Journal of Robotics, Networking and Artificial Life
Vol. 8(3); December (2021), pp. 151–160
DOI: https://doi.org/10.2991/jrnal.k.210922.001; ISSN 2405-9021; eISSN 2352-6386
https://www.atlantis-press.com/journals/jrnal

Research Article

Analyzing the Relationship between the Legend of Dōjōji
and the Kabuki-Dance Kyōganoko Musume Dōjōji to
Develop Prototyping Systems
Miku Kawai1,*, Jumpei Ono2, Takashi Ogata3
Faculty of Liberal Arts, The Open University of Japan, 2-11, Wakaba, Mihama, Chiba 261-8586, Japan
Faculty of Software and Information Technology, Aomori University, 2-10-1, Seishincho, Edogawa, Tokyo 134-0087, Japan
3
Faculty of Software and Information Science, Iwate Prefectural University, 152-52, Sugo, Takizawa, Iwate 020-0693, Japan
1
2

ARTICLE INFOABSTRACT

Article History

Using detailed analysis of the stage structure of the kabuki-dance Kyōganoko Musume Dōjōji, as well as the legend of Dōjōji
that comprises the background of the kabuki-dance, we present a 2D simulation system that uses music, lyrics, and images.
A prototype system was then developed that complements the above system based on Kyōganoko Musume Dōjōji using a 3D
animation system based on the analysis of the storyline of the legend of Dōjōji, which serves as the origin of Kyōganoko Musume
Dōjōji. In particular, we organize 11 scenes from Kyōganoko Musume Dōjōji and map them to six scenes from the legend of
Dōjōji. In our prototype system, the latter scenes insert into the former scenes based on this mapping. This paper shows detailed
analyses of two narrative contents and concretely describes system mechanisms according to these narrative analyses.

Received 26 November 2020
Accepted 17 June 2021
Keywords
KabukiKyōganoko Musume Dōjōji
legend of Dōjōji
narrative generation
kabuki’s stage performance
structurestory© 2021 The Authors. Published by Atlantis Press International B.V.
This is an open access article distributed under the CC BY-NC 4.0 license (http://creativecommons.org/licenses/by-nc/4.0/).

1. INTRODUCTION
Kabuki is a representative cultural heritage in Japan that incorporates various types of performing arts from dance and classicalperformance, such as nō and kyōgen. Many studies have been conducted regarding its preservation and inheritance, and in recent
years, there are also studies investigating kabuki from the viewpointof technology.
For example, many studies of kabuki have examined the ways inwhich video technology has been introduced to performances.
Some researchers have analyzed the preservation of “Shosagoto(the movements of actors)” using motion capture. For example,
Oda and Genda [1] studied characteristic movements in kabuki
using a motion capture system. Omoto et al. [2] created a modelof Minamiza, a traditional kabuki theatre, in Kyōto. Kobayashi [3]focused on actor’s movements, comparing Western dance in theballet La sylphide with the Japanese dance Kyōganoko Musume
Dōjōji to examine the creation of dances. Another study focusedon “Furi (swing),” analyzing small movements such as walking andhand expressions [4]. Using a commercially available robot (desktop robot “Premade AI”), the stage of ningyō jōruri Hidakagawa
Iriaizakura was also reproduced remotely by the Tokyo Universityof Technology. In contrast to these studies, we approached the narrative of kabuki from multiple different viewpoints.

Corresponding author. Email: mom.mxm39@mail.com*

Kyōganoko Musume Dōjōji [The Maiden at the Dōjōji Temple] is oneof many works based on the “legend of Dōjōji,” which has also been
related in narratives and picture scrolls, and is a latter-day description of the legend of Anchin and Kiyohime. Dōjōji is a temple of theTendai sect in Hidakachō, Hidaka, Wakayama, Japan. This temple
is the subject of the legend of Dōjōji, which has been recorded
for over a 1000 years. Although this legend has undergone manychanges over its long history, it is still well known in Japan. Of theversions of this legend, we focus on the kabuki-dance Kyōganoko
Musume Dōjōji, which is considered to represent the modern formof the legend of Dōjōji. We also examined the stage performance
structure of Kyōganoko Musume Dōjōji and the storyline of thelegend of Dōjōji.
Based on these narrative analyses, this paper describes the development of two prototyping systems: (1) a 2D animation system that
reproduces the stage performance structure of Kyōganoko Musume
Dōjōji and (2) a 3D animation system that complements the storyof Kyōganoko Musume Dōjōji. Although the former system usesmusic, background, people, and the dance of Kyōganoko Musume
Dōjōji, the dance is limited to a simple presentation, since the purpose of the system is to represent the entire stage performance
structure. These two systems are related. In particular, we analyze
the scenes of the legend of Dōjōji and associate them with the scenesof Kyōganoko Musume Dōjōji. The system based on the legend of
Dōjōji complements the system based on the stage performance
structure of Kyōganoko Musume Dōjōji to represent a somewhat
complementary explanation using visual imagery.

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In previous research, we surveyed and analyzed Dōjōji story andKyōganoko Musume Dōjōji in kabuki [5], and developed a firstsystem to simulate the stage performance structure of Kyōganoko
Musume Dōjōji [6]. We integrated narrative generation systems,
including explanation generation, into the abovementioned simulation system [7]. This paper extends and integrates the previous
analysis of Kyōganoko Musume Dōjōji and its systematization andaims to present a new idea regarding the system according to thestoryline of the legend of Dōjōji to complement the former system.
Although Kyōganoko Musume Dōjōji is a narrative work that wasderived from the legend of Dōjōji, it does not directly describe
the narrative of legend of Dōjōji. In the proposed complementary
system, the simulation system based on Kyōganoko Musume Dōjōji
and the narrative system according to the legend of Dōjōji are combined to ultimately aim users of the system to better understand therelationships between the two narratives and to ultimately enjoy
the story of Dōjōji as a Japanese traditional narrative.
It is significant that this study treats kabuki as a research object
and approaches the narrative of kabuki, which has not previously
been surveyed and analyzed, from the viewpoint of systematization
using the methods of artificial intelligence and cognitive science,
specifically aiming at automated narrative generation. This is achallenge in intelligence system research, including artificial intelligence. In particular, kabuki is interesting in that it is a narrative collection of many Japanese traditional narratives. Moreover, in termsof the perspective of formulating a system, the narrative of kabuki isa somewhat complex system that includes complicated diverse narratives that can be expressed in multiple forms. Likewise, precise
analysis of structures is an immensely important theme in research
involving computer systems. Concerning our research on kabuki’s
narrative generation, please refer [8–12].
Ultimately, the goal of our studies—including this paper—is automated narrative generation. Specifically, we aim to present the concept and idea of “narrative content works,” including automatednarrative generation function that did not previously exist and todevelop a system according to this framework. Furthermore, in oneof our future studies, we hope to incorporate the developed functions into robots [13]. In this paper, we state two types of narrative
analyses, namely research that integrates previous analysis resultsof the stage structures of Kyōganoko Musume Dōjōji and researchthat analyzes the storyline of the legend of Dōjōji, which ultimately
allows the development of two types of systems based on the analyses. Artificial intelligence, which this study centers on, is an engineering genre that has essential basis in cognitive science. Since themotivation of this study is to explore the framework of human intelligence, analyses of research objects using a variety of methods also
serve as important steps in the development of artificial intelligence.

to the summarization and extension of the previous research
results. Moreover, Table 1 is a comprehensive table. In Section 3,
we describe a 2D animation system based on the above analysis
of Kyōganoko Musume Dōjōji, and the analysis is an extended version of one that we have previously sought. Section 4 describes a
system in which the 3D animation system based on combining theanalysis of the storyline of the legend of Dōjōji with the system in
Section 2. Furthermore, in Section 5, we present problems with thedeveloped system and indications for future directions. Section 6 isa summary of this paper.

2. ANALYSES OF KYŌGANOKO MUSUMEDŌJŌJI AND THE LEGEND OF DŌJŌJI
In this section, we discuss the investigation and analyses ofKyōganoko Musume Dōjōji and the legend of Dōjōji.

2.1. What is Kyōganoko Musume Dōjōji?
Kyōganoko Musume Dōjōji is a representative work of kabuki dance
that has been played by representative female on’nagata such as
Nakamura Utaemon Ⅵ and Tamasaburo Bando Ⅴ. The ancientlegend represented in Kyōganoko Musume Dōjōji was transmitted
through Buddhist narratives, nō, texts, picture scrolls, and othermeans.
Kyōganoko Musume Dōjōji is a development of the legend of Anchin
and Kiyohime. Unlike the Kiyohime legend, a woman’s obsession is
not the focus in this version, and various kimonos and props areused to show her daughter in love, making it a completed work ofMusume Dōjōji as a kabuki dance. That is, it basically inherits theform of the nō Dōjōji intact, but the legend of Dōjōji is not specifically shown in the verse; a changing dance is central. Therefore, thestory of the legend of Dōjōji is expressed only symbolically, and thenarrative is weakened.

2.2. Analyzing the Stage Performance
Structure of Kyōganoko Musume Dōjōji
Table 1 displays the elements of Kyōganoko Musume Dōjōji and themethods through which they are implemented. The table includes
the following five items for each scene:(1) [Actual stages] Flow and characteristics of the dance on stage(the contents in brackets indicate scene characteristics);

Although Kyōganoko Musume Dōjōji is a narrative work that wasderived from the legend of Dōjōji, it does not directly describe
the narrative of legend of Dōjōji. In the proposed complementary
system, the simulation system based on Kyōganoko Musume Dōjōji
and the narrative system according to the legend of Dōjōji are combined to ultimately allow users of the system to better understandthe relationships between the two narratives and enjoy the story of
Dōjōji as a Japanese traditional narrative.

(2) [Music] Music used in the system, based on the Kineie
Shamisen score [14], and created with a free composition
tool (“Wagaku Hitosuji,” https://jonkara.net/soft/wagaku/).
However, the system uses the actual music because there areno scores for Michiyuki, Ranbyōshi, and Kaneiri. In otherscenes, we only reproduced the music for the shamisen. Since
the sound of the shamisen music feels higher than that on theactual stage, there is a lingering sense of discomfort comparedwith the actual music;

We can readily demonstrate the structure of this paper. Section 2
introduces surveys and analyses of Kyōganoko Musume Dōjōji
and the legend of Dōjōji. The former description corresponds(3) [Lyrics] Excerpts from the beginning and end of the lyrics(only the Ranbyōshi is shown in full). The lyrics are Romanizedbecause they are written in old Japanese;Shoke walks from Hanamichi
Talk about kane’s memorial service on stage.
A stage device imitating the door to thetemple has been prepared on the stage.
The narrator and the shamisen player comeout and sit on a long table.
Shirabyōshi Hanako comes out of Hanamichi
with a fan.
A dance is performed along with Shirabyōshi.
After the dance, they head to the stage.

Put on the Eboshi given by Shoke. Move fromthe stage to Hanamichi according to Noh.
Show off the dance, then return to the stage
from Hanamichi. Perform a dance at the centerof the stage (Mai has many small movements ofwrists, feet, and props.)
Continuing from Ranbyōshi, perform adance at the center of the stage in tune
with Kanedukushi.

Michiyuki

Ranbyōshi

Perform a dance at the center of the stage inaccordance with Rō-dzukushi (Yūjo)(choreography like playing with
Kakū no Mari).

Mariuta

All Shoke line up on stage with Hanakasa.
Show off the dance.

Hanakasaodori Put Hanakasa on the head and hands at thecenter of the stage. Perform the dance
according to Wakitebushi. Shirabyōshi
Hanako and disappear from the stage.

Reappear on the stage without props. Perform
at the center of the stage along with Hauta(Shōfu no Erothishizumu).

TeodoriChūkeinomai

Actual stages

Scene name

Table 1 | Stage performance structure of Kyōganoko Musume Dōjōji

Tsuki ha hodonaku
hairu Shiono<omission>
Hirari bōshi no
fuwafuwa to

LyricsImagesCommands

Characters: Shoke (12 people)
Not yet reproduced.
KatariteMusicians: Shamisen [Japanese guitar]
Place on stage: Main stage, Hanamichi
Stage equipment: Dōjōji, Kane [bell],
Sakura [cherry blossoms]
Existing music
Shidokenari furi ā hazukashi Characters: Shirabyoushi Hanako, Shoke(Nō)
ya<omission> Dōjōji ni(12 people)
koso tsukinikere
KatariteMusicians: Shamisen
Place on stage: Main stage, Hanamichi
Stage equipment: Dōjōji, Kane, Sakura
Existing music
Hana no hoka ni ha matsu
Characters: Shirabyōshi Hanako, Shoke“Hana” command makes it(Nō)
bakari hana no hoka ni(12 people)
look like he is going backha matsu bakari
Katariteand forth between thekuresomete kane ya
Musicians: Hyōshiita
stage and Hanamichi.
hibikuranPlace on stage: Main stage, Hanamichi
Stage equipment: Dōjōji, Kane, Sakura
Created from the Kane ni urami ha kazukazu- Characters: Shirabyōshi Hanako (HaveNot much movement,
score (Nagauta) gozaru<omission> Shinnyo
Chūkei), Shoke (12 people)
many small dances.
no tsuki wo nagameakasan Katarite
Musicians: Shamisen, Taiko
Place on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura
Created from the Iwazu kataranu waga
Characters: Shirabyōshi Hanako, Shoke
Not much movement,
score (Nagauta) kokoro<omission> Miya(12 people)
many small dances.
kosodachi wa hasuppana
Kataritemono ja e
Musicians: Shamisen, Taiko, Kodutumi, Fue
Place on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura
Created from the Koi no wake sato<omission> Characters: Shirabyōshi Hanako, Shoke
By repeating the verticalscore (Nagauta) Omoi sometaga en ja e
(12 people)
movement, it is possible
Katariteto express that a ball isMusicians: Shamisen, Taiko, Kodutumi, Fue, Kane attached.
Place on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura
Created from the Ume to-san-san sakura
Characters: Shirabyōshi Hanako (Hanakasa),
The character does notscore (Nagauta) wa<omission>
Shoke (12 people)
move much because the
Kawairashi-sa
Katarite
movement of Hanakasa isno hanako
Musicians: Shamisen, Taiko, Fue, Kane
the main movement.
Place on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura
Characters: Shoke (12 people)
KatariteMusicians: Shamisen, Taiko, Fue, Kane
Place on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura(Continued)
Existing music(Jōruri)Music

M. Kawai et al. / Journal of Robotics, Networking and Artificial Life 8(3) 151–160
153

Reappear on the stage with nothing. Perform at
the center of the stage along with Hauta (Shōfu
no Erotishizumu).

Around the center of the stage, hit Suzudaiko andperform a dance along with taueuta (Saotome
odori).

Shirabyōshi Hanako defeats all Shoke. Kane comes
down on stage. Shirabyōshi Hanako climbs on
Kane and gazes around her like a snake.

TeodoriSuzudaiko

KaneiriAppear with Kakko close to the center of the stage. Created from the Omoshiro shikinonagameya
Show Mai while hitting Kakko according toscore (Nagauta) <omission> Tsuki no
Yama-Zukushi.
kaobase Mikasayama

Yamadukushi

Created from the Hana ni kokoro oscore (Nagauta) fukamigusa<omission>
Hiki ka dezuite zo use
ni keru

Created from the Tada tanome<omission>
score (Nagauta) Niku terashi hodo
itoshirashi

Created from the Koi no tenarai tsuiscore (Nagauta) minaraite<omission>
Sawaraba ochin fuzeinari

Appear with Tenugui at the center of thestage. Show off Mai along with Koi to Shitto
no Kouta.

LyricsKudokiMusic

Actual stages

Scene name

Table 1 | Stage performance structure of Kyōganoko Musume Dōjōji—Continued

Characters: Shirabyōshi Hanako (Tenugui),Shoke (12 people)
KatariteMusicians: Shamisen, Taiko, Kodutumi
Place on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura
Characters: Shirabyōshi Hanako (Kakko),
Shoke (12 people)
KatariteMusicians: Shamisen, Taiko, Kodutumi,
Hyōshiita, Kakko
Place on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura
Characters: Shirabyōshi Hanako, Shoke(12 people)
KatariteMusicians: Shamisen, Taiko, Fue
Place on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura
Characters: Shirabyōshi Hanako (Suzudaiko),
Shoke (12 people)
KatariteMusicians: Shamisen, Taiko, Kodutumi,
Hyōshiita, SuzudaikoPlace on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura
Characters: Shirabyōshi Hanako, Shoke(12 people)
KatariteMusicians: Shamisen, SuzudaikoPlace on stage: Main stage
Stage equipment: Dōjōji, Kane, Sakura

Images

Not implemented because
it is not a dance part.

Suzudaiko is difficult toreproduce because it
turns its wrist and rings.

Not much movement, manysmall dances.

Tenugui is wrapped aroundthe body or held in themouth. In this way, thecharacter is not moving
because the focus is on
using props.
Rotational movements
using Kakko.

Commands154
M. Kawai et al. / Journal of Robotics, Networking and Artificial Life 8(3) 151–160

M. Kawai et al. / Journal of Robotics, Networking and Artificial Life 8(3) 151–160

155(4) [Images] Images of appearing characters, the main stage, andstage equipment. The props are listed in parentheses in the“Shirabyōshi Hanako”;

we completed the development of all of the scenes of Kyōganoko
Musume Dōjōji to extend the system through the development of
the first scene of Michiyuki.

(5) [Commands] The command is written in the code.
Commands used in the system (input sentences instructing
the reproduction system to create the character animation or
the background).

As we mentioned in Section 1, our goal is to create a system thatuses inputs to automatically generate a staging structure. This study
presents the preliminary phase of this work. To study the system for
automatic generation, we created an animation from the content
shown in Table 1. This section first describes the animation tool,
then discusses the flow used to create an animation.

2.3. Analyzing the Narrative Structure of the
Legend of Dōjōji
The story of the legend of Dōjōji (also known as the legend ofAnchin and Kiyohime) involves Kiyohime, a woman living in
Kumano (the area covering a part of present Wakayama and Mie
prefectures) who is betrayed by a Buddhist monk (Anchin). Heranger causes her to be transformed into a snake, and she burns themonk together with a bell in Dōjōji. Figure 1 presents a flowchartthat summarizes the legend of Dōjōji. Figure 1 is based on threestories: Dainihonkoku Hokekyō Genki [15], Konjaku Monogatari
Shū [16], and Dōjōji Engi [17].
In Figure 1, each box shows a scene, and the frame that summarizes
multiple events shows a scene. The scene summarizes the events
that occurred in the same place. In addition, the third scene has abranching structure that shows the small differences in the threequoted stories.

3. THE SIMULATION SYSTEM BASEDON THE STRUCTURAL ANALYSIS OFKYŌGANOKO MUSUME DŌJŌJI
Regarding the simulation system using 2D animation based on theabove structural analysis of Kyōganoko Musume Dōjōji, we havepublished the idea and implementation [6,18,19]. In this paper,This study uses the user interface of KOSERUBE [20], which has
two modules. The first module converts the generated stories into
animation code specific to KOSERUBE, based on which the second
module plays the animation. Although this 2D animation system
was developed using the previously mentioned KOSERUBE,
KOSERUBE was originally a system that we developed with theaim of use in various application aims. Moreover, the 2D animation
system in this paper also corresponds to an application system. In
fact, the characters, music, stages, etc. used in this 2D system differ
from the original KOSERUBE. In particular, the system utilizes theanalysis results of Kyōganoko Musume Dōjōji. However, although
KOSERUBE has the ability to automatically generate stories fromdefined elements, the 2D animation system in this paper currently
does not have an automated narrative generation mechanism since
its main objective is to directly simulate the stage structures ofKyōganoko Musume Dōjōji. In the future, the system will be able toacquire more intelligent narrative generation ability through utilizing the narrative generation mechanism of KOSERUBE and othermethods and techniques that we are currently investigating.
The system reproduces a performance by combining a backgroundand a character image with another image that imitates the play’s
stage. In addition, the music in Kyōganoko Musume Dōjōji, alongwith the text showing the story and lyrics, are displayed at thebottom of the screen. Our goal is not to produce computer graphics,
but to reproduce the elements that make up the entire stage. For thisreason, we do not pursue a realistic representation in our animations.

Figure 1 | Flow chart of the legend of Dōjōji.

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M. Kawai et al. / Journal of Robotics, Networking and Artificial Life 8(3) 151–160

Figures 2 and 3 present an example of an animation. As the scenes
on the stage are largely divided into hanamichi and hon-butai (mainstage), the figures portray these scenes (Figures 2 and 3 respectively
show the main stage and hanamichi). The screen structure shownin Figures 2 and 3 use images from the KOSERUBE database torepresent the background and characters on stage. The screen consists of four layers: text, character, stage, and background. Here,the dancing figures are the characters, and the instrumentalists,monks, and bells are depicted in the background.
The system uses two kinds of music: the music of the actual
Kyōganoko Musume Dōjōji and the electronic music created froma musical score. The musical score used was Nagauta Kyōganoko
Musume Dōjōji: Shamisen Bunka-fu by Kineie. To create the music,
we used a free composition tool called “Wagaku Hitosuji.”

4. THE SYSTEM INTEGRATINGTHE STRUCTURAL STORY OF
THE LEGEND OF DŌJŌJI WITH
KYŌGANOKO MUSUME DŌJŌJI
In Section 2, Kyōganoko Musume Dōjōji was described as representative of the legend of Dōjōji; however, the stories are not explicitly
the same. Therefore, we developed a system to complement thestory of Kyōganoko Musume Dōjōji by using the story of the legendof Dōjōji [13]. This system is discussed below.

Figure 2 | Example of a visualized stage performance structure(“Ranbyōshi”).

4.1. Analysis of Story Structure of
the Legend of Dōjōji
We analyzed the structure of scenes in the legend of Dōjōji basedon three works that depict the legend. Figure 1 presents a flowchart
created as a result of the analysis. Table 2 has detailed informationon the narrative components of the event sequence described in
Figure 1. In this table, “Scene” describes the titles of the scenes,“Components” lists the elements that appear in each scene, and“Events in Each Scene” divides each scene into sentences to demonstrate the flow of the story’s events.

4.2. Associating Kyōganoko Musume
Dōjōji with the Legend of Dōjōji
We associate the scene of the legend of Dōjōji with scenes from
Kyōganoko Musume Dōjōji to use it for the rhetoric in which thememories of Anchin and Kiyohime are revived. Table 3 connects
the legend of Dōjōji with the scenes of Kyōganoko Musume Dōjōji,using the eleven scenes that make up Kyōganoko Musume Dōjōji
described by Watanabe [21] as the key. Scenes from the legendof Dōjōji are based on the structure shown in Figure 1. Elevenscenes of Kyōganoko Musume Dōjōji were classified into negativeand positive.
At first glance, Kyōganoko Musume Dōjōji is played on a bright andflowery stage, and the heroine’s clothes are also splendid. However,the legend of Dōjōji, which is the background story or origin of
Kyōganoko Musume Dōjōji, is a dark story in that it is based on theheroine’s dark emotions and resentment, which ultimately transform her into a snake so she can kill the man she blames for her
negative emotions. Thus, these two narratives share common narrative material yet contrast in terms of presenting a bright versus adark narrative. Furthermore, although Kyōganoko Musume Dōjōji
is a bright narrative on the surface, characteristics of the original
dark narrative sometimes appear through the heroine’s actions
and facial expressions. We associated the bright aspect that forms
the underlying tone in Kyōganoko Musume Dōjōji with the positive side of the heroine’s personality. In contrast, the dark aspect inKyōganoko Musume Dōjōji is associated with the negative side of
the heroine’s personality. Although her negative personality is notdistinguishable in bright scenes—such as when she does a flowery
dance with big flower hats in the scene of “Hanagasa_Odori”—shestill exposes her true character and markedly glares at monks in
the last scene of “Kaneiri” with heightened resentment to the ring.
A scene with negative verses such as a gesture of glaring at a bell ora grudge is considered a negative scene, and a bright scene is considered a positive scene. Of the six scenes from the legend of Dōjōji,
one or more scenes are associated.

4.3. Development of the Prototyping System

Figure 3 | Example of a visualized stage performance structure(“Michiyuki”).

Based on the correspondence of the scenes in Table 3, the scenes
from Kyōganoko Musume Dōjōji can be extended using the scenesof the legend of Dōjōji according to using three methods. One
involves inserting a fragmentary memory like a flashback that
represents one event that constitutes a scene, another involves representing the entire scene, and the third involves representing theM. Kawai et al. / Journal of Robotics, Networking and Artificial Life 8(3) 151–160

157

Table 2 | Details of scenes in the Legend of Dōjōji
Scene

Components

Events in each scene[1] Kiyohime falls in love with
Anchin at first sight.

Characters: Anchin, Old monk,
Kiyohime
Locations: Murogun, Kiyohime’s
House
Time: Afternoon, Night
Things: -Anchin, a young monk, and an old monk head to Kumano on a pilgrimage.

[2] Anchin betrays Kiyohime.

Characters: Anchin, Old monk,
Kiyohime
Locations: Murogun, Kumano
Time: Things: [3-1] Metamorphosis by grief   Characters: Kiyohime, Snake(Kiyohime)   Locations: Kiyohime’s room  Time:   Things: [3-2] Metamorphosis by fury   Characters: Kiyohime, Snake(Kiyohime)   Locations: Kirime River  Time:   Things: Characters: Anchin, Old monk,
Person, Snake (Kiyohime)
Locations: Murogun
Time: Things: Characters: Anchin, Old monk,
Snake (Kiyohime), Monks of
Dōjōji Temple
Locations: Murogun, Dōjōji Temple
Time: Things: Bell of Dōjōji
Characters: High-ranking old monk,
Monks of Dōjōji Temple, Anchin,Kiyohime
Locations: Dōjōji Temple, Dream
Time: Afternoon, Night
Things: The Lotus Sutra[3] Kiyohime’s body turns
into a snake.

[4] Anchin and the old monk
run away in a hurry.

[5] Kiyohime burns Anchin to
death in Dōjōji Temple.

[6] Anchin and Kiyohime arereincarnated through the
Lotus Sutra.

entire scene as a recollection. The numbers like [1], [2], and [5]correspond Table 2. Table 3 is an incomplete example that uses only
the first methods.
In the system that associates the simulation system of the stage
performance structure of Kyōganoko Musume Dōjōji with thelegend of Dōjōji, each scene in the legend of Dōjōji coincides
with a scene of Kyōganoko Musume Dōjōji. To associate a scene of
Kyōganoko Musume Dōjōji with a scene of the legend of Dōjōji, we
focused on specific elements of lyrics and scenes as key information to better visualize a scene of the legend of Dōjōji according

Anchin and the old monk stay in a private house.
Kiyohime, who lives in the private house, falls in love with Anchin at firstsight.
Anchin lies to Kiyohime about visiting Kiyohime’s house.
Anchin and the old monk go to Kumano.
Anchin and the old monk make a detour and return to their temple.
Kiyohime notices that Anchin lied.
[3-1] Kiyohime is confined to herroom.

[3-2] Kiyohime crosses the KirimeRiver.

Kiyohime cries.
Kiyohime’s body turns into a snake.

Kiyohime chases Anchin.
Kiyohime sits on a rock in Ueno.
Kiyohime spits fire.
Kiyohime’s body turns into a snake.

Anchin and the old monk hear from a person that a snake is chasing them.
Anchin and the old monk run away in a hurry.
Anchin and the old monk flee to Dōjōji Temple.
The monks of Dōjōji Temple hide Anchin in the bell of Dōjōji.
The snake arrives at Dōjōji Temple.
The snake wraps around the bell where Anchin is hiding.
The snake spits fire on the bell.
The snake leaves.
The monks of Dōjōji Temple look inside the bell.
The monks of Dōjōji Temple find Anchin’s charred corpse.
That night, a high-ranking old monk has a dream.
In that dream, Anchin and Kiyohime appear as snakes.
Anchin and Kiyohime ask the old monk for salvation.
The old monk and the monks of Dōjōji Temple continue to chant the Lotus
Sutra at Dojoji Temple.
That night, a reincarnated Anchin and Kiyohime appear in the old monk’s
dreams.
Anchin and Kiyohime thank the old monk.
Anchin and Kiyohime disappear from the dream.

to keys. We defined three types of methods: (1) inserting a fragmentary memory, such as a flashback, which represents one eventthat constitutes a scene, (2) representing the entire scene in present
time, and (3) representing the entire scene as a recollection. Thismethod relates to studies regarding the methods in which various narrative elements outside of the elements of a current story
are introduced into the current story. For example, Genette [22]proposed the narratology of narrative discourse, including the
aforementioned methods, and we have applied narratology into
our narrative generation research [23]. The methods mentioned
are simplifications.

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M. Kawai et al. / Journal of Robotics, Networking and Artificial Life 8(3) 151–160

In this prototyping system, how each scene of the legend of Dōjōji
relates to a scene in Kyōganoko Musume Dōjōji by 2D animation isrepresented using 3D animation. Figures 4 and 5 portray examplesof the two scenes. The “Michiyuki” scene corresponds to the scene
in which Anchin hides in the bell, just before the scene shownin Figure 4 in which Anchin is burned. Figure 5 shows the sceneof “Kaneiri,” which corresponds to the scene in which Kiyohime
burns Anchin. The “Kaneiri” scene corresponds to the scene inwhich Kiyohime is burning Anchin, and Kiyohime is blowing red
fire into the bell.

5. DISCUSSION

In addition, we used MikumikuDance models related to Hatsune
Miku, a vocaloid character, for the 3D models*.

Moreover, there is a problem regarding the definition of each scene.
For example, “scene [2]” in Figure 1 has the following three events:

5.1. Problems
The 3D animation consists of six scenes in total, four of which wehave already created. Completing the remaining two scenes willallow us to express the legend of Dōjōji throughout Kyōganoko
Musume Dōjōji. We have not yet implemented the representationof more fragmented scenes.

Table 3 | Correspondence between scenes in Kyōganoko Musume Dōjōji and the Legend of Dōjōji
Scene in Kyōganoko Musume Dōjōji

Kokoro (mind)

Scene in the Legend of Dōjōji

Michiyuki

Ghost (Jealousy)

Ranbyōshi
Chūkeinomai
TeodoriMariutaGirl
Girl
Jealousy
Girl

Hanagasaodori

Girl

Kudoki
Yamadukushi
Teodori (2)Suzudaiko
Kaneiri

Girl in love (Betrayed girl)Girl
Jealousy
Girl
True character[1]Kiyohime burns Anchin to death in Dōjōji Temple./[6] Anchin and Kiyohime
reincarnate by the Lotus Sutra.
[1]Kiyohime falls in love at first sight with Anchin.
[1]Kiyohime falls in love at first sight with Anchin.
[2]Anchin betrays Kiyohime./[4] Anchin and the old monk run away in a hurry.
[1]Kiyohime falls in love at first sight with Anchin./[6] Anchin and Kiyohime
reincarnate by the Lotus Sutra.
[1]Kiyohime falls in love at first sight with Anchin./[6] Anchin and Kiyohime
reincarnate by the Lotus Sutra.
[1]Kiyohime falls in love at first sight with Anchin./[2] Anchin betrays Kiyohime.
[1]Kiyohime falls in love at first sight with Anchin.
[2]Anchin betrays Kiyohime./[4] Anchin and the old monk run away in a hurry.
[2]Anchin betrays Kiyohime./[3] Kiyohime’s body turns into a snake.
[5]Kiyohime burns Anchin to death in Dōjōji Temple.

Figure 4 | Michiyuki (left scene) and Anchin hiding in the bell (right scene).

Figure 5 | Kaneiri (left scene) and Kiyohime burning Anchin (right scene).
Model: MMDモデル 初音ミク 振袖 ver. 2.0 [MMD Model Hatsune Miku Furisodever. 2.0], Modeler: 金子卵黄 [Kaneko Ran’ou]
Model: よーでる僧 v. 0.1 (Yoderu_so v. 0.1), Modeler: ペニシス (細かすぎ P)[Penishisu (Komakasugi P)]*

Model: 和風劇場ステージ [Wafu_gekijo_sutegi], Modeler: いしころ [Ishikoro]
Model: 紅葉の夜 ST20 [Momiji no Yoru ST20], Modeler: 怪獣対若大将 P [Kaiju tai
Wakadaisho P]
Model: 般若面 ver. 1.00 (Han’nya_men ver. 1.00), Modeler: キツネツキ [Kitsune_tsuki]

M. Kawai et al. / Journal of Robotics, Networking and Artificial Life 8(3) 151–160“Anchin and the old monk go to Kumano.”, “Anchin and the oldmonk make a detour and return to their temple.”, and “Kiyohime
notices that Anchin lied.” Although these three events are represented as a scene in the current prototyping system, these need
three different places: (1) the road of Anchin and the old monk, (2)the temple of Anchin and the old monk, and (3) Kiyohime’s house.
In the future, we are necessary to elaborately divide each scene into
the corresponded places.
Since the differences between the negative and the positive scenes
in inserted scenes of the legend of Dōjōji may be difficult to detect,
we would like to consider mechanisms that can bring more clarity
to users. For example, the simplest methods include changing thecolors of the respective scenes.
Moreover, although the current insertion of the legend of Dōjōji
into Kyōganoko Musume Dōjōji is automatically conducted by
the system, we would like to consider alternative methods—
including methods that involve interactions between the user
and the system.

5.2. Future Direction
Recent years, kabuki practitioners have worked to incorporate
video technologies like computer graphics into performances.
During the COVID-19 pandemic, in fact, a new form of performance called “Zūmu Kabuki” was created. In “Zūmu Kabuki”, eachactor is displayed on a video on the “Zoom” video calling app, andthe videos are combined to form a single stage. This is also known
as online kabuki. The Zūmu Kabuki Chūshingura was performed
from the end of June to the middle of July 2020. Kabuki has continued to develop with the utilization of artificial intelligence anddigital technology.

system using KOSERUBE. This analysis corresponds to the resultin which our previous analysis of the stage performance structureof Kyōganoko Musume Dōjōji was revised and extended, and theextended version of the previous system includes all scenes of theanalyzed Kyōganoko Musume Dōjōji.
Second, we have summarized the narrative structure of thelegend of Dōjōji. As seen above, this paper analyzed the history and story of the legend of Dōjōji, focusing on the transformation of the legend of Dōjōji to Kyōganoko Musume Dōjōji
and the personality of the characters. Moreover, we aimed todevelop a prototyping 3D animation system that blends thelegend of Dōjōji with Kyōganoko Musume Dōjōji. The narrative
analysis of the legend of Dōjōji and its systematization serves
as the first findings, based on the previous preliminary survey
and concept.
As mentioned above, in this paper, we proposed a research that
integrates the analysis of Kyōganoko Musume Dōjōji and its systematization and then formulate the analysis of the storyline of thelegend of Dōjōji and its systematization into a framework.

CONFLICTS OF INTEREST
The authors declare they have no conflicts of interest.

ACKNOWLEDGMENT
The research for this chapter was supported by the Japan Society
for the Promotion of Science (JSPS KAKENHI), Grant No.
18K18509.

Hatsune Miku and Nakamura Shidō co-starred in the “Nico Nico
Chōkaigi,† in which a kabuki called Hana Kurabe Senbon-zakura
was performed. This stage combined the world view of Hatsune
Miku’s representative song Senbonzakura with kabuki (Minamiza,
Kyoto, August 2019). In addition, the ningyō jōruri Koimusume
Tsumugi no Labyrince, using Hatsune Miku, was held at the
Tomioka Silk Mill (Tomioka, Gunma, Japan/October 2020).

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Currently, although this paper does not have relationships withactual kabuki content and related genres’ content, it would certainly
be more challenging to introduce previous methods that are moreclosely related to kabuki content, such as simply expressing existing
kabuki’s stories using computer graphics, etc.

[2]

6. CONCLUSION
In this paper, we first analyzed the stage performance structureof Kyōganoko Musume Dōjōji and its systematization throughour animation tool. In particular, we analyzed and organized thestage performance structure, including elements such as musicalinstruments and stage backgrounds, and created a 2D animation

A festival organized by DWANGO Co. Ltd. “Chō Kabuki” was performed at the festival(https://chokabuki.jp/2019minamiza/english/).
†

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AUTHORS INTRODUCTION
Ms. Miku Kawai
She was an undergraduate student at the Facultyof Software and Information Science, Iwate
Prefectural University from 2018 to 2020. She isan undergraduate student at Faculty of Liberal
Arts, The Open University of Japan since 2021.

Dr. Jumpei Ono
He received his Bachelor in Faculty School ofSoftware and Information Science from Iwate
Prefectural University in 2010. He received his
M.S. degree and his PhD in Graduate School ofSoftware and Information Science from Iwate
Prefectural University in 2014 and 2018. He
had worked as information and communication technology instructor at Vocational School of Digital Arts
Sendai since 2018. He is Assistant Professor of the Faculty ofSoftware and Information Technology at Aomori University
since 2020.

Dr. Takashi Ogata
He received his Bachelor of Social Sciencein Waseda University in 1983, his M.S. in
Tsukuba University in 1992, and his PhD in the
University of Tokyo in 1995. He has industrial
experience since 1983 at software development
companies. Having experienced Associate
Professor of the Faculty of Engineering at
Yamanashi University since 1997, he is Professor of the Facultyof Software and Information Science at Iwate Prefectural
University since 2005.