Playing with Japanese Culture

I am a tea practitioner, so what?

I operate a tea garden called "Dokurakuan" in Hachioji, Tokyo. I enjoy tea gatherings daily with members of the "Friends of the Tea Garden" who support the maintenance of the garden, and I am dedicated to promoting tea culture by hosting monthly tea ceremonies, the large-scale "Kuracha-kai" tea gathering, and running a tea ceremony school. If you were to ask me, "Who are you?", answering "a tea practitioner" might be the most natural response.

It is true that I have continued practicing the tea ceremony for over a quarter of a century, and as someone who is currently a direct student of the Grand Master receiving instruction directly, while also practicing tea daily, I think "tea practitioner" is not a bad label. However, for me personally, it is a bit complicated. This is because my (cultural) domain is not limited to just the tea ceremony.

Domain No. 2 | Kouta

Outside of the tea ceremony, I have been practicing "Kouta" for over a quarter of a century, just as I have with the tea ceremony. When you hear "Kouta," you might think of something like "XX Kouta." For example, "Ozashiki Kouta" might come to mind. The one that goes, "The snow falling on the high peaks of Fuji, and the snow falling on Pontocho in Kyoto..." However, unfortunately, it is not of this type. Kouta, sometimes called "Edo Kouta," is a genre of popular songs that branched off in the late Edo period from musical styles like Uta, Kiyomoto, and Tokiwazu. As the name "Kouta" (small song) suggests, it centers on short pieces lasting two or three minutes.

Approaching the Ozashiki and the Hanamachi world through Kouta

How do I enjoy this "Kouta"? For a long time, Kouta was called the music of the four-and-a-half-mat room. This implies that Kouta was something enjoyed in a tatami room while drinking sake poured by a geisha, and singing to the accompaniment of a geisha's shamisen after appreciating the results of the geisha's daily practice, such as dance. While the size of the tatami room (banquet) varies, it has generally been enjoyed in this way. Recently, performances on stage have become common, though.
As you can see from this, when you practice Kouta, you become close with the geisha. In the first place, even if you want to sing Kouta (to demonstrate the results of your daily practice), the only people who can play the shamisen for you are your teacher or the geisha.
In addition, since the geisha themselves practice Kouta as part of their own arts, conversations in the tatami room naturally turn to Kouta. Generally, the term "ozashiki" has an image of being sultry, but for Kouta enthusiasts, it is an extremely cultural time where we engage in artistic debate (though not quite that grand). Even so, by frequenting the "ozashiki," one naturally learns the customs and manners of the Hanamachi world.
Having practiced Kouta for a long time, my skill in Kouta has surely improved, but I feel I have also acquired the art of playing in the Hanamachi world, and doing so as "iki" (chic/stylish) as possible.

I have written in detail about the relationship between Kouta and the Hanamachi world in a separate article.

From hating Noh to performing as a Shite

Six years ago, through a strange turn of events, I stepped into the world of Noh theater. Since then, I have performed two pieces, "Tsurukame" and "Hashi-Benkei," as the Shite (lead role) on a Noh stage. In fact, this year in November, I am scheduled to dance the Shite role in "Shojo" at the Kanze Noh Theater.
If you were to ask if I was a Noh enthusiast before that, that was certainly not the case. In fact, I was at the opposite extreme. Even when I was taken to a Noh theater, I spent almost 90% of the time sleeping. Leaving the story of how I came to dance Noh on a Noh stage for another article, I would like to write about the changes in myself since I started practicing Noh.
First, naturally, I gained knowledge about Noh plays. Some Noh plays are based on legends, traditions, and origins. "Urban legends" passed down in cities (like Kyoto) are one of the subjects of Noh. There are also plays based on the origins (history) of temples and shrines. The Tale of the Heike is also often used as a subject for Noh. The important thing is that these are not necessarily the truth. Noh often uses famous scenic spots and temples as settings, and one might even suspect that they once played a role as promotions to invite people to travel. The stories are also dramatized and sometimes rewritten to be more dramatic.

The hidden charm of Noh

Because they differ from historical facts and original texts, Noh cannot be a tool for learning history. However, that does not mean it is useless. When you become an adult, it starts to have meaning (laughs). For example, in the tea ceremony, knowing the story of a Noh play can be very useful. For example, "Takasago." It is a Noh play that features the song "Takasago ya, kono urabune ni ho o tatete..." which is sung at weddings. The first scene is "Aioi." In Takasago, Hyogo Prefecture, there is a famous scenic spot called the Aioi Pine along with Takasago Shrine. Aioi means "harmony." It signifies a happy marriage. And the latter half is set at Sumiyoshi Shrine in Osaka. You can liven up a tea gathering by arranging tools related to "Takasago" and talking about the Noh play.

Wonderful encounters

My "cultural" domain is made up of tea ceremony, Kouta, and Noh theater. I did not start each of them out of a strong interest, but rather from a "strange trigger." However, the encounters in each domain were so fun and wonderful that I still continue them today. Especially when I talk about such things with young people, they show interest in each. However, almost no one goes as far as to say, "Please introduce me to a teacher." But I think this is a crossroads in life. If you have even the slightest interest, it is a unique opportunity to enter that world. Perhaps such an opportunity will never appear again. Indeed, you must firmly grasp the "forelock" (of opportunity). And if you let it slip away and the chance never comes again, I think there is nothing more regrettable than that.

Hesitating to practice

However, on the other hand, practicing so-called "Wagoto" (Japanese arts) has high hurdles, old customs are still alive, and there are strict master-disciple relationships... there are any number of reasons to hesitate. In this day and age where hobbies are not just about practice, there is also the matter of one's wallet.

I started writing this essay with the title "Playing with Japanese Culture." This is because of the feeling that it is okay—no, it should be—that there is a way of engaging with Japanese culture not just by passively "enjoying" it, but by actively "playing" with it yourself.
Japanese culture is extremely diverse. "Calligraphy," "Dance," and "Flower Arrangement" are synonymous with it. Among them, I only "play" with "Tea Ceremony," "Kouta," and "Noh Theater." Even so, there are times when the domains resonate with each other, and it becomes an opportunity to deepen my understanding. I have also learned many things that are useful in daily life, and even in business.

I would be very happy if I could share such things with those who think they would like to "play" with Japanese culture even a little.

While being invited is the best time

The trigger for me starting Kouta was a local senior, Mr. H. One day, Mr. H called my office and said, "Can I come over to play now?" so I gladly welcomed him, and after chatting for a while, Mr. H said, "Well, shall we go?" Even when I asked, "Where are we going?", he only said, "You'll know if you follow me." The place we arrived at was a Kouta practice studio. There, suddenly, the practice of "Kyara no Kaori" began. That is how I got to where I am today. Tea and Noh are the same. Whatever the beginning, I am only grateful to the senior who invited me for the mellow life that followed.
It seems that Japanese culture has a custom of "dragging people in" embedded within it.

For that reason, I want all you young people to take the plunge and let yourselves be 'dragged in'.
Dokurakuan hopes to be just such a 'swamp' for you.