nntsuzu/KFTT huggingface dataset:
English: In case of a full-fledged senior geigi, they primarily wore their hair in the shimada mage, kimono with train and tsume sode, and mizu oshiroi (powder foundation with water).
Japanese: 一人前の年長芸妓の場合は主として島田髷に引摺り、詰袖の和服、水白粉による化粧。
English: (Formally speaking, in the Kansai region, they used to apply tooth blackening which they no longer practice today in general, whereas, in the Kanto region, they did not apply tooth blackening (while prostitutes in Kanto did) and neither drew eyebrows with charcoal or pencil and, depending on the location in some rural areas, they wore simply wore their hair up in a bun and regular makeup.)
Japanese: （関西系芸妓は正式にはお歯黒を付けるが現代では通常は付けない/関東系はお歯黒を付けない（関東系遊女は付ける）；どちらも引眉はしない）というのが一般的である（地方などは土地柄によって束髪に普通の化粧という場合もある）。
English: The younger geisha such as hangyoku or maiko have their hair done in shojo no mage (hairstyle for young girls) such as Momoware (hairstyle of the Meiji and Taisho era, featuring a bun resembling a halved peach) and wear furisode (long-sleeved kimono) with kataage (a shoulder tuck).
Japanese: 半玉や舞妓ら年少の芸妓の衣装は、髪形は桃割れ等の少女の髷で、肩上げをした振袖を着る。
English: Of these younger geisha, maiko in Kyoto are known for their darari no obimusubi and okobo (wooden footwear).
Japanese: この内、京都の舞妓は、だらりの帯結び、履物はおこぼ（こっぽり）などで知られる。
English: Tatsumi Geisha in Fukagawa (Koto Ward), Tokyo prided themselves for looking 'natty' showing their spirit by wearing geta made of paulownia on barefoot with no tabi (Japanese socks with split toe) and haori coat.
Japanese: 東京深川(江東区)の辰巳芸者は「いき」をむねとし、足袋をはかず素足で桐の下駄を履き、羽織をはおることをもってその心意気とする。
English: Tatsumi geisha consequently were known as 'Haori geisha (geisha who wear haori)' or 'haori' for short.
Japanese: したがって、辰巳芸者を「“羽織芸者”」、略して「“羽織”」とも呼んだ。
English: Unlike oiran (courtesan) and brides who pick up tsuma of their kimono with the right hand, since geisha pick up tsuma with their left hand, they are also known as 'hidarizuma (left skirt).'
Japanese: 芸妓は、花魁や花嫁のように右手ではなく、左手で着物の褄（つま）を取るので、「左褄（ひだりづま）」と呼ばれることもある。
English: Okiya is kakaemoto (similar to management offices that entertainers belong to) of geigi and is not a place to entertain customers.
Japanese: 置屋はあくまで芸妓の抱元（タレントでいう所属事務所）であり、客を遊ばせる場所ではない。
English: In the Edo Period, it was common for a customer who came to a machiai jaya to request a specific geisha through that chaya (restaurant) (which is referred to as 'to call so-and-so in' or 'to let so-and-so know') to be entertained at ageya (brothel).
Japanese: 江戸時代には、待合茶屋にあがった客が、茶屋を通して芸妓に指名を掛け（これを「何某を呼ぶ」または「何某を知らせる」という）、揚屋で実際に遊ぶことが一般であった。
English: In Kyoto Prefecture and its vicinity, however, chaya also functioned as a brothel and a request for specific geisha was often times directly made to the concerned okiya or whereby customers could be entertained without moving to a brothel.
Japanese: ただし上方（かみがた）では茶屋と揚屋がひとつになっていて置屋が直接に指名を受ける場合が多く、江戸でも料亭や船宿が直接置屋に指名をかけ、場所を移動せずに遊ぶこともあった。
English: Back in those days, geigi was often used as time filler until the prostitute arrived at the customer's room in the red light district and this is a distinction between the roles of geigi before and after the beginning of the Meiji Period.
Japanese: 当時、芸妓は遊郭で遊女が来るまでの場つなぎとして呼ばれることが多く、この点が明治以降とはかなり違う。
English: Instead, kenban (geisha call-office) is set up to coordinate okiya and the majority of geigi and hokan (professional jesters) belong to kenban.
Japanese: その代わりに検番をおいて置屋のとりまとめを行い、芸妓や幇間の大半はこれに所属している。
English: Customer who came in to a chaya (or ageya) contact kenban to request a geigi.
Japanese: 茶屋（または揚屋）にあがった客は、店を介して検番に声をかけ、芸妓を知らせるのである。
English: Specifically, when making a reservation, one can let the restaurant where their banquet will be know the length of time the geisha's service will be required and the restaurant will make arrangements according to the budget and preferences.
Japanese: 具体的にはその際に宴席を設ける料理屋に予約の際にその旨を伝え、予算や希望に応じて料理屋が手配をしてくれる。
English: It should be noted that geigi can only go to some specific restaurants and not just any restaurant (See 'Traditional Japanese Restaurants').
Japanese: 通常、芸妓が出入りできる料理屋は決まっておりどこでも呼べるわけではないので注意が必要である（料亭の項を参照）。
English: In these days, however, as the rules have been relaxed, geisha are seen at some establishments that are not part of the affiliated restaurants (and, in those cases, there may be various conditions such as a premium for geigi's service).
Japanese: しかし最近では様々な緩和により加盟店以外の出入りも見受けられる（その場合、割り増しや各種の条件がつく場合もある）。
English: If there is an opening for then and there, it is possible to make an arrangement for a geigi, but it is usually not done.
Japanese: 当日その場でも空きがあれば手配も可能だが通常はあまりそのようなことはしない。
English: The fee is referred to as 'Gyokudai (time charge for a geisha)' or 'Senko-dai (fee for a geisha's time)' in the Kanto region and 'Hana-dai (fee for a woman's companionship)' in the Kansai region.
Japanese: その料金のことを、関東では「玉代（ぎょくだい）」または「線香代」、関西では「花代（はなだい）」などと呼ぶ。
English: Senko-dai' was named for the length of time of a geisha's service which was measured by the time it took for a stick of incense to burn in times when there were no clocks.
Japanese: 「線香代」というのは、時計のないころに線香1本が燃え尽きるまでの時間の料金だったからという。
English: Additionally, 'shugi (goshugi)' that is something similar to gratuity is necessary.
Japanese: このほかに祝儀（ご祝儀）と呼ばれる一種のチップのようなものも必要となる。
English: The fee for the geigi's service will be lumped together with that for food and drinks consumed and will be charged by the respective restaurant.
Japanese: 芸妓の料金の支払い方法は、使用した料理屋等からの請求で飲食の代金とあわせて来るのでその際に一括して支払う。
English: Geigi are roughly broken down into 2 categories including Tachikata and Jikata (the distinction between the terms such as maiko and geiko as commonly used in Kyoto is close to that for Tachikata and Jikata).
Japanese: 芸妓には大まかに立方と地方との2種がある（京都でいう舞妓・芸子の別は、職掌としては、ほぼこの立方・地方の別に等しい）。
English: Jikata: Performers specialized in providing musical accompaniment to dancers including songs such as Nagauta and Kiyomoto, katari (talking), shamisen (three-stringed Japanese musical instrument) and narimono (wind instruments and percussions).
Japanese: 地方（じかた）長唄や清元などの唄、語りや三味線や鳴物の演奏をうけもつ者
English: Considerable amount of training is required to be a Jikata and, usually, Ane geigi (older geisha) who has finished her career as Tachikata becomes Jikata.
Japanese: 地方となるにはそれなりの修練が必要であり、通常は立方を卒業した姉芸妓が地方に廻る。
English: Additionally, it is often the case that various training such as music and Sado (tea ceremony) is required of geigi as basic cultural grounding.
Japanese: そのほか、芸妓には素養としてひととおりの音曲、茶道などの修行が求められることが多い。
English: However, since the Edo Period, geisha was an apprenticeship with debt much like yujo and red-light districts in the past were breeding grounds for human trafficking and prostitution.
Japanese: しかし、江戸時代以来、芸妓も遊女と同様、前借金を抱えた年季奉公であり、過去の花街は人身売買や売春の温床となっていた。
English: Selling one's body indiscriminately to anyone was referred to as being 'loose' and was warned against but up until World War II, these 'loose' geisha were seen in everywhere and it was common for okiya to actively encourage this practice.
Japanese: 誰でも構わず身を売ることは「不見転（みずてん）」として戒められたが、第二次世界大戦後までこうした不見転はほぼどこの土地でも見られ、置屋も積極的にこれを勧めることが多かった。
English: However, geigi was clearly distinguished from yujo whereby the first-class geigi was supposed to pride herself in 'selling her arts and not her body' and receiving money in return for being good to her danna (customer).
Japanese: しかし、あくまで芸妓は遊女とは区別され、一流の芸妓は「芸は売っても体は売らぬ」心意気を持ち、決まった旦那に尽くし、その見返りに金銭が報われるというのがその建前になっていた。
English: Many of the talented and/or beautiful geigi, however, opted for never having danna in their life time that undoubtedly had distaste for such a reality and showed their spirit in not being at customers' disposal.
Japanese: むろん、こうした実態を嫌い、芸妓は客の自由にならぬものという気概を貫きとおし、一生涯旦那を持たない名妓も多くいた。
English: On the contrary to popular perception that geisgi have no freedom, it seems that their freedom to fall in love with a man that they choose has long been well respected.
Japanese: なんの自由も無いと考えられがちである芸妓だが、恋愛の自由は昔からかなり認められていたようだ。
English: Since the Meiji Period, geigi who support themselves with their arts have often been perceived as a sort of dream girls and there have been occasions when some magazines conducted popularity contests or postcards featuring some popular geigi were well received.
Japanese: 自らの芸を以って生活する芸妓は、明治以降一種のあこがれの存在としてとらえられることも多く、雑誌で人気投票が行われたり、絵葉書が好評を博したこともあった。
English: Where there was a geigi, there was a danna-sama who played a role of danna-sama or sponsor.
Japanese: 芸妓が存在する土地には旦那様の存在があり、いわゆるパトロンやスポンサーといったような人物である。
English: The role of a danna-sama extends beyond occasional help and cooperation whereby, once he finds a geigi to whom he will be committed to, the danna-sama will take care of her virtually for the rest of her life.
Japanese: しかし、適度に援助したり協力する程度のものではなく、芸妓一人を見出し決めるとほとんど生涯にわたり世話をしてくれる。
English: Danna-sama absorbs several millions to several tens of millions of yen to cover his geigi's kimono, accessories, jewelry and living expenses.
Japanese: この旦那様は着物から持ち物、装飾品や生活費まで数百万円～数千万円負担する。
English: Given these exorbitant costs, not everyone could become danna-sama and, as a necessity, a person who would become danna-sama has to be among the business leaders of the area or one of the top executives of major corporations who had a monetary means to be able to afford such large expenses.
Japanese: この莫大な費用からしてみてもだれでも旦那様になれるわけではなく必然的にその土地の財界人やトップクラスの企業の経営者などで多額の金銭をポケットマネーでまかなえる人物あった。
English: As for geigi, on the other hand, just being a geigi does not warrant she would have danna-sama and only those beautiful and exceptionally talented geigi can expect to have danna-sama.
Japanese: 一方の芸妓も芸妓になれば誰でも旦那様がつく訳ではなく美貌と卓越した芸などが備わった芸妓である。
English: If a geigi gets a danna-sama while being a young trainee, there is the ritual of mizuage (offering her virginity) or they can still get a danna-sama after finishing the trainee period to a point.
Japanese: 若手の時に旦那様がつけばいわゆる水揚げとなり、ある程度歳を重ねていても旦那様はつく。
English: That geigi will become that danna-sama's mistress and danna-sama will be her best customer who will take care of her whereby establishing a relationship of trust between them.
Japanese: 芸妓はその旦那につくことになり、旦那様はその芸妓の一番のひいきになり面倒を見て信頼関係が構築される。
English: Danna-sama, however, usually is married having his own family and, hence, there are no particular advantages to speak of.
Japanese: しかし旦那様は通常家庭を持っていたりするためある程度割り切った生活でこれといってメリットはない。
English: The relationship between the geigi and her danna-sama, however, includes that of the sexual nature as, after all, they are man and woman, but in principle, it is supposed to be a sound partnership.
Japanese: 無論、所詮男女なのでそのようなこともあるが、建前は健全な協力である。
English: He demonstrates a sophisticated generosity by 'giving that geigi so much' and 'spending so much money for her.'
Japanese: 「あの芸妓にこれだけのことをしてやった」「こんなに金を出した」という粋なはからい。
English: Since danna-sama is one of the richest men in the respective area, it can also be a means to impress people around him with his wealth.
Japanese: また各土地の屈指の金持ちであるから、まわりへの財力のアピールにもなる。
English: As a principle, danna-sama is supposed to strike a balance between his home and geigi, but some end up becoming bankrupt by spending too much money on geigi or by being taken advantage of by an evil geigi.
Japanese: 通常は家庭と芸妓の両立が原則だが中には芸妓にのめりこみすぎたり悪い芸妓に利用されたりと破産する者もいる。
English: There are several factors for the disappearance of danna-sama including the poor economy, availability of diverse entertainment, trend to attach importance to family, financial reasons and there are very few men around who would be willing to spend money on geigi just for the sake of looking cool.
Japanese: 不況やそのような粋なことをする男性がすくなくなったり、また娯楽の多様化や家庭重視、金銭的な問題等から芸妓にそれだけのことをする意味がないなど複数の要因となった。
English: There are, however, albeit only a few danna-sama remaining in large cities such as Tokyo and Kyoto today.
Japanese: しかし、今現在でも東京や京都などの大都市には僅かながら旦那様が存在する。
English: In the meantime, there has been a change in geigi's thinking and some geigi decline an offer of the prospective dannna-sama in favor of ordinary lifestyle or marriage which seems attributable to changes of the times.
Japanese: 一方の芸妓にも意識の変化があり、仮に申し込んだ場合に断り通常の生活や結婚を望むという芸妓もおり、やはり時代の変化と言える。
English: These 'danna-sama' can no longer be seen in the areas with the geigi culture due to changes in the danna-sama side, geigi side or times.
Japanese: このような旦那様側、芸妓側、また時代の変化により芸妓文化のある地方ではこの「旦那様」は見られなくなった。
English: After World War II, it became difficult to start training children due to the enactment of Child Welfare Law and the red-light districts declined with the entertainment and service industries becoming more diversified whereby the number of geigi continued to dwindle down.
Japanese: 第二次世界大戦以後は、児童福祉法の制定によって子どもの頃から仕込むことが困難になり、娯楽と接客の多様化により花柳界も衰退し、芸妓の数は減り続けた。
English: Red-light districts are in a quandary due to the insufficient number of geigi, but they are continuing to train successors in the arts of geigi by converting the old system to a company structure in Yamagata and Akita Prefectures.
Japanese: 後継者不足のため、花街側は頭を抱えている状況だが、山形や秋田では会社制度に転換したりして後継者を育成し続けている。
English: The danna-sama system is virtually non-existent and each geigi buys her own kimono and accessories.
Japanese: 旦那制度はほぼ無しに近い状態で、芸妓一人一人自前で着物などを用意する。
English: Since there are no new geigi, the number of geigi has been on the decline and is continuing to decrease today.
Japanese: 後継者がいないため年々人数が減少し、現在でも衰退の一途をたどっている。
English: In 1987, 'Ryuto Shinko Corporation' funded by restaurants where geigi regularly came to work and some business leaders was established.
Japanese: それにより、1987年（昭和62年）、芸妓出入りの料理屋や財界人の出資により「柳都振興株式会社」が設立された。
English: Furumachi Geigi is broken down into 2 categories that are completely different from one another including the orthodox experienced geisha 'ma'am' (used by geigi to refer to their superiors) in their 50's and 60's belonging to the conventional okiya and employees of Ryuto Shinko Corporation commonly known as 'Ryuto san.'
Japanese: 古町芸妓は大きく2種類に分かれており、50～60歳代の昔ながらの置屋所属の、正統派のベテラン芸妓でいわゆる「姐さん」と、この柳都振興株式会社の社員、通称「柳都さん」に分かれ、まったく別である。
English: The above-referenced company employs only younger geigi (18 years old to 40's) and there are 8 geigi at present.
Japanese: この会社はあくまでも若手のみ（18歳～40歳代）で、現在の在籍人数は8人。
English: Since it is a business company, the registered geigi is on a fixed salary much like those employees working for ordinary business corporations and there are no commissions.
Japanese: 会社組織であるため、所属する芸妓も一般の会社員同様に固定給であり、歩合制もない。
English: The role of this company, however, is to supervise and manage geigi with virtually no ability to develop or train them and the actual lessons and training are provided by ma'ams and iemoto of the local school.
Japanese: がしかし、この会社自体に芸妓の育成や養成能力はほとんどなく運営や管理であり、実際の稽古や育成は姐さん方や地元流派の家元が行っている。
English: While it is a company structure as a separate entity, since it belongs to a union, these geigi can take an active role in the red-light district and can go to restaurants in Niigata the way one calls geigi to their banquet and Hana-dai being the same.
Japanese: 別個体の会社組織だが組合に入っているため、新潟の花柳界で活動し料理屋等にも通用でき、座敷への呼び方や花代は姐さんたちと同様である。
English: The factors for the decline of Furumachi Geigi include that ma'ams have stopped deshi tori (training apprentice geigi who will succeed the existing geigi) all together (meaning that there will be no more Furumachi Geigi after the current generation), low morale caused by being company employees and drastic decrease in the number of so-called 'danna-sama' and the extinction of danna-sama has resulted in ma'ams giving up on any hope to be succeeded by younger geigi.
Japanese: その原因として姐さん方の弟子取り（跡継ぎ）を全面的に中止していること（今の代で廃業）や会社員制になったことによる士気の低下、さらには若手のプロ意識の低下、いわゆる「旦那様」の激減などがあげられ、この旦那様の皆無状態により若手芸妓の跡継ぎを姐さん方が断念している。
English: Another factor is that it turned into a company system as well as the gap between the strict world of traditional culture and the attitude of 'kids these days.'
Japanese: もうひとつの原因として会社組織になったことと、伝統文化や厳しい世界と「いまどきの若い子」の感覚による温度差もある。
English: As mentioned in the section for Maiko in Kyoto, after becoming apprentice geigi out of superficial longing or by interpreting geigi to be another profession such as hostess of a club or companion girl, in fact, many of them quit due to the competitiveness of the world of geigi and they cannot accept the relationship between labor and pay.
Japanese: これは京都の舞妓の項にも記述がある通りに単なる憧れや一職業としてホステスやコンパニオン感覚で入門した場合にその世界の厳しさや労働と賃金との対価が納得できずに辞めてしまう者も事実、多数存在する。
English: As mentioned earlier, the younger geisha at Ryuto, in particular, are subjected to a huge discrepancy between labor and pay and they are paid the same amount of money regardless of how many banquets they work a month.
Japanese: 特にこの柳都の若手は上記の通り労働と賃金の格差が激しく月にどれだけ出ようが出まいが賃金は一律である。
English: Unlike Maiko in Kyoto who are under the strict rules to abide by even with matters that happens during their private time, the Ryuto geisha have no dress code nor codes of conduct that apply to them after work and once their wigs are off, the Ryuto geisha go about in their colored hair and modern clothes which seems to contribute to their insufficient observance of good behavior and poor level of pride in their job highlighting the disadvantage of the company system to operate the geisha service.
Japanese: 京都の舞妓のようにプライベートまでしっかりとしたきめごとはなく、仕事後は鬘（かつら）をとり茶髪の今風の姿になり服装や行動も自由であるため、儀作法の徹底不足や意識の低さは会社組織の短所といえる。
English: There have been voices from various sectors suggesting that some awareness-raising measures towards tradition and manners for the young geisha by putting restrictions such as prohibiting jeans, enforcement of proper hairdressing, qualifying stores and other establishments that they are allowed to visit (forbidding them to go to some shops including convenience stores and bars where young people are likely to frequent).
Japanese: 舞妓のようにジーンズの着用禁止や髪結いの徹底、出入り店舗（コンビニやバーなど若者が好みそうな店への出入り禁止）の制限などを設け若手の伝統や礼儀に対する意識改革をすべきと各方面から声が上がっている。
English: Additionally, the decline of traditional Japanese restaurants and the red-light district due to the small user demand stemming from diversified means of entertainment and drastic decrease in various business entertainments (See 'Traditional Japanese Restaurants') has been mentioned.
Japanese: さらには時代の流れで娯楽の多様化、各種接待の激減（料亭の項参照）による利用客の需要の少なさなど、料理屋や新潟の花柳界自体の衰退があげられる。
English: Further, thanks also to their low visibility among the local residents in Niigata City, the overwhelming majority of the Niigata citizens are either still unaware of their existence or activities or have no interest since there is no connection between them and those geisha.
Japanese: なおかつ、地元新潟市民の知名度の低さもあり、いまだにその存在や活動を知らない者や縁遠い物として関心がない場合が圧倒的多数を占めている。
English: There are some traditional Japanese restaurants that offer inclusive plans covering geigi and food in Niigata City but as users have grown bored with it, it developed into a situation where they cannot collect enough customers or the restaurant has to absorb part of Hana-dai.
Japanese: 新潟市では芸妓と料理がセットになったプランを提供する料理屋もあるが、これもマンネリ化により定員数の集客が出来なかったり、料理屋側が花代を一部負担するなどという事態にまで発展している。
English: In view of the current status as mentioned above, both restaurants and geigi are urging further fundamental reform.
Japanese: これらの現状により、料理屋と芸妓と双方に次なる根本的な改革を迫られている。
English: In its glory days between the Taisho Period and early Showa Period, there were approximately 40 kenban, 439 okiya and 1350 geigi but there is only geishamatsuyama remaining in Ehime Prefecture.
Japanese: 大正～昭和初期の全盛期には、県内で検番が約40軒、置屋が439軒、芸妓が1350人いたが、現在は愛媛県で松山検番1軒のみとなっている。
English: In Arima-Onsen Hot Springs, which are the oldest in Japan, full-fledged geigi continue to pass on their traditions to young geigi even today.
Japanese: 日本最古である有馬温泉には古くから芸達者な芸妓が現在も若い芸妓に伝承されている。
English: Geisha here always wear the 'shironuri' makeup (white powder mixed with water into paste) and a wig to their zashiki (the party or banquet) (Arima Hot Springs Tourism Association).
Japanese: 常に白塗りで鬘（かつら）、着物で座敷にあがる（有馬温泉観光協会参照）。
English: Although it is an onsen-machi (a town developed around hot springs), it has prestige being referred to as a salon of the Kansai area whereby there are no establishments such as brothels and that sort of people (such as prostitutes) are not allowed in ryokan (Japanese style inn) or hotels.
Japanese: 温泉街だが関西の奥座敷と呼ばれ格式が高く、遊郭のような店もなく、またその様な人（ピンクコンパニオンなど）が旅館やホテルに出入りするのも禁じられている。
English: Gion odori: Gion odori is performed from November 1 to 10 annually in the Gion Kaikan Theater.
Japanese: 祇園をどり（ぎおん－）は毎年11月1日から10日まで祇園会館で行われる。
English: OK
Japanese: 1952年、『祇園乙部』から名を改めた祇園東（後に祇園東と改める）の芸妓衆が上演したのが始まりといわれる。
English: Early on, gion odori was performed by 70 geishas; the performance, however, has suffered from the declining number of geisha that currently number only 23 (as of 2004).
Japanese: 最初は70名で主演をしていたが芸妓数の減少で現在は約23名（2004年現在）で興行し、厳しい状況で行われている。
English: A mikoshi or shinyo refers to a litter on which a divine spirit temporarily rides when the divine spirit moves to a place where the sacred litter is lodged during a festival celebrated by shrines in Japan.
Japanese: 神輿、御輿（みこし、しんよ）は、日本の神社の祭の際に、神霊が御旅所などへ渡御するに当たって一時的に鎮まるとされる輿である。
English: Since it is a litter, it usually refers to an object that is carried on the shoulders of bearers to be moved but, it also refers to the other objects of different shapes that are placed on a float and pulled by people.
Japanese: 輿であるから通常は担ぎ上げて移動するものを指して言うが、それを台車に乗せて曳くものなど、別形態のものを指すこともある。
English: Depending on the festival, there are occasions when dashi (festival cars, float), hoko (long-handled spears), danjiri (decorative portable shrines) and yatai (float) accompany the mikoshi's route.
Japanese: 祭りによっては、御輿の巡行に、山車（山）、鉾（ほこ）、だんじり、屋台が随行する場合もある。
English: Mikoshi' is made up with a word 'koshi (litter)' with an honorific prefix 'mi' but it is usually referred to as 'omikoshi' with an additional honorific prefix 'o.'
Japanese: 「御輿」は「輿」に「御」を付けたものであるが、通常はさらに「御」をつけて「おみこし」と呼ばれる。
English: The other types of mikoshi include shinboku (the sacred tree) (Suwa Taisha, Suwa City, Nagano Prefecture), the one in the form of human genitalia (Tagata-jinja Shrine, Komaki City, Aichi Prefecture) and the ones with dolls.
Japanese: 他に、神木（諏訪大社・長野県諏訪市）、人の性器（田縣神社・愛知県小牧市）をかたどったもの、人形を置いたものなどもある。
English: The unit of size is usually measured by the width of a part known as architrave and Japan's largest mikoshi is Gohonsha ichinomiya mikoshi at Tomioka Hachimangu in Tokyo Prefecture.
Japanese: 大きさの単位は、ふつう台輪とよばれる部位の幅で測られ、日本で一番大きな神輿は東京都富岡八幡宮の御本社一の宮神輿である。
English: The common features in all mikoshi are the attached poles for people to use to shoulder the mikoshi but, depending upon the area, there are mikoshi with poles extending both in front and in the rear (nitenbo-style) or with poles extending on either side in addition to the front and the mikoshi (yontenbo-style).
Japanese: 担ぐための棒が付いているのは共通するが、前後にだけ付いたもの（ニ点棒）や左右にも付いたもの（四点棒）があり、本数もその地区により異なる。
English: One of them is 'Ochogata Shinkosai Festival,' which simulates an Imperial visit by the Emperor of Japan whereby carrying of the otori ren-shaped mikoshi housing the divine spirit is performed.
Japanese: 一つは天皇の行幸を模し、鳳輩型の神輿に神霊を奉じて渡御する「王朝型神幸祭」。
English: The other category is the 'Hiegata togyo-sai Festival,' which puts emphasis on mikoshifuri (shaking a portable shrine) by wildly waving the mikoshi to increase the divine power praying for good harvest and bumper catch.
Japanese: 二つ目は神輿を激しく振り立て、神輿振りを強調する「日吉型渡御祭」で、神輿を激しく振り動かすことによって神の霊威を高め、豊作や大漁を願うものである。
English: This type of festival is seen in various areas across the country including the Sanno-Matsuri Festival at Hiyoshi-taisha Shrine in Shiba Prefecture, Gion-Matsuri Festival at Yasaka-jinja Shrine in Kyoto Prefecture, Sanja-Matsuri Festival at Asakusa-jinja Shrine and Torigoe Shrine-Matsuri Festival at Torigoe-jinja Shrine in Tokyo Prefecture.
Japanese: 滋賀の日吉大社・山王祭や、京都の八坂神社・祇園祭や、東京の浅草神社・三社祭や鳥越神社・鳥越祭りなど全国各所に多く存在する。
English: The role that the mikoshi plays in the festival varies tremendously, in some instances, with the mikoshi being simply carried through a town visiting one Otabisho (or Miki-sho meaning a station where the sacred sake is dedicated to god) to the next or, in the other instances, with mikoshi being shaken violently or two mikoshi clashing against one another.
Japanese: 単に町を歩いてお旅所（神酒所）と呼ばれる目的地を回るだけのものや、荒々しく揺らしたり神輿同士をぶつけ合ったりするものなど様々で、祭りの中でそれが果たす役割は多種多様である。
English: Violent shaking of the mikoshi intends to shake and energize the divine spirit (Tamafuri).
Japanese: 荒々しく揺らすのは、神の霊を揺り動かして活性化させる（魂振り）という意味がある。
English: The typical way of shouldering the mikoshi is Hira-katsugi, which is also considered the most popular way of shouldering the mikoshi in Japan, whereby bearers walk at normal pace without shaking the mikoshi while calling out, 'Wasshoi-wasshoi.'
Japanese: 代表的な担ぎ方としては、「わっしょい、わっしょい」で並足で揺らさない平担ぎが全国で一番多いと思われる。