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2012-2-24 11:12
This weekend, a group of bona fide geisha gave audiences outside of Japan a rare glimpse into their closed world.
“The Geisha of Gion,” presented by the Hong Kong Arts Festival, recreated an authentic ochaya (teahouse) experience. Emerging from the banquet rooms of Gion, Kyoto’s famed geisha district, six geisha performed 17th-century ballads, kabuki dances and shamisen (three-stringed Japanese folk instrument) recitals in Hong Kong’s IFC shopping mall and Kowloon’s Nan Lian Garden. Versed in the classical arts, geisha have been entertaining men in Japan for centuries. Despite being romanticized by popular culture, their numbers are dwindling, though men today continue to seek out their services after work. Miharu, of the Okatome okiya (boarding house), and Masayo, of the Kanoya okiya, are two of the geisha who performed in the show. Both in their mid-twenties, they spoke to the Journal about smart phones, wearing jeans and the role of geisha in Japanese society today. They preferred to be published as one voice. The Wall Street Journal: Has the role of geisha evolved over time? Miharu and Masayo: We are proud of keeping our traditions. As guardians of Japanese culture, we believe that we should remain authentic. We prefer not to evolve, but over the past few decades, our activities have broadened in many aspects. We are not used to working outside of Japan. It was a challenge for us to perform at the HKAF. How has modern technology such as the Internet, smart phones and social media infiltrated your profession, if at all? Some teahouses and geisha have their own websites, but maiko [apprentice geisha] are not permitted to use their own mobile phones. Who are your clients and where do they come from? They come from all over Japan, and have all kinds of professions. Individuals generally have a broad education and understanding of tradition. We often go on business trips [to accompany clients] to other parts of the country. What do you talk to your clients about? Some clients are interested in our daily life and lessons. We read through newspapers to learn all affairs in society, but seldom talk about things other than entertainment. How long does it take you to get dressed for work, and do you wear casual clothing like jeans and a T-shirt when you’re not working? With a formal, long kimono, we do white makeup and wear a wig. It takes about one to one-and-a-half hours in total. When we wear an ordinary kimono for work, we go to a hairdresser for one hour. We wear modern clothes on our day off, but because our business mother did not allow us to wear jeans while we were maiko, we seldom wear jeans even now. What do you like to do on your time off? We practice dance and shamisen. We go to kabuki performances, and recitals of teachers and colleagues. We like to eat out at cafés and restaurants that are new or being talked about. What makes a good geisha? We would say patience, diligence, hospitality, adaptability and musical talent are more important than being pretty. What is the biggest challenge to your profession in the 21st century? It is to survive without changing or losing our tradition. Andre Cooray Hong Kong Arts Festival日本艺伎
上周末，一群友善的日本艺伎给了外国观众一个窥探她们封闭世界的难得机会。 香港艺术节（Hong Kong Arts Festival）上展演的“祗园艺伎”（The Geisha of Gion）创造了一次原汁原味的ochaya（茶室）体验。在香港国际金融中心商场（IFC shopping mall）和九龙南莲园池（Nan Lian Garden），六位来自祗园（京都著名的艺伎区）的艺伎翩然登场，表演17世纪的民歌、歌舞伎舞蹈和三味线（一种三弦的日本民族乐器）。 几百年来，精通传统艺术的艺伎都是为男性提供娱乐。尽管被流行文化染上了浪漫色彩，但她们的人数正在减少，不过如今的男性工作之余仍会来这里放松一下。 Hong Kong Arts Festival冈留置屋（Okatome okiya，置屋意为“旅店”）的美晴（Miharu，音）和叶家置屋（Kanoya okiya）的雅代（Masayo，音）是参与了此次演出的两位艺伎。这两位二十多岁的姑娘和《华尔街日报》的记者聊到了智能手机、穿牛仔服和艺伎在现今日本社会中的角色。 《华尔街日报》：艺伎的角色在与时俱进吗？ 美晴和雅代：我们为保持我们的传统而自豪。作为日本文化的守护者，我们认为我们应该保持本色。我们不愿变化，但在过去几十年中，我们的活动在许多方面都有所拓展。我们还不习惯在国外工作。在香港艺术节上表演对我们来说是个挑战。 《华尔街日报》：互联网、智能手机和社交媒体等现代科技是否渗透进了你们的职业？如何渗透？ 美晴和雅代：有些茶室和艺伎有自己的网站，但舞伎[见习艺伎]不允许使用自己的手机。 《华尔街日报》：你们的顾客都是些什么人？他们来自哪里？ 美晴和雅代：他们来自日本各地，从事各种职业。客人们通常知识面很宽并了解传统。我们经常到日本其它地方出差[去陪伴客人]。 《华尔街日报》：你们都和客人们聊什么？ 美晴和雅代：有些客人对我们的日常生活和学习课程感兴趣。我们通过读报了解社会上发生的所有事，但很少谈论娱乐以外的事。 《华尔街日报》：你们打扮好去工作需要多久？你们不工作时，会穿牛仔裤和T恤等休闲服装吗？ 美晴和雅代：穿正式的长和服时，我们要化白妆并戴假发，这总共要花一到一个半小时。当我们穿普通和服工作时，会请美发师做头发，这要花一小时。我们休息时穿现代服装，但在我们还是舞伎时妈妈桑不允许我们穿牛仔服，所以即使现在我们也很少穿牛仔服。 《华尔街日报》：你们休息时喜欢做什么？ 美晴和雅代：我们练习舞蹈和三味线。我们会参加歌舞伎表演，以及老师和同事的表演会。我们喜欢去新开的和热门的咖啡馆和饭馆吃饭。 《华尔街日报》：好的艺伎应该是什么样的？ 美晴和雅代：我们认为，耐心、勤奋、热情、随机应变和音乐天分比漂亮容貌更重要。 《华尔街日报》：在21世纪，对你们的职业的最大挑战是什么？ 美晴和雅代：生存下来，而不改变或丧失我们的传统。 Andre Cooray （本文版权归道琼斯公司所有，未经许可不得翻译或转载。） |