Happy Women's Map 島根県 かぶき踊りの創始者 出雲阿国 女史 / Shimane (Japan) The originator of Kabuki Dance, Ms. Izumo-no-Okuni
「いざ、かぶかん！」
"Now, let's break the norms!"
出雲 阿国 女史
Ms. Izumo No Okuni
1572 - ?
島根県出雲市 生誕
Born in Izumo-city, Tottori-ken
出雲阿国はかぶき踊りを創始した女性芸能者です。全国に広まり、歌舞伎ならびに美人画・浮世絵を生み出しました。
Izumo no Okuni is a female entertainer who founded kabuki dance. It spread all over the country and gave birth to Kabuki, Bijinga, and Ukiyoe.
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「ややこのをどり ふりよや見よや」
くには11歳のときに8歳の加賀と一緒に奈良・春日大社で「ややこ踊り」を披露して話題になります。おかっぱの幼女らが揃いのきらびやかな衣装をまとい美しい模様の扇を手に、「身は浮き草よ 根を定めなの君を待つ 去のやれ月の傾くに君を待つ」「花も紅葉も一盛り ややこのをどり ふりよや見よや」、大人の恋の流行歌を歌いながら振りを揃えて艶やかに跳ねるように踊ります。宮廷でも披露して、天皇はじめ戦国乱世で逃げ惑う人々の心を慰めます。くには出雲国の鍛冶屋の娘として生まれ、杵築大社（出雲大社）の神前巫女となります。その頃、豊臣秀吉の朝鮮出兵に伴って社領１０００石（今の1億円程度）を没収され大社の財政は困窮。神職家は豊臣・徳川ら権力者に本殿の修理・造営の支援を陳情、くにはじめ下級神職らは参詣勧誘また造営費集めのために諸国勧進巡業の旅に出ます。京都に庇護者（パトロン）を得ることに成功した一座は、戦火をのがれつつ京から大和へ、駿河へ、さらに四国・九州へ各地を巡業します。駿河では駿府城の徳川家康の宴会へ呼ばれます。意表をつくように、清らかな巫女姿で荘厳な神楽舞を当世風に艶やかに踊り喝采をあびます。やがて一座に、猿楽師ほか囃子方・狂言方一行が加わります。20歳のくには豊臣家と縁の深い京都・北野天満宮の権力者・禅昌の庇護を得ることに成功、禅昌から連歌はじめ文化教養を学びながら、伏見城・公家邸・宮中の近衛殿はじめ後陽成天皇の生母・新上東門院の御所で踊りを披露します。伏見城で天下分け目の戦が勃発すると、一座は再び諸国勧進巡業の旅に出ます。くには狂げん師で鼓打ちの三十郎と結婚して二児をもうけます。
「いざ かぶかん」
関ヶ原の戦いに勝利した徳川家康が征夷大将軍に就任、31歳のくにはじめ一座は「かぶきもの」が闊歩する京都に戻ります。くには男曲げを結い上げ鉢巻きを締め、赤地金襴の羽織をまとい水晶の十字架を首に掛け、黄金の刀を担いで「かぶきもの」に男装。道化役の「猿若」を従えて、一座の男が女装する茶屋女(遊女)と恋の口説きのやりとりを軽妙に演じながら歌い踊ります。「茶屋のおかかに 七つの恋慕よなう 一つ二つは痴話にも めされよなう 残り五つ皆 恋慕ぢや」。みやこ人はじめ諸国の見物客ならびに大名・武士たちにも熱狂的に迎えられます。北野神社境内に一座の常設舞台をつくり、さらに江戸城の本丸・二の丸の特設舞台で上演。くには天下一の座を手にした女として家康と並び称されます。女芸人はじめ遊女がこぞってかぶきを名乗る中、40歳のくには華やかな公家衆・裕福な商人衆に囲まれて、なじみの女院御所で新しい歌舞伎踊りを披露します。足拍子を踏みながら、「光明遍照 十方世界 念仏衆生 摂取不捨 南無阿弥陀仏 南無阿弥陀仏」。黒塗りの笠に僧衣をまとい紅の腰蓑と鐘を首にかけて打ち鳴らします。念仏に誘われ客席から現れた名古屋山三の亡霊役と問答を交わしながら歌を交えて笛・つづみに拍子を合せて飛び跳ね踊ります。豊臣方の主君の死後に浪人となった美男の「かぶきもの」名古屋山三郎の死からちょうど10回忌であることに気づいた客席は沸き上がります。「さてなにごとも打ち捨て ありし昔のひとふしをうたい いざかぶかん」舞台のくにもいつのまにか僧衣を脱ぎ捨て、紫の布で面を覆いきらびやかな小袖に黄金の刀を担いだかぶき姿に早変わり。流行しはじめた浄瑠璃節に合わせて、男装また女装した踊りてと高揚した観客とが入り乱れて歌い踊って大団円に。その後もくには艶聞を噂されながら新しい芸を工夫し続けました。
"Come and see Yayako Odori"
At the age of 11, Kuni gained attention when she performed the "Yayako Odori" with Kaga, who was 8 years old, at Nara's Kasuga Taisha Shrine. Young girls with bobbed hair adorned in splendid matching costumes, each holding a beautiful patterned fan, would dance gracefully, synchronizing their movements while singing a love song of adults: "My body is like floating grass, awaiting you with roots firmly grounded, waiting for you as the moon of the past tilts away." They showcased their dance not only at the imperial court but also provided solace to the hearts of people fleeing in the chaos of the Warring States period, including the emperor. Born as the daughter of a blacksmith in Izumo Province, Kuni became a shrine maiden at Kizuki Taisha (Izumo Taisha). During Toyotomi Hideyoshi's Korean campaign, the shrine's 1,000 koku (approximately 100 million yen today) was confiscated, leading to financial difficulties. The shrine clergy petitioned influential figures like Toyotomi and Tokugawa for support in repairing and rebuilding the main hall. Kuni and other junior shrine clergy embarked on a pilgrimage across the country to encourage visits and raise funds for construction. Successfully obtaining a patron in Kyoto, the troupe traveled across various regions, evading warfare from Kyoto to Yamato, Suruga, and further to Shikoku and Kyushu. Kuni and her troupe were invited to a banquet at Sunpu Castle by Tokugawa Ieyasu. Surprisingly, in a pure shrine maiden appearance, they performed a solemn Kagura dance in a contemporary and enchanting style, receiving applause. Over time, the troupe expanded to include Sarugaku performers, musicians, and Kyogen actors. At the age of 20, Kuni succeeded in gaining the patronage of Zencho, a powerful figure at Kyoto's Kitano Tenmangu Shrine, which had strong ties to the Toyotomi clan. While learning poetry and cultural education from Zencho, Kuni performed dances at various locations, including Fushimi Castle, aristocrats' residences, and the residence of the mother of Emperor Go-Yozei, Shinkami Higashimon-in. When the decisive battle erupted at Fushimi Castle, the troupe set out once again on a pilgrimage across the country. Kuni married Samburo, a drummer and performer, and bore two children.
"Now, let's break the norms!"
After Tokugawa Ieyasu's victory at the Battle of Sekigahara and his appointment as Shogun, 31-year-old Kuni and her troupe returned to Kyoto, where "Kabuki mono" (eccentric figures) flourished. Kuni, dressed as a man with a tied-up topknot, a headband, a red and gold brocade haori, a crystal cross around her neck, and a golden sword, presented herself as a "Kabuki mono." Accompanied by the comic character "Saruwaka," the male members of the troupe engaged in a lively exchange of romantic pursuits with the tea house girl, all performed with song and dance. "To the tea house O-kakane, seven loves like this, one or two may be foolish talks, but the remaining five are all true loves." All members of the troupe, both male and female, dressed in the opposite gender's attire, danced energetically amid the excited audience, concluding in a grand finale. They established a permanent stage at the precincts of Kitano Shrine, and further staged performances at specially prepared stages in the main and secondary enclosures of Edo Castle. Kuni, now regarded as the top performer nationwide, was praised alongside Ieyasu. People from Kyoto and other regions, including daimyos and warriors, flocked to see the performances. Amidst various entertainers claiming the name "Kabuki," 40-year-old Kuni, surrounded by elegant courtiers and wealthy merchants, presented a new Kabuki dance at her familiar residence, the court of the Empress Dowager. Stomping her feet to the rhythm, she sang and danced: "Illuminating the world in all directions, sentient beings chanting the Buddha's name, embracing all without exception, Namo Amida Butsu, Namo Amida Butsu." Clad in black lacquered hat, monk's robe, crimson waistcoat, and bell around her neck, she struck the bell. Invited by the chanting, the ghost of Nagoyayama Sanzo appeared, engaging in a dialogue and interspersing songs while coordinating with the flute and tsuzumi. The audience realized it was the 10th memorial anniversary of the death of Nagoyayama Sanzo, a handsome "Kabuki mono" who became a ronin after the death of his lord in the Toyotomi faction. The audience erupted in excitement: "Now let us abandon everything, sing of the old days, and embrace the challenge." Onstage, Kuni, unnoticed, discarded her monk's robe, covered her face with a purple cloth, transformed quickly into a glamorous kosode-wearing figure, and, carrying a golden sword, adapted to the newly popular Joruri style, singing and dancing. Kuni continued to innovate her art while rumors of her charm circulated.
-島根県立美術館 Shimane Prefectural Museum
-歌舞伎美人 Kabuki-bito
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