Kabuki demonstration stirs up crowd at TIM

Text by C.G. Asmara photos by Mulkan Salmona

JAKARTA (JP): For those familiar with the all-male Japanese theater genre Kabuki but not aware of its history, the fact that it began as an all-female popular street performance in 1603 (or the start of the Edo Period of Japanese history) may be a surprise. Those attending the Kabuki lecture and demonstration at Taman Ismail Marzuki Arts Center on Sept. 7 and 8 received this and many more surprises.

As part of the Japan Foundation's Japan-Indonesia Friendship Festival commemorating Indonesia's 50th anniversary of independence, the Kabuki demonstration drew a sizable crowd of appreciative "students" who were treated to a comprehensive presentation by the Sawamura group on makeup, costumes and music. The attendees were also given a slide lecture illustrating the fascinating history of the genre. The evening was capped off with a breathtaking performance of Fuji Masume (The Wisteria Maiden), which features an onnagata performer (a male playing a female role).

It is generally believed that the founder of Kabuki was a female entertainer from Kyoto named Okuni. She synthesized elements from medieval Japanese performance genres with contemporary ones into a form known as Kabuki-odori. It quickly established itself as a popular entertainment for the masses. However, performances by women were banned in 1629 because of their overt eroticism. The female performers were replaced by attractive young men who were then banned from performing for the same reason in 1659. Therefore, average-looking male actors had to learn how to perform the onnagata roles. This marked the beginning of the Kabuki theater as it is known today.

Not every Japanese can become a Kabuki dancer. The groups are divided into "family clans" which represent a particular acting style that has been passed down through the generations. As an actor reaches mastery, he assumes the family name and teaches the following generation.

Ichikawa Danjuro I (1660-1704) is considered to be the first major figure in the modern Kabuki genre. He was the first to introduce the aragoto style of the strong young male character. This style is still associated with groups originating from around Tokyo. Those from the Kyoto and Osaka regions are better known for the wagoto style, which is the gentle male character who is compliant in nature. This style has been attributed to Sakata Tojuro (1647-1709).

The lecture was headed by Sawamura Tanosuke VI, who was honored with the Sawamura name in 1964 and currently heads the troupe. During the first part of the evening he lead the audience through a detailed explanation of kumadori style makeup, which is what is worn by aragoto characters, while actor Sawamura Daizo meticulously applied his makeup for the character Omeomaru.

Using oil-based paint imported from China, the actor first painted his face white and then carefully added red lines that correspond to the facial muscles. Finally, after adding a small amount of black detail, the actor had transformed himself into a formidable-looking character.

The donning of his costume was a spectacular, albeit difficult, process that involved four agile assistants resorting to brute force in order to tie on the actor's obi (belt) that circled the multiple-layered robe three times. His costume, which was padded to make him look larger, was topped off with three swords, each bigger than the next, and an enormous hat that covered his face and allowed him anonymity if need be.

Once fully dressed, the actor demonstrated various stop motion poses and facial expressions known as mie. They are associated with the aragoto style and denote moments of strong dramatic tension. These poses are distinctive to Kabuki and replace an earlier medieval style of acting that made use of masks.

After a slide lecture and a short intermission, musician Kineya Mickichi demonstrated the important role music plays in Kabuki. The accompanying music can be broken down into two types: shosa ongaku accompanies a narration and features the shamisen, a three-stringed lute introduced into Japan from China, and geza ongaku which includes drums, flutes and gongs. The large daiko (drum) is used for special effects such as thunder, rain, waves and even (as the audience was asked to guess) the sound of falling snow.

At the end of the demonstrations, the audience was treated to a magical -- but brief -- performance of Fuji Musume (The Wisteria Maiden) danced by Sawamura Tanosuke. Featuring the onnagata style, Tanosuke was made up and costumed as a lovely maiden carrying a spray of purple flowers in the shade of a spectacular blooming tree that filled the Graha Bhakti Budaya stage.

Based on a picture in the highly popular style of genre painting called Otse-e, the dance was first performed in 1826 and became very popular during the Edo Period (1603-1868). Tanosuke's rendition was impeccable in its charm and skill, and included an impressive onstage costume change.

Overall, the evening was highly informative and entertaining. The Japan Foundation, in its usual manner of providing the Indonesian public with high quality events, provided ample materials for the audience about Kabuki, including notes in English for those audience members who didn't understand Japanese or Indonesian. The evening's only drawback was that the dance performance was too short. With such a prestigious and talented troupe, it was frustrating not to have the opportunity to see them perform more of their art.