Minamiawaji traditional performing arts

Blessed with beautiful nature and rich in seasonal changes, Japan has various traditional events and performing arts. The Japanese felt the existence of gods in all things, and prayed for fertility and prosperity by hospitable to many of these gods, ancestral gods, and even gods invited from the outside. Unique traditional events and performing arts were born from coexistence with nature and gods. On Awaji Island, shrine festivals are held where portable shrines and danjiri parade, and sacred entertainment such as danjiri songs, kagura, lion dances, and dances are dedicated. Awaji Ningyo Joruri was also born as a Shinto ritual, and is still supported by the people of Awaji Island who value nature and God.

Awaji Danjiri Song(Awaji Danjiri song)

The origin of the danjiri song was from the time when the futon danjiri entered Awaji Island in the middle of the Meiji era.

According to the "Danjiri Kashu Nishigakudan" (editor, Chohei Enomoto) discovered in Nishimachi, Aman, "Imoseyama" and "Baidu" in 1891. "Hei", "Ichitani Futaba Gunki", "Genpei Nunobiki no Taki" in the same 34th year, "Ehon Taikoki", "Koshikoshi" in the same 38th year, etc. It was dramatized by Kogetsu), and it was written that it was Kihei Murakami in Nishimachi who dramatized "Tamamo-no-Mae Asahi no Tamoto 3rd Stage" (Tamasan), which is the most popular song in the Taisho era. Has been done. Danjiri songs are mainly spoken, and the lyrics and singing styles have changed with the times and depending on the region, but Tamazo is sung as it was when the lyrics, tunes, and words were made.

From the Taisho era to the early Showa period, various songs were made in each area, and the people of Aman were involved in the dissemination and guidance of various areas in the former Mihara-gun, so this became known as "Amanbushi". rice field. In the "Aman Folklore Magazine" published in 1938, it is recorded that there were four or five songs with four or five external titles in each of the nine villages in the Aman district. This period was probably the most popular period of danjiri singing before the war.

From around 1955, the economy became stable, futon tightening and body wrapping changed to gold ropes, and at the same time it became luxurious, and at the same time, it began to focus on singing, and the prosperous era continued.

However, during the period of high economic miracle, the diversification of young people's consciousness and the growing interest in new entertainment became noticeable, and from around 1965, even if danjiri was put out, there were areas where singing could not be sung. The succession of the song was in jeopardy. In response to the voice that "danjiri songs, which are the folk culture of the region, will be lonely", we held "danjiri song competitions" in the former Mihara-cho and Nandan-cho, and published the complete collection of danjiri songs, but it was difficult to revive. ..

The "Awaji Danjiri Song Contest" was held from 1989 on the initiative of Mr. Masaru Mori (then president of the Awaji Puppet Association) and Mr. Shigeyuki Hagiwara (then director of the Awaji Cultural Center) who were worried about the trends of the times. .. Although the number of performing groups did not increase sharply, the formation of the "Awaji Danjiri Song Master Liaison Council" (later renamed "Awaji Danjiri Song Promotion Association"), overseas appearances of the Danjiri song lovers group, and the birth of a female lovers group As a result, signs of revival began to appear, and the number of performers in the competition exceeded thirty.

Furthermore, in recent years, with the efforts of elementary school comprehensive learning, he has become familiar with danjiri songs since he was a child, and is expected to be an activity to inherit danjiri songs. Professor Kensaku Okitsu, a professor at Eichi University, was born in the Aman district, and through publishing research books on "Awaji Danjiri Uta", lectures, judges for competitions, and introducing songs to the outside of the island, he helped develop the culture of his hometown. It made a big contribution.

The danjiri song that originated in the Meiji era has been booming again today after several ups and downs, and has been proudly sung as one of the traditional performing arts that represent the hometown.

Nationally designated important intangible folk cultural property

Aman no Furu Daidance Kodance(Ama no Furyu Odori Kodori)

Nishimachi Kame, which had been enshrined since ancient times, was solicited by Iwashimizu Hachimangu Shrine at Matsuura Takara Shrine in Oka 1250 years ago, and moved from Nishimachi to the present location in 1232. Boasting a venerable history, rare events that are held in many Shinto rituals are handed down.

Among them, the wind dance dedicated by the son of Uemachi is a villager who is troubled by the continuous sunshine, begs for rain, and after the wish is fulfilled, as a "request", thank you for the rain, pray for a good harvest and prosperity of the hometown. It came to be dedicated to God. It was also called "Hyakka-dance" because it cost a lot of money.

The oldest document is the 1811 issue of Awaji Island's geography "Awaji-Kusa" Vol.

"When I was drought, I prayed for rain at Hachimangu Shrine, but if I told him that I wouldn't dance this dance and made a wish, there would always be Chery. In the costume, the pre-dance dance is two lines, the dance is 13 people, and the small dance is 13 people. Dance with me) "

a. In addition, in "Amanfu-ryu Odori Magazine" (published in 1971) compiled by Mr. Sadao Morikawa, the year of "Tenpo Sanshin August 11th" is on the cover of the oldest remaining Kyogen script "Thunder Kyogen". There is an era, and it is estimated that it was performed this year. Also, in the secret of the small dance song book,

"Once upon a time, the age of the basket to Roku Mizuno was drought from the end of the rainy season. With a single spirit, he went to the palace to cleanse the drought, chanted the truth for three days, and offered rain, and the basket was discussed on the first three days of the same month. Introducing the lord of Isaburo Tomura, who does not take on the role of the drought with the tradition of the singer from the old days, and the secret of the song. If so, don't go after this book or easily make a drought. "

In 1853, it was definitely performed as a rain-making begging. In addition, the piece of paper attached to this song book stated that it took about a month to practice, that the official ritual was relaxed, and that in September, the performance of the request was held.

The period of origin estimated from the costumes and instruments of the big dance, lyrics and belongings is from the middle of the Muromachi period to the Momoyama period, and the gentle songs with a statement are graceful, using a bamboo-matched instrument called Kokiriko. The small dance is from the middle to the late Edo period, and has the appearance of a Kabuki dance with a tree attached, and is influenced by the shamisen. It is believed that during the late Muromachi period or the Momoyama period, puppet masters, curse masters, sarugaku priests, mountain monks, etc. came to teach the villagers of Aman.

It seems that the fact that only the eldest son and unmarried person was eligible to dance was a consideration to prevent it from being passed on to other areas. According to the record of the 5th year of the Meiji era

"This style dance nogi has been secretly introduced to our village since ancient times, and it is called Yawata Ko, and we have a meeting in May, May, and September. The first thing to do is to keep your eyes secret.

a.

Sasara dance(Sasara dance)

It was designated as an intangible folk cultural property of Minamiawaji City on March 7, 2008.
A performing art that has been handed down from ancient times as one of the Shinto rituals of Fuchu Hachiman Shrine. Although its occurrence is not clear, it is said to have left behind the remnants of Dengaku, who wishes for a good harvest, and has been mentioned in several historical books. This is the first time that "Awaji Tokiwakusa" (written by Yasuo Nakano, 15th year of Kyoho (1730 AD)) has "... Yabusame Kakuriki at the Mid-Autumn Festival. It is the remnant of Taraku who runs with. "

Subsequent "Awaji grass" (written by Yoshinobu Fujii and Akimin, 8th year of Bunsei (1825 AD)) "Kanban grass" (written by Tsukiishi Watanabe, 3rd year of Tenpo (1832 AD)), "Ajijikusa" (Tomonao Konishi)・ Written by Kinko in the 4th year of Ansei (1857 AD). Also, in the 12th year of Tenbun (1829 AD), Izumi Mano (Akatsuki Ume) wrote a "traditional scroll", which has been handed down to this day. When I asked the instructor to compare the behavior written in this scroll with what is being danced now, it turned out to be almost the same.

However, the song "If you cut the rice fields in autumn, it will be dewed, and you will get wet with the dew on the lower leaves" is not sung now. I don't know when it stopped singing. Also, the "Yabusame" that was performed as a Shinto ritual has not been performed. Kakuriki was revived in 1976 as the "Mihara-gun Shonen Sumo Fuchu Tournament" (currently the Shonen Sumo Fuchu Tournament) and continues to this day.

Similar to this Sasara dance, there is the "Shikaku Odori" that is handed down at Fukuhara Hachiman Shrine in Fukuhara, Minakami-cho, Oda City, Shimane Prefecture. This "Sikaku Odori" is designated as an intangible folk cultural property of Shimane Prefecture. According to the company's biography handed down in Minakami Town, the Shikaku dance began in the 2nd year of Tenei (1111 AD) during the Heian period, when the ritual was transferred from Fukuhara in Settsu Province (currently Kobe City) at that time. ing. The dance is simple and retains the remnants of the Heian period, and is performed by 12 dancers. Sasara, binzasara, and drums are used in the Shikaku dance.

Taken together, the origin of the "Sasara Odori" at Fuchu Hachiman Shrine is much older than the time when the above documents were written, and it may be appropriate to go back to the Heian period. In any case, there is no doubt that it is a folk performing art with a long tradition.

Okubo dance(Okubo Odori)

In the Yagi district of Minamiawaji city, it has been danced to the basin and rain-making since the middle of the Edo period. It is said that the origin was started in the Tenmei era (1781-89) to complain the plight of famine to the Daikansho and to comfort the spirit of the executed peasant, Miyamura's Saizo. There are five types of hand dances accompanied by one big drum, and six types of tool dances using hair spears, swords, sickles, and umbrellas. The lyrics, how to beat the drums, costumes, and tools to have will change for each type. Many of the songs are related to Joruri, and in the umbrella dance, he plays "Kaorujutsu Monogatari Dobashi no Dan".

There are emotional and brave ones, and they are danced not only at the Okubo Dance Preservation Society, but also at the sports festival of Hyogo Prefectural Mihara High School, the cultural festival of Minamiawaji City Mihara Junior High School, and the athletic meet of Minamiawaji City Yagi Elementary School. be able to. The choreography is said to be under the guidance of the chief priest Saoji and Kyoun, and there are three types of ondo: end ondo (hand dance), cut ondo, and five shaku-bushi (tool dance). It is one of the representative folk performing arts in Awaji.