101. 橋弁慶  (長唄)

牛若丸が五條の橋の上で大長刀を持った弁慶と出会います。はじめ牛若丸を女と思って通り過ぎようとした弁慶は、牛若丸に長刀を蹴られ、怒ってこの少年にいどみかかり、二人は激しく戦いますが、素早い牛若丸に翻弄され、ついに弁慶は降参し主従の約束をするという筋です。

HASHI BENKEI  (Nagauta)
 (HASHI BENKEI)

This dance portrays the famous story of Ushiwakamaru who faces the long sword wielding Benkei at the Gojou Bridge in Kyoto. At first, Benkei mistakenly thinks Ushiwakamaru is a woman and approaches him. Benkei realizes his mistake when Ushiwakamaru kicks Benkei's long sword. Angrily, Benkei challenges the young Ushiwakamaru and the two fight intensely. Benkei Is completely out-foxed by the swift Ushiwakamaru and in the end, he surrenders and agrees to become Ushiwakamaru's servant.

102. 初子の日  (長唄)

江戸時代の女性の春遊びを唄ったものです。春はまだ浅い野辺で追羽根をつき、のどかに遊ぶ姿を描いたものです。

HATSUNE NO HI  (Nagauta)
 (SPRING HOLIDAY)

There is a holiday in the beginning of spring called Hastune no Hi. This song portrays the games that girls used to play in the early spring during the Edo Era. The dance illustrates the peaceful playfulness of the girls as they play Japanese badminton in the fields of the still early spring.

103. 花がたみ  (清元)

「花がたみ」は、花がるたの十二ヵ月を月にしたがって、次々とうまく詠みこんだ歳旦浄瑠璃で、明治二十六年春に三代目清元斎兵衛が作曲、発表したものです。曲の中では六月の雨のくだりのクドキが聞きどころにもなっています。踊りはやはり歳旦ものらしく、明るくのびやかな中にもシャレた趣向を生かして粋な風情を織りこんだものになっています。

HANAGATAMI (Kiyomoto)
 (FLOWER CARDS)

"Hanagatami" is a New Year's ballad drama that blends the twelve months of the Hana Carta nicely into song, in accordance with the months. It was first created and introduced in the spring of 1893 by the Third Generation Kiyomoto, Mamoru Saibei. The sound of the early summer rain falling in June is the main part of the song. Like other New Year's dances, this dance is bright and free. However, it takes a clever approach and creatively weaves a chic elegance into the dance.

104. 花の三番叟  (長唄)

数多い「三番叟もの」の中でも華やかで見ごたえ十分の踊りです。女形の三番叟を一人で舞います。

HANA NO SANBASOU (Nagauta)
 (FLOWER SANBASOU)

Of the many dances that fall under the "Sanbasou" theme, this one is very flowery with many features that are appealing to see. It is performed as a solo Sanbasou dance with a male performer dancing as a female Sanbasou.

105. 英執着獅子  (長唄)

「相生獅子」と「枕獅子」の後をを受けて、その華やかなメロディに古代の女形石橋ものとして最も人気のあるものです。姫が手獅子を持っての踊りでしっとりと女心を表し、つなぎに胡蝶の舞、後ジテは獅子のクルイから髪洗いとなります。

HANABUSA SHUUCHAKU JISHI  (Nagauta)
 (HANABUSA CHU-CHAKU LION)

This dance follows the famous "Aioi Lion" and "Pillow Lion" and is a very popular dance that combines a flowery melody with an ancient female dance. The dance begins with a princess performing the hand lion dance, elegantly expressing the female emotion. The dance then changes to a butterfly dance, leading to the end with a dramatic lion dance with the full headdress.

106. 羽根の禿  (長唄)

この曲は、吉原の禿が正月のわずかな暇をえて羽根つきをして遊ぶというものです。

HANENO KAMURO (Nagauta)
 (KAMURO PLAYING JAPANESE BADMINGTON)

In this song, a young girl of the Yoshiwara District enjoys a small game of Japanese badminton during her free time, which is rare and brief during the busy New Year Holiday.

107. 春の調  (長唄)

この作品は、春の野辺ののどかさを、おおらかに唄ったもので、早春の景物上品に詠みこまれています。

HARU NO SHIRABE  (Nagauta)
 (THE SONG OF SPRING)

This piece is a song that lavishingly depicts the tranquillity and peacefulness of a field in the spring time. The scenes of early spring are elegantly composed into the song.

108. 春秋  (長唄)

五世杵屋勘五郎が明治三十六年に発表した曲で上下にわかれ、上は「桜花の巻は風の曲」、下は「紅葉の巻は雨の曲」と、そえ書があるので、当時としては珍しい形式で、勘五郎の作だけにさすがに合方はすぐれ、囃子も入り振りがつくられ、踊れるようになりました。

HARU AKI  (Nagauta)
 (SPRING AND AUTUMN)

This song was first performed by the Fifth Generation Kineya Kangoro in 1880. It is divided into two distinct sections, "The Song of the Wind and Cherry Blossoms" in the first half, and "The Song of the Rain and Red Autumn Leaves" in the second half. This type of arrangement was rare at the time and, being written by Kangoro, was integrated beautifully. The song was then complemented by a musical accompaniment and choreographed to create this elegant dance.

109. 雛鶴三番叟  (長唄)

翁、千歳、三番叟を全部女形で表現します。「三番叟もの」の重みの中に、古風で、女性的といえるような柔らかさや、愛らしさのある踊りです。

HINADURU SANBASOU (Nagauta)
 (GIRLS' DAY FESTIVAL CRANE SANBASOU)

The three characters of Okina, Senzai, and Sabasou are all performed as a female dance by a male dancer. This dance maintains the heavy serenity of the "Sanbasou" theme but incorporates a softness and sweetness that can be called traditional and feminine.

110. 雛の宵  (長唄)

桃の節句の宵におひなさまの前で美しく健やかに成長する女の子の楽しい踊りです。

HINANO YOI  (Nagauta)
 (EVENING OF THE GIRLS' FESTIVAL)

This is an enjoyable dance about girls that grow up beautiful and healthy as they dance in front of the dolls set out as decoration for the Girls' Day Festival.

111. 風流船揃  (長唄)

題名通り「船」を主題とした曲で、初めに船の発明された由来を説き、曲が一転すると海に浮かぶ釣船、網船の描写から隅田川を往く屋台船の賑わいなど、江戸情緒を随所にたっぷり取り入れた曲です。江戸時代の船遊びの情景がこの曲に残っています。

FU−RYU FUNAZOROE (Nagauta)
 (AESTHETIC COLLECTION OF BOATS)

As the title may suggest, this song focuses on boats. It begins with a brief history of the first boats invented and, with a sudden change in melody, moves on to the rod and net fishing boats that bob in the ocean. The song is flowing with the atmosphere of Edo as it depicts a variety of other boats, such as the pleasure boats that float along the Sumida River. This song depicts scenes of the various types of boating activity in the Edo Era.

112. 藤娘  (長唄)

昔、近江国大津付近で売られていた土佐の末弟浮世又平が描きはじめたと、いわれている大津絵に取材した舞踊です。全曲娘らしい可憐さがあふれ、緋の紐つきの塗り笠をかぶり藤の枝を肩にかついだ娘姿は、日本舞踊の代表曲と言えましょう。

FUJI MUSUME (Nagauta)
 (Wisteria Maiden)

This dance is based on Otsue, which are drawings that were sold near the town of Otsu in Omikoku long ago. The Mattei Ukiyomatabei of Tosa is said to have been the founder of these drawings. This entire song is flowing with girlish charm. The song and the image of a girl wearing a headpiece with red threads and holding a wisteria branch over her shoulder may be said to be representative of the Japanese dance.

113. 文売り  (清元)

新春に、梅の枝にたくさんの懸想文をつけて売り歩く女商人を舞踊化した。

FUMIURI (Kiyomoto)
 (LETTER VENDOR)

This dance portrays a female letter vendor as she walks about the town selling plum branches full of love letters during the refreshing season around New Year's.

114. 文屋  (清元)

「六歌仙」の一人文屋の康秀を江戸時代の趣味に合わせて舞踊化し、官女を相手に江戸前な踊りを見せるというものです。

BUNYA (Kiyomoto)
 (BUNYA)

This dance places one of the six master letter writers of the Heian Era, Bunya no Yasuhide, in the setting of the Edo Era. In this performance, Bunya no Yasuhide performs an Edo-style dance with a lady of the court.

115. 棒しばり  (長唄)

用事で家をあけねばならないことになった大名が、酒好きの家来太郎冠者、二郎冠者に留守中飲まれてはたいへんと、二人をうまくだまして一人は棒に縛りつけ、一人は後ろ手にくくって安心して出かけます。二人はなんとかして酒を飲もうと工夫を重ね、知恵をしぼって蔵に入り十分に酒を飲み交わします。酔いがまわって乱痴気騒ぎの最中、大名がもどってきてびっくりし、かんかんになって二人を追いまわすという筋です。

BOH−SHIBARI (Nagauta)
 (TIED TO A POLE)

A feudal lord must leave his mansion on an errand, but is worried about leaving his house to his two sake-loving servants, Tarou and Jirou. The lord cleverly tricks one of his servants into being tied to a pole and the other one into having his hands tied behind his back. With this done, he feels assured that he can leave and his mansion will be safe during his absence. The two tied up servants are very determined to get free. Using every ounce of ingenuity and creativity they can conjure, they manage to get into the master's storehouse and have their fill of his sake. As they begin to get drunk and in the midst of their wild spree, the master returns home. His
initial shock turns to anger as he chases the two servants in rage.

116. 蓬莱  (長唄)

蓬莱山の風景を仮想し、廓情緒を叙して遊女を仙女に見立てたものですが、初春らしい華やかな節調のうちに上品な感じをそなえています。

HOURAI  (Nagauta)
 (THE ISLE OF ETERNAL YOUTH)

The setting of this dance is the imaginary isle of eternal youth. Set Against this scenery, a woman of the red-light district is likened to a fairy of this land. This song incorporates the refined mood into a flowery, bright melody that is full of hope.

117. 北州  (清元)

吉原が江戸の北方にあたるので、この地を洒落て「北州」と呼びました。この曲は、富本から清元という一流を立てた初代清元延寿太夫のために作られた曲で、振付けは初代花柳寿輔です。
さまざまの男女が、吉原の四季を織りなすのを情景とともに踊り分けるのが見どころとなっています。(花柳流専門部名取試験課題曲の一つです)

HOKUSHUU (Kiyomoto)
 (THE NORTH PROVINCE)

In the title of this dance, the Yoshiwara District is playfully referred to as the "North Province" because it is located in the northern area of Edo.The song was created for the first generation Kiyomoto Enju Dayu who established the Kiyomoto level. The dance was choreographed by the first generation Hanayagi Jusuke. This dance creatively expresses the variety of men and women through the seasons in the Yoshiwara District. It is one of the songs that are required in the test for Natori Rank in Hanayagi Style Japanese dance.