118. 舞扇  (長唄)

この曲は、清盛が暴威をふるっている所へ白拍子仏御前が出て、男舞を舞って後、鬼一の娘鶴姫と明して清盛に諌言する筋です。短い中にも古風な味があります。

MAIOUGI  (Nagauta)
 (THE DANCING FAN)

In this song, a dancer named Bugozen goes in front of the tyrannous Kiyomori and performs a dance wearing a formal headwear and sword, which are considered men's articles. After the dance, she identifies herself as Princess Tsuruhime, the daughter of Kiichi Hogan, a famous warrior, and explains to Kiyomori that tyranny is wrong. The aura of tradition can be felt, even in this short song.

119. 舞妓  (長唄)

京都の舞妓を唄ったもので、祇園を中心にした京都の四季折々の風物を唄い込んだものです。

MAIKO  (Nagauta)
 (MAIKO)

This song portrays the Maiko of Kyoto and centers around the Gion District. The scenes and customs through the four seasons of Kyoto are beautifully composed into this song.

120. まかしょ  (長唄)

江戸時代に、「まかしょ、まかしょ」と叫びながら鈴を振って寒参りする修行者の物乞いの姿を舞踊化したものです。

MAKASHO (Kiyomoto)
 (MAKASHO)

This dance portrays religious travelers during the Edo Era who would go on a pilgrimage to the shrines, ringing a bell and calling out "Makasho, Makasho!" for alms.

121. 松の名所  (常磐津)

松のめでたさをうたったもので、内容がいいため二人立ちの素踊りに振りがつけられ、御祝儀ものとしてよく上演されます。「波の十返り」ではじまり「御行のまつ夜」「契りは深き」「お前百まで」「さてもめでたき」と唄も踊りも見どころの多い曲です。

MATSU NO NADOKORO (Tokiwazu)
 (THE NOTED PLACE OF PINES)

This song depicts the joy and happiness which are represented by the pine. The song was received so well that it was choreographed for a two-person, non-prop dance. It is often performed in celebrations. The song and dance are both full of interesting features which are very enjoyable to see.

122. 松廼羽衣  (常磐津)

能の「羽衣」を舞踊化したものです。
三保の松原で、天人の掛け忘れた羽衣を漁師の伯了が見つけ持ち帰ろうとしたところ、天人が探しにきて返してほしいと頼みます。伯了が返すのを拒むと天人は悲嘆にくれますが、それを見て哀れに思い羽衣を返すと、天人は羽衣を着けて東遊の舞を舞いながら天上へ帰るという伝説の舞踊化です。

MATSUNO HAGOROMO (Tokiwazu)
 (THE CELESTIAL ROBE ON THE PINE)

This dance is based on the Noh play "The Celestial Robe" and depicts a Japanese folk tale of a young fisherman named Hakuryoh who finds a celestial robe made of feathers that a heavenly spirit had left hanging on a tree in the pine forest of Miho. When he pulls the robe off of the tree to take it home, the heavenly spirit comes looking for her robe and asks Hakuryoh to give it back to her. When he refuses, the spirit tearfully expresses her grief and sadness. Hakuryoh feels pity for the spirit and decides to return the robe. The spirit puts on her robe and dances as she returns to the heavens.

123. 松の緑  (長唄)

作曲者杵屋六翁の娘せいが杵屋六と改名した名披露目に出来た曲で、娘を若松になぞらえ、禿が松の位の太夫に上るようにと祝い祈った内容の格調高い曲です。

MATSU NO MIDORI  (Nagauta)
 (THE GREEN OF THE PINES)

This song was created by Kineya Rokuoh for his daughter as she was officially named Kineya Roku to carry on the family name. This song, with its dignified tone, likens the daughter to a young pine who can grow tall and develop as the Kamuro who advances to Tayu, the level of the pines.

124. 万年喜猫  (清元)

猫が愛嬌たっぷりに踊ります。曲も踊りもしゃれた面白いものです。

MANEKI NEKO (Kiyomoto)
 (THE GOOD LUCK CAT)

This dance is full of the unique charm of the cat. Both the song and dance are sharp and enjoyable to see.

125. 幻お七  (清元)

それまであった「お七」を極めて幻想的に執り上げて、吉三を恋い慕う娘心の可憐さを、春の夜のしんしんと降り続ける雪を背景に巧みに描いています。

MABOROSHI OSHICHI (Kiyomoto)
 (THE PHANTOM OSHICHI)

The previously performed "Oshichi" is enhanced through this illusionary production. In this performance, the charming sentiments of a maiden as she yearns for her lover, Kichisa, are expressed against the background of falling snow which continues to descend from the night sky in spring.

126. 三面子守  (常磐津)

三つの面を笹につけて出た子守が、その面をかぶって、おかめ、えびす、ひょっとことそれぞれ使い分けて踊ります。越後などの地方から食いぶち減らしに出てくる子守を、ユーモアと哀感をもって描いたものです。

MITSUMEN KOMORI (Tokiwazu)
 (THE THREE-MASK NURSEMAID)

A young nursemaid comes on stage with three masks hung on a sprig of bamboo grass. As she places the masks on her face one by one, she dances the dance of the characters of a round-faced woman, the deity of good fortune Ebisu, and a man with a comical, distorted face. This performance balances humor of the dance with the melancholy of a young girl who is forced to come to the city from her rural village of Echigo, and take on the hard life of a nursemaid just to survive.

127. 都鳥  (長唄)

都鳥は隅田川に昔から住みついた水鳥です。その都鳥の情趣から隅田川の情景をうたったもので、上品なうちに色っぽさをたたえています。

MIYAKO DORI (Nagauta)
 (CITY BIRD)

The city bird is a water bird that lives along the Sumida River. The dance centers around this bird and portrays the scenes of the Sumida River. This graceful piece praises the alluring appeal of a woman.

128. 都風流   (長唄)

明治大正の頃までの、東京の下町の風物詩を季節の移りかわりのしたがって組唄式に綴った曲です。まず吉原の風俗を叙し、山谷堀をしのんで隅田川の夏景色、千成市の春の雨の情趣。浅草の観音様の四万六千日、草市など江戸名残のべったら市も詠みこまれ吉原の廓情趣と人とのあり方を唄っています。

MIYAKO FUURYUU  (Nagauta)
 (SCENES OF THE CITY)

In this song, the scenes and customs of the old commercial neighborhood of Tokyo around the Meiji/Taisho Periods were written as a suite as they change with the change of seasons. The performance begins with a depiction of the life and customs of the Yoshiwara District, then it moves across the Sanyabori to the summer scenes of the Sumida River. The season of spring is then expressed in the mood of the spring rain in the Sennari Marketplace. Many of the famous scenes of Edo, such as the Forty-Six Thousand Day Festival of the Asakusa Kannon, the Kusa Marketplace, and the Bettara Marketplace are written into this song which sings of the charms of the Yoshiwara District and the mannerisms of the people of that time.

129. 村娘  (長唄)

お使いの途中に道草して遊んでいるところです。見ても楽しい踊りです。

MURA MUSUME (Nagauta)
 (THE VILLAGE MAIDEN)

This dance portrays a young maiden who has stopped to play while running an errand. It is an enjoyable dance both to see and perform.