#houkan

@dream-of-pain

Hey there Anon

Thank you for your question. I did some research as it's been a while since we last talked about Taikomochi and Houkan so i gathered some information to shed some light on the matter.

Here's what i got:

Houkan 幇間 the first Kanji is means "Help" or "to help" like in "to assist" and the second Kanji indicates a span of time. So in my words a temporary assistant. Their traditions can be traced way back to the 1200s royal courts where prestige granted them access to intimate family settings and constructs of noble houses. While interacting with the nobility they specialized in the intricate court etiquette but their expertise was also that of a master of ceremonies. Coordinating weddings, social gatherings as well as religious and spiritual ceremonies, they needed not only a deep understanding of the intricate ins and outs of court but also to keep up to date on the preferred high arts, music and poetry. So they acted as assistant during processions, managed their own retinue, consulted the head of the house on protocol and were experts in good manners.

We often compare their role to that of the European court jester and it has its merits: During the middle ages up to the modern age European royalty cherished the royal jester as a fixed part of the household. Even though they might not stem from nobility themselves, the court jester was usually part of a dynasty of jesters that intertwined with the noble household. But unique to them was the fact that being the fool, the joker, the life of the party during the stiff banquets left them more freedom to express themselves outside of court etiquette. It was always a good idea to be on good terms with the jester as they knew all the dirty secrets and it is widely acknowledged today that many court jesters turned out to be very intelligent, influential and indeed more capable in political settings than most other courtlings, born and bred into an unwilling role.

Modern Houkan express that the comparison is valid to explain their prestigious history. But history had a more dynamic fate prepared for the Houkan. Fast forward many centuries and the political landscape in Japan had shifted from the old capitals to Edo. During this long time of peace and the advent of the pleasure quarters the ruling lords had no more need for the Houkan as a part of their household. Essentially stripped from their prestige, many could not look back on noble rank, so they looked for a new place to offer their services.

Many of the Houkan found great success in the Shimabara, where their deep understanding of court etiquette and their connections to Tayuu and other desirable entertainment helped them keep influential. It was part of the package deal to book a Houkan during an outing in the Shimabara as a guide to the nightlife and to the quarters highlights. And on the flipside the Houkan added their incredible wit and own entertainment to a gathering.

Some Houkan moved to more middling quarters like Shinmachi in Osaka. There they catered to more common tastes but their role stayed essentially the same. In Edo, the Houkan evolved into a new form of jester, the Taikomochi.

太鼓持 (Big drum bearer) has a more hands on connotation to it. We are now far away from 1200s Houkan. We are now in the middle of the 18th century and the Taikomochi's duties have shifted from the master of ceremonies of the nobility to the tour guide of the Yoshiwara. Patrons of the pleasure quarters themselves are not really looking for artistic entertainment, they don't need or want the Tayuu's deep insight into grand Chinese poetry. They are on the look out for dynamic fun. They want romance, they want good food, they want to interact with the Geisha. The Taikomochi is your ticket in.

We talked a lot before about how Geisha filled in the void caused by the Tayuu's disappearance and the Oiran's distinct lack of talent. Same goes for the Taikomochi. Stepping up to fill a gap in entertainment through song, dance and wit, they managed to transition to a more common public because they didn't insist on remaining a beacon of tradition like they do today. Like the Geisha they adapted to modern tastes and survived. The Houkan survived in the areas where refined entertainment was still in demand but even in Kyoto there are next to none left because the Geisha had the stronger selling point when they too traded in modernity for tradition. Arai-sama is the last to operate in Kyoto and he calls himself Taikomochi. He uploaded to his Youtube just yesterday lol:

In the end the Geisha was the Houkan's downfall because they were quick to adapt. Kyoto became the nation's Geisha capital so there was no need for Houkan. In Gifu, Kikuji and Takeji remain the sole representation of their branch and they have commiserated the rarity of their service with the lack of longevity in their Maiko by mashing both up and creating a joint venture. So actually very Houkan-esque to offer an all-round service. Apropos i found this wonderful line up with Aoi and Tsukasa Tayuu:

Asakusa has been the glimmer of hope for Taikomochi and they elegantly combine their services with the Geisha's. They cultivate a wonderfully tight community, entertaining side by side. One can just picture it being just the same during the Edo period. Featured below, everybody's darling Matsunoya Hatchiko:

Always wonderful to see Bonus Eitarou. And even though it would be easy to simply put it into regional dialects, it clearly says Houkan in the title. So no. it's not black and white. But one is widely known: The term Houkan is older and goes back to a very important position in courtly households while the term Taikomochi is more democratc, more modern and more attune to the townpeople's tastes.

As an afterthought i found it incredibly beautiful to find relatively fresh material on our beloved Taikomochi and Houkan in Japan, the oldest uploaded only a couple of months ago. It seems as if they braved through the pandemic unscathed and in high spirits.

Gifu’s Little Treasure

Lovely shots of ethereal Maiko Kirin of Gifu. She is the latest imouto of Kikuji, the great Houkan and Artist with whom she shares the prefix of her geimei. All the Maiko that came before her used the Kiku- prefix so maybe this more intimate bond with her elder brother will rub some of his magical hard work on her. She has been active for around eight months now and has braved through the pandemic while in the delicate stage of the first year.

The 20 year old debuted officially on February 27th 2020 after a six month training period from Kikuji’s okiya Housen. And even though Gifu’s Maiko are short lived, their misedashi always are a beloved celebration and even the governor is involved to commemorate the occasion and add to the prestige. 

Since then the world has changed in many ways and so has her job profile, of that i’m sure. Genious Kikuji and herself now present ozashiki via Zoom too, as do some savvy Geisha in Japan. Thankfully Gifu’s charming boat ozashiki tradition was an unchanged blessing during these restrictive times as the small boats used for these purposes can only hold as many guests, offer an intimate and traditional setting for the Gifu ozashiki on the Nagaragawa in contrast to the modern Zoom ozashiki. But Kirin has already proved she has the resilience needed to become a great Maiko-san and maybe one day a successful Geiko of Gifu.

Hello! 🥞

She does stand out even though i think she tries hard to fit in with her oniisan as best she can. I saw videos of her on Youtube and read quite a few articles and i find it hard to believe that she has been around for over 10 years without causing a big ruckus like Eitaro. Not that his way of approaching things isn’t right, it probably works best for him, it’s just interesting how she handled things while being in a similar situation. She is a fascinating woman.

The female male Geisha

The world of Shichitaro Sakuragawa seems upside down. She is the only woman in a domain of men, something most working women can relate to. But the Taikomochi is widely known as a branch of the Geisha profession which itself is now an almost exclusively female occupation albeit it having a male origin before women became the default.

Once fulfilling many roles as jesters, consultants, artists and performers for the Daimyo, the main duties of the Taikomochi became those of storytellers and entertainers at court. At the dawn of the Edo Geisha, many Taikomochi worked closely with Oiran, taking over their tasks as artists as the courtesans artistry started to fade. Oiran prefered to work with Taikomochi as there was certainly no competition. When the Oiran went out of style, the male entertainers teamed up with the Geisha to liven up parties in the pleasure quarters and their approach was very different from their female counterparts: Taikomochi were a vital part of an outing for rich patrons as they could not only tell jokes and play drinking games but also take orders, provide their insight into the flower and willow world and negotiate an even more interesting evening for their clients. They could be lewd, more ridiculous and quirky than the elegant, Iki Geisha. 

But the male Geisha never had a chance against the unique charm of the stylish and beautiful Geisha, so naturally their numbers were never as high with 600 nationwide during their peak compared to the tens of thousands of Geisha during their prime.

Asakusa is the home of the last Taikomochi these days. Gifu’s male entertainers like to be called Houkan and there is one in Kyoto: Arai-sama, now in his 70ies. But this vignette is about one Taikomochi in particular: Shichitaro.

The 33 year old found her way into the karyukai rather late as she was already in her early twenties when she debuted in 2010 as a Shikomi and then as a Minarai. Her Apprenticeship has taken her a total of 6 years, just as much time as many Geisha have to invest. During this time, she grew into her role, cutting her hair short, as short as she dared to go before risking looking like a buddhist nun. Since the Taikomochi originated from buddhist monks, it would have been a valid take on things. Sakuragawa is the family name of the famous Taikomochi of Asakusa so it was only a matter of time until she would be accepted into this circle and receive her own stage name. The Shichi- part of her name was gifted from her oniisan Yoneshichi, it’s the more popular kanji for Taikomochi nowadays.

 Her work borrows many aspects of other specialized artists. On the one hand she dances and plays the shamisen, she sings and pours sake like her Geisha sisters. But she is also versed in the art of Rakugo, a highly stylized form of lone storytelling using only a fan and a tenugui as props to convey emotional and comical accounts, an artform with its own experts who are not associated with Geisha, more akin to stage actors. Shichitaro was well received into the prestigious hanamachi of Asakusa as the traditions of the Taikomochi are overlooked to say the least. Though when she first applied to train under her oniisan, the kenban was clearly against the idea of a female Taikomochi. But how were they to refuse a young person determined to study so hard?

So why did she decide to become the fool instead of the Geisha?

Well, being the only female Taikomochi has its perks: She is an absolutely unique addition to the entertainment style of Asakusa and she operates in her own little league. She has the freedom to be the outrageous joker without the burden of elegance and perfection, indicative of high class Geisha like her oneesan. She can be creative and incorporate a lot of her own character into her performance, a luxury many Geisha, especially younger ones in her age simply do not possess yet. She can even create her own skits while remaining true to Taikomochi style. And though her presence at osashiki might be the peak of extravagance even for Geisha patrons, she can cultivate a very exclusive clientele that enjoys her rare form of art. Not a bad thing at all. 

But in the end the future of the Taikomochi is unclear. Just 40 years ago there were 13 Taikomochi working in Tokyo so the numbers are definitely dwindling. Some accomplished Taikomochi retire to become actors and musicians. Many young people prefer the high risk, high reward approach when venturing into the world of music and dance. Just as many young girls prefer to become starlets instead of Geisha. On the other hand Shichitaro has the right idea when she explains her wish to revive the Taikomochi traditions and keep their arts alive. Maybe the entertainment of the Taikomochi has to adapt to modern tastes just as the Geisha do. This notion has gone so far as to opening up the Asakusa kenban every tuesday evening to people interested in participating in Taikomochi training! All you have to do is bring a yukata, some tabi, a towel and 2500 yen for the entrance fee and you're set. This technique seems to work as they do have a few young men interested in the apprenticeship every year, but none of them seem to keep up with the intense training and the uncertain way of life of an artist. But with a healthy dose of people like Shichitaro, the endeavor to revive the Taikomochi tradition seems achievable. 

Gifu: Gifu

Historical Context

Funa-asobi is the tradition of entertainment by Geimaiko on boats. This is a specialty of the city of Gifu, the main city of Gifu prefecture is essentially cut in half by the Nagara river and this keeps some old traditions alive. Cormorant fishing for example, is still practiced on the site and a tourist attraction that draws visitors from nearby Nagoya. Even though cormorant fishing occurs in many places in Japan, Gifu’s is the largest event with up to six fishing masters on boats simultaneously. There is no better way to enjoy Gifu’s Geiko during the season from May 11 to October 15 than on a swaying boat in the evening just before the cormorant fishing commences. The tradition of Funa-asobi can easily be traced back to the Edo period and the rise of the Geisha but it has been very popular in Gifu since the Meiji period and has influenced the look and feel of Gifu Geimaiko up until today.

The kagai of Gifu is small in size with up to 20 recorded Geimaiko, nowadays a lower number seems more realistic and even though there have always been a few Maiko in Gifu, currently there are only Geiko debutantes. From the once flourishing district with around 500 active Geiko, Gifu is now an intimate setting for aspiring Geimaiko as here too numbers started to decline after the second world war. Hopefully a new Maiko will debut soon as their style is unique to the city. One of the strengths of Gifu’s Geimaiko is their versatility: Not only do they train Maiko and debutante Geiko, they also host Houkan who in turn train male and female entertainers, a one of a kind feat in the karyukai. And when it comes to their look, well they have it all from a more Kyoto oriented look to different obi knots even for Maiko, unique Geiko-Minarai outfits and Minarai Houkan. Gifu is like the assorted chocolate box of Geimaiko style! So, since we have quite some special outfits and styles to cover, let’s get started:

The Look of Gifu Maiko

Source: Jenieeem on Instagram

Source: Bancales11.rssing.com

Term used for Apprentice: Maiko

Hairstyle: Maiko get their own hair styled in Wareshinobu for juniors and switch to Ofuku when senior. Sakkou is observed in Gifu but hasn’t been documented in recent years.

Kanzashi: Monthly changing and seasonal. Classic Kyoto-style build up and in accordance to seniority.

Make-up: Oshiroi and beni according to seniority: Lower lip painted during first year, after that both lips are painted.

Kimono: Furisode hikizuri for all stages, even Minarai. Kuromontsuki hikizuri paired with red nagajuban for formal occasions. Nagajuban colour can vary from peach to pink to red for ozashiki.

Eri: Red with white embroidery and then white according to seniority

Obi: Various knots for different occasions. Handarari musubi during Minarai stage. Misedashi: Gold Darari obi. Default: Darari musubi which can be retied to Yagitcha musubi for outings on boats and such.

Obiage: Untied when junior and tied when senior stage is reached.

Obijime: Yes except with ceremonial attire.

Obidome: Yes except with ceremonial attire.

Footwear: Okobo and zori.

Source: Bancales11.rssing.com

Source Otokomaewafuku on Instagram & Gifu Geiko Association

Source: Asoview.com

The Look of Gifu Geiko

Source: Kikuzy on ameblo.jp

Source: Housengiren on Facebook

Term used for Geiko Minarai: Nakabana Geiko

Hairstyle: Katsura in Geiko shimada.

Kanzashi: Seasonal flower kanzashi and Bira kanzashi

Make-up: Rather light oshiroi with both lips painted.

Kimono: Short Furisode kimono, red nagajuban.

Eri: Red with little white embroidery.

Obi: Yagitcha musubi.

Obiage: Red and untied.

Obijime: Yes.

Obidome: Yes.

Footwear: Zori.

Term used for professional: Geiko

Hairstyle: Geiko shimada katsura for younger Geiko, yohatsu for veterans.

Make-up: Oshiroi for younger, everyday makeup for veteran Geiko.

Kimono: Hikizuri only worn by very junior Geiko. After a few years they switch to houmongi, tomesode and tsukesage.

Obi: Taiko musubi.

Obijime: Yes.

Footwear: Zori. Geta reserved for ceremonial attire and younger Geiko.

Source: Gifu ishikin on blog.goo.be.jp

Source: Autumn2016

Source: Taimusai.com

The Look of Gifu Houkan

Source: 7.489ban.net

Term used for Professional Male Entertainer: Houkan

Hairsyle: Various conservative styles, even longer, more modern ones for Tatsuji.

Make-up: No Makeup except onstage.

Kimono: Matte fabrics in subdued colors in brown, green, blue, grey, black. For important performances and formal events Umanori hakama are paired with montsuki kimono

Obi: Kaku obi in Ronin musubi

Footwear: Zori

Source: Housengiren on Facebook

Source: Bancales11.rssing.com

Regional Noteworthiness

- The Gifu Geiko Association was founded in 1984. They coordinate the training and events of Geimaiko. Applicants for Maiko must be between 17 and 19 years old. Applicants for Geiko between 19 and 40. Houkan apprentices have to be at least 17 years old. Kikuji is the only Houkan outside of Kyoto and Tokyo and the only one to train both male and female Geisha. The Association only trains female applicants.

- Since there are currently no active Maiko in Gifu, Nara’s Maiko and young Geiko Kikue and Kikukame get called upon to entertain on the boats. This has worked out for both parties as tourists get to see a cute Maiko perform while Nara’s Geiko get some exposure.

- Gifu is home to the first actual foreign Geisha: Rina came from Chengdu, Sichuan provence, China to Gifu in 2005 and acquired citizenship of Japan in 2011. She’s an autodidact in the Japanese language and admired the traditional dance and music so decided to become a Geiko, she worked for a branch of a Chinese food trading company in Gifu at the time.

- After the completion of her first year, a Maiko will change her hairstyle to Ofuku and start painting both lips. This is initiated by the onesan/onisan during a lip-painting ceremony at a local shrine. A priest will attend this ceremony and both the Maiko and the onesan/onisan will wear kuromontsuki. After the beni is painted on the lips of the Maiko by the onesan/onisan, there will be prayers and then they will be off to celebrate.