Introduction: Geisha have long since captured the attention of global theater and entertainment culture; the mastery of their theater and dance performances contributing to their allure as much as their intense privacy and unique entertainment practice. As highly skilled artisans, they are integral to Japanese culture and the study of theater in Japan.
History:
Due to the history and origins of geisha, the Kyoto hanamachi are credited with having the most traditional and respected geisha. The five hanamachi in Kyoto are Gion Kobu, Gion Higashi, Ponto-cho, Miyagaw-cho, Kami Shichiken (Gallagher 59). The origins of the geisha trace their roots back to the mid-16th century. During this time, tourists began flocking to Kyoto, then the largest city in Japan, to visit the Yasaka Shrine (Gallagher 59). With the large influx of tourists came the demand for teahouses or what was then known as mizujaya, and is now referred to as ochaya (Gallagher 60). By the second half of the 16th century, these teahouses became incredibly popular and sophisticated; tea and alcohol was served by girls in red aprons who danced and provided light entertainment (Gallagher 60). Kabuki, the most popular form of traditional Japanese dance, influenced much of traditional Japanese theater and dance styles that the girls performed to entertain the customers. Eventually, by popular demand, the dances took on a kabuki style and the girls took up the traditional shamisen to accompany the songs and dances they put on for the customers who flocked to the teahouses (Gallagher 61). Soon
enough, the teahouses became as much of an attraction as the shrine and tourist attractions themselves, and the girls began setting up schools and boarding homes to keep up with the demand for entertainment. These buildings grew into present-day hanamachi, or geisha towns, which began originally as service areas for the tourists visiting the teahouses on their way to the shrine. By 1831, the geisha obtained formal licenses to perform in Kyoto, now known as the birthplace of geisha (Gallagher 61). Many of the performances that geisha continue to put on today, have their roots in traditional Japanese art forms. Particular hanamachi may even have their own unique traditional dance or theater forms passed down by generations of geisha. For example, one hanamachi called Gion Higashi, teaches the Fujima School kemban dance style which dates back to the eighteenth century and kabuki style dance (Gallagher 61). Other traditional drama or dance styles become splintered by the schools in which they are taught. The traditional dance, Nihon buyo, taught at the Inoue School is Japan’s most prestigious and has its roots in noh drama (Gallagher 61). These particular art forms are passed down by teachers within the schools and consequently may vary slightly.
Geisha Life:
The life of a geisha begins as a maiko, through a process called minarai, where the maiko learns by observation from her onesan, or older sister (Crihfield 25). This older sister is a geisha or geiko, (the origins of the words differ, but they are now generally used interchangeably) is one who has formally entered the karyukai, or “the flower and willow world” (Crihfield 14). What geisha women choose to do with their private life is their affair and has changed over time. Traditionally, a geisha in her early twenties might find a patron, become his mistress, and live out the rest of her life in relative ease upon retiring as a geisha. She may even choose to become an okasan, or mother of the teahouse or hanamachi, and run a house for geisha on her own. The mothers of the houses are the businesswomen, whereas their daughters, the geisha, are the entertainers. Most of the people who work in the hanamachi, or geisha towns, are females, that said, men may various positions from the kimono dressers to the wig stylists. Traditionally, geisha would stay in the house for their whole life although today, women increasingly leave as they get married or choose to live out the rest of their lives independently (Crihfield 29). In the past, unless they were very successful and able to become financially independent, the geisha lived as a sort of indentured servant. That said, their daily life stills primarily consists of training for their performances, teaching younger maiko, and preparing for yearly performances (Crihfield 29).
For example, the women of Pontocho perform twice a year for three weeks during October and May at the Pontocho Recital Hall. The dances are called the Kamogawa Odori, or the Kamo river dances, and they have been performed semi-annually since 1872 (Crihfield 33). The young maiko have a simple dance performance while the more complicated and traditional roles are taken on by the experienced geisha (Crihfield 33). The maiko and geisha spend weeks preparing for the event with the ex-geisha and mothers of the teahouses critiquing and directing the training. The performances often contain one traditional, kabukiesque performance and it is not uncommon for the women to play the part of the men (Crihfield 33). In Gion, traditional Japanese dances may include Nihon buyo (Gallagher 64). Like many traditional art forms, the performance varies slightly by school. The roots of the country’s rarest theater style comes from noh drama and is described as being “solemn and hypnotic” (Gallagher 64). In Gion Higashi, the teahouses perform the cherry dances from the fujima school, dating back to 18th century kabuki style dances (Gallagher 64). Dance and theater styles may vary by town and school, but they are still crucial to Japanese culture and are performed at festivals and theaters throughout the year.
The hanamachi, or geisha quarters meaning “flower town” is the urban district containing all of the institutions related to the geisha’s practices. These contain buildings like kimono textile painters, the teahouses (ochaya), theaters, geisha schools, calligraphers, and florists (Gallagher 46). The kemban, functions as the auditor of the geisha taking care of the pay rolls and legalities of the geisha (Gallagher 58). The shops will have customers outside of the geisha districts but their primary focus is the geisha. In the past, geisha began their training at 5 or 6 years of age, and although it is not unheard of for young girls to be given to the ochaya from parents who are unable to take care of them, it is now more common for girls to begin training at around 13 or 15 out of their own desire to become geisha (Gallagher 63). Moreover, it is now prohibited for girls in Japan to forego a formal education, leading to a decline in the number of geisha (Gallagher 63).
A Night as a Geisha:
The preparation for the night out is as meticulous and calculated as the geisha’s performances. Geisha begin preparing for the night by styling their hair into the smoothed dome hairstyle geisha are famous for. Modern geisha may even opt to wear a wig to cut down their preparation process. Their intricate dress style begins with white toe socks called tabi, followed by the koshimaki or underlayer, and a cotton gauze front-wrapped undershirt (Gallagher 124). The outfit is completed by a silk under-robe followed by a kimono and a brocade obi tied with a cord, often in a traditional red color. After dressing and completing their traditional makeup, the geisha will assemble and head to the teahouse. Upon arrival to the teahouse, the geisha will wait in a small side parlor where they rehearse and discuss the night’s activities. They usually have a program for entertainment detailing the various songs and dances that the geisha will perform (Crihfield 112). Many of the geisha will have an area of concentration in their studies where they will specialize in a particular dance or theatrical performance. The night can go a variety of ways. Generally, when the geisha are fetched from the room they will begin by taking a small porcelain bottle of sake, sit next to a guest, and begin serving them sake and chatting with them. It is not unusual for none of the performances the geisha have planned to be performed. The night will vary according to what the guests desire. In an intimate setting, the geisha and their guests will chat as a group and the direction of the night is more flexible and easily customized to the discernable desires of the guests (Crihfield 133). In a larger, more formal banquet setting the maiko are invited in order to contribute to the atmosphere whereas the geisha provide the primary entertainment and hostessing (Crihfield 41). For the maiko, it is more than enough if they sit quietly at the banquets, that said, if they are both pretty and clever, speaking up on their own and demonstrating dexterity entertaining on their own it is advantageous to their reputation (Crihfield 41). To a western audience, geisha are a somewhat curious spectacle. However, geisha are still seen as a symbol of Japan, synonymous with the exquisite, traditional, theater, dance, and cultural practices of Japan.
Modern Geisha:
Today, it is common for geisha tend to choose a variety of life paths as the practice becomes less rigid and all-consuming. It is popular for schools to take field trips to watch shows put on by geisha and girls are often first introduced to geisha in this way. Other’s see them in movies or popular culture and are drawn in to by their performances. Today, anyone can become a geisha if they so choose. Girls can apply and be accepted into the hanamachi to continue their education in place of attending high school. Many girls choose to become geisha for their interest in music, dance, or the arts. Others, have an interest in the arts and are drawn in to the allure of becoming a geisha. Modern day geisha often choose to get married and have families of their own (MacIntosh). It is becoming increasingly popular and acceptable for geisha to begin a business of their own that they carry on alongside their work as a geisha. These include business ventures like starting a bar, maintaining a singing career, or starting a skincare or beauty product line (MacIntosh). The women do it because they enjoy it. For many of them, their work as a geisha introduces them to interesting political figures whose visits to Japan include a dinner hosted by geisha, or provide a lifestyle path for those women whose passions are in the arts.
Works-Cited:
Dalby, Liza Crihfield. Geisha. Berkeley: University of California Press, 1983. Google E-Book.
Gallagher, John. Geisha: A Unique World of Tradition, Elegance, and Art. New York, NY: Sterling Publishing Co., Inc., 2003. Google E-Book.
“Memoirs of a Geisha.” YouTube, Rob Marshall, Colombia Pictures, March 24, 2011. https://www.youtube.com/watch?v=63FxLM3AQt4
“Real Women, Real Geisha.” YouTube, Peter MacIntosh, Edited by John Wells, February 15, 2016. https://www.youtube.com/watch?v=pmH4mcTb6JE
“Real Life Geishas.” YouTube, National Geographic, Jan, 30, 2008. https://www.youtube.com/watch?v=g08JvFDWq4Q
Images:
Nevens, Kate. Geisha: kyoto in sakura season. 8 May 2006. Flickr, https://flic.kr/p/dAVC5. Accessed 17 April 2018. Licensed under CC BY 2.0
Gorazd, Ignat. Two hangyoku and a geisha from Asakusa, Tokyo. 4 April 2013. Wikimedia Commons, https://commons.wikimedia.org/w/index.php?curid=42862721. Accessed 17 April 2018. Licensed under CC BY-SA 2.0.
Ito, Joi. A geiko (Kyoto geisha) named Mamechika dances in Gion, Kyoto. 30 August 2007. Wikimedia Commons, https://commons.wikimedia.org/w/index.php?curid=12480402. Accessed 17 April 2018. Licensed under CC BY 2.0.
Barth, Nils R. A mature geisha and two maiko, serving tea at the Plum Blossom Festival at Kitano Tenman-gu. 25 February 2011. Wikimedia Commons, https://commons.wikimedia.org/w/index.php?curid=14022342. Accessed 17 April 2018. Licensed under CCO.
Conveyor belt sushi. Geiko and Meiko, Fumikazo and Momokazu, at Gion in Kyoto, Japan. 2 June 2010. Flickr, https://commons.wikimedia.org/w/index.php?curid=14899448. Accessed 17 April 2018. Licensed under CC BY 2.0.
Bachler, Daniel. 2 Maiko (apprentice Geisha) conversing near the Golden Temple in Kyoto, Japan. 21 November 2004. Wikimedia Commons, https://commons.wikimedia.org/w/index.php?curid=661792. Accessed 17 April 2018. Licensed under CC BY-SA 2.5.
