Kyūkotsu

Kyūkotsu [唱來; きゅうこつ, also kyūki, kyūji, ōyure] refers to traditional Kantonese minstrel bands, and is a term which dates back to the early 13th century. Kyūkotsu literally means 'group of singers', the emphasis lying on 'group'. Solo minstrels, or individuals within a kyūkotsu, were known as kyūsa.
Kyūkotsu groups reached their height of popularity in the 1600s, when they often performed alongside senkō in large concerts. Even before this point, however, kyūkotsu were a beloved staple of Kantonese society. There were many different types of kyūkotsu, with each individual group often specialising in their own style of music (although over time, some standardisation did occur), and groups often achieved great fame the more popular they became. The kyūkotsu lifestyle meant a nomadic existence, with the kyūsa constantly 'on tour' around the area or the province in which they lived. Some kyūkotsu became particular sensations, such as the Ishirin Group of the 1660s, who were perhaps Kanton's earliest music celebrities.
The lyrics of kyūkotsu songs (teiyō) could vary drastically, and were often written in specific regional dialects, as that was what their writers spoke. The subject matter was almost always reflective of contemporary trends, appealing to what was popular and enjoyed by the majority. Mainly teiyō dealt with themes of love, desire, sorrow or pining, with sub-genres of funeral music, wedding music, temple music, and even deathbed music. There were teiyō for almost every major (and minor) event that could occur in an average person's life. Kyūkotsu could be hired out, usually for a reasonable price, to perform whatever the client wanted. Especially vulgar or 'base' songs (honyō) were often played during drinking parties or in the company of prostitutes - of this genre, there are the most surviving documents and scraps of music, suggesting it was one of the more popular types.
== Lifestyle ==
The 600 or so kyūkotsu known to historians came from a variety of backgrounds, and from all levels of the social strata. There were many groups which played exclusively in small areas, never known outside the province, but greatly appreciated by locals. Others managed to gain enough notoriety to travel the country, play for the upperclasses, or even perform in the Imperial Court. Localised kyūkotsu were known under the slight derogatory name nōgotsu, while more well-known groups were called uegotsu. During the mid-1600s, many theatres and concert halls were built in emerging cities across Kanton to accommodate the arrival of uegotsu - these performances were known as kyūkan and were incredibly popular.
Kyūsa, the individual musicians within a kyūkotsu, could also become celebrities by themselves, especially if they were notably beautiful or talented. Female kyūsa were most likely to become well-known, although male kyūsa idols were common too. Much like the celebrity courtesans meiri, famous and beloved kyūsa could also be sponsored or given patronage by wealthy nobles. With this, they were almost guaranteed a life of luxury. One of the most popular kyūsa of the 17th century, whose career continued from the 1670s to the 1690s, was Hahara no Sōbi. He was a poor farmer's son from northern Kanton who eventually rose to become a composer of the Imperial Court, performing many times in Kaimon and Kabanko and receiving national acclaim.
Although the kyūkotsu lifestyle required frequent travel, it was not considered 'essential' by konbūshin or customs officials in the same way that pilgrimage was. Therefore, kyūkotsu would have to spend most of what they earned in tips or patronage paying for travel tolls, along with accommodation in koman and yoto. Kyūsa were often extremely poor, but those who were lucky enough to catch the attention of a local governor or noble might have the chance to be sponsored in return for providing quality entertainment.
== Genres of teiyō ==
There were limited genres in which kyūsa could write their music, and certain standards were expected to be met. Love music (aiyō) was by far the most popular, with a lot of leeway typically given to lyricists - young love, lust, platonic affection and patriotic love were common themes. Sorrow music (jiiyō) was also popular, with lyrics often focusing on heartbreak, grief, or just plain melancholia. Some other common types of teiyō included:
* Hoboriyō – a dance-like song which used heavy percussion, such as drums, clapping or stomping
* Gacchiyō – a jocular boast song, describing fictional feats performed by the singer for comedic effect
* Õaiyō – a song praising a lover's behaviour and character
* Senkōyō – a 'backing track' performed alongside a senkō dance, especially designed to complement the senkō's performance
* Ineme-saiyō – the tale of the love of a sai or knight for a female rice planter
* Nezuyō – a song played for the enjoyment of a person on their deathbed (often to ease their suffering)
* Merayō – a song expressing appreciation, often in a vague or ambiguous way, so it might apply to many different concepts
* Tei'aiyō – a love letter addressed to another, not always one's lover
* Nenyō – a comedic song full of wit and wordplay
* Hasayō – a satirical song
* Shōyō - wedding music
* Deyō - music for formal occasions, but later coming to mean funeral music
* Nasakeyō - a song describing grief, sorrow or loss
* Benyō - a fictional account of wild adventures had while travelling
* Koshayō - children's songs
* Nittoyō – a song about war or conflict
* Yoriyō – a lively dance song with a refrain
* Jiiyō – a song designed for sad occasions, or describing sadness of some kind
* Nogiiyō - a long comedic song with a clever punchline at the end