nntsuzu/KFTT huggingface dataset:
English: Ordinary or poor quality kimono are available in places like antique markets at lower prices, but good conditioned or higher quality kimono are sold in shops specializing in kimono at the prices of several hundred thousand to several million yen.
Japanese: 並以下の状態のものは骨董市などで安価で入手できるが、状態の良いもの・質の高いものは専門の呉服店等で扱われ数十万円から数百万円と高価である。
English: However, antique kimono is much lower prices than a new kimono made by using the same technique.
Japanese: ただしこれでも同等の技術で新しい着物を仕立てるよりは、はるかに安価である。
English: Nihon mukashi kimono museum' (Japanese Antique Kimono Museum) is one of the museums which exhibit antique kimono.
Japanese: また、アンティーク着物を展示している美術館として、日本昔きもの美術館などがある。
English: Sakabashira' or 'sakasa bashira' refers to one of superstitions about Japanese wooden structure (architecture),
Japanese: 逆柱（さかばしら）または逆さ柱（さかさばしら）は、日本の木構造(建築)における俗信の一つである。
English: It is said that when a timber is used as a pillar, it was erected upside-down, making the roots on the top.
Japanese: 木材を建物の柱にする際、木が本来生えていた方向と上下逆にして柱を立てることを言う。
English: It is said that the pillar erected upside-down shakes its house or furniture at night.
Japanese: 古来より逆柱にされた木は、夜中になると家鳴り等を起こすとも言われていた。
English: It was considered as abhorrence, because it makes the fortunes of a family be on the wane and brings misfortune like the fire or ominous incidents.
Japanese: また、家運を衰微させるほか、火災などの災いや不吉な出来事を引き起こすと言われており、忌み嫌われていた。
English: Shigeru MUZUKI, yokai (ghosts, specters, spooks or spirits) cartoonist, suggests that yokai changing itself into leaf come out from the pillar or the pillar itself turns into yokai.
Japanese: 妖怪漫画家・水木しげるによれば、逆さにされた柱からは木の葉の妖怪が出現する、もしくは柱自体が妖怪と化すともいう。
English: They heard a big strange noise like beams collapsing almost every night, then, eventually, they moved out.
Japanese: 家では毎晩のように梁が崩れるような音が響くので、遂には引っ越していったという。
English: Also, in Odawara City, during a ceremony in a merchant house, people heard a voice saying, 'I 'm choking', so, they searched a room to identify where the voice was coming from.
Japanese: また小田原市では、ある商家で祝い事の最中に「首が苦しい」と声が聞こえてきたので、声の主を捜した。
English: Visitors can identify that only one of its pillars was erected upside-down, because it has carving patters upside-down.
Japanese: 柱の中の1本だけ、彫刻の模様が逆向きになっているため、逆柱であることがわかる。
English: However, it was erected in this way not by mistake but on purpose, following an oral tradition, 'When a construction is completed, it begins to collapse'.
Japanese: しかしこれは誤って逆向きにしたわけではなく、「建物は完成と同時に崩壊が始まる」という伝承を逆手にとったものである。
English: Therefore, in a sense, the pillar was erected upside-down with the view of warding off evil, which shows it has no relation to an oral tradition of yokai.
Japanese: したがって、言わばこれは魔除けのために逆柱にしたとされており、妖怪伝承の逆柱とは異なるものである。
English: Craft products are used for materials such as coral, jade, ivory, tortoiseshell, shell, crystal, gold silver, metal with cloisonne, ceramic and 'tonbo dama' (glass beads).
Japanese: 素材は、珊瑚、翡翠、象牙、鼈甲（べっこう）、貝、水晶、金、銀、金属に七宝を施したもの、陶器、トンボ玉などで、工芸品が多用される。
English: Obidome is used by being passed through 'Obijime' which is usually a thin and flat string but sometimes wide and flat string.
Japanese: 帯留は、細い平打ち用のものが多いが、幅の広い平打ち用のものも、ある。
English: 'Bottchiri', another name of 'obidome', which is used by maiko is passed through 'obijime' whose width is wider than ordinary obijime, so it is exclusive to maiko.
Japanese: 舞妓が使用する「ぽっちり」を通す帯締めの幅は、一般には出回らない広さがある。
English: It is said that obidome was invented by geisha in iromachi (a district where geisha is operating) who happened to pass a metal piece called 'tsuba' (a round or squarish guard at the end of the grip of a Japanese sword) of their customers or lovers through 'obihimo' (a string tied around the waist) in the latter part of the Edo period.
Japanese: 江戸時代後期に色街（いろまち）の芸者がお客や恋人の脇差の金具（鍔＝つば）を帯紐に通したのがその始まりとされている。
English: Some old remaining obidome made in the very early days were remade of metal pieces decorated in Japanese swords.
Japanese: 現在残るごく初期の古い帯留には刀の飾り金具などを作り替えたものが残っている。
English: It gained popularity as an accessory on casual kimono among ordinary young women, then later, it was widely used by married women.
Japanese: 若い一般女性らの間でも普段着の装飾として流行したものだが、後に既婚女性にも広く用いられるようになった。
English: As its history shows, obidome was originally an accessory on casual kimono, therefore, using obidome on formal occasions such as a wedding or funeral ceremony was strictly prohibited
Japanese: 帯留は、そのなりたちからも判るように、元々は、和装のくだけた着こなしとしての装飾である。
English: Therefore, there are views that using obidome in formal occasions such as a wedding or funeral ceremony was strictly prohibited, because it was considered to be rude and bad-mannered.
Japanese: そのため、婚礼や式典、葬儀など正式な場面での使用は厳禁で、マナーに外れ失礼とする考え方もある。
English: However, as Japan westernized, obidome studded with jewels gained popularity among people in the upper class along with hair accessories since the prewar period, because Japan needed Japanese-style jewels that could match the western gorgeous jewels.
Japanese: が、しかし、日本が欧風化していくに当たって、華やかな西洋の宝飾品に対抗できる和装品の一つとして、髪飾りとともに、宝石を使った帯留が、戦前から上流階級でもてはやされた。
English: Especially, putting obidome studded with diamond, sapphire, emerald and pearls on obijime in a party or reception was extremely popular when people wore formal kimono such as 'iro tomesode' (kimono marked with the family crests) and maru obi (a round-shaped kimono band).
Japanese: 特に、ダイヤ・ルビー・サファイヤ・エメラルド・真珠を使ったものは、紋付の色留袖・丸帯の礼装に合わせて、パーティーやレセプションなどで活躍した。
English: Even other items that were not made as obidome can be a substitute for obidome, when it has a part on which a string can be passed through.
Japanese: 帯留として作られたものでなくとも、紐を通す部分があれば帯留として代用が可能である。
English: Especially, brooches for western dress have been converted into obidome since the prewar period.
Japanese: 特に、洋装用のブローチなどを、帯留に転用することは、戦前から行われてきている。
English: However, when fishermen move their ship closer to capture it, it spreads the body as big as six tatami mats and tries to wrap the entire ship.
Japanese: しかし、漁師がこれを捕らえようとして船を近づけると、体を六畳ほどにも広げて船を丸ごと包み込んでしまう。
English: In addition, the blanket octopus which is a real creature drifting in the ocean is commonly called "koromodako" by fishermen, because it has a thin membrane like a cloth between its legs.
Japanese: ちなみに実在のタコであり外洋で遊泳生活するムラサキダコも、足と足の間に衣のような薄膜を持つことから、漁師にはコロモダコの俗名で呼ばれている。
English: Moreover, species of paper nautilus which is similar to the blanket octopus are also drifting in the ocean, and the female of which secretes shells from its arms and wraps itself in the shell and incubates eggs in it.
Japanese: またムラサキダコに縁の近いカイダコ類は、同様に外洋で遊泳生活をし、雌は腕から貝殻を分泌してその中に包まっており、この貝殻の中で卵を保育する。
English: During the Edo period, they had handed down a position at the bakufu (Japanese feudal government headed by a shogun) called Sukiya-kumigashira (a person who is responsible for the tea room and equipment for the shogun) for generations, and they supported the Ryuei-chado (the tea ceremony for the Shogunate) in cooperation with the Isa-ha group of the Sekishu-ryu school and the Nomura-ha group of the Sekishu-ryu school.
Japanese: 江戸時代は幕府数奇屋組頭を代々世襲し石州流伊佐派、石州流野村派とともに柳営茶道をささえた。
English: During the Edo period, they had handed down a position at the bakufu (Japanese feudal government headed by a shogun) called Sukiya-kumigashira (a person who is responsible for the tea room and equipment for the shogun) for generations, and they supported the Ryuei-chado (the tea ceremony for the Shogunate) in cooperation with the Kajun-ha group of the Sekishu-ryu school and the Nomura-ha group of the Sekishu-ryu school.
Japanese: 江戸時代は幕府数奇屋頭を代々世襲し石州流嘉順派、石州流野村派とともに柳営茶道をささえた。
English: After the Meiji Restoration, the Isa family retired from the tea ceremony after the fifth generation headman, but Munenaga SODEYAMA (袖山宗脩, 1853 - 1932), who was a disciple of the school, restored the family's tea ceremony, and his group has called themselves Isa-ha group since then.
Japanese: 維新後伊佐家が5代限りで茶道と無縁になった際に、門人だった袖山宗脩（1853年-1932年）によって継承され伊佐派と称している。
English: The Ukiyo-e Ruiko is basic material of the art history, collected biographies and backgrounds of ukiyo-e (Japanese woodblock prints) artists.
Japanese: 浮世絵類考（うきよえるいこう）は、浮世絵師の伝記、経歴をあつめたもので美術史の基礎史料である。
English: The original text was written by Nanbo OTA in the Kansei era (during 1789-1801), and many researchers added their comments and modifications before the completion of this book.
Japanese: 寛政年間に大田南畝が著した原本に多くの考証家らが加筆を重ねて成立した。
English: In 1844, Gesshin SAITO made further additions and renamed this work "Zoho Ukiyo-e Ruiko" (Enlarged History of Ukiyoe Prints), which contained the stories about 86 ukiyo-e artists.
Japanese: 1844年に斎藤月岑が補記し『増補浮世絵類考』とした（86人収録）。
English: Afterward, Shukin TATSUTANOYA compiled the "Shin Zoho Ukiyo-e Ruiko" (Newly Enlarged History of Ukiyoe Prints), which contained the stories about 127 ukiyo-e artists, in 1868.
Japanese: その後も、1868年竜田舎秋錦により『新増補浮世絵類考』が編まれた（127人収録）。
English: Although this document has such a complicated compilation process that some articles in written copies are somewhat incorrect, this is still the only trustworthy collection of ukiyo-e artist biographies, and this book is regarded as a jumping-off point of ukiyo-e research.
Japanese: 成立経過が錯綜しており、写本の中には記事が混乱しているものもあるが、唯一の信頼すべき浮世絵師伝集で、浮世絵研究の出発点をなす。
English: The following texts are quoted from the section of Sharaku TOSHUSAI of the Iwanami Library edition (revised by Katsunosuke NAKADA).
Japanese: 例示として岩波文庫版（校訂仲田勝之助）より東洲斎写楽の項を引用する。
English: He painted pictures of faces of Kabuki [traditional drama performed by male actors] actors, but his pictures were too real because he was really keen to draw true likenesses of them, so his popularity did not last long and he eventually disappeared after a few years.
Japanese: これは歌舞妓役者の似顔をうつせしが、あまり真を画かんとてあらぬさまにかきなさせし故、長く世に行はれず一両年に而止ム。
English: (S) I believe Toshusai SHARAKU lived in Hatchobori, Edo, and he had been active only for a half year.
Japanese: 【三】三馬按、写楽号東周斎、江戸八町堀に住す、はつか半年余行はるゝ而巳。
English: The part that 'He painted … within a few year' is close to the original text written by Nanbo OTA.
Japanese: 大田南畝が書いたオリジナルに近いのが「これは歌舞妓役者の・・・一両年に而止ム。」の部分である。
English: The above (E), (Shin), and (S) indicate texts added by Eibian KATO, descriptions from the "Shin Zoho Ukiyo-e Ruiko" (based on the additional comment by Gasshin SAITO), texts added by Sanba SHIKITEI respectively.
Japanese: 【曳】は加藤曳尾庵の加筆、【新】は『新増補浮世絵類考』の記述（斎藤月岑の加筆に基づく）、【三】は式亭三馬の加筆。
English: Most Kyo-yaki ceramics are made with an overglaze painting technique in which figures are painted on burned pottery, resulting in special characteristics that make the originality of each ceramist come across clearly in his or her work.
Japanese: 一度焼成した後に上絵付けを施す上絵付けの技法を用いた陶器が多く、作家ごとの個性が強いのが特徴。
English: Recent research insists that Kyo-yaki had already began being produce during the early Keicho era at the end of the 1590s.
Japanese: 近年の研究では、慶長初頭の1590年代末には京焼の生産が始まっていたと考えられている。
English: Although there are still many questions left unanswered about Kyo-yaki ceramics produced around that time, it is notable that most pieces of such pottery were burned at a moderate temperature with lead glaze and made with various techniques and designs.
Japanese: この頃の作品については不明な点が多いが、低温で焼成し、鉛を含む釉薬が使用されていて、技法やデザインが多様なことが特徴である。
English: Before this period, there were many pottery wholesalers around Sanjo, Kyoto, but they produced only a small amount.
Japanese: この時期以前の京都は三条付近に陶磁器の問屋が集中していたものの、本格的な生産は行われていない。
English: Before the Tensho era, however, Chinese potters and their successors, who had techniques such as sansai (a three-color glazed pottery technique) and the Cochin ware technique, had already started manufacturing pottery during the middle of the 16th century.
Japanese: ただし、天正以前の16世紀中頃には三彩や交趾焼などの技術を持った中国人陶工およびその後継者達が製陶を開始していた。
English: The distinguishing feature of their pottery was a cold colored glaze, such as green, purple, navy-blue, and yellow, and it is thought that this is where Oshikoji-yaki (Oshikoji pottery) was derived from.
Japanese: 緑、紫、紺、黄など寒色系の釉薬が特徴で、押小路焼のルーツとなったと考えられている。
English: At the beginning of the 17th century, the production of tea pottery, such as tea bowls and tea leaf containers, increased as the art of the tea ceremony became more popular.
Japanese: 17世紀に入ると、茶道の興隆に伴って茶碗、茶入など茶陶の製造が盛んになった。
English: Specifically, Seto-yaki (Seto pottery), Mino-yaki (Mino pottery), and Karatsu-yaki (Karatsu pottery) craftsmen made copies of Goryeo tea bowls, taking advantage of their techniques.
Japanese: 具体的には、瀬戸焼、美濃焼や唐津焼の職人とその技法をベースとして高麗茶碗の写しなどが作られている。
English: The discovery of clay that was good for pottery called Korodani-tsuchi (Korodani clay) was found in Yamashiro Province, accelerating the manufacture of ceramics.
Japanese: また、この頃に黒谷土と呼ばれる製陶に適した原料土が地元の山城国で発見されたことも陶磁器の生産の助けとなった。
English: One of the oldest categories of Kyo-yaki called Awataguchi-yaki (also known as Awata-yaki) had already began being produced in the Awataguchi district in the Kanei era.
Japanese: 京焼の中で最古の部類に入る粟田口焼（粟田焼）は、寛永には粟田口で生産を行なっていた。
English: Yasaka-yaki (Yasaka pottery) and Kiyomizu-yaki (Kiyomizu pottery) are almost as old, and it has been confirmed that Yasaka-yaki existed in 1640 and Kiyomizu-yaki appeared no later than 1643.
Japanese: 同時期では、八坂焼は1640年、清水焼は1643年までには存在が確認されている。
English: In a description about a tea party in which Sowa KANAMORI participated in on June 23, 1650, painted Mimuro-yaki is mentioned.
Japanese: このような中、慶安3年（1650年）5月25日_(旧暦)に金森宗和が参加した茶会に関する記述の中で、絵付を施した御室焼の登場が確認されている。
English: Within the next two years, Ninsei NONOMURA made the first Mimuro-yaki with a reddish color paint.
Japanese: さらに翌年か翌々年には赤色系の上絵付を施した御室焼が野々村仁清によって初めて作られた。
English: This was the first and only example of a successful piece of earthen pottery with a reddish color paint in the 17th century aside from Arita-yaki (Arita pottery), which was the first Japanese porcelain, since reddish color paint requires a delicate glaze compound and burning.
Japanese: 調合・焼成の困難な赤色系の絵付を17世紀に成功させたのは、磁器を国内で初めて製作した有田焼以外ではこれが唯一の例であり、かつ陶器では国内初であった。
English: Additionally, many skilled potters such as Hozen EIRAKU and Wazen EIRAKU appeared from the Eiraku family after Ryozen EIRAKU, and this family has been making tea equipment for the Senke (House of Sen) ever since.
Japanese: また、永樂了全より後の永樂家は永樂保全、永樂和全など優れた陶工を輩出し、千家に作品を納めて今日に至る。
English: He made the first Kyo-yaki porcelain, and Mokubei AOKI and Dohachi NINNAMI continued his legacy, making many porcelain pieces.
Japanese: 頴川は京焼として初めて磁器を製作し、この後を受けて青木木米や仁阿弥道八らも磁器の作品を多く残した。
English: After the Meiji Restoration, the demand for tea pottery rapidly dropped as Japanese society and culture changed, leading to many potters giving up their professions.
Japanese: 明治維新後は体制や文化の変化に伴って茶陶の需要が激減し、廃業した者も多い。
English: A number of potters participated in business organizations, such as Nippon Toki Gomei Kaisha (Nippon Toki Co., Ltd.), currently known as Noritake Co., Ltd., supporting development of techniques of the company.
Japanese: また、陶工の一部は日本陶器（現・ノリタケカンパニーリミテド）のような企業組織に入っていき、その技術を支えた。
English: The term "sashimono" is a generic name given to traditional craft products which are made without any joint parts such as nails; for example, furniture, doors, and other household things made by assembling wooden pieces.
Japanese: 指物（さしもの）とは、釘などの接合道具を使わずに、木と木を組み合わせて作られた家具、建具、調度品などの伝統工芸品の総称の事である。
English: There are various opinions about the origin of this term, and one of them has it that this term derives from the fact that 'monosashi' (rulers) are used to make such products.
Japanese: 名前の由来は諸説あるが、「定規」を用いて細工するからであるともいわれる。
English: Among various schools in the sashimono world, Kyo-sashimono in Kyoto and Edo-sashimono in Tokyo are particularly famous.
Japanese: 指物にはいくつかの流派とも呼べる物が存在するが、特に京都の京指物、東京の江戸指物が有名である。
English: Since Kyo-sashimono was developed in the noble culture of the Heian period and its products were mainly used at the Imperial Court and by court nobles, graceful and fine workmanship constitutes a characteristic feature of this.
Japanese: 京指物は平安時代の貴族文化の中で発展し、朝廷や公家が主に用いていたことから優雅かつ精緻な細工を特徴とする。
English: Kyo-sashimono includes tea ceremony equipment such as tea boxes, trays, hikimono (turned articles such as bowls), and magemono (round containers made by bending slips of Japanese cedar), as well as furnishings such as cabinets, shelves, and desks.
Japanese: タンス、棚、机などの調度品の他に、箱物、板物、挽き物、曲げ物などの茶道具も作成する。
English: On the other hand, Edo-sashimono was developed in Edo, and its products were mainly used by samurai, townspeople, and merchants.
Japanese: 対して、江戸指物は江戸で発展したため、武家や町人・商人が用いる事が多かった。
English: Therefore, excessive decorations are removed and instead, sober-colored lacquer is applied on simple wood grain.
Japanese: そのため過剰な美しさは廃して、淡泊な木目に渋味をもつ漆塗りを施している。
English: Rokuro UMEWAKA is a name used by the headman of the Umewaka family, which is one of the shite-kata (actors who play leading characters in Noh performances) Kanze school groups.
Japanese: 梅若六郎（うめわかろくろう）とは、シテ方観世流の一派、梅若家の当主が用いる名。
English: Rokuro UMEWAKA the 52nd (1828 - 1909): Minoru UMEWAKA the first
Japanese: 梅若六郎(52世)　（1828年（文政11年）-1909年（明治42年））　：初代梅若実
English: Rokuro UMEWAKA the 54th (1878 - 1959): Minoru UMEWAKA the second
Japanese: 梅若六郎(54世)　（1878年（明治11年）-1959年（昭和34年））　：二世梅若実
English: Rokuro UMEWAKA the 55th (1907 - 1979)
Japanese: 梅若六郎(55世)　（1907年（明治40年）-1979年（昭和54年））
English: Rokuro UMEWAKA the 56th (1948 - present) (Gensho UMEWAKA the second)
Japanese: 梅若六郎(56世)　（1948年（昭和23年）-）（2代目梅若玄祥）
English: The 24th generation headman Motoshige KANZE is particularly famous among them; he was popular because of his good looks and beautiful voice, which brought overwhelming popularity to the Kanze school during the Meiji, the Taisho, and the Showa periods.
Japanese: 特に二十四世観世元滋が有名で、その容貌・美声で人気を博し、明治・大正・昭和の観世流隆盛をもたらした。
English: Azuma-asobi is a fairly long suite that needs approximately 30 minutes to be completed, which is classified into the Kuniburi no Utamai (native-style songs and dances based on the music of ancient Japan), a type of gagaku (Japanese Imperial Court music).
Japanese: 東遊（あずまあそび）は、雅楽の国風歌舞に類される、演奏時間は30分程度かかる、かなり長い組曲である。
English: A dance group consists of six or four dancers, and songs are performed with a pair of hyoshi (wooden clappers), a wagon (Japanese harp) accompanied by kotomochi (harp holders), an Azuma-asobi bue (Japanese flute with six holes, which is also called chukan), and a hichiriki (oboe), accompanied with a backing chorus.
Japanese: 舞人6人あるいは4人、歌方は拍子、和琴、琴持、東遊笛（中管）、篳篥、付歌で奏する。
English: At present, however, a koma-bue (horizontal bamboo flute with six holes) is used instead of an Azuma-asobi bue in most cases, except for the Music Department, the Board of the Ceremonies, the Imperial Household Agency.
Japanese: ただし現代においては宮内庁式部職楽部を除いて東遊笛の代わりに高麗笛が用いられる事が殆どである。
English: Azuma-asobi is generally performed as a Shinto ritual dance, and it has been performed at some Shinto festivals such as Korei-sai Festival (an equinoctial ceremony held by the Emperor at the shrine of imperial ancestors) since the Meiji period.
Japanese: もっぱら神事舞として奏し、明治時代以後は皇霊祭その他にもちいられている。
English: This performance is said to be based on the dance performed by heavenly maidens who arrived at Udohama, Suruga Province in the reign of Emperor Ankan.
Japanese: 安閑天皇の御世、駿河国の宇土浜に天女が降って舞ったものを模したという。
English: During the Heian period, Azuma-asobi was performed by six or ten dancers who followed the style of the Imperial Guard's soldiers and wore Saiei no Kanmuri (crown with two rounded strings on the top) with a spray of cherry blossoms on the right top of the crown, Omigoromo (ceremonial jacket used for the Shinto rites at the Imperial Court), and swords and four music players (one performer each of shaku-hyoshi [wood clappers], a flute, a hichiriki, and a wagon).
Japanese: 平安時代には、舞曲は近衛の官人が仕えるのを例として、細纓冠緌にサクラを冠の右側に挿し、袍は小忌衣、太刀を帯びた舞人6人ないし10人、歌人4人（笏拍子、狛笛・篳篥・和琴それそれ1人）で奏した。
English: Azuma-asobi, which is older than Saibara (a genre of the Heian-period Japanese court music, primarily consisting of gagaku-styled folk melodies), had been originally performed in the eastern provinces, but it was introduced to the capital city as foreign music became popular.
Japanese: 催馬楽よりもふるく、もと東国でおこなわれたものであるが、外来楽の隆盛とともに都会にはいった。
English: It is notable that Azuma-asobi was performed along with Togaku (the Tang-era Chinese music), Komagaku (the old Japanese court music introduced from Korea), and Rinyugaku (Indian songs and dance) when the Daibutsu kuyo (dedication ceremony for the Great Buddha) was held at Todai-ji Temple on May 1, 861, even though Azuma-asobi nearly ceased to exist at that time.
Japanese: すでに絶滅傾向にあった貞観3年3月14日に東大寺大仏供養のとき、唐楽、高麗楽、林邑楽とともに東遊がおこなわれたことは注目される。
English: Azuma-asobi began to be performed at Kamo-sai Festival from December 889, and this meant the folk music and dance from the eastern provinces became a ritual performance in the capital city.
Japanese: 寛平元年11月から賀茂祭で東遊がおこなわれ、東国の民間歌舞が都の祭祀の歌舞となったことになる。
English: In May 942, Azuma-asobi was performed when the Iwashimizu Special Festival began.
Japanese: 天慶5年4月、石清水の臨幸祭がはじめられたとき、東遊がおこなわれた。
English: Emperor Ichijo was worried that kagura (sacred music and dancing) might be dispersed and lost, and when he worked hard on maintaining kagura songs, five songs from Azuma-asobi were also included in his collection.
Japanese: 一条天皇が神楽が散逸するのを心配して保存につくしたとき、東遊も5曲制定された。
English: It is believed that these five songs are present-day Ichi-uta (literally, "the first song"), Ni-uta (literally, "the second song"), Suruga-uta (literally, "the Suruga song"), Motomego-uta (literally, "the seek-a-child song"), and Kataoroshi (also called Ohire-uta), but according to an old Azuma-asobi music book compiled in the Tenji era, the songs included in Azuma-asobi were selected on December 27, 920, by Imperial command.
Japanese: それが今につたわる一歌、二歌、駿河歌、求女子歌および加太於呂之（大広歌とも）の5であるといわれるが、天治本の古譜には延喜20年11月10日勅定のことがみえる。
English: It is generally said that only limited lyrics are handed down to the current generation because some of original lyrics were removed when Azuma-asobi was adopted as a religious rite.
Japanese: 歌詞の伝来がすくないのは東遊が祭祀に採られたためにもともとのうたいぶりがなくされたからであるともいう。
English: After the Meiji Restoration, Azuma-asobi was performed in front of the Korei-den (the Imperial Ancestors' Shrine) by gagaku performers at Jinmu Tenno-sai Festival (Emperor Jinmu Festival) and Spring and Autumn Korei-sai Festivals.
Japanese: 明治維新ののちは神武天皇祭、春秋の皇霊祭の日に雅楽部員が皇霊殿のまえで奏した。
English: Tajima no kami (the governor of Tajima Province) Moritada FUKUO the first (1521-1606) was a Shinto priest in Miki, Harima Province, but he studied under Motoyori KANZE (son of Nagatoshi KANZE), waki no toryo (secondary actor) in Kanze-za (Kanze group of Noh).
Japanese: 初世福王但馬守盛忠（1521年～1606年）は播磨国三木の神官であったが、観世座の脇の棟梁観世元頼（観世長俊の子）に師事した。
English: From the end of the Sengoku period (period of warring states) (Japan) to the Azuchi-Momoyama period, waki (supporting actors), which had until then been played by the secondary actor in the troupe and had not been differentiated from shite-kata (main roles) (usually, this was called as 'waki no shite' or 'waki no toryo' to be distinguished from the later waki-kata), was gradually differentiated from shite-kata as own official duties.
Japanese: 戦国時代(日本)末期から安土桃山時代にかけては、それまで座の第二位の役者が担当し、特にシテ方と区別されることのなかったワキの役（通常これを後世のワキ方と区別して「脇のシテ」「脇の棟梁」などと呼ぶ）が、徐々に独自の職掌としてシテ方から区分されるようになってきていた時期であった。
English: Since the first, the Fukuo family had been active as waki in Kanze-za, but lost a successor in the period of Moriatsu the fourth.
Japanese: 初世以後、福王家は観世座のワキとして活躍していたが、四世盛厚の代に後嗣を欠いて中絶した。
English: Kokusetsu KANZE felt sorry about the discontinuance of the family and rebuilt the Fukuo family by making the child of Seigen HATTORI (服部栖元), who was his younger brother, as Morichika FUKUO the fifth.
Japanese: これを惜しんだ観世黒雪が弟服部栖元の子を五世福王盛親として福王家を再興せしめた。
English: (At that time, waki also acted as jigashira [the leader of the group reciters], so both waki-kata and shite-kata often played a part of jiutai [Noh chorus]; therefore, shite-kata and waki-kata also existed among su-utai teachers and especially, waki-kata were influential in Kyoto.)
Japanese: （当時はワキが地頭を兼ねたため、地謡はワキ方とシテ方両方が担当することが多かった。このため素謡教授にもシテ方・ワキ方が並立し、特に京都ではワキ方の勢力がつよかった。）
English: Accordingly, Fukuo school extended its power in Kyoto, but the successor, Morinobu the sixth was a stubborn person with little popularity, and excommunicated many disciples because of conflicts.
Japanese: そのため、同地において福王流は大きな勢力を占めるようになったが、後嗣六世盛信は狷介な人柄で信望がなく、諍いから門弟を多く破門した。
English: This caused the incident that Kyo Kanze Gokenya (The Five Kanze Families in Kyoto) (Iwai, Inoue, Hayashi, Sono, Asano), which were powerful disciple families in Kyoto, transferred to Kanze school all together.
Japanese: そのため、京都における有力な弟子家である京都五軒家（岩井・井上・林・薗・浅野）が揃って観世流に転じるという事件を引き起こした。