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THE AZUMA
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ORttGGCt"nI
ItUSTGTRITS
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PI,[IBILI
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FIRE NOTICE: The exit indicaled by a red lighi and
sign nearest lo the seal you occupy is lhe shortesi
roule to lhe sireet, ln the event of fire please
do not run-WALK TO THAT EXIT.
JACOB GRUMET
FIRE COMMISSIONER
kkru@tu
Trebuhs Realty Co.. Inc.
Thoughlless persons annoy pairons and dislract actors and
endanger lhe safety of olhers by lighting matches during
the performance. Lighting of matches in lheatres dur-
ing ihe performances or at intermissions violates a city
ordinanca and renders lhe ofiender liable to ARREST.
THE PLAYBILL WEEKLY PUBLICATION OF PLAYBILL
.
INCORPORATELI
Week beginning Monday, February 22, 1954 o Malinees Salurday and Sunday
IN THE EYENT OF AN AIR RAID ALARM REMAIN IN YOUR SEATS AND OBEY THE INSTRUC.
TIONS OF THE MANAGEMENT._HERBERT R. O'BRIEN. DIRECTOR OF CIVIL DEFENSE.
S. HUROK
wiih ihe cooperalion of
H.l.H. Prince Takamatsu and the
Japanese Minisiry of Foreign Affairs
presents
THE AZUMA
KATSUYOSHIRO KINEYA
TOMISABURO WAKAYAMA
KABUKI DANCERS ONd MUSICIANS
with
KIKUNOJO ONOE
Dancers:
TOKUHO AZUMA KIKUNOJO ONOE MASAYA FUJIMA
YUKIKO AZUMA HARUKIYO AZUMA WAKANA HANAYAGI
HARUyo AZUMA
_,+:iu#t3orrffio
KTKUSUME oNoE
Musicians:
KATSUTOJI KINEYA ROSEN TOSHA
KATSUMARU KINEYA
SHOZABURO MATSUSHIMA
ROSSHU TOSHA TATSUICHIRO MOCHIZUKI
Choreogra pher:
MASAYA FUJIMA
Decor by: KISAKU ITO
Coslumes by: SEISON MAEDA KIYOKATA KABURAGI
Advisory Slaff:
HIROSI KAWAZOE YUJI ITO MICHAEL LOMBARDI
UMETARO KIYOMOTO
KOSEN TOSHA
English Narralor: Michi Okamolo
Gilbey's Distilled London Dry Gin.90 Proof. 100% Grain Neutral Spirits. W.&A. Gilbey, Ltd., Cincinnati,0hio.
ogrees on
*GILBEY,S
NewYork's
*Hit'
room. Popular
rvith theatre. goers f ordining and
(,-riif
Internationally famous. A glamorous
setting for dining and dancing. Always
headline entertainmenL
Shous. , .9:30 and 12:15. Cowr
at 9:30, Luncheon ueekdayt
trom
rcon. Clued Sundayt
A Hihon Horel
FIFTH AVENUE AND 59TH STREET
KOJO
(Greetings)
I'rirrcitr:rls iI order of illrorlrrr'liorr
]}I.{SAYA F'UJI}IA
'l'OKIIHO
rtZU}IA
KII'LTNOJO ONOF)
riA'I]SU'TOJI I{INEY-{
ROSTTN
'r.OSII,r
SHOZ,I BI, BO }IAll'SfTSI{ IIIT.T
]TI-IS'Tf'Il OlI CEIII)]IONY_I{ITS[SABt'ITO B]INI)O
SAMBASO
{Offering
to the Gods)
s^[!t A ... .. .. 1(IKUI\O.|O Ol'\a)ts)
'llraetiLiorr lrts it. l lta1: rVlrerr ht,itIr'rr :urd ealtlr } c|e still ir t:lraos, thc ltttte altd
(:leall
l.lrirrgs ascencted to the lrear,errs alld the imltule and filtliy IelI to eat tlr. "Sa]ltlras()" is tl
rlanre to shalie ol'f the nttrd zrrrrl llltlr, purif] the ea|tlr arc[ play for a ]routrtif ttl l)al Vest. I,'ilo
is stIuch (for luch) rvith flirt antl steel zrlld salt is scattetetl (fot'tru|ifioatiott).
/llhis
datr(,e-peIlol trr0d l)elore the shliIe ten celtttIie s :1go-\vas ittt'or'1xr|atcd ittttr
Noh cllarrr* ill the 14th ccntuly.
SHAKKYO
ri'arHrrlt r,r()N . llion
Dalce)
lrasAr--r r,-f .rrrr-r
CUB .,..,, ,,,.,. ,,,,...,,. IIARI,YO AZUMA
'I'his is one of the lion alances adaDted from the Noh dlama' 1'he music was composed
by Kineya Shojiro II in 1861.
A stone bridge coveled lyith rnoss
-ctal)ds
atoll a hiah ciiff. The father lion
jumps
on
the bridge and calls his cub to see if he can take his Dlace as sel\,ant of Bodhi-Sattva
I[onju. }Ie kicks the cub over the clift to the bottorn of the ravine. 1'he father' lion crouches
atopthe cliff and looks do\1'n. '1.he cub clirnbs back to the top of the cliff. 11e is again kickecl
dovin. The cub takes a breath in the sh:rde of a tree. The sight of the father lion reflected
on the water encoLll'aBes the clrb, rr,ho
jumps ancl climbs ull the cliff again. Both the father
lion anal the cub rejoice and dance merrily.
'7tb
nofjust fomous ...il3 fabulouslo
No other whiskey is goining
so mony friends so fost!
PrOOf thOt SCHENLEY
is the best-tasting!whiskey io aBes
rttrDtD lsrtrB $ ?r00r. 6tr crllt ffiunlt rlrllt. scfirul ofir., ilq r.L('-,
Is
OUEENI U'ESTCHESTER
NEW JERSEY
Norlhghore Tire Corp. E. Robison, lnc. fhe Generol Ti;;t":-'--
I 52-i 2 Northern BIvd., F[9-2200 lO0 Hortsdole Ave., Hqrrsdole, LO 2-8858 I ZO Ctinron Ave.. I.tework, Bt2-2900
TUBE
Deolers
il
The GENERAT
PUNCTURE-SEATI NG SAFETY
See it demonslrated st yovr Generol Tire
BRONX
Bronx Generol Tire Co., 579 Gr. Concourse, 662 E. Fordhon Rd., Cy B-5Ol 8, MO 9-8802
I)ANCII]jG GIITL .,..,,
luoNr{s
STAGE.ASSISTANT
Adapted from the Noh-drama of the same name (composed in the sixteenth century).
The Labuki version rvas completed in the third year of lloreki (A.D. 1?54). In this danie-
dr_ama er,-ery technique of Japanese dancing is employed and
,,Dojoji,,
is'regardecl by all
schools-of Japanese dancinB as the prototype. The varied colors of the eostumes, cha-nged
many times during the cou|se of the dance, symbolize the life of $'omm from'chitdtr6od
to old age.
-
The plot: One day a young priest came to the home of l(iyohime, a lovely girl, to ask
for
_overniSht.
lodging. Anchin was his name. Kiyohime became paisionateiy
"{evoted
to
Anchin. IIer infatuation for him s'as such that he decided to flee.
-Kiyohime
pursued him.
I)uring the pursuit she came to a r.iYer., u.hich Anehin had already irossed.- Finding no
l)oat there, Kiyohime dared to swim a(,r'oss, but her strength failed- her and she drow:ned.
IIowever,. her tlurnin8: Iove transformed her into a snake antl t-he pursuit continued.
Anchin fled to the temple of Dojoji and askeal the priests there to protect him. They
Iid him under a huge bell.
Soon the snake appeared, r'ound itself round the belI anat atid not uncoil itself until
tlre. young priest
died. Many years passed. one day a, service was to be given under the
ltell. On that day the snake reappeared, this time in the shape of a "shirabyo'shi" or alancing
girl. She entreated the temple priests to permit her to danCe. They refusetl at flrst becaus6
no woman t'as allowed to enteI the temple, but they eventually granted permission. The
dance_ begins at this point. The iritial steps, zig-zag,'suggest thi t'rearting^on the scales of
a sna.ke-
The dance continues and then the red outer costume is pulled
off on stage. (It is a
Japanese custom to clothe a nelvly born baby in red, and so red is symbolic of"one,i chitd-
hood. rn old age, red is worn again, red being symbolic of old age, al!o. After this, the cos-
tumes are changed several times, each representing a particulai period in the whole course
of a woman's 1ife. The technique of pulling off thtdancer's costume is unique to "Kabuki."
A stage assistant called "I{oken" effects fhis costume change from behinrt the alancer.)
1'he costume is changed to lisht blue. The dance is that of a young'girl in the blobm
of her flrst love. 1'he scene is thtt of cherry blossoms and a girl
Satheiin"g the scattering
petals.
The mood changes to conred)..
.Irvo
r:tonks struBtsle for an imaginary ba]i.
. _
The interval oyer, r{iyohime appeal-s in a lieht pink costume wit-L thr;e "kasa" or hats
in her ha-nd. She performs a dance explessive of the happy memories of girlhooal-her love,
her youth,
etc.
DOJOJI
(The Dancing Girl ai the Doioii Temple)
y
i,r*< o ir r*i,,
"ir;
*; ;il;i, ; i,.I3f
"#f"t'"""ti
HAR,UI{IYO AZUMA, ITIKUSUME ONOE
.,,,,..:,..,,.,.,..,.,,,,, I(ITSUSABURO BAND()
DEI'YAB'S
"Wbite
Lobel,"
and VictoriaVat
lortt 86,8 Proof Blended Scotcn Whisky O Scicdrf lopod
She I'etulns
itl a,,vttzpt\,,.i^!.1,!6i^ r--r-r:
13
,,r rvon,anhooo.-
ri,.l,,,ilX'il;,
;::t.T::,i:",f,i,**",i:;:",,lliil.ll:":;l'::,,j"r"",ij.";,jl.".ti:i;
lo.kittg
into tlle lllirr'()1
-(the
Ira,tlker'.hiefl,
Jhe c,.i",. arrcr .olrap--es.
s,adenry she stands
l;'"ttJ;?'J-
to rlatrce rnadl]'.
she ilr.orvs,rru'rr.,rat"."lrier
to trre-anai"i"".ra.etir.es
ffonl
After her exit, the nronks lieg,irr to clealr the stage floor ilt anticiDation
of further danciltg.
,.,r:::*ii;"";;i:lX::
Ljii,Llj
"',;;';;;;;;.
care or ,re aa,"in!:stogu,
"on"iau.ecr
\.e,y
Iliyohinte
reapDears
iu pur.l}lc
(((,1(,r.uf
$.istel.i:L_llower)
costurne
altcl does a dance
]",JlLil1"i;S,il;,;il;S.",,"" ",,0',,o,.,..i;,.;;J;,,."*
the beaut). o-re rapanese ra,crscape,
The rhyiltrnical
acti
tains are
";-;;i;.;;;;:'].'ilr:T,1:"j,1u"l,ll'i,i"rIt
]eacrres its hisrlest pitcrr. ('rrre
n,oun-
lonB pursuit
or ner su-eelreart.)
lre of the snalie' (-{lso,
ttrey syrnbolize
thri
fn prepal.inB,
for th(
;iril";1.H1:;#jii,;3L"",ffiT;jxJ:*:i..il"iT:'::
Li,ll".Jl[ ']'ith:::l::1"
ij:1,i1
lX: t;:rrffi,jl",l,i,,X],,,,
a brack n,a ."r,itu-"i.".;]l;l
ij".,,l1ii,,Ll"i;"r,iji-lli..il?i;:;jl
i,ji.i,li
The dance \yith the tamboul.ine
r.ises to its.
gra.uary
"o-",;;.,:;;.
,,
,Jr.u'#;; i;.jiJ,;:"iil;.r,li,.i,li""lh:
i;:.'l],i:"ll..i;,1,x""i:i] it' but i, \'ain' Kivorrirrre p.oceecls
to the belr .ra r"orr"-rrior;;,'.i;;
i:;;,, _synrr)olizins
the
victor)'
of u.oman asail)st
ttre reri6;ioirs
O"r,rli"".,o
against her. sex.
] N'IURII ISS]ON
MINZOKU
BUYO
(Folk Dances)
,,..,.,r r'fl -l
:i"::l-T-*:I",r
( R i<.. Ha r r es r )
I(lKUStiltu
oN(,|,)
b) Otemolal (HalrDI,
Ilf:ridcu)
rIAITT- YO AZU}f,{.
,,r r..l,Jr1,A,T;.f
#,i,
"r
rt wrr ir e
y,r.
C:r rr )
'I'hese th.ee ,rru o"r.*-"',,-"'"":::':""'
"
rsAltrr rrANrtY^Gr
'i'he nrst
".,,"r,."*.=
,i,""
:tlii,
;Tl,""'":J;:i
,j'.";i":;';l].";':;l::Il:l:';,J,L1,illli1l.#rJx;
i"":r"J,t""J;":.tTiX:l:"t
eYen ir r'" t"
"tlr-.'i,
inu ,n,.u dance, t\vo peasants
dis ror their
The Managemenl
is nol responsi.ble
{or personal
apparel or properly
of pa-
trons. unless properly
checked wiih the irr""rr"
"il""J"nt.
patrons
are ad-
vised to take their coals and wraps wiih lhem whenerer lhey leave their seafs.
Ladies are re-
quesled
to re-'
move lheir hafs.
For Smooth
performonce.
. .
'BIACK&WHtTEo
769r*lei7Clataffi
rcn"sscH',A"'lf'*'?[fl
i3%l'f,y#iii'r:ii:flt8J"DrsrilB,ro's
t4
NAGARE
(Waier lmages)
The Orcheslra
TSUCH!GUMO
r,o",D RArrio trhe
Dance of
Lhe
sP:d:r)
S\U.ORD ATT[)I\DAIT1'
KOCIJO, Ladtr' AtterrdaIa .. ........ .................................
TSUCHIGfIlIO, sDirit of the sDider
CHI})T'RETAINER IIIRAI
ILET.AINER.
{
f,Jil$I\1,ifrf$I$p
STAGE ASSISTANTS
Adapted from the Noh dance-drama
most frequently played in Kabuki.
f(IIiUSIIIIT)
Raiko llinamoto, a warrior famed for his valor, is ill. IIis maid, I(ocho, inquires after
his health and entertains Raiko by her dance symbolizing the beautiful landscape of the
hills bedecked with autumnal hues. Finishing her dance, she leaves the room to fetch
him medicine.
Night falls. llhe attendant covers his master $.jth quilts. Raiko falls asleep.
1'hen a priest makes his *'eird appealance. }re is Tsuchigumo, a monster spider, in
the form of a priest. IIis couDtenance is as expressionless as a mask. (The actor playing
the part of Tsuchigumo should never rvink \yhile he is on stage, even when he stands with
his back to the audience. 1'his is because it is feared that if he rvink-s he rvill lose his
demonic nature and turn human.)
Raiko opens his eyes, and looking at the intruder as if at an illusion, challenges:
"Who are you?"
'f'suchigumo
replies that he is a priest Iiving on IIt. Hiei and that he has come to pray
for his speedy recovery. Ife dralvs near Raiko, holding his rosary, and ,starts to prat'.
At this mornent the boy attendaDt sounds an ala|m, exclaiming that there is something:
stranBe about the "priest's" shadow. The boy tries to unsheathe the sword but fails. 'fsu-
chigumo draws nearer Raiko and, disclosing his identity as a monster spider, sta|ts to
thro\v his threads (rvebs) over Raiko. Raiko, drar.ing his s$'old, strikes at the monster,
who is wounded.
Alarmed at the commotion,'llaisho, one of Iiaiko's Ietainers, rushes in, callying ]ri-e
swol d, ReplyinR to his master's (luestion,
ll'aisho dras.s nearer and says:
"There is a legend that ir) the old days thcre lived a huBe monster spi<ler more tlran
20 feet long in Koya of Kii Pl ovince, and his \\.eb .rxtended ovel sevelal mi1es. l'his monstcr'
nrust be his offspring."
Raiko and the three I'etainers trace the trail of b1ood. 'I'hey march through
jungles,
braving the rain and thundel storm, and track'I'suchigumo to his cave.
Holding torches, Raiko, l'aisho, Kintoki and Tsuna, the four warriors, close in on the
cave. The monster roars: "I arn the spirit of an aged spider who liveal long, long a8o. I
wanted to spread my web over the whole territory of Japan and turn this country into
hell. But having my identity revealed by the light of the sult, I have failed..."
So sayinB:, Tsuchigunto thros'; out his thieads in all directions. l'he four walriors
flght despelately and flnallr- corner the monster as Raiko makes the flna1 thrust. (Since
then E.aiko's sword, "Ilizarnaru," has come to be called "Kurno-Kiri XIaru" or "Spider-
cutting-sword." )
INTERf,[ISSION
NININ.WANKYU
(Memories)
I^IANI{YU I(IITUNOJO ONOE
,, KII{fINOJO ONOf'
II.lRITI{IYO AZUMA
TOI{UIIO ,tZT]MA
MAS,t]'A FIIJIITIA
-,,,..,,,. KI,TSL*SABURO BANDO
IIARfIYO AZUII]t
IS-{MI IIANAYAGI
ONOE, \I/AI{ANA IIAN,IYAGI
of the same name, this is one of the selections
tIA'fsuYAMA TOKUIIO AZUilIrr.
This dance sho\rs the colttrast in the tu'o states of mind of f^rankyu (abbreviation of
-Wanya
l(yubei): \vankyu, out of his mind in quest ot his departed beloved and f fankyu,
in noments of illusion, s'hen he lives in happiness lvith her.
l\-anya I(yubei had fallen in lo\.e u.ith a courtesan namcd f,{atsuyama. Grieving over
hcr tleath, he wanders through the coulltlyside seeking his dead beloYed. I{e leans against
a fiine tree and his thoughts carry him back to the t)ast. Abo\.e the stage hang cherry
blossorns. 'l'he scene t epresents an illusion of the days when
-Wanlryu
danced haptily with
l{atsuyama. From behind the pine tree energes the figu|e of l{atsuyama. They dance
toE:othpr. As thc len)po ctuickeils, tlre figur" of flatsllJarr:a glarlually fad.s before the
eyes of Wankyu who unrolls a letter
61iYen to him by \Iitsu:rama-but the letter vanishes
with ]ter. LeJt alone,-Wankyu pelforms a dance symbolic of his frenzy and grief. All that
Iemains to the consciousnes-s of
-Wank)-Lr
is the l)lowirlg of the breeze ovei the pine tree
and the shining of the rroon overhead.
O-MATSURIBAYASHI
(Festival Music)
The orehestra.
l5
l,lEiABEn
ffi'
travel
specialists
to the
orient
and
Japan
TItlC TRA[|EI.
STRI,ICE
1965
BROADWAY
NYC 23
STANLEY
OKADA
TR 3-7s3s
JAPANESE
THEATRE
IN HIGHTIGHT
Noh-Bunraku-Kabuki
A Pictorial
Commentary
wiih
54 Pholographs
by Francis Haar
Texf by Earle Ernst
93.75
We also recommend:
Kabuki Dram.a.. By Shufaro Miyake.
lllus.
g
t.50
Genyadana:
A Kabuki
plav.
Bv A. C.
Scott. lllus.
92.50. Engiish
'Texf
-
Clip and send with remifiance:
Name
Address
CHARI.ES
E. TUTTLE
CO.
"Bools
Aboul Japan,,
RUTLAND,
VERMONT
1)
2)
3)
4l
5)
6)
7)
a) DBAcoN .......
9) DItUNr( .......
YOUNG GIRI,
DANCEIIS..,,,.
GEISIIA AND YOUNG
f,.TR,EMEN
SELLEa, OF' Ii'ANS,,,.,.,
wo]uAN IN ltfAsra .......
MAN IN MASI{ ..,.,.,,...
COURTDSAN
I/ANTERN
IIOLDER, ,,.,
4I YOUNG GTRLS wl.frl
O.MATSURI
NO HI
(Festival Day)
Choreogtaphy by Masaya Fujirua
'rsAMr,ANAYAGr','*T$f ,Il*lrr"^%t;#fi.1J"_"*Srr".X[t
r/ovnR............
....-...].uKrKo
aztJilr,.', rairauro.ro
ouon
. IIIITUNOJO ONOE, MASAYA F,UJIMA,
",,SUSA'UNO
BANDO
.,....-. IIABUYO
AZUMA
........ TOI(UIIO
AZUllfA
,.,.... KII(UNOJO
ONOE
......,. YUKII(O
AZATYI,.
,.,.,., MASAYA
T.UJIMA
rrANs...........
.. .... f,'ront,
.. . .. .... .. rsADrr IIANAYAGT:_H$_E_!!!!Yo
,{zulra,
wariANA HANAyAGT,
rrr< u S iirri-o"il'ire
MASAYA FUJIMA;
A.ear, I(ITSUSABUIiO
"Of*U"
....... .,..t......................
KIr(uNoJO
ONoE
IIOKUIIO
A.ZADIA
Coslumes
and Co.
lchilawa.
,made.5y.
Talashim.aya.
Plaiforms by Shimizu
.$ff,.:::,l,Jff
,#H'rr:l;ed
bv'Kunihilo
-Co..
Kabuli curtain by C. ltoh
Wardrobe supervision
iy Sunzo
Construclion
Hashimolo.
Administrators.
. Mae Frohman
""d
wirTt5.lo.* Produciion
Slaqe Manaoer
Scenic Consuh-anl
Master Carpenler .......
Master Electricion . .. .....
Master of Properties
.....
Wardrobe Miilress
S. HUROK
Comp_anyManager
.. . ea*"ia H"ii
frcss l{epresenfalive . . Marlin Fainctoi,
Prcss Represenlative
. . Martin Feinsleii Cosiume Consullanl
Ticlel Coordinalor .
ucrersoordtnalor
.... ... Molle Regan
Executive Secrelary
. . Anne Ooo..i"n
Promolion Assislani ..... Michael
Adverlising Representaiive,
Anne Opperman
Michael Sweeloy
Lawrence Weiner Associates
The Deodorizing Air Purifiers and the Creco
ffll1
8::.';xl'Jry.',n"
used in lhis thealre are
manufaclured
?/6o'o
arno io t/e
uAt
The wor.ld tour of the Azuma Kabuki
Dancers and Musicians, organized to present
to the West the proud
traditions of Kabuki
Dance and Music, has the support of the high_
est circles in Japanese life, including H.I.H.
Plince Takamatsu,
brother of the Empelor.,
the Japanese Ministry of Foreign Affails. and
the Japanese Ministly of Education, ail of
whom view the current tour as an effective
means of promoting
international
under_
standing.
To insure artistic merit on the highest
level, the Troupe was selected from the prin_
cipal contemporary
masters of Kabuki Danc_
ing and Music throughout Japan, those per_
formers who have sprung from the Kabuki
dynasties and have devoted their lives to
keeping alive this dance art.
TOKUHO AZUMA: Miss Azuma,s dis-
tinguished reputation stems from her great
Kabuki forbears and her exacting training at
their hands. Her late father, Ifzaemon XV,
was one of the most revered actors and
dancers in the Kabuki Theatre and was the
dynastic head of the Ichimura family which
traces its beginnings to the early days of
Kabuki.
Miss Azuma's training began at the age
of six and included additional instruction
from Mitsugoro, Ifead of the Bando School
of Dancing, and Kikugoro VI, Head of the
Onoe School of Kabuki Dancing. At this age
she even appeared on the stage of the Kabuki
Theatle with her father. When she was four._
teen, Azuma leceived a dipioma from Kane_
mon Fujima, Head of the Fujima School of
Kabuki Dancing, entitling her to bear the
dancing name oI llarue Fujima.
Filmly gr.ounded
in the tradition, she went
on to ct'eate her own individual style, which,
while maintaining the stature of the Kabuki
classics, added an original element. Encour_
aged by the plaudits
of the critics, she began
to form her own groups,
the first,
,,Shunto_
Kai" (Spring
Wisteria Dancing
Group), the
second with her husband and famous chore_
ographer,
Masaya Fujima.
With the death of her father, Uzaemon XV,
in J.945, Miss Azuma received the crowning
distinction
of her comparatively young life.
She inherited from him the Headship of the
Azuma School of Kabuki Dancing,
becoming
Azuma IV. Such inheritance
does not occur
simply because one is the son or daughter of
the Head. Ihe critics and specialists of the
Kabuki Dance world dictate whether son
daughter, or adopted
"hild
o.
fr;;-.";.
worthy to inherit the Headship of sueh a
Dancing
School.
KIKUNOJO
ONOE: Kikunojo has the
unique distinction of having inherited the
Headship of the Onoe School of Kabuki
Dancing from the man many considered the
greatest
dancer in Kabuki history, Kikugoro
VI. Kikunojo came under the tutelage of
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Kikugoro VI at the age of ten and soon be-
came one of his favorite disciples. In fact,
Kikugoro frequently had Kikunojo appear
with him as a dancing partner on the Grand
Kabuki Theatre stage.
While still very young, Kikunojo reacted
to the resurgence of interest in classical danc-
ing in Japan by concentrating on the Kabuki
dance instead of acting. He began to or-
ganize performances all over Japan and was
subsequently invited to give performances
in
the old classical festivals of dance in the three
major art centers of Japan-Tokyo, Kyoto
and Osaka.
His highest rank was achieved when his
great master, Kikugoro VI, just
before dying,
passed on to Kikunojo as worthy to carry
on his name, the Headship of the Onoe School
of Kabuki Dancing.
MASAYA FUJIMA: Masaya's po"ition in
the Kabuki Dance is no less formidable than
the two stars mentioned above. His first
teacher was the same Kikugoro VL His sec-
ond teacher was another of the great Kabuki
figures of recent years, Koshiro VII, of the
centuries-old Matsumoto Kabuki dynasty.
Koshiro VII was Head of the Fujima School
of Kabuki Dancing under the name of Kane-
mon Fujima. He took Masaya under his per-
sonal guidance
and was able to see him suc-
ceed to that dynastic name. Masaya then be-
came associated with still another famous
name in classical dancing when he
was asked to receive personal instruction
from his namesake, Masaya Fujima I, gifted
mother of Tokuho Azuma. From her he re-
ceived the name of Masaya Fujima II.
But Masaya's gifts went beyond dancing,
for it was in directing classical dances and
creating new ones that his talents came to
fruition, As a choreographer he is one of the
most highly regarded in Japan and each year
is selected to direct the dances for the Arts
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ACID INDIGESTION
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Festival sponsored by the Japanese Ministry
of Education. In addition to staging Kabuki
dances in the traditional manner, he is often
called upon to submit new dances for the
Grand Kabuki Theatre. One of his famous
new creations is the dance "Shizuka," which
has won wide critical acclaim. For this and
other works he is regarded as an artist who
has brought freshness to the Japanese dance
without losing sight of the richness of its
classical tradition.
KATSUTOJI KINEYA is recognized as
one of the great masters of samisen music not
only because of his long inheritance through
the Kineya dynasty of Kabuki fame but also
through his unceasing search for perfection"
He has worked continually to bring Kabuki
Music to a higher expression both through his
own efforts as an instrumentalist and through
his disciples whom he instructs in his School.
ROSEN TOSHA was born in the Kabuki
Music tradition and from early childhood re-
ceived his training in it. He has been a spe-
cialist in many instruments of the Kabuki
orchestra, such as the drums, flute, etc. It is
due to him, musicologists say, that the musical
accompaniment to Kabuki and Kabuki danc-
ing has developed into an independent branch
of Japanese instlumental music. This skill
and attitude he is transmitting through his
own disciples and School, as is the common
practise in Japanese theatrical alt.
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