Sumi Hanayagi
Sumi Hanayagi | |
|---|---|
花柳寿美 | |
.jpg) | |
| Born | 11 February 1898 Gifu Prefecture, Japan |
| Died | 8 February 1947 (aged 48) Tokyo, Japan |
| Other names | Isami,Koyuko,Hanayagi Juyu |
| Occupations | geisha, dancer, Model,teacher |
Sumi Hanayagi (February 11, 1898 – February 8, 1947) was a Japanese classical dancer who also founded her own dance company "Akebono-kai".
Biography
[edit]Sumi Hanayagi was born in Gifu Prefecture in 1898 as the illegitimate child of Masataro Suwa and a geisha. She was later adopted into the Ohashi family in Nagoya. She was later officially named Isami. Sumi Hanayagi began studying dance at the Nagoya Nishikawa school at the age of four. In 1910, she moved to Tokyo and became a disciple of Hanayagi Tokutaro, who was then the head of the Hanayagi school of geisha. The following year, under the name "Koyuko," she began working as a maiko at the "Takenoya" in Shinbashi. She was known as a beautiful maiko and was called one of the "Seven Maikos of Shinbashi".[1][2]
After the second generation Hanayagi Jusuke became the head of the school, she received instruction from him, and in 1918 she was granted the title of Natori (master) and took the name Hanayagi Juyu. With Asabuki Tsunekichi as her patron, she received instruction from Osanai Kaoru, the sixth generation Onoe Kikugoro, Ashihara Eiryo, and the third generation Ichikawa Sadanji (then known as Ichikawa Otokozo), and rose to prominence in the Hanayagi Dance Research Association.[3] In 1923, she left the geisha household to pursue a career as a dancer. In 1925, she took the name Hanayagi Sumi.[4][5]
In 1926, she established her own dance research group, the Akebono-kai, and together with other female dancers, developed the "New Dance Movement". Tokuho Azuma (aka Harue Fujima) also admired the first Sumi Hanayagi and transitioned from actress to dancer, playing an active role in the New Dance Movement.[6] Her company was characterized by unprecedented costumes and magnificent stage designs, which reportedly brought great entertainment to the audience. Furthermore, she dedicated her life to establishing new dance forms, including presenting many works with an orchestra and researching recordings—all of which were novel at the time.[7]
Sumi choreographed and presented numerous works, with representative works including "Kaen no Oshichi," "Yoshida Goten," "Okiku-san," "Hanabi," "Sanmai-e," and "Yuki no Fu". In addition to dance, Sumi also attracted attention for appearing in cosmetics advertisements and serving as a model for paintings by Japanese painter Yamakawa Shūhō. On February 8, 1947, she suddenly died of a cerebral hemorrhage on a subway train. Her funeral service was held on the 21st at Tsukiji Honganji Temple.[8][9]
Family
[edit]After her death, the name Sumi was passed down to her adopted daughter, Ohashi Suzuko, who became the second generation in 1949, and then to her eldest daughter, Mansuko, who became the third generation in 1958. Among her disciples are Hanayagi Sumien, among others.[10]
Gallery
[edit]-
-
-
Picture postcard "(Wu Quan) Koyuko", later known as Hanayagi Sumi (1898-1947) -
Yamakawa Shūhō, Hanayagi Sumi, and a "plain dance" based on her, around 1931 (Showa 6)
_02.jpg)
_03.jpg)
References
[edit]- ^ 日外アソシエーツ, 編集部 (2010-11-25). 『新撰芸能人物事典 明治～平成』. 日外アソシエーツ. p. 657. ISBN 978-4-8169-2283-1.
- ^ 倉田喜弘, 藤波隆之 (1995-07-10). 『日本芸能人名事典. 三省堂. p. 753. ISBN 4-385-15447-3.
- ^ 日本小学館, 編集部 (1987-11-01). 『日本大百科全書』 18巻. 小学館. p. 913. ISBN 4-09-526018-1.
- ^ 倉田喜弘, 藤波隆之 (1995-07-10). 『日本芸能人名事典. 三省堂. p. 754. ISBN 4-385-15447-3.
- ^ 上田正昭,西澤潤一, 平山郁夫,三浦朱門(監修) (2001-12-25). 『講談社日本人名大辞典』. 講談社. p. 1513. ISBN 4-06-210800-3.
{{cite book}}: CS1 maint: multiple names: authors list (link) - ^ 西國領君嘉 (2015-03-25). 吾妻流の再興と展開 ～初代吾妻徳穂の舞踊活動を中心に～. 音楽研究科音楽 (博士 (音楽) thesis). 東京藝術大学大学院. 学位授与番号: 甲第759号.
- ^ "日本舞踊・花柳流（はなやぎりゅう）について解説します【五大流派】". 俺の日本舞踊. Retrieved 2020-07-20.
- ^ 日外アソシエーツ, 編集部 (2010-11-25). 『新撰芸能人物事典 明治～平成』. 日外アソシエーツ. p. 657. ISBN 978-4-8169-2283-1.
- ^ "花柳寿美とは？ わかりやすく解説". Weblio辞書.
- ^ 花柳寿美園 (1964). "心に生きる面影". 文芸. 3 (7). 河出書房新社: 235–236. doi:10.11501/7926689.