Since the reopening of the hanamachi of Japan, we have seen how the Geisha have reacted to the seismic impact of the pandemic on their trade. As much as the kagai vary in style and flavor, so does their approach to coping with a new normal. Around the globe, most people have had to rethink their daily life and how to stay healthy and stop the spread. In the Karyukai specially as it encompasses people of all ages, from young Maiko to senior Geisha, from apprentices of many trades to elderly patrons, quite a few adjustments were made to ensure a sense of security.
The first shot above featured Geisha Sakichi of Dogo Onsen, Matsuyama in Ehime prefecture. Onsen and resortstowns like Dogo have taken a huge hit during the lockdown as their main income derives from tourists and first timers, less so regular local patrons. Since the tourism industry essentially broke down during the pandemic, Geisha in Atami, Hakone and Matsuyama have been hit the hardest. While these Geisha have always worked very differently from their Kyoto counterparts, now more than ever we see their unique style of entertainment as they have had to adapt more intensely.
Hakone’s Geisha have become somewhat famous due to their proactive stance in updating ozashiki for a modern audience. Hakone is a popular resort town in the vicinity of Tokyo so naturally their Geisha’s main patrons are tourists and first timers. Even before the pandemic hit hard, they advocated a modern type of ozashiki, not only opening up their training sessions and kenban to tourists but also offering translators and foreigner-friendly packages. Now, Hakone’s Geisha have gone one step further and started offering Zoom-ozashiki asobi. Here you can log on during the evening and talk to Geisha, play drinking games via the screen and enjoy their personalized singing and dancing. Genious!
One of the main talking points during the reopening was as to how the Geisha would wear masks while entertaining. At first it was discussed in the media, that the Geisha would be exempt from wearing masks, or simply use a fan when approaching a patron. But aesthetics aside, thankfully, they have found some ways around the matter. Even thought some masks and shields are more practical than others, it is great to see that these women are protecting themselves and others. We will look at a few variants further down but i find Nagasaki Kikuna’s look above very striking indeed, she is very radiant to begin with. In the end, we will recognize that it takes a lot to diminish the charm of a great Geisha.
It is crucial that the Geisha take the new normal seriously. Offering as much protection for themselves and their patrons as possible, one of the many challenges is to keep their services true to form. And this is not only a question of health for them, these are essentially self employed artists, some of them carry the burden for an imouto or a veteran sister. We see how Japan’s Geisha implement the masks, face shields and veils and it is the visual representation of their commitment but what do we not see?
We don’t see how the Geisha are not allowed to pour drinks, we don’t see how they need to socially distance, we don’t see how they need to keep contact to a minimum or leave the room after a certain period of time, essentially cutting their income in some cases… So we don’t see the disappointed patrons who have grown accustomed to a certain service and now have to be comforted, maybe in the future, everything will go back to normal. But do we know for certain?
In Kyoto, we also don’t see the Geimaiko who have quietly retired during the lockdown. The chance for them to go out after their last odori season was taken away from them. And from us, egoistically i will state that Hidekano’s departure from Pontocho has chipped a bit off my heart, she was a perfect Maiko. I hope she is doing well, she deserves it.
In some places like Kyoto, the Geiko have not expressed as loudly how the pandemic has changed their work routine while the Maiko have been seen without masks while wearing full regalia and going about their daily lives seemingly without great change but don’t be fooled. For them too business has slowed down. Senior Geiko in Kyoto’s kagai will probably weather the storm as their roots grow deep and they have trusted patrons willing to step up, or they have a side business like a bar and such. But the ramifications of all the cancelled events in Kyoto during the spring and summer remain to be evaluated. From all the scrapped spring odori, the Gion Matsuri, all the hanami events that flood the kagai during the most lucrative period in April and May to the prospect of a silent autumn season without its equally important dances and events, the situation is dire. Specially so for Kyoto’s junior Geiko in these most intense kagai of Japan, where training and work is so draining and rigid as is, so much more effort and dedication is needed to establish themselves.
And yet, we see them smile. Professional and reassuring, they put on a strong front under their protective gear. Asakusa’s Geisha have implemented the veil too, a beautiful and delicate alternative to the plastic shields. A testament to their dedication to beauty and elegance. For a more pragmatic solution, see Furumachi’s variant, a way for them to express the gorgeous aesthetic they are so proud of:
Kikuji of Gifu has also resorted to entertaining via Zoom. His particular brand of ozashiki however is probably the most stable of all: As Gifu’s unique selling point, he entertains on small boats on the Nagara river. A small setting for an exclusive number of people, au fresco at that, an ideal scenario even with some adjustments. But what will he do when the Funa-asobi season ends in October? Kikuji is a very savvy man, he will always find a way to prosper and with him, hopefully his little kagai. Since he is the head of his own okiya, he has a great responsibility to keep going by any means necessary. To fail is simply not an option in a kagai as fragile as Gifus, where young blood is hard to come by.
The pandemic has been a challenge for most people around the world. Since this blog focuses on the Karyukai, i found it crucial to write about its way of coping. I’m not worried though and i would like to give you, dear reader, some hope: Since the reopening of the hanamachi, we have witnessed debuts in Kagurazaka, Yokohama, Sapporo, Mukojima… Brave new faces in uncertain times. As always, the willowy Geisha will bend and not break, of that i’m sure. When we see how much effort and creative energy these incredible artists pour into their work, we can admire some of the Geisha’s strongest feats: Their tenacity, their dedication, their resilience. And we can learn from them as these attributes would benefit many of us these days.
