he liekoin, a noted nunnery situated near the gland shrine of Ise* The parlour was specially constructed in the latter half of the sixteenth century by order of the then reigning Shogun, Hideyori, in recognition of the service rendered by the founder of the nunnery in the reconstruction of the Ise shrines. The nunnery was abolished at the beginning of the Meiji era, but the famous parloli- was preserved and is now used as Part of the official residence of the chief priests of the Ise shrines. Graceful Fairyland Scene

Fairyland on Mount Takakura is the title of Act IV. The lower half of tha backdrop is hidden by a mrtain of scarlet and white, made in three sections. As the centre section falls it discloses the evergreen-clad slopes of Mount Takakura, which can bo seen from the outer shrine of Ise.

The programme states, “Accordingly, being fully aware of the heavy responsibility, the dancers equally manifest their superfine art. affording ns a rare chance of witnessing how genuine Japanese dancing of delicato taste looks like. Besides, the handsome robes worn by them are so superbly got up that it makes one long for ancient manners and customs.

Tho “antique grandeur” of Aet IV. is followed by an equally enchanting if more modern setting, which repre sents a summer evening in the holy groves near the north gate of the outor shrine. Act VI. pictures maple tints near Uji Bridge, which spans the River Isuzu-

But n s autumn colours must fade and give way to the sombre hues of winter, so Act VI. gives way to i beautiful snow scene taken from a district in the province where salt is gathered for special religious offerings to the Sun Goddess.

Cherry bUoms on Futami Beach, famous in Japanese legend and art, is the setting for the final act. Thirtytwo dancers take part in this act, each carrying a fan and a spray of cherry blossoms. During the entire performance the curtain does not fall, all of he scenes being shifted mechanically before the spectators’ eyes.