nntsuzu/KFTT huggingface dataset:
English: The unused portions of both ends of the string are hemmed in around the sides, and according to custom, on auspicious events they are inserted from the bottom upward; on occasions of mourning they are inserted from the top downward.
Japanese: 余った左右の紐端は脇辺りにおさめ、慶事の際は下から上へ、忌事の際は上から下へ差し込んでおくのが習わしとされる。
English: In recent years, furisode is often worn by young unmarried women as a type of formal dress, since furisode are now seen as equally formal and appropriate as black or colored formal susomoyo (kimono with a pattern on the skirt) and homongi (a kind of semi-formal kimono for women).
Japanese: 現在では未婚の女性が、裾模様の黒留袖や色留袖、訪問着に相当する格式の礼装として着ることが多い。
English: For unmarried women, the furisode is the most gorgeous type of formal dress that can be worn in festivals and in other formal scenes.
Japanese: 未婚女性が祭礼や儀礼的な場面で着用する正装の晴れ着である和服が振袖。
English: Depending on the Japanese clothing manufacturer, furisode are classified into three groups according to the length of the dangling sleeve (tamoto): those the sleeves of which measures about 114 cm in height are called long; those measures about 100 cm are called middle-length, and those measures about 85 cm are called short furisode.
Japanese: 和裁においては袂はその長さにより「大振袖」（袖丈114cm前後）「中振袖」（袖丈100cm前後）「小振袖」（袖丈85cm前後）に分類される。
English: The section of the sleeve closest to the body that is not sewn shut but instead left open is called the "furiyatsuguchi;" furisode also has furiyatsuguchi.
Japanese: 身頃に近い方の袖端を縫い付けずに開けている部分を振八つ口といい、振袖も振八つ口を持つ。
English: In the early days of the Edo period, tomesode (formal black kimono) did not have furiyatsuguchi, leading to the theory that once kimono with open furiyatsuguchi-style sleeves appeared, it came to be called furisode; according to this theory, the practice of calling kimono with long dangling sleeves "furisode" must have started only after tomesode sleeves began to be made in the furiyatsuguchi style during the Edo period.
Japanese: 江戸時代の初期、留袖には振八つ口がなく、「振八つ口が開いている服」を振袖と呼んでいたという説があり、この説によれば、袖丈が長い和服を振袖と呼ぶようになった時期は、江戸時代に留袖に振八つ口を作るようになった後であるとされる。
English: Because the wearing of furisode is more or less limited to young unmarried women, married women generally do not wear them.
Japanese: 振袖は、一般的には未婚女性の和服であるため、既婚女性は通常は振袖を着ない。
English: However, in recent years, it appears as though a small number of married women have started to wear furisode occasionally, as well as Japanese enka singers (who often do so).
Japanese: しかし最近は、演歌歌手以外でもまれに既婚女性でも振袖を着る人がいるようである。
English: Today, hardly anyone wears the short furisode, which has the shortest sleeves of the three types of furisode; instead, it is the middle-length furisode that has become the most popular type of formal wear for ceremonies and the like, and the middle-length furisode is not necessarily seen as a step down in formality from the long furisode (indeed, the mid-length furisode has earned recognition as an even older, more venerable style).
Japanese: 現在では最も袖丈の短い小振袖はほとんど着用されないが、格式があれば中振袖でも第一礼装とし通用するとされ、一般的な大振袖より格が落ちるわけではない（むしろ古風と認識される）。
English: As can be seen in the Chigo daishi zu (a late Kamakura work owned by the Kayuki Art Museum) and other such illustrations, children's kosode during Japan's medieval period was made with furi-no-yatsuguchi in the sleeves to allow body heat to dissipate.
Japanese: 稚児大師図（香雪美術館蔵・鎌倉後期）などに見られるように、子供の小袖は中世の時代は体温を逃がす振りの八つ口をあけていた。
English: But with the transition to the Edo period and the onset of the pax Tokugawa, the general public began to take an interest in personal grooming and fashion, leading to the appearance, above and beyond people's everyday clothes, of both formal and gorgeous dress.
Japanese: 時代の変遷により平和な時代が到来すると、大衆が身繕い（みづくろい）をするようになり、普段着以外の正装や晴れ着が出現した。
English: In the beginning, both men and women wore furisode for their Japanese dress; the story is told of a young woman who modeled after and then wore the famous furisode made of purple silk crepe of the young man she loved--which is said to be the cause of the Great Meireki Fire (of 1657, also called the "Furisode Fire")--which seems to suggest that in terms of color, pattern and composition, there was very little difference between men's and women's furisode at that time.
Japanese: 元は男女とも和服に振袖を採用し、明暦の大火の原因と伝えられる紫縮緬の振袖も少女が意中の若衆の衣装を写して着用したものといわれ、色柄や構造に男女差がほとんど無かったことが伺える。
English: During the early Edo period, the length of the sleeves on women's formal kimono gradually became longer.
Japanese: 江戸時代前期に、若い女性が着る正装の和服の袖丈が徐々に長くなっていった。
English: The sleeve length was about 55 cm to 95 cm during the Genroku era (1688-1703), it was increased to about 95 cm to 122 cm during the remainder of the Edo period (up until 1867).
Japanese: 元禄時代（1688年-1703年）には袖丈は55cmから95cmくらいだったのが、江戸末期（1867年まで）には袖丈は95cmから122cmくらいになったといわれる。
English: Thereafter, the furisode began to be developed exclusively as a kind of clothing for women, leading to such steps as the creation of a rule that unmarried women passing barrier checkpoints were not allowed to pass unless they were wearing furisode (because a woman was suspected at the barrier checkpoint that she tried to disguise her age or social status, unless she were wearing furisode), thus expanding recognition that "as for unmarried women, they wear furisode" (incidentally, it is said that there were furisode rental shops near almost all the checkpoints).
Japanese: その後女性の衣装としてのみ発展し、関所を通る際は未婚女性は振袖を着用しないと通過が出来ない（年齢や身分をごまかしているのではと因縁をつけられたため）など、未婚女性といえば振袖を着用するものという認識が広まった（余談だが関所の近くにはたいてい貸し振袖屋があったという）。
English: According to one theory, the onset of an era of peace and stability was accompanied by growing interest in cultural pursuits among the general populace, leading to the rise of a new custom of having one's daughters learn how to dance, and that kimono sleeves were lengthened during this time in order to show off one's motions more gracefully.
Japanese: 一説には、世の中が安定期に入るにつれ文化に対する民衆の関心が高まり、娘に舞踊を習わせる習慣が生まれたが、その際に身振りを美しく見せるために袖を長大化させていったという。
English: During the Taisho (1912-1926) and early Showa (1926-1945) periods, the fashion trend--centered around the cities and towns of the Kamigata region (around the old capital of Kyoto) like Senba of Osaka (the modern-day city of Osaka) and Kyoto--was towards young unmarried women having their ordinary kimono made into gorgeous furisode and wore, but this fashion, apparently, did not spread nationwide.
Japanese: 大正時代と昭和初期に、大阪の船場(大阪市)や京都などの上方の都心部の市街地を中心に、未婚の若い女性が晴れ着でない普段着の和服を豪華な振袖に仕立てて着ていたという流行があったが、この流行は全国には広まらなかったようである。
English: One viewpoint holds that the reasons behind the rise of this regional trend are that the Kamigata region and Kyoto, the manufacturing center for Japanese-style clothing, are geographically very near, and that the people of the Kansai region is characterized by liking for flashy, showy things, which can be seen even today.
Japanese: この流行が起こった背景に、上方と和服の本場である京都が地理的に近いことと、現在もみられる関西の派手好みの気質がある、という意見がある。
English: During this period, there were quite a few cases of what is now called culture shock, when brides from the Kamigata region married into families living in the Kanto region and had to adjust to the plain, subdued Edo-style Japanese clothing favored by their new family.
Japanese: このころに関東に嫁いだ上方の若い女性が、婚家の江戸風な和服の地味さに今でいうカルチャーショックを受けたというエピソードも多くあったという。
English: Sojuro-zukin is said to have originated from "chano-shikoro-zukin" (brown-colored hood with 'shikoro') which was firstly worn by Sojuro SAWAMURA Ⅰ (Kabuki actor) in 1736, who played the role of UME no Yoshibei at Edo Nakamura-za Theater wearing the zukin, which became all the rage at that time and began to be called Sojuro-zukin.
Japanese: その起源は澤村宗十郎(初代)が元文元年江戸中村座で梅の由兵衛を演じた際に創案した茶の錣頭巾にあるとされ、これが当時大いに流行したところから宗十郎頭巾の名が行われた。
English: Just as "sosho-zukin" (hood worn by the teacher of tea ceremony, or other artistic skills), Sojuro-zukin covers the wearer's head, and its characteristic is "shikoro" (big, decorative cloth shaped like a diamond) seen above the forehead.
Japanese: 形状は宗匠頭巾のごとく一枚の布で頭部を覆うものであるが、額の上に大きな菱形の飾り布（錣）がついているところに特徴がある。
English: The horizontal cloth, which covers the mouth and the jaws, can be pulled down to show the wearer's face, and the color of Sojuro-zukin is, in most cases, black, brown, dark blue, or the like.
Japanese: 口元から顎を覆う横布は顎の下に引下げて顔をあらわにすることも可能な構造になっており、色は黒、茶、紺などの系統が多い。
English: Sojuro-zukin is often worn by a cool, aged samurai or the like such as Daemon NIPPON from Hamamatsu-ya in "Aoto Zoshi Hana no Nishikie" (the title of the play about exhilarating action of five thieves), or Obo Kichisa from Otakegura in "Sannin Kichisa Kuruwa no Hatsugai" (the title of the play about the personal relationships of three thieves), when they are under an incognito in Kabuki.
Japanese: 歌舞伎では『青砥稿花紅彩画』浜松屋の日本駄右衛門や『三人吉三廓初買』お竹蔵のお坊吉三等のように、武家方などの落ちついた年配りの男が微行の際に用いることが多い。
English: In a well-known letter sent from Ryoma SAKAMOTO to Kao HIRAI, Ryoma advised Kao to prepare Sojuro-zukin for her emperor-loyalist activities in male attire; this indicates that Sojuro-zukin was generally used by people at that time.
Japanese: 坂本龍馬が平井加尾に送った有名な書簡においても、加尾に男装をさせて勤王活動を行わせるために、宗十郎頭巾を用意するように記しており、当時の宗十郎頭巾に対する一般的な感覚を知ることができる。
English: And it was "Kurama Tengu" (the title of a Japanese historical novel series and the name of the hero who appears in it) written by Jiro OSARAGI what made Sojuro-zukin famous the most.
Japanese: しかし宗十郎頭巾の名をもっとも高からしめたのは大佛次郎作『鞍馬天狗』である。
English: From Vol. Ⅲ (titled "Sojuro-zukin") of the series, Sojuro-zukin became the trademark of the hero Kurama Tengu, or Denzen KURATA, and the image took root when Kanjuro ARASHI starred as Kurama Tengu in its cinematized pieces.
Japanese: シリーズ第三作「宗十郎頭巾」以降、主人公鞍馬天狗こと倉田典膳のトレード・マークとなり、ことに嵐寛寿郎の映画によってこのイメージは不動のものとなった。
English: Sojuro-zukin of Kurama Tengu won children's overwhelming popularity, probably because Kurama Tengu was intriguing for them not only in its incognito appearance but also in its role as a champion of justice with its identity concealed.
Japanese: 鞍馬天狗の宗十郎頭巾は、単に微行姿であるのみならず、正体を隠した正義の味方であるというその設定によるものであろうが、子供たちに絶大な人気を誇った。
English: Influenced by the movie, the fair-skinned champion of justice and Sojuro-zukin became an inseparable match in the historical drama after that.
Japanese: この映画の影響によって、以降時代劇における白面の正義の味方と宗十郎頭巾とは切っても切り離せない関係になってゆく。
English: When playing swordplay, children mimicked Kurama Tengu using their "furoshiki" (wrapping cloth) instead of Sojuro-zukin, but they always had trouble making shikoro.
Japanese: チャンバラ遊びでは、鞍馬天狗に扮するため、子供たちは競って風呂敷を利用して宗十郎頭巾の真似をしたが、錣の部分がうまくつくれないのが常であった。
English: Sojuro-zukin is not a piece of cloth, and shikoro is attached to it with sewing, so furoshiki cannot replace Sojuro-zukin in the first place, but all the more, children loved Sojuro-zukin.
Japanese: 本来宗十郎頭巾は一枚の布でできているわけではなく、錣は縫製によってつくられているために、風呂敷で真似ること自体がもともと不可能なのだが、このためにかえって宗十郎頭巾は子供たちの憧憬の的ともなることになった。
English: Sojuro-zukin is commonly called "zukin of Kurama Tengu," or, after its shape, "ika-zukin" (squid-shaped hood).
Japanese: 俗に「鞍馬天狗の頭巾」または形状から「イカ頭巾」などと呼ばれることもある。
English: Incidentally, Kanjuro ARASHI starred in as many as 40 movies named "Kurama Tengu," which were released during the period from 1927 to 1956.
Japanese: なお、嵐寛寿郎は1927年（昭和2年）から1956年（昭和31年）まで40本もの『鞍馬天狗』に主演している。
English: More specifically, the word "montsuki" is used in two different ways: one is the word that means the common kimono with some family crests on itself (or the style of kimono that has some family crests on itself), and the other is the word used as an abbreviation for "montsuki kosode" (a narrow-sleeved kimono for men, emblazoned with family crests).
Japanese: 紋付という言葉には二義あり、一つは紋の入った着物一般もしくは着物に紋が入っていることを指して用い、もう一つは特に男物の紋付小袖の略称として用いる。
English: Commonly, "montsuki" means the latter but does not include "haori" (a Japanese half-coat), "kamishimo" (samurai costume, or old ceremonial costume) or a woman's kimono.
Japanese: しかし、紋付とのみ言った場合には後者のほうが一般的で、羽織、裃、女ものの着物は含まれない。
English: In this section, montsuki kosode is explained; for information on what it means for kimono to have the family crest, please refer to the "Family Crest" section.
Japanese: 本項では紋付小袖について述べる（着物に紋が入ることの意味に関しては家紋の項を参照）。
English: Until then, the kosode generally used as formal attire had been "noshime kosode" (kosode with 'noshime' [a check pattern or laterally striped pattern woven into the lower part of the sleeves and the waist part]), but from then the solid-color kosode - though it had five family crests - began to be used along with noshime kosode.
Japanese: それまで正装の際に用いる小袖は熨斗目小袖が一般的であったが、これの略式として五つ紋の入った無地もしくは熨斗目の小袖を用いることが行われるようになった。
English: In samurai society, montsuki kosode was coordinated merely with semi-formal attire, or in other words a simplified version of kamishimo or "haori-hakama" (the combination of haori and 'hakama' [loose-legged, pleated trousers]).
Japanese: 紋付小袖は、武家社会では略装の裃や羽織袴などのような準礼装にもっぱら用いられた。
English: And montsuki kosode began to be worn as the formal - sometimes the most formal - attire among low-level samurai and merchants, and finally during the Meiji period it was established as the top formal attire in the provision for wearing decorations.
Japanese: 下級の武士や町人においては次第にこれが礼装もしくは最礼装として扱われるようになり、明治の勲章着用規定によって男子の第一礼装の際に紋付小袖を用いることが定められるにいたった。
English: Montsuki kosode has the same shape as that of the common kosode (called "nagagi" [full-length garments]), and the characteristic of montsuki kosode is the use of family crests: - one at the center of the back, two situated symmetrically on the backs of the sleeves, and two symmetrically on the chest.
Japanese: その形状は通常の小袖（長着）と特に異なるところはなく、背中の中央部、両袖の後側、両胸の部分に紋が入っているところが特徴である。
English: This montsuki kosode, called "itsutsu-mon" (five-crest type), is the formal style, which is modeled after the style of "daimon" (a crested formal robe of the Edo period).
Japanese: 以上の五箇所に紋があるものを五つ紋と呼び、これが正式の紋付小袖のかたちである（これは大紋の紋の入れ方を受継いだもの）。
English: And "mitsu-mon" (three-crest type) - in which the two crests on the sleeves' back are removed - and "hitotsu-mon" (single-crest type), which has only one crest on the back, are also semi-formal attire.
Japanese: 両袖を略した三つ紋、背中の紋のみの一つ紋の紋付もあり、準礼装として通用する。
English: Montsuki kosode has two types of patterns: the solid-color type and noshime type; today, however, only the solid-color kosode is used among the public, and noshime kosode is seen just in Kabuki or historical dramas.
Japanese: 小袖の模様は熨斗目もしくは無地であるが、現在では無地のみが用いられ、熨斗目小袖の紋付は歌舞伎や時代劇の衣装として残るのみである。
English: In the Edo period, one's manner of dress was informal if it used the solid-color montsuki kosode as kamishimo, but today it is recognized as formal dress.
Japanese: 裃において無地の紋付小袖を用いることは江戸期においては略装であったが、現在では正式の着用方法として行われている。
English: The natural substance of montsuki kosode is cotton, silk or another material, while the best-quality cloth used for the kosode is the special silk cloth called "habutae" (a smooth, glossy silk cloth that's finely woven), and habutae's formal color is black when the solid-color type is chosen.
Japanese: 生地は木綿、絹などがあるが、最礼式は羽二重と呼ばれる特殊な絹織物で、無地の場合、色は黒が正式とされる。
English: Occasionally, however, the summer wear is woven with "ro" (a kind of silk gauze) or "sha" (another kind of silk gauze); "chirimen" (silk crepe) is used to make stylish wear, and "iro-montsuki" (montsuki kosode that has a color other than black, mainly a subdued, neutral color) has come to be seen, particularly after World War Ⅱ.
Japanese: もっとも夏着は絽や紗で仕立て、洒落着として縮緬が用いられることもあり、色も特に戦後は渋い中間色を中心に色紋付が行われることがある。
English: The cloth of "kuro-habutae" (black-colored habutae) is dyed black not at first but after the bottoming, which makes the black deeper, and the dye used in bottoming determines the rank of the cloth.
Japanese: 黒羽二重の生地は最初から黒を染めるのではなく、下染めのうえから黒をかけることによって深みのある色を出し、下染めに用いられる染料によって生地の上下が定まる。
English: The kuro-habutae that undergoes bottoming with indigo or safflower is particularly expensive, and of the two the indigo-dyed habutae is extremely prized as "kame nozoki" (cloth of a light blue dyed in a short period of time).
Japanese: 特に高価とされるのはアイ(植物)や紅の下染めで、なかでも藍の下染めを用いた羽二重は「甕のぞき」として珍重される。
English: This circular part is called "ishimochi," and the montsuki that has such an ishimochi is called "ishimochi no montsuki"; in the Edo period, a cheap montsuki had no ishimochi on its cloth, but today such ishimochi-free montsuki are rarely seen.
Japanese: この円のことを石持ちと呼び、江戸期の安価な紋付の場合、紋を入れずにそのまま仕立てることもあった（このような紋付を石持ちの紋付と呼ぶ）が、現在ではめったに用いられない。
English: To get montsuki made, one needs to buy the cloth of habutae that carries the ishimochi, and then one must pay extra for the crest-dyeing, because the crest is custom-designed.
Japanese: 紋付を仕立てる場合には、この石持ちのある羽二重の生地を買い、購入者の注文に合わせて紋を染めてから仕立てるために、ふつうの着物のような仕立て代のほかに紋入れの代金が必要となる。
English: To get it made at a lower price, one can buy the habutae cloth that has no ishimochi and have the crest woven into the cloth.
Japanese: このため、安価に紋付をつくるために石持ちのない羽二重生地を買って、紋は刺繍で入れる方法もある。
English: The former crest is called "some-mon" (dyed crest), and the latter is called "nui-mon" (woven crest), but the former is considered formal.
Japanese: 前者を「染め紋」、後者を「縫い紋」として、前者のほうが正式であるとされている。
English: Generally, the design is the wearer's family crest, but in the feudal age the design was occasionally the family crest of the wearer's feudal lord (or other authority), which was dyed on the kosode bestowed from them.
Japanese: 紋付に入れる紋は着用者の家紋である場合が多いが、場合によっては主君やそのほかの権威者から紋の入った小袖を拝領することもあった。
English: This kosode, called "bestowed-gomontsuki," was given mainly as a simple prize to samurai, and the kosode was cherished by the samurai's family as a token of honor.
Japanese: これを「拝領の御紋付」などと呼び、簡略な褒章として行うことが多く、拝領した紋付は家門の名誉として丁寧に扱われる。
English: To highlight the crest on the bestowed kosode, the diameter of the crest was sometimes as much as 11.36 cm, three times the length of the common crest.
Japanese: またこの際に拝領の紋を強調する意味から、通常の紋付の紋が直径一寸（鯨尺）程度であるのに対して、三寸近い大きな紋を入れることもあった。
English: Montsuki is commonly coordinated with hakama or kamishimo, not with "kinagashi" (everyday clothing), but in the Edo period a second at seppuku or an executioner coordinated montsuki with kinagashi.
Japanese: 紋付の場合には多く袴もしくは裃を着用し、着流しはあまり行われないが、江戸時代においては介錯を行う者や首切り役人が紋付の着流しを着た。
English: And in Kabuki, an actor coordinates kinagashi with montsuki for his role as a ruined, masterless samurai like Sadakuro, who appears in scene five of "Kanadehon Chushingura" (The Treasury of Royal Retainers).
Japanese: また歌舞伎では、『忠臣蔵』五段目の定九郎のように、身をやつした浪人の姿として紋付の着流しが描かれる。
English: The Yarai Kanze family is one of the occupational branch families of Kanze school of Nohgaku theatre shite-kata (main roles).
Japanese: 矢来観世家（やらい-かんぜ-け）は能楽シテ方観世流の職分家のひとつ。
English: They have the status and scale ranked after Soke (the head family or house), branch family and UMEWAKA family in the school.
Japanese: 梅若がかりの芸風を持ち、流内で宗家、分家、梅若両家に次ぐ格式と規模を持つ。
English: In the Meiji period, the second son of Kiyoyuki KANZE (the fourth Tetsunojo KANZE), Genjiro married a daughter of the first Minoru UMEWAKA and succeeded to the name of the 53rd Rokuro UMEWAKA.
Japanese: 明治期に銕之丞家四世の観世清済の次男源次郎氏演が初世梅若実の婿養子となって五十三世梅若六郎を相続・襲名した。
English: After creating a branch family, Genjiro gave his name as Kiyoshi KANZE, prepared a stage in Ushigomeyarai-cho, and started the activity as Kyukokai.
Japanese: 分家後、源次郎は観世清之を名乗り、牛込矢来町に舞台を設けて、九皐会としての活動を行うようになる
English: Although their performance style belonged to the Umewaka school due to the above mentioned circumstances, they supported the Soke school and remained in the Kanze school to the last when Umewaka school separated (According to one theory, there was an emotional disagreement with Umewaka family).
Japanese: 以上のような事情のため、芸系は梅若派に属するが、梅若流独立騒動の際には宗家派に立って最後まで観世流にとどまった（一説には梅若家との感情の齟齬があったともいわれる）。
English: Moreover, in 1907, in cooperation with Kanji Maruoka's Publishing Association of the Kanze-School Revised Editions (the present Nohgakushorin), they published their own revised Utai-bon (chant book), which was clearly different from the previous books.
Japanese: また1907年には丸岡莞爾の観世流改定本刊行会（現能楽書林）と協力し、それまでの謡本と一線を画す改訂本を独自に刊行。
English: Since the Edo period, copyright of Utai-bon of the school was customarily considered to belong exclusively to the Soke.
Japanese: 江戸期以来の慣行として、流儀の謡本は宗家のみに版権が帰属するとされていた。
English: Tozaigoe refers to shouts of 'tozai, tozai' (east west) from the backstage at the jobiraki (an opening) or before kojo (a ceremony to announce that an actor takes a new stage name) of kabuki (traditional drama performed by male actors) or ningyo joruri (traditional Japanese puppet theater).
Japanese: 東西声（とうざいごえ）は歌舞伎や人形浄瑠璃の序びらき、口上の前などに「東西、東西」と裏から声を掛けること。
English: Although its origin is unclear, it had been already heard at various performances in the mid-Edo period.
Japanese: 明確な起源は不明だが、すでに江戸時代中期には各種の興行ものにおいて用いられていた。
English: Since theaters are usually built toward south, 'tozai' is an address to the audiences from one end to the other.
Japanese: 劇場は通常南に向かって建てられているため、「東西」は客席の端から端までの客に対する呼びかけである。
English: There are short utterance 'tozai' and long utterance 'toozai,' and they are repeated several times each.
Japanese: 「とざい」という短い発生と「とーざい」という長い発声を数度ずつ繰返して行う。
English: Otsuzumikata refers to a special duty that is to take charge of an otsuzumi (big drum) in Nogaku-hayashi (Japanese orchestra for Noh performance) or kabuki musical accompaniment.
Japanese: 大鼓方（おおつづみがた、おおかわがた）は、能楽囃子や歌舞伎鳴物において大鼓を担当する専門の職掌。
English: An otsuzumi player takes an important role, i.e. leading the rhythm of an entire Nohgaku band when a tune is daishomono (played with three instruments of fue, a Japanese flute, kozutsumi and ozutsumi).
Japanese: 能楽にあっては大小物の場合、囃子全体のリズムをリードする重要な役目を担う。
English: In the beginning, among the drum players of the company, the player of the upper post beat the kotsuzumi and the player of the lower post handled otsuzumi.
Japanese: もとは一座の鼓方のうち上位の者が小鼓を打ち、下位の者が大鼓をあしらった。
English: In Kabuki, it is mostly used as the narimono (musical instruments) for nagauta-mono (item featuring long epic songs), and plays an important role especially for Matsubamemono and Notorimono (Nogaku style).
Japanese: 歌舞伎ではもっぱら長唄曲の鳴物として活用され、特に松羽目物・能取物において重要な役割を担う。
English: Today, it is common for otsuzumi players of kabuki to study under an otsuzumi player of Nohgaku theatre although it was not allowed in the Edo period.
Japanese: 江戸時代にはご法度とされたが、現在では歌舞伎鳴物の大鼓方が能楽囃子の大鼓方に師事している例も少なくない。
English: Kabuki musical accompaniment: Although there is not clear iemoto system (the system of licensing the teaching of a traditional Japanese art), the whole drum players are stuck together around the successor of Denzaemon TANAKA.
Japanese: 歌舞伎鳴物-はっきりとした家元制度があるわけではないが、田中傳左衛門の名跡を中心に鼓方全体で一定のまとまりを見せている。
English: Sarashi is white, long cloth (34cm in width, 2 to 10m in length), and it is usually used by wrapping around the stomach.
Japanese: 晒（さらし）は、白くて長い布（幅34センチ、長さ2～10メートル）で、主に腹に巻いて使用する。
English: For samurai, in case they are cut on abdomen by a sword, it had a role to prevent internal organs from spilling out.
Japanese: 武士が腹を切られたときに内臓を飛び出させないようにするため、腹を守るという機能も持ち合わせている。
English: Recently, at festivals, it is worn under a hanten or a happi (a short coat originally for craftsmen worn over a kimono), and some males use it as loincloth.
Japanese: 最近では、祭の時などに半天（半纏、袢纏、法被）の下に使用することが多い（締め込みとしてふんどしを兼ねる場合もある）。
English: And some female oen-danin (cheer leaders of classic style) use it under gakuran (a male student's uniform coat with a stand-up collar) to cover the chest.
Japanese: また、女性の応援団員などが、胸を隠すために学ランの下に着けることもある。
English: In the old days, for the shortage of gauze, torn sarashi had been used as a substitute for bandage.
Japanese: 包帯素材であるガーゼが少なかった時代には、晒を複数に裂いて包帯の代用とした。
English: Wrapping sarashi is Japanese original custom, and there is no similar custom in Europe nor America, nor in East Asia.
Japanese: さらにこの風習は日本のみで欧州諸国・東アジアなどにもないとされている。
English: Recently new type of oharaobi made of other materials or in the shape of girdle have been developed; however, sarashi still remains as a deep-rooted custom, being handed out in shrines and used for prayers and being always available in baby's goods stores.
Japanese: 晒以外の素材や、ガードル状のものも開発されているが、晒の物も神社で配布や祈祷したり、赤ちゃん用品店にも常備されるなど根強く定着している。
English: In these past few years, it had been used as a material for baby's underwear, however, at present it is replaced with gauge or tenjiku-cotton.
Japanese: 近年は乳児用の肌着の素材としても用いられていたが、現在はガーゼや天竺といった素材に取って代わられている。
English: In old days, it was used for shiho (to inherit the dharma from a priest master) priestly teacher, but now it is a common name for those who preside a So-do Hall (A training hall for meditation) and are entitled to give inka (permission) to ascetic monks who reached Gotatsu (comprehension, understanding, Buddhist enlightenment, satori).
Japanese: 古くは一般に嗣法の師僧をさす呼び名だったが、現在では修行道場である僧堂を主宰し、悟達の修行僧に印可を与える資格を有する者をいう。