Hanagasa Gyoretsu: Gion Higashi

The stunningly sweet Tsunemomo, highest ranking maiko of her district. Can I just reiterate how much I love this? Hidden in a huddle of photographers and spectators, she spotted me. She remembered me! She went out of her way to talk to me and make me feel special. Isin't she beautiful? Good luck, Momo-chan!


The district's newest geiko, Masayo led her younger sisters with her noticeably superior dancing skills and captivating stage presence.


Miharu, the lowest ranking maiko in Higashi. Whatever she may lack in experience or skill, she more than makes up for with charm and beauty.

One of two new faces in Gion Higashi, this young girl will make her debut as a maiko in September. For the moment, she is a shikomi, "in training" to prepare her for that day.

Before making their debut as maiko, shikomi study kimono, Kyoto dialect, and classical Japanese etiquette.

More Scenes from Setsubun

The maiko of Gion Higashi, in order of rank: Masayo, Tsunemomo, Umeha, Kanoaki, Miharu.

A priest summons the maiko of Gion Higashi (one of Kyoto's five hanamachi, or geiko entertainment districts) to the stage of Yasaka Shrine to be blessed before the mamemaki (bean-throwing) ceremony.

Before the mamemaki ceremony, Gion's Taiko group takes the stage.

Mission Mamemaki accomplished! The girls make their exit.

The mix of ancient tradition and ultra-modern technology: This is Japan!

Masayo: Gion Higashi

Masayo, the highest ranking maiko of Gion Higashi (one of Kyoto's five geiko entertainment districts), wearing the special hanakanzashi (flowered hair ornament) for February. The plum blossoms celebrate the end of winter and the coming of spring.

"Oni Wa Soto! Fuku Wa Uchi!"

"GOBLINS OUT! FORTUNE IN!"

The Long-Nosed Goblin of Mt. Atago: Performed by the geiko of Gion Higashi. During setsubun, many people hang Okame masks (thought to bring good luck), like the one above.

According to ancient Chinese legend, a man-eating mountain-dwelling beast called the nian (年) silently slipped in and out of houses, preying on unsuspecting villagers. In time, people learned that loud noises and the color red seemed to repel the monster, and began to protect themselves with explosions, fireworks displays and the use of the color red in their homes and villages. Eventually these customs evolved into the first Chinese New Year celebrations. Even the kanji for Guò nián (Simplified Chinese: 过年; Traditional Chinese: 過年), which means to celebrate the new year, literally means 'the passing of the nian beast".

The legend of nian and the traditions adopted to repel him became so intwined with the idea of the new year that, when the Japanese began using chinese characters in their writings, the kanji for the nian (年) came to mean 'year'.

A long-nose oni (goblin, devil) mask.

In traditional Japan, the new year celebrations began with Risshun (立春) Setsubun (節分), the day before the begining of Spring (according to the traditional East Asian calendar). As with modern celebrations of the Gregorian New Year, special rituals were performed to cleanse the misfortune of the former year and drive away evil spirits in the year to come.

As in China, the celebrations were not without their hideously evil creatures. The devilish Oni were originally invisible spirits or gods which caused disasters, disease, and other general unpleasantness in the lives of humans, taking on a variety of forms to deceive (and often devour) them. The Chinese character (鬼) meaning "ghost" came to be used for these formless creatures. It was not until Buddhism arrived that Oni took on its present ogre-like form.

In Japan, these beasties were much easier to keep at bay. On this traditional New Year's Eve, the toshiotoko (man born on in the corresponding animal year of the Chinese zodiac or the head of the house) would throw pan heated soy beans out the door or at a family member wearing an oni mask yelling "Oni wa soto! Fuku wa uchi!" (Evil spirits out! Fortune (blessing) in!" The beans were believed to purify the home, driving out the spirits of sickness and misfortune. To ensure that good luck would enter, the soybeans were eaten. In some areas, the number of bean one eats is the same as their age, but in some places an extra bean is added for good luck. Mamemaki, or bean throwing, still happens today.

I'm off to Kyoto to experience mamemaki myself! Happy Setsubun! Fuyu was soto! Haru was Uchi! (Out with winter! In with Spring!)

Gion Odori 2006: Acts Two and Three

Act Two: Okome. Okome is the Japanese word for rice (before it is cooked). The geiko Mariko, dancing as a Shinto priestess for a plentiful harvest of rice in early spring. In January, maiko wear a stalk of rice in their hair to celebrate the new year.

Act Three: Shidarezakura. Shidare zakura (from sakura), or weeping cherry. Before the famous weeping cherries of Maruyama Koen, near Yasaka Shrine, an elder geiko awaits her true love until she is discovered by her younger sister .

Uh oh! She recollectin' ya'll! Reading an unusually long rabureta (love letter) in the absence of her beloved.


I know that correspondence is often recommended to encourage affection, but this is ridiculous sis!

Don't make me...

I love the beautiful bend of their hands, so limber and graceful. It reminds me of the Apsara dance of Cambodia...

Gion Odori 2006: Maneki

Masayo and Miharu.

The theme of this year's Gion Odori, the fall dance performed by the maiko and geiko of Gion Higashi, was "Seasonal Glories of the Maiko's Hanakanzashi," or flowered hair ornaments.

Masayo and Fumiki.

In December, maiko wear the maneki hanakanzashi. This dance depicted the maiko attending the year-end debut of Kabuki actors at the Minamiza theater. A young maiko overcomes her shyness to ask her favorite actor for his signature "with her big courage".

Masayo, the highest ranking maiko in Gion Higashi, dancing during the opening act of this year's Gion Odori: Maneki. This years theme was hanakanzashi, the flowered hair ornaments worn by the maiko. Each dance reflected the meaning and seasons in which each hanakanzashi is worn.

During Kaomise (from about Nov.30- Dec. 26) , the names of the performing Kabuki actors are written on long, wooden boards called maneki kanban, and hung outside the theater. Maiko attend the Kaomise (face showing) Kabuki performances, wearing these Maneki hanakanzashi. Two small, blank tags are attatched, and maiko ask their favorite Kabuki actors to sign them afterwards.


Fukimi and Miharu strike a Maneki Neko, or beckoning cat, pose.


Fumiki and Umeha.

Karyukai: The Flower and Willow World

Fall In Gion: Gion Odori

Tsunesono, a geiko of Gion, strikes a feminie pose characteristic of Kyomai, Kyoto's traditional style of dance.


Two geiko Gion of dancing kyomai. The shadow of the geiko Tsuneyu was just too perfect! She was like a porcelain doll.


Tsuneyu, an older geiko, moved so gracefully I couldnt take my eyes off her. Since Tsuneyu and Tusnesono both share the "Tsu" in their names, they must come from the same Okiya, or geisha house. In the flower and willow world, they are sisters.


Tsuneyu flutters her fan during the finale, the Song of Higashi Gion. This shot shows the difference in skill between a geiko and a maiko. Note the position of the hands, the fans, and the way their long sleeves are being held. Take a closer look on Flickr: Tsuneyu　つねゆ.


Tsunesono also graced the stage for the final dance, along with all the participating geiko and maiko.

The vivd colors, luxurious silks and elegant design of the maiko's kimonos were breath-taking. These dances transport the audience to a world of ethereal beauty, where every movement is a perfect work of art.