The traditional city of Osaka and performers

The social and physical space of temples and shrines is an indispensible point for thinking about the connection between Osaka's urban space and entertainers. I illustrate this by discussing examples from three separate angles. First, temple/shrine precincts were spaces for the performance of kabuki, jōruri, and other arts. Second, several entertainers' groups came under the jurisdiction of temples or shrines - the sermonizers' troupe that was organized under the auspices of Seki's Semimaru Shrine is one such example. A number of musical performers that were newly formed during the diversification of performance styles and entertainment locations resulting from the Tenpō Reforms were subsumed within this sermonizers' troupe. Third, entertainment was often connected to offerings to temples and shrines or the movement of earth (sunamochi). For example, various entertainers' groups or social groups made offerings at either the festival celebrating the 1200th memorial of the death of Prince Shōtoku held at Shitennōji Temple, or during the transfer of the Sumiyoshi deity to its new shrine. Additionally, during the dredging of the Ajikawa River, a line formed to move the silt, and this line took on the form of a festival parade. Thus, while the social and physical spaces of temples and shrines were places for performances, they also provided a route which allowed the manifestation of cultural desires for social groups forming in urban Osaka.

► Examines performances on temple and shrine grounds. ► Examines the development of various types of performers. ► Discusses Semimaru Shrine's attempt to bring those performers under its purview. ► Connects performance groups to festivals and similar events.