Kadozuke - Kadozuke

Japanese: 門付 - かどづけ

A type of street performance or public art. A general term for the arts and performers who stand at the entrances of people's houses and perform arts for which they receive payment. In the past, it originated from a folk belief that gods would visit each gate at set times and give blessings, and the impression of divine beings visiting in the form of those gods was strong in this art form. The history of gate-style performing arts originated from the Hogaibito, who were visiting gods who served the imperial court with their performing arts. Remnants of the character of these lower-ranking divine beings from long ago can be seen in examples of terminology such as "celebrating the New Year." As the manor system became stronger and land-based economies became mainstream, the people who belonged to the imperial court and large temples and shrines with their miscellaneous arts and gimmicks became wandering gimmick performers. In the Middle Ages, they were called "Shichidomono" and the seven most representative were Sarugaku, Aruki Shirabyoshi, Aruki Miko, Kanetataki, Hachitataki, Aruki Oukou, and Sarukai (Daijo-in Temple and Shrine Miscellaneous Records), but as the Warring States period turned to the early modern period, the variety of performances suddenly increased. As a result, although they originally only visited on set occasions such as during certain seasons or on "special" days, as they began to require payment for their performances to make a living, they began to visit people's homes on "ordinary" days as well, and eventually degenerated into begging performances.

During the Edo period, there were many performers under the control of the etagashira (head of the Edo clan), Danzaemon, but with the exception of a few such as Senzumanzai and Saru-mawashi, most of them either originated in the early modern period or were forms of entertainment that had changed dramatically despite using the names of older forms of entertainment. There were a huge number of them and many different types, but they can be classified according to the content of their performance as follows:

[Oda Koji]

Exorcism arts

Exorcisms for exorcising evil spirits, Choroken, Chest beating, Sekizoro, Ubara, Sutasuta Bozu, Kitsune Mai, Sending off the Wind God, Bowl beating. Apart from the exorcisms that come at Setsubun, most of these are performed at the end of the year to ward off the bad luck of the previous year.

[Oda Koji]

Blessing Arts

Matsubayashi (Matsubayashi), Kesou Bumiuri (Kesou Bumiuri), Chiaki Banzai (Senshu Banzai), Monkey Shower, Puppet Boy, Monoyoshi, Harukoma, Homera, Torioi (Torioi), Fukudawara (Fukutawara), Daikoku Mai (Daikoku Mai), Ofuku-san (Fuku-san), Kasedori (Kasedori). Early spring is the peak time for door-to-door entertainers to make money, so traditional arts are concentrated here.

[Oda Koji]

Purification Arts

Lion dance, Daikagura, Handa Inari, Waiwai Tenno, Sumiyoshi dance, Shinto dancer, Kashima no Shitatsu, Chosoku Gyonin, Awashima Gannin. Many of these performers come during the New Year, but some, like Awashima Gannin, appear regardless of the season, offering purification rituals to cure women's illnesses and selling bleached cloth, giving a strong early modern feel to these performances.

[Oda Koji]

Ritual and preaching

These include chanting of ritual texts (yamabushi ritual texts, song ritual texts, preaching ritual texts, ukare-bushi, chongare-bushi, deroren ritual texts, etc.), blind female musicians, singing nembutsu, monk sermons, eight-bell gongs, ainoyama, monk discussions, Kasai dance, komuso, biwa-hoshi, yotsutake, and walking shrine maidens. These are a type of art that is almost unrelated to the seasons and would be better described as street performance.

The Japanese, who went from a world deeply rooted in faith such as ritual poetry and sermons to popular entertainment such as Naniwabushi, storytelling, and rakugo in the early modern period, gave birth to many "begging arts" during the Edo period. There are too many to mention, such as riddle solving, street lecturing, Taiheiki readings, street chanting, beggar plays (one person playing two roles), Yoiyanaa, one-man kyogen, voice coloring (actor impersonation), hat puppet, Nagamatsu Kozo, straw puppet, Tanba no Arakuma, Boatman Hijin, Kawaigatte, one-man sumo, and udeko. This tradition was passed down to the Hokkai performers of the Meiji period and traveling Enka singers of modern times, but in modern times, when the main streets have been replaced by squares, buildings have been built and gates have been removed, it seems that most of the tradition has been lost.

[Oda Koji]

"Shigeo Miyao and Senshu Kimura, Edo Customs Materials 1: Edo Folk Street Entertainment and Customs" (1979, Tenbosha)

[Reference] | Street performance

Seasons and the Elderly
"Jinrin Kunming Zui" Vol. 7, published in 1690 (Genroku 3), owned by the National Diet Library

Seasons and the Grandmother

Monkey show
"Ehon Otogihin Kagami" by Hasegawa Mitsunobu, published in 1739 (Genbun 4), owned by the National Diet Library

Monkey show

Puppeteer (puppet master)
"Ehon Otogihin Kagami" by Hasegawa Mitsunobu, published in 1739 (Genbun 4), owned by the National Diet Library

Puppeteer (puppet master)

Bird chase
Celebrating the New Year, they make a procession at the gates of the temple. On the left is a woman chasing birds with a shamisen, and on the right is a woman chasing birds with a kokyu. Painting by Utagawa Kunisada, owned by the National Diet Library .

Bird chase

Sumiyoshi Dance
"Ehon Otogihin Kagami" by Hasegawa Mitsunobu, published in 1739 (Genbun 4), owned by the National Diet Library

Sumiyoshi Dance

sermon
"Jinrin Kunming Zui" Vol. 7, published in 1690 (Genroku 3), owned by the National Diet Library

sermon

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

大道芸、巷間(こうかん)芸能の一つ。人家の門口に立って芸能を見せ、報酬を受ける芸能と芸能者の総称。古くは時節を定めて門ごとに神が訪れて祝福を垂れたという民俗信仰に端を発し、その神の姿をして来訪する神人の印象が色濃い芸能であった。門付の芸能の歴史は、古く宮廷に芸能をもって仕える来訪神(まれうど)であった祝言人(ほがいびと)を発生の源とする。「正月を祝(ことほ)ぐ」などという用語例にその昔のこれら下級神人の性格の残影がうかがわれる。荘園(しょうえん)制度が強固になり、土地経済が主流を占めるようになって、雑芸(ぞうげい)、雑伎(ざつぎ)をもって宮廷や大寺社に属していた民たちは流浪の雑芸者となっていった。中世においては「七道者(しちどうもの)」と称されて、猿楽(さるがく)、アルキ白拍子(しらびょうし)、アルキ御子(みこ)、鉦叩(かねたた)き、鉢叩き、アルキ横行(おうこう)、猿飼(さるかい)の7種がその代表的なもの（大乗院寺社雑事記）であったが、戦国時代から近世に入ると、にわかにその種類を増してくる。そうなると、もともとはある特定の季節とか、「ハレ」の日などの定まったときに限って訪れたものであったが、生活のために芸能の代価を求めるようになると「常(つね)」の日にも門々を訪れるようになり、ついには乞食(こじき)芸に堕落してしまった。

　江戸時代、穢多頭(えたがしら)の弾左衛門の支配を受けていた多くの門付芸人がいたが、千秋万歳(せんずまんざい)や猿回しなどといったごく一部のものを除くと、ほとんどが近世に入って発生したか、もしくは古い芸種の名を用いながらも内容のさま変わりしたものであった。その数は膨大であったし種類も多いが、芸内容によって分類すると次のとおりである。

［織田紘二］

厄払い芸系

厄払(やくはら)い、ちょろけん、胸叩(たた)き、節季候(せきぞろ)、婆等(うばら)、すたすた坊主、狐舞(きつねまい)、風神(かぜのかみ)送り、鉢叩き。節分にやってくる厄払いを除くと、年の暮れに旧年の厄を払うために訪れるものがほとんどである。

［織田紘二］

祝福芸系

松囃子(まつばやし)、懸想文売(けそうぶみう)り、千秋万歳、猿回し、傀儡子(かいらいし)、物吉(ものよし)、春駒(はるこま)、ほめら、鳥追い、福俵、大黒舞(だいこくまい)、お福さん、かせどり。初春は門付芸人の稼ぎどきであるため、古風を残す芸種がやはり集中している。

［織田紘二］

御祓い芸系

獅子舞(ししまい)、太神楽(だいかぐら)、半田稲荷(いなり)、わいわい天王、住吉踊、神事舞太夫(たゆう)、鹿島(かしま)の事触れ、鳥足行人(ちょうそくぎょうにん)、淡島願人(あわしまがんにん)。この種にも正月にやってくるものが多いが、淡島願人のように季節にかかわりなく、女性の病気を治す御祓(おはら)いをして晒(さらし)布を売り歩くものもあったようで、かなり近世的な色が濃くなってくる。

［織田紘二］

祭文・説教芸系

祭文(さいもん)語り（山伏祭文、歌祭文、説教祭文、浮かれ節、ちょんがれ節、でろれん祭文など）、瞽女(ごぜ)、歌念仏、門説経、八挺鉦(はっちょうがね)、間(あい)の山、門談義、葛西(かさい)踊、虚無僧(こむそう)、琵琶(びわ)法師、四つ竹、あるき巫女(みこ)。ほとんど季節とは関係がなくなり、大道芸と称したほうがぴったりの芸種である。

　祭文や説教といった信仰に深く根ざした世界から近世を経て浪花節(なにわぶし)や講談、落語といった大衆娯楽芸能を生み出した日本人は、江戸時代に多くの「物乞(ものご)いの芸能」を生ぜしめた。謎(なぞ)解き、大道講釈、太平記読み、辻(つじ)謡曲、乞食芝居（一人二役俄(にわか)芝居）、よいやなァ、独り狂言、声色(こわいろ)遣い（役者物真似(ものまね)）、笠(かさ)人形、長松(ちょうまつ)小僧、藁(わら)人形、丹波(たんば)の荒熊、船頭非人、可愛(かわ)いがって、一人相撲(ずもう)、腕香(うでこう)など、その数は枚挙にいとまがないほどである。明治の法界屋や近代の流しの演歌師などにまでその伝統は受け継がれたが、広場としての大道を失い、高層化して門をもたなくなった現代、そのほとんどを失ってしまったようである。

［織田紘二］

『宮尾しげを・木村仙秀著『江戸風俗資料1　江戸庶民街芸風俗誌』（1979・展望社）』

[参照項目] | 大道芸

節季候と婆等
『人倫訓蒙図彙』　7巻　1690年（元禄3）刊国立国会図書館所蔵">

節季候と婆等

猿回し
『絵本御伽品鏡』　長谷川光信画　1739年（元文4）刊国立国会図書館所蔵">

猿回し

傀儡子（傀儡師）
『絵本御伽品鏡』　長谷川光信画　1739年（元文4）刊国立国会図書館所蔵">

傀儡子（傀儡師）

鳥追い
新春を祝し、門付して歩く。左は三味線、右は胡弓を持つ鳥追い女。歌川国貞画国立国会図書館所蔵">

鳥追い

住吉踊
『絵本御伽品鏡』　長谷川光信画　1739年（元文4）刊国立国会図書館所蔵">