Dancing Gods at Godless Festivals An Introduction to the Phenomenon of Japanese Dance Yosakoi through a Comparative Analysis of Three Yosakoi Performances with the Theme Princess Kaguya The Department of Asian, Middle Eastern and Turkish Studies Master's Thesis 30 ETCS Japanese Master's Course in Japanese Studies (120 ETCS) Spring term 2016 Supervisor: Gunnar Linder Author: Theres Wik Abstract The aim of the thesis is to provide the Western reader a with comprehensive introduction of the phenomenon of Japanese dance yosakoi, as well as a better understanding how a yosakoi performance is made. The first half of the thesis discusses the traditional festivals and the folk performing arts of Japan in order to contrast these to the very young yosakoi festival. Then the paper concentrates on yosakoi performances with a specific theme, that of Princess Kaguya from the folk story Taketori Monogatari. A dance analysis method looking at different aspects of a performance was applied. The research questions dealt with what makes a yosakoi performance yosakoi, as well as how the chosen performances tell the story of Princess Kaguya through yosakoi and how yosakoi has changed. The results indicate that the use of naruko and folk songs, are the most striking common factor. Further discussion is made concerning whether yosakoi is a festival in its true sense, as there are no gods present at a yosakoi festival. I also argue whether yosakoi could be on its way of becoming part of Japan’s intangible heritage/folk performing art. This paper also problematizes how yosakoi dancers approach the dilemma of dancing for their own pleasure or the pleasure of the spectator. 本研究の目的のひとつは、欧米の読者によさこい系祭りやよさこい演舞の構成を総合的 に紹介することである。歴史の浅いよさこい系祭りを対比させるため、論文の前半は日 本の伝統的祭り・祝祭や民俗芸能について簡潔に論じる。また、神様が居ないよさこい 系祭りは本格的な祭りであるかどうか、伝統的な祭りとして見なされるのか、という疑 問についても論じていく。研究課題である「よさこい演舞の特徴とは何か」、「よさこ い演舞の構成の抑制とは何か」、そして「よさこい祭りの開始からどんなところが変化 したのか」に回答するため、論文の後半は本研究の分析に「竹取物語」をテーマである 三つのよさこい演舞を選び、振り付け・音楽・衣装・舞台装置の念入りな比較分析を行 う。結果的によさこい演舞には鳴子、民謡の使用や多様性がある音楽、衣装や物語を描 く方法が特に顕著である。分析のもとに、最後によさこいは民俗芸能として見なされる のかどうかを論じていく。 Acknowledgements It is with deep gratitude that I would like to acknowledge the following persons, for without their help, this paper would still be a in a notebook. First, I would like to send a huge thank you to my supervisor Gunnar Linder, who on very short notice undertook this project and have been supportive from the beginning. I also want to thank the members of Takahashi Mitsuru’s kenkyūshitsu at Tohoku University for having to listen to my never-ending stories about yosakoi. Thank you to the members of Zaccu Baran who showed me the wonderful world of yosakoi. I would also like to thank my fellow classmates Erik and Jasmine; here’s to six years of friendship and another sixty to come! I would also like to acknowledge Gunvor Plantings Stiftelse and Mitsubishi Corporation for their generous grants which helped tremendously during my research in Japan. A special and warm thank you to Beckii, Mika and Issei for their support with classical Japanese. Conventions All translations, unless stated otherwise, are done by the author. The revised Hepburn, in which long vowels are marked with a “¯” (macron) sign has been used for romanizing Japanese words, with the exception of admitted words, such as place names (Tokyo instead of “Tōkyō”) or otherwise is stated. When talking about the festival YOSAKOI Soran Matsuri, Soran will not be romanized as “sōran” since the festival uses Soran in their official English pamphlet.1 All romanized words in this paper will be italicized, with the exception of accepted words (sake, kimono) and the word “yosakoi”, as in this paper it is regarded as an established expression. Translations of words will only be provided if necessary for the understanding of the content. Japanese names will be presented with the surname preceding the given name. “Festival” will be used when indicating contemporary or modern dance festivals. The word matsuri will be italicized when referring to Shinto or Buddhist matsuri or those festivals that are not yosakoi related. However, when referring to a yosakoi festival (e.g YOSAKOI Soran Matsuri) the word will start with a capital “M”. This paper follows British English spelling conventions with the exceptions of quotes if these are written in American English. 1 http://www.yosakoi-soran.jp/pdf/yosakoi_A3_en.pdf (accessed on 25.7.2016) Yosakoi has the power to bring the world to peace. Holding a weapon is impossible if already holding naruko in one’s hands. Okazaki Naoharu Table of Contents 1.Introduction.......................................................................................................................1 1.1 Background and Purpose of Study..............................................................................1 1.2 Research Questions.....................................................................................................3 1.3 Method........................................................................................................................3 1.3.1 Analysis Method................................................................................................3 1.3.2 Empiricism..........................................................................................................8 1.3.2.1 Participating Observation.......................................................................8 1.3.2.2 Personal Communication........................................................................8 1.4 Material........................................................................................................................8 1.4.1 Video Material....................................................................................................9 1.4.2 Selected Performances.......................................................................................11 1.4.3 Performances Not Selected...............................................................................12 1.5 Limitations..................................................................................................................12 1.6 Previous Research - a Critical Reading of Yosakoi..................................................13 1.6.1 Yosakoi and Folklore........................................................................................13 1.6.2 Yosakoi and Performance.................................................................................16 1.7 Princess Kaguya.........................................................................................................17 1.7.1 The Story...........................................................................................................18 2. Performance and Playing: Theoretical Framework........................................................21 3. Folk Performing Arts and Traditional Festivals in Japan...............................................25 3.1 The Traditional Japanese Matsuri (Festival)...... ......................................................26 3.2 Japanese Folk Performing Arts.................................................................................30 3.2.1 Kagura.............................................................................................................31 3.2.2 Dengaku...........................................................................................................32 3.2.3 Furyū................................................................................................................33 3.2.3.1 Bon Odori and Awa Odori...................................................................33 3.2.4 Katarimono/Shukufuku-gei...............................................................................35 3.2.5 Entertainments of Foreign Derivation/Stage Entertainments.........................36 3.2.6 Other Performing Arts....................................................................................37 3.2.6.1 Eisā......................................................................................................37 3.2.6.2 Kyōen!sodefure....................................................................................38 3.3 Concluding Remarks................................................................................................40 4. The Phenomenon of Yosakoi.........................................................................................42 4.1 Yosakoi – the Festival..............................................................................................42 4.1.1 Yosakoi Matsuri in Kochi...............................................................................43 4.1.2 YOSAKOI Soran Matsuri in Sapporo.............................................................45 4.2 Yosakoi – the Dance Style.......................................................................................47 4.3 Yosakoi – the Competition......................................................................................48 4.3.1 The Rules........................................................................................................48 4.3.2 The Screening..................................................................................................51 4.3.3 Medals.............................................................................................................52 4.4 Yosakoi – the Community.......................................................................................52 4.4.1 University Teams............................................................................................53