More Kojiki and Nihon Shoki and stuff like that but yes.
Nobunaga’s Ambition Realized: Dawn of a New Rising Sun
- Thread starter Ambassador Huntsman
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Chapter 134: Rise of the Gekijo - Music and Theater In 17th Century Japan
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Chapter 134: Rise of the Gekijo - Music and Theater In 17th Century Japan
As Japan rapidly urbanized, various forms of theater and related entertainment became ever more accessible to the average Japanese person in the cities. To keep pace with this growing demand, large gekijo playhouses (劇場) would begin to be built. Before this, theater and performances like sarugaku (猿楽) used the indoor spaces of temples, shrines, and residences of high-ranking samurai and court nobles, restricting their accessibility to those of privilege for the most part. Early structures and buildings specifically to accommodate popular consumption of kabuki and other theater were therefore built in the early 17th century with the popularization of among commoners. The first one, called Naniwa-za (難波座) was built in Sakai in 1634 and quickly began the center of Japanese theater. This was followed by the construction of a second one in Sakai called Asaka-za (浅香座) and one in Azuchi called Hachiman-za (八幡座). In the late 17th century, more of these gekijo would slowly emerge one by one in Japan’s biggest cities and it was in these spaces that kabuki (歌舞伎), bunraku (文楽), noraku (能楽), and other forms of entertainment would take place and captivate audiences composed of all social classes. The biggest ones were able to accommodate a variety of theater forms while others were more exclusively aimed at hosting kabuki performances [1].
The spread of gekijo particularly played a hand in popularizing kabuki, a form of theater originating during the 17th century. Its roots could be traced to the ex-miko of Izumo Taisha, Izumo no Okuni (出雲阿国), who gathered an all-female troupe in the early 1600s and began performing on the Shijogawara riverbed (四条河原) of the Kamo River (鴨川). Her troupe quickly became popular to the point where she was asked to perform before the Imperial Court and later at Azuchi Castle in front of daijo-daijin Oda Nobunori. Rival groups quickly began to form and soon kabuki spread throughout Japan’s urban centers across all social classes from high-ranking samurai to lowly townspeople. Among these groups included those predominantly made up of teenage actors known as wakashu-kabuki (若衆歌舞伎) to contrast with the female yujo-kabuki (遊女歌舞伎). Kabuki, however, quickly faced criticism from the ruling classes for its often suggestive themes and the intermixing of different social classes at performances. Although there were some voices who called for its ban as early as the 1620s, pressing overseas issues and the economic influence of the merchant class delayed any sort of regulation until the 1650s when the kobu kanpaku Konoe Toshishige, influenced by the court nobility, issued a nationwide ban in 1658. Under Kanbe Tomoyoshi, however, this ban was reversed and replaced with regulations that seeked to tone down the sexual themes of many performances and promote all-male groups that performed more serious stories [2]. Ironically, however, these regulations would diversify kabuki and distinguish it further from nogaku which kabuki had first derived from. Through Azuchi’s promotion of all-male groups, yaro-kabuki (野郎歌舞伎) would join yujo-kabuki and wakashu-kabuki as a vibrant genre within kabuki. This was particularly due to the work of playwright Chikamatsu Monzaemon (近松門左衛門) whose kabuki tragedies and romances often involving double-suicide plots established him as one of Japan’s foremost dramatists and truly separated yaro-kabuki as a more serious and dramatic theater form compared to its more comedic and suggestive counterparts.
The spread of gekijo particularly played a hand in popularizing kabuki, a form of theater originating during the 17th century. Its roots could be traced to the ex-miko of Izumo Taisha, Izumo no Okuni (出雲阿国), who gathered an all-female troupe in the early 1600s and began performing on the Shijogawara riverbed (四条河原) of the Kamo River (鴨川). Her troupe quickly became popular to the point where she was asked to perform before the Imperial Court and later at Azuchi Castle in front of daijo-daijin Oda Nobunori. Rival groups quickly began to form and soon kabuki spread throughout Japan’s urban centers across all social classes from high-ranking samurai to lowly townspeople. Among these groups included those predominantly made up of teenage actors known as wakashu-kabuki (若衆歌舞伎) to contrast with the female yujo-kabuki (遊女歌舞伎). Kabuki, however, quickly faced criticism from the ruling classes for its often suggestive themes and the intermixing of different social classes at performances. Although there were some voices who called for its ban as early as the 1620s, pressing overseas issues and the economic influence of the merchant class delayed any sort of regulation until the 1650s when the kobu kanpaku Konoe Toshishige, influenced by the court nobility, issued a nationwide ban in 1658. Under Kanbe Tomoyoshi, however, this ban was reversed and replaced with regulations that seeked to tone down the sexual themes of many performances and promote all-male groups that performed more serious stories [2]. Ironically, however, these regulations would diversify kabuki and distinguish it further from nogaku which kabuki had first derived from. Through Azuchi’s promotion of all-male groups, yaro-kabuki (野郎歌舞伎) would join yujo-kabuki and wakashu-kabuki as a vibrant genre within kabuki. This was particularly due to the work of playwright Chikamatsu Monzaemon (近松門左衛門) whose kabuki tragedies and romances often involving double-suicide plots established him as one of Japan’s foremost dramatists and truly separated yaro-kabuki as a more serious and dramatic theater form compared to its more comedic and suggestive counterparts.
Depiction of an early yujo-kabuki performance
Although kabuki had become the dominant attraction at gekijo by the end of the century, other forms of entertainment were not absent either. Nogaku, which up until the 17th century had been referred to as sarugaku and had been a progenitor of kabuki theater, continued to co-exist, being especially patronized by the samurai and court nobility in addition to being performed at gekijo. Meanwhile, bunraku (文楽), like kabuki, also arose in the 17th century, specifically in Sakai [3]. However, in contrast to the live theater of kabuki, bunraku utilized puppet theater in tandem with the rise and diversification of Japanese dolls and figures. Like kabuki, its growth was fostered by the work of Chikamatsu Monzaemon who also authored many bunraku plays. Meanwhile, at Iriebashi’s Wakamatsu-za (若松座), kunqu theater from the mainland became performed on a regular basis alongside kabuki, bunraku, and noraku to cater to the large Chinese population whereas it was only rarely performed in the cities of the home islands.
Accompanying the evolution of these entertainment forms were changes to Japanese music including the adoption of new instruments. The most significant of these changes was the widespread adoption of the shamisen (三味線) which came from the Ryukyu kingdom to Sakai in the late 16th century. It quickly became a popular alternative to the traditional biwa (琵琶) especially in narrative music genres like sekkyo-bushi (説教節) and joruri (浄瑠璃) and particularly became popular among commoners in urban and rural areas alike. The shamisen also found its way in the new theater of kabuki and bunraku alongside nogaku instruments like the taiko drum (太鼓), tsuzumi hand drum (鼓), and nokan flute (能管). Another foreign import was the virginal harpsichord from Europe [4]. Although other European instruments like the organ and viola had been introduced and been readily played by the Dutch and Portuguese before figures like Nobunaga, the virginal would be one that the Japanese would incorporate natively due to its small size and distinct sound. In the first half of the 17th century, virginal making would be adopted by Japanese craftsmen who based their construction on Italian-made imports. The latter half, however, saw influences from Flemish imports by the Ruckers family in their construction. Despite this intake, however, the virginal would largely be limited to the wealthy and upper classes of society, only occasionally performed to the wider public in the streets of big cities. When they were performed, however, its sound captivated all who heard it. Its most famous practitioner during the century was the court noble Nakanoin Michizumi, who was part of the Kanei Embassy and was first introduced to it during his time in Paris. He proved to be a natural at the virginal harpsichord and was so talented he even performed before the retired Emperor Mizunoo in 1648.
Shamisen
Ceremonial music also evolved in the 17th century to become a blend of gagaku music (雅楽) from the imperial court and the samurai class’ preferred nogaku genre through the fusion of imperial and samurai political traditions and systems, with the virginal harpsichord gaining acceptance through the success of Michizumi as a court noble and harpsichord practitioner. In the now stable Japan, performers for such ceremonial practices were given stipends, reviving the practice of musician patronization and supporting the flowering of musical talent. Among these patronized musicians were a guild of blind artists called the Todo-za (当道座) who had previously been supported by the Muromachi shogunate and were similarly patronized and given special status by Azuchi and many prominent daimyo and noble families.
[1]: Gekijo were more geared towards yaro-kabuki performances IOTL, but the coexistence of yujo-kabuki and wakashu-kabuki forms of theater incentivized greater flexibility in terms of construction.
[2]: IOTL, kabuki became an all-male entertainment form when yujo-kabuki was banned in 1629, followed by wakashu-kabuki 10 years later.
[3]: Arose in Osaka IOTL.
[4]: A unique phenomenon ITTL.
@Ambassador Huntsman Amazing work! Very interesting to see the culture of japan evolving!
Oh, Japanese music now! Again, I absolutely adore learning about the cultural development in Oda Japan.
I do like how the different genres start developing! The kabuki keeping female groups would be interesting as kabuki evolves beyond the 17th century, and we get different styles developing further for different audiences. The shamisen spreading during this period (along the kokyu which isn't mentioned but that did happen around the 17th century) makes sense, and the introduction of the virginal and harpsichord would make things very interesting. These instruments have very interesting sounds that I don't think the other western instruments can replicate, and I think harpsichords being developed as the ensemble leads replacing the koto would make sense. Still, I do think it would lead to chamber music being developed in Japan bc there needs to be multiple instruments to balance out the relative loudness of the harpsichord, which would be interesting, as I don't think Japan would import the piano as readily as the harpsichord, which has a very different soundscape when played.
I hope we get more admixture with the europeans by the mid to end of the 18th century where we see instruments developed from the kokyu and organs being brought in (organs were being built like insane in cathedrals and chapels in this period, I don't see the Japanese not taking notes and bring it back home), and harmony and polyphony prob be brought in too by the west to Japan too.
Also found this on YT and the guitar and shamisen work together surprisingly well.
Really great chapter on Japanese music! I wonder if rock and roll will somehow come on the Japanese music scene hundreds of years from now.
So kabuki doesn't become exclusively all-male this time around? Superior TL already.
I've had the pleasure(?) of reading an h-manga starring a yujo kabuki troupe that continued giving underground performances while evading law enforcement during the Bakumatsu, even meeting Ryouma Sakamoto. And yes, their shows were lewd. Hentai after all.
I've had the pleasure(?) of reading an h-manga starring a yujo kabuki troupe that continued giving underground performances while evading law enforcement during the Bakumatsu, even meeting Ryouma Sakamoto. And yes, their shows were lewd. Hentai after all.
Thank you!!
This video is cool, thanks for sharing!!
That depends on whether rock and roll comes about ITTL.
Speaking of Sakamoto Ryoma, one of his supposed lovers (also featured in the drama Ryomaden) was a Kirishitan geisha in Nagasaki so cool connection there.
Ye it is very fun to watch, and the different voice from the shamisen and the guitar is interesting to hear!
What's the name for it? DM me for... research purposes lol