Hello, this is Kikunojo Onoe. Before I could even send my New Year's greetings, spring has already arrived. Belatedly, I would like to wish you all the best for the coming year.

Amidst these hectic days, there is something we have been carefully preparing since last summer: the "Onoue-kai," where members of the school of karate will showcase the results of their daily efforts. While it is essentially a recital, we aimed to make it a performance that our audience could enjoy. Today, I would like to talk about that.

The Onoue-kai meeting, the first in nine years.

The Onoe-kai, held for the first time in nine years due to the impact of the COVID-19 pandemic, took place over two days, January 30th and 31st. The grand Shinbashi Enbujo theater was filled with members of the Onoe school, geishas and geiko from Kyoto's Pontocho and Shinbashi geisha districts, and featured appearances by the eighth generation Onoe Kikugoro, the successor to the Onoe school, Onoe Matsuya and Onoe Ukon from the Otowaya family, and Matsumoto Koshiro. We are very grateful that so many guests came to the event.

The first thing we consider when planning an event is the "program." This is actually quite a challenge. Even deciding on five programs for a geisha event involves a lot of trial and error, but this time it's 35 programs! We have to carefully consider who will dance what, the best order, the contrast of music like Nagauta, Kiyomoto, and Tokiwazu, and the balance of everything. Furthermore, we have to take into account the schedules of the Kabuki actors and musicians. It took over two months for everything to be finalized.

At the same time, we wanted the audience to enjoy themselves, but we also wanted the performers to be able to dance in front of a large audience. When the seats are full, the dancers' motivation increases. I believe that this synergistic effect will lead to the development of Japanese dance. With that wish in mind, we decided on the program.

The determination to fulfill the duties of the head of the family.

Once the decision is made, as the head of the school, I have to manage everything from individual rehearsals to tickets, stage props, costumes, wigs, and other on-stage matters, as well as the front-office aspects such as ticket sales and the day's schedule. So, ideally, I should be able to dedicate two or three months to this event, but from the end of the year to the beginning of the new year, I have a packed schedule with performances of the poetic drama "Yakumo Tatsu," directing a new OSK production, and choreographing for Takarazuka, leaving me with no time to catch my breath.

In between all that, I also choreographed a new piece, "Sakurabune," which will be performed at the event. All the props are new as well. I can't complain about being busy because I do all of these things because I enjoy them, but this was quite a challenge (laughs).

"Sakurabune" is a work created by Kimiyu, a Shinbashi geisha who also appears in Ryukakusan's commercials, because she wanted to try something new. I think those who have seen it enjoyed the difference in spirit between the geishas of Shinbashi and the geiko of Pontocho. Shinbashi has a refreshing sophistication, while Pontocho has a refined allure. If I say that, I might get scolded for saying that we lack allure or sophistication (laughs). But I think it's also important to respect each other and have a healthy sense of competition.

Even though I had my own performance to do, I always accompanied everyone before their entrances, including to the hanamichi (flower path) and suppon (trapdoor), and I was there when they finished dancing. It's an important stage for each and every performer, after all. As the head of the school, I had to make sure I saw it through.

So, when asked about my own dancing, it's a bit of a sore point... But it was a valuable opportunity to gain experience in supporting roles in important works for the school, such as "Kishu Dojoji" and "Shakkyo."

Welcoming two close friends, the eighth generation Kikugoro and Koshiro, as guests.

On the first day, I performed "Matsu no Okina" with Koshiro-san, and on the second day, "Yoshino-yama" with the eighth Kikugoro-san. I was truly grateful to have them perform with me, and it was a lot of fun dancing with them. I don't know what they think (laughs), but there's a natural feeling that our dancing harmonizes.

However, strangely enough, the type of feeling is completely different. It's difficult to put into words, but with Koshiro, it's like our wavelengths are in sync. There are some areas where we don't quite match, but at key points, we just click. With the eighth generation, it's like we're fundamentally in sync. It's like our breathing rhythms are always in sync. That might be influenced by the relationship between the two of them and myself.

Koshiro-san is a benefactor who, when I was a young and aimless person, strongly inspired me to want to make a career in this world. We are close outside of work, and he is a very close presence, yet he constantly motivates me to think, "I want to catch up to this person, I want to work alongside him." Looking back, I feel like we have a fated connection. In an interview, when I said that he is like an older brother to me, Koshiro-san said that I am like a mother to him (laughs). But I thought, "Ah, I see!" and it made perfect sense.

The eighth generation and I have spent a lot of time together since childhood, whether it was for lessons or anything else. He is a comrade and a fellow soldier within the Otowaya family. I am often supported by the eighth generation, but I believe I have a mission to support him. To inherit and promote the Onoe school and pass it on to the next generation. So, it was a great honor to be able to assist him closely at his succession last year. I feel that my grandfather, the first Kikunojo, who was a disciple of the sixth Kikugoro, would also be pleased.

The Onoue Association marked a new beginning for the children.

At this event, my eldest daughter, Ichiko, was scheduled to debut as Onoue Tsubaki, and my eldest son, Yoshito, as Onoue Kotoya. However, two days before the event, my daughter developed a fever of 40 degrees Celsius. Unfortunately, she was unable to perform. She had been practicing very hard, so I'm sure she was disappointed, but I think the experience of not being able to perform that day was a valuable learning experience for her.

My son was scheduled to perform on the second day, but he also performed on the first day in place of his sister, playing "Tamato" twice. For some reason, my son was very enthusiastic and loves being on stage. He's the complete opposite of how I was as a child. When I asked him how he felt afterward, he said, "Of course it was good... but I was nervous" (laughs). In April, he will be performing as Tsuruchiyo in the eighth generation's "Uraomote Sendaihagi" at the Kabuki-za, and I'm very excited about that as well. However, while professionalism is important, I also think it's important for children to approach their art in a way that is natural for them, so I want him to do it freely and without restraint.

We don't have many names in our family, so both of them have new names. For Ichiko's name, we considered several names that evoked the image of a flower, and after discussing it as a family, we decided on "Tsubaki" (camellia). It seemed a little strong at first, but it's strange how it started to suit Ichiko once it was decided.

The name "Kotoya" was derived from the character "Koto" (琴), which was used by the first Kikunojo during his time as an actor under the sixth Kikugoro, and the character "ya" (也) was added to give it a more masculine feel. While it's important to carry on a name, I believe it's also necessary to create and pass on a name in a way that makes it a good name.

It was also a joy that Matsuya-san and Ukon-san came to support us.

I was so happy that Matsuya Onoe and Ukon Onoe kindly agreed to appear despite their busy schedules. Matsuya had the final performance of "Elisabeth" at the Hakataza Theatre, but he said, "I can definitely make it!" It wasn't "definitely," it was "just barely" possible (laughs). He also said, "That day is my birthday," so we promised to celebrate. In reality, Matsuya's birthday was the day before the performance, on January 30th, but a few days before, he asked me, "Do you remember that promise?" That night, we ended up having a birthday party with Matsuya (laughs).

This time, I have reaffirmed how important the Onoue-kai is to both my school and myself. And I am once again reminded that I am where I am today thanks to the support of so many people. This year marks the 15th anniversary of inheriting the name Kikunojo. I will turn 50 at the end of March. If the Onoue-kai is held at a pace of once every 10 years, there will only be two or three more times left. I have reached that age. That is why I am strongly determined to hold it at least once every three years.

Up until my 40s, I sometimes crammed so much into my life that it was almost unbearable, but now that I'm in my 50s, I've decided that I need to consciously calm down a bit. While maintaining my commitment to doing my best in the work I'm given, I also need to organize what I want to do and approach passing it on to the next generation with a sense of urgency. I feel that as I reach the halfway point of my life, I need to make a change of direction in my own way.

Having said that, my schedule for May is already incredibly packed. There's the Kamogawa Odori in Pontocho, the Higashi Odori in Shinbashi, Shinju Tsukiyo Hoshinoya at the Osaka Shochikuza, Hamlet starring Ichikawa Somegoro, and a new ice show called THE MELT. ...I think I'll change my mindset starting in June! (laughs)