Utagawa Kuniyoshi (歌川国芳) (artist 11/15/1797 – 03/05/1861)

Arashi Rikaku II (二代目嵐璃珏) as a Sanbasō marionette (ayatsuri Sanbasō - あやつり三番叟) from the dance play Yanagi no Ito Hiku ya Gohiiki [柳糸引御摂]

Print

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Date:02/1853
Dimensions:10 in x 14.125 in (Overall dimensions) Medium:Japanese woodblock print
Inscription:Signed: Ichyūsai Kuniyoshi ga
一勇斎国芳画
Artist's seal: kiri
Publisher: Yamotoya Heikichi
(Marks 595 - seal 02-026)
Date: 2/1853
Censor seals: Fuku and Muramatsu
Links Museum of Fine Arts, Boston
Ruth Chandler Williamson Gallery
Nationaal Museum van Wereldculturen (Rijksmuseum Volkenkunde, Leiden) via Ritsumeikan University
Museum of Oriental Art, Venice (via Ritsumeikan University)
Metropolitan Museum of Art
Victoria and Albert Museum Description:Note that Sanbasō is often spelled Sambasō. The term ayatsuri-ningyō translates as a marionette or puppet. Ayatsuri by itself means manipulation.

Rikaku II's robes show two major motifs often seen on the costumes of a Sanbasō: one is made up of the wings and feathers of a large fanciful bird and the other is young pine tree limbs.

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This print commemorates a performance of Yanagi no Ito Hiku ya Gohiiki (柳絲引御摂), a play by Chikamatsu Monzaemon, at the Kawarazaki Theater in Edo in 1863.

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Sanbasō performances, often using puppets, had a long tradition with basically a religious significance. These originally were enacted for the sake of both the gods and the humans with both in attendance. They were used for both purification rites and to invoke the good will of the gods as protection against future calamities.

In time Sanbasō was linked to the Nō theater which also was imbued with spiritual undertones. Naturally, by the time Kuniyoshi created this print Sanbasō has entered into the realm of kabuki too. In what way and how it was used and viewed we cannot say for sure, but it clearly had a role to play.

David Waterhouse wrote in volume one of The Harunobu Decade on page 184: "The origins of the Sanbasō dance have been much debated by Japanese writers,,, In Nō and Kyōgen it forms part of the group of congratulatory dances known as Okina, and thence entered Kabuki. In Kabuki it was performed either on ceremonial occasions..., or as an attractive dance in its own right, usually incorporated into a regular stage piece. In this way several varieties of i>Sanbasō developed; but all seem to have used a similar costume and properties."

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"During the Tokugawa period, every kabuki program began at dawn with a sophisticated ritual dance featuring the character of Sanbasō. Performed by a low-ranking actor, the dance was built around three short scenes (dan): 'waving sleeves and stamping' (momi no dan), the conventional 'jumping like a crow' (karasutobi), and the 'bell-tree' (suzu no dan), in which the dancer shakes a wand covered with small bells. It would be hours before the major stars appeared and the main play began, so only the most determined fans would attend. Today the dance is performed regularly for the New Year's production, and occasionally at other times as well.

Kabuki's various Sanbasō dances have their origin in the ritual nō play Okina, which in turn derives from early agricultural rituals intended to ensure prosperity. 'Okina' means 'old man,' and the central character symbolizes longevity and eternal youth. Okina exhibits many features that are different from nō proper, marking it as sui generis: the main actor (shite) puts on his mask in front of the audience; the steps at the front of the stage are used for an entrance; the music includes percussion patterns not found in any other nō play; and the dance has no plot. The nō performance begins with Senzai, played by the secondary actor (waki), taking the Okina mask from a small onstage altar. After the shite dons the Okina mask, he performs a short, solemn dance and leaves the stage. An actor of comic kyogen roles playing Sanbasō then dances a light-spirited imitation or parody of Okina's movements. Sanbasō is known as the 'black Okina,' since he wears a black version of the old-man mask."

Quoted from: Kabuki Plays on Stage: Darkness and Desire, 1804-1864, p. 52.

"...the Sanbasō dance became kabuki's single most important ceremonial dance. In time, it was developed into a variety of independent dances that incorporated all kinds of humorous and entertaining episodes. Sanbasō with His Tongue Stuck Out was the first of these variations." Ibid.

In a play entitled Sanbasō with His Tongue Stuck Out "...Sanbasō is a marionette whose strings get tangled, or competes in athletic and comic routines, or visits the pleasure quarters." Ibid., p. 53

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Professor Leiter writes specifically about this play and this actor. "This piece was taken by Arashi Rikaku II to Edo's Kawarazaki-za a year later. The text was revised by Shinoda Sasuke and the music by Kineya Yajûrô IV, with Bandô Sadajirô coming up from Osaka to collaborate. Senzai and Okina are performed as springwork puppets while Sanbasô, who appeared from out of a box, danced in imitation of them as a string-operated marionette. The kôken, playing the manipulator, acted out the untangling and cutting of his strings as Sanbasô spun rapidly around. When Onoe Kikugorô V danced Sanbasô in 1899 at the Kabuki-za, he revised the piece and had Okina and Senzai dance as humans, and also abbreviated their dancing. This remains the method still used."

Quoted from: New Kabuki Encyclopedia, p. 547.

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A most notable feature: the Sanbasō's hat - the Sanbasō eboshi (三番叟烏帽子) - the konsaki eboshi

Adolphe Clarence Scott wrote in The Kabuki Theatre on page 90: "There is a popular version called Ayatsuri Sambaso, in which Sambaso does a dance emulating the movements of a marionette on strings. It was first performed in 1853. Another called Shita Dashi Sambaso, or Sambaso putting out his tongue , was first performed in 1812. The dance is so called because Sambaso shows his tongue in the course of it . Other important variations of the dance are Shiki Sambaso, four seasons, Ninin Sambaso, two men, Shiki Sambaso, ceremonial Sambaso and Hinarazu Sambaso, the young crane."

"Sambaso is always colourfully dressed, a feature of his costume being the high hat, known as konsaki eboshi. It is about fifteen inches high , with broad gold and black stripes and a scarlet roundel on each side, it tapers to a point at the crown and is set back at an angle from the head and tied beneath the chin with strings, a distinguishing mark of Sambaso. There were other independent ceremonial dances in the old Kabuki theatre, but Sambaso is the most important one to have survived."

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The cultural and historical significance of the Sanbasō

Jane Marie Law in the introduction to her Puppets of Nostalgia: The Life, Death, and Rebirth of the Japanese Awaji Ningyō Tradition, published by the Princeton University Press in 1997, says on page 9: "My concern at that time was one of retrieval and reconstruction of the religious rites performed by itinerant puppeteers, particularly the Sanbasō rite. Sanbasō ritual is the most sacred rite in the Awaji tradition. Derived from the larger Okina tradition in earlier Japanese performing arts such as Noh and Kagura, this rite represents the direct manifestation in the human realm of visiting deities ("old men") from the other world, and is performed to purify homes, remove pollution, and bring blessing from the sacred realm at the period right after the New Year. The ritual forms the main pillar in the religious use of puppetry in Japan, and so the focus of my study was on this rite before its demise in the twentieth century. Awaji puppeteers had traveled all over Japan performing these rites, and many of them had settled in other regions and started their own puppetry troupes, considering themselves to still be "Awaji puppeteers." Some of those Awaji lineage centers still have remnant performances presented at shrines as part of a ritual calendar. I was interested in using Sanbasō performances of these other Awaji lineage theaters to reconstruct a picture of Sanbasō ritual on Awaji at an earlier time. In 1988, I traveled to Nagano prefecture and attended the International Puppetry Festival in Iida-shi. Then I watched puppetry performances at the Kuroda Ningyō Za (presented outdoors in the precincts of the Hachiman shrine), and interviewed the puppeteers at that theater and at the Waseda Ningyō Za nearby. The puppetry traditions in both of these shrines were started by an Awaji puppeteer in the early eighteenth century."
Related entities Yamamotoya Heikichi (山本屋平吉) (publisher)
actor prints (yakusha-e - 役者絵) (genre)
Arashi Rikaku II (二代目嵐璃珏: 11/1831 to 7/14/1864) (actor)
Chikamatsu Monzaemon (近松門左衛門) (author)

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