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The kabukimono -

The vibrant dress and bombastic action that characterizes kabuki theater are thought to have taken inspiration from the kabukimono, a class of ex-samurai who were prominent in the 16th century. Thought to also be the progenitors of the modern Yakuza clans, the kabukimono were known in their time for their erratic behavior and loud, controversial clothing.

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What does "kabuki" mean? -

The three syllables in the word kabuki are three distinct kanji, or characters, with their own meanings. In this context, ka stands for "sing," bu for "dance," and ki for "skill." When the kanji are put together as kabuki, they literally translate to "the art of song and dance."

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Izumo no Okuni -

A Buddhist priestess known in ancient texts as Izumo no Okuni is thought to be the inventor of kabuki theater. The story goes that Izumo brought together a band of vagrant women and ladies of the night and performed parodies of Buddhist parables in a dry riverbed outside of Kyoto during the first years of the 17th century. It didn't take long for the new art form to take the island nation by storm.

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Kabuki odori -

This first iteration of kabuki was known as kabuki odori, or "women's kabuki." It was performed exclusively by women, who used makeup and elaborate costuming to play the parts of princesses, warriors, demons, and any number of other characters.

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Kabuki odori -

In these early years of kabuki, the artform was directly associated with prostitution, as many of the performers were in fact working women who would use the performances as a chance to advertise their services. The performances would often include fairly suggestive scenes, and although kabuki was certainly enjoyed all over Japan, in secret or otherwise, it was not yet considered the cornerstone of culture that it is today.

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The popularity of kabuki -

It didn't take long for kabuki to become wildly popular in the club and red-light districts of Japan's cities. Rival troupes determined to overthrow Izumo and her performers popped up in Edo (modern-day Tokyo) and other cities, and clashes were frequent.

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Kabuki gets outlawed -

The association with prostitution and the rowdiness that the performances incited among spectators made kabuki an immediate problem for the rulers of Japan, and they banned the performances in 1652.

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The return of kabuki -

It didn't take long, however, for boys and men to appropriate the art form that had been taken away from the women, and give birth to a new and far more enduring form of kabuki.

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Wakashu kabuki -

Wakashu kabuki is the style that has lasted throughout the centuries and into modern times. After women were banned from performing, men stepped into all of the roles of kabuki theater, again aided by copious amounts of makeup and elaborate costumes.

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Wakashu kabuki -

In the early days of wakashu kabuki, which means "men's kabuki," young boys performed the roles of the female characters. However, the Edo period of Japan also saw the widespread employment of young boys as sexual companions, and boys were promptly banned from performing for the same reasons women were forced to stop. With the eligible performers narrowed down to strictly adult men, performances became more and more socially acceptable.

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The shamisen -

Apart from the theatrics themselves, the musical accompaniment was the most essential aspect of kabuki. The shamisen, a traditional three-stringed instrument, has been used to set the mood of kabuki performances since the earliest years of the art form.

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The hyoshigi -

The shamisen was usually accompanied by hyoshigi, two bamboo blocks that produced a jarring cracking sound. Hyoshigi would also help set the rhythm for the frequent dance numbers and fight scenes throughout the performance.

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The kurogo koken -

The unsung heroes of kabuki performances are the kurogo koken, stage hands dressed in all black that scatter across the stage triggering special effects such as wind and flames. It is an unspoken agreement between the performers and the patrons that the kurogo koken are to be assumed invisible and not present in the story being told.

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Kumatori -

The distinct style of makeup used in kabuki is known as kumatori, and is used for much more than creating pretty faces. Traditional kabuki characters are color-coded, with red makeup signifying the good guys and blue makeup indicating villainy. Additionally, the more intricate and over-the-top the makeup is, the less human the character is. For example, demons and spirits always wear the loudest makeup.

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The Mie -

An aspect of kabuki that might confused those who aren't familiar with the art form is the practice of the mie, a moment when the central character will freeze in a pose at the height of the action. While this might seem like a great way to ruin the moment, it is actually meant to enhance and prolong the pinnacle of action in the performance. It isn't rare for fellow performers in the audience to yell out praise during this moment.

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The two kabukis -

As kabuki progressed and became a staple in the canon of Japanese entertainment, two distinct styles arose. While neither was considered more or less respectable than the other, they certainly had their differences.

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Kabuki buyō -

Kabuki buyō is the style of kabuki that puts much more emphasis on the choreography and movements of the performance, while the script and storyline takes a considerably large step back. This is the style of kabuki that is recommended to tourists, since it's not entirely necessary to follow the story in order to enjoy the performance.

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Kabuki kyogen -

Kabuki kyogen, on the other hand, is story-driven, and these performances tell the stories of both real characters of legend, such as ancient generals or princesses, or fictional stories set around real events.

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Other types of Japanese theater -

While kabuki is certainly the most internationally known form of Japanese theater, it is far from the only one. Today, there are three forms of Japanese theater that are considered cornerstones of Japanese culture, including kabuki.

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Noh -

Noh is considerably older than kabuki, with its origins dating back to the 14th century, making it the oldest theatrical performance in the world still practiced in its original style.

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Noh -

Noh could be described as more "dignified" or "restrained" than kabuki, although that is not to say one is more or less respected than the other. Noh performances are usually reenactments of traditional Japanese legends, and make extensive use of beautiful, intricate masks and face coverings.

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Bunraku -

The third cornerstone of Japanese theater is bunraku, or puppet theater. Bunraku originated in Osaka during the 17th century, and quickly earned respect throughout the masses for the puppeteers' impressive skills of manipulation.

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Bunraku -

Bunraku puppets are traditionally made of wood and human hair, with costumes custom-made as if they were for a real person. The puppets can be quite large, and take at least two people to operate.

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Prestige titles -

Another peculiarity of kabuki culture is the practice of passing down performance names either from master to apprentice, or through bloodlines. These stage names, known as myouseki, are sources of great pride and respect for kabuki performers.

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Famous kabuki stories -

As with other types of theater, there are certain stories that are endlessly told and retold throughout the centuries. Perhaps the most famous kabuki story, if not the most famous story in all Japanese culture, is '47 Ronin,' the tale of a band of ex-samurai who avenge their old master's death before committing ritual seppuku.

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'Sugawara and the Secrets of Calligraphy' -

Another tried and true story is known as 'Sugawara and the Secrets of Calligraphy,' and was first performed in 1746. 'Sugawara' follows the story of a dead scholar who becomes deified after his enemies are plagued by tragedy following the scholar's death.

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Chikamatsu Monzaemon -

Chikamatsu Monzaemon is often considered Japan's answer to Shakespeare, and is one of the most prolific playwrights not only in Japan but across the globe. Author of 'The Love Suicide at Sonezaki,' among innumerable other plays, Monzaemon is thought to have played a key role in earning kabuki widespread respect during the 17th century.

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Kabuki today -

Kabuki has changed very little in the four centuries since its genesis, but is still as popular today as it was in the 1700s. Kabuki theaters thrive and are frequented by tourists and locals alike, and performers are still widely respected throughout Japan.

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Exclusively performed by men -

In keeping with tradition, even as gender roles have changed and fluctuated over the centuries, kabuki is still performed exclusively by men. 

Sources: (Japan Objects) (tsunagu Japan) (Britannica)

See also: A curtains up history of Broadway

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