冨永愛の伝統to未来～ニッポンの伝統文化を未来へ紡ぐ～ 2025年3月5日 いざなぎ流舞神楽
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TVTranscript
00:00Now, what I, Tomina Gai, am observing is the Izanagi-style Maikagura, which is passed down from Monobe-cho in Kochi Prefecture.
00:30It is a very mysterious, mysterious, and indescribable feeling.
00:51The Izanagi-style Maikagura is located in the old village of Monobe in a remote mountainous area of Tokushima Prefecture.
01:01It is believed that the Maikagura was founded by a combination of Onmyo-do, Shugendo, Shinto, and Mikkyo.
01:20This time, we will go into the world of the Izanagi-style Maikagura.
01:30The Kirigami is a type of weapon that is used in Go-kito.
01:35It is a Kirigami that represents the gods and spirits of Go-kito.
01:40I got to experience the Gohei-giri.
01:50It's done.
01:52Now, let's go.
02:09I came to an inn where I can experience the Izanagi-style Maikagura, which has been passed down for hundreds of years in Monobe, Kochi.
02:17I came here.
02:19This is the inn.
02:26Hello.
02:27Hello.
02:29I've been waiting for you.
02:30I'm Tomina Gai. Nice to meet you.
02:32I'm Komatsu. Nice to meet you.
02:34The owner of the inn, Komatsu Mayu, welcomed us.
02:40It's a very nice house.
02:43This is a renovation of an 80-year-old house.
02:49Monobe-cho, Kami City, Kochi Prefecture.
02:57The inn in this town, Maki, in Sanson, is the inn of Itto-gashi, which conveys the Izanagi-style.
03:05Here, you can experience the Izanagi-style Maikagura and the Gohei-giri.
03:13Gohei-giri
03:28There is an Izanagi-style Gohei-giri.
03:33The Gohei-giri contains the Maikagura.
03:36The Maikagura and other traditional cultures are a bit limited,
03:45so we decided to make this inn for many people.
03:52Monobe-cho is very unique.
03:56When you get sick, you go to the hospital,
04:00and you are called by the doctor of the Izanagi-style.
04:06Then, you pray.
04:09That kind of culture was common.
04:12Until recently, that kind of culture was common.
04:17The mysticism of that culture,
04:20and the humanity of that culture,
04:24are all conveyed by words.
04:27I think that is a big feature of Monobe-cho.
04:36The Izanagi-style Gohei-giri was held only in Monobe-cho.
04:42We were able to borrow a precious video of the Gohei-giri.
04:47The word Izanagi comes from the word Izanagi-sama,
04:52who appeared in the story of the origin of the Izanagi-style.
04:56In the story of the Izanagi-style Gohei-giri,
04:59the fortune-teller Tenchu-himemiya
05:02went to Tenjiku to ask for a prayer to save a person.
05:06He was told that he learned the prayer of a doll or a bow from Izanagi-sama,
05:11and that he passed it on to Japan.
05:15It has been passed down from generation to generation
05:19only in the Kuden-re style.
05:23The fortune-teller is told to go to his disciple and pray.
05:28The fortune-teller visits each household,
05:31and the people pray to the god of the house
05:34to cure the sick.
05:40This time, we had the great fortune-teller Yukio I,
05:44Toshiharu Handa, Kotomi Handa, and Miho Satake
05:48give us a special talk.
05:53Mr. I, you are a fortuneteller.
05:56Are there many people who are a fortune-teller?
06:00No, there aren't many people who are actually doing it.
06:06There aren't many people who are really doing it.
06:11But I think there are a few people who do other jobs,
06:15such as farming.
06:18Mr. I, did you do any other jobs?
06:22No, I've been doing this for over 30 years.
06:27What made you want to be a fortune-teller?
06:31My father was a famous fortune-teller in the world.
06:37My grandfather was also a fortune-teller.
06:42I see.
06:44That's how I was born.
06:46By the way, Satake, why did you want to be a fortune-teller?
06:50I met a fortune-teller at my friend's house.
06:55He told me to come to his house to learn Maikagura.
06:59So I went to his house to practice.
07:02When I went to practice,
07:05he was talking to me in Maikagura.
07:08I told him that I was very interested in his words,
07:12and he said,
07:13I see.
07:15He said,
07:17I see.
07:19Then I said,
07:21It's a relatively simple story.
07:24Yes.
07:26That's how I started.
07:29But I was able to become a fortune-teller in no time.
07:36How many years has it been?
07:38I think it's been more than 15 years.
07:44How is it?
07:46It's so difficult that it can't be put into words.
07:51When I was learning,
07:54there were a lot of kanji,
07:57but I couldn't read them.
07:59So I asked the fortune-teller how to read it.
08:02He said he wrote it in a way that I couldn't understand.
08:05Then I couldn't understand it.
08:08I think it's been a long history.
08:12I didn't think it would be so easy after 10 years.
08:18I agree.
08:20If I had learned about the fortune-teller every day,
08:25I would have been able to learn more.
08:28But it's been more than 10 years since then.
08:31It's been a long time.
08:33So it's a treasure story to hear from everyone.
08:38How do you read the fortune-teller?
08:43Some of them are not published.
08:47Some of them are not shown at all.
08:49That's right.
08:51Especially for sick people.
08:53It's not good for the camera to get involved with people.
08:59It's not good for the camera to get involved with people.
09:01It's not good for the camera to get involved with people.
09:03Of course, you can publish the fortune-teller,
09:07but you can't just show it to everyone.
09:11That's right.
09:13The fortune-teller is a part of the Go-kito.
09:19Ms. Kotomi Handa,
09:21can I call you a fortune-teller?
09:24Why did you start reading the fortune-teller?
09:26Well,
09:28Ryu Izanagi, Go-kito, and Kawagura
09:31became the 14th National Bunkozan in 1955.
09:37At that time, a classroom was built.
09:40I was invited to join the class.
09:43I thought I'd read the fortune-teller.
09:45That's how you started.
09:47That's how I started.
09:49There is a fortune-telling called the Inkan fortune-telling.
09:52Inkan?
09:53When you read the fortune-telling,
09:55you have to be qualified to be a fortune-teller.
09:59That's how I became a disciple of the fortune-teller.
10:03I'm still training.
10:05I'm still progressing.
10:07It's not enough yet.
10:09I've been doing it for about 40 years.
10:11It's not enough for 40 years.
10:13Mr. Toshiharu Handa,
10:15you're doing Taiko.
10:18Can you do Taiko without being a fortune-teller?
10:21Can you do Taiko without being a fortune-teller?
10:23No, I can't.
10:27How long have you been doing Taiko?
10:30I think I've been doing it since before I went to school.
10:38In the old days,
10:40there were many festivals like that in my house.
10:45When I was doing Taiko in an interesting way,
10:49an adult taught me how to do it.
10:53I think it was before I went to school.
10:57I was able to do Taiko.
11:01When I was doing Kankura,
11:04I was taught how to do Taiko.
11:07I see.
11:09I was able to do Taiko at night.
11:12I did Taiko at night.
11:15But I was able to do it at night.
11:17I was so sleepy that I was tired of doing it.
11:21I remember doing Taiko at night.
11:25Mr. Kotomi,
11:27how is Taiko for you?
11:29Taiko is very easy to do because it's a veteran.
11:34It's different, isn't it?
11:36It's totally different.
11:38It's like you're being sucked in while you're waiting.
11:40That's what it means.
11:42I see.
11:43It means to be at ease.
11:45The Izanagi style does not have a statue of a person that can be worshipped all the time,
11:52so the Gohei that is used in the Gokido style is the Gohei that is made of Japanese paper.
11:59Gohei is something that is made.
12:04So, for me, it's not something that is passed down,
12:08or something that is used all the time,
12:11but something that is made new.
12:14Well, it's a piece of clothing, or a piece of clothing.
12:18The Gohei is like this for the gods,
12:20the Gohei is like this for the water gods,
12:22and the Gohei is like this for the mountain gods.
12:24The way of wearing it is different at home and outside.
12:28It's different?
12:29Yes.
12:30It's a little different at home and outside.
12:33I see.
12:35The Gohei is something that is worn by the gods.
12:39It's something that is easy to wear.
12:45It doesn't matter what it looks like.
12:48The Gohei has its own strength,
12:52and the gods have their own strength.
12:55I think that the Japanese paper has its own strength.
12:59The Taiyo, who was entrusted with the Gohei,
13:04prays with it, and at the end, it sinks.
13:08Sinking is the most difficult part.
13:10Sinking the gods?
13:12Sinking everything.
13:13Sinking everything?
13:14Yes.
13:15If the house is in trouble,
13:17the house has to be sunk.
13:19I can't do it myself,
13:22but the other things are basically the most difficult.
13:27Sinking is more difficult than praying.
13:32I've done it before.
13:35It's the most difficult thing for a person to do.
13:38It's the most difficult thing for a person to do.
13:43I see.
13:44Yes, that's what I mean.
13:46But the master has a different way of wearing it.
13:50It's different, isn't it?
13:52I have three children,
13:54but they're all a little different.
13:57They're different?
13:58Wow, that's hard.
14:00It's hard.
14:01You have to learn from scratch.
14:03So, in a sense, it's self-taught?
14:05That's right.
14:06At the end, you have to make it your own.
14:08That's what I've learned.
14:10It's so hard that you can't finish it by imitating it.
14:15That's how difficult it is.
14:17That's bad.
14:18That's really bad.
14:24Could you teach me how to make Gohei?
14:26Sure.
14:29The basic Gohei,
14:32the one that you can pray for,
14:35the one that you can pray for,
14:38I'm going to teach you how to make it.
14:45This is a Japanese paper with a front and a back.
14:51Fold this.
15:05Fold it four times.
15:15Would you like to try it?
15:17Yes.
15:18I'm sure you can tell just by looking at it.
15:23Put the knife here.
15:27One more time.
15:34Try it with your own strength.
15:37Okay.
15:38Good job.
15:40It's beautiful, isn't it?
15:43Now, I'm going to show you the basic Gohei.
15:47I'm going to show you how to make Tenjin no Haraibe.
15:49Tenjin no Haraibe.
15:53I'm not going to draw a line or anything.
15:55I'm going to show you how to make it.
15:57First, you have to imitate it.
15:59It's impossible at first.
16:00It's about three centimeters.
16:03Now, I'm going to draw a straight line.
16:07Many traditional crafts were damaged in the Noto Peninsula.
16:12Chano-yu, which has long been a favorite of the people of Kanazawa.
16:17Toshie Maeda, the first master of the Kaga-han,
16:21learned from Sen-no-ri-kyu.
16:25Chano-yu became so popular that it was called the Sado Kingdom.
16:30Chano-yu and Ishikawa's traditional crafts are deeply connected.
16:37The Hyakko Chakai is a tea party for culture and crafts.
16:44In December of last year,
16:46the Chakai was held at the Catholic Kanazawa Church
16:50to commemorate the reconstruction of the Noto Peninsula and Go-u.
16:56We asked the founder of the Chakai, Mr. So-kyu Nara.
17:01This is the third Chakai.
17:03In the first and second Chakais,
17:05we gathered together to enjoy crafts and art.
17:10But on January 1st, there was the quake in Gantan,
17:14and in September, there was Go-u.
17:17The Chakai commemorates the reconstruction of the Noto Peninsula
17:22and the reconstruction of Go-u.
17:25With Chano-yu,
17:27we can get a lot of things without having to return them.
17:32Ishikawa is a place where craftsmanship flourishes,
17:36so I'd like to use a lot of things from the Noto Peninsula
17:41and cooperate with them as much as possible.
17:46Through Chano-yu,
17:49we will continue to aim for the reconstruction of traditional crafts.
17:54In the program, we will continue to introduce the current situation of traditional crafts in the North and the movement towards reconstruction.
18:02Directed by Romi Paku.
18:05Screenplay by Yasuko Kobayashi.
18:08Choreography by Kaiji Moriyama.
18:10Staging by Kiraru Kocho,
18:13Kiraru Kocho was cast on March 14th at Shin Kokuritsu Gekijou Chugekijou.
18:19Asami Rei, Ogata Megumi, Saki Himiyu, Yamaji Katsuhiro, Yamadera Koichi, etc.
18:29In addition, 40 multi-performing casts and dancers selected by the audition
18:36will play the characters in the Heike Monogatari.
18:41Paku-san, the director, will tell us about this highlight.
18:45In Yasuko-san's book,
18:47I think that the Heike Monogatari is a story of a woman who is on her way out of the house of a Buddhist monk.
18:56I think that the story of a woman who is on her way out of the house of a Buddhist monk
19:01is a story of a woman who is on her way out of the house of a Buddhist monk.
19:05I think that this story is very new.
19:09I don't mean to say that there is no such thing as Heike Monogatari.
19:15I think that it is difficult for people to feel that they live.
19:23But I don't think about it in my head.
19:26I want people to be inspired by their instinctive energy.
19:34World-famous dancer and choreographer Kaiji Moriyama,
19:41who is also in charge of choreography and staging the Paralympic Opening Ceremony.
19:44This time, it looks like the world of men,
19:48but it is not only the way of life of women in this story,
19:54but also the red light that is important to the heart.
19:59I think that such things can be delivered as this story.
20:02The power of words, the power of voice, and the power of the body.
20:07I think that we can create a wonderful stage that we have never seen before.
20:14Heike Monogatari, Kochou no Kirare.
20:18Tickets are on sale.
20:20For more information, please visit the special site.
20:24Tominagai's past and future are broadcast on TVer and Hulu.
20:29Please subscribe to our channel.
20:32Next time, we will finally challenge the mysterious Izanagi style, Gohei-giri.
20:38What will happen?
20:44Are you ready?
20:45I'm ready.