Dance title Tanemaki Sanbas˘  In Japanese
Shitadashi Sanbas˘  In Japanese
Shigayama Sanbas˘  In Japanese
Mata Kuru Haru Suzuna no Tanemaki  In Japanese
Authors Sakurada Jisuke II (lyrics)
It˘ T˘sabur˘, Kineya Sh˘jir˘ I (music)
Fujima Kanjűr˘ I (choreography)

The actor Nakamura Utaemon III, who was about to travel back to his native Kamigata after more than 4 years spent in Edo, performed in the 9th lunar month of 1812 his onagori ky˘gen at the Nakamuraza, which included a sanbas˘ entitled "Mata Kuru Haru Suzuna no Tanemaki". The roles of the Sanbas˘, the senzai and the okina were performed by Nakamura Utaemon III, Nakamura Akashi IV and Nakamura Shichisabur˘ IV. This dance is also called "Shitadashi Sanbas˘" or the sanbas˘ with his tongue sticking out. The idea of a tongue-sticking sanbas˘ was older for it was originally created by Nakamura Nakaz˘ I, the head of the Shigayama School of Buy˘. Therefore, this dance is also sometimes called "Shigayama Sanbas˘".

Key words Kiyomoto
Okina (N˘)

"Tanemaki Sanbas˘" is one of many sanbas˘ musical dances. Originally sanbas˘ was derived from a play called "Okina", a very sacred ceremonial play. This spirit has been foremost among plays. A sanbas˘ serves as a special dramatization to celebrate a special anniversary or a shűmei. When the curtain rises two performers come on the stage, deified beings in the form of men--a man in his heyday (the senzai) and a holy performer (the sanbas˘). The two are considered to represent longevity and happiness. They dance solo and as a duet in commemoration of this lucky day and lucky people (including the audience). They thank the mercy of the gods.

This dance is also called "Shitadashi Sanbas˘" or the sanbas˘ with his tongue sticking out. This is because at the climax the protagonist, the sanbas˘, sticks his tongue out while dancing to the rhythmical tune of a drum.

"Tanemaki Sanbas˘"

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