nntsuzu/KFTT huggingface dataset:
English: There are fears that some disreputable solicitor will attempt to use the label of 'guide,' so in order for legitimate guides to maintain their reputation, a certain level of certification is required.
Japanese: ガイドと称する中には客引きに等しい悪質な人が居る恐れもあり、「質」を確保するために、一定の「認定」「認証」の仕組みが必要である。
English: Sightseeing volunteer guides have been able to maintain their current status due to the sense of security and clearness that comes from the fact that they are volunteers and therefore free as well as the security and guarantees that come with an established brand.
Japanese: 観光ボランティアガイドが今日の地位を確保しえたのも、一つには「ボランティア」つまり「無料」であるという安心感、わかりやすさ、つまりブランド構築における「安心」「保証」である。
English: Another reason is the actual assurances (also an element of a brand) that come from their connections to public organizations.
Japanese: もう一つは、公的機関の窓口で紹介する等の事実上の「保証」（これもブランドの構成要素の一つ）であろう。
English: A system exists in which volunteer guide courses are conducted throughout the country and a certificate is awarded to those who complete a certain curriculum.
Japanese: 各地でボランティアガイドの養成講座が行われており、一定の課程を修了すると認定書等がもらえる仕組みになっている。
English: When a group of people with the same intentions come together, things often begin well but as the number of members increase, human relationships can become strained due to differences in levels of commitment and issues arising from social status as well as differing levels of experience.
Japanese: 志を同じくする人たちが集まって発足した当初は良いが、やがてメンバーが多くなっていくと、「ボランティア」そのものに対する取組意識の差やそれまでの社会的地位や経験、ボランティア経験等によって微妙に人間関係が難しくなっていく。
English: As they differ from business or administrative bodies, tourism volunteer guide organizations do not have a definite objective (mission) or rules and procedures in place to achieve this mission.
Japanese: 観光ボランティアガイド組織は、企業や行政のように、ある一つの目的（ミッション）とそれを達成するためのルール・執行組織が明確でない。
English: Administrative organizations that have contact with these volunteer groups are reluctant about intervening in such matters.
Japanese: こうした問題については、窓口の行政組織もなかなか手を突っ込みたがらず及び腰になる。
English: Where volunteer groups are organized and operated based on the demands of administrative bodies, there are few problems as long as there is a sense of duty as being part of a tourism policy but there is a fear that this can change to an attitude of merely cooperating with the tourism policy.
Japanese: 行政の要請に基づき組織化され、事業している場合、行政の観光政策の一環を担っているという使命感のあるうちはいいが、それが変質し、行政施策に「協力してやっている」という意識に変質していく恐れがある。
English: Sightseeing volunteer guides mainly handle individuals and groups but recently, travel agencies that are aiming to develop new products and cut package costs have begun to pay attention to and use sightseeing volunteer guides in order to cut back on entrance and guide fees while conveniently providing customers with a way to spend time.
Japanese: 観光ボランティアガイドは個人・グループ客を主な対象としているが、最近では新しいツアー商品開発とパック価格引下げを図りたい旅行会社が、施設入場料やガイド料がそれほどかからず一定時間を過ごせる便利な立寄り先として観光ボランティアガイドに着目し、活用しはじめている。
English: This has meant that guides have become treated like subcontractors, are given various instructions and it is said that travel agencies have emerged that order guides to condense two hour talks into one hour due to tour scheduling.
Japanese: なかには、ガイドをまるで下請のように扱い、あれこれ命令したり、ツアースケジュールの都合から本来説明に2時間かかるところを「1時間で説明しろ」と要請する旅行社も出てきたという。
English: Not all of those who participate in tours are interested in the guides, so some participants may either not listen to what the guide is saying or appear apparently bored.
Japanese: ツアー参加客もガイドに興味を持つ人ばかりとは限らないので、ガイドの話を聞こうともしない、あるいはわずらわしいという表情をあからさまにする場合も出てきているという。
English: As volunteer guides operate ever more closely to areas worked by professional guides, they may encroach on their areas of operation and there is concern that the volunteer or low-fee sector will impede the fee-charging market.
Japanese: 「本職」の領域に近づけば近づくほど、本職の本分を侵すことになり、「無償」ないし「低額」が正当な市場形成を阻害することになりかねないという心配がある。
English: (There is now a slight problem that it is difficult for professional guides to become established in areas in which volunteer guides are organized.)
Japanese: （今日、ボランティアガイドが組織されている地域で「本職」が成り立つかいささか疑問であるが。）
English: Volunteer organizations are emerging that are considering claiming certain expenses when conducting travel agency tours such as those mentioned above.
Japanese: 先のような、旅行社のツアーに対して一定の費用負担を求めようと考える組織も出てきている。
English: Tourism volunteer groups would like to be able to operate free of charge but as they become part of tour itineraries, the label of 'volunteer' is becoming gradually more difficult to justify.
Japanese: 観光ボランティア組織では、あくまでも無料で行いたいと考えているが、ツアーの一部に組み込まれつつある状況にあっては、「ボランティア」の文字が次第に重荷になってきつつある。
English: In addition, if these guides were to charge fees, there is the fear that they may be withdrawn from tour itineraries in a market in which competitiveness is so dependent on price, so it is desirable that they remain free or very inexpensive.
Japanese: また、地域の観光事業者としても、ガイドが有料になれば価格競争の激しい旅行会社のツアーから外される恐れがあるため、できれば無料若しくは極めて低廉であり続けてもらいたいと考える。
English: It is due to such factors that the gap is widening between the volunteer guide organizations that are built on good will and the travel agencies and tourism industry workers that operate according to business principles.
Japanese: このように、いわば「善意」を基本に成り立つボランティアガイド組織と、ビジネスの論理で行動する旅行社や観光事業者とのギャップが拡大しつつある。
English: One way that the above problems can be overcome is by guide organizations becoming non-profit organizations.
Japanese: 先の問題点を克服する一つの方法として、ガイド組織をボランティアからNPO法人化することが考えられる。
English: A volunteer guide organizations are valuable entities for local revitalization and also do not require the financial support of customers and travel agencies, local public bodies as well as tourism industry workers and related groups should be expected to make the appropriate payments while it is also necessary for guide organizations to transform themselves into the recipients of such payment.
Japanese: そのガイド組織が地域活性化のために価値ある存在で、かつ利用客や旅行会社の経済的負担を仰げないのならば、地元自治体や観光事業者及びその団体が当該組織に対価を支払うべきであり、ガイド組織自身もその受け皿としての機能を有した組織に生まれ変わる必要があるのではなかろうか。
English: In order for guide operations to be continued in a systematic manner, it is desirable to have a built-in mechanism (that would be similar to a public company with the exception of certain differences) which provides leadership as well as encouraging the continuous study of members.
Japanese: ガイド事業をシステマチックに継続して行うには、組織として統率が取れ、構成メンバーも絶えず学習を続けるという仕組み（程度の差こそあれ民間企業には当然存在する）がビルトインされていることが望ましいのではなかろうか。
English: According to the "Ihon Shimeisho," a commentary of Genji Monogatari (The tale of the Minamoto clan) from the mid Kamakura Period, its length was about Kosode (a kimono with short sleeves worn as underclothing by the upper classes) (in other words, the length is close to one's height), made in threefold (with nakabe, a lining cloth attached between the outer material), and a hitoemon (a single design, diamond shaped design such as ones used on a single layered kimono) pattern is used on the lining.
Japanese: 鎌倉時代中期の源氏物語注釈書『異本紫明抄』によると小袖ほどの丈(つまり身長すれすれくらい)で、三重(中倍のある)の仕立てで、裏には単文(ひとえもん。単衣につかうような菱文）の綾を用いるという。
English: Kouchigi in the present-day is a costume for the young ladies of the royal family, and it is called nakabe which is similar in style to Uchigi, having a cloth attached between the outer and inner lining, but larger in size than Uchigi.
Japanese: 現在のものは若い皇族女子の衣装で、中倍（なかべ）といって、裏地と表地の間に挟む布を付け加えた袿と同型で袿より大型のもの。
English: Kichiya musubi was a way of tying an obi for kimono that was in style during the Genroku era in Edo Period.
Japanese: 吉弥結び（きちやむすび）とは江戸時代元禄のころ流行した帯和装の帯の結び方。
English: It was a way of tying an obi in the length of ichi-jo ni-shaku (about 3.64m) into an one-sided knot; and the style of hanging the obi longer with this knot still in place was called by a different name, 'mizuki musubi', in association with Tatsunosuke MIZUKI who was an actor of female roles during the Genroku era.
Japanese: 一丈二尺の帯を後ろで片わな（片結び）に結ぶもので、この結び方のまま帯をより長く垂らしたものは元禄時代の女形水木辰之介にちなんで別に「水木結び」と呼ぶこともある。
English: Before the introduction of Kichiya musubi, women's obi were standardized article with a length of rokushaku gosun (about 1.98m), and there was only one way to tying.
Japanese: 吉弥結びが登場するまで、女帯は六尺五寸の規格品であり結び方も一種類しかなかった。
English: Kichiya UEMURA devised a new style of obi tying by stitching weights on to a broad obi of 3.64m, and dangling both ends of the knot like the ears of a large hound (Large hunting dogs produced in Europe); he created the beginning to the fashion of broad obi.
Japanese: 上村吉弥は一丈二尺という大幅の帯に重りを縫い付け、結び目の両端を唐犬（ヨーロッパ産の大型狩猟犬のこと）の耳のようにだらりと垂らした新型の帯結びを考案し後の広幅帯の流行の端緒を開いた。
English: Women who wanted to imitate Kichiya's obi tying sought for broad obi which at the time was not in distribution, so Obi shops in Kyoto that were quick to meet their demands made great profits.
Japanese: 吉弥の帯結びを真似したがった女性たちは当時流通していなかった広幅の帯を求め、いち早くそのニーズに答えた京都の帯屋は多大な利益を得たという。
English: Since then, as the obi grew longer and bigger, the practice of tying it in the back spread from young ladies to decent women in general, and a more luxurious obi were sought as obi tying became more complex, resulting in a great turning point in the history of Japanese fashion.
Japanese: これより帯の巨大化に伴って帯を後ろ結びにする風習が若い娘から堅気の女性一般に広まり、より帯結びが複雑化し豪奢な帯が求められるなど、日本の服飾史にとっては大きな転回点となった。
English: The term "aonyobo" refers to a middle or low-ranked young noblewoman who serves a high ranked person.
Japanese: 青女房（あおにょうぼう）とは貴人に仕える年若い、身分のさほど高くない貴族女性のこと。
English: In some traditional style Noh plays of 'Aoi no Ue,' an aonyobo appears as an attendant of the leading character named Rokujo no Miyasudokoro.
Japanese: 能の「葵上」の古い演出ではシテの六条御息所のおつきとして青女房が登場するものがある。
English: A shrine maiden who visits a court lady named Aoi no Ue for a prayer can identify the evil spirit who possesses Aoi no Ue, because the shrine maiden sees the evil spirit is in a broken onna-guruma (ox-drawn carriage for women) accompanied by an aonyobo who never stops crying.
Japanese: 祈祷に訪れた巫女が葵上を苦しめる悪霊を看破するのだが、悪霊は壊れた女車に乗り泣きじゃくる青女房をお供にしていることからその正体を見破られる。
English: This scene is created in order that an audience can easily find out the evil spirit is Rokujo no Miyasudokoro, because she is the only person who has some story related to a broken carriage and she can have a noble attendant even though the rank of that attendant is not so high.
Japanese: 壊れた車に因縁を持ち、身分が低いとはいえ貴族をお供につれているとなれば、六条御息所しかありえないと観客にはわかるようにしている演出。
English: However, since the characters in the scene may be confusing, the aonyobo is only mentioned in lines of the shrine maiden in later plays.
Japanese: だが登場人物が煩雑になるためか、後に青女房は巫女の台詞内のみの出演となった。
English: The term "kikuzake" refers to sake in which chrysanthemum blooms are steeped, which is provided on the Chrysanthemum Festival (September 9 according to the old calendar), which is called 'Choyo no sekku' or 'Kiku no sekku' in Japanese.
Japanese: 菊酒とは重陽の節句（旧暦の九月九日）いわゆる「菊の節句」に飲む菊の花を浸した日本酒のこと。
English: A set of hanafuda (floral playcards) includes a card with a picture of chrysanthemum blooms and a sake cup, and this picture does describe 'kikuzake.'
Japanese: 花札の絵にキクと酒盃がセットで描かれているのは「菊酒」を表現したものである。
English: Hanafuda players can make a hand called 'hanamizake' (literally, "sake drunk while viewing cherry blossoms") with this card and a card of 'cherry blossoms and a curtain,' or a hand called 'tsukimizake' (literally, "sake drunk while viewing the moon") with this card and a card of 'the moon.'
Japanese: 「桜に幔幕」の札とで「花見酒」、「月」の札とで「月見酒」と日本の行事にまつわる役を作る札。
English: It is thought that kikuzake derived from an ancient Chinese legend which is thought to have appeared in around the third century.
Japanese: 菊酒のルーツはおそらく、三世紀ごろには成立していた中国の伝説であろうと思われる。
English: A military general named Zhong Hui who lived in Cao Wei listed advantages of chrysanthemum in his own poem and said, 'Kikuzake is drink for immortals.'
Japanese: 魏(三国)の武将鍾会は自作の詩の中で菊の美点を列挙し「菊酒は神仙の飲み物」と謳った。
English: Additionally, later folklore had it that the first emperor of Cao Wei named Cao Pi was physically so weak that people did not think he could have a long life when he was very young, but once he started to drink kikuzake on the recommendation of other people, he became stronger and eventually came to the throne of Cao Wei.
Japanese: また後世の民間伝承では、魏の初代皇帝曹丕は幼時は非常に虚弱で長生できないと思われていたが、菊酒を勧められて服用した後は強健となり長じて魏の皇帝となったという。
English: In the Heian period, the nobility had a ceremony called 'kiku no kisewata' (chrysanthemum covers) on the Chrysanthemum Festival day, in which people rubbed their bodies with chrysanthemums covered by cotton and wished their health.
Japanese: 平安時代の貴族は重陽の節句に「菊の着綿」といって菊の花にかぶせた真綿で体をこすって健康を祈った。
English: In present China, people drink 'chrysanthemum tea' made by blending tea leaves with dried chrysanthemum petals, because they believe chrysanthemum blooms have medicinal benefits.
Japanese: ちなみに菊に薬効があるとして、現代の中国でも菊の花を乾燥させて茶葉に混ぜるなどした「菊茶」が飲まれる。
English: Nowadays some Japanese style restaurants offer their customers sake on which edible chrysanthemum blooms are floated.
Japanese: 現在は日本の一部の料亭などで食用菊を浮かせた菊酒が客に供されることがある。
English: One is to prepare sake with water in which chrysanthemum blooms have been steeped, and the famous Kaga no Kikuzake (kikuzake made in Kaga Province) is made according to this recipe.
Japanese: 一つ目は、菊の花びらを浸した水で仕込みをすると言うもので、有名な加賀の菊酒はこの製法で作る。
English: The other one is similar to the current recipe of plum liqueur, and dried chrysanthemum petals are soaked in shochu (Japanese distilled liquor) with sugar crystals to make kikuzake according to this recipe.
Japanese: 二つ目は、現在梅酒などを造る時の要領で、氷砂糖と一緒に寝かせた菊の花びらを焼酎に漬け込むもの。
English: Tango dialect is a kind of Japanese dialect that is spoken mainly in an area encompassing Miyazu City, Kyoto Prefecture and Kyotango City, Kyoto Prefecture.
Japanese: 丹後弁（たんごべん）は、京都府宮津市から京丹後市を中心に話されている日本語の方言の一種。
English: The term "shittaku" refers to a rubbed copy made by placing wet paper on an object and then putting black ink on it.
Japanese: 湿拓（しったく）は紙を湿らせて対象物に張り、その後墨をつけてとる拓本。
English: Although the original method of making rubbings was only shittaku, another method called kantaku (dried rubbing) was developed later, and then this term was created in order to distinguish wet rubbings from dried rubbings.
Japanese: 本来の拓本は湿拓のみであったが、乾拓ができたため、その対比として生まれた名称である。
English: Also, people didn't use the terms "kansetsu-taku" (indirect rubbing) and "chokusetsu-taku"(direct rubbing), and the term "takuhon" (a rubbing) referred to a copy made in an indirect way, while any copies made in a direct way were called insatsu (printing), hanga (block prints), or oin (putting a seal).
Japanese: 間接拓と直接拓という言葉もかつては存在せず、間接的に採るのを拓本と称し、直接採るものは印刷、もしくは版画、押印と呼んだ。
English: The term "gyotaku" (fish rubbing) was wrongly adopted because this had been primarily called gyoban (literally, "fish printing") or gyoin (literally, "fish stamp").
Japanese: 魚拓は本来は魚版とか魚印と呼ばれるところ、間違って魚拓と呼ばれるようになった。
English: In China, paper is moistened before it is put on an object such as a stone or a piece of metal to make a shittaku, but in Japan, paper is first put on the object and then moistened with a water spray, a wet towel, or a wet brush so that the paper sticks to the object.
Japanese: 中国では湿拓は紙を湿らせて対象物の石や金属に貼り付けるが、日本では紙を対象物に貼り付けてから、噴霧器やタオル、刷毛などで湿らせて密着させる。
English: Additionally, the paper should be somewhat dried before putting black ink; otherwise, the ink may run on the paper or become faint.
Japanese: また墨をつける段階である程度乾かさないと、墨が滲んだり、薄くなったりする。
English: Kyoto Onuma soroe was the great military parade in Kyoto which was staged by Nobunaga ODA on April 11, 1581.
Japanese: 京都御馬揃え（きょうとおんうまそろえ?）は天正9年2月28日_(旧暦)（1581年4月1日）、織田信長が京都で行った大規模な軍事パレードである。
English: Beginning with Nagahide NIWA and Katsuie SHIBATA, it was a great parade that mobilized every armies of the Oda army, with the exception of Hideyoshi TOYOTOMI who headed the Chugoku army.
Japanese: 丹羽長秀や柴田勝家を始め、中国軍団の豊臣秀吉を除く織田軍団の各軍を総動員する大規模なものだった。
English: Emperor Ogimachi was invited, and those court nobles, who were well acquainted with horse-back archery technique including Sakihisa KONOE, were given permission to take part in the parade.
Japanese: 正親町天皇が招待され、近衛前久ら馬術に通じた公家にはパレードへの参加が許された。
English: It is thought that the aim of the parade was for Nobunaba ODA who professed himself as "Nobunaga ODA Tenka fubu" (Nobunaga ODA governs the entire world) to restrain the surrounding Daimyo and to display his power.
Japanese: このパレードの目的は、織田信長天下布武を標榜する織田信長が、周辺大名を牽制し、力を誇示するためと考えられている。
English: As a result, Nobunaga let known both inside and outside of Kyoto that peace has come back to Kyoto and that the Oda clan has gained control of the world.
Japanese: これにより、信長は京都の平和回復と織田氏の天下掌握を内外に知らしめた。
English: Furthermore, there are two theories regarding Nobunaga ODA's reasons for inviting the Emperor and court nobles: that it was to overpower the Imperial Court, and that it was the Emperor who had requested to see the parade.
Japanese: また、天皇や公家を招待した理由については、朝廷を威圧するためという説と、天皇側から閲覧を希望したという説とがある。
English: The Kongo school is one of the shite-kata (actors who play leading characters) schools of Noh in Nohgaku (the art of Noh), which is one of the Japanese traditional performance arts.
Japanese: 金剛流（こんごうりゅう）とは、日本の伝統芸能である能楽のうち、能のシテ方の流派の一つである。
English: This school originated from the Sakado-za, a group of sarugaku (the prototype of the Noh play) performers who worked for Horyu-ji Temple, and the founder of this school was Ujikatsu (also called Magotaro) SAKADO.
Japanese: 法隆寺に仕えた猿楽座である坂戸座を源流とする流派で、坂戸孫太郎氏勝を流祖とする。
English: This school is also called 'Mai-Kongo' (literally, "dancing Kongo") because of their magnificent and elegant performance style, and they are also sometimes called 'Omote-Kongo' (literally, "mask Kongo") because this school owns a good many of masterpieces of Noh costumes and masks.
Japanese: 華麗・優美な芸風から「舞金剛」、装束や面の名品を多く所蔵することから「面金剛」とも呼ばれる。
English: The seventh generation headman named Ujimasa KONGO, who was well known for his dynamic performance style, had a nickname 'Hana-Kongo' (literally, "nose Kongo"), and he was considered a restorer of the school.
Japanese: 豪快な芸風で知られた七世金剛氏正は「鼻金剛」の異名を取り、中興の祖とされる。
English: From the Muromachi period through the Edo period, however, this school had been in a weaker position than other schools, and they were the only school which did not publish their own Utai-bon (chant book) among the five shite-kata schools.
Japanese: しかし、室町から江戸期においては他流に押されて振るわず、五流の中で唯一独自の謡本を刊行することがなかった。
English: Tadaichi KONGO was a great performer of the school who had been active from the end of the Edo period to the Meiji period, and he was well known for his special device of spider threads made of Japanese paper for the play "Tsuchigumo" (The Ground Spider).
Japanese: また幕末から明治にかけて活躍した金剛唯一は『土蜘蛛』の千筋の糸を考案したことで知られる。
English: In the following year, 1937, Iwao KONGO, who was from the Nomura-Kongo family (also called Kyoto-Kongo family) which was the follower of the Sakado-Kongo family, assumed the position of the headman and succeeded to the head family of the Kongo school on the recommendation of the headmen of the other four schools.
Japanese: 翌1937年、他の四流の家元の推薦により、弟子家筋である野村金剛家（京都金剛家）の金剛巌(初世)が金剛流家元となり、宗家を継承。
English: Yachiyo INOUE the second, who was the head of the Inoue school of Kyomai (Kyoto dancing), learned the performance of the Kongo school, and introduced its elements to the Inoue school performance.
Japanese: 京舞井上流の家元、二世井上八千代は金剛流の舞を学び、井上流のその要素を取り入れた。
English: In this manner, the Kongo school as well as Kuroemon KATAYAMA's family of the Kanze school (one of the shite-kata schools of Noh) has a close relation to the Inoue school.
Japanese: こうしたことから、金剛流は観世流の片山九郎右衛門家などと並び、井上流との関係が深い。
English: There exist the shite-kata (actors who play leading characters) Hosho school and the waki-kata (supporting actors) Hosho school which is specially called Shimogakari Hosho school, and these are totally different schools.
Japanese: 現在、シテ方とワキ方（下掛宝生流）とがあり、それぞれ別の流儀である。
English: In addition, there used to be the 'Hosho school' and the 'Hosho Renzaburo school' in the Otsuzumi kata (large hand drum players), but they were all restored to the Kanze school in 1986.
Japanese: また、かつて大鼓方にも「宝生流」「宝生錬三郎派」と呼ばれる流儀があったが、1986年に観世流の名に復した。
English: They emphasize Utai (the chanting of a Noh text) in their dignified performance style, and they are also called 'Utai Hosho' (literally, 'chanting Hosho') because of their unique chanting characteristics.
Japanese: 重厚な芸風で謡を重視し、その独特の謡の魅力から「謡宝生（うたいほうしょう）」とも呼ばれる。
English: The current headman is Kazufusa HOSHO, who succeeded to the head family in April 2008, and he is the 20th generation.
Japanese: 現宗家は2008年4月に宗家を継承した宝生和英（ほうしょうかずふさ）で二十世。
English: The Tobi-za then began to be called Hosho-za, named after Tayu HOSHO, who was the star performer of the group.
Japanese: 外山座はその看板役者・宝生太夫の名を取って宝生座と呼ばれるようになった。
English: The Hosho-za worked for shrines and temples on Mt. Tonomine, the Kasuga Taisha Shrine (at Wakamiyamatsuri Festival), and Kofuku-ji Temple (at Takigi-Sarugaku, an outdoor sarugaku play performed during the night), and every generation of Tayu HOSHO served the Muromachi bakufu (Japanese feudal government headed by a shogun).
Japanese: 宝生座は多武峰や春日大社（若宮祭）、興福寺（薪猿楽）に参勤し、代々の宝生太夫は室町幕府に仕えた。
English: In the Edo period, especially the fifth shogun Tsunayoshi TOKUGAWA liked the Hosho school so much that he told hayashi-kata (musical accompanists) of other schools to move to the Hosho school.
Japanese: 江戸時代には五代将軍徳川綱吉がとりわけ宝生流を贔屓し、他座の囃子方を宝生流に転属させるほどであった。
English: Around that time, with the support of Tsunanori MAEDA, who was the load of the Kaga Domain, the Hosho school became dominant and took the place of the Konparu school in Kaga Province.
Japanese: またその頃、加賀藩主・前田綱紀の後援を受け、加賀の地では金春流に代わって宝生流が盛んとなった。
English: The Hosho school still have some other regional branch schools such as 'Aizu Hosho,' 'Nanbu Hosho,' 'Sado Hosho,' and 'Kurume Hosho.'
Japanese: その他「会津宝生」「南部宝生」「佐渡宝生」「久留米宝生」などの地域地盤が残る。
English: The 11th shogun Ienari TOKUGAWA also loved the performance of the Hosho school, and Tayu-Tomoyuki HOSHO could have a large-scale performance of kanjin-Noh (Noh performances held to raise subscriptions for the construction of shrines or temples) in 1848 because of the prosperity of this school.
Japanese: 十一代将軍徳川家斉も宝生流を愛好し、その隆盛を受け、1848年（弘化5年）には宝生太夫友干が大規模な勧進能を興行。
English: This 15 day-long performance called 'Koka Kanjin-Noh' (Kanjin-Noh of Koka era) held outside the Sujikaibashi-mon Gate was the biggest and the last kanjin-Noh performance of the Edo period.
Japanese: この筋外橋門外での15日間の「弘化勧進能」は、江戸時代最大にして最後の勧進能となった。
English: Also, many great performers who were trained in the Hosho school's performance appeared; for example, Nagashi MATSUMOTO, Kanesuke NOGUCHI, Kenzo KONDO, and Susumu TAKAHASHI.
Japanese: その薫陶を受けた松本長、野口兼資、近藤乾三、高橋進(能楽師)などの名人を多く輩出している。
English: Therefore they are also called 'Shimogakari Hosho-ryu (school),' 'Shimo-hosho,' or 'Waki-hosho' in order to distinguish this school from the shite-kata Hosho school.
Japanese: そのためシテ方宝生流と区別して「下掛宝生流」「下宝生」「脇宝生」などと呼ばれる。
English: This school started when Gonshichi KONPARU, who later started to call himself Yugen, was assigned to the Hosho-za from the Shundo school by the order of the third shogun Iemitsu TOKUGAWA in the early Edo period.
Japanese: 江戸初期、三代将軍徳川家光の命で、春藤流の金春権七祐玄が宝生座付きとなったのがはじまり。
English: According to the membership list of the Nohgaku Performers' Association issued in 2005, the number of the Noh actors who are at the Hosho school is as follows:
Japanese: 2005年の能楽協会名簿における宝生流所属の能楽師の数は以下のとおり。
English: The Kita school is one of the shite-kata (actors who play leading characters) schools of Noh in Nohgaku (the art of Noh), which is one of the Japanese traditional performance arts.
Japanese: 喜多流（きたりゅう）とは、日本の伝統芸能である能楽のうち、能のシテ方の流派である。
English: Shichidayu was adopted by Yaichi, who was the tayu (headmaster) of the Kongo school, and he succeeded to the position of the headmaster of the Kongo school, but he handed over the position of the tayu to Shokichi (also called Ukyo), who was a biological son of Yaichi, after Shokichi came of age.
Japanese: 七太夫は金剛太夫（金剛流の家元）弥一の養子となり金剛太夫を継承したが、弥一の実子・右京勝吉の成人後に太夫の地位を譲った。
English: Subsequently, he was allowed to establish the Kita school backed up by Hidetada TOKUGAWA and Iemitsu TOKUGAWA in the Genna era, and the school ranked next to the yoza (literally, 'four schools,' representing major four noh schools: the Kanze school, the Hosho school, the Kongo school, and the Konparu school).
Japanese: その後、徳川秀忠、徳川家光の後援を受けて元和(日本)年間に喜多流の創設を認められ、喜多流は四座の次に位置する立場となった。