Ryokan: the Culture experience
As thrilled as I might have been to lounge around the Ryokan and Onsen the entirety of the long weekend, we decided it was for the best to actually go out and explore the area of Shimo-Suwa. It seemed the rural mountain town had a lot to offer in terms of cultural experiences, and who were we to deny ourselves of that?
Armed with a map sporting a "99 Minute Walking Tour of Shimo-Suwa," we ventured out of the Ryokan. I actually found the exact map we used, so feel free to check it out below:
We were on our way! Our first stop was to the side of the Raiko-Ji Buddhist temple, where we followed along the side of a large and beautiful cemetery until we happened upon what seemed to be a very old stone Torii gate. We bowed and entered, finding many shrines that were built in Japan's Edo period along the steep pathway and surrounded by a babbling stream. One of the most surprising shrines was a bright red Torii gate with a shrine that held many tiny statues of cats. This gate had clearly just been repainted, as it was very stark against the old stones that surrounded it.
It was not a great sign that all of us had already begun to feel the steep slopes in our leg muscles, yet we persevered and moved on to the next location. The Nasendo Highway is the path we had chosen to follow, which was high above the town below and provided beautiful views of the mountains and the whole valley. We passed by many beautiful traditional-style houses, and each seemed to have its own shrines set up meticulously in its backyard.
After a bit of walking, we made it to the gates of the Jiun-Ji Temple. It genuinely looked as though passing through the gate was entering another world, as everything was so dreary but through the gates the lush green moss was stark.
Inside, we walked carefully along the stone pathway to view the massive trees that lined the walkway. Inside, the Shrine was actively in use, as we could hear a priest chanting some kind of hymn from inside the main large shrine building. We had to strictly follow the pathway here, as all around us the loose pebbles were carefully arranged into a massive zen garden surrounding each building.
The path led us to a cemetery behind the shrine, where wooden buckets and ladles were located so that if/when a family or friend was visiting, they could cleanse the stones of their loved ones. Sound traveled quite well within the shrine, so we spoke in whispers and stepped very delicately, not wanting to disturb the priest. Down a steep stone staircase from the shrine was the Dragon's spout, where hot spring water always sprayed from a stone dragon's mouth that was carved in the middle Edo period. Though, honestly, it was more of a spittle than a spray of water.
Next, we made our way to the Harumiya Shrine. This shrine was very large and immaculately decorated, though honestly I was most compelled by the massive trees that stood around the shrine and were wrapped in some sort of special rope. I was told by Ash this was done by the priests to keep some form of spirit trapped within the trees they were wrapped on. By the entrance, two elderly attendants were stoking a fire. I'm not entirely sure why they did this, but it did add to the spiritual ambiance.
After exploring Harumiya for a while, we jaunted on over to the Ukashima-sha Shrine, which was very cool as it was located in the middle of a sandbar! Two bright red bridges metal connected the sandbar to the main mainland, which was really fun to run along.
There was construction happening along the waterway, which detracted a bit from the 'natural' beauty of the shine, but nonetheless, the shrine was very cool and it was funky to be surrounded by water on all sides. It gave the shrine a very 'disconnected from the physical world' vibe.
Next to the sandbar was a long walkway, which lead us right to the sight of the Manji Buddha statue. I was really looking forward to seeing this statue, as it was featured in nearly every aspect of the town. In paintings, in warnings, in advertisements, the Buddha was there to greet you. The story of the statue is that, in the Edo period, a sculptor was beginning to carve the stone, when it suddenly began bleeding and the people panicked. Convinced it was sacred, the stone was then carefully carved into the likeness of Amitabha Buddha, with a somewhat humorous appearance of a tiny head with a large nose upon a bulbous body. By the statue were instructions on how to properly pray, which we gave an honest shot. The instructions read; Bow once and say your prayer in your heart, then circle the statue 3 times while chanting the prayer in your heart, then bow once more.
This was the end of our cultural walk, as it then began to rain and it was very cold out so we did not want to linger. On our way back to the Ryokan, we passed by the Gebabashi Bridge, which was the oldest standing wooden structure in Shimo-Suwa. It was shaped like a half moon, aka it was VERY steep. It was cool to see where the bridge once stood, as it was now in the smack middle of a main road.
On our last day in Shimo-Suwa, we finally made our way to the Suwako Watch & Clock museum, a museum that sports the oldest Hydrolyc clock tower in Japan. Shimo-Suwa is known as the birthplace of the modern clock in Japan, so it was only natural that they had a whole museum dedicated to clocks. It was fun to walk around the main museum and see many different forms of clocks dating way back in the day to modern watches, and there were several interactive exhibits that explained how clocks worked, which was informative and fun. The main call of the museum, however, was the world's first fully operational water-powered astronomical clock tower that was in the courtyard.
This clock is over 900 years old (WOAH), and had been refurbished with (kind of creepy) statues to represent the workers that used to remain within the clock tower. We were actually allowed inside the tower, where two staircases lead you from the ground floor (where all of the old tech was), to the second floor, where an astronomical globe was carved with 1314 stars that were known at the time. (..I think. I honestly cannot find the paper that told me the star count)
Each hour, when the clock would chime, the main tower in the center (seen above) would spin with little statues, and little men would strike on drums or on bells. On the right-hand side, two doors would swing open and reveal a wax figure animatronic (again, kind of creepy) that would narrate...something. I don't know Japanese practically at all, so I did not catch what the animatronic was saying, but it was funky.
Our time in Shimo-Suwa had come to an end, and I have this to say: Nowhere in the US can you walk around a tiny town with this much history. Literally, since half of the shrines were made before the US was founded. Isn't that insane??
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Kamisuwa Onsen, collected random infos
Back in March, a reader of this blog asked for a blog entry in the vein of previous "the look of..." features, but for Kamisuwa Onsen 上諏訪温泉.
Sadly, there isn't much visual material available and the basic look of the 3 or less remaining Geisha boils down to: Yohatsu, Homongi, light-coloured Obiage, Otaiko Musubi, or the formal look: Tsubushi Shimada, Kurotomesode, red Obiage, Otaiko Musubi. So here, I present some collected random infos you might find interesting.
Kamisuwa Geisha, Setsubun 2014
Dances
Kappore かっぽれ
Takeda bushi 武田節
Kiso bushi 木曽節
Kohan bushi 湖畔節
Ina bushi 伊奈節
Shôchikubai 松竹梅 (performed in the new year season)
Tsurukame 鶴亀 (performed at wedding receptions and birthdays)
O-Suwa Takashi お諏訪節
Sukêto bushi スケート節 (Ice skating on lake Suwa)
Kirigamine kouta 霧ヶ峰小唄 (ice skating)
Onhashira kouta 御柱小唄
Suwa ondo 諏訪音頭 (about the beauty of Suwa throughout the seasons)
Okaya kouta 岡谷小唄 (about the Okaya silk industry)
Numbers
1930's ("early Showa period"): 200 Geisha in Kamisuwa
1958: 80
1960's: 300
2006: 3
History
The first Hanamachi on lake Suwa developed in Nawatemachi 縄手町/畷町 in 1903 (renamed to Otemachi 大手町 in 1909). In the following years, a few Ryotei were established. In 1920, the area of Otemachi 1 and 2 chôme was designated as area for Geisha, so Okiya and Ryotei of the neighbouring Izumichô area 和泉町 were moved there. In the early Showa period (1920's/30's), Okiya that were formerly located in Hamamachi also moved to Otemachi.
Kamisuwa had two kenban: Ote kenban 大手見番 and Koyanagi kenban 湖柳見番.
In Shimosuwa 下諏訪, it seems kenban had no specific names.
In Okaya 岡谷, there used to be another Koyanagi kenban 小柳見番 in the Honmachi area.
In Chino 茅野, there were Miyagawa kenban 宮川見番 (current Miyagawacho area), and Eimei kenban 永明見番 (current Nakacho area).
Before the around 1969/70, Geisha of these respective cities did not work in other cities. But with the decline of Geisha numbers, the Hanamachi in Okaya, Shimosuwa and Chino were no longer able to meet the demands of their customers, so it was allowed for Geisha from Kamisuwa to pad those numbers.
Chiyomaru 千代丸 in "Showa Meigiren", 1988
Daily life
Geisha usually practiced their respective arts (such as Narimono, Nagauta, Kouta, dance) until 15:00, afterwards they went to the beauty parlour to get their hair done, put on makeup and change into work clothes. Ozashiki usually lasted for two hours.
Style
In the year 1935, Geisha still wore their natural hair instead of wigs, and their hairstyle changed, depending on rank and age. Hangyoku wore Momoware 桃割れ and Oshidori おしどり. Geisha under 26 years wore Yuiwata 結い綿 or Taka shimada 高島田, no info on Geisha between 26 and 30, Geisha aged 31 and above wore Geiko yui 芸こ結い, tsubushi (shimada?) つぶし, icho gaeshi 銀杏返, and yokai maki 夜会まき.
Around 1955, most Geisha wore short hair or western updos on a daily base and used Nihongami wigs for work.
Becoming Geiko
Three mediators who acted as go-between of Okiya and families/volunteers worked in Kamisuwa. According to Manchiyo, who worked from 1930 to 44 in Otemachi, the daughters of poor farmers and travelling entertainers were sold to the Okiya for 15 yen. When the parents met with the Okiya, the length of the girl's service was decided.
After becoming employed by the Okiya, the girls were doing "odd jobs", while taking lessons in Hanayagi-ryu dance, Shamisen and other arts. It's like Shikomi in Kyoto, although no specific term is named.
When a Hangyoku was ready to become a Geisha, she had to prove her skills in dance or shamisen to a council of dance/shamisen teacher, Okiya owner, senior Geisha, head of the Geisha association and a member of the Kenban. The Okiya spent around 30 yen for an Erikae, while the Geisha had to take a loan of 150-200 yen. If her parents were to borrow money during her time before becoming independent, it was added to her loan. If parents continued to ask for money and the Geisha's debt became too large, they often became prostitutes in order to pay off their debts.
Around 2 years after becoming Geisha, they became "Goshugi tori" ご祝儀取り - they receive some of the money from the Gyokudai, but tips were entirely for them to keep. The next level was called "share" 分け, when 40% of all earnings were her own. When becoming independent from their Okiya, they paid fees for food and being registered at the place. Most Geisha also had a patron after becoming independent, which also lead to most of them retiring before the age of 30.
@gardengeisha yes, this is about Kamisuwa Onsen located in Suwa-gun in Nagano prefecture!
Sources:
https://www.saginoyu.com/blog/10090 (2014)
地方花柳界における〈芸〉と〈色〉諏訪湖沿岸 地域の事例 (2015)
花街文化伝える学校が開校/長野・上諏訪温泉 (2008)
はなあかり: 昭和名妓連 (1988)
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Shimosuwa, from the series Sixty-Nine Stations of the Kisokaidō, Utagawa Hiroshige, 1835-38, Cleveland Museum of Art: Japanese Art
The foreground of this print shows travelers enjoying an evening meal at an inn, with the proprietor looking pleased at the gusto of her guests. In the background, another traveler is gratefully relaxing in a large wooden tub filled with hot natural spring water, having discarded his robe next to the bath. Shimosuwa is the only stop along the Kisokaidō—a road running from Nibonbashi in Edo (now Tokyo) to Sanjō Ōhashi in Kyoto—with a natural hot spring. The print series was a collaboration between Hiroshige and Keisai Eisen (1791–1848).
Size: Sheet: 23.1 x 25.4 cm (9 1/8 x 10 in.)
Medium: Color woodblock print
https://clevelandart.org/art/1985.322
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