Naniwabushi - Naniwabushi

Japanese: 浪花節 - なにわぶし

Also called Rokyoku, it is a storytelling art with songs performed by a single performer. The parts are sung with a melody accompanied by the shamisen played by a shamisen player, and the parts are stories or dialogues called "tanka". It started to take shape as street performance in the Kansai area at the end of the Edo period, and developed and spread greatly as a variety show in the Meiji period, becoming a form of entertainment for the common people that rivals kodan (traditional Japanese storytelling) and rakugo (comic storytelling).

[Chichibu Hisakata]

Early History

Like other Japanese music, if we trace its origins back to Shomyo and Wasan, which were derived from Bonbai, a Buddhist chant that was introduced to Japan with Buddhism, to which elements of Shinto-based Yamabushi ritual songs were added, and furthermore, based on Setsugekka, a performing art known as Chongare (also called Chongari or Chobokure in some regions). It is said that an entertainer named Naniwa Isuke from the Kasei period (1804-1830) integrated these Choga Ren and Deroren ritual songs and introduced narration between the sections, becoming popular. Furthermore, Kyoyama Kyoansai (?-1889) incorporated the merits of Gidayu and Biwa into this improved funeral song ensemble, and created a new performing art with shamisen accompaniment. This was very well received in the Kansai area, and was actively performed during the late Edo period as Ukarebushi.

Meanwhile, around the time of the Meiji Restoration, signs of innovation were also seen in the folk arts of various regions, centered around Edo (Tokyo). The preaching monks, who had traditionally been the parent group of folk performing arts, made a living by touring temples around the country, telling entertaining sermons and stories that explained Buddhist paintings, but their very existence was shaken to the core by the anti-Buddhist and anti-Shrine movement of the Restoration, and new performing arts were in demand.

[Chichibu Hisakata]

history

There are various theories about the origin of the name Naniwa-bushi, but in 1830 (Bunsei 13) in "Kiyu Shoran," it is written that "Chobokure is different from the previous melody in that it does not sing many lines, but rather has many words, and is like a theatrical story. The name Naniwa-bushi probably originated in that area." This may be a description of Naniwa Isuke and his performers, who are said to have migrated to Edo when Ukirenbushi was just beginning to emerge in Kansai. However, there is no evidence to prove that the Naniwa-bushi mentioned here is directly connected to the later Naniwa-bushi. The name "Naniwa-bushi" was first made public in 1872 (Meiji 5) when, following instructions from the Ministry of Education of the new government, they formed a union like other performing arts and submitted a document on the origin of the art. With the establishment of the Tokyo Naniwabushi Guild (headed by Matsunosuke Kasugai), many matsuribun storytellers changed their name to Naniwabushi in order to receive a license as a performer. In addition, the efforts of Naniwatei Komakichi and others, who had been trying to move away from street performance by putting up the sign of "Ozashiki Naniwabushi," bore fruit in 1875 when a vaudeville performance was held at Fukuitei in Azabu, Tokyo. Meanwhile, in the Kansai region, the second generation Hirosawa Torakichi (later known as Seimu Inoue) became the representative and received a license as a performer in Ukirenbushi, but there was still no exchange between the east and west. However, until the middle of the Meiji period, many performers who called themselves Naniwabushi often performed in a hanging hut called Hiraki, just like the Tokuga Ren and Matsubun, and were looked down upon as street performers.

In the records of Tokyo vaudeville performances around the year 1887, only the name of the Naniwatei Komakichi school can be found, but the situation changed a few years later. In "Omoidegusa" by Kidō Okamoto, it is written, "After the Sino-Japanese War, Naniwabushi became popular. Before that, Naniwabushi was confined almost exclusively to out-of-the-way vaudeville halls... (omitted)... It gradually gained influence, and even theater owners who held considerable positions in the city began to hang up flyers for ozashiki joruri and Naniwabushi." In the Kansai region, a vaudeville hall specializing in Ukenbushi was opened in Tenma, Osaka in 1889, and thanks to the efforts of Inoue Harumu and others, its number gradually increased. In the 1890s, in addition to the Naniwatei school, other schools that emerged in Tokyo included the Azuma Ya Rakuyu school, which had developed based on Joshu shibun, and the Aoki Katsunosuke school, which had become popular mainly in Yokohama.

In June 1907 (Meiji 40), Tochuken Kumoemon performed at the Hongo-za Theater in Tokyo for 27 days, and his success with sell-outs had a major impact on the format and repertoire of Naniwabushi performances thereafter. In other words, a standing table covered with an elegant tablecloth was placed in the center of a stage surrounded by gold folding screens, and a performer dressed in a haori and hakama appeared on the stage, hiding the shamisen player who was playing next to him behind the gold folding screen. This was an imitation of the speeches of the warriors of the time, and was made into a showy performance. The subjects of his performances also changed from common people's subjects to "Encouraging Bushido," and he performed mainly from "The Tale of the Gishi." Inspired by this success, the following year, Kyoyama Wakamaru from Kansai performed at the same Hongo-za, and in 1909, Yoshida Naramaru II also traveled east to perform at the Yurakucho Theater, and furthermore, he made waves by giving oral performances to the upper classes at the Peers' Hall. At the end of the Meiji period, the aforementioned Un'emon and Naramaru II, along with Kyoyama Koen from Kansai, were praised as one of the Big Three, and were followed by Isshintei Tatsuo (later known as Hattori Shin) and Hayakawa Tatsuen, who had separated from the Naniwatei school.

In 1910, Azumaya Rakuyu II's "Komatsu Arashi" became a big hit and continued to top the record sales charts, while Naramaru II also recorded "Gishi Den" and achieved astonishing sales. With the nationwide popularity of records, Naniwabushi tours became even more spectacular, to the point that it was said that "the two most popular things at the time were Naniwabushi and Esperanto." In addition, from the end of the Meiji period to the Taisho period, Bekkosai Toramaru III, who switched from Ise Matsurimono to Naniwabushi, achieved success with "Annaka Soza," and Kyoyama Wakamaru also attracted attention with his new works "Shoshurei" and "Nogi Shogun Mono."

If the great development up to that point was the first golden age, then the second golden age was from the mid- to late-Taisho period, when the three who achieved stable box office success - Kimura Shigetomo, who left the Naniwatei school and became independent, Azumaya Rakuen, the biological son of the first Rakuyu, and the aforementioned Toramaru Kikkosai - as well as Tenchuken Ungetsu, who came to Tokyo from Kyushu, were known as the Four Heavenly Kings. In addition, Kimura Shigematsu, a master of vaudeville, was active in "Keian Taiheiki," and Shinoda Minoru, who came out of Kansai on his own, was active in "Konya Takao."

Furthermore, in the early Showa period, microphones began to be used to record songs, and rakugo performers with voices suited to recording suddenly rose to prominence. These included Hirosawa Torazo of "Mori no Ishimatsu," Itami Hideko, who was praised for her voice of seven colors, Naniwatei Ayataro of "Tsubosaka Miracle Chronicle," Suzuki Yonewaka of "Sado Love Story," Kimura Tomoe of "Tenpo Rokkasen," Tamagawa Katsutaro of "Tenpo Suikoden," Baichuken Oudo of "Kinokuniya Bunzaemon," and Yoshida Naramaru III of "Gishi Den." Later, examples like Kasugai Baio, who made his name with the film tie-up record "Akagi no Komoriuta," appeared, and it even seems that the number of records sold became the standard for evaluating rakugo performers. In the 1930s, Sakai Kumo, who had been calling himself a literary rakugo performer for some time, Mikado Hiroshi with "Kannon Sutra with Songs," Sagami Taro with "Haikagura Santaro," Azumaya Urataro with "Nogitsune Sanji," as well as the female performers Haruno Yuriko I, Kyoyama Hanachiyo, and Fuji Tsukiko became known nationwide and were as popular as movie stars.

During the Second World War, military rokyoku and other war-boosting rokyoku were rampant, but after the defeat, even stories of the righteous samurai and gamblers were banned, and for a time rokyoku, known as "mother stories," was the only way to survive. Eventually, private broadcasting began one after another, and radio entertainment programs became mainstream, giving birth to new stars. Tenchuken Ungetsu IV, Kashima Shugetsu I, Amatsu Hagoromo, Futaba Yuriko, Naniwaya Tatsuzo, Satsuki Ichiro, Kyoyama Koshiwaka and others appeared, and in addition, Kimura Wakae and Kunitomo Tadashi tried to break away from their old image by trying new things.

In the 1950s, disliking the old image of Naniwabushi, which was also used as a derogatory term, the Japan Rokyoku Association requested NHK to stop calling it Naniwabushi, and NHK began broadcasting it under the name Rokyoku. Record labels were also unified under Rokyoku, but the content did not change significantly even though the name changed, and by the 1960s, young fans had been taken away by popular songs and movies.

[Chichibu Hisakata]

Current situation and issues

Furthermore, television, which spread rapidly to homes across the country, completely changed the face of popular entertainment. Stand-up comedy and skits became the mainstream in TV variety shows, and rakugo performances became almost nonexistent compared to the radio era. During this time, only Minami Haruo and Murata Hideo, who switched to pop songs, were accepted by a relatively wide age range. Since the 1970s, apart from the two annual tournaments in spring and autumn, the majority of rakugo performers spend their days at entertainment halls in health centers or visiting elderly welfare facilities. The only regular rakugo venue left is Mokubatei in Asakusa, Tokyo.

In its heyday, Naniwabushi had themes and melodies that were in tune with the times. It vividly depicted the social conditions of the time, struck the audience with a modern force, and had a familiarity and charm that allowed young people to sing along while humming along. These are similar to the transition in today's youth music culture, from folk songs accompanied by live guitars that were popular among young people, to rock and new music, which are centered on concerts, and a commonality that transcends the times can also be found in record sales. However, it can be said that the inability to change the content to suit the times has led to the decline of Naniwabushi today. Of the three performing arts that are considered to be equal in quality to rakugo, kodan, and Naniwabushi, rakugo has not only transformed its art, but has also nurtured the idol status of young people. It seems that there is an urgent need for Naniwabushi to develop content of art that is appropriate for the modern era and to nurture young entertainers.

[Chichibu Hisakata]

"The History of Japanese Rakugo, by Masaoka Yo and edited by Nakagawa Akinori (1968, Nanboku-sha)" ▽ "The Dictionary of Rakugo, edited by Anzai Takeo (1975, Japan Information Center)" ▽ "The History of Rakugo Figures - Their Genealogies and Tombstones, by Shiba Kiyoyuki (1977, Kamigata Entertainment Editorial Department)" ▽ "Art Series 6, Roaring - The World of Naniwabushi, edited by Minami Hiroshi, Nagai Nobuo, and Ozawa Shoichi (1981, Hakusuisha)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

浪曲(ろうきょく)ともいう。曲師の弾く三味線を伴奏として節(ふし)をつけてうたう部分と、「啖呵(たんか)」とよばれる語りや対話の部分を、1人で口演する唄(うた)入りの物語り芸。江戸末期に関西方面で大道芸として体(たい)をなし始め、明治期に寄席(よせ)芸となって大いに発展・普及し、講談、落語と並ぶ大衆演芸として庶民に広く愛好された。

［秩父久方］

前史

ほかの日本の音曲と同様、遠祖をたどれば、仏教とともに渡来した梵唄(ぼんばい)から派生した声明(しょうみょう)、和讃(わさん)に源を発し、これに神道(しんとう)系の山伏祭文(さいもん)から芸能化した歌祭文の要素が加わり、さらに説経節などが基調となって弔歌連(ちょんがれ)（地域によって、ちょんがり、ちょぼくれともいう）という芸能が生まれた。この弔歌連やでろれん祭文を統合して、節の合間に語りの部分を導入し、人気を博したのが、化政(かせい)期（1804～30）の浪花伊助(なにわいすけ)という芸人と伝えられる。さらにこの改良弔歌連に義太夫(ぎだゆう)や琵琶(びわ)の長所を取り入れ、三味線を伴奏とした新しい芸能を創案したのが京山恭安斎(きょうやまきょうあんさい)（？―1889）である。これは関西方面で大いに歓迎され、浮連節(うかれぶし)として幕末期に盛んに興行された。

　一方、明治維新前後には江戸（東京）を中心とした各地の庶民芸も革新の兆しをみせていた。従来から庶民芸能の母集団であった説教僧集団は、節談(ふしだん)説教や仏教画の絵解(えと)き噺(ばなし)を娯楽的に語り、各地の寺院を回って生計をたてていたが、維新の廃仏棄釈運動によってその存続を根底から揺さぶられ、新しい芸能が求められていたのである。

［秩父久方］

歴史

浪花節の呼称の始まりについては諸説あるが、1830年（文政13）の『嬉遊笑覧(きゆうしょうらん)』に「ちょぼくれというもの已前(いぜん)の曲節とはかはりて文句を歌ふことは少く詞(ことば)のみ多し、芝居咄(ばな)しをするが如(ごと)し、これを難波(なには)ぶしと称するは彼地より始めたるにや」とある。これは、関西で浮連節が誕生しかかったころ、江戸へ流れていったと伝えられる浪花伊助とその率いる芸人たちの消息を示す記述かもしれない。しかし、ここにいう難波ぶしがその後の浪花節と直接つながると証明する資料はない。1872年（明治5）新政府教務省の指示により、他の芸能と同様に組合を結成し芸の由来書を提出したとき、「浪花節」という呼称が初めて公にされたといえるだろう。この「東京浪花節組合」（頭取(とうどり)春日井(かすがい)松之助）の発足によって、芸人鑑札を受ける都合上からも浪花節に名のりを変える祭文語りが続々と現れた。また、「お座敷浪花節」の看板を掲げて大道芸からの脱却を図っていた浪花亭駒吉(なにわていこまきち)らの努力が実ってか、1875年東京・麻布(あざぶ)の福井亭での寄席公演が実現した。一方、関西では2代広沢虎吉(とらきち)（後の井上晴夢(せいむ)）が代表となり、浮連節の芸人鑑札を受け取っているが、まだ東西の交流は行われていなかった。しかし、明治期なかばまでは浪花節を称した芸人の多くが、弔歌連、祭文と同様ヒラキとよばれる掛け小屋で興行することも多く、大道芸人として軽んじられていた。

　明治20年前後の東京での寄席興行記録には、浪花亭駒吉一門の名前しか見当たらないが、その数年後から事情は変わってくる。岡本綺堂(きどう)の『思ひ出草』に「日清(にっしん)戦争以後からは、浪花節が流行して来た。その以前の浪花節は専(もっぱ)ら場末の寄席に逼塞(ひっそく)して……（中略）……次第に勢力を増して来て、市内で相当の地位を占めている席亭もお座敷浄瑠璃(じょうるり)、浪花節のビラを懸けるようになった」とある。関西では1889年、大阪・天満(てんま)に浮連節専門の寄席ができ、井上晴夢らの努力で、しだいに数を増していった。明治30年代に入ると、東京には浪花亭一門以外にも、上州祭文を母体として発展してきた東家楽遊(あずまやらくゆう)の一派、横浜を中心に人気を得てきた青木勝之助の一派などが台頭してくる。

　1907年（明治40）6月、桃中軒雲右衛門(とうちゅうけんくもえもん)が東京の本郷座で27日間興行し、大入り続きの成功を収めたことは、その後の浪花節の興行形態やレパートリーに大きな影響を与えた。すなわち、金屏風(びょうぶ)を巡らせた舞台中央に美麗なテーブル掛けで覆った立ち机を置き、そこへ羽織袴(はかま)姿の演者が登場し、並んで演奏していた三味線奏者を金屏風の陰に隠してしまったのである。これは当時の壮士の演説会のようすを模倣し、芸能的にショーアップしたものであろう。また演題も庶民的な題材から一転して、「武士道鼓吹」と称し、『義士伝』を中心に据えて口演した。この成功に刺激されて、翌08年には関西の京山若丸が同じ本郷座で、09年2代吉田奈良丸(ならまる)も東上し有楽座で公演、さらに華族会館で上流階層を相手に口演して話題をまいた。明治末期には前述の雲右衛門、2代奈良丸に関西の京山小円(こえん)を加え、三巨頭と並び称され、浪花亭一門から独立した一心亭辰雄(いっしんていたつお)（後の服部伸(はっとりしん)）、早川辰燕(たつえん)がこれらに続いた。

　1910年、2代東家楽遊の『小松嵐(こまつあらし)』が大ヒットして、レコードの売上げ枚数でトップを続け、2代奈良丸も『義士伝』をレコードに吹き込み、驚異的な売れ行きを示した。レコードの全国的な普及によって、浪花節の地方巡業がいっそう華々しいものとなり、「当節流行するもの、浪花節とエスペラント語」などとはやされるほどであった。ほかに、明治末年から大正にかけて、伊勢(いせ)祭文から浪花節に転向した鼈甲斎(べっこうさい)虎丸が3代目に至って『安中草三(あんなかそうざ)』で成功を収め、京山若丸も『召集令』や「乃木(のぎ)将軍もの」の新作で注目を集めた。

　これまでの大発展を第一黄金期とするなら、第二黄金期は大正中期から後期で、浪花亭一門から独立した木村重友(しげとも)、初代楽遊の実子東家楽燕(らくえん)、前述の鼈甲斎虎丸の3人に加え、九州から上京した天中軒雲月(てんちゅうけんうんげつ)らが安定した興行成績を収め、四天王と称された。また、寄席芸の名人木村重松(しげまつ)が『慶安(けいあん)太平記』で、関西から独流で出てきた篠田実(しのだみのる)が『紺屋高尾(こんやたかお)』で活躍した。

　さらに、昭和の初期にはマイクロホンを使用したレコード吹き込みが行われるようになり、レコード向きの声をもった浪曲師が俄然(がぜん)台頭してきた。『森の石松』の広沢虎造、七色の声とうたわれた伊丹秀子(いたみひでこ)、『壺坂霊験記(つぼさかれいげんき)』の浪花亭綾太郎(あやたろう)、『佐渡情話』の寿々木米若(すずきよねわか)、『天保六花撰(てんぽうろっかせん)』の木村友衛(ともえ)、『天保水滸伝(てんぽうすいこでん)』の玉川勝太郎、『紀伊国屋文左衛門(きのくにやぶんざえもん)』の梅中軒鶯堂(ばいちゅうけんおうどう)、『義士伝』の3代吉田奈良丸らである。その後、映画とのタイアップ・レコード『赤城(あかぎ)の子守唄』で世に出た春日井梅鶯(ばいおう)のような例も生まれ、レコードの発売枚数が浪曲師の評価基準になった観さえある。昭和10年代には、以前から文芸浪曲を標榜(ひょうぼう)していた酒井雲(くも)、『唄入り観音(かんのん)経』の三門博(みかどひろし)、『灰神楽(はいかぐら)三太郎』の相模(さがみ)太郎、『野狐(のぎつね)三次』の東家浦太郎のほか、女流の初代春野百合子(ゆりこ)、京山華千代(はなちよ)、富士月子らが全国的に知られ、映画スターに劣らぬ人気者となった。

　第二次世界大戦中には軍事浪曲など戦意高揚的なものが横行したが、敗戦と同時に『義士伝』や「博徒もの」まで口演を禁じられ、いわゆる「母もの」浪曲で命脈をつないだ時期があった。やがて、民間放送が次々とスタートし、ラジオの演芸番組が主流となって新しいスターを生んでいった。4代天中軒雲月、初代鹿島秋月(かしましゅうげつ)、天津羽衣(あまつはごろも)、二葉(ふたば)百合子、浪花家辰造、五月一朗(さつきいちろう)、京山幸枝若(こうしわか)などが出現し、加えて木村若衛(わかえ)、国友忠らは新しい試みによって古いイメージから脱却しようと図った。

　昭和30年代に入ると、蔑称(べっしょう)としても使われる浪花節の古いイメージを嫌い、日本浪曲協会はNHKに浪花節という呼称をやめるように要望、NHKは浪曲という名称で放送するようになった。レコードのレーベルも浪曲に統一されたが、名称が変わっても内容が大きく変わったわけではなく、昭和40年代にかけて若年層のファンを歌謡曲や映画に奪われていった。

［秩父久方］

現況と課題

さらに、加速度的に全国の家庭に普及したテレビは、大衆娯楽の様相を一変させた。テレビの演芸番組の主流は漫才やコントへと移っていき、浪曲の出番はラジオ時代に比べるとほとんどないに等しくなってしまった。この間に、歌謡曲に転向した三波(みなみ)春夫や村田英雄(ひでお)が比較的広い年代層に受け入れられていたにすぎない。昭和50年代以降は、1年に春秋2回の大会以外は、大半の浪曲師たちがヘルスセンターの演芸場や老人福祉施設の慰問などで日を過ごしている。浪曲の常打ちの寄席は、東京・浅草の木馬亭ただ1軒となってしまった。

　最盛期の浪花節には、時代に即応した題材や曲節があった。当時の社会世相を活写し聴衆にナウな迫力をもって迫り、若者たちが鼻歌交じりにうたえる親近性と魅力とをもっていた。これらは、生(なま)ギター伴奏で若年層に迎えられたフォーク・ソング、そしてロックからニューミュージックへと、コンサート中心の今日の一連の若者音楽文化の推移と相似し、またレコードの売れ行きにも、時代相を超えた共通性をみいだすことができる。しかし、内容を時代に即応したものに変ええなかったことが、今日の浪花節の衰退を招いたといえよう。落語、講談、浪花節と並び称された3演芸のうち、現代に即応しえた落語の場合、芸の変容はもとより、若手のアイドル性も育ててきた。浪花節においても現代にふさわし芸の内容および若手の芸人を育てることが、差し迫って必要なことであろうと思われる。

［秩父久方］

『正岡容著、中川明徳編『日本浪曲史』（1968・南北社）』▽『安斎竹夫編『浪曲事典』（1975・日本情報センター）』▽『芝清之著『浪曲人物史――その系譜と墓誌録』（1977・上方芸能編集部）』▽『南博・永井啓夫・小沢昭一編『芸双書 6　うなる――浪花節の世界』（1981・白水社）』