Okuni (出雲阿国, Izumo no Okuni, born ca. 1572; died ca. 1613) was
a Japanese shrine maiden who is believed to have invented the
theatrical art form of kabuki. Thought to have begun performing her
new art style of "kabuki" (lit., "the art of singing and dancing")
theatre in the dry riverbed of the Kamo River in Kyoto, Okuni's
performances gained immense popularity, and were known for their
performances, who were often lower-class women Okuni had recruited to
act in her all-female troupe.Few concrete details are known about her
life; born around 1572 near Izumo province, Okuni worked as a miko
(shrine maiden) for several years at the Izumo-taisha (the Grand
Shrine of Izumo) until gaining popularity for her dramatised dance
performances, which onlookers gave the name of kabuki. Okuni continued
to perform kabuki with her troupe until her retirement and
disappearance sometime around 1610. She is believed to have died
sometime around 1613.Born c. 1572, Okuni grew up in the vicinity of
the Izumo shrine, where her father, Nakamura Sanemon, worked as a
blacksmith, and where several other family members served. Eventually
Okuni joined as a miko (shrine maiden), where she was known for her
skill in dancing and acting, as well as her beauty. As it was a custom
of the time to send priests, miko and others to solicit contributions
for the shrine, she was sent to Kyoto to perform sacred dances and
songs.It was during her performances in Kyoto that she also became
known for her performances of nembutsu odori (or nembutsu dance) in
honor of the Amida Buddha. Though this dance traces its origins to
KÅ«ya, a tenth-century evangelist of Pure Land Buddhism, by Okuni's
time it had become a largely secular folk dance, and her particular
adaptation tended to be known for its sultriness and sexual innuendo.
Other popular themes for Okuni's acts included humorous skits about
lover's trysts at various public establishments and meetings between
men and prostitutes. Between these and other dances and acts, she
garnered much attention and began to draw large crowds wherever she
performed. Eventually she was summoned to return to the shrine, a call
she ignored, though she continued to send money back.
a Japanese shrine maiden who is believed to have invented the
theatrical art form of kabuki. Thought to have begun performing her
new art style of "kabuki" (lit., "the art of singing and dancing")
theatre in the dry riverbed of the Kamo River in Kyoto, Okuni's
performances gained immense popularity, and were known for their
performances, who were often lower-class women Okuni had recruited to
act in her all-female troupe.Few concrete details are known about her
life; born around 1572 near Izumo province, Okuni worked as a miko
(shrine maiden) for several years at the Izumo-taisha (the Grand
Shrine of Izumo) until gaining popularity for her dramatised dance
performances, which onlookers gave the name of kabuki. Okuni continued
to perform kabuki with her troupe until her retirement and
disappearance sometime around 1610. She is believed to have died
sometime around 1613.Born c. 1572, Okuni grew up in the vicinity of
the Izumo shrine, where her father, Nakamura Sanemon, worked as a
blacksmith, and where several other family members served. Eventually
Okuni joined as a miko (shrine maiden), where she was known for her
skill in dancing and acting, as well as her beauty. As it was a custom
of the time to send priests, miko and others to solicit contributions
for the shrine, she was sent to Kyoto to perform sacred dances and
songs.It was during her performances in Kyoto that she also became
known for her performances of nembutsu odori (or nembutsu dance) in
honor of the Amida Buddha. Though this dance traces its origins to
KÅ«ya, a tenth-century evangelist of Pure Land Buddhism, by Okuni's
time it had become a largely secular folk dance, and her particular
adaptation tended to be known for its sultriness and sexual innuendo.
Other popular themes for Okuni's acts included humorous skits about
lover's trysts at various public establishments and meetings between
men and prostitutes. Between these and other dances and acts, she
garnered much attention and began to draw large crowds wherever she
performed. Eventually she was summoned to return to the shrine, a call
she ignored, though she continued to send money back.
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