With Humble Greetings,
In this mid-autumn season, I hope this message finds you, Sensei, in continued good health and prosperity, with my warmest regards.
Please allow me to extend my deepest gratitude for your gracious support during the recent “Yuu no Kai”. Jiuta, a traditional art form that has evolved over time as part of Ozashiki-gei (Traditional entertainment performed in intimate and refined settings, such as private banquets), is now predominantly performed in theaters. As a result, I have had very few opportunities to perform directly in front of an audience. Compared to the theater, the setting where I had the privilege to perform on this occasion allowed me to feel a profound closeness to both you and the audience—a rare and invaluable experience. I am deeply grateful to you for providing me with such a precious opportunity.
Traditional performing arts undeniably often carry perceptions of being “intimidating,” “formal,” or “difficult to approach,” which are not necessarily positive. However, this performance, which engaged the audience through multiple facets—including Nihon Buyo, recitation, tea ceremony, and Japanese traditional music—was a remarkable initiative to expand opportunities for people to experience traditional arts and to broaden their appeal, even slightly. I am reminded of the phrase, “The opposite of love is not hate, but indifference.” As performers, I believe it is our duty to create as many opportunities as possible for people to connect with traditional performing arts. Being part of the inaugural performance of such a meaningful endeavor was truly an honor for me.
I sincerely wish you continued good health and ever-increasing success. Please accept my heartfelt gratitude conveyed through this humble letter. As the seasons transition, I kindly urge you to take the utmost care of yourself.
Respectfully yours,
Kiyohito Tomiyama
October 8, 2024 (Reiwa 6)
To the Esteemed Presence of Ms. Yuko Nishikawa
P.S. I am deeply grateful for the kind support extended to me by Mr. Eisuke Sasai, Ms. Ruriko Kamata, and the producer, Mr. Mitsuru Tamatsuka, as well as the entire staff. If you have an opportunity to meet with them, I would greatly appreciate it if you could convey my gratitude on my behalf.
Dear Mr. Kiyohito Tomiyama,
Please accept my apologies for the delayed response to your letter following “Yuu no Kai.” Overlapping performances have kept me quite occupied, and I deeply regret the delay in conveying my gratitude.
Looking back on the “Yuu no Kai,” I believe we succeeded in recreating a setting that captured the authentic essence of Jiuta, performed in an intimate ozashiki environment, with the audience seated just a short distance from the performers. What set this performance apart, however, was its location—a tranquil teahouse incongruously nestled in the heart of a bustling metropolis. Reflecting on its history in Kamiya-cho, Shiba Ward, this graceful retreat was once surrounded by traditional townhouses atop a serene hill but is now enveloped by towering skyscrapers. On the day of the performance, I overheard several guests comment on how much the view had changed and how difficult it was to locate the venue. In some ways, this seems to mirror the current position of traditional performing arts within the modern world.
This event was our first attempt of its kind, and I deeply appreciate your recognition, as a fellow professional, of the value in providing a space where multiple aspects of Japanese culture could be experienced simultaneously. To make traditional arts more accessible to a wider audience, the use of social media and other media-driven approaches is undoubtedly an effective strategy. However, I believe in employing as many avenues as possible. For this occasion, we focused on offering “authentic” artistry, refined over time, in an environment with as low a barrier to entry as possible, even if only for a small group of genuinely interested individuals. My hope is that such efforts, though modest, will eventually reach a broader audience through the amplification of various media channels.
As a Nihon Buyo dancer, I find it worth noting that our art form, with its origins in Kabuki dance from the Edo Three Theaters (such as Nakamura-za) of the 1700s, is fundamentally designed for the stage. Unlike Jiuta-mai, Nihon Buyo is perhaps less suited to ozashiki settings. However, the close proximity to the audience on the same plane, where their reactions are directly conveyed, seems to require a different kind of focused attentiveness compared to performing on a stage. While this perspective may be second nature to you, for me, it served as a valuable opportunity to revisit the very foundations of my art—starting, quite literally, from my feet and toes.
Tradition is not merely about preserving the same forms; rather, it is shaped by the accumulation of individual ingenuity and creativity, built upon in the pursuit of greater heights. With the support of you, Mr. Tomiyama, and others who will carry the future of Japanese traditional music, I am determined to continue this journey with courage and perseverance. I look forward to our continued collaboration and shared efforts.
November 27, 2024 (Reiwa 6)
Yuko Nishikawa