{"id":4623,"date":"2025-12-16T16:28:15","date_gmt":"2025-12-16T07:28:15","guid":{"rendered":"https:\/\/yukilaneige.jp\/?page_id=4623"},"modified":"2026-04-09T23:34:14","modified_gmt":"2026-04-09T14:34:14","slug":"fushimievent2026","status":"publish","type":"page","link":"https:\/\/yukilaneige.jp\/en\/fushimievent2026\/","title":{"rendered":"2026 The Third Edition"},"content":{"rendered":"\n

Rediscovering Traditional Performing Arts in Fushimi (2024\u20132026)<\/h4>\n\n\n\n

Reawakening the Spirit of Noh and Kyogen at the Shrines of Fushimi!<\/h1>\n\n\n\n

The Grand Finale: Noh and Ky\u014dgen<\/h2>\n\n\n\n

At last, we arrive at the final event\u2014Noh and Ky\u014dgen<\/strong>, the culmination of this three-year series.<\/p>\n\n\n\n

All of the works presented are set in Fushimi<\/strong>, making this gathering truly exceptional. From the east, we welcome a rare solo Ky\u014dgen<\/strong> passed down as a family specialty of the Nomura Manz\u014d lineage<\/strong>. We will also present the Noh play Kinsatsu<\/strong> in its complete form with a first act<\/strong>, preserved exclusively in the H\u014dsh\u014d school<\/strong>\u2014a version that can be seen nowhere else.<\/p>\n\n\n\n

In addition, a Ky\u014dgen piece featuring Gok\u014dnomiya Shrine<\/strong> will be performed by Munehiko and Ippei Shigeyama<\/strong>, brothers from Fushimi, marking the first-ever performance in Japan<\/strong> of this work. Completing the program, the \u014ce lineage of the Kanze school<\/strong> will present their own tradition of Kinsatsu<\/strong>.<\/p>\n\n\n\n

All of these extraordinary performances will come together here at the Kuretake Cultural Center<\/strong>.<\/p>\n\n\n\n

A special exhibition will also be held, featuring Sayoko Hayashi\u2019s original quilt work<\/strong>\u2014a monumental piece measuring 255 cm \u00d7 171 cm<\/strong>, depicting Fushimi Inari Taisha<\/strong>.<\/p>\n\n\n\n

And what direction will the ongoing talks by Masahiro Wakabayashi<\/strong>, who has joined us as a special guest throughout all three editions, take this time?
Once again, the event will be hosted by Kyoko Tsushima<\/strong>, who was born and raised in Fushimi.<\/p>\n\n\n\n

This is an opportunity not to be missed\u2014one that promises nothing but excitement. We warmly invite you to join us.<\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n
\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n

Smartphone Audio Guide Available<\/h3>\n\n\n\n

caution!only in Japanese Language<\/h4>\n\n\n\n

For the H\u014dsh\u014d-school performance of Kinsatsu<\/strong>, we will introduce \u201cSmartphone Audio Guide\u201d<\/strong>, generously provided by the Sh\u016bwa Foundation<\/strong>.
Using your own smartphone and earphones, you can listen to explanations free of charge<\/strong> during the performance (only in Japanese Language).<\/p>\n\n\n\n

Please remember to bring your smartphone and earphones<\/strong>.<\/h5>\n\n\n\n
\n
\n
\n
Profiles of Performers<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
Program<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
The Third Fushimi Event \u2014 How This Unique Program Came to Be<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

Event Information<\/h3>\n\n\n\n

Date:<\/strong> Sunday, March 15, 2026
Time:<\/strong>Doors open: 12:00
Performance begins: 13:00
Scheduled to end: 17:00
Venue:<\/strong> Kuretake Cultural Center<\/a>
Admission:<\/strong> \u00a57,500
(accepted as a supporting contribution<\/em>)<\/h3>\n\n\n\n
\n
\n
\n
Attend This Event<\/strong><\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
\n
\n
Support This Even<\/strong>t<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

\u203bIf you are interested in attending but find the participation fee of \u00a57,500 difficult to afford, please feel free to contact us via email through the application page.<\/strong>
Further details are available there<\/a>.<\/h4>\n\n\n\n
U25 (under 25 years old, ID required):<\/strong>
Thanks to the support of our sponsors, a limited number of complimentary invitations<\/strong> may be available.<\/h5>\n\n\n\n

Program <\/h2>\n\n\n\n

MC:<\/strong> Kyoko Tsushima<\/p>\n\n\n\n

Masahiro Wakabayashi<\/strong>
Lecture: Shrines of Fushimi in the Early Edo Period<\/em><\/p>\n\n\n\n

Manz\u014d Nomura<\/strong>
Izumi School Ky\u014dgen
Kenbutsu Zaemon: Fukakusa Matsuri<\/em><\/p>\n\n\n\n

Naomi Seki<\/strong>
H\u014dsh\u014d School Noh
Kinsatsu<\/em>

<\/p>\n\n\n\n

\u2014 Intermission \u2014<\/p>\n\n\n\n

Munehiko Shigeyama \/ Ippei Shigeyama<\/strong>
\u014ckura School Ky\u014dgen
\u014ctesuji<\/em><\/p>\n\n\n\n

Nobuyuki \u014ce<\/strong>
Kanze School Noh
Kinsatsu<\/em><\/p>\n\n\n\n

\n\n\n\n

One-Day Concurrent Exhibition<\/h3>\n\n\n\n

Sayoko Hayashi<\/strong>
Landscape Quilt of Fushimi: Fushimi Inari Taisha<\/em>
(255 cm \u00d7 171 cm)<\/p>\n\n\n\n

\n
\n
\"\"<\/a><\/figure>\n<\/div>\n\n\n\n
\n

Up until now, I had been writing about the process leading to the third event using the image on the left as the main visual, beginning on December 8, 2023.
I have now compiled the full story of how the third event came to take its present form in the post titled \u201cThe Third Fushimi Event \u2014 How This Unique Program Came to Be\u201d<\/a><\/strong><\/p>\n\n\n\n

Everything has unfolded through connections and encounters.
I would be very grateful if you would take the time to read it.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n\n\n\n

Profiles of Lecturers, Performers, and Exhibitors<\/h2>\n\n\n\n
\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

Masahiro Wakabayashi (Special Guest Appearance)<\/strong><\/h2>\n\n\n\n

Born in 1968 in Fushimi Ward, Kyoto. Graduated from the Faculty of Economics, Doshisha University.
Chairman of the Fushimi Castle Research Association.
Actively involved in the local Fushimi Castle Research Association, Wakabayashi has devoted himself to the study of Fushimi\u2019s regional history. Since 2013, he has conducted over 200 fieldwork sessions and delivered numerous lectures.
His work goes beyond academic research; with a strong focus on community building, he has volunteered extensively by giving lectures on Fushimi\u2019s history, appearing on television and radio programs, and serving as a historical advisor and supervisor.
Publications<\/strong> include co-authored works such as Learning Kyoto: Fushimi Edition<\/em> (Nakanishiya Publishing) and Report on the On-site Investigation of the Ruins of Fushimi Castle<\/em> (Osaka Historical Society), as well as single-author articles including \u201cThe Transformation of the Ruins of Fushimi Castle\u201d (Kyoto Studies \/ Rekisaikan Bulletin<\/em>, No. 3), \u201cPostwar Professional Baseball Promotions in Kyoto through Local and Trade Newspapers\u201d (Museum Bulletin<\/em>, No. 44), and \u201cThe Keihan Rokujiz\u014d Line, Shin-Keihan Yamashina Line, and the Nagoya Express\u201d (Museum Bulletin<\/em>, No. 43).<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

Manz\u014d Nomura<\/h3>\n\n\n\n

(Ky\u014dgen Performer, Izumi School)<\/strong><\/em><\/p>\n\n\n\n

Born in 1965 in Tokyo.
Second son of Nomura Man<\/strong> (Living National Treasure). He studied under his father and his grandfather, the late Sixth-generation Nomura Manz\u014d<\/strong>. In 2005, he succeeded to the name Ninth-generation Nomura Manz\u014d<\/strong>, becoming head of the family.<\/p>\n\n\n\n

He is the founder and artistic director of \u201cYorozu Ky\u014dgen\u201d<\/strong> and \u201cManz\u014d no Kai.\u201d<\/strong>
In 2022, the commemorative performance \u201cThe 300th Anniversary of the Birth of the First-generation Nomura Manz\u014d\u201d<\/em>received the Grand Prize of the Agency for Cultural Affairs Arts Festival<\/strong>.<\/p>\n\n\n\n

In addition to performing extensively both in Japan and abroad, he actively creates and directs new works. He has contributed significantly to the development and popularization of ky\u014dgen through innovative projects such as cross-school collaborative performances (Tachiai Ky\u014dgen-kai<\/em>) and the founding of \u201cContemporary Ky\u014dgen\u201d<\/strong> with comedian Kiyotaka Nambara<\/strong>.<\/p>\n\n\n\n

He appeared as Sanjo Sanetomi<\/strong> in NHK\u2019s historical drama Segodon<\/em> (2018).
Lecturer at Tokyo University of the Arts<\/strong>.
Committee member of the Izumi School Professional Performers\u2019 Association.
Certified holder of Important Intangible Cultural Property (General Recognition)<\/strong><\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

Naomi Seki<\/h3>\n\n\n\n

(Shite Actor, H\u014dsh\u014d School of Noh)<\/strong><\/em><\/p>\n\n\n\n

Shite (principal actor) of the H\u014dsh\u014d School of Noh<\/strong>, Professional Performer.
Member of the Nohgaku Performers\u2019 Association<\/strong> and the H\u014dsh\u014d Society<\/strong>.
She studied under H\u014dsh\u014d Eisai<\/strong>, the 19th head of the H\u014dsh\u014d school, and H\u014dsh\u014d Kazufusa<\/strong>, the 20th head.
Her first performance as shite was Hanagatami<\/em> (2009), and she performed Midare<\/em> in 2022.<\/p>\n\n\n\n

She is the founder of the Kagetsu-kai<\/strong>, a performers\u2019 association within the H\u014dsh\u014d school.<\/p>\n\n\n\n

In addition to Noh, she is a certified instructor of Urasenke tea ceremony<\/strong>, a member of the Urasenke Tank\u014dkai Special Instructors\u2019 Association, and a member of the Urasenke International Association<\/strong>, having studied under Kanazawa S\u014di<\/strong>, Urasenke tea master.<\/p>\n\n\n\n

She holds a degree in Psychology from St. Francis College (New York, USA)<\/strong>, graduated from Tokyo University of the Arts<\/strong>, Department of Traditional Japanese Music (Noh specialization), and completed both the Master\u2019s and Doctoral programs at its Graduate School. She also completed the Advanced Course at the Urasenke Tea Ceremony School.<\/p>\n\n\n\n

Born into a tea ceremony family, she began studying tea at the age of three. While studying in New York, she rediscovered the depth of Japanese culture, which deepened her commitment to both Noh and tea ceremony. After returning to Japan, she continued her tea practice while pursuing her long-held aspiration to perform Noh, eventually becoming a professional performer.<\/p>\n\n\n\n

Her international perspective, cultivated through overseas experience, informs her creative work, allowing her to approach tradition with both respect and originality.<\/p>\n\n\n\n

Representative of the traditional culture outreach organization \u201cThe Bridge of Tradition.\u201d<\/strong>
Recipient of the Tokyo Women\u2019s Advancement Award (Excellence Prize, 2018)<\/strong>.
Certified holder of Important Intangible Cultural Property (General Recognition)<\/strong>.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

Motohiko Shigeyama<\/h3>\n\n\n\n

(Ky\u014dgen Performer, \u014ckura School)<\/em><\/p>\n\n\n\n

Born June 4, 1975. Eldest son of the second-generation Shime (Shigeyama family)<\/strong>.
Made his stage debut at age four in Iroha<\/em> as shite, and later performed Chitose<\/em> and Sanbas\u014d<\/em>.<\/p>\n\n\n\n

In 1994, he co-founded the Hanagata Ky\u014dgen Sh\u014dnentai<\/strong> with his cousin Shigeyama Shigeru<\/strong> and his younger brother Ippei<\/strong>, gaining enthusiastic support from younger audiences and appearing on NHK\u2019s Top Runner<\/em>.<\/p>\n\n\n\n

Since 1995, he has performed regularly in ky\u014dgen theater productions in Tokyo and has participated in international performances in France, Italy, and elsewhere.<\/p>\n\n\n\n

From 2000 to 2005, he co-organized TOPPA!<\/strong>, an educational ky\u014dgen initiative focused on cultivating mind, technique, and physical expression.
In 2006, he relaunched HANAGATA<\/strong>, a self-produced performance project emphasizing both artistic refinement and audience engagement. Since 2020, this initiative has continued under the name \u201cCutting Edge KY\u014cGEN.\u201d<\/strong><\/p>\n\n\n\n

Together with his brother Ippei, he has also explored new two-person theatrical works, including That\u2019s Entertainment: \u201cExcuse Us, Mr. Shakespeare.\u201d<\/em><\/p>\n\n\n\n

Beyond ky\u014dgen, he has appeared in fantasy kabuki productions, NHK television dramas, and numerous stage works and musicals. His wide-ranging activities make him a uniquely dynamic presence in contemporary performing arts.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

Ippei Shigeyama<\/h3>\n\n\n\n

(Ky\u014dgen Performer, \u014ckura School)<\/em><\/p>\n\n\n\n

Born June 12, 1979. Second son of the second-generation Shigeyama family.
Made his stage debut at age four in Narihira Mochi<\/em>, and later performed Chitose<\/em>, Sanbas\u014d<\/em>, and Tsuri-gitsune<\/em>.<\/p>\n\n\n\n

In 1994, he joined Hanagata Ky\u014dgen Sh\u014dnentai<\/strong>, and from 2000 participated in TOPPA!<\/strong>, promoting educational ky\u014dgen. Since 1995, he has also performed in ky\u014dgen theater productions in Tokyo and abroad, including Spain.<\/p>\n\n\n\n

He has appeared in films, television dramas, commercials, and stage productions, including NHK morning dramas. Together with his brother Motohiko, he has developed innovative two-person theater works such as That\u2019s Entertainment: \u201cExcuse Us, Mr. Shakespeare.\u201d<\/em><\/p>\n\n\n\n

Since 2006, he has continued activities with HANAGATA \/ Cutting Edge KY\u014cGEN<\/strong>.
He studied in France for one year beginning in 2006.<\/p>\n\n\n\n

Since 2009, he has been active in collaborative projects combining ky\u014dgen, Japanese dance, and rakugo, and has appeared in contemporary theater productions at the New National Theatre. From 2017, he appeared on NHK Educational TV\u2019s language program Traveling Spanish<\/em>.<\/p>\n\n\n\n

He is co-author of Let\u2019s Go to Ky\u014dgen with Motohiko and Ippei Shigeyama<\/em>.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

Nobuyuki \u014ce<\/h3>\n\n\n\n

(Noh Performer, Kanze School)<\/em><\/p>\n\n\n\n

Born in 1976.
Eighth-generation head of \u014ce Noh Theatre<\/strong> and a Noh performer of the Kanze School<\/strong>.<\/p>\n\n\n\n

He studied under Seventh-generation \u014ce Matasabur\u014d<\/strong> and Living National Treasure Y\u016bsetsu Katayama<\/strong>, making his stage debut at the age of three in the shimai Oimatsu<\/em>.<\/p>\n\n\n\n

In addition to performing, he is actively involved in the promotion of Noh, including teaching the Noh club at Nara Women\u2019s University<\/strong>.<\/p>\n\n\n\n

Recipient of the Kyoto City New Artist Award (2018)<\/strong>.
A member of the Nohgaku Performers\u2019 Association<\/strong>.
Certified holder of Important Intangible Cultural Property (General Recognition)<\/strong>.
He is also known\u2014fondly\u2014as Japan\u2019s tallest Noh performer<\/strong>.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\"\"<\/figure>\n<\/div>\n\n\n\n
\n

Sayoko Hayashi<\/h2>\n\n\n\n

Handicraft artist and landscape quilt artist.
Born in 1965. Lives in Fushimi Ward, Kyoto.
Graduated from Ueda College of Fashion, Department of Fashion Creation.
Aspiring to become a craft artist from an early age, Hayashi developed her own unique methods of design drafting and sewing, distinct from American patchwork traditions, through self-directed study. In 2000, she began her creative activities by converting her family machiya townhouse into the Machiya Quilt Studio<\/strong> (registered trademark No. 4799241), and simultaneously opened the Machiya Quilt School.
Working independently without affiliation to any specific craft organization, she continues to present works that reflect her distinctive artistic worldview.
In 2018, she was selected as an artist for the Kami no Te Nippon (Hands of God Japan)<\/strong> Project, Phase IV.
https:\/\/www.hayashisayoko.com<\/a><\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\n
\n
Attend This Event<\/strong><\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
\n
\n
Support This Even<\/strong>t<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Rediscovering Traditional Performing Arts in Fushimi (2024\u20132026) Reawakening the Spirit of Noh and Kyogen at the Shrines of Fushimi! The Grand Finale: Noh and Ky\u014dgen At last, we arrive at the final event\u2014Noh and Ky\u014dgen, the culmination of this three-year series. All of the works presented are set in Fushimi, making this gathering truly exceptional. FromContinue reading “2026 The Third Edition”<\/span><\/a><\/p>\n","protected":false},"author":216258550,"featured_media":2816,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","_locale":"en_US","_original_post":"https:\/\/yukilaneige.jp\/?page_id=1445","_wpcom_ai_launchpad_about_page":false,"_wpcom_ai_launchpad_gallery_page":false,"_wpcom_ai_launchpad_contact_page":false,"_wpcom_ai_launchpad_events_page":false,"_wpcom_ai_launchpad_video_page":false,"_wpcom_ai_launchpad_portfolio_piece":false,"footnotes":""},"class_list":["post-4623","page","type-page","status-publish","has-post-thumbnail","hentry","en-US","entry"],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/PdFoIV-1cz","_links":{"self":[{"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/pages\/4623","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/users\/216258550"}],"replies":[{"embeddable":true,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/comments?post=4623"}],"version-history":[{"count":33,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/pages\/4623\/revisions"}],"predecessor-version":[{"id":6783,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/pages\/4623\/revisions\/6783"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/media\/2816"}],"wp:attachment":[{"href":"https:\/\/yukilaneige.jp\/wp-json\/wp\/v2\/media?parent=4623"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}