Cultures shine in Milwaukee's Asian Moon Festival
Kabuki is a form of traditional Japanese theater. It is known for the stylization of drama and for the elaborate
make-up worn by its performers.
Izumo no Okuni (1572-1613) was the main founder of kabuki theater. She was a miko at the Izumo Shrine
who began a new style of dance in the dry riverbeds of Kyoto. (Miko are young women in the service of Shinto
shrines of Japan.) Okuni’s style was instantly popular. She was even asked to perform before the Imperial Court.
Because of her success, rival troupes quickly formed, and kabuki was born as an ensemble dance performed
by women. Its appeal in this era was due to the ribald, suggestive performances put on by many imitators. It
was said that many actresses were often also available for “other services.”
During the Edo Period (1600-1868), specifically in 1629, the government banned women from performing
onstage “for the stated purpose of protecting public morals.” Some historians suggest that the government then
was also concerned by the popularity of kabuki plays expressing what it considered dangerous thoughts.
Young male actors took over after women were banned from performing. Along with the change in the
performers’ gender came a change in the emphasis of performance: more on drama than dance. Their
performances were equally ribald; audiences frequently became rowdy; and the actors also became available
for “other services.” The Shogunate clamped the theater down in 1652.
As a result, the style developed into a sophisticated, highly stylized form called yaro kabuki (roughly, “fellow’s
kabuki,” or “guy kabuki”). This metamorphosis in style was heavily influenced by kyogen comic theater, which
was extremely popular at the time.
Today the yaro has been dropped, but all roles in a kabuki play are still performed by men. The male actors
who specialize in playing women’s roles are called onnagata.
Important characteristics of kabuki theater include the mie, in which the actor holds a picturesque pose to
establish his character. Kesho, or make-up, provides an element of style easily recognizable even by those
unfamiliar with the art form. Rice powder is used to create the white oshiroi base, and kumadori enhances or
exaggerates facial lines to produce dramatic animal or supernatural masks for the actors.
— Condensed from http://wikipedia.org/wiki/Kabuki
make-up worn by its performers.
Izumo no Okuni (1572-1613) was the main founder of kabuki theater. She was a miko at the Izumo Shrine
who began a new style of dance in the dry riverbeds of Kyoto. (Miko are young women in the service of Shinto
shrines of Japan.) Okuni’s style was instantly popular. She was even asked to perform before the Imperial Court.
Because of her success, rival troupes quickly formed, and kabuki was born as an ensemble dance performed
by women. Its appeal in this era was due to the ribald, suggestive performances put on by many imitators. It
was said that many actresses were often also available for “other services.”
During the Edo Period (1600-1868), specifically in 1629, the government banned women from performing
onstage “for the stated purpose of protecting public morals.” Some historians suggest that the government then
was also concerned by the popularity of kabuki plays expressing what it considered dangerous thoughts.
Young male actors took over after women were banned from performing. Along with the change in the
performers’ gender came a change in the emphasis of performance: more on drama than dance. Their
performances were equally ribald; audiences frequently became rowdy; and the actors also became available
for “other services.” The Shogunate clamped the theater down in 1652.
As a result, the style developed into a sophisticated, highly stylized form called yaro kabuki (roughly, “fellow’s
kabuki,” or “guy kabuki”). This metamorphosis in style was heavily influenced by kyogen comic theater, which
was extremely popular at the time.
Today the yaro has been dropped, but all roles in a kabuki play are still performed by men. The male actors
who specialize in playing women’s roles are called onnagata.
Important characteristics of kabuki theater include the mie, in which the actor holds a picturesque pose to
establish his character. Kesho, or make-up, provides an element of style easily recognizable even by those
unfamiliar with the art form. Rice powder is used to create the white oshiroi base, and kumadori enhances or
exaggerates facial lines to produce dramatic animal or supernatural masks for the actors.
— Condensed from http://wikipedia.org/wiki/Kabuki
If you failed to attend the Asian Moon Festival in Milwaukee last June 17-18, you missed a
lot -- a lot of knowledge about various Asian cultures. The kabuki theater, for instance, by Mary
Ohno (left), fascinated me to no end. It was the first time that I saw a live kabuki performance,
and that experience pushed me to read more about it. The Boxmen from Japan (bottom, left) is
the greatest hip-hop group I have ever seen — extremely energetic, beautiful youngsters with
the most graceful movements onstage, a very classy, top-of-the-art choreography, and very
attractive, colorful costumes, lighting and props. The Chirgilchin (left, below), an award-
winning musical troupe from Central Asian Steppes, amazed me and the crowd with their
unique style of “throat singing.” Filipinos presented their national dance, Tinikling, a fast dance
requiring an extraordinary footwork skill to avoid being “caught” in between two bamboo poles.
The Chinese community also showed some of their best performers, including the Liang
Acrobatic and Comedy Show (top right). The West Bend tumblers were awesome, as well.
Aside from musical performances, there were martial arts exhibitions, wedding celebrations,
ballroom dancing, oriental massage clinics, a huge marketplace, and of course, tons of Asian
cuisine! Don’t miss next year’s Asian Moon Festival. It’s worth much, much more than its
admission fee! — Heidi M. Pascual
lot -- a lot of knowledge about various Asian cultures. The kabuki theater, for instance, by Mary
Ohno (left), fascinated me to no end. It was the first time that I saw a live kabuki performance,
and that experience pushed me to read more about it. The Boxmen from Japan (bottom, left) is
the greatest hip-hop group I have ever seen — extremely energetic, beautiful youngsters with
the most graceful movements onstage, a very classy, top-of-the-art choreography, and very
attractive, colorful costumes, lighting and props. The Chirgilchin (left, below), an award-
winning musical troupe from Central Asian Steppes, amazed me and the crowd with their
unique style of “throat singing.” Filipinos presented their national dance, Tinikling, a fast dance
requiring an extraordinary footwork skill to avoid being “caught” in between two bamboo poles.
The Chinese community also showed some of their best performers, including the Liang
Acrobatic and Comedy Show (top right). The West Bend tumblers were awesome, as well.
Aside from musical performances, there were martial arts exhibitions, wedding celebrations,
ballroom dancing, oriental massage clinics, a huge marketplace, and of course, tons of Asian
cuisine! Don’t miss next year’s Asian Moon Festival. It’s worth much, much more than its
admission fee! — Heidi M. Pascual