kyoto school

anonymous asked:

Rakuzan may have been based on rakunan school, kyoto.

Submitted by anon:

I edited this, also in case you want to use it for the wonderful blog please make me anonymous. Thank you, guys. Let me know what you think.

  1. A dome structure, has a few columns and a half column like things. That’s what’s common in the image 1.
  2. Three parallel buildings interconnected by stairs. That’s what’s common in image 2.

If you want more pics just google rakunan high and youll get the japanese name and if you go to images you shall find all the images i found.

Extrapolating this we can even know how akashi’s class looks like.

Thanks for this, cool stuff! ( ´ ▽ ` )b

Detective Conan 990 Spoilers [English Translation]

Thanks to Neuro for proofreading!

  • [Tohto Gymnasium]
  • [National Spring High School Kendo Tournament]
  • [The Swordsman of the West, Hattori Heiji, came to the East!!]

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Lee U-Fan, Relatum (Kankeikô), 1969. Formerly Phenomenon and Perception B (Genshô to chikaku B). Stone and glass plate. 30 cm x 180 cm x 240 cm.
 Detail view at Developments in Contemporary Art, Kyoto National Museum of Modern Art, August 19 — September 23, 1969.

curiouslylazy  asked:

KuroKen new apartment/house furniture arrangement/decorating.

a piece of the brunch friends au, in which kenma designs video games and kuroo is a psychiatrist. (there’s an offscreen, nameless character death mentioned.)

The thing of it is, Kuroo and Kenma had never explicitly spoken about moving in together. Kuroo had moved to Kyoto for medical school, but returned to Tokyo almost immediately after graduating. He had two boxes to his name—one filled with old sweatpants and t-shirts, the other crammed with textbooks and old notes. He’d gone over to Kenma’s apartment one night to enjoy a quiet dinner—Kenma had come to the big graduation party, but hadn’t enjoyed it—and quietly bemoaned his homelessness to Kenma over a glass of wine. Kenma had shrugged and offered him the spare futon, as simple as that.

And Kenma had been doing—is still doing—pretty well for himself. He designs characters and codes for one of Japan’s biggest video game developers, and even in his twenties could afford a nice, big apartment. He and Kuroo had always spent so much time together that cohabitating had been an easy adjustment. Kuroo cooks them both breakfast, and Kenma picks up takeout on his way home from work, so that when Kuroo arrives back from his terribly long shifts he could stuff his face and then pass out immediately.

So really, it’s never been living together that’s the problem. It’s more of the fact that Kuroo had arrived late to the apartment itself, and by the time he’d settled in for good and both he and Kenma had accepted that, the decorating was already done.

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The Koto Player and the Young Dragon Chapter 4

     By the time that they had made it back to the palace, it was late into the afternoon. The sun was creeping down, gilding the clouds in blazing gold against a scarlet sky as the swallows alighted on the warm updrafts of air. The fireflies dotted the grass like glowing snow, casting their iridescent lights upon the trees and earth.
      Once inside the palace, the maids had already prepared for the night of music and excitement. The palace was spotless, no sign of dust or clutter anywhere, however this did not prompt Masamune to check Kojuro’s room as well. There are simply some things that no-one on this earth should ever have to witness.
     You had struggled to wrestle an over-excited Masayuki into the bath to get him bathed and prepared for the evening. However it appeared that you got more of a bath than Masayuki, your kimono drenched and hair in a whirling disarray. Despite all of this you smiled serenely and proceeded to chase your nude, giggling son around the room trying to get him dressed.
      Masamune came in just as Masayuki leapt dramatically out of arms-reach. His eyes widened, brows high, as he glanced from you to Masayuki, then back again.
     "He’s almost as bad as you-“ You raised your hand to your mouth to stifle your laughter.
     His whole face grew hot as he realized you were alluding to how he hated getting dressed the morning after the two of you had had a rather nocturnal night. He would stay in bed all day with you if he could.
     "What does mother mean?” Masayuki gazed in wonder and admiration at his father.
     "You’ll understand when you’re older.“ He stepped into the room, ruffling his son’s hair affectionately before you finally whisked Masayuki away to get dressed.
     With the help of Masamune, you got Masayuki into a formal yukata of navy blue with an elegant green dragon soaring up the hem and sleeves.
      "You look so grown up my handsome little lord~” You laughed, tapping his little nose lightly.
     Masayuki glanced up at Masamune as if he were a mirror. Masamune met his gaze and smiled warmly, his son was the spitting image of himself when he was a child.
      “Shall we go to the banquet hall? I’m very excited to see what the two of you have planned for tonight.” You gently took Masamune’s hand, Masayuki hurrying to grasp your other hand as the three of you headed towards the banquet hall.
~         ~            ~             ~               ~             ~                 ~              ~              ~  

     Masayuki squirmed next to Masamune in excitement, tugging at the hem of his hakama as the musicians and dancers entered the hall. The retainers bowed respectfully in acknowledgement. Among them was Aika-chan, wearing a white kimono adorned with scarlet and black cranes flying upwards through golden clouds.
      Masayuki waved enthusiastically, Masamune had to keep a hand on his shoulder to keep him from bolting from his seat to go see her.
     "Have patience, my son, let us enjoy the evening first.“ Masamune whispered from the side of his mouth as Masayuki puffed his cheeks out. You chuckled lightly from your seat on Masamune’s other side.
     The performers bowed before Lord Masamune, an air of reverence and strange excitement seemed to permeate the air, filling it with a sort of mysticism that Masamune couldn’t quite grasp. Many of the performers were dressed in clothing that seemed to flow with the air, as if they were personifying the raw elements of fire, earth, water, and wind. Some of the dancers wore masks, some of them with bright and bold colors, while others were blank aside from two holes for the eyes to see through. The blank ones seemed to unnerve Masayuki a bit as he scooted closer to the protective shadow of his father.
      Once the musicians and dancers had gotten into place, a hush fell upon all of the retainers, and the performance began.
      The dancers began slowly, building in tempo as the main dancer came forward in a mask of dauntless colors. The other dancers wove tightly around him as if he were locked in combat with them before they suddenly fanned away and the fue began to play softly, softly as leaves falling in the autumn. Another dancer was revealed as the others swept away, her legs folded delicately under her frame as her exquisite, masked face gazed upon that of the other masked dancer.
      Masayuki continued to tug on the hem of Masamune’s hakama, his eyes wide as he surveyed the performance.
      The main dancer elegantly lowered himself so that the eyes of his mask were aligned with the heroine’s. He gently grasped her delicate hand, she rose to meet him. They glided across the floor together like water skimmers upon the water. Their steps coordinating perfectly as the music hummed like the thrum of a thousand hummingbird’s wings. They circled one another with grace and balance that could be on par with the gods, their courtly dance enraptured all who witnessed it.
     Suddenly, several darker dancers crept into the scene, their movements were sharp and precise as they came upon the two masked dancers. They wrenched the maiden away from her masked partner, spiriting her away from her lover.
      Masayuki was practically beside himself, his little hands curled into white-knuckled fists. To calm him, Masamune placed a reassuring hand on his son’s shoulder. He flinched a bit in astonishment, but when he looked up and met his father’s eye he smiled and seemed to relax a bit, the tension in his wiry frame loosening.
     The remaining masked dancer rushed after his lover, desperation causing his strides to become longer and inconsistent. He continued to pursue her, facing whatever fiends came upon his path. He would not bow. He rose and conquered all that stood in his way with the brandishing of his mighty sword. Finally, he came face to face with the dark forces that had taken his love from him. They laced themselves together like a dark foreboding mass of an ominous storm. Emerging from the midst of the dark tempest, there arose another who stood above the rest. The masked hero approached him warily, brandishing his blade, the honed tip hovering above the tatami as he assumed a strong stance. The drum thrummed low as they approached each other, slowly increasing in tempo as the shamisen joined in before their narrowed eyes met and they lunged at each other. Their speed was remarkable, the only confirmation of their movements was the metallic clash of metal on metal that sounded throughout all of the hall. Their speed was only matched by their grace as they careened around one another with unmatched technique. The masked hero braced himself against his enemy’s particularly powerful blow and slid back. His assailant took this opportunity to close the distance between the two of them and knock him off balance.
      Masayuki was on his feet, his little legs shaking as he surveyed what appeared to be the demise of the fallen warrior.
      "Don’t give up!” Masayuki’s shrill cry startled Masamune so much that he  flinched visibly. The heads of several retainers turned, as well as Masamune’s, but what they beheld was a courageous, and righteously determined little boy with the heart of a warrior. Masamune caught sight of you attempting to tug Masayuki into your lap to get him to settle down but Masamune simply smiled gently, his silent reassurance that it was alright.
      Masayuki scrambled back to his father’s side to continue watching the performance with keen focus.
        By this time the hero who had fallen was now back on his feet, pushing his opponent back into the darkness from whence he came. He tensed himself, shifting his weight onto his left leg, lowering himself like a leopard ready to pounce. The roll of the drum highlighted the tension between the two combatants as they lunged at one another in what would be the final blow. The music stopped the instant that their blades met- but there was no clash of metal. A collective gasp rippled throughout the audience of retainers, Masamune too, found himself gripping his knees in awe of the brilliant display. An eternity seemed to pass before one of the warriors slumped to the floor, and the hero arose with a mighty war-cry that reverberated throughout the entire hall. A cheer rose to meet the hero as he rushed to his lover’s side, the atmosphere growing soft and timid. She threw her arms around him in a grateful embrace as he clutched her close to his heart. The sound of the koto’s string being plucked softly hummed throughout the hall like the timid fluttering of leaves in the autumn. Masamune found himself gazing down in amusement as Masayuki stared at Aika who was behind the dancers. For such a beautiful melody, it didn’t seem that she was getting enough exposure as the other instruments. Like she was an undertone. Masamune’s brow furrowed as he gripped his chin in thought.
      The fight being over and the two lovers reunited, the performers gathered in a line and bowed towards the audience who applauded them for their performance.
      Masamune cleared his throat before announcing,“ We thank you on behalf of all who are gathered here at castle Date for the moving performance. We invite you all to join us and feast side by side with the retainers of the hall.”
      A loud cheer of approval roared from the retainers as the maids brought in food and drink to serve to them and the guests.
     Masamune felt a tug on his sleeve, he looked over to see Masayuki looking up at him eagerly,“ Can Aika come sit next to me?”
      How could he say no? He nodded seriously before adding,“ Just be discreet about it.”
     And with that, Masayuki subtly crept across the hall to where Aika-chan was putting away her koto and wooden picks.
      You sidled up to Masamune, softly leaning your head on his shoulder.
      “I thought that Shigezane enjoyed playing match-maker, I didn’t know that you shared in his interests.” you whispered, your breath tickling his neck.
      A winsome smile flickered upon his lips as he shook his head,“ I didn’t know that I did either…”
             *            *              *             *           *             *           *               *             

anonymous asked:

Hello. I have read that all geiko/maiko movements (when they dance) have a meaning and that makes the whole perfomance have a meaning, like a story or some kind of beautiful opera (the one you can enjoy in occidental theatres). Is this true? Can you please share with us your knowledge about dances? I hope you can understand my question, english is not m y first language. Thank you so much for this blog!

I sadly know very little about Japanese dance, I don’t really have many resources to learn about it. I will tell you all that I know though!

All Maiko and Geiko of Kyoto perform a style called “Kyo Mai”. It’s heavily influenced by the graceful and sophisticated mannerisms and movements by members of the Imperial Court, which used to be in Kyoto, and came into existence in the 17th century.

Each of the five hanamachi of Kyoto has it’s own, unqiue style of dancing though, because every district follows different dance schools. While I’m far from being an expert, I’d say that you can tell them apart after a while of watching Maiko and Geiko dance.

Gion Kobu’s dance school is the Inoue School, and it’s the most famous out of the five dance schools taught in Kyoto and belongs to the most well-known dance schools across Japan. It derives its style from Noh theater which was founded in the 14th century and used to be watched mainly by nobles. Its dance style is very static and minimalistic, especially when you compare it to Kabuki, and only few props are used (mainly masks), and so is the Inoue style. The Inoue Style breaks down complex emotions and stories into small, seemingly simple and strong and decisive, yet graceful movements.

The Inoue School was founded around 1800 by Sato Inoue who was a lady-in-waiting at the Imperial Court and also taught the dances used in ceremonies at the court. The Inoue School is only taught in Gion Kobu, unlike all of the other dance schools taught in Kyoto’s hanamachi, which are taught nation-wide.

The head of the Inoue School is called Iemoto, and is basically the dance master. She has pretty much absolute power in Gion Kobu and she is the “model” all of the Maiko and Geiko aspire to become. Her power and influence also expand far out of Gion Kobu, and she is one of the most important figures in Kyoto’s hanamachi and Japan’s traditional dance. They are also the only person allowed to compose new pieces in the Inoue Style of Dance. All Iemoto have been trained from a very young age, usually from ages 3 to 6. They study to become dance teachers and take the position of Iemoto when the last Iemoto chooses to resign or dies and choreograph and manage the Miyako Odori.

The young girls chosen to become the next Iemoto one day are either already part of the family or adopted into it. Every Iemoto takes the title “Yachiyo Inoue”. The current Yachiyo Inoue V was born as Michiko Inoue in 1956 and took up the position in 2001.

All other four hanamachi of Kyoto follow dance schools that are mainly inspired by Kabuki Theater, which came into existence in the early 17th century and used to be mainy enjoyed by common people, because of it’s dynamic, broad and dramatic display of emotions and lavish costumes and secenery.

Pontocho follows the Onoue School of Dance, Kamishichiken follows the Hanayagi School of Dance, Miyagawacho follows the Wakayagi School of Dance and Gion Higashi follows the Fujima School of Dance. These dance schools use a much wider set of moves and are visibly more dynamic than the Inoue School of Dance. Kamishichiken’s and Pontocho’s dance schools are especially close to Kabuki. All of these dance schools are highly technically demanding and require a good deal of strength, especially in leg-muscles, and general physical health. In Kyomai and in a lot of traditional Japanese dance, deep emotions are coveyed via subtle, graceful movements. While the movements are much less dramatic, dynamic and “athletic” than what we are used to from many traditional western dances, they are performed with absolute precision, elegance and the constant strive for perfection.

Out of the five, I’d personally say that Miyagawachos dance school is the most upbeat and dynamic and the easiest to enjoy for the untrained eye.

Other hanamachi in different parts of Japan follow different dance schools - pretty much every hanamachi has “their own" (although they are usually taught nationwide). The differences are often remarkable and easy to see, even for the untrained eye, especially since no other hanamachi in Japan dances Kyomai, and therefore their movements are often more dramatic.

Most of traditional Japanese songs talk about old folklore, heroes and heroines, the beauty of nature and the four seasons and love, be it unhappy, unrequited or happy and most songs performed by Maiko and Geiko are about love and nature.

The movements of the Maiko and Geiko accompany the lyrics of the song and often tell a story. There sadly are only three traditional Japanese songs to which I know the full English translation, the Gion Kouta, Harusame and the Kamishichiken Yakyoku. The Gion Kouta (”Ballad of Gion”) is about the beauty of the Gion district and Harusame (”Spring Rain”) is about a courtesan leaving her district after paying off her debts, to live a new life with her lover and the Kamishichiken Yakyoku is basically an ode to Kamishichiken and its beauty.

However, I do know the general plot of some other ones as well, for example: “Himesanja” (my favourite), “Three Princesses” is about three princesses, sisters, who all fall in love with the same prince. The song is about their fighting and wrangling, which eventually leads to the suicide of the youngest princess. The song “Natsu Wa Hotaru” is about catching fireflies in the summer.

Once you know about the lyrics or even just the general plot of the song, the dance immediately makes much more sense. I think the Gion Kouta is a great example for this, listen to it once ot twice while reading the lyrics and then watch Maiko or Geiko perform it and the movements will make sense.

Hands and fans can be used for a very broad variety of movements and the mai tenugui is usually used to smybolize some sort of headwear from the Edo Period. When you see a Geiko biting down on it, it’s a sign that the character she is portraying is in great emotional turmoil; this is a classic gesture taken from Kabuki of women in despair.

Sometimes other props like hanagasa, floral hats, or cherry blossoms or wisteria blossoms are used, but I can’t really tell you about individual movements with those.

If you are interested in learning more about the Inoue School, here is a link to a fantastic documentary about the current Yachiyo Inoue V succeeding her grandmother, Yachiyo Inoue IV, who passed away in 2004:

And here are some videos of dances that I’d recommend to get an idea of the different styles of dancing used in Kyoto’s hanamachi:

Suzume Odori - danced by Gion Kobu’s Maiko (a special dance only performed during the Gion Matsuri)

Kabuki Odori - danced by Pontocho’s Maiko and Geiko (a special dance only performed during the Gion Matsuri)

Konchiki Odori - danced by Miyagawacho’s Maiko (a special dance only performed during the Gion Matsuri)

Komachi Odori - danced by Gion Higashi’s Maiko (a special dance only performed durig the Gion Matsuri)

Kamishichiken Yakyoku - danced by Kamishichiken’s Maiko and Geiko (the final dance of the Kitano Odori, sometimes also performed outside of the odori for special occassions)

Ayame Yukata - performed by Geiko from Gion Higashi during the Miyako No Nigiwai

Kishi No Yanagi - performed by Geiko from Kamishichiken during the Miyako No Nigiwai

Seigaiha Part 1 and 2- performed by Geiko from Miyagawacho during the Miyako No Nigiwai

Genroku Hanami Odori - performed by Geiko from Gion Kobu during the Miyako No Nigiwai

Yoshiwara Suzme Part 1 and 2 - performed by Geiko from Pontocho during the Miyako No Nigiwai

Detective Conan File 990 [Japanese to English Translation]

Detective Conan is back with more murders, more kendo and more… kansaiben… Yay!

  • The balance of offence and defense is important in both love and deduction ?!
  • Long-awaited must-read new chapter!!

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Replace VI Ch 3 旅立ちの時(Time of Departure) English Translation Part 3 *FINAL* (Rakuzan and Shuutoku graduation)

Here it is! The last part!!!!

Our last schools are Rakuzan and Shuutoku! Prepare for the feels Part 3! 
(and also here are some visuals of them from Replace Plus)

Next chapter I’ll be working on is Team Strky!

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Phoenix : Mount Horai
火の鳥 : 蓬莱山図