筑紫舞の伝承について

聞き書きによる

抄録

This research is to state my hypothesis about Tsukushi-Mai. Presently living in Fukuoka city. NISHIYAMAMURA Koujusai who is the head of the Tsukushi-Mai school has orally transmitted the traditions. And I have written them down. There are six locations in which the traditions of Tsukushi-Mai is presently being taught. Around students are working the art of Tsukushi-Mai in the following areas, Fukuoka city Sawaraku, Fukuokaken Asakura-gun, Fukuoka-ken Dazaifu city, Kanagawa-ken Kawasaki city, Tochigi-ken Tochigi city and Hyogo-ken Himeji city.
This research took place from November 1995 through February 1997. There were 13 orally transmitted sessions. What is now known as Tsukushi-Mai was handed down to Koujusai from KIKUMURA kengyou in the early years of the Shouwa era. Up until that time it was known as the art of Kugutsu. Currently there are close to three hundred recordings of this unique art form. It is of great interest that Koujusai's recollection of the time and her detailed memories.
·Tsukusi-Mai has some important characteristics in its performance, for example, : Tsukushi-Mai is the Japanese traditional performing art to employ various pieces of music, which are rarely used for other Japanese dancing, such as Samisen-Kumiuta and Koto-Kumiuta.
·The lyrics and composition of Tsukushi-Mai music is different to conventional music in parts.
To write the whole text of the interviews with Koujusai on Tsukushi-Mai is not possible due to space constraints, so in this paper I would like to concentrate on three major characteristics: (1) the classification, (2) the unique composition and lyrics, (3) the principal performance type.
Research of (2) and (3) provides the base for section (1). However, it is not possible to look into all facets, because the research was conducted by putting together the contents of talks given by Koujusai. In (2) examples given include “Tobi”, “Etton”, “Ruson-ashi” and “Hashiratsuki”. In (3) examples “Hayafune” and “Shikinokyoku”.
There are 4 themes for the future.
1. To find historical material that would prove the existence of KIKUMURA kengyou and Kugutsu who were involved with Tsukushi-Mai.
2. To find historical material that describes the showings of Tsukushi-Mai from the present to the past.
3. To analyze and characterize the relationships between the different types and forms of Tsukushi-Mai.
4. To reintroduce Sasara, a musicial instrument which was said to have been used in the past.
There are still many unknown and unclear points in the study of the art of Tsukushi-Mai, and in the future I wish to continue this research from many different angles. After this presentation I would greatly appreciate any information or thoughts you may have about my research.