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The doll dance performed in the two shrines called as K'ohyoo and K'ohyoo (they are separate shrines despite the same pronunciation) in Buzen had been dedicated eary in the occasion of a kind of Buddihist ceremony 'Hoojooe' in Usahachimanguu, in which living things, especially fish, were released alive into rivers or seas, and it has been performed every four or three years until now in the ceremony carried out singly by the subordinate shrines. This doll dance has been focused on by scholarly seniors for a long time as one of the important subject matters constituting the histories of Japanese performance art and of the faith in dolls, along with the legend of Azuminoisora who danced a dance called as 'Seinoo dance' on the stage of 'in the sea' when the empress Jinguu marched forward Shilla. I will consider the stages for performance art concerning dolls through these two subject matters.
The legend of Azuminoisora is the story that, in order to get some magic power for combating with other nations, a company of the empress Jinguu that came to need the power of 'a child' called as Azuminoisora called out the 'child' from the world of death called as 'in the sea', that, so as to call out this child, one old man arranged a stage in the sea and danced and that, attracted by this dance, Isora appeared and danced on the same stage. Both the dances of this old man and Isora are called as 'Seino dance'. 'Seino dance' is the dance for calling out a god(or spirit) and, at the same time, also the one of the god (or spirit) called out.
The dances called as 'Seinoo dance' danced to realize this myth of Isora remain now actually in several areas or in past literature. Seino dance danced in the Buddhist ceremony in Usahachimanguu is also one of them. In the past, the god～going of Hachimanguu was performed up to the temporary palace of the beach Wada in the occasion of the ceremony and, at that time, those in the shrines of K'ohyoo and K'ohyoo are said to have gone out to the sea on boat and had dolls dance Seino dance. At present, this dance of doll is dedicated in the ceremony which each shrine performs singly. In one of the K'ohyoo shrines, the dance of Seino (by dolls) danced on sea remains even now.
The marine stage in this shrine of K'ohyoo is very dense in its borderness. The place itself called as the one on the sea is a boundary area and the stage installed there, when compared in its form with other installation where gods are seated, is confirmed to be a device in order for gods to survive from the world of death. The dolls of the shrine K'ohyoo, with such device as a stage, show their dance to us in this world, containing otherworldliness and visiting nature. This research is intended to grasp such aspect of stage as a primitive form of doll stages.

목차

Ⅰ. 「아즈미노이소라(安曇の磯良)전설」과 「세이노오노마이(細男の舞)」
Ⅱ. 코효신사(古表神社)의 쿠구츠마이(傀儡舞)를 중심으로 본 인형놀이 무대의 성격

저자

• 伊藤好英 [ Ito, Yoshi-hide | 慶應義塾高等學校 敎師, 高麗大學校 民族文化硏究院 民俗學硏究所 客員硏究員 日本古代文學 專攻 ]

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간행물

표지보기 관심저널 등록

• 간행물명

  동아시아고대학 [DONG ASIA KODAEHAK ; The East Asian Ancient Studies]

• 간기

  계간

• pISSN

  1229-8298

• 수록기간

  2000~2026

• 등재여부

  KCI 등재

• 십진분류

  KDC 910 DDC 950