The following is a direct except from the English
language section from the Miyako Odori programme of 1961, graciously
provided from the private collection of Bijinga.com.
This has been copy-typed verbatim, along with scans, from the original
programme by Naomi Graham-Diaz.
Scene 1
Prefactory Act
Stage Setting: Silver Screens in the background
Inouye Kyo-Dancing School came to being to entertain
the court dignitaries in a palace and at a party. The Miyako Odori,
Cherry Dance, which has been propagating the Kyo-Dancing, is performed
in the atmosphere like that the forerunners of the Kyo-dancing
experienced. Thus the Miyako Odori always begins on the stage
with the traditional silver-screened setting. With the prelusive
female chorus, the whole troupe of Geishas marches out from the
two entrances of the right and left, crying out in unison, “Miyako
Odori wa yoiyasa”, meaning “Lets start the Cherry
Dance.” And the curtain of the Miyako Odori is raised.
Scene 2
Hail to Buddhistic Paradise
Stage Setting: The Façade of the East-Honganji Temple
Right now the 700th Memorial service of Shinran
Shonin is being observed by the Honganji Temples of the East and
West. An imposing building seen through the temple gate of the
East Honganji Temple is called “the Hall of His Image”
dedicated to this Buddhistic saint. It was 700 years ago that
he devoted his long life of 90 years for the spiritual salvation
of masses and founded the Jodo Shinshu Sect of Buddhism. Incidentally
the Miyako Odori served the City of Kyoto for 90 years for the
promotion of her tourism and culture. This number is therefore
offered to this devine service in glorification of the saint.
Scene 3
Shinobu Peddlers
Stage Setting: The Gion Shinto Shrine in the Olden Days
Shinobu peddlers dance to the tune of “My
Home Town” which is out old familiar dance song in Kyoto.
Shinbu (hare’s foot fern) which grows on the branches of
an old tree or under the eaves of an old house was used for dyeing
and “flower arrangement”. Shinbu phonetically has
other meaning; to love a person of the other sex repressing the
desire to express it, or to lead a life of serene fleeing from
a maddening world. In this sense people took the fancy to the
fern and the peddlers had a brisk fern business in the streets
of Kyoto.
Scene 4
Vowed Bag
Stage Setting: Noh Stage in the West Honganji Temple
A jealous wife mobilized her friend housewives
to punish her husband who was stepping out late from home. They
were armed with sticks and waiting for his return. No sooner he
stepped into his house than he was given the surprise attack of
a shower of blows. The incensed husband rebuked her, saying, “Go
back to your parents’ home.” How do you think the
story will end? You had better see it on the stage. The play was
composed by the late Mr. Isamu Yoshii for this year’s Miyako
Odori just before he passed away last fall. It was based on “Stammer”
and “A Bag of Longevity” from the classical comic
Noh plays. It may be said that the plot of this play has in common
something that you would find in the present day.
Scene 5
FireFly Hunting
Stage Setting: Shijo Dry River Bed & Gion Gay District
in Distance
Time: Pre-Meiji Era
There used to be many “tea inns”
along the river bank of Kamo near the Gion Gay District. There
doors were closed during the daytime. But when the night came,
those tea inns” were lit to start business. So there were
called “Firefly Tea Inns”. The whole troupe of Geishas
and Maikos in the summer kimonos perform the dance of “firefly
hunting”.
Scene 6
Love’s Spindle
Stage Setting: Miwa Village & Iruka’s Place
in a distance.
Peaceful love between Omiwa, daughter of a wine
merchant, and Motome was broken by the intrusion of Lady Tachibana.
The two maidens loved one man. The entanglement of love and lust
threw the tree into a dilemma like “twisted threads on the
spindle.” Omiwa tied a thread to the skirt of Motome whom
she loved so much. The man tied a thread to that of Lady Tachibana
from whom he wanted to know about her father Iruka’s political
design. Depending on the threads of their destiny that were kept
on twisted, they follow after them. Such is this strange account
of lovers’ suicide trip described by the Kyo-Dance.
Scene 7
Sacred Teachings in Snow
Stage Setting: Willow Room in the Hall of Flying Cloud,
West honganji Temple
The 3-storied Hall of Flying Cloud with the
beautiful landscape garden in the West Honganji Temple enclosure
was brought here from the Jurakudai Palace built by tycoon Hideyoshi.
The Willow Room in the Hall was so laid out as to one could appreciate
the beauty of the garden. A drawing of “Willow in Snow”
on the sliding screens in the room was by Kano Yeitoku. Snow falling
on the garden with the pond enhances all the more the dramatic
effect of this number.
Scene 8
Maid On Leave
Stage Setting: Cherry Blossoms Decoratee Arashiyama
Arashiyama has been noted for one of the
leading cherry blossom spots in Kyoto. Among the Kyo-Dances are
there “Arashiyama” and “Maid on Leave”.
Both of them are well known. This number was composed taking the
materials from them as the finale of the Cherry Dance Program
of 1961. At the end of this number the troupe is devided into
the two groups to march back to the entrances of the right and
left. And the curtain of the Miyako Odori of this year is drawn
down. (Y.S.)
