Chōsō

The **chōsō** [超僧; ちょうそう] were nomadic monks of the Kantonese medieval era (1200s-1600s) whose presence in wider culture grew significantly during the 15th and 16th centuries. They were characterised by their *chissaro* cloaks, humble clothing, and white masks. They were known for playing solo pieces on bamboo flutes known as *dangu*. These melodies, known as *wakyū*, were played in public spaces in return for alms; *chōsō* could also be hired to play at temple ceremonies or events such as weddings and funerals.

*Chōsō* could travel alone or in groups called *sōgotsu*. It was considered inauspicious for there to be more than eight members in a *sōgotsu*, and in fact most *chōsō* travelled in pairs, or in groups of four. They were known by hundreds of regional and dialectal names; some of the most frequently-recorded include *inaga, ōsō, waranaga, sōgyō,* and *sattane*.

## Clothing and appearance

*Chōsō* wore special face coverings called *annaga* (淤曼), which were traditionally made from a lightweight wood, and painted either white or black, depending on region. These masks, which were featureless except for eye slits and a mouth hole, served to conceal the identity of *chōsō* and also remove the ego of the wearer. Much like pilgrims (*kannōbun*), nomad monks were given the rare privilege by the government to travel freely across Kanton without hindrance. It is thought that this was a way for the *kunjō* to receive firsthand information about conditions in the provinces, the collection of such information eased by the concealed nature of the *chōsō*.

Wandering monks also wore specific robes, which were deliberately styled in the humblest of fashion. The outfit, called *busō*, were dyed drab colours such as brown, black or grey, and consisted simply of a cross-over robe tied at the waist by a long sash. The monks also wore *wahashi*, straw sandals with additional cloth padding along the soles. From the 1500s onwards, since *chōsō* became under obligation to the *konbūshin* of their home province, and were often gifted supplies and funding by them, they would often display the symbol of that house somewhere on their clothing. Their *dangu* flutes would be carried on the waist, along with small pouches which contained medicine, tobacco, money, alms and keepsakes, along with any other miscellaneous items. *Chōsō* also wore *tenzō* shinguards (which were also favoured by pilgrims). It was also common for chōsō to use *tobeki* walking sticks, which they would commonly 'consult' on which direction to go in.

## Traditions and customs

From the 13th century onwards, *chōsō* routes had been established throughout Kanton; these were standardised trails which were deemed safe, plausible and relatively easy to travel. Hundreds of pathways were created all across the country, most of which have been lost to time or are no longer used due to significant changes in the landscape.

While *chōsō* were travelling, they spent their time in near silence, treating their journey as a meditative process. Starting from the mid-1400s, nomadic monks began to wear tiny bells on their belts which would announce their presence before they came into sight; these bells were known as *teinai* and were soon incorporated into the *wakyū* music that the monks performed. Once *chōsō* had entered village or town, they would choose a public spot, stand completely still and begin to play their *dangu* without any preamble. The tune *Chōsō Kaze ni Detta* (The *Chōsō* Have Blown In On The Wind) was commonly played first by way of announcing their arrival. Villagers and townsfolk would throw coins or offerings at the feet of the monks in return for the musical entertainment.

During the 1500s, it became common for *chōsō* to give dance performances alongside their flute playing. Around this time, larger *sōgyotsu* also became conventional. Typically, one or two monks would dance while the remainder played *wakyū*. These dances became known as *sōyori*.