2024-01-24

Geisha - Wikipedia 芸妓

Geisha - Wikipedia
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게이코

출처 : 무료 백과 사전 "Wikipedia (Wikipedia)"
게이코, 교토 미야가와초

芸妓(게이기, 게이코)는, 원래, 색가에서 매춘을 생업으로 한 매춘부 중, 기능을 가지고 머시인 대우의 사람 [1] . 무용 이나 음곡 · 명물 로 연석에 흥을 더해, 손님을 대접하는 여성. 게이샤·게이코의 일. 술자리에 사무라이 각종 예술을 선보여 자리를 잡는 여자의 일이며, 타이오 놀이가 하화가 된 에도시대 중기경부터 활발해진 직업 의 하나이다.

에도 시대에는 남자 게이샤 와 여자 게이샤가 있었다. 에도 시대에는 교토나 오사카에서 게이샤라고 하면 남성인 칸마( 타이코 테)를 가리키고, 게이코가 여성이었지만, 메이지가 되면 게이샤가 남성을 가리키는 것은 없어지고, 이후는 오사카에서도 여성을 게이샤라고 한다 이렇게 되었다. 교토에서는 게이코라고 불린다. 

현대에서는 요리점( 료테이 ), 대합찻집 에 출입하는 게이샤가 매춘을 하는 일은 없다. 지방의 온천지 등에서는 컴패니언 이라고 불리는 파견의 게이코 등이 존재하고, 또 속에 베개예자라고 불리는 것도 일부에 남아 있다.

호명·이칭·용자에는 다양한 것이 있다. 아래 "명칭"항목을 참조하십시오.

명칭 [ 편집 ]

교토 미야가와초의 게이코

게이코는, 「게이샤(여자)」, 「게이코(게이코)」라고 부르는 것이 낡은 말이지만, 메이지 이후, 「 게이코 ( 게이기)」라고 하는 호명도 행해지게 되었다( 본고에서는 이 호명을 사용한다.

게이코는 종종 1인분의 게이코와 견습으로 구별되고 있으며, 각각의 명칭이 지역에 따라 다르다.

  • 교토
    • 차와 경단을 제공하는 미즈 찻집에서 일하는 챠타테 여자가 가부키 연극을 모방하여 샤미센과 춤을 선보게 된 것.
    • 게이코를 「게이코 (게이코)」(「게이코」라고 하는 표기도 있다), 견습을 「마이코 (마이코)」라고 부른다.
  • 도쿄 를 중심으로 한 관동 지방
    • 게이코를 ' 게이샤 ', 견습을 ' 반옥 ', '히로코'라고 한다.
  • 기타 지역
  • 효고　간사이의 안방

아리마 온천 유지장이었던 아리마 온천에서 뜨거운 물을 돌보는 유메(유나)가 뿌리. 온천지이지만 간사이의 안방과 격식이 높고, 색을 팔는 꽃가에는 속하지 않는 20세까지의 연예를 반옥이라고 부른다 . 현재 현내 유일한 게이샤.

의복 [ 편집 ]

1인분의 연장예요의 경우는 주로 시마다髷에 끌어당겨, 소매의 기모노, 수백 가루 에 의한 화장 없다(관 동계 유녀 는 붙인다); 둘 다 눈썹 은 하지 않는다라고 하는 것이 일반적이다(지방 등은 토지 무늬에 의해 속발 에 보통의 화장이라고 하는 경우도 있다). 샤미센 상자를 남중에게 갖게 하거나 술자리에 향한다.

반옥 이나 마이코 등 연소의 게이코의 의상은, 헤어스타일은 복숭아 균열 등의 소녀의 수염으로, 어깨 올린을 한 진수를 입는다 . 띠·띠 묶음도 연장예요와는 다르다. 이 가운데 교토의 마이코는 흠뻑 묶여 있고 신발은 오코보 등으로 알려져 있다.

도쿄 후카가와 의 타츠미 게이샤 는 「이키」를 쫓아다니고, 버선을 벗고 맨발로 오동나무 의 나막신을 신고, 겉옷을 벗기는 것으로 마음의 마음으로 한다. 따라서 타츠미 게이샤를 ‘하오리 게이샤’, 약어 ‘하오리’라고 부른다.

게이코는 꽃꽂이나 신부처럼 오른손이 아니라 왼손으로 기모노의 허리를 잡기 때문에 '좌초( 히다리 즈마)'라고 불리기도 한다.

제도 [ 편집 ]

게이코는 보통 두집에 국적을 둔다. 오키야는 어디까지나 게이코의 포원(탤런트라고 하는 소속 사무소)이며, 손님을 놀 수 있는 장소는 아니다.

에도에서는, 대합찻집 에 오른 손님이, 찻집을 통해서 게이코에 지명을 걸어(이것을 「무엇을 부른다」또는 「무슨 모를 알린다」라고 한다), 튀김집에서 실제로 놀는 것이 일반적이었다. 다만 가미카타 (카미가타)에서는 찻집과 튀김 집이 하나가 되어 있어 두집이 직접 지명을 받는 경우가 많고, 에도에서도 요테이나 후나쥬쿠가 직접 두 옥에 지명을 걸어, 장소를 이동하지 않고 놀 수도 이었다. 당시 게이코는 유가에서 유녀 가 올 때까지의 장연결로 불리는 경우가 많아, 이 점이 메이지 이후와는 상당히 다르다.

현재는 양옥은 거의 어느 땅에도 존재하지 않는다. 그 대신 에 검번 ( 견번 이나 권번 [2] 이라고 쓰이는 예도 있다)을 두고 두고 가게의 정리를 실시해, 연예와 환간의 대부분은 이것 에 소속하고 있다. 찻집(또는 가게)에 오른 손님은 가게를 통해 검번에 말을 걸어 게이코를 알리는 것이다. 또, 검번에서는, 예요의 교육을 정리해 실시하는 경우가 많다.

아동 학대 방지법 [ 편집 ]

1933년 (쇼와 8년), 14세 미만의 아동의 학대 방지를 목적으로 한 아동 학대 방지법이 시행. 학대 행위의 하나로서 「예요, 숙부 기타 주간의 알선을 이루는 업무」가 자리매김했다 [3] .

대우 개선 요청 [ 편집 ]

  • 1937년 (쇼와 12년), 오사카 남지에서는 게이샤들이 대우 개선을 요구해 「난지 게이샤 조합」을 결성. 남지에 있던 약 1000명 중 306명의 게이샤들이 참가했다 [4] . 같은 해 2월 26일 에는, 약 60명의 게이샤들이 참배의 명목으로 신키야마 다마쿠사 인 을 방문해 농성을 개시 [5] . 오사카부 경찰이 개입해, 같은 달 5일까지 신검번을 인가하는 것으로 타결했다 [6] .

이용법 [ 편집 ]

다이쇼기 게이샤 놀이

통상, 손님은 연석을 마련하는 요리점에 그 취지를 전해, 예산이나 희망에 따라 요리점이 예요의 준비를 해 준다. 물론, 지명도 가능하다. 또, 익숙해지면 직접 찻집·치옥에 게이샤를 준비해, 술자리에 부를 수 있다. 통상, 게이코의 수배나 출입이 가능한 요리점은 정해져 있어, 어디에서라도 부를 수 있는 것은 아니기 때문에 주의가 필요하다(요정의 항을 참조 ) .

그러나 최근에는 다양한 완화에 의해 가맹점 이외의 출입도 볼 수 있다(그 경우, 나누기나 각종 조건이 붙는 경우도 있다). 당일 그 자리에서도 빈 공간이 있으면 준비도 가능하지만 보통 그다지 그런 일은 하지 않는다.

그 요금을 관동에서는 '요시다이' 또는 '선향대', 긴키에서는 '하나다이' 등 이라고 한다. 「선향대」라고 하는 것은, 시계가 없는 무렵에 선향 1개가 타오르기까지의 시간의 요금이었기 때문이라고 한다. 이 밖에 축의 (축의)라고 불리는 일종의 칩 과 같은 것도 필요하다. 게이코의 요금의 지불 방법은, 사용한 요리점등으로부터의 청구로 음식의 대금과 아울러 오므로 그 때에 일괄해 지불한다.

역할 : 입방과 지방 [ 편집 ]

게이코에는 대략 입방과 지방의 2종이 있다(교토에서 말하는 마이코·게이코의 별은, 직장으로서는, 거의 이 입방·지방의 별과 같다).

입방(타치카타)
무용을 주로 하는 자
지방(지카타)
장창 이나 기요모토 등의 노래, 말이나 샤미센 이나 나루모노의 연주를 받는 자 지방이 되기 위해서는 나름대로의 수련이 필요하고, 통상은 입방을 졸업한 자예요가 지방에 돌아간다. 그 외에 게이코에는 소양으로서 한 대로의 음곡, 다도 등의 수행이 요구되는 경우가 많다. 이런 사정에서 쇼와 연간 전반(1930~50년대)에는 게이코 출신의 여성 가수 가 배출했다. 코타카 카츠타로 , 이치마루 등이 유명하고, 「우구이스 게이샤」라고 칭해졌다.

창녀와의 구별 [ 편집 ]

게이코는 어디까지나 예술을 팔아 자리를 잡는 것이 그 근무이다. 그러나, 에도시대 이후, 게이코도 그 외의 유녀와 마찬가지로, 전 빚을 안은 연계봉공이며, 과거의 꽃가는 인신매매 나 매춘 의 온상 이 되고 있었다 . 다이쇼 시대에는, 신문사가 중개한 양녀의 받는 손의 대부분은 신바시·아카사카·시모야 등의 게이샤야였다고 한다 [7] . 누구라도 상관없이 몸을 팔는 것은 「미견전」으로 계명되었지만, 제2차 세계 대전 후까지 이러한 불견전은 거의 어느 땅에서도 볼 수 있고, 두집도 적극적으로 이것을 권한다 일이 많았고, 게이코에 '숙박'으로 매춘을 강요하는 것도 많이 보였다. 

1956년 매춘방지법이 제정되자 예요를 둘러싼 이러한 상황에 변화가 일어났다. ‘불견전’이나 ‘묵어’를 팔아놓은 두집은 타격을 받게 되었고, 그런 두가게가 많이 있다는 것을 팔고 있던 꽃가는 쇠퇴했다. 그 한편으로 창녀였던 자들이 ‘예요’를 자칭해 옛날의 ‘불견전’이나 ‘묵어’에 해당하는 행위를 하는 ‘베게이터’를 팔아온 온천지를 지방에서 볼 수 있게 되었다. 그러나, 그러한 사건도 쇼와 50년대 이후는 서서히 볼 수 없게 되었다 [8] .

그러나, 어디까지나 게이코는 유녀와는 구별되고, 일류의 게이코는 「예는 팔아도 몸은 팔지 않는다」심의심을 가지고, 정해진 남편에 다해, 그 보상에 금전이 보상된다고 하는 것이 그 건전 이 된다 했다. 물론, 이런 실태를 싫어하고, 게이코는 손님의 자유가 되지 않는다고 하는 기개를 관철로 해, 평생 남편을 가지지 않는 명연도 많았다. 아무런 자유도 없다고 생각되기 쉽다는 연예이지만, 연애의 자유는 옛날부터 꽤 인정받고 있었던 것 같다.

스스로의 예술에 의해 생활하는 게이코는, 메이지 이후 일종의 동경의 존재로서 파악되는 일도 많아, 잡지에서 인기 투표가 행해지거나, 그림엽서가 호평을 받은 적도 있었다.

메이지·다이쇼 시대에는, 나고야 를 중심으로 하는 오노이(오와리, 미노, 이세)와, 니가타 를 중심으로 하는 기타코시 지방이 게이코의 산지라고 불리며, 도쿄에서는 미코·나이코라고 불리는 대부분이 그 출신자였다 [9] .

「불견전」 불견전이란, 가요(예요)가 손님을 선택하는 일 없이, 간편하게 매춘하는 것. 「미즈유키」「미즈」「전예자」등이라고도 불렸다. 가요와 대진을 거듭한, 일문 인형(막말에 아사쿠사를 중심으로, 울린 돈선 일문으로 서민에게 팔린 작은 토제의 인형)의 그림 있어. 『우나우의 친구』(첫편)와 비슷한 그림이 있다. 하루카는 저가로 몸을 파는 불견전을, 저가로 팔린 일문 인형과 대비시키고 있다.- 시미즈 하루카의 '도쿄 명물 백인 일수' 메이지 40년 8월 '불견전' 발췌 [10]

남편 [ 편집 ]

게이코

게이코의 세계에는 한때 이 남편이 불가결했다. 게이코가 존재하는 토지에는 남편의 존재가 있어, 이른바 패트론이나 스폰서와 같은 인물이다. 그러나 적당히 원조하거나 협력할 정도의 것이 아니라 게이샤 한 명을 표제 결정하면 거의 평생에 걸쳐 돌봐준다. 게이코가 젊은 견습에서 혼자 되기까지는 많은 비용이 든다. 이 남편은 기모노부터 소지품, 장식품이나 생활비까지 수백만엔 - 수천만엔 부담한다. 그 중에는 수억엔 내는 것도 드물지 않다.

이 막대한 비용으로 해봐도 누구라도 남편이 될 수 있는 것은 아니고, 필연적으로 그 토지의 재계인이나 톱 클래스의 기업의 경영자 등으로, 다액의 금전을 포켓 머니로 맡기는 인물이었다. 한편의 게이샤도 게이샤가 되면 누구라도 남편이 만드는 것은 아니고, 미모와 탁월한 예술 등이 갖춰진 게이샤이다. 젊은 시절에 남편이 붙으면 소위 튀김이 되고, 어느 정도 나이를 거듭해도 남편은 붙는다.

게이코는 그 남편에 붙게 되고, 남편은 그 게이샤의 제일의 장사할 생각이 되어 귀찮은 것을 보고 신뢰 관계가 구축된다. 게이코에는 눈에 보이는 이점이 있다. 그러나 남편은 보통 가정을 가지고 있거나 하기 때문에 어느 정도 나누어진 생활에서 이렇다고 이점은 없다. 물론, 소사 남녀이기 때문에 그런 일도 있지만, 건전은 건전한 협력이다. 남편의 장점은 "남자의 보람성"이다. 「그 연예에 이만큼을 해 주었다」 「이렇게 돈을 냈다」라고 하는 세련된 하야이. 또 각 토지의 굴지의 부자이기 때문에, 주위에의 재력의 어필도 된다. 통상은 스스로의 가정과 게이코의 돌봐의 양립이 원칙이지만, 안에는 게이샤에 너무 빠져 가정이 파탄하거나 나쁜 게이코에 이용되어 파산하는 사람도 있다.

후술하는 바와 같이, 현재는 이 남편은 전무에 가까운 상태이다. 그것은 시대에 맞지 않는 제도와 내용이기 때문이다. 불황이나, 그런 멋진 일을 하는 남성이 적게 되거나, 또 오락의 다양화나 가정 중시, 금전적인 문제등으로부터 연예에 그만큼을 하는 의미가 없는 등, 여러 요인이 있다.

그러나 현재에도 교토 등의 대도시에는 약간 남편이 존재한다. 한편의 게이코에도 의식의 변화가 있어, 만일 신청했을 경우에 거절 통상의 생활이나 결혼을 바란다는 게이샤도 있어, 역시 시대의 변화라고 말할 수 있다. 이런 남편, 게이코 측, 또 시대의 변화로 인해 게이코 문화가 있는 지방에서는 이 '남편'은 볼 수 없게 되었다.

정치인의 아내가 된 게이코 [ 편집 ]

전 신바시 게이샤, 리쿠 오쿠 무네 아내 오리

게이코의 시대라고 불리는 메이지 시대에는 게이코는 미모로 사교 능숙한 여성으로서 많은 전훈에게 사랑받아 정부가 된 사람도 적지 않다.

등등.

게이코의 현상 [ 편집 ]

한때 일본 전국에 많은 꽃 거리 (꽃야계)가 있어, 니혼바시 히라마츠초, 하카타 치요, 나고야 마루노우치, 가나가와는 마타, 이토가야, 이소고, 쓰루미, 미야우치(오카야마현 오카야마시) 가마이시, 오타루, 나라시 남 시읍, 도쿠야마시 재노모리, 쿠라요시 이와쿠라쵸, 치바시 렌지, 도야마현 아사히쵸의 밤 등 전국의 유곽가 게이샤쵸에 게이코도 다수 있었다. 제2차 세계대전 이후에는 아동복지법 의 제정에 의해 어린 시절부터 투입하는 것이 곤란해지고, 또한 쇼와 40년대에는 엔터테인먼트와 접객의 다양화에 의해 화류계도 쇠퇴해, 연예의 수는 계속 줄어든다 일이 되었다. 연석에 있어서는, 연예보다 저렴하고 나이의 젊은 「컴패니언」이라고 불리는 숙부를 부르는 쪽이 늘어나, 특히 지방에서 현저했지만, 연예로서의 하적수업을 쌓아도 연석에 불리지 않는 것은 벌어 그렇다고 해서, 연예가 되지 않고 스낵이나 클럽에 근무하는 자가 늘어나고, 연예였던 자도 그들에게 전업하는 예가 많이 보였다 [8] .

최근 해외에서는 일본 문화의 인기에 따라 게이샤업에 각광이 받고 있다. 호주인 게이샤인 피오나 그레이엄 은 2007년 아사쿠사에서 선보여 그 후 배제됐다. 현재는 후카가와에서 일하고 있다. [14] 2015년에는 후카가와의 게이샤중에 초대되어 이 땅의 화류계에. 두집을 열어 젊은이를 키우고, 해외에도 게이샤 문화를 발신하고 있다. [15]

현재는 17~18세 정도로 데뷔하는 게이샤가 많다. 나제도는 거의 없이 가까운 상태로, 게이코 한사람 한사람 자신 앞에서 기모노 등을 준비한다.

후카가와 게이샤는, 통상의 게이샤중의 연회 일뿐만 아니라, 외국인을 향해 다양한 관광 활동도 실시하고 있다.

• 골동시 가이드 투어

이 투어에서는 전속의 골동시 가이드가 다양한 골동시를 안내한다.

• 젊은 게이샤와의 식사

후카가와 게이샤중의 젊은 게이샤중과, 후카가와의 술집 거리에 있는 작은 카운터 바에서, 연회보다 훨씬 싸고, 저렴한 가격으로 만날 수 있는 대처.

• 게이샤 연회

도쿄에서 독특한 게이샤 체험을 할 수 있다. 도쿄의 전통적인 다실에서 전문 게이샤 중의 개인적인 연회가 열린다.

• 게이샤 학교 견학

평소에는 비공개 게이샤 중의 연습을 2시간에 걸쳐 견학한다.

• 게이샤와의 쇼핑 투어

게이샤중이 사용하는 것을 사기 위한 가게에서, 게이샤와 쇼핑을 즐길 수 있다.

• 가부키 투어

가부키의 역사와 무대 예술의 진화를 가부키 가이드가 해설한다. 가부키의 역사와 무대의 배경을 아는 것으로, 보다 깊게 가부키를 즐길 수 있다.

• 기모노 쇼핑

이 투어에서는 기모노 전문가가 남성용 여성용 아름다운 기모노를 저렴한 가격으로 구입할 수 있는 재활용 기모노점을 안내한다.

• 게이샤와의 다과회

젊은 게이샤에 의한 다도의 연습을 견학할 수 있다.

• 게이샤 메이크업 견학

젊은 게이샤가 전통적인 화장을 하고 일을 위한 의상을 선택하는 것을 가까이서 볼 수 있다.

• 후카가와 게이샤와 야가타선에서 연회

도쿄만을 주유하는 야가타선에서 일본 요리의 연회를 즐길 수 있다. 게이샤중이 다다미방에서 말하고, 사진을 찍거나, 예술을 피로해 준다.

• 가마쿠라 츠키카테이 전통적 개인실 게이샤 연회

가마쿠라에 있는 축 100년의 고민가로, 2명 이상의 게이샤중에 의한 식사회를 개최한다.

• 도쿄・후카가와 지구에서 전통적인 단체 연회

도쿄에서 독특한 게이샤 체험을 할 수 있다. 전통적인 다실에서 식사를 즐기면서 두 명의 게이샤가 환대를 해준다. 게이샤의 식사는 2시간 정도로 그동안 게이샤와의 대화나 춤을 즐길 수 있다.

• 기모노 입고 게이샤와 사진 촬영

기모노를 입고 2시간의 착용 체험을 한다. 기모노 전문가와 함께 후카가와 게이샤쵸에 있는 기모노 가게에서 자신만의 기모노와 띠, 버선, 초신, 머리 장식을 선택한다. 기모노에 대한 지식, 기모노를 코디하는 방법, 옷을 입을 수 있습니다.

현재의 게이샤마치와 대처 [ 편집 ]

" 꽃 거리 # 최근의 상황 "도 참조

후계자 부족 때문에 꽃가 측은 머리를 안고 있는 상황이지만, 지역에서 대처가 이루어지기 시작하고 있다. 야마가타현이나 아키타현에서는 회사 제도로 전환하거나 하여 후계자를 육성하고 있다. 각지의 온천가, 모리오카 게이코의 이와테현 모리오카시, 삿포로 게이코(게이기) 육성 진흥회가 설립된 삿포로시, 도사예요의 고치, 야마가타 마이코·야마가타 게이코의 야마가타, 시모노세키 게이샤의 시모노세키 , 「게이코시」의 마루야마 , 전통 요정 등이 게이샤 조합을 시작한 요코하마, 「스루가 게이샤 축제」나 전통 예능 진흥회가 전승과 후계자의 육성에 임하는 시즈오카, 모토바야시인초( 나라현 나라 시) 기사라즈시(지바현)나, 오사카의 꽃가락 , 가나자와의 꽃가락 , 교토의 꽃가 [16] [17] [18] , 고베의 꽃가 , 도쿄의 꽃가 [19] , 니가타의 꽃가 각각 각지에서 대처가 했다. [20] [21] [22]

(이하, 구체예)

가나가와현 가마쿠라시

가나가와현 가마쿠라시에 있는 츠키카게테이는 후카가와 게이샤가 소유하는 일본식 여관이며, 누구나 숙박이 가능하다.

야마가타현 사카타시

야마가타현 사카타시 에서는, 1990년에 「항도 진흥」을 설립했다. [1]

니가타현 니가타시
니가타 게이샤의 춤

니가타시 에는, 중심 시가지의 주 오구 후루마치를 활동 거점으로 하는 후루마치 게이코 가 존재한다.

후루마치 게이코는 최성기에는 400명 정도 있었지만, 현재는 20여 명 정도. 실작은 10여명이 되고 있다. 후계자가 없기 때문에 해마다 인원수가 감소하고 있기 때문에, 1987년 (쇼와 62년)에 게이코 출입의 요리점이나 재계인의 출자에 의해 「야나기 진흥 주식회사」가 설립되었다.

에히메현 마쓰야마시

에히메현 마쓰야마 시에는 다이쇼에서 쇼 와 초기의 전성기에는, 현내에서 검번이 약 40채, 두집이 439채, 게이코가 1350명 있었다. 현재도 게이코의 수는 적어졌지만, 마츠야마검번과 신검번이 존재한다.

효고현 고베시 아리마 온천

일본에서 가장 오래된 아리마 온천 에는 옛부터 연예인인 게이코가 있어 그 가게는 현재도 젊은 게이코에 전승되고 있다. 아리마검번이 있어, 현재 두집이 4채, 아즈사석・다나카석・와카마츠 석・하츠네석. 항상 흰 색으로 가발, 기모노로 다다미에 오른다 ( 아리마 온천 관광 협회 [2] 참조).

온천 마을이지만 긴키의 안방 이라고 불려 격식이 높고, 유곽 같은 가게도 없고, 또 그러한 사람(핑크 컴패니언 등)이 여관이나 호텔에 출입하는 것도 금지되고 있다.

각지의 게이샤 [ 편집 ]

한때 존재했던 게이코 [ 편집 ]

다른 국가의 예 [ 편집 ]

중국 [ 편집 ]

1900년경 중국 을 방문한 게이코의 관찰에 따르면, 중국의 게이샤는 '추아'라고 말해 3단계의 계급이 있었다. 최하급이 '야닭', 게다가 '나가조'라고 하여 일본의 반옥에 해당하고 경우에 따라서는 창녀도 맡는다. 최상이 「아오미야인」이라고 불리며, 연예에 해당한다. 그녀를 나누는 부모님은 남자가 '거북공', 여자가 '거북'이라고 불리며, 각각 몇 명의 귀아를 갖고, 동업자와 공동으로 큰 관을 빌려, 이것을 '원방'이라고 불러 찻집으로 영업. 그 밖에, 다관이나 차루라고 칭해서 약간의 차대에서 야닭이나 나가조를 불러 놀 수도 있다. 원방은 거리에서 들어간 골목 안쪽에 있고, 성곽 밖에 금문자로 여자의 이름이 내걸려 입구에 있는 번인이 손님을 맞이한다. 손님이 안으로 들어오면, 십수명의 추아가 얼굴을 내밀고, 손님은 그 중에서 좋아하는 사람을 선택한다. 아오미야인의 경우는 손님과 함께 서루라고 불리는 장소로 가서 거기서 예술을 보여준다. 마음에 드는 딸이 있었다면 차를 부어 온 남성 직원에게 귀를 기울여 대합한다 [29] .

류큐 [ 편집 ]

꼬리류(줄리)라고 불리는 기예의 교양을 몸에 익힌 여성이, 책봉사나 슈리 의 귀인 등을 츠지 로 대하고 있었다 [30] .

관련 서적 [ 편집 ]

  • 아이하라 쿄코 「교토발 극상 작법으로 매료시키는 마이코씨 매너집」야마카이도, 2007년 3월, ISBN 4381022351
  • 아이하라 쿄코 『교토 하나카이 대접의 기술』쇼가쿠칸 , 2005년 5월, ISBN 4093875537
  • 아이하라 쿄코 “교토 마이코와 게이코의 안쪽 좌식 부지”( 분춘 신서 ), 문예 춘추 , 2001년 10월, ISBN 4166602055
  • 아이하라 쿄코 「마이코 씨의 도구 첩 세련된 아이디어와 바로 사용할 수 있는 소품이 가득」산카이도, 2007년 11월, ISBN 9784381023315
  • 아이하라 쿄코 “미지의 교토 마이코와 게이코” 히로후미도, 2007년 7월, ISBN 9784335551130
  • 아오야마 마스로 『기둥 도라지가 모노가타리』 코엘란스, 2004년 11월, ISBN 490773106X
  • 아사노 키시 “기온 쇼와 13년~35년 아사노 키시 사진집” 교토 서원, 1990년 6월, ISBN 476363142X
  • 아사하라 스미 “다다미 놀이 아사쿠사 하나가 게이샤의 멋을 어떻게 즐길까”(코분샤 신서 ), 코분샤 , 2003년 4월, ISBN 4334031935
  • 아사하라 스미 「도쿄 롯카 거리 게이샤 씨가 가르치는 일본의 마음 7월, ISBN 4478077894
  • 아사하라 스미(문), 나카가와 칸고로(사진) “부부로 가는 꽃가 화류계 입문” 쇼가쿠칸, 1998년 3월, ISBN 4093431345
  • 이자와 수지 『 혼본의 원 풍경 』 카모가와 출판, 2000년 6월, ISBN 4876995206
  • 이시이 미요( 타카라 루미코 , 이와미 테루요 ·공편) “게이샤와 대합” 유마에 서방, 2004년 6월, ISBN 4843312185
  • 이시다 민조 『경낙풍 유초』 『경낙풍 유초』 간행회, 1973년, [7]
  • 이시하라 테츠오 「일본 머리의 세계 마이코의 헤어 스타일 편」자비 출판 , 2004 년 4 월, [8]
  • 이시하라 테츠오 『마이코의 헤어스타일 쿄・선토쵸』 동 토지사 출판
  • 이타쿠라 아리시로 “기온 마이코의 사계 이타쿠라 아리시로 사진집” 선라이즈 인쇄 주식회사, 1989년 3월
  • 이노우에 세이조「하카타 풍속사 유리편」적문관 서점, 1968년 12월, [9]
  • 이노우에 유키 『 환의 여러분 』(아사히 문고), 아사히 신문사 , 1984년 9월, ISBN 4022602902 단행본: 아사히 신문사, 1981년, ISBN 402254807X
  • 이와사키 미츠코 (이와사키 미네코 )
  • 이와사키 미네코 「기온의 과외 수업」슈에이샤 , 2004년 9월, ISBN 4087813126
  • 이와사키 미네코 「기온의 교훈 오르는 사람, 오르지 않고 끝나는 사람」 환동사, 2003년 7월, ISBN 4344003586
  • 이와시타 나오시 『게이샤론―신들에게 분장하는 것을 잊은 일본인』 유야마카쿠, 2006년 10월, ISBN 4639019521
  • 이와시타 나오시 『명요의 자격―세서・신야 야망 게이샤론 2』 유야마카쿠, 2007년 4월, ISBN 4639019661
  • 우에무라 토시히코 『꽃가지・색가・염색한 거리 색가편』 거리와 생활사, 2008년 1월, ISBN 4901317172
  • 우에무라 토시히코 '도쿄 하나카이·멋진 거리' 거리와 생활사, 2008년 9월, ISBN 4901317199
  • 오이카와 카즈야 “히다리즈마 모리오카 게이샤 이마무카시”야에다케 서방, 1991년 5월, ISBN 4896461398
  • 오오타 외 『교노하나 거리-사람·일·거리·거리” 일본 평론사, 2009년 4월, ISBN 453558561X
  • 오가와 토모 에코 / 이야기, 스즈키 미요코 / 문장 "오텐바바 여장의 기온 옛날 바나시"쿠사 사사, 2007 년 6 월, ISBN 9784794216045
  • 오하라 겐이치로(문), 이타쿠라 아리시로(사진) 『교・기온 유령이 되는 전통미의 세계』 일본 지역사회 연구소, 1994년 4월, ISBN 4890227385
  • 카시와기 켄이치 “기온은 사랑해” 문예사 , 2004년 11월, ISBN 4835580702
  • 카토 마사히로「꽃가 이 공간의 도시사」 아사히 신문사, 2005 년 10 월, ISBN 4022598859
  • 가토 마사히로 『교노카가 모노가타리』(카도카와 선서), 카도카와 학예 출판, 2009년 8월, ISBN 4047034487
  • 카미시치켄시 마메 “마이코의 작법”야마토 서방, 2007년 11월, ISBN 9784479781721
  • 가와무라 토쿠타로(술), 다나카 료(편) 「신바시를 말한다」신바시 게이코야 조합, 1931년 9월, [10]
  • 기쿠치 다케토쿠 『명사와 명기 메이지사의 이면』다이아몬드사 , 1937년 5월, [11]
  • 키시이 료에 『여자의 시대』 아오나보, 1974년 1월, [12] , 재판: 1985년 10월, [13]
  • 카타오카 닌자에 몬(문), 기요오카 니네코(사진) 『기온의 마이코』 후지아트 출판, 1985년 2월, ISBN 4828902961
  • 키리기 치즈 『사랑받고 능숙해지는 기온류・여성 연마』코단샤 , 2007년 3월, ISBN 9784062138413
  • 구마가야 야스지로(문), 하마오카 승(사진) 『기온과 마이코』담교사 , 1974년
  • 사노 미츠코 「기온 여자의 왕국 홍각 격자 중 토소토」신시오샤 , 1995년 2월, ISBN 4104034010
  • 스기타 히로아키(문), 미조연 히로시(사진) 『교노카가 기온』 담교사, 2003년 5월, ISBN 4473019802
  • 가쿠다 카히사 『어떤 말적 연예인·전 『오노 츠루 여자』문서에서』 창사사 출판, 1980년 2월, [14]
  • 라이자·달비 (이리에 쿄코·역) “게이샤 라이자와 선두초의 여자들” TBS 브리타니카 , 1985년 12월, ISBN 4484851156
  • 다카하시 토모키 『교노하카가 ‘와이야’ 이야기’(PHP 신서), PHP 연구소, 2007년 8월, ISBN 4569693784
  • 다카하시 히데아키 『「보기 씨 거절」의 승리 남은 경영」 ~교토 하나가 찻집을 350년 번영시켜 온 수법에 배운다~파루 출판, 2017년 4월, ISBN 9784827210507
  • 타카야스 미사코 「오오키니. 기온 에 배우는 유연한 처세술
  • 다나카 유코 「게이샤와 놀이 일본적 살롱 문화의 성쇠」(학연 신서), 학연, 2007년 6월, ISBN 9784054034594
  • 치야 미치오『메이지를 물들이는 여자들 매화・오스마・폰타・잉어・처길』분예춘추, 1985년 2월, [15]
  • 치요키히사 『아카사카 쭉코케 게이샤 다다미 여기만의 이야기』, 환동사, 2005년 8월, ISBN 4344010264
  • 진분관 주인 「에도의 게이샤」( 중공 문고 ), 중앙 공론사, 1989년 8월, ISBN 4122016363 , 개판: 중앙 공론 신사 , 2005년 11월, ISBN 4122046181
  • 츠시 키요 코마츠 아사지 「여자는 키리 키리 짱 나는 백세 현역 게이샤」참깨 서방, 1994 년 5 월, ISBN 434117049X
  • 데마 야스나리「게이샤의 멋과 의지―무코지마 하나야나기계에 춤추는 여자들의 삶」, 카도카와 학예 출판, 2008년 2월, ISBN 4046216069
  • 나이토 에츠코 『 마이코 밥이 되어 보지 않겠습니까?
  • 나카지마 요시즈 '일본학원 아름다운 일본 여성의 삶 방법' 태양 출판, 2007년 4월, ISBN 9784884695118
  • 나카지마 요시즈 “교토·기온 유격별의 환대 작법” 아키 서방, 2007년 10월, ISBN 9784750507095
  • 나츠에이(문서・오카다 키이치로) “가구라자카 게이샤가 가르치는 여자의 작법” 가와데 서방 신사 , 2005년 2월, ISBN 4309017002
  • 나카지마 하나요 「 작은 게이샤 씨 !
  • 나데시코(타카라 루미코, 이와미 테루요·공편) “ 야토나 이야기” 유마에 서방, 2000년 6월, ISBN 4843301019
  • 나미에 요지 · 편 「하쿠산 삼업 연혁사」오야마카쿠 출판, 1961년, [16]
  • 나리시마 야나기키타 (원저), 색부 요시아키, 고마쓰다 료헤이(공저) 『야나기 키타 히나어』 색부 요시아키 외, 1976년, [17]
  • 난지 야마토야 “야마토야 세이” 시바타 서점 , 1996년 8월, ISBN 4388057835
  • 헛간 카지 외(문), 미조연 히로시(사진) “기온 세련된 놀이의 세계” 담교사, 1995년 4월, ISBN 4473013995
  • 니시오 쿠미코『교토 하나가의 경영학』 동양 경제 신보사, 2007년 9월, ISBN 9784492501764
  • 니시카와 긴코 「꽃 야나기계는 이런 곳입니다. 다다미방을 즐기는 방법부터 게이샤와의 만남 방법까지』PHP 연구소 , 2004년 8월, ISBN 4569635687
  • 네기시성 3 「다카사키의 서비스업과 꽃가사」타카사키시 사회교육진흥회, 1967년 12월, [18]
  • 하시모토 요시로 『오키야 이야기 꽃 거리를 물들인 사람들』 야스이샤, 2005년 9월, ISBN
  • 하나조노 카코 (타카라 루미코, 이와미 테루요·공편) “예요통” 유마에 서방, 2004년 6월, ISBN 4843312215
  • 하마오카 승 “교무코” 교토 서원, 1987년 6월, ISBN 4763630571
  • 하야사키 하루 용 「기온 좋은 바나시」 교토 서원, 1990년 10월, ISBN 4763640445
  • 하야시다 카메타로『예자의 연구』 시오분각, 1929년 5월, [19]
  • 후나바시 세이이치「풍류초」분예춘추 신사, 1954년 12월, [20]
  • 존 포스터 『교무요 백경 존 포스터 사진집』동방 출판 , 2006년 12월, ISBN 4862490484
  • 카마타 코우야 “우시고메 화가 요미모토” 우시고메 3업회, 1937년 11월, [21]
  • 마스다 코야 『게이샤-고투의 반생애』평범사 라이브러리, 1995년 11월(1957년 간 증보 개정판), ISBN 4582761224
  • 도랑연히로시 “교토기온” 미쓰무라 추고서원, 1996년 7월, ISBN 4838101716
  • 도랑연 히로시 “교토 하나가 기온 코베·미야가와초·가미시치켄·선토초·기온 히가시”미쓰무라 추고서원, 2002년 7월, ISBN 4838103034
  • 도랑연 히로시 “교토 선두초” 미쓰무라 추고서원, 1997년 8월, ISBN 4838102070
  • 도랑연히로시 『교무요세시기 도랑연히로시 사진집』 동방출판, 1995년 8월, ISBN 4885914361
  • 도랑연 히로시 “기온시시 스다” 쇼가쿠칸, 2000년 10월, ISBN 4096813222
  • 도랑연히로시 “기온 지금에 사는 전통미” 일본교통공사 , 1985년 4월
  • 도랑연 히로시 “기온·마이고요미” 교토 서원, 1992년 4월, ISBN 4763631950

1998년 6월, ISBN 4763616420 )

  • 도랑연히로시 “기온 마이코초” 요시무라 서방, 1978년 4월
  • 도랑연 히로시(교토신문 출판센터·편) 『한나리와 쿄마이코의 사계』교토신문 출판센터, 2004년 4월, ISBN 4763805347
  • 미타무라 도어 생선 '화류 풍속' 중앙 공론사, 1998년 10월, ISBN 4122032717
  • 미나코 (나가오 미츠) “화보다 꽃” 주부와 생활사, 2009년 4월, ISBN 978-4-391-13649-4
  • 미야케 오마메, 모리타 시게코(공저) 『“기온” 우치아케 이야기-찻집, 고객의 것, 자꾸의 것”(PHP 문고), PHP 연구소, 2004년 7월, ISBN 4569662250 (『듣기 기온 에 살아 」 동초사・발매：카도카와 서점, 2000년 5월, ISBN 4810426084 를 개제)
  • 미야가와 하루노 「쿄노 하나마치 문화고」・「꽃가에서의 교육」일본섬유신문사 출판 「와유」창간호, 2007년, 2008년
  • 야마구치 공녀 『쌩얼 예요―교토・기온의 실수 일기』로커스 , 2007년 1월, ISBN 9784898147085
  • 야마구치 토미에 「게이샤 눈 그 청춘」슈에이샤, 1986년 5월, ISBN 4087750841
  • 야마모토 마사코 「찻집 놀이를 알고 치유하는가」 히로제도 출판, 2001년 1월, ISBN
  • 요다 요시켄(문), 하마오카 승(사진) 『마이코의 사계』(駸々堂 유니콘 컬러 쌍서), 駸々堂 출판, 1975년
  • 와타나베 겐지 감수 「어른의 교양을 즐긴다 기온의 흔들림」(청춘 신서), 청춘 출판사, 2009년 7월, ISBN 4413042425
  • 도회 에스케 『교노하나 거리』 대륙 서방, 1977년 6월

각주 [ 편집 ]

[ 각주 사용법 ]

출처 [ 편집 ]

  1. ↑ "근대 일본의 격차와 최하층 사회"쿠사마 야츠오 (저자), 야스오카 겐히코 (편집)
  2. ↑ 하카타권번 이란 하카타권번, 2021년 8월 1일 열람.
  3. ^ 아동 학대 6 행위를 내무성령으로 지정 “중외 상업 신보” 1985년 5월 12일 년)
  4. ↑ 부 경찰이 조정, 해결에 움직이는 “오사카 매일 신문”(쇼와 12년 3월 6일) “쇼와 뉴스 사전 제6권 쇼와 12년-쇼와 13년” 본편 p46
  5. ^예요 60명이 노부키야마에게 농성 『오사카 매일 신문』(1997년 2월 27일 석간) 『쇼와 뉴스 사전 6권
  6. ^ 신검번의 설립 인가, 게이샤 측에 개가 『오사카 매일 신문』(1997년 3월 7일 석간) 『쇼와 뉴스 사전 6권
  7. ↑ 『운명의 그림자에』 마츠자키 천민저 (이소베 고양당, 1917)
  8. ↑ a b 간사이 학원 대학 첨단 사회 연구소 기요 제12호, “지방 꽃 야나기계에 있어서의 <예>와 <색>-스와호 연안 지역의 사례-, 다니오카 유코, 2015년
  9. ↑ 『엔터테인먼트 군 : 사회 연구』 권다 호노스케 저 실업지 일본사 다이쇼 12
  10. ↑ 시미즈 하루카즈 저 「도쿄 명물 백인 일수」메이지 40년 8월 「불견전」국립 국회 도서관 장서, 2018년 2월 10일 열람
  11. ↑ 『다자이상·원경』 후쿠다 카즈야, PHP 연구소, 2013/11/25, 「오지지」의 장
  12. ^ 「「가계도」와 「저택」에서 읽는 역대 총리대신
  13. ↑ 츠바키야마소의 여왕·요시다 사다코 ] “현대지 인물관 무원하게 신상후” 가와세 소키타, 니마츠도 서점, 1917년
  14. ↑ 후카가와 타운지 11월 12월호 2017년 No239
  15. ↑ 석간 讀賣新聞 2022년 8월 19일호
  16. ^ 미야지마 유지, 오카자키 아츠유키, 마츠이 다이스케, “ 꽃가의 경관 연출 요소로서의 제등의 게시 -교토 고카가를 중심으로- ” “일본 건축 학회 기술 보고집” 2016년 22권 51호 p.739-742 , doi : 10.3130/aijt.22.739
  17. ↑ 나카무라 마키(2007) 하나가 에서 전통의 유지·계승과 변용
  18. ↑ 구화가의 전통 예능 계승과 거리 풍경의 형성 보존 유지
  19. ^ 다다미 밖 활동의 전개에 보는 하치오지 하나야나기계의 재흥 요인 - 수도 대학 도쿄
  20. ↑ 니시오 쿠미코(2007) 교토 하나카이의 경영학 - 동양경제신보사
  21. ↑ 카토 마사히로(2005) 하나가: 이 공간의 도시사 - 아사히 신문사
  22. ↑ 아케다 테츠오 (2002) 일본 꽃 거리 역사 - 오야마 카쿠
  23. ↑ “ 이즈 나가오카 온천 게이코 ”. 이즈 나가오카 예능 사업 협동 조합. 2018년 7월 3일 열람.
  24. ↑ “ 시즈오카 전통 예능 진흥회 ”. 시즈오카 상공 회의소. 2018년 7월 3일 열람.
  25. ↑ “ 나이코 연 ”. 나고야 전통 예능 진흥회. 2018년 7월 3일 열람.
  26. ↑ “ 아리마예요 ”. 요리마 전통문화진흥회. 2021년 1월 1일 열람.
  27. ↑ “ 도사예요 ”. 요정 하마나가. 2020년 12월 24일 열람.
  28. ↑ “ 아키타 마이코 ”. 주식회사 센. 2018년 7월 3일 열람.
  29. ↑ 『2대 게이샤 : 홍등정화』 안도 센코 저 (신에이샤, 1913)
  30. ↑ 국립 국회 도서관. “ 오키나와의 줄리(미류)에 대한 자료는 있을까. ”. 레퍼런스 협동 데이타베이스 . 2021년 5월 28일 열람.

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=====

Geisha

From Wikipedia, the free encyclopedia
This article is about geisha, the traditional Japanese female entertainers and hostesses. For other uses, see Geisha (disambiguation).
"Geiko" redirects here. For the insurance company, see GEICO.
A profile view of a geisha sat kneeling. She wears a black formal kimono, a gold belt, a traditionally styled wig and white make-up with red lips and accents.
Profile of a Miyagawa-chō geiko (geisha) Kimiha wearing a formal black kimono (kurotomesode) and a chū taka shimada-style nihongami wig
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Geisha (芸者) (/ˈɡeɪʃə/; Japanese: [ɡeːɕa]),[1][2] also known as geiko (芸子) (in Kyoto and Kanazawa) or geigi (芸妓), are female Japanese performing artists and entertainers trained in traditional Japanese performing arts styles, such as dance, music and singing, as well as being proficient conversationalists and hosts. Their distinct appearance is characterised by long, trailing kimono, traditional hairstyles and oshiroi make-up. Geisha entertain at parties known as ozashiki, often for the entertainment of wealthy clientele, as well as performing on stage and at festivals.

The first female geisha appeared in 1751, with geisha before that time being male performers who entertained guests. Only later did the profession become mainly characterised by female workers.[3][a]

The arts that geisha perform are considered highly developed and, in some cases, unique throughout Japan to the world of geisha. For example, the Gion district of Kyoto is the only district wherein the kyo-mai style of Japanese traditional dance is taught. This style of dance is taught solely to the geisha within the district by the Inoue school, with the school's former head, Inoue Yachiyo, having been classified as a "Living National Treasure" by the Government of Japan, the highest artistic award attainable in the country, in 1955.[5]

Etymology and terminology[edit]

Two young women in kimono stood at a street corner at night. The taller woman wears a casual blue and yellow kimono; the smaller woman is dressed as an apprentice geisha, in a green kimono with green hair accessories and a red underkimono.
A shikomi (left) accompanying the maiko Takamari of the Kaida okiya in Gion Kobu
A young apprentice geisha stood outside a traditional Japanese building. Her yellow kimono's sleeves are shorter than a maiko's, and she wears more hair accessories than a maiko would.
Minarai Katsunosuke wearing a short obi and a large, colourful set of kanzashi hairpins

A number of terms are used to describe the profession and community that geisha both live and work in. Though each has its own distinct meaning and translation, some are used interchangeably to describe the geisha community on the whole, such as hanamachi and karyūkai.

Geiko
A regional term for geisha with a slightly different meaning. Geiko refers to geisha in Western Japan, including Kyoto and Kanazawa. This term directly translates as 'woman of art', and is part of the Kyoto dialect spoken by geisha in Kyoto and Western Japan.
Geisha (芸者)
lit. 'artist' or 'performing artist' or 'artisan'. A traditional female hostess, entertainer and performing artist. The word geisha consists of two kanji: gei (芸, meaning 'art') and sha (者, meaning 'person' or 'doer').
Gokagai (五花街, lit. 'five flower towns')
The five geisha districts of Kyoto: Gion Kobu and Gion Higashi, Ponto-chō, Miyagawa-chō and Kamishichiken. Kyoto previously had six hanamachi, with Shimabara, formerly a red light and geisha district, still being considered an active hanamachi in the 1970s. In the present day, Shimabara is active only as a host for tayū, who are considered to be entertainers of a similar kind to geisha, but the district is still not considered to be an active hanamachi.[6]
Hanamachi (花街, lit. 'flower town')
The district where a geisha works, is affiliated, and potentially lives. Geisha generally do not work outside of their hanamachi, though customers may call them for special occasions in other districts, or on excursions – however far away – to places outside the karyūkai.[7]
Han-gyoku (半玉, lit. 'half-jewel')
A term for apprentice geisha in some regions of Japan such as Tokyo. The term han-gyoku means 'half-jewel', referring to one of the terms for a geisha's wages, 'jewel money'.[8][9]
Kagai (花街, lit. 'flower towns')
An alternative term for the districts in which geisha live and work; interchangeable with karyūkai.
Karyūkai (花柳界, lit. 'flower and willow world')
The community or society that geisha inhabit. In the present day, this term refers solely to the world of geisha, as well as the few remaining tayū; before the decline and eventual disappearance of oiran, the term karyūkai referred to the entertainment districts (the "world") of both geisha and courtesans, with oiran acting as the "flowers", ostensibly for their beautiful and showy appearance, and geisha being the subtler "willows".[10]
Maiko (舞妓)
The most common term for an apprentice geisha, translating to 'woman of dance'.
Minarai (見習い, lit. 'learning by observation')
The second typical stage of a maiko's training, and the step that always follows that of shikomi. A minarai wears a version of a maiko's outfit, with a shorter obi, shorter kimono sleeves, and more hair accessories (kanzashi). [11]
Minarai-jaya
During the minarai period, an apprentice will receive training through one specific teahouse, referred to as the minarai-jaya.[11]
Mizu shōbai (水商売, lit. 'water business')
A euphemistic term for the entertainment and red-light districts in Japan, including the worlds of kabuki actors and geisha.[9]
Ochaya (お茶屋, lit. 'teahouse')
Though geisha may entertain at their okiya, restaurants or inns, they will usually entertain guests at a teahouse.
Okiya (置屋)
A geisha lodging house. All geisha must be registered to an okiya, though not all geisha live in their okiya day-to-day. Okiya are usually run by women, many of whom are ex-geisha themselves.[9] Geisha may entertain guests within their okiya.
Ozashiki (お座敷)
A term for a geisha's engagements, which may take part or the whole of an evening. The term ozashiki combines the name for a banqueting room, zashiki (座敷), and the honorific prefix o- (お), changing the meaning to a term exclusively referring to the engagements a geisha takes.
Shikomi (仕込み, 'preparation' or 'training')
The typical first stage of a maiko's training. Shikomi wear kimono, though they do not wear the elaborate outfit, hairstyle and makeup of fully-fledged maiko.
Tōde (lit. 'distant outings')
Geisha engagements not held in licensed restaurants, teahouses, or a geisha's own hanamachi.[7]

History[edit]

Origins[edit]

In the early stages of Japanese history, saburuko (serving girls) were mostly wandering girls whose families had been displaced by war.[12] Some of these saburuko girls offered sexual services for money while others with a better education made a living by entertaining at high-class social gatherings.[13][14]

After the imperial court moved the capital to Heian-kyō (Kyoto) in 794, aspects of now-traditional Japanese art forms and aesthetic ideals began to develop, which would later contribute to the conditions under which the geisha profession emerged.[15] Skilled female performers, such as shirabyōshi dancers, thrived under the Imperial court, creating the traditions of female dance and performance that would later lead to both the development of geisha and kabuki actors.

During the Heian period, ideals surrounding relationships with women, sexual or otherwise, did not emphasise fidelity, with marriage within the Heian court considered a relatively casual arrangement. Men were not constrained to be faithful to their wives, with the ideal wife instead being a modest mother who managed the affairs of the house, following Confucian customs wherein love had secondary importance to the other roles a wife fulfilled within the marriage. As such, courtesans—who provided not only sexual enjoyment, but also romantic attachment and artistic entertainment—were seen both as an outlet for men and as common companions. Though geisha would not appear until the 1800s, the role and status of courtesans as artistic and romantic entertainers were a tradition that geisha came to inherit, with the basic artforms of entertaining guests through song, dance and conversation being employed and adapted to contemporary tastes by geisha.[citation needed]

Walled-in pleasure quarters known as yūkaku (遊廓/遊郭) were built in the 16th century,[16] with the shogunate designating prostitution illegal to practice outside of these "pleasure quarters" in 1617.[17] Within the pleasure quarters, yūjo (遊女, "[women] of pleasure") – a term used to refer to prostitutes as a whole – were classified and licensed, the upper echelons of which were referred to as oiran, a category with its own internal ranks, the highest of which being the tayū.

Though women in the lower ranks of yūjo did not provide as much artistic entertainment as they did sexual, oiran, whilst still prostitutes, also included the traditional arts as a key aspect of their entertainment, their practice of which differed considerably from those of geisha. As oiran were considered to be low-ranking members of the nobility, the instruments they played and the songs they sang were often confined to those considered "respectable" enough for the upper classes. This typically meant that oiran sang long, traditional ballads (nagauta (lit. 'long songs')), and played instruments such as the kokyū (a type of bowed shamisen) and the koto (a 13-stringed harp).

However, some yūjo also performed theatrical plays, dances and skits; one such person was Izumo no Okuni, whose theatrical performances on the dry riverbed of the Kamo River are considered to be the beginnings of kabuki theatre.[17]

18th-century emergence of the geisha[edit]

Ukiyo-e scroll depicting a Gion geisha, 1800–1833
Ukiyo-e print by Yamaguchi Soken of a Kyoto geisha

Following their inception by the shogunate in the 17th century, the pleasure quarters quickly became popular entertainment centres that developed their own additional forms of entertainment outside of sex. The highly accomplished courtesans of these districts entertained their clients by dancing, singing, and playing music. Some were renowned poets and calligraphers as well; the development of the cultural arts of the pleasure quarters led to the rise in oiran being considered to be the celebrities of their day.[citation needed]

Around the turn of the 18th century, the first geisha, or forerunners of geisha, performing for guests of the pleasure quarters began to appear; these entertainers, who provided song and dance, developed from a number of sources. Some geisha, who were something of travelling entertainers going from party to party, were men, who would entertain the customers of courtesans through song and dance.[17] At the same time, the forerunners of female geisha, the teenage odoriko ("dancing girls"),[18] developed, trained and hired as chaste dancers-for-hire within these pleasure quarters. Further still, some courtesans, whose contracts within the pleasure quarters had ended, chose to stay on to provide musical entertainment to guests, making use of the skills they had formerly developed as part of their job.[citation needed]

In the 1680s, odoriko had become popular entertainers and were often paid to perform in the private homes of upper-class samurai;[19] by the early 18th century, many of these odoriko had also begun offering sexual services as well as chaste performances. Performers who were no longer teenagers (and could no longer style themselves odoriko)[20] adopted other titles in order to continue working – with one being "geisha", after the male entertainers of the time.

The first woman known to have called herself "geisha" was a prostitute from Fukagawa, roughly around 1750,[21] who had become a skilled singer and shamisen player. The geisha, who took the name of Kikuya, became an immediate success, bringing greater popularity to the idea of female geisha.[b] In the next two decades, female geisha became well known for their talents as entertainers in their own right; these performers often worked in the same establishments as male geisha.[23]

Geisha in the 19th century to present day[edit]

Tokyo geisha with shamisen, c. 1870s

By 1800, the profession of geisha was understood to be almost entirely female, and was established as a distinct role in its own right; however, geisha were, throughout various points within the Edo period, unable to work outside of the pleasure quarters, being affected by reforms aimed at either limiting or shutting down the pleasure quarters. These reforms were often inconsistent, and were repealed at various times.[citation needed]

Once established as an independent profession, a number of edicts were then introduced in order to protect the business of courtesans and separate the two professions. Geisha were firstly forbidden from selling sex, though many continued to do so; if a courtesan accused a geisha of stealing her customers and business of sex and entertainment, an official investigation was opened, with the potential for a geisha to lose her right to practice the profession. Geisha were also forbidden from wearing particularly flashy hairpins or kimono, both of which were hallmarks of higher-ranking courtesans, who were considered to be a part of the upper classes.[9]

Despite their official status as lower-class entertainers, geisha continued to grow in popularity. While courtesans existed to meet the needs of upper-class men (who could not respectably be seen to visit a lower-class prostitute) and prostitutes met the sexual needs of lower-class men, this left a gap of skilled and refined entertainers for the emerging merchant classes, who, though wealthy, were unable to access courtesans because of their social class.

The status of courtesans as celebrities and arbiters of fashion had also waned considerably. The art forms they practiced had become stiffly-cherished relics of the upper classes, as had their manner of speech and their increasingly gaudy appearance. In contrast, machi geisha (lit. 'town geisha') had begun to successfully establish themselves as worldly, cutting-edge entertainers, more artistically daring than their cloistered, indentured cousins, and able to come and go and dress as they pleased.[citation needed]

This popularity was then increased by the introduction of various laws intended to clamp down on and regulate the lower classes – in particular, the emerging merchant classes who had established themselves as the premiere patrons of geisha. Both had, over time, come to hold much of the purchasing power within Japan, with their status as lower class allowing them a degree of freedom in their tastes of dress and entertainment, in contrast to upper-class families who had little choice but to appear in a manner deemed respectable to their status.[citation needed]

As the tastes of the merchant classes for kabuki and geisha became widely popular, laws introduced to effectively neuter the appearances and tastes of geisha and their customers were passed. This, however, had the adverse effect of leading to the rise in popularity of more refined and subversive aesthetical senses within those classes, further alienating courtesans and their patrons from popularity and contemporary taste; the introduction of laws on dress only furthered the popularity of geisha as refined and fashionable companions for men. As a result, over time, courtesans of both higher and lower ranks began to fall out of fashion, seen as gaudy and old-fashioned.[citation needed]

By the 1830s, geisha were considered to be the premiere fashion and style icons in Japanese society, and were emulated by women of the time.[24] Many fashion trends started by geisha soon became widely popular, with some continuing to this day; the wearing of haori by women, for example, was first started by geisha from the Tokyo hanamachi of Fukagawa in the early 1800s.

There were considered to be many classifications and ranks of geisha, though some were colloquial or closer to a tongue-in-cheek nicknames than an official ranking. Some geisha would sleep with their customers, whereas others would not, leading to distinctions such as kuruwa geisha – a geisha who slept with customers as well as entertaining them through performing arts – yujō ("prostitute") and jorō ("whore") geisha, whose only entertainment for male customers was sex, and machi geisha, who did not, officially and in reality, sleep with customers at all.[25]

By the end of the 19th century, courtesans no longer held the celebrity status they once did.[c]

This trend would continue until the criminalisation of prostitution in Japan in 1956.

Pre-war and wartime geisha[edit]

World War II brought lasting change to the geisha profession; before the war, geisha numbers, despite seeing competition from jokyū (café girls, the precursor to the bar hostess profession in Japan), had been as high as 80,000,[9]: 84 [27] however, following the closure of all geisha districts in 1944, mostly all geisha had been conscripted into the war effort proper, with many finding work in factories or elsewhere through customers and patrons.

Though geisha returned to the karyūkai relatively quickly after the war, many had decided to stay on in their wartime jobs, considering it to be a more stable form of employment. Both during and after the war, the geisha name lost some status, as some prostitutes began referring to themselves as "geisha girls" to members of the American military occupying Japan.[9]

Post-war geisha[edit]

In 1945, the karyūkai saw restrictions on its practices lifted with teahouses, bars, and geisha houses (okiya) allowed to open again. Though many geisha did not return to the hanamachi after the war, it was evident that working as a geisha was still considered to be a lucrative and viable career, with numbers increasing quickly. The vast majority of geisha after the war were aged 20–24, as many retired in their mid-twenties after finding a patron – a trend carried over from the pre-war karyūkai:

I showed the mother of the Yamabuki [okiya, in 1975] some statistics on the age distribution of the geisha population in the 1920s. She remarked on the big dip in figures when women reached the age of twenty-five. "In those days, when you found yourself a patron you could stop working. If you were lucky you would be set up in your own apartment and have a life of leisure, taking lessons when you wanted to for your own enjoyment [...] I think it's pretty unusual nowadays for a geisha to stop working when she gets a patron."[9]: 202–203 

The status of geisha in Japanese society also changed drastically after the war. Throughout the 1920s and 1930s, much discussion had taken place surrounding the status of geisha in a rapidly-Westernising Japanese society. Some geisha had begun to experiment with wearing Western clothing to engagements, learning Western-style dancing, and serving cocktails to customers instead of sake. The image of a "modern" pre-war geisha had been viewed by some as unprofessional and a betrayal of the profession's image, but as a necessary change and an obvious evolution by others. However, the incumbent pressures of the war rapidly turned the tide against Westernisation, leading to an effective abandonment of most radical "Western-style" geisha experiments.[d]

After the war, geisha unanimously returned to wearing kimono and practicing the traditional arts, abandoning all experimental geisha styles of appearance and entertainment. This, however, led to the final blow for the profession's reputation as fashionable in wider society; though the geisha did not experience the rapid decline and eventual death that courtesans had experienced in the previous century, they were instead rendered as "protectors of tradition" in favour of preserving the image geisha had cultivated over time.[9]

Nonetheless, in the decades after the war, the profession's practices still underwent some changes. Following the introduction of the Prostitution Prevention Law in 1956, geisha benefited from the official criminalisation of practices such as mizuage, a practice that had at times been undertaken coercively or through force by some maiko in mostly pre-war Japan. Despite this, the misconception of geisha being on some level prostitutes and of mizuage being a common practice continues, inaccurately, to this day.[28]

After Japan lost the war, geisha dispersed and the profession was in shambles. When they regrouped during the Occupation and began to flourish in the 1960s during Japan's postwar economic boom, the geisha world changed. In modern Japan, girls are not sold into indentured service. Nowadays, a geisha's sex life is her private affair.[29]

From the 1930s onwards, the rise of the jokyū bar hostess began to overshadow geisha as the premiere profession of entertainment at parties and outings for men.[30] In 1959, the Standard-Examiner reported the plight of geisha in an article written for the magazine Bungei Shunju by Japanese businessman Tsûsai Sugawara. Sugawara stated that girls now "prefer[red] to become dancers, models, and cabaret and bar hostesses rather than start [the] training in music and dancing at the age of seven or eight" necessary to become geisha at the time.[31]

Compulsory education laws passed in the 1960s effectively shortened the period of training for geisha apprentices, as girls could no longer be taken on at a young age to be trained throughout their teenage years. This led to a decline in women entering the profession, as most okiya required a recruit to be at least somewhat competent and trained in the arts she would later go on to use as a geisha;[32] by about 1975, okiya mothers in Kyoto began accepting both recruits from different areas of Japan in larger numbers, and recruits with little to no previous experience in the traditional arts. Before this point, the number of maiko in had dropped from 80 to just 30 between 1965 and 1975.[6]

By 1975, the average age of a geisha in the Ponto-chō district of Kyoto was roughly 39, with the vast majority being aged 35–49.[9] The population of geisha at this time was also surprisingly high, roughly equivalent to the numbers of young women within the profession; geisha no longer retired young when they found a patron, and were less likely than other women of the same age to have both children and an extended family to support them. In 1989, it was reported in the New York Times that there were an estimated 600-700 geisha left throughout the whole of Japan.[33]

Present-day geisha[edit]

Entrance to Ichiriki Ochaya, one of the most famous tea houses where geisha entertain in Gion Kobu
A sign warning tourists not to harass maiko in Gion, Kyoto

Modern geisha mostly still live in okiya they are affiliated with, particularly during their apprenticeship, and are legally required to be registered to one, though they may not live there every day. Many experienced geisha are successful enough to choose to live independently, though living independently is more common in some geisha districts – such as those in Tokyo – than others.

Geisha are often hired to attend parties and gatherings, traditionally at tea houses or traditional Japanese restaurants (ryōtei).[34] The charge for a geisha's time, previously determined by the time it took to burn one incense stick (known as senkōdai (線香代, "incense stick fee")) or gyokudai (玉代, "jewel fee"), was modernised during the 19th century to a flat fee charged per hour.[9] In Kyoto, the terms ohana (お花) and hanadai (花代) (both meaning "flower fees") are used instead as part of the Kyoto dialect. However, appointments and arrangements are still made by the mother of the house (the okasan) through the official registry office (検番, kenban), which keeps a record of both the appointments taken by a geisha and her schedule.

In modern Japan, geisha and their apprentices are a rarer sight outside of the hanamachi or chayagai (茶屋街, "tea house district", often referred to as "entertainment district"); most sightings of geisha and maiko in and around cities such as Kyoto are actually tourists who pay a fee to be dressed up as either a maiko or geisha for the day, a practice known as henshin.[35][e]

Over time the number of geisha has declined, despite the efforts of those within the profession. Factors include the nature of the economy, declining interest in the traditional arts, the exclusive and closed-off nature of the karyūkai, and the expense of being entertained by geisha.[f] The number of maiko and geisha in Kyoto fell from 76 and 548 in 1965 respectively to just 71 and 202 in 2006[6] as a result.

However, following the advent of wider accessibility to the internet from the mid-2000s onwards, a greater number of recruits have decided to join the profession with no existing ties to the karyūkai through watching online documentaries and reading websites set up by okiya to promote their business;[35] documentary pieces commonly inspire young women to join the profession, such as the geisha Satsuki, who later became the most popular geisha in Gion for a seven-year period:

[Geisha] Satsuki first took an interest in the kagai while a middle school student in Osaka, at around the age of 14, after seeing a documentary about a maiko's training. "I already had heard of maiko, but it was when I saw the documentary that I thought – I want to do that."[37]

In recent years, a growing number of geisha have complained to the authorities about being pursued and harassed by groups of tourists keen to take their photograph when out walking. As a result, tourists in Kyoto have been warned not to harass geisha on the streets, with local residents of the city and businesses in the areas surrounding the hanamachi of Kyoto launching patrols throughout Gion in order to prevent tourists from doing so.[38]

Appearance[edit]

A geisha wearing a plain pink kimono with no white face makeup stood to the right of a maiko in full makeup wearing a heavily decorated black kimono.
Mature geisha (center) ordinarily wear subdued clothing, makeup, and hair, contrasting with the more colourful clothing, heavy makeup, and elaborate hair of maiko (apprentices; left and right).

A geisha's appearance changes symbolically throughout her career, representing her training and seniority. Apprentice geisha typically appear in one style of dress, the most formal, the entire time they are working: a long-sleeved kimono with a trailing skirt, a formal obi which may be extremely long, full white makeup and a traditional hairstyle, which is done using the apprentice's own hair. A geisha, in contrast, may not be called to wear her most formal outfit (a trailing kurotomesode with an obi of matching formality, a wig and full white makeup) to every engagement.

Though apprentice geisha appear in their most formal dress when attending engagements all of the time, this appearance is not static, and the seniority of apprentices can generally be distinguished visually by changes to makeup, hairstyle and hair accessories. When an apprentice becomes a full geisha, her style of kimono changes from a long-sleeved one with a typically long obi to a short-sleeved one with an obi of the same length worn by any woman who wears a kimono; she may not wear a kimono with a trailing skirt to every banquet, and may choose not to wear white makeup and a wig at all as she grows older.

Changes, and style of appearance, vary depending on the region of Japan a geisha or apprentice geisha works in; however, there is a general progression of appearance that can be seen as applicable to all geisha.

Makeup[edit]

Further information: Oshiroi
A maiko wearing a purple kimono and a long green hair ornament on her left side.
Maiko Mamechiho of Gion. Notice the green pin on the mid-left known as tsunagi-dango: this identifies her as a maiko of Gion Kobu under 18.

Both maiko and geisha wear traditional white foundation known as oshiroi. In the past, this white makeup – formerly made with lead – would have illuminated the face of a geisha when the only lighting available was candlelight. Oshiroi is worn with red and black eye and eyebrow makeup, red lips and light pink blusher. Both maiko and geisha underpaint their lips with a red lipstick known as beni.[39]

First-year apprentice geisha paint only the lower lip, and wear less black around the eyes and eyebrows than senior maiko. Younger apprentices may also paint their eyebrows slightly shorter or rounder to emphasise a youthful appearance.[39] Maiko wear noticeably more blush – known as tonoko – than geisha.[40] Young apprentices may have the mother of the house or their "older sister" mentors help them apply makeup.

Geisha wear more black around the eyes and eyebrows than maiko. Older geisha tend only to wear a full face of traditional white makeup during stage performances or on special occasions. Older geisha generally stop wearing oshiroi around the same time they stop wearing hikizuri to parties.

For a short period before becoming a geisha, maiko in some geisha districts colour their teeth black, usually accompanied by wearing the sakkō hairstyle and a decorated black formal kimono. Teeth blackening was once a common practice amongst married women in Japan and the imperial court in earlier times, but is now an extremely uncommon practice.

Dress[edit]

Main article: Kimono
Further information: Maiko § Appearance
A maiko (on the left) and a geisha (on the right) facing away from the camera, sat on a tatami mat.
A senior maiko (left) wearing a long darari obi and a geisha (right) wearing an obi in the taiko-musubi style

Geisha and maiko always wear kimono while working, and typically wear kimono outside of work. The type of kimono varies based on age, occasion, region and season of the year.

Maiko[edit]

Both maiko and geisha wear the collar on their kimono relatively far back, accentuating (for maiko) the red collar of the underkimono (juban), and displaying (for both maiko and geisha) the two or three stripes of bare skin (eri-ashi and sanbon-ashi respectively) left just underneath the hairline when wearing oshiroi.

Both geisha and apprentice geisha typically wear kimono known as hikizuri (also known as susohiki, which have extra-long, trailing skirts. These kimono feature a collar set further back into the neck, and sleeves attached unevenly to the body of the kimono. These features allow the collar to be pulled further down the back when worn, with the sleeves – which, like all women's kimono, feature an open portion underneath the shoulder – offset on the shoulder to ensure that the underarm is not exposed awkwardly through the open inner side of the sleeve.

Hikizuri are formal kimono, and are almost invariably made of fine silk. Their patterns generally follow the placement of motifs on formal kimono such as hōmongi and irotomesode, with motifs unsymmetrically placed along the hem and along the shoulders.[g] For extremely formal occasions, black hikizuri that resemble kurotomesode are seen.

Because they are formal clothes, informal fabrics, such as slubbed silk, cotton, linen and polyester, are not used for hikizuri. As with regular women's kimono, hikizuri are lined for most of the year, and unlined for the summer months; in winter, heavier formal fabrics such as rinzu may be used, and in summer, lightweight silk weaves such as ro (a plain weave with interspersed lines of leno weave) may be worn. When off-duty, if wearing kimono, both geisha and their apprentices wear regular, non-trailing kimono.

Maiko wear hikizuri with furisode-style sleeves, with a tuck sewn into either sleeve, and a tuck sewn into each shoulder. These tucks are holdovers from a time when maiko spent most of their teenage years as apprentices; the tucks would be let out as they grew. These tucks are still seen on some children's kimono.

Maiko hikizuri tend to be colourful and highly decorated, often featuring a design that continues inside the kimono's hem. The style of this kimono varies throughout different regions; apprentices in Kyoto tend to wear large but sparsely-placed motifs, whereas apprentices elsewhere appear in kimono similar to a regular furisode, with small, busy patterns that cover a greater area. Unlike geisha, who almost invariably own the kimono they wear to engagements, apprentice geisha tend not to own their own kimono, and instead borrow those of their okiya.

This is because brand-new formal maiko hikizuri are extremely expensive, and are unlikely to be something an apprentice can afford. An apprentice may also decide not to become a geisha and drop out, leaving them with an expensive piece of clothing their okiya cannot use for its other apprentices. As such, many okiya have several kimono and obi used by their apprentices that have been used for several years, and some are known for their distinctive designs.

Ex-maiko pieces may be sold on when they are considered too worn for use in formal engagements, or when an okiya closes and decides to sell its stock of kimono and obi. In such circumstances, it is sometimes possible to identify the okiya a piece previously belonged to, as in the case of darari obi, the okiya's crest is woven, dyed or embroidered into one end of the obi.

Apprentices wear long, formal obi. For apprentices in Kyoto this is almost always a darari (lit. 'dangling') obi, a type of obi roughly 6 metres (20 ft) long, but elsewhere may be the shorter and narrower fukuro obi. Darari obi are always worn in a knot showing off the length, whereas apprentices elsewhere wear fukura-suzume and han-dara (lit. 'half-dangling') knots. When wearing casual kimono in off-duty settings, an apprentice may still wear a nagoya obi, even with a yukata.

Apprentices wear either zōri or okobo with their kimono, with okobo being worn (in Kyoto at least) with all formal kimono.[15] For training and in everyday life, zōri are worn, even when wearing casual short-sleeved kimono such as komon and yukata.

Geisha[edit]

Geisha wear kimono more subdued in pattern and colour than both regular women's kimono, and the kimono worn by apprentice geisha. Geisha always wear short-sleeved kimono, even if they are technically still young enough to wear furisode, as the wearing of furisode-style sleeves is considered a marker of apprenticeship.

Not all geisha wear hikizuri; older geisha tend to wear regular formal kimono to engagements, with no trailing skirt or deep-set collar. The appearance of regional geisha varies less across Japan so than that of apprentice geisha.

Geisha wear their obi in the nijuudaiko musubi style – a taiko musubi (drum knot) tied with a fukuro obi; geisha from Tokyo and Kanazawa also wear their obi in the yanagi musubi (willow knot) style and the tsunodashi musubi style. Though geisha may wear hakata-ori obi in the summer months, geisha from Fukuoka – where the fabric originates from – may wear it the entire year.

Geisha exclusively wear solid white han-eri, and wear either geta or zōri when wearing kimono.

Hair[edit]

Further information: Nihongami § Geisha
Further information: Nihongami § Maiko
A geisha wearing a pink kimono sat at a black table, whisking a small cup of tea.
Mamechiho as a geisha

The hairstyles of geisha have varied throughout history. During the 17th century, the shimada hairstyle developed, which became the basis for the hairstyles worn by both geisha and maiko. When the profession of geisha first came into existence, dress edicts prevented geisha from wearing the dramatic hairstyles worn by courtesans, leading to the subdued nature of most geisha hairstyles.

Following World War II, many of the hairstylists who had previously served the karyūkai no longer operated, leading to the redevelopment of hairstyles for geisha and maiko. Geisha, unable to reliably book in with a hairstylist once a week to maintain their hair, began to wear human hair wigs in the shimada style that required restyling far less. The hairstyles of maiko, still utilising the apprentice's own hair, became wider, placed higher upon the head, and shorter in length.[41]

There are five different hairstyles that a maiko wears, which mark the different stages of her apprenticeship. The nihongami hairstyle with kanzashi hair ornaments are most closely associated with maiko,[40] who spend hours each week at the hairdresser and sleep on special pillows (takamakura) to preserve the elaborate styling.[42]: 3 [43] Maiko can develop a bald spot on their crown caused by the stress of wearing these hairstyles almost every day, but in the present day, this is less likely to happen because maiko begin their apprenticeship at a later age. Maiko in certain districts of Kyoto may also wear additional, differing hairstyles in the run up to graduating as a geisha.

In the present day, geisha wear a variety of the shimada known as the chū taka shimada – a flattened, sleeker version of the bunkin taka shimada worn as a bridal wig in traditional weddings. Though geisha also wear this hairstyle as a wig, it is usually shaped specifically to their face by a wig stylist. Older geisha may wear the tsubushi taka shimada style on special occasions, featuring a flatter "bun" (mage) than both the bunkin taka shimada and chū taka shimada styles.

Both the hairstyles of maiko and geisha are decorated with hair combs and hairpins (kanzashi), with geisha wearing far fewer kanzashi than maiko. The style and colour of hair accessories worn with some maiko hairstyles can signify the stage of an apprentice's training. Typical combs and hairpins may be made of tortoiseshell or mock-tortoiseshell, gold, silver and semi-precious stones such as jade and coral.

Traditional performances[edit]

Geisha are skilled artists, trained in and performing music and dance.
Geisha Komomo and Mameyoshi from Gion Kobu playing shamisen

Geisha entertain their guests with a combination of both their hostessing and conversational skills, and their skills in traditional Japanese art forms of dance, music and singing. Before deciding to begin a career as a geisha, new recruits are generally expected to have an interest in the arts, as well as some experience. As geisha numbers have fallen throughout the decades, this is no longer a strict prerequisite. Some okiya will take on recruits with no previous experience, with some young geisha, despite having existing experience, expected to begin their lessons from the beginning.[9]: 189 

The style of dance practiced by geisha today evolved from dance styles used in both nōh and kabuki theatre. Over time, the more exaggerated theatrical styles evolved into the subtle and more stylised form of dancing used today; despite the difference, elements of traditional Japanese dance, such as the use of gestures to tell a story and the symbolism used to represent this, run throughout both as a common feature.[17]

These dances are accompanied by traditional Japanese music. The primary instrument used by geisha to accompany dance is the shamisen, a banjo-like three-stringed instrument played with a plectrum. Originating in China as the sanxian, it was introduced to Japan first through Korea, and then the Ryukyu Islands in the 1560s, obtaining its current form within a century. The shamisen soon became the mainstay instrument of geisha entertainment in the 1750s.[44][45] It is described as having a distinct and melancholic sound, with traditional shamisen music using only minor thirds and sixths in its composition.[45]

All geisha must learn to play the shamisen, alongside additional instruments that often accompany the shamisen, such as the ko-tsuzumi (small shoulder drum) and fue (flute), during their apprenticeship, as well as learning traditional Japanese dance; however, after graduation to geisha status, geisha are free to choose which art form they wish to pursue primarily. Geisha who pursue musicianship are known as jikata (地方, "ground [seated, when playing instruments and singing] person") geisha, whereas geisha who pursue dance are known as tachikata (立方, "standing person") geisha. Some geisha not only dance and play music, but also write poems, paint pictures, or compose music.[17]

Public performances[edit]

While traditionally geisha led a cloistered existence, in recent years they have become more publicly visible, and entertainment is available without requiring the traditional introduction and connections.

The most visible form of this are public dances, or odori (generally written in traditional kana spelling as をどり, rather than modern おどり), featuring both maiko and geisha. All the Kyoto hanamachi hold these annually (mostly in spring, with one exclusively in autumn), dating to the Kyoto exhibition of 1872,[46] and there are many performances, with tickets being inexpensive, ranging from around ¥1500 to ¥7000 – top-price tickets also include an optional tea ceremony (tea and wagashi served by maiko) before the performance.[47] Other hanamachi also hold public dances, including some in Tokyo, but have fewer performances.[47]

At the Kitano Tenman-gū shrine there is an annual open-air tea ceremony (野点, nodate) during the plum-blossom festival (梅花祭, baikasai) every February 25. During this ceremony, geisha and maiko from the Kamishichiken district in northwest Kyoto serve tea to 3,000 guests.[48][49] As of 2010, they also serve beer in a beer garden at the Kamishichiken Kaburenjo Theatre during the summer months.[50][51][52] Another geisha beer garden is available at the Gion Shinmonso ryokan in the Gion district.[50] These beer gardens also feature traditional dances by the geisha in the evenings.

Training process[edit]

Kyoto geiko Fumikazu with her minarai imōto Momokazu, and a shikomi from the Odamoto okiya

Before the 20th century, geisha began their training at a young age, around the age of six. In the present day this is no longer the case, and geisha usually debut as maiko around the age of 17 or 18. Labour laws stipulate that apprentices only join an okiya aged 18, although okiya in Kyoto are legally allowed to take on recruits at a younger age, 15–17.[36][53] Now, girls must graduate from middle school and then make the personal decision to train to become a geisha. Young women who wish to become geisha now most often begin their training after high school or even college. Many more women begin their careers in adulthood.[54]

Before debuting as a maiko, apprentices may live at the okiya as shikomi – essentially a trainee, learning all the necessary skills to become a maiko, as well as attending to the needs of the house and learning to live with her geisha sisters and within the karyūkai. By watching other geisha and learning from the mother of the house (known as the okā-san (lit. 'mother')), apprentices learn how to speak with guests, the mannerisms necessary to be a geisha, and the traditions of the karyūkai. Apprentices also learn how to comfortably wear kimono.[55][34]

Traditionally the shikomi stage of training lasted for years, and some girls were bonded to geisha houses as children. Daughters of geisha were often brought up as geisha themselves, usually as the successor (atotori, meaning "heir" or "heiress") or daughter-role[clarification needed] (musume-bun) to the okiya. Successors were not always blood relations. Now, a girl is often a shikomi for up to a year.

A maiko is an apprentice and is therefore bonded under a contract to her okiya. The okiya will usually supply her with food, board, kimono, obi, and other tools of her trade, but a maiko may decide to fund everything herself from the beginning with either a loan or the help of an outside guarantor.[9] A maiko's training is very expensive, and debts must be repaid over time with her earnings to either the okiya or her guarantor. This repayment may continue after graduation to geishahood, and only when her debts are settled can a geisha claim her entire wages and work independently (if loaning from the okiya). After this point she may choose to stay on living at her okiya, must still be affiliated to one to work, and even living away from the okiya, will usually commute there to begin her working evening.[9][15]

A maiko will start her formal training on the job as a minarai (a name meaning "learning by observation") at an ozashiki (お座敷, a geisha party), where she will sit and observe as the other maiko and geisha interact with customers. In this way, a trainee gains insights into the nature of the job, following the typical nature of traditional arts apprenticeships in Japan, wherein an apprentice is expected to learn almost entirely through observation. Although geisha at the stage of minarai training will attend parties, they will not participate on an involved level and are instead expected to sit quietly.[56]

Trainees can be hired for parties, but are usually uninvited – though welcomed – guests, brought along by their symbolic older sister as a way of introducing a new trainee to patrons of the karyūkai. Minarai usually charge just a third of the fee a typical geisha would charge, and typically work within just one particular tea house, known as the minarai-jaya – learning from the "mother" (proprietress) of the house. The minarai stage of training involves learning techniques of conversation, typical party games, and proper decorum and behaviour at banquets and parties. This stage lasts only about a month or so.[56]

Maiko Katsumi and Mameteru performing the Gion Kouta

After the minarai period, a trainee will make her official debut (misedashi) and become a maiko. This stage can last between three and five years. During this time, they learn from both other trainees senior to them, and their geisha mentors, with special emphasis placed on learning from her symbolic "older sister" (onee-san). Though any maiko or geisha "senior" in rank to an apprentice may be called "older sister", an apprentice's official "older sister" is a geisha bonded to her in an official ceremony, who will thereafter typically teach her about working in the karyūkai. This involves learning how to serve drinks, hold casual conversation, and some training in the arts, though the latter is usually carried out through by dance and music teachers.

There are three major elements of a maiko's training. The first is the formal arts training, which takes place in schools found in every hanamachi. They study traditional instruments: the shamisen, the flute, and drums, as well as learning games,[34]: 29  traditional songs, calligraphy,[42]: 2  Japanese traditional dances (in the Buyō style), tea ceremony, literature, and poetry.[57][58]

The second element is the entertainment training which a trainee learns at various tea houses and parties by observing her "older sister". The third is the social skill of navigating the complex social web of the hanamachi; formal greetings, gifts, and visits are key parts of the social structure of the karyūkai, and crucial for the support network necessary to support a trainee's eventual debut as a geisha.

Around the age of 20–21, a maiko will graduate to geisha status in a ceremony known as erikae (turning of the collar).[59][60]

Following debut, geisha typically do not go through major role changes, as there are no more formal stages of training. However, geisha can and do work into their eighties and nineties,[36] and are still expected to train regularly,[54] though lessons may only be put on a few times a month. A geisha may decide to retire from her work, either to move away from the karyūkai, take on the role of "mother" of an okiya, or to mainly focus on performances and teaching other younger geisha.

  • Maiko Satohana from the Kamishichiken district of Kyoto serving tea at Baikasai, the plum blossom festival, at Kitano Tenman-gū
    Maiko Satohana from the Kamishichiken district of Kyoto serving tea at Baikasai, the plum blossom festival, at Kitano Tenman-gū
    •  
  • A senior maiko Suzuha wearing sakkō, two weeks before her erikae
    A senior maiko Suzuha wearing sakkō, two weeks before her erikae

Non-Japanese geisha[edit]

Since the 1970s, non-Japanese have also trained as and become geisha. Liza Dalby, an American national, worked briefly with geisha in the Pontochō district of Kyoto as part of her doctorate research, although she did not formally debut as a geisha herself.[61][62]

Some foreign nationals who have completed training and worked as geisha in Japan include:

  • Fukutarō – (Isabella), a Romanian national who worked in the Izu-Nagaoka district of Shizuoka Prefecture. She began her apprenticeship in April 2010 and debuted a year later in 2011.[63]
  • Ibu – (Eve), a geisha of Ukrainian descent working in the Anjō district of Aichi Prefecture. Ibu first became interested in being a geisha in 2000, after visiting Japan for a year to study traditional dance, and came back 7 years later to become a geisha.[64] Ibu debuted as a member of the Ichikoma okiya[65] on 5 October 2010,[66][67] and was still working as a geisha as of early 2012.[65][68] She is reported as retired in 2016.[69]
  • Juri – (Maria), a Peruvian geisha working in the resort town of Yugawara in the Kanagawa Prefecture.[70]
  • Kimicho – (Sydney Stephens), an American national who worked as a geisha in the Shinagawa district of Tokyo. Stephens debuted in August 2015, but left the profession in 2017 for personal reasons.[71]
  • Rinka – (Zhang Xue), a Chinese national from Shenyang, who became a geisha in Shimoda in the Shizuoka Prefecture in September 2011.[72]
  • Sayuki – (Fiona Graham), an Australian geisha trainee who debuted in the Asakusa district of Tokyo in 2007 as the first registered foreign geisha in Japan.[73] In February 2011, she left the Asakusa Geisha Association, and reestablished a geisha house in the historic Fukagawa district.[74][75][76]

Geisha in Japanese society[edit]

Geisha are regarded in wider Japanese society as some of the most successful businesswomen in Japan, with almost the entirety of the karyūkai being owned and run by women. New geisha are trained for the most part by their symbolic mothers and older sisters, and engagements are arranged through the mother of the house.[9][77] Infrequently, men take contingent positions within the karyūkai such as hair stylists,[42] dressers (known as otokoshi, as dressing a maiko requires considerable strength) and accountants. The heads (iemoto) of some dance and music schools that geisha train under may also be male, with some barrier to entry for women to achieve the legacy of being the head of an artistic school.[9]

The geisha system was founded, actually, to promote the independence and economic self-sufficiency of women. And that was its stated purpose, and it actually accomplished that quite admirably in Japanese society, where there were very few routes for women to achieve that sort of independence.

— Mineko Iwasaki in interview, Boston Phoenix[78]

Historically, the majority of women within Japan were wives whose familial duties kept them from working outside their homes. A geisha, however, could achieve independence by working to pay off her debts, making the profession one method for women to support themselves without becoming a wife.[79] Moreover, a geisha chosen as the heir (atotori) of a geisha house would have stable employment for much of her life, running the okiya throughout her career until the next generation.[79]

Over time, some Japanese feminists have seen geisha as exploited women, but some modern geisha see themselves as liberated feminists: "We find our own way, without doing family responsibilities. Isn't that what feminists are?"[80]

Geisha and male guests[edit]

A geisha entertaining a foreign male guest

Historically, geisha held an appeal for mainly male guests as a woman outside of the role of "wife". Wives were modest, responsible, and at times sombre, whereas geisha could be playful and carefree. Geisha would, on occasion, marry their clients, but this required retirement.

Though relatively uncommon in previous decades, geisha parties are no longer understood to be affairs for male guests exclusively, with women commonly attending parties alongside other male guests. Though geisha will still gracefully flirt and entertain male guests, this is understood to be a part of a geisha's hostessing and entertainment skills, and is not taken as a serious sign of personal interest.[citation needed]

Geisha and relationships[edit]

Despite long-held connotations between sex and geisha, a geisha's sex and love life is usually distinct from her professional life.

Geishas are not submissive and subservient, but in fact they are some of the most financially and emotionally successful and strongest women in Japan, and traditionally have been so.

— Mineko Iwasaki in interview, Boston Phoenix[78]

Most geisha are single women, though they may have lovers or boyfriends over time, and are allowed to pursue these relationships outside of having a patron. In the present day, some geisha are married and continue to work in their capacity as geisha, despite it being uncommon; these geisha are likely to be based in regions outside of Kyoto, as its heavily traditionalist geisha districts would be unlikely to allow a married geisha to work.

Geisha and prostitution[edit]

Geisha have historically been conflated with prostitution and commonly confused with prostitutes, despite the profession being mostly forbidden from receiving payment for sex since its inception. Despite this, some geisha have historically engaged in prostitution, either through personal choice, or through coercion and at times force.

In 1872, shortly after the Meiji Restoration, the new government passed a law liberating "prostitutes (shōgi) and geisha (geigi)", ambiguously grouping both professions together.[81] The terms of the law caused controversy from the unclear differentiation between professions, with some officials claiming that prostitutes and geisha worked different ends of the same profession, and that there would be little difference in calling all prostitutes "geisha". Nonetheless, the government maintained an official distinction between both professions, arguing that geisha should not be conflated with or confused for prostitutes.[82]

Though the law officially maintained a distance between geisha and prostitutes, some geisha still engaged in prostitution. Writing in 1956, former geisha Sayo Masuda wrote of her experiences in the onsen town of Suwa, Nagano Prefecture, where she was sold for her virginity a number of times by the mother of her okiya. Such practices could be common in less reputable geisha districts, with onsen towns in particular being known for their so-called "double registered" geisha (a term for an entertainer registered as both a geisha and a prostitute).[9] A geisha working to pay off her incumbent debts to the mother of the house often had little choice but to engage in prostitution, whether forced to by her occupational "mother", or coerced to do it in order to pay off her debts.[8]

In 1956, and following its implementation in 1958, the Prostitution Prevention Law (Baishun-bōshi-hō) criminalised the vast majority of prostitution, essentially leading to the outlawing of practices such as mizuage for geisha. In the present day, mizuage does not exist, and apprentices mark their graduation to geisha status with a series of ceremonies and events.

Despite this, the modern conflation between geisha and prostitutes continues as a pervasive idea, particularly in Western culture. Sheridan Prasso wrote that Americans had "an incorrect impression of the real geisha world [...] geisha means 'arts person' trained in music and dance, not in the art of sexual pleasure".[83] Similarly, K.G. Henshall stated that the job of a geisha included "[entertaining] their customer, be it by dancing, reciting verse, playing musical instruments, or engaging in light conversation. Geisha engagements may include flirting with men and playful innuendos; however, clients know that nothing more can be expected. In a social style that is common in Japan, men are amused by the illusion of that which is never to be."[84]

Danna partnership[edit]

In the past, it had been unspoken tradition for an established geisha to take a danna, or patron, who would pay for her expenses, buy her gifts, and engage her on a more personal level – at times involving sex – than a banquet or party would allow. This would be seen as a sign of the man's generosity, wealth, and status, as the expenses associated with being a geisha were relatively high; as such, a danna was typically a wealthy man, sometimes married, who may have been financially supporting the geisha in question through company expenses.[9]

In the present day, it is less common for a geisha to take a danna, simply because of the expenses involved and the unlikelihood that a modern man could support both his household and a geisha's living expenses. Nonetheless, it was still common for geisha to retire from the profession in their mid-twenties to live off the support of their patron following the Second World War.[9] The practice continues today, though geisha do not take danna anywhere as commonly, and though intimacy in a danna partnership was in previous decades not seen as essential, in modern times it is valued to a much greater degree because of the formal nature of the commitment and the awareness by both parties of how expensive it can be. The taking of a patron by a geisha is the closest thing to paid compensation for a personal partnership – whatever that partnership might entail – that a geisha officially engages in today.[9][needs update]

"Geisha (Gee-sha) girls"[edit]

During the Allied occupation of Japan, some prostitutes, almost exclusively working for the occupying forces in Japan, began to advertise themselves as "geisha girls", partly because many foreign soldiers could not tell the difference between a geisha and a woman dressed in a kimono. These women came to be known commonly as "geesha girls",[39][85] a misnomer originating from the language barrier between the armed forces and the prostitutes themselves; the term spread quickly, as evidenced by the fact that shortly after their arrival in 1945, it was said that some occupying American GIs congregated in Ginza and shouted "We want geesha girls!".[86]

The English term "geisha girl" soon became a byword for any female Japanese prostitute, whether actually selling sex or not; the term was applied to bar hostesses (who occupy the role of entertaining men through conversation, not necessarily sex) and streetwalkers alike.[87] The term "geisha girls", its quick spread to Western culture, and the accompanying mental image of a woman in a kimono offering sex and entertainment, is largely speculated as responsible for the continuing misconception in the West that geisha are widely engaged in prostitution.[39]

Mizuage[edit]

Main article: Mizuage

Mizuage (水揚げ, "raising the waters")[h] was a ceremony undergone by junior kamuro (apprentice courtesans) and some maiko as part of the process of promotion to senior status. Originally meaning the unloading of a ship's cargo of fish, over time, the term became an innuendo for money earned in the karyūkai,[15] another name for the entertainment business being the mizu shōbai – literally, "the water business".

Alongside changes in appearance – such as from the junior wareshinobu hairstyle to the more senior ofuku style,[39] – and visits paid to businesses and places of importance around the karyūkai, an apprentice would occasionally have their virginity sold to a patron, who ostensibly supported their graduation to geisha status – usually through the exorbitant fee charged for the privilege. Unscrupulous okiya owners would not uncommonly sell an apprentice's virginity more than once to different customers, pocketing the entire fee for themselves with the apprentice herself remaining an apprentice.

During World War II, some prostitutes would use this term to refer to their acts with customers, leading to some confusion – particularly when referring to themselves as "geisha" when in the company of foreign soldiers, and sometimes amongst Japanese customers.[89] After 1956, prostitution was criminalised in Japan, and mizuage is no longer practiced within the karyukai.[90]

Geisha districts[edit]

Maiko Mameroku of Gion Kobu

Geisha work in districts known as hanamachi (lit. 'flower towns'), and are said to inhabit the karyūkai ("flower and willow world"), a term originating from a time when both courtesans and geisha worked within the same areas. Courtesans were said to be the "flowers" in this moniker for their showy and beautiful nature, with geisha being the "willows" for their understated nature.

Part of the comparison between geisha and willows comes from the perceived loyalty amongst geisha to their patrons – over time, it became known that certain factions, such as certain political parties, would patronise some geisha districts with their rivals patronising others. Though courtesans (and by extension, prostitutes) were humorously known for having loyalty only to the customer paying them for the night, a geisha would stand by her patrons and defend their best interests, her loyalty to her patrons being perceived as higher than her loyalty to her money.[9]

Historically, geisha on occasion were confined to operate in the same walled districts as courtesans and prostitutes; however, both professions have on some level always maintained a distance officially, despite often being legislated against by the same laws.

Tokyo[edit]

The six hanamachi in Tokyo are Asakusa (浅草), Akasaka (赤坂), Kagurazaka (神楽坂), Shimbashi (新橋), Mukōjima (向島), and Yoshichō (芳町). The Fukagawa district of Tokyo is known for being the location of the first female geisha in Japan; however, the area faced decline following WWII, with its registry office closing temporarily in the 1980s, before being partially revived in the mid- to late-2000s.

Within the Tokyo prefecture but outside of the city's 23 wards,[91] the city of Hachiōji has its own geisha culture heritage.[92]

Kyoto[edit]

The hanamachi in Kyoto are known for their adherence to tradition and high prestige, with the image of a Kyoto maiko typifying that of geisha culture within wider Japanese and international society.

In Kyoto, the different hanamachi – known as the gokagai (lit. 'five' hanamachi) – are seen as unofficially ranked. Gion Kobu, Ponto-chō and Kamishichiken are seen as the most prestigious,[93] with Gion Kobu at the top; below these three are Gion Higashi and Miyagawa-chō.[94] The more prestigious hanamachi are frequented by powerful businessmen and politicians.[17]

In the 1970s, the geisha districts in Kyoto were known as the rōkkagai (lit. 'six' hanamachi), as the district of Shimabara was still officially active as a geisha district, as well as hosting tayū reenactors; however, no geisha are active in Shimabara in the 21st century, despite modern tayū continuing to work there.[6]

Niigata[edit]

Niigata geigi dancing

The northern city of Niigata has its own geisha tradition, which dates to the Edo period.[95][96] The geisha in Niigata are known as geigi. The Furumachi neighbourhood is the place where most ochaya are located, with places such as the Nabechaya.

The Niigata geigi are known for holding more flexible rules and traditions than other geisha districts in Japan, leading to the district's revival in the modern day, following a period of decline in the 1980s.[97]

Regional hanamachi[edit]

Though other regional hanamachi are typically not large enough to have a hierarchy, regional geisha districts are seen as having less prestige than those in Kyoto, viewed as being the pinnacle of tradition in the karyukai.

Geisha in onsen towns such as Atami may also be seen as less prestigious, as geisha working in these towns are typically hired to work in one hotel for travelling customers they are usually not familiar with before entertaining; nevertheless, all geisha, regardless of region or district, are trained in the traditional arts, making the distinction of prestige one of history and tradition.

In popular culture[edit]

Geisha have been the subject of numerous films, books, and television shows.

Films[edit]

Manga[edit]

Television[edit]

See also[edit]

References[edit]

Notes[edit]

  1. ^ "In fact, the first type of geisha in the yūkaku were men. Also called taiko mochi (drum bearers) or hōkan, they appeared in the 1660s as jesters and buffoons who would come to liven up parties held in the. Some of them were cultured men who had squandered their fortunes in the yūkaku and were reduced to making their living within the confines of the quarters they knew so well. At this time, "geisha" was a masculine term, and the women who began to take on this profession were designated onna (female) geisha. Soon, women began to outnumber the men, and "geisha" came to be considered a feminine term—the prefix otoko (male) coming to be used to denote male geisha."[4]
  2. ^ Appendix II, a timeline of geisha and related history; Gallagher says that "Kiku" from the Fukugawa district founded the profession in 1750, and that by 1753 one hundred odoriko were consigned to Yoshiwara, which licensed (female) geisha in 1761.[22]
  3. ^ "Unlike the previous two hundred years, when artists [...] praised the Yoshiwara [Edo brothel district] as an environment of both cultural sophistication and sexual liberation [...] 19th-century artists [...] described it in more critical, cynical terms. By the early 20th century, the aura of dignity and élan the courtesans had once exuded was all but lost, and these women, many of whom suffered from venereal disease, appeared more like sexual slaves than celebrities.[26]
  4. ^ Despite this, a few changes – such as the standardisation of a geisha's fees – did withstand, and remain in place to this day.[9]
  5. ^ Henshin studios are required to dress paying customers inaccurately if they wish to appear in costume in public, so that tourists and working maiko and geisha are visually distinct from one another.
  6. ^ "An economic downturn in the 1990s forced businessmen to cut back on entertainment expenses, while high-profile scandals in recent years have made politicians eschew excessive spending. A dinner can cost around 80,000 yen (US$1,058) per head, depending on the venue and the number of geishas present. But even before the 90s, men were steadily giving up on late-night parties at ryotei, restaurants with traditional straw-mat tatami rooms where geisha entertain, in favour of the modern comforts of hostess bars and karaoke rooms."[36]
  7. ^ An exception to this general rule would be hikizuri dyed in the bingata style, featuring small, all-over motifs resembling a komon. Though similar to a komon in appearance, bingata hikizuri are still considered formal clothing, and are only ever made of fine silk.
  8. ^ "The resulting official line that geisha live by art alone is unrealistically prudish."[88]

Citations[edit]

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Sources[edit]

Further reading[edit]

External links[edit]

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