Also known as geiko (芸子 ) (in Kyoto and Kanazawa) or geigi (芸妓 ), are a class of female Japanese performing artists and tertainers trained in traditional Japanese performing arts styles, such as dance, music and singing, as well as being proficit conversationalists and hosts. Their distinct appearance is characterised by long, trailing kimono, traditional hairstyles and oshiroi make-up. Geisha tertain at parties known as ozashiki, oft for the tertainmt of wealthy clitele, as well as performing on stage and at festivals.
Modern geisha are not prostitutes. This misconception originated from conflating Japanese courtesans (oiran), oiran reactors, the extant tayū , and prostitutes, who historically also wore kimono. The first female geisha appeared in 1751, with geisha before that time being male performers who tertained guests within the pleasure quarters; only later did the profession become mainly characterised by female workers.
The arts that geisha perform are considered highly developed and, in some cases, unique throughout Japan to the world of geisha. For example, the Gion district of Kyoto is the only district wherein the kyo-mai style of Japanese traditional dance is taught. This style of dance is taught solely to the geisha within the district by the Inoue school, with the school's former head, Inoue Yachiyo, having be classified as a Living National Treasure by the Governmt of Japan, the highest artistic award attainable in the country, in 1955.
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A number of terms are used to describe the profession and community that geisha both live and work in. Though each has its own distinct meaning and translation, some are used interchangeably to describe the geisha community on the whole, such as hanamachi and karyūkai.
A regional term for geisha with a slightly differt meaning. Geiko is a term used to describe geisha in Western Japan, including Kyoto and Kanazawa. This term directly translates as 'woman of art', and is part of the Kyoto dialect spok by geisha in Kyoto and Western Japan.
'artist' or 'performing artist' or 'artisan'. A traditional female hostess, tertainer and performing artist. The word geisha consists of two kanji: gei (芸 , meaning 'art') and sha (者 , meaning 'person' or 'doer').
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The five geisha districts of Kyoto; Gion Kobu and Gion Higashi, Ponto-chō, Miyagawa-chō and Kamishichik. Kyoto previously had six hanamachi, with Shimabara, formerly a red light and geisha district, still being considered an active hanamachi in the 1970s. In the prest day, Shimabara is active only as a host for tayū, who are considered to be tertainers of a similar kind to geisha, but the district is still not considered to be an active hanamachi.
The district where a geisha works, is affiliated, and pottially lives. Geisha gerally do not work outside of their hanamachi, though customers may call them for special occasions in other districts, or on excursions – however far away – to places outside the karyūkai.
A term for apprtice geisha in some regions of Japan such as Tokyo. The term han-gyoku means 'half-jewel', referring to one of the terms for a geisha's wages, 'jewel money'.
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The community or society that geisha inhabit. In the prest day, this term refers solely to the world of geisha, as well as the few remaining tayū; before the decline and evtual disappearance of oiran, the term karyūkai referred to the tertainmt districts (the world) of both geisha and courtesans, with oiran acting as the flowers, ostsibly for their beautiful and showy appearance, and geisha being the subtler willows.
The second typical stage of a maiko's training, and the step that always follows that of shikomi. A minarai wears a version of a maiko's outfit, with a shorter obi, shorter kimono sleeves, and more hair accessories (kanzashi).
A geisha lodging house. All geisha must be registered to an okiya, though not all geisha live in their okiya day-to-day. Okiya are usually run by wom, many of whom are ex-geisha themselves.
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A term for a geisha's gagemts, which may take part or the whole of an eving. The term ozashiki combines the name for a banqueting room, zashiki (座敷 ), and the honorific prefix o- (お ), changing the meaning to a term exclusively referring to the gagemts a geisha takes.
The typical first stage of a maiko's training. Shikomi wear kimono, though they do not wear the elaborate outfit, hairstyle and makeup of fully-fledged maiko.
Some of these saburuko girls offered sexual services for money while others with a better education made a living by tertaining at high-class social gatherings.
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After the imperial court moved the capital to Heian-kyō (Kyoto) in 794, aspects of now-traditional Japanese art forms and aesthetic ideals began to develop, which would later contribute to the conditions under which the geisha profession emerged.
Skilled female performers, such as shirabyōshi dancers, thrived under the Imperial court, creating the traditions of female dance and performance that would later lead to both the developmt of geisha and kabuki actors.
During the Heian period, ideals surrounding relationships with wom, sexual or otherwise, did not emphasise fidelity, with marriage within the Heian court considered a relatively casual arrangemt. M were not constrained to be faithful to their wives, with the ideal wife instead being a modest mother who managed the affairs of the house, following Confucian customs wherein love had secondary importance to the other roles a wife fulfilled within the marriage. As such, courtesans—who provided not only sexual joymt, but also romantic attachmt and artistic tertainmt—were se both as an outlet for m and as common companions. Though geisha would not appear until the 1800s, the role and status of courtesans as artistic and romantic tertainers were a tradition that geisha came to inherit, with the basic artforms of tertaining guests through song, dance and conversation being employed and adapted to contemporary tastes by geisha.
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Within the pleasure quarters, yūjo (遊女 , [wom] of pleasure) – a term used to refer to prostitutes as a whole – were classified and licsed, the upper echelons of which were referred to as oiran, a category with its own internal ranks, the highest of which being the tayū.
Though wom in the lower ranks of yūjo did not provide as much artistic tertainmt as they did sexual, oiran, whilst still prostitutes, also included the traditional arts as a key aspect of their tertainmt, their practice of which differed considerably from those of geisha. As oiran were considered to be low-ranking members of the nobility, the instrumts they played and the songs they sang were oft confined to those considered respectable ough for the upper classes. This typically meant that oiran sang long, traditional ballads (nagauta (lit. 'long songs')), and played instrumts such as the kokyū (a type of bowed shamis) and the koto (a 13-stringed harp).
However, some yūjo also performed theatrical plays, dances and skits; one such person was Izumo no Okuni, whose theatrical performances on the dry riverbed of the Kamo River are considered to be the beginnings of kabuki theatre.
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Following their inception by the shogunate in the 17th ctury, the pleasure quarters quickly became popular tertainmt ctres that developed their own additional forms of tertainmt outside of sex. The highly accomplished courtesans of these districts tertained their clits by dancing, singing, and playing music. Some were rowned poets and calligraphers as well; the developmt of the cultural arts of the pleasure quarters led to the rise in oiran being considered to be the celebrities of their day.
Around the turn of the 18th ctury, the first geisha, or forerunners of geisha, performing for guests of the pleasure quarters began to appear; these tertainers, who provided song and dance, developed from a number of sources. Some geisha, who were something of travelling tertainers going from party to party, were m, who would tertain the customers of courtesans through song and dance.
Developed, trained and hired as chaste dancers-for-hire within these pleasure quarters. Further still, some courtesans, whose contracts within the pleasure quarters had ded, chose to stay on to provide musical tertainmt to guests, making use of the skills they had formerly developed as part of their job.
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By the early 18th ctury, many of these odoriko had also begun offering sexual services as well as chaste performances. Performers who were no longer teagers (and could no longer style themselves odoriko)
Who had become a skilled singer and shamis player. The geisha, who took the name of Kikuya, became an immediate success, bringing greater popularity to the idea of female geisha.
In the next two decades, female geisha became well known for their talts as tertainers in their own right; these performers oft worked in the same establishmts as male geisha.
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By 1800, the profession of geisha was understood to be almost tirely female, and was established as a distinct role in its own right; however, geisha were, throughout various points within the Edo period, unable to work outside of the pleasure quarters, being affected by reforms aimed at either limiting or shutting down the pleasure quarters. These reforms were oft inconsistt, and were repealed at various times.
Once established as an indepdt profession, a number of edicts were th introduced in order to protect the business of courtesans and
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