The Discreet, Enigmatic and Evasive Geisha

It was our last night in Kyoto and we had explored so many facets of this beautiful city's culture and beauty. The breathtaking splendour of Buddhist temples and Shinto shrines, the magic of origami, the calming propriety of the tea ceremony, all filled our minds with wonder and answered so many perplexing queries (accrued over many years) about this Niponese nation. 

Yet there was one beguiling element of Japan's fame which we had not encountered. 

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But first let's flashback over the last two days, when our senses had been repeatedly stimulated by Kyoto's many unique wonders. 

Initially, there was the tranquil buddhist temple of Ryoanji, with its typical dry garden of raked gravel and mind focusing boulder art.

Then the picturesque gold pavilion of Kinkakuji, with its tranquil lake and garden setting.

The magnificence of Todaiji Temple (in nearby Nara, the former imperial Japanese capital) impressed us with its bold architecture and massive structure, and teased us with its herd of curious and occasionally mischievous deer. 

Todaiji's neighbouring florabundant Isuien Garden was decked in a myriad of subtle green and yellow hues, occasionally punctuated by pink and flaming red. 

And then there was Fushimi Inari Shrine, dedicated to the Shinto God of Rice, with its famous red 'tunnel' of parallel Torii gates, dating back to 711 AD. 

The formality, elegance and etiquette of the tea ceremony had us in awe. 

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So what then of the missing element? When would we see the most alluring and mysterious centrepiece of historic Japanese society, which continues to fascinate foreigners like ourselves, and which embodies the spirit of entertainment and the arts? Our itinerary had one important aspect of Japanese life left out. 

What of the Geisha? 

And what of the Maiko and Geiko, the terms used in preference to Geisha here in Kyoto for the ladies who perform the Japanese traditional arts such as music, singing, dancing and conversation?

Our guide attempted to answer the various assorted questions with which we bombarded her. Where and when did these lady entertainers appear and how would we know the difference between the true Geisha (translating loosely as 'arts person') and the many local and other Asian tourists who were out and about in the streets, dressed in kimonos or even hired geisha outfits?

First we were firmly scolded for any inferences that these ladies are 'red light district' performers, contrary to some aspects of their history in less peaceful times, when they were the perfect balance in nature to the male Samurai and doubtless were participants in the 'oldest profession'.  These modern day practitioners of this ancient art of Geisha are no mere pretty courtesans, but are hired because of their highly skilled entertainment attributes. They entertain at private parties in addition to the upper echelons of society. The most popular and professional artists are reportedly seasoned veterans who have attained fame and hence, understandably, shy away from the public eye.  Because payment for the services of these ladies is hourly and includes travel, they are generally loath to pose for camera clicking tourists.  Should we be fortunate enough to sight these ladies, dressed in full regalia, going to and from the various tea houses in the Gion district of Kyoto, via the less crowded back streets, we were politely asked to respect their privacy.

Here is an image of one of these teahouse entrances, discretely designated by the dumplings on the lantern adorning the entrance.

But before we were to go hunting, we were taught a few basic facts as follows:

• The term Geisha is not used in Kyoto, but rather the local terms Maiko and Geiko.
• The Maiko-san is, in effect, an apprentice and undergoes approximately 5 years of training, generally being less than 20 years old.
• The Geiko-san is the fully fledged entertainer and will be of more mature years. This maturity is reflected in the relative simplicity of her dress and hairstyle compared to the more elaborate and colourful costume of the Maiko apprentice.
• The Geiko wears a simple wig only decorated by simple ornaments or combs.
• The Maiko has her own hair styled elaborately and wears several kanzashi ornaments (often fan or bell shaped) and combs. She also wears a dangling hana-kanzashi, comprising seasonal silk flowers from head to chin, in the first year of her training. 
• First year Maikos only have their lower lip painted red, whereas older Maikos and Geikos have both lips painted.

• The Maiko generally wears a brightly coloured, long-sleeved kimono. Her obi sash is wide and its bow at the back reaches down almost to her feet.
• The Geiko's kimono reflects her maturity in its more solid colour and shorter sleeves. Her obi sash is much narrower and is tied in a concise square knot at the back.
• The Maiko wears very high okobo (distinctive wooden-soled platform sandals), which must be extremely difficult to walk in and must make the dash to tea-house engagements difficult to accomplish, particularly while negotiating her way around the stares and cameras of the foreign tourist.
• The Geiko, in stark contrast, wears shorter more conventional (and more comfortable looking) zori or geta sandals.

When not researching the weird or the wonderful, the comical or the cultured, the sinful or the serious, I chase my creative side, the results of which can be seen as selected photographs of my travels on my website at:

http://ken-boddie.squarespace.com

The author of the above, Ken Boddie, besides being a sometime poet and occasional writer, is an enthusiastic photographer, rarely leisure-travelling without his Canon, and loves to interact with other like-minded people with diverse interests.

Ken's three day work week (part time commitment) as a consulting engineer allows him to follow his photography interests, and to plan trips to an ever increasing list of countries and places of scenic beauty and cultural diversity.