Hello, this is Rikichi Izumiya from Finance Division.
 At 7:00 P.M., on Saturday, March 1st, 2025, people from the villages surrounding Higashi Futakuchi gathered at the Higashi Futakuchi Local History Museum, despite there still being a lot of snow on the ground.
 This annual Higashi Futakuchi Bunya Ningyo Joruri performance has continued for more than 350 years and is a nationally designated Important Intangible Folk Cultural Property, a traditional culture that came to this area from Kyoto. Just hearing that it has been passed down for 350 years makes me appreciate its significance.  What left a strong impression on me was that both the performers of the Deguno Mai and those who watched it all said in unison, "Every year cannot begin without seeing this Deguno Mai."

 This tradition has been passed down to the present day as one of the high points of the cold, agricultural off-season in winter. Unlike Bunraku, however, the story unfolds in a unique narrative style called Bunya bushi.
 For those seeing it for the first time, the story may be difficult to understand. However, before the performance begins, a kamishibai (picture-story show) is presented, carefully explaining the content of the performance. Honestly, I think I would have had a hard time keeping up without it.

 This Bunya Ningyo Joruri, passed down in Higashi Futakuchi, is facing challenges in preservation as the people inheriting it are aging. Currently, a little over ten performers present the Deguno Mai, but I assume that, including backstage roles, each person is taking on multiple responsibilities.
 Amid these challenges, Omihito Matsushita sensei from ICT has been participating as a performer in this Ningyo Joruri for the past five years, taking part in the annual performances. Additionally, faculty members and students from KIT have joined the Deguno Mai preservation society, learning the dance from experienced elder members while striving to inherit the traditions and culture of Higashi Futakuchi.

 The puppets used in Dekunomai consist of four parts: the Kashira (head), Shinbo (central rod), Kataban (shoulder board) and Te (hands). Each puppet is operated by a single performer. Although the puppets used in Deguno Mai are relatively simple in structure, mastering their manipulation demands considerable training.
 Additionally, the performers move in a distinctive manner, taking three steps forward and two steps back, while rhythmically striking the floor with their feet as they dance. This unique footwork creates a dance-like impression, which is why it came to be known as Deguno Mai. Rather than simply controlling the puppet, performers must become one with it—almost as if they are being guided by the puppet itself. This profound technique highlights the depth and artistry of the performance, leaving a lasting impression.

 It is truly moving that this Ningyo Joruri, which has been cherished by people for over 350 years, still remains in Hakusan City. At the same time, I feel that the efforts and dedication of those who continue to uphold this tradition are beyond measure.  The performance took place on the stage of the Higashi Futakuchi Local History Museum. While the space cannot accommodate a large audience, it retains the atmosphere of the past, allowing visitors to experience Ningyo Joruri up close.

 Watching Omihito sensei perform Deguno Mai, I suddenly felt as if I had traveled back in time to the world of 300 years ago. The lingering echoes of the Bunya bushi style, known as the "Naki-bushi" (weeping melody), along with the rhythmic sound of the performers’ footwork striking the floor, still resonate in my mind.

Rikichi Izumiya