Prostitution - prostitution

This is a collection of famous regional folk songs from the Nara and Heian periods that were adopted by the imperial court and aristocratic society, with arrangements and revised lyrics. It is also called "Fuzoku." While Saibara is a form of folk music centered in the Kinai region, this is a collection of folk songs from the eastern region, and was loved at banquets and entertainment. The name Fuzoku is said to have been named after the "Kokufu" (national style) in the Book of Songs, but it seems to have been a word that meant "Kuniburi," or folk songs unique to the region in contrast to the central government. In the narrow sense, it meant songs and dances performed by the two provinces that were determined by divination to be Yuki and Suki on the occasion of the Daijosai (Great Blessing Ceremony). The songs are called Fuzoku-uta (customs songs) and the dances are called Fuzoku-mai (customs dances). On the day of the Daijosai, the Yuki Province sang local folk songs, and on the day of the Snake, the Suki Province sang dances. These were apparently a kind of Tamafuri ceremony to honor the local spirits. Its origins are said to date back to February 675 (the 4th year of Emperor Tenmu's reign), when Emperor Tenmu ordered poets and female singers from all over the country to offer tribute.

As for lyrics about customs, more than 50 poems are known, mainly from "Rakusho Ruigosho", "Shotokuhon Koyoshu", "Kokinshu", etc., such as "Otsukuba", "Koyorugi", "Tamatare", "Oshi", "Shida no Ura", "Leaving you behind", "Faraway", "Oguruma", "Mutsu", "Kai", "Hitachi", "Mount Tsukuba", "The face of the moon", "Otori", "Naniwa furi", "Arata", "East road", "Sugamura", "Flickering", "Wagakado", "Isebito", "Kaigane", "Naruki Takashi", "Yao Tome", "Kare no Yuku", etc. There are two types of poetry in the style of traditional Japanese poetry: those that can be reduced to the short poem format and those that are irregular. The former seem to be a relatively recent development. By the end of the Heian period, they were rarely sung in aristocratic society, and they were abolished in the early Kamakura period.

[Tada Kazuomi]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

奈良・平安時代から伝わる各地方の著名な歌謡を宮廷、貴族社会に取り入れ、編曲・改詞したもの。「ふうぞく」ともいう。催馬楽(さいばら)が畿内(きない)中心の歌謡であるのに対して、おもに東国地方の歌謡が集められており、宴遊の場で愛唱された。風俗とは、『詩経』国風(こくふう)に倣った命名ともいわれるが、「くにぶり」すなわち中央に対する地方特有の民謡を意味することばであったらしい。狭義には大嘗祭(おおにえのまつり)に際し、悠紀(ゆき)、主基(すき)に卜定(ぼくてい)された二国が奏上する歌舞を意味した。その歌を風俗歌(ふうぞくうた)、舞を風俗舞(ふうぞくまい)と称する。大嘗祭の辰(たつ)の日に悠紀国、巳(み)の日に主基国がそれぞれの地方の風俗歌を歌い、歌女が舞を奏した。これらは地方の国魂を奉ることを目的とする一種のタマフリの行事であったらしい。その起源は、675年（天武天皇4）2月、天武(てんむ)天皇が諸国の歌人・歌女を貢上せしめたところに求められるともいわれる。

　風俗の詞章は、『楽章類語鈔(しょう)』『承徳本古謡集』『古今集』などを中心に五十余首が知られている。「小筑波(おつくば)」「こよるぎ」「玉垂れ」「鴛鴦(おし)」「信太(しだ)の浦」「君を措(お)きて」「遠方(おちかた)」「小車(おぐるま)」「陸奥(みちのおく)」「甲斐(かい)」「常陸(ひたち)」「筑波山(つくばやま)」「月の面(おも)」「鸛(おおとり)」「難波振(なまぶり)」「荒田」「東路」「菅叢(すがむら)」「ちらちら」「我門(わがかど)」「伊勢人(いせびと)」「甲斐が嶺(ね)」「鳴り高し」「八少女(やおとめ)」「彼(か)の行(ゆ)く」など。風俗の歌形には、短歌形式に還元しうるものと不整形のものとがあり、前者が比較的新しい時代の成立らしい。平安末には貴族社会で歌われることも少なくなり、鎌倉初期に廃絶した。

［多田一臣］

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