{"id":117,"date":"2026-02-19T21:12:00","date_gmt":"2026-02-19T12:12:00","guid":{"rendered":"https:\/\/kabukiguide.jp\/en\/?p=117"},"modified":"2026-03-20T11:29:49","modified_gmt":"2026-03-20T02:29:49","slug":"what-is-the-kabuki-play-kyoganoko-musume-dojoji%e4%ba%ac%e9%b9%bf%e5%ad%90%e5%a8%98%e9%81%93%e6%88%90%e5%af%ba","status":"publish","type":"post","link":"https:\/\/kabukiguide.jp\/en\/what-is-the-kabuki-play-kyoganoko-musume-dojoji%e4%ba%ac%e9%b9%bf%e5%ad%90%e5%a8%98%e9%81%93%e6%88%90%e5%af%ba\/","title":{"rendered":"What is the Kabuki Play Ky\u014dganoko Musume D\u014dj\u014dji(\u4eac\u9e7f\u5b50\u5a18\u9053\u6210\u5bfa)?"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\"><strong>What is <em>Ky\u014dganoko Musume D\u014dj\u014dji<\/em>?<\/strong><\/h2>\n\n\n\n<p><em>Ky\u014dganoko Musume D\u014dj\u014dji<\/em> (often shortened to <em>Musume D\u014dj\u014dji<\/em>) is one of the most prestigious and refined dance-dramas (<em>mai<\/em>) in Kabuki. It represents the pinnacle of <em>onnagata<\/em> (male actors specializing in female roles) artistry and <em>nagauta<\/em> (long-song) dance technique.<\/p>\n\n\n\n<p>The play belongs to the tradition of <strong>\u201cD\u014dj\u014dji-style\u201d performances<\/strong>, based on the Noh play <em>D\u014dj\u014dji<\/em> and the legendary tale of Anchin and Kiyohime. Its title, <em>Ky\u014dganoko<\/em> (\u201cKyoto fawn spots\u201d), comes from the distinctive shibori-dyed fabric used in the costumes, a pattern originating in Kyoto.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Background and Formation<\/h3>\n\n\n\n<p>Over centuries, many Kabuki and dance adaptations of the D\u014dj\u014dji legend were created, collectively called <strong>\u201cD\u014dj\u014dji-mono\u201d<\/strong>. Each actor family developed its own style, movements, and choreography, so there was no single standardized version.<\/p>\n\n\n\n<p>The foundation of the modern <em>Musume D\u014dj\u014dji<\/em> was laid by the first Nakamura Tomij\u016br\u014d, who based it on the dance <em>Momochidori Musume D\u014dj\u014dji<\/em>, performed by Segawa Kikunojo I. Tomij\u016br\u014d condensed and refined these elements, combining his own mastery of <em>onnagata<\/em> technique and expressive power to create the version of <em>Musume D\u014dj\u014dji<\/em> performed today.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The Version Performed Today<\/h3>\n\n\n\n<p>Among the many \u201cD\u014dj\u014dji-mono\u201d adaptations, the version with both music and choreography fully preserved to the present day is Tomij\u016br\u014d\u2019s <em>Musume D\u014dj\u014dji<\/em>. In contemporary Kabuki and Japanese dance, <em>Musume D\u014dj\u014dji<\/em> generally refers to this definitive form.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Derivative Works<\/h3>\n\n\n\n<p>Several derivative works were developed based on <em>Musume D\u014dj\u014dji<\/em>, keeping its core structure and music while adding new variations:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><em>Ninin D\u014dj\u014dji<\/em>: Features two <em>shiraby\u014dshi<\/em> (female-style dancers) competing in dance.<\/li>\n\n\n\n<li><em>Yakko D\u014dj\u014dji<\/em>: A unique version with a male lead (<em>tachiyaku<\/em>).<\/li>\n\n\n\n<li><em>Meoto D\u014dj\u014dji<\/em>: A duet performed by a male and a female role.<\/li>\n<\/ul>\n\n\n\n<p>All of these retain the musical and structural foundation of <em>Musume D\u014dj\u014dji<\/em>, highlighting its central importance within the D\u014dj\u014dji tradition.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong><strong>Plot Summary of <em>Ky\u014dganoko Musume D\u014dj\u014dji<\/em><\/strong><\/strong><\/h2>\n\n\n\n<p><strong>The Opening: The Young Monks<\/strong><br>The stage is set at D\u014dj\u014dji Temple in Kishu (present-day Wakayama Prefecture) during cherry blossom season. Young trainee monks (<em>shoke<\/em>) enter, calling to one another in a playful, casual tone:<br><em>&#8220;Have you heard? Have you heard?&#8221;<\/em><br><em>&#8220;Yes, we&#8217;ve heard!&#8221;<\/em><\/p>\n\n\n\n<p>Today marks the ceremonial dedication of a newly rebuilt temple bell, replacing the one that had burned down long ago. However, the monks are reluctant to sit through the long and solemn chants of their master, and they quietly conspire to amuse themselves instead. One monk brings <em>hannyat\u014d<\/em> (a euphemism for sake), while another brings <em>tengai<\/em> (referring to octopus). The monks\u2019 humorous and worldly scheming creates a striking contrast to the sacred ceremony, setting up the stage for the later appearance of the enchanting Shiraby\u014dshi dancer, Hanako.<\/p>\n\n\n\n<p><strong>The Procession: Hanako\u2019s Arrival<\/strong><br>Hanako, a Shiraby\u014dshi (a female performer traditionally trained in song and dance), appears from the <em>hanamichi<\/em> (stage runway). Wearing a formal, modest attire with an <em>eboshi<\/em> cap and <em>shimada<\/em> hairstyle, she appears like an innocent young woman. She walks toward the temple, recalling her recent separation from a lover, and the tolling of the bell that divided their time. Subtle hints of resentment toward the bell foreshadow her true nature.<\/p>\n\n\n\n<p><strong>Dialogue with the Monks<\/strong><br>The monks, gossiping about whether she is a Shiraby\u014dshi or a young maiden, become captivated by her beauty. Hanako requests to be allowed to worship the bell through dance, even though women are forbidden from entering. The monks, charmed, permit her entry on the condition she performs a dance. She briefly exits, changing into a vibrant red kimono, while the monks take their positions on the stage sides, preparing for her formal dance.<\/p>\n\n\n\n<p><strong>The Shiraby\u014dshi Dance<\/strong><br>In her red costume and holding a fan, Hanako performs a solemn dance inspired by Noh theater. The lyrics reference the impermanence of life (<em>shogy\u014d muj\u014d<\/em>) and the inexorable passage of time, yet carry a subtle, worldly irony. Her dance is both graceful and tinged with underlying tension, foreshadowing her eventual transformation.<\/p>\n\n\n\n<p><strong>Town Maiden Dances<\/strong><br>Hanako removes her <em>eboshi<\/em>, leaving the formal Noh-like dance behind. She performs a lively Kabuki-style dance reflecting the emotions of a young woman in love. During the performance, a quick costume change transforms her red kimono into a light blue one, symbolizing the shifts in her emotions. Through playful movements, she expresses flirtation, joy, and youthful excitement, delighting the audience.<\/p>\n\n\n\n<p><strong>Ball Play and Courtesan Districts<\/strong><br>Hanako creates a ball from scattered cherry blossoms and performs lightly, as if a carefree girl at play. The lyrics incorporate the names of famous courtesan districts of Edo and Kamigata, celebrating love and amusement. Her dance conveys the lively, social, and romantic life of women in the pleasure quarters.<\/p>\n\n\n\n<p><strong>Handkerchief Dance (Kudoki)<\/strong><br>After further costume changes, Hanako dances holding a handkerchief in the <em>kudoki<\/em>, expressing her romantic longing and delicate emotions. She gestures with joy, sorrow, jealousy, and tears, portraying the inner turbulence of a young woman in love. The audience is sometimes rewarded with a <em>tenugui-maki<\/em> (handkerchief toss) at the end of this dance.<\/p>\n\n\n\n<p><strong>Mountain Drum Dance (Yama-zukushi)<\/strong><br>Hanako changes into a pale yellow costume and performs with <em>kakko<\/em> drums, singing the names of twenty-two famous mountains. She strikes the drums with precision and energy, combining rhythm with movement, as her dance becomes lively, playful, and visually dazzling.<\/p>\n\n\n\n<p><strong>White Costume and Bell Dance<\/strong><br>Hanako changes into a white costume and dances with <em>suzudaiko<\/em> (small bell drums), performing a high-energy number accompanied by lively percussion. Gradually, a sense of unease emerges, foreshadowing her true, vengeful identity.<\/p>\n\n\n\n<p><strong>The Bell and Transformation<\/strong><br>Drawn irresistibly to the bell, Hanako ignores the monks\u2019 warnings and leaps toward it. The bell is raised, and beneath her costume appears a scaled, serpent-like pattern, revealing that she is possessed by the vengeful spirit of Kiyohime. Her transformation from delicate maiden to monstrous snake is a climactic moment.<\/p>\n\n\n\n<p><strong>The Pushback (Oshimodoshi)<\/strong><br>Hanako, now in her serpent form, appears on the <em>hanamichi<\/em>. Odate Samagor\u014d confronts and subdues her in the stylized Kabuki fight known as <em>oshimodoshi<\/em>. This scene emphasizes strong <em>aragoto<\/em> (rough style) performance, showing a dramatic struggle between human control and vengeful spirit.<\/p>\n\n\n\n<p><strong>Final Tableau<\/strong><br>The actors form a serpent shape on stage, with Hanako (the serpent) positioned atop the bell or platform, and Odate Samagor\u014d performing a signature <em>Genroku-mie<\/em> pose. The spectacle concludes with visual grandeur, completing the transformation from beauty to vengeance, and ending the story with dramatic effect.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Summary and Background of <em>Ky\u014dganoko Musume D\u014dj\u014dji<\/em> and the D\u014dj\u014dji Legend<\/strong><\/h2>\n\n\n\n<p><em>Ky\u014dganoko Musume D\u014dj\u014dji<\/em> (often shortened to <em>Musume D\u014dj\u014dji<\/em>) is the definitive Kabuki dance drama crystallized by Nakamura Tomij\u016br\u014d I. Among the many dance adaptations inspired by the D\u014dj\u014dji legend, this work stands out as the uniquely complete and canonical version. Its greatest charm lies in the combination of stunning dance, the underlying passions and resentments of women, and the ultimate expression of <em>onnagata<\/em> (male actors performing female roles) artistry.<\/p>\n\n\n\n<p><strong>The Noh Play <em>D\u014dj\u014dji<\/em><\/strong><br>The Noh play <em>D\u014dj\u014dji<\/em> is based on the later events of the Anchin-Kiyohime legend. Rather than recounting the legend itself, it depicts the lingering resentments and unresolved emotions that continue even after the tragic events have ended. This concept later became the foundation for the more vibrant Kabuki dance drama <em>Ky\u014dganoko Musume D\u014dj\u014dji<\/em>.<\/p>\n\n\n\n<p><strong>The Legend of Anchin and Kiyohime<\/strong><br>According to the legend, the young woman Kiyohime falls in love with the traveling monk Anchin when he stops at her home on his pilgrimage to Kumano. Anchin responds ambiguously, promising to return, but ultimately abandons her after completing his pilgrimage. Heartbroken, Kiyohime\u2019s passion turns to rage and grief, and she pursues him to the Hidaka River. Her obsession transforms her into a serpent.<\/p>\n\n\n\n<p>Anchin hides inside the bell of D\u014dj\u014dji Temple for protection, but Kiyohime, now in serpent form, coils around the bell and breathes fire, destroying it. Anchin dies in the flames, leaving a tragic tale of love and betrayal that becomes the Anchin-Kiyohime legend.<\/p>\n\n\n\n<p><strong>Plot of the Noh Play <em>D\u014dj\u014dji<\/em><\/strong><br>In the Noh adaptation, the tragedy has already occurred. The temple forbids bell-ringing for years due to fear of the lingering resentments. When a new bell is finally cast and its dedication ceremony held, a Shiraby\u014dshi dancer appears and requests to perform. The monks, wary of past events, allow her to dance. During her performance, her true identity as the vengeful Kiyohime emerges, culminating in her dramatic leap into the bell, transforming into a serpent. The monks pray to calm the spirit, but the climax is visually and emotionally striking.<\/p>\n\n\n\n<p><strong>The Bell Entrance (<em>Kaneiri<\/em>) in Noh<\/strong><br>The <em>kaneiri<\/em>, or \u201cbell entrance,\u201d is the most famous and challenging moment of <em>D\u014dj\u014dji<\/em>. The performer must leap into a full-size bell descending from above\u2014a highly dangerous and technically demanding feat. The bell, made of bamboo and wood but resembling metal, weighs tens of kilograms, and precise timing is critical. The performer must navigate with limited vision and movement, maintaining absolute focus to execute the jump safely. Only highly experienced and officially recognized Noh performers are allowed to attempt it. This scene is not merely a spectacle but a representation of the discipline, skill, and concentration required in Noh.<\/p>\n\n\n\n<p><strong>Summary<\/strong><br>While the Anchin-Kiyohime legend portrays the tragic events of love and betrayal themselves, the Noh play <em>D\u014dj\u014dji<\/em> emphasizes the lingering obsession and resentment that remain afterward. The events may be over, but the emotions persist. These unresolved feelings are embodied in the Shiraby\u014dshi dancer\u2019s performance, creating a quietly terrifying and beautiful experience\u2014the essence of the allure of <em>D\u014dj\u014dji<\/em>.<\/p>\n\n\n<div class=\"swell-block-postLink\">\t\t\t<div class=\"p-blogCard -internal\" data-type=\"type1\" data-onclick=\"clickLink\">\n\t\t\t\t<div class=\"p-blogCard__inner\">\n\t\t\t\t\t<span class=\"p-blogCard__caption\">\u3042\u308f\u305b\u3066\u8aad\u307f\u305f\u3044<\/span>\n\t\t\t\t\t<div class=\"p-blogCard__thumb c-postThumb\"><figure class=\"c-postThumb__figure\"><img decoding=\"async\" src=\"https:\/\/kabukiguide.jp\/en\/wp-content\/uploads\/2026\/02\/ae4b71937ae187a5b7fea1969f709089-1-300x164.jpg\" alt=\"\" class=\"c-postThumb__img u-obf-cover\" width=\"320\" height=\"180\"><\/figure><\/div>\t\t\t\t\t<div class=\"p-blogCard__body\">\n\t\t\t\t\t\t<a class=\"p-blogCard__title\" href=\"https:\/\/kabukiguide.jp\/en\/category\/plays-stories\/\">Plays &amp; Stories<\/a>\n\t\t\t\t\t\t<span class=\"p-blogCard__excerpt\">Plays &amp; Stories\r\nExplore the plots and background of Kabuki plays, from timeless classics to seasonal performances. This section offers easy-to-understand summaries, key highlights, and insights to help you enjoy each production more deeply\u2014whether it\u2019s your first time at the theater or you\u2019re already a devoted fan.<\/span>\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\n<div class=\"swell-block-postLink\">\t\t\t<div class=\"p-blogCard -internal\" data-type=\"type1\" data-onclick=\"clickLink\">\n\t\t\t\t<div class=\"p-blogCard__inner\">\n\t\t\t\t\t<span class=\"p-blogCard__caption\">\u3042\u308f\u305b\u3066\u8aad\u307f\u305f\u3044<\/span>\n\t\t\t\t\t<div class=\"p-blogCard__thumb c-postThumb\"><figure class=\"c-postThumb__figure\"><img decoding=\"async\" src=\"https:\/\/kabukiguide.jp\/en\/wp-content\/uploads\/2026\/02\/chokabuki2_01-1024x683-1-300x200.jpg\" alt=\"\" class=\"c-postThumb__img u-obf-cover\" width=\"320\" height=\"180\"><\/figure><\/div>\t\t\t\t\t<div class=\"p-blogCard__body\">\n\t\t\t\t\t\t<a class=\"p-blogCard__title\" href=\"https:\/\/kabukiguide.jp\/en\/beginners-guide-5-kabuki-plays-first-time-visitors-will-actually-enjoy\/\">Beginner\u2019s Guide\u30005 Kabuki Plays First-Time Visitors Will Actually Enjoy<\/a>\n\t\t\t\t\t\t<span class=\"p-blogCard__excerpt\">5 Kabuki Plays First-Time Visitors Will Actually Enjoy \u201cIs Kabuki worth watching if I don\u2019t understand Japanese?\u201d This is the most common question asked by f&#8230;<\/span>\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>What is Ky\u014dganoko Musume D\u014dj\u014dji? Ky\u014dganoko Musume D\u014dj\u014dji (often shortened to Musume D\u014dj\u014dji) is one of the most [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":118,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"swell_btn_cv_data":"","footnotes":""},"categories":[4],"tags":[],"class_list":["post-117","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-plays-stories"],"_links":{"self":[{"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/posts\/117","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/comments?post=117"}],"version-history":[{"count":2,"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/posts\/117\/revisions"}],"predecessor-version":[{"id":165,"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/posts\/117\/revisions\/165"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/media\/118"}],"wp:attachment":[{"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/media?parent=117"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/categories?post=117"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kabukiguide.jp\/en\/wp-json\/wp\/v2\/tags?post=117"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}