Exhibition Guide ______Table of Contents

Kiyoshi Kobayakawa (1898-1948), The Geisha, Ichimaru, 1933, woodblock print. Exhibition Guide _________________ Table of Contents Introduction to the Exhibition………………………………………………………………………3 The Life of Ichimaru……………………………………………………………………………………..4 The Role of the Geisha………………………………………………………………………………….5 The Significance of the Kimono…………………………………………………………………….6 Types of Kimono………………………………………………………………………………………….7 The Kimono and Obi……………………………………...……………………………………………..8 Ichimaru’s Personal Effects………………………………………………………………………….28 The Prints and Scrolls………………………………………………………………………………….31 2 The Exhibition Installation oF the exhibition From Geisha to Diva: The Kimono of Ichimaru, 2020 The Kelowna Art Gallery presents the exhibition From Geisha to Diva: The Kimono of Ichimaru. The fascinating life of Ichimaru (1906-1997), one of the most famous geishas of the 20th Century, is told through this collection of her magnificent kimono and personal effects. The exhibition features 34 kimono, 15 obi, in addition to a number of woodblock prints and paintings. Together, they help to draw the curtains back on the complexities of geishas and the depth of the role they played within Japanese society. Organized and circulated by the Art Gallery of Greater Victoria. Curated by Barry Till, Curator Emeritus of Asian Art. Exhibition sponsor: The information in this exhibition guide is sourced From the catalogue publication “From Geisha to Diva: The Kimonos oF Ichimaru”, 2001, by Barry Till, Michiko Warkentyne and Judith Patt. 3 The Life of Ichimaru Because of the confidentiality of geisha, little is known of Ichimaru’s early life as a geisha. The following are tidbits gleaned from published books on Ichimaru translated by Michiko Warkentyne. Ichimaru was born in Nakatsugawa, Gifu Prefecture on July 16, 1906 with the birth name of Mitsue Goto. Her parents had eleven children. With so many mouths to feed, she had to leave home and work in a geisha house at the age oF 14 or 15. Ichimaru started out working as a low-rank geisha or oshaku- waitress (one who serves sake) at a hot spring spa inn at Asama, Nagano Prefecture. One day when Ichimaru was asked to sing a particular song by a customer, she was embarrassed to be unable to perform it. This single event made her determined to improve her skills. She left for Tokyo and began studying the songs of the geisha. Her singing talent caught the ear of the proprietress of the Fujita Restaurant in Asakusa, Tokyo. At age 19 she was able to enter a geisha house (okiya) called Ichimatsu-ya and took the name of Asakusa Ichimaru in 1926. Ichimaru was determined to make herself standout among other geisha. She began taking shamisen and singing lessons (kiyomoto style) from the famous female shamisen artist, Enchiga Kiyomoto. Having such an outstanding teacher allowed Ichimaru to become a very skilled shamisen artist, especially with the music of the old Edo period to which she devoted herself. She became known as the geisha who possessed a “nightingale-like” singing voice combined with elegant good looks and consummate skills with the shamisen. Her singing talent was in great demand not only in the teahouses and restaurants of the Asakusa geisha district, to which she belonged, but also in other geisha districts such as Yanagibashi, Akasaka and Shinbashi. In the late 1920s and early 30s new technology was occurring in the performing arts as Radio broadcasting and recording companies began replacing stage, teahouse and street performances. In 1931, Ichimaru signed an exclusive contract with The Victor Recording Company. That year, Ichimaru made her singing debut at an amusement park opening, performing a song produced by the famous poet Kitahara Hakushu. Ichimaru’s career as a diva took off however, she would continue to follow the geisha lifestyle. Ichimaru continued to perform and record songs for the Victor Recording Company both nationally and internationally, even into her senior years. In 1997, at the age of 91, Ichimaru passed away leaving behind a tremendous legacy to the Japanese music industry and her triumph over adversity, in perfecting her arts to become an outstanding diva. 4 The Role of the Geisha Westerners often misunderstand the concept of Geisha and think of them as something immoral, tawdry or even medieval. In Japan however, the occupation of geisha has a long and honourable history. Geisha were high class, well-educated hostess-courtesans, who entertained wealthy, sophisticated and powerful Japanese gentlemen who wished elegance, culture and brilliant conversation in an exotic atmosphere of decadent refinement. They were status symbols for the wealthy and provided an air of respectability. The word geisha is made up of two characters, gei (芸) means ‘art’ or ‘accomplished’ and sha (者) meaning ‘person’. Therefore, it can be translated as ‘accomplished person’ or ‘person who lives by the arts.’ They were professional entertainers and hostesses, who became an important part of traditional social life for men. They provided a beautiful and sensuous fantasy that all men desired. Their community came to be referred to as karyukai meaning “the Flower and willow world”. They were extensively trained in many of the traditional Japanese arts and their services were exclusively for the realm of wealthy men. It was because of these glamorous women that much of the richness of traditional art and entertainment came to survive in modern Japan. The geisha became Japan’s unparalleled conservators of traditional costume, music, song and dance. In the old days, the geisha were considered a valued possession of a city and a measure of its vitality. The geishas aspired to provide an exclusive dream world of luxury and romance. Their great attention to their personal appearance and their incredible devotion to perfection in the classical arts and in conversation has made them highly respected guardians of Japan’s traditions. Since their early beginnings, geishas have entertained and were trusted by men of intellect like actors, poets and artists, and men of power like samurai, wartime generals, captains of industry, entrepreneurs, cabinet ministers, aristocrats, and even men of the imperial household. In their presence, some of the nation’s most important business took place with ideas being Freely discussed – deals were made, wars planned and plots hatched. These men knew they could trust the geisha’s code of silence not to divulge what they overheard. The geisha’s livelihood heavily depended upon discretion and confidentially and part of the erotic appeal of these women was to do with this secrecy and mystery. With the perFect balance oF beauty, knowledge oF the arts and cultivated etiquette, the geisha became a “living work of art”. The geisha profession has lasted so long in Japanese society because it is an admired art form. 5 The Significance of the Kimono The single greatest expense of the geisha’s budget was her kimono wardrobe. When she began her geisha career, she was obliged to purchase at least ten kimonos and this would put her deep in debt. She had to have a number of styles, designs and colours, which she would wear during the various seasons and occasions. From the late 18th century to the early 20th century, the geisha became chic, avant-garde and the fashion trend-setters. Her gorgeous costumes and her elegant mannerisms exuded a sense of style (iki). Kimono (from mono meaning thing and ki of kiru meaning to wear) is a term that came into use in the Meiji period (1868-1912). Kimono has come to mean essentially the T-shaped outer garment based on the kosode (small sleeves), the outer garment of the urban elite of the Edo period (1615-1868). Kimono were often made of fine silk and decorated using various techniques including embroidery, tie-dye, stencilling and paste resist dyeing, known as yuzen. This technique is particularly important to the kimono in this exhibition. The process involves the use of dried starch paste or glue as a base, which is then covered with dyes of various colours. The fabric is steamed to set the colour dyes and the starch paste is washed away in cold water. In the late 16th through mid-19th centuries, the Monoyama and Edo periods, the kosode or kimono became not just a garment, but a work of art. Its structure, and the social and economic developments of the times, encouraged the decoration of its surface by artists and artisans. Formal or upscale Kimono and Obi are often designed with auspicious motifs that represent good things such as longevity, happiness and fortune for its wearer and the occasion they are worn. Motifs were chosen to communicate the wearer’s age, status and wealth along with their individual tastes in design. Designs and colours of kimono and obi also communicate various attributes of the garment wearer and the seasons and occasions when the garments are worn. Designs on an obi and a kimono can also serve as auspicious symbols for special occasions. Nature inspired motifs are common and are often worn to reflect the current season. Botanical motifs are most common, such as bamboo, chrysanthemum, peony, plum and the Matsu pine tree. Animals like cranes and pheasants, and inanimate objects like drums, fans and makimono-books also make for common kimono and obi design motifs. The design motifs can be depicted realistically or graphically, and there are thousands of commonly recognized graphically designed patterns that signify certain items of nature objects and cultural items in kimono and obi designs. As for obi designs, one can also find various geometric patterns like hexagons, arabesque shapes and even medallions that have several layers of patterns within them. The kimono “came to embody the essence of Japanese tradition” and especially “became synonymous with Japanese femininity” although the kimono had been worn by both sexes and by all classes and ages until the Meiji period. A geisha uses the kimono to transform herself into a work of art.

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