kabubi and bunraku ---images of tokugawa shogunate explained

TOKUGAWA PERIOD: ECONOMY AND SOCIETY

The Neo-Confucian theory that dominated Japan during the Tokugawa Period recognized only four social classes–warriors (samurai), artisans, farmers and merchants–and mobility between the four classes was officially prohibited. With peace restored, many samurai became bureaucrats or took up a trade. At the same time, they were expected to maintain their warrior pride and military preparedness, which led to much frustration in their ranks. For their part, peasants (who made up 80 percent of the Japanese population) were forbidden from engaging in non-agricultural activities, thus ensuring consistent income for landowning authorities.

The Japanese economy grew significantly during the Tokugawa period. In addition to an emphasis on agricultural production (including the staple crop of rice as well as sesame oil, indigo, sugar cane, mulberry, tobacco and cotton), Japan’s commerce and manufacturing industries also expanded, leading to the rise of an increasingly wealthy merchant class and in turn to the growth of Japanese cities. A vibrant urban culture emerged centered in Kyoto, Osaka and Edo (Tokyo), catering to merchants, samurai and townspeople rather than to nobles and daimyo, the traditional patrons. The Genroku era (1688-1704) in particular saw the rise of Kabuki theater and Bunraku puppet theater, literature (especially Matsuo Bosho, the master of haiku) and woodblock printing.

MEIJI RESTORATION

As agricultural production lagged in comparison to the mercantile and commercial sectors, samurai and daimyo did not fare as well as the merchant class. Despite efforts at fiscal reform, mounting opposition seriously weakened the Tokugawa shogunate from the mid-18th to the mid-19th century, when years of famine led to increased peasant uprisings. In 1867, two powerful anti-Tokugawa clans, the Choshu and Satsuma, combined forces to topple the shogunate, and the following year declared an “imperial restoration” in the name of the young Emperor Meiji, who was just 14 years old at the time.

The peace and stability of the Tokugawa period, and the economic development it fostered, set the stage for the rapid modernization that took place after the Meiji Restoration. During the Meiji Period, which ended with the emperor’s death in 1912, the country experienced significant social, political and economic change–including the abolition of the feudal system and the adoption of a cabinet system of government. In addition, the new regime opened the country once again to Western trade and influence and oversaw a buildup of military strength that would soon propel Japan onto the world stage.

Bunraku, or Japanese puppet theater, is probably the most developed form of puppetry in the world. It is closer in style to Punch and Judy than Pinnochio as there are no strings and in its early days the puppeteers were hidden behind a curtain. The puppets are large - usually about one-half life size - and the main characters are operated by three puppeteers. Many bunraku plays are historical and deal with the common Japanese theme of giri and ninjo - the conflict between social obligations and human emotions. The greatest works by Japan's most famous playwrightChikamatsu Monzaemon (1653-1724) are bunraku plays, many of which are written around this kind of conflict.

As was the stage tradition in Elizabethan England, kabuki is performed entirely by men. Strangely enough however, this art form was created by Okuni, a female shrine attendant, in the 17th century. Although greatly influenced by the aristocratic noh, kabuki was largely popular entertainment for the masses. A large part of the popularity of the early, all-female performances was due to their sensual nature. The performers were also prostitutes and male audiences often got out of control. As a result, women were banned from performing by the Tokugawa Shogunate. Ironically, the young male actors who took over kabuki also engaged in prostitution and audience disturbances continued to break out. Again, the Shogunate clamped down and troupes composed of older actors were required to perform more formalized and strictly theatrical dramas, based on kyogen. Changes were made to the traditional noh stage, such as adding a draw curtain and a hanamichi (catwalk) through the audience to allow dramatic entrances and exits.