027. 傀儡師  (清元)

傀儡師というのは、首から吊るした人形箱の中にいろいろな人形を入れて諸国を廻り歩き、辻々に立っては人を集めて人形を舞わせて見せる街頭芸人のことです。写実的な物真似が多く折り込まれ、洒脱軽快な面白味のある踊りです。

KAIRAISHI (Kiyomoto)
 (KAIRAI SHI)

A Kairai-shi is a street performer who travels from town to town carrying a box filled with various dolls around his neck. In the town, he would stop at a street corner and perform dances with his dolls for the people who gather around to see the performance. This is a very enjoyable, light-hearted dance,full of mimicry.

028. 薫る寿  (清元)

この曲は、初代花柳寿輔の百五十年祭の会の時、女流舞踊家のために新作されたものです。先代の遺業と花柳流には欠くことのできない寿を祝したものです。

KAORU KOTOBUKI (Kiyomoto)
 (FRAGRANT FELICITATIONS)

This song was created for a female dancer at the 150 Year Festival of the First Generation Hanayagi Jusuke. This dance expresses a congratulatory feeling that is essential to the Hanayagi Style dance and the dances left
behind by Hanayagi Jusuke.

029. 鏡獅子  (長唄)

新歌舞伎十八番の一つです。
正月の鏡開きの日に小姓ヤヨイ弥生は、老女にお鏡の前で踊りを所望され、フクサ袱紗、二枚扇等の踊りを見せ、お祭りしてある獅子頭を持つと獅子の精が弥生に乗りうつり、後に獅子になってクルイを踊るという筋ですが、前段の弥生の可憐無垢な振り事から、後の獅子の精に変わるという構成の巧みさが日本舞踊の代表作といえる大作になっています。

KAGAMI JISHI  (Nagauta)
 (KAGAMI JISHI/RICE CAKE LION)

At the New Year's Ceremony of Kagami Biraki,the rice cakes that were placed in front of the house shrine are brought down for consumption. At this ceremony, a servant named Yayoi is asked by her superior to dance in front of the rice cakes. Yayoi performs several dances,including a dance using a special cloth for wrapping and a dance with two fans. She then holds up the decoration lion headdress. At that moment, the lion spirit enters Yayoi and, becoming the lion, she dance the furious lion dance. The way in which Yoyoi's charming,pure dance of the first half is expertly changed to the latter dance of the lion's spirit makes this a masterpiece that is representative of Japanese dance.

030. 角兵衛  (常磐津)

角兵衛と鳥追いの二人の街頭芸人の色模様を唄った粋なものです。

KAKUBEI (Tokiwazu)
 (KAKUBEI)

This is a stylish dance that portrays the love story of two street performers, Kakubei and Torioi.

031. かつを売り (常磐津)

初鰹を売る江戸っ子の魚屋が磐台をかついで出て、威勢のいい振りです。「見えもかざりも」のところに新内模様をさかせ、ここが眼目となります。

KATSUO URI (Tokiwazu)
 (BONITO VENDOR)

An "Edokko" fish monger out selling the first bonito of the year ("Edokko" is a person born and raised in Edo, whose family has been in Edo for at least three generations. He is characterized by his lively spirit and compassion for others) This dance shows a high-spirited form of the fish monger as he goes out into town carrying the container for fish across his back..

032. 雷船頭  (常磐津)

江戸前の粋な船頭と戯画的な雷を踊ってみせ、その対象がこの踊りの特色となっています。またの通称を「夏船頭」ともいいます。

KAMINARI SENDO (Tokiwazu)
 (THE THUNDER BOATMAN)

This creative theme in which an Edo boatman performs the dance as the caricature of thunder is the special feature of this piece. This dance is also known as "The Summer Boatman."

033. 鐘が岬  (地唄)

女形舞踊の名人初代中村富十郎が、「九州釣鐘岬」という芝居の中にはめ込んで「娘道成寺」を踊った時の曲です。

KANEGA MISAKI (JI-uta)
 (KAMEGA MISAKI/THE CAPE)

This is a song taken from the dance that was performed by the First Generation Nakamura Tomijuro, who was a master of female dances. In his performance, he incorporated the famous "Musume Dojyoji" in a play called "Kyushuu Tsurigane Misaki."

034. 鐘の岬  (荻江)

初代荻江露友が地唄の「鐘が岬」の終わりの部分を除いて編曲したのが、荻江節のこの「鐘の岬」です。歌詞でいうと、長唄の「京鹿子娘道成寺」の「鐘にうらみ」から「思い初めたが縁じゃえ」までを扱っています。

KANENO MISAKI  (Hagie)
 (KANENO MISAKI)

The First Generation Ogie Royu eliminated the ending of a different song "Kanega Misaki" to create this arrangement. In this song, parts of "Kyoukanoko, Musume Doujyoji" are used.

035. 禿  (義太夫)

舞踊で「禿」といえば、長唄「羽根の禿」が先ず浮かびますが、この義太夫の「禿」も曲の基は同じで、歌詞も長唄によく似ています。吉原の禿がお正月の伎楼の前で羽根をついて戯れているあどけない様子を舞踊化したもので幕末期にしばしば上演された人形芝居の変化物の一つと思われます。

KAMURO (Gidayu)
 (Kamuro)

When one hears of the "Kamuro" dance, the image of the famous Nagauta version, "Kamuro Playing Japanese Badminton," comes to most people's minds.The song is basically the same and the verse in this Gidayu version "Kamuro" is similar to the Naga-uta. In this dance, Kamuro of the Yoshiwara District plays the Japanese Badminton joyfully in front of the inn where she works during the New Year Holiday. This dance captures the youthful playfulness and was originally performed as a puppet play.

036. 官女  (長唄)

通称を「八島官女」ともいいます。平家の一門が檀の浦で滅びた後、生き残って落ちぶれた官女が魚を売りながら昔を偲ぶという筋です。
役の性根としては、魚売りの海女ではなく、官女なので海女であっても品、哀れさ、気高かさ、もなくてはなりません。

KAN−NYO  (Nagauta)
 (LADY OF THE COURT)

This dance is also commonly called "Yashima Lady of the Court." After the Heike Clan was destroyed at Dan no Ura, a lady of the court is left surviving but living in poor conditions. This song portrays the lady as she remembers of past days, as she wanders the streets selling fish. The essence of this role is that even though the character is selling fish, she is a lady of the court and not just a local girl of the ocean village.Even though she has become a girl of the ocean village, she must maintain her dignity, desolation,and nobility.

037. 神田祭  (清元)

「神田祭」は江戸を代表するお祭りの一つですが、その祭礼の賑わいを背景に江戸の祭り、風俗や下町情緒をゆたかに描写した曲としても昔から人気がありましす。江戸の祭りらしい明るく賑やかで、華やかなムードや、意気でイナセな神田ッ子の気風といったものが踊りの中にあふれているのがこの作品の特徴であり、楽しめる見どころにもなります。

KANDA MATSURI (Kiyomoto)
 (KANDA FESTIVAL)

"Kanda Festival" is one of the festivals that best represent Edo. This song paints a rich picture of the Edo festival, the common attire and the townsfolk atmosphere against the lively festive background, and has been very popular for many many years. The characteristic of this piece is that the dances are filled with the bright spirit of the Edo festival, a flowery mood, and a chic sharpness that is said to be a distinguishing characteristic of a Kanda native. It is sure to be an enjoyable dance to see.

038. 勢獅子  (常磐津)

山王祭の神酒所の前での、江戸舞踊独特の粋で華やかで賑やかな踊りです、艶やかな手古舞の振り、鳶頭の曽我兄弟仇討ちの物語や獅子頭をかぶって獅子舞などを織り込んでいます。

KIOI JISHI  (Tokiwazu)
 (ENERGETIC LION)

This flowery, lively dance expresses the chic essence, unique to Edo dance. It is performed at the Sanoh Festival in front of the area where the portable shrine for the Festival is placed, and where offerings of sake and food are made. In this dance, the dancer in bright costume portrays a street performer telling the famous tale of the Soga brothers who set off on a journey to take revenge on the death of their father. Then, the dancer puts on a lion headdress and performs the lion dance. The different parts of the dance are splendidly woven together in this performance.

039. 菊慈童  (長唄)

能の「枕慈童」から取材したものです。周の帝の寵愛を受けていた侍童が、帝の枕を跨いだ罪で山奥に追われましが、帝の恩情を偲び都を懐かしんで 普門品の偈を菊の葉に書き毎朝誦していたところ、その花の雫が谷川の落ち、不老不死の霊薬となって侍童は若き姿のまま七百余才の長寿を重ねます。 山住いのうつろいを悠々と美しく舞う、古風な渋味のある曲です。

KIKUJIDOU  (Nagauta)
 (CHRYSANTHEMUM JIDOU)

This song is based on the Noh dance, "Pillow Jidou." A young man named Jidou was under the special affection of the Emperor. Jidou is accused of stepping over the Emperor's pillow and flees deep into the mountains. While in the mountains, Jidou writes a Buddhist verse on a chrysanthemum leaf and recites it every morning. The dew from that chrysanthemum flower turns into a magical potion of eternal youth. With this potion, Jidou is able to maintain his youthful form for seven hundred years. As he remembers the days of old, he longs for the skies of the city. This dance is a tasteful mature performance with an old-fashioned air.

040. 菊づくし  (長唄)

初代花柳寿輔が、屏風にあった唄を作曲させたもので、花柳流では古典舞踊を習う時の手ほどきに教えるものです。

KIKU ZUKUSHI  (Nagauta)
 (CHRYSANTHEMUM DANCE)

This song was created by the first generation Hanayagi Jusuke from a verse written on a folding screen. In Hanayagi style Japanese dance, his song is used to teach the basics of traditional Japanese dance.

041. 岸の柳  (長唄)

大川、柳橋、佃節などを粋な旋律のなかで描写していき、後半をやや堅く、一つ目の弁天から両国へかけて唄った涼しげな曲です。

KISHINO YANAGI  (Nagauta)
 (THE WILLOW TREE ALONG THE RIVERBANK)

The stylish melody of this performance depicts various scenes of Ohgawa, Yanagibashi, and Tsukuda. The song expresses a cool feeling through the rather stiff performance in the latter half of this dance, portraying the many scenes encountered while crossing the various bridges from the first bridge, Benten, to the last bridge, Ryougoku.

042. 喜撰  (清元)

この「喜撰」は、六歌仙の一人で平安朝の名僧喜撰法師を江戸時代の平凡な僧に写し、洒脱で華やかに世話にくだけて踊るという趣向のものです。

KISEN (Kiyomoto)
 (KISEN)

This song takes the story of a famous monk from the Heian Era named Kisen, and tells it through an ordinary monk in the Edo Era. This is an enjoyable performance with its flowery costumes and its focus on the common people.

043. 君が代 松竹梅  (長唄)

松竹梅は、めでたいものの代表として慶祝の席によく飾られますが、この曲は、荘重に唄い出して典雅に優美に粋に、そして最後に再び松竹梅のめでたさを唄って結んでいます。

KIMIGAYO SHOUCHIKUBAI  (Nagauta)
 (THE IMPERIAL PINE, BAMBOO, AND PLUM)

The pine, bamboo, and plum are symbols of joy that are often used as decoration at celebrations. This song has a heavy and solemn beginning then moves to a more graceful, elegant, and stylish melody. The song is then tied together once more with the joy represented by the pine, bamboo, and plum.

044. 喜三の庭  (長唄)

前半は謡曲の「こごう小督」、に取材したもので、嵯峨野に隠れ住む小督の局の家へ恋人の高倉院からの使者が訪れ、小督の琴に笛を合わせて奏するという情景を踊ります。後半は、秋の廓の行事や風物を描写しています。素踊りとして振りが付けられています。

KIMI NO NIWA  (Nagauta)
 (KIMI'S GARDEN)

The first half of this song is based on the Noh dance "Kogoh" In this part of the performance,a messenger from Kogoh's lover,Takakurain,comes to Madame Kogoh's house in Sagano,where she is living in hiding. The scene in which the messenger plays a flute in harmony with Kogoh's koto is depicted through this dance. The second half depicts scenes and events that occur in the Yoshiwara District during the autumn season It is choreographed as a non-prop dance.

045.  京鹿小娘道成寺  (長唄)

歌舞伎の舞踊のうちで最も優美絢爛を誇る代表的な舞踊で、数ある「道成寺」もののなかでも優れたものです。道成寺の鐘供養に美しい白拍子を配して、内容的には当時流行の小唄を連続した歌詞によって綴り、女形の華麗な舞踊として作り上げたのが「娘道成寺」です。宝暦三年二月江戸中村座で、初代中村富十郎が初演して以来多くの名優によって演じられ、曲も振りも洗練しつくされ、踊りといえば「京鹿子娘道成寺」と言われる程の代表的な曲です。花柳流では専門部名取試験課題曲としてこれと「北州」を執り上げています。

KYOUKANAKO MUSUME DOUJYOUJI (Nagauta)
 (KYOUKANOKO, MUSUME DOUJYOJI)

Among the Kabuki dances, the "Doujyoji" theme in which a shrine girl dances in front of the gong in prayer, can be said to be the most representative of the elegance and brilliance of the Kabuki dance. In "Musume Doujyoji,"
the dance was made into a more flowery and magnificent female dance. The song and dance were further refined in this "Kyoukanako, Musume Doujyoji." This song, along with "The North Province" are a requirement for the Natori rank in Hanayagi Style Japanese dance.

046. 京人形  (長唄)

左甚五郎は京の小車太夫を見染め、太夫そっくりの人形をつくりその人形を相手に酒盛りを始めると、人形が甚五郎につれて動き出します。感情のない人形なので甚五郎の動作を真似るだけでしたが、拾って持っていた太夫の鏡を人形の懐へ入れると女の魂が宿って女らしくなり、甚五郎は喜んで人形と連れだって踊るというものです。

KYOU NINGYOU  (Nagauta)
 (KYOTO DOLL)

In this song, a famous wood carver, Hidari Jingoro, falls in love at first sight with Koguruma Dayu and makes a doll that is the spirit and image of the girl. Jingoro begins to drink in the company of the doll and the doll begins to move, following Jingoro's lead. At first, the doll has no emotion and can only imitate Jingoro's movements. However, when Jingoro places a mirror of Dayu's inside the breast of the doll's clothing, the spirit of Dayu enters the doll. To Jingoro's delight, the doll becomes ladylike and Jingoro dances gleefully with the doll.

047. 廓八景  (常磐津)

題名のように廓、ここでは江戸の吉原の行事や風物を近江八景になぞらえて歌っています。御祝儀曲として品のよい曲に出来ており、素踊りでよく踊られています。

KURUWA HAKKEI  (Tokiwazu)
 (THE EIGHT VIEWS OF THE RED-LIGHT DISTRICT)

As the title suggests, the events and scenes of the Yoshiwara District of Edo are likened to the Eight Views of Omi as they are depicted in this song. This song is created as a refined, festive song and is often performed as a non-prop dance.

048. 黒髪  (常磐津)

雪の降る夜、つもる想いを胸に抱いて淋しく寝ていると、聞こえてくる鐘の音が身にしみてきます。女の命といわれる緑の黒髪が、いつしか白雪が積もるように白髪になってしまうという世の無常観が含まれています。

KUROKAMI  (Tokiwazu)
 (BLACK HAIR)

On a snowy night, as one falls into a lonely sleep with unbearable feelings pent-up in her heart, she can almost feel the sound of the gong rip through her soul. The glossy black hair that is said to be the life of a woman is eventually turned white, as the white snow falls and accumulates on her hair.This song is flowing with this evanescence of life.

049. 外記猿  (長唄)

外記とは、外記節による猿曳きの曲です。猿曳きが、お屋敷に呼びこまれて猿を舞わせて見せるという趣向だけのものですが、その中にさまざまな変化のある踊りが織りこまれています。

GEKIZARU  (Nagauta)
 (MONKEY TRAINER)

Geki is a song of a monkey trainer which is performed to the beat of a monkey trainer's song. The story told by this dance is simply a monkey trainer being called to the mansion for a performance. However, there are many changes written into the dance, which makes it very interesting and enjoyable.

050. 元禄花見踊  (長唄)

上野の山中に元禄風の丹前侍、湯女、供奴、町娘、若衆などが大勢集って花見をする賑やかさを描写した曲で、元禄期の花見らしい美しさと楽しさが感じられる華やかな踊りとなっています。

GENROKU HANAMI ODORI (Nagauta)
 (GENROKU FLOWER VIEWING)

This song depicts the lively scene in the Genroku setting as many people, including a samurai, a woman of the bath house, an attendant footman, a town maiden, and a group of youngsters gather to view flowers in the mountainous areas of Ueno. This is an elegant dance that expresses the beauty and enjoyment of flower viewing during the Genroku Era.

051. 恋の菅笠  (大和楽)

近江路辺りの本街道の松並木に続く秋の田舎道をさまよい歩くお夏。菅笠を見れば清十郎と思い、恋しい恋しいと狂い乱れる娘心を踊るものです。

KOINO TSUGEGASA (Yamatogaku)
 (SEDGE HAT OF LOVE)

It is autumn, and a young maiden named Onatsu is wandering along a small country road that runs close to the main road of Oomi which is lined with pine trees. As she travels down the path, Onatsu thinks that every passerby wearing a sedge hat is her lost love Seijuro. This dance beautifully portrays Onatsu's girlish sentiments, crazed with longing.

052. こうのとり  (常磐津)

こうのとりが、赤ちゃんを連れてくるという説話を題材にした舞踊です。こうのとりが月の中で兎がついた餅を森の家へ届けると、その家では、つきたての餅のような赤ちゃんが生まれるという話で、夢のある清らかな楽しい踊りです

KOUNO TORI (Tokiwazu)
 (THE STORK)

This dance is based on two folk tales - the story of the stork who is said to carry the baby to his mother, and the Japanese folk tale of the rabbit who is said to pound rice cakes on the moon. The two are tied together in this pure, enjoyable dance, full of fantasy. If the stork carries the rice cakes to the house in the woods, a baby as soft and fluffy as freshly made rice cakes is born.

053. 胡蝶  (長唄)

二匹の蝶の精が、獅子に戯れて舞う姿を描いています。

KOCHOU (Nagauta)
 (THE BUTTERFLY)

This dance portrays the figures of two butterflies as they dance playfully around a lion.

054. 独楽  (常磐津)

江戸時代の街頭芸人の風俗を写した舞踊の一つです。木村富子が作詩し、先代の常磐津文字兵衛が作曲、二代・花柳寿輔師が振付けし大好評を博したもので、独楽売りが独楽の由来を物語り、独楽の曲芸から衣装を引き抜いて、自身が独楽になって百廻りや刃渡りを見せるという趣向です。

KOMA  (Nagauta)
 (TOP VENDOR)

This is one of the dances that shows the attire worn by a street performer of the Edo Era. This piece is a popular dance with the verse written by Tomiko Kimura, the melody written by the late Tokiwazu Mojibei, and the dance choreographed by Second Generation Master Hanayagi Jusuke.In this dance, the top vendor sells her tops by performing various tricks with them in the street. She then changes out of her costume to become a top herself, imitating the top as it travels along the blade of a sword.

055. 小春狂言  (長唄)

雪どけの水が音たてて流れる山里に二人の兄弟がいて、遠い山なみを仰ぎながら兄は小舞に、弟は鼓の修行に励んでいます。やがては都で父の後を継げるよう稚児の風流を舞いたいと願うのです。この舞踊はそうした兄弟の希望に満ちた生活をリズミカルに謳いあげています。

KOHARU KYOUGEN  (Nagauta)
 (KOHARU KYOUGEN/NOH COMEDY)

Two brothers live in a mountain village where the flow of water from the melting snow ripples noisily. While looking off into the far mountains they study the traditional arts - the elder brother studying dance and the younger brother studying the hand drum. It is their wish to dance the child dance and some day walk in the footsteps of their father who lives in the city. This dance rhythmically captures the lives of the brothers, full of hope and ambition.

056. 五郎  (長唄)

江戸時代、浅草観音に曽我兄弟を祀る荒人神の開帳があり、それを盛り込んだのが「五郎」の踊りです。傘をさして化粧坂の廓へおもむく姿を描いたもので、和事の味と荒事の味とを併せた変化に富んだ振りがついています。

GOROU  (Nagauta)
 (GOROU)

This dance portrays the opening of the Arahitogami which occurred in the Edo Era to commemorate the Soga brothers at the Asakusa Kannon. In this dance, the performer heads toward Keshouzaka under the protection of his umbrella. This is a dance full of variety, changing from the fighting scenes of the Soga brothers' tale to the smooth, peaceful scenes of Keshouzaka.