Kyōganoko Musume Dōjōji (京鹿子娘道成寺), commonly calledMusume Dōjōji (娘道成寺, "The Maiden at Dojoji Temple"), is akabuki dance drama.[1] It is the oldest survivingNoh-based Kabuki dance drama, which tells the story of a maiden who dances before a bell in theDōjō-ji temple and then reveals herself to be a serpent-demon.[2] The work is noted for its sequence of dances during which the performer dances for nearly an hour with nine changes of costume.[3] It may be considered the most important piece in the kabukidance repertoire, one that theonnagatas are required to learn to show their mastery of classic dances.[4] It is classified as one of thehengemono (変化物, "change pieces") that involve quick change of costumes and roles.Geisha and other dancers may also learn to perform parts of the dance as solobuyō dance pieces.[5][6]
The story ofMusume Dojoji refers to a tale of a woman who transforms into a serpent-demon and destroys a temple bell.
Musume Dojoji originates from theNoh playDōjōji which refers to the tale of a woman later namedKiyohime, who transforms into a serpent-demon out of rage due to an unrequited love for a Buddhist priest, and then destroys a temple bell inDōjō-ji where he was hidden by the monks of the temple, thereby killing him. The Noh play relates an event some years later when a new bell is being installed. A maiden dances at the dedication ceremony for the new bell, before revealing herself to be the serpent-demon who had previously destroyed the bell, and leaps into the bell.[7]
Nakamura Tomijūrō I performing one of the dances found inMusume Dojoji
A Kabuki version of the story may have been performed as early as the 1670s, and it was performed inEdo in 1701.[8] In 1731, a variation of the story was performed as ashosagoto (Kabuki dance drama) at theNakamura theatre by Segawa Kikunojo I (瀬川菊之丞) calledKeisei Dōjōji (傾城道成寺,Acourtesan at Dōjōji) orMuken no Kane Shin-Dōjōji (無間の鐘新道成寺), and this version forms the prototype for later works on the same theme.[4][9] The original version ofKeisei Dojoji is lost, and the version that survives today tells of Katsuragi, ashirabyōshi (courtesan specializing in song and dance), who visits the temple to pray to the bell in the hope that her prayers will clear away her burden of sin.[10]
In 1752, a new version of the kabuki dance drama was introduced by Nakamura Tomijūrō I (中村富十郎) inKyoto in an attempt to outdo the version by Segawa Kikunojo I. He then performed this version at the Nakamura theatre in Edo the following year. This version, commonly referred to asMusume Dojoji, proved to be more popular and has since become the definitive version of the play today.[11][12] The text of this version was written by Fujimoto Tobun, with music by Kineya Yajirō and Kineya Yasaburō, and choreography by Ichikawa Dangorō.[13]
Variations of the story are found in other versions of the play. In one version, the bell lifts to reveal that she has transformed into a serpent or dragon who then becomes exorcised by anoshimodoshi (a repeller of demons) and the monks' prayers. In another, a group ofyoten fighters arrange themselves to form the dragon tail at the end.[12][13]
Nakamura Utaemon VI in costume worn for Hanako's entrance inMusume Dōjōji, 1951
The opening scene shows a large bell suspended above the stage, and the play starts with a group of monks coming onto the stage.
Hanako appears on thehanamichi stage and performs a graceful posture dancemichiyuki signifying a young woman in love. In the course of the dance, she sits down to look at a mirror and adjusts her hair, then she crunches up a piece of paperkaishi representing a handkerchief and throws it to the audience as is customary. She reaches the gate of the temple and asks the monks to be allowed to pray before the bell.[11][15] After granting her permission, she was handed a tall goldtateboshi hat by the monks. She left the stage with the hat and this is followed by a humorous scene with a group of monks.
Hanako appears in a red costume wearing the tall gold hat from the temple, with a row ofnagauta musicians seated on a platform behind. She looks at the bell, and performs ashirabyōshi dance with a larger formal fan in a solemnnoh style.[16]
In the middle of the dance, she takes off her hat, which she may toss to hang on the rope of the bell. She starts to dance in a pure kabuki style, in the midst of which she performs ahikinuki to reveal a new pale coloured costume. She follows this with a dance that represents bouncing a ball while on bended knees to express the lively innocence of a young girl. This is followed by a quick dance that evokes the pleasure quarters, and she alternates this dance with the bouncing ball action before she leaves the stage.[16]
Hanako reappears with the top of her kimono pulled down to reveal another costume, wearing a large circular hat. One each hand she holds afuridashigasha, which is a slightly smaller replica of the circular hat she wears, but eachfuridashigasha turns out to be three linked hats which she flings out while dancing akasa odori.[11][17]
Ichimura Uzaemon IX in a scene inMusume Dōjōji
Hanako retires from the stage, to be followed by a dance performed by the monks with parasols, and a musical interlude. She reappears with a new costume holding atenugui cloth. She starts with a slowfuri lament dance holding thetenugui.[18]
She changes into another costume, and has akakko drum strapped to her chest while she hold the drum sticks on her hands. She performs a dance while beating the drum.
She performs anotherhikinuki to reveal a new costume, and she now holds asuzudaiko tambourine in each hand. She rhythmically beats the tambourines together and on the floor, which becomes more agitated. The monks, alarmed, rush onto the stage. The bell descends while she dances.[11]
She goes behind the bell to change into a new costume, with her hair hanging down in two strands on either side of the face. She climbs up on the bell, and her kimono peels back to reveal a costume that represents the snake.[11]
There are many different plays based on the theme ofMusume Dojoji. These works are collectively referred to asDojojimono (Dojoji Temple plays); examples includeNinin Dojoji (二人道成寺) with two dancing maidens,Gonin Dojoji with five maidens,Yakko Dojoji (奴道成寺) with the main role performed by a maletachiyaku, andMeoto Dojoji (男女道成寺) with an onnagata and a tachiyaku performing.[4][3] There is even a Christian versionKirishitan Dojoji where the action takes place in a church. In addition to the Noh original and the various kabuki dance dramas, other versions also exist inbunraku theatre.[8] Characters from other traditions and milieu such asBenkei, the monkMongaku, and theSoga brothers may also be added to the play.[19]
^Susan Blakeley Klein (1991). "When the Moon Strikes the Bell: Desire and Enlightenment in the Noh Play Dojoji".The Journal of Japanese Studies.17 (2):291–322.doi:10.2307/132744.JSTOR132744.
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