Senkō

**Senkō** [千秡; せんこう] are female performance artists and entertainers trained in traditional performing arts, such as dance, music, singing and poetry recital, as well as being skilled conversationalists and hosts. Their distinctive appearance is characterised by long, trailing robes with fluttering silk belts, shawls or wraps, refined hairstyles and muted, yet accentuated make-up. Typically *senkō* will perform at and host private parties called *kegan* [耏衒], usually for the entertainment of wealthy clientele, although they will also perform on stage and at festivals. Senkō typically worked in districts within pleasure quarters which were known as *kōroku*.

Despite their services being most popular with men, *senkō* are not prostitutes. Unlike their close relatives the *meiri*, *senkō* are professional entertainers first and foremost, and are strictly forbidden from having any form of intimate contact with a patron. Attempted solitication of a *senkō* is nowadays considered very impolite and disrespectful, but only a century ago it was actually against the law.

*Senkō* should not be confused with their male counterparts, known as *shōshin*.

## Terminology

The word *senkō* can be spelled with two variations. The most common spelling uses the characters 千秡, which translates roughly as 'one who has endless esteem/admiration'. The second variation, which is considered quite old-fashioned, is spelled 千央 and means something like 'one with a thousand points of beauty'. However, there are also a lot of regional and dialectal terms for *senkō*. In northern Kanton, they are referred to as *kiekō*, while in the south they are known as *kishin* or *kishine*.

Apprentice *senkō* are called jōryō [馆良], meaning 'earning one's virtues'. In some regions, particularly the north-east, they are called *shikuyame* ['little shadow girls'] while in the central regions they are known as *hanpa* ['half-wage'] or *kimitana* ['candle-lighter']. The two stages before an apprentice officially debuts as a *senkō* are known as *kintō* [君等, 'preparation'], followed by a period where the girl follows a certain mentor or 'older sister' to various events to learn by observation [眼夸く, *megaku*]. Traditionally, a *jōryō's* training is paid for and organised by her manager, whom she then must try to pay back once she starts working.

There are a number of terms specifically associated with and used to describe *senkō* culture and work.

* *Hanauku* [设売く] refers to the process of linking a client up with the senkō of his or her choice. Each *senkō* has her own virtues and skills which make her attractive, which is why the phrase directly translates as 'selling flowers'.
* *Kinnura* [丝幕] means 'silk curtain' and refers to the mysterious yet beautiful world of *senkō*. It is interchangeable with the term *kinku*.
* *Kyūto* [唱戸] refers to playhouses or theatres where *senkō* may perform.
* *Kintai* [丝片] refers to any area of a city which is known for hosting a sizeable *senkō* community.
* *Ibuji* [冠字], meaning 'foul play', refers to any breach of conduct committed by either a performer or her client, or both. This could apply to an undercover sexual relationship, an accidental pregnancy, the open soliticitation of a *senkō*, or the sabotage of a *senkō* by her jealous enemy.
* *Kinjun* [丝壱] means 'performance', but translates literally as 'waving the silk'.

Though they may not live within their *kintai*, all senkō must be affiliated with an established *zendo*, a lodging house within this area. Zendo are usually run by women, many of whom are ex-senkō themselves. Although it was once the norm for many senkō to live under one roof, modern societal standards have resulted in most zendo being either for show, or to serve as meeting-places for senkō and patrons. Some zendo have been kept in their historical conditions and can be visited as museums. It is estimated that there are only five left in Kanton which still serve as hostels for working senkō. In terms of taking engagements, customers can request any location type from a set list supplied by the zendo, such as a teahouse, a park, the zendo itself, or even the customer's own home. Nowadays, senkō are often hired to attend and perform at traditional, old-fashioned events such as KIren funerals, coming-of-age ceremonies and weddings, where they usually end up in community halls.

## History

In the early stages of Kantonese history, from the late Heii period onwards, there is documented reference to *kobui* or serving girls who had been displaced by war or unsettlement, or had been cast out of their family home to find work. Many of these kobui offered sexual services to soldiers, merchants and labourers, or entered into an agreement in which she became the maid of his household in return for food and board. Others who had better educations made a living by entertaining at high-class social gatherings, and often offering sex on the side. These *kobui* who were more refined [referred to in one account as *iikobui*] were to become the *meiri* centuries later, and were also the ancestors of the senkō.

After Emperor Beiji moved the capital to Kaimon in the late 12th century, aspects of now-traditional Kantonese art and aesthetics began to develop in earnest, and would later contribute to the appeal of the meiri and the senkō. Skilled female performers, called ninyori, thrived and became immensely popular under the Imperial court, creating the building blocks of female dance and performance art that would later lead to the development of senkō and dramatic theatre.

During the Chisō period, ideals surrounding relationships with women, sexual or otherwise, did not emphasise fidelity, with marriage within the noble court being considered a relatively casual and purely political arrangement. Both men and women were not constrained to be faithful to each other, although wives were expected to be modest, caring, and pragmatic in managing the household and have a certain degree of 'self-respect'. The first laws concerning divorce came in 891, when it was stipulated that either man or woman could end a marriage if their partner was 'violent, overly disagreeable, infertile, or dishonest'. Outside an existing marriage, both husband and wife could have lovers and courtesans if they wished, and by the 10th century monogamy became truly uncommon.

In this world, both male and female courtesans - who not only provided sexual pleasures, but also a kind of romantic attachment and an undeniable aesthetic beauty - were seen as outlets for men and women, and were common companions. One account from 998:

> Courtesans, the flowers of beauty which grow in the rich and refined soils of the court, are willing to be plucked by anybody. Often they do not require payment except in the form of gifts - clothing or perfume. Some have become so close to their patrons that they walk with them in the square gardens, or travel in their carriages. What joy! Even a plain young girl may hope to blossom into an enviable flower with such enrichment.
>
>

Though senkō and shōshin would not develop until the 1700s, the use and status of courtesans as artistic and romantic entertainers was a concept that these performers would later come to build on, with many courtesan artforms leading the way for senkō practices.

By the early 1500s, most large cities had built pleasure quarters known as *reidan*, with the *manza* government declaring prostitution to be illegal outside of these designated areas. Within *reidan*, all working and active prostitutes were licensed and classified into ranks, bringing into existence the terms *yūya* to describe a low-ranking girl, and *meiri* to describe a high-ranking, respected courtesan.

Though women in the lower ranks of prostitution did not provide as much - if any - artistic entertainment, meiri always included the traditional arts as a key aspect of their services. The instruments they played and the songs they sang were often restricted heavily as they came to be associated with prostitution and red-light districts. Their binding etiquette and high formality when interacting with customers made them fashionable with the old aristocratic classes, but unpopular with the emerging merchant class by the late 1600s.

### Emergence of senkō

Following their inception by the manza in the 16th century, the pleasure quarters quickly became popular entertainment centres that developed their own additional forms of entertainment outside of sex. The highly accomplished courtesans of these districts entertained their clients by dancing, singing and playing music. Some were renowned poets and artists as well; the development of the cultural arts within red-light districts led to meiri being considered the celebrities of their day.

Around the turn of the 17th century, the first senkō, or forerunners of senkō, began to appear in many different forms. It became common for younger girls to tag alongside meiri and perform light entertainment such as singing and dancing without doing any sex work. Named *yoriko*, they eventually became independent of prostitutes and worked as traveling entertainers, going from party to party and performing for the customers of meiri or lower prostitutes before the 'main event' arrived. At the same time, the pre-pubescent *meganko* ['carefree girls'] trained as dancers and singers under small brothels, and despite not engaging in sexual relations with patrons, became quite popular. Further still, some courtesans, whose contracts within the pleasure district had ended, chose to stay in their familiar lifestyle and surroundings to provide musical entertainment to guests without sex, making use of the skills they had developed as part of their job.

In the late 1600s, *yoriko* became popular entertainers, often rivalling the lower-ranking meiri of their locales, and were often paid to perform in the private homes of respected *sai*, court nobles, or the rich merchants who were just emerging into upper-crust society. In order to make a little money on the side, many yoriko began offering sexual services once they turned 16. Once they reached 18, they were no longer considered yoriko, and adopted another title to stay working - that being shōshin. The term shōshin referred to male dancers, jesters and singers who worked exclusively in the Imperial courts. However, by the 1690s it came to refer also to older yoriko girls who worked as performers and prostitutes.

The first woman known to have called herself 'shōshin' was from Eiita Province, roughly around 1680 - she had become a skilled singer and *yasana* player, and was quite famous in her area. The woman, who took the name of Harisa, became an immediate success, bringing greater popularity to the idea of more informal, pleasure-district-working female shōshin. In the next twenty years, female shōshin became well-known for their talents as entertainers in their own rights. By the 1730s, male shōshin who had once performed at court were now frequenting red-light districts and often prostituting themselves alongside their performance art. In this way, both male and female shōshin often worked in the same establishments.

### Senkō from the 18th century onwards

By 1750, the term senkō was coined to describe the female counterparts of the shōshin, whose services were quickly falling out of fashion. The profession of senkō was a clear avenue for young, unmarried women to become independent and financially self-reliant, at a time when this was very difficult. However, senkō faced difficulties during the 18th century, as various reforms restricted their movements, barring them from performing outside of red-light districts. On a local level, it was common for senkō to be prohibited from leaving their zendo lodgings without permission from the owner.

Once established as a profession independent of both shōshin and prostitution, a number of edicts were introduced to protect the business of courtesans and eliminate competition. Senkō were firstly forbidden from selling sex, although many of the older yoriko girls did continue to do so. Senkō were also forbidden from dressing 'immodestly' or 'showily' so as not to incite lust from their patrons and detract from the regalia of the meiri, and they were also required to work eight hours a day. Still, senkō were considered ever more desirable for their lack of refinement, and their abandonment of an elaborate, uptight image was endearing to the rising merchant classes.

Despite their official status as lower-class entertainers, senkō continued to grow in popularity. While meiri courtesans existed to meet the needs of upper-class men who could not been seen visiting a prostitute, and *yūya* girls existed to meet the needs of lower-class men, this left a gap for the upper-middle-class merchants, who despite being wealthy were unable to hire courtesans due to their social class. Senkō were the solution; although many did not offer sex, their skills as performers and artists were just as valued as their feminine beauty and allure. By the mid-18th century the word yoriko came to exclusively refer to seiryō who did offer sexual services, despite once referring to those who were more chaste, and these prostitutes were often favoured by the merchant class.

The status of meiri courtesans as celebrities and trendsetters had also waned considerably; the art forms they practiced were perceived as stuffy, uptight yet cherished relics of the upper classes, as had their manner of speech and increasingly gaudy yet demure and restricted image. In contrast, senkō had begun to successfully establish themselves as cultured, cutting-edge entertainers, more artistically daring and modernistic than the cloistered, indentured meiri, and able to present themselves with an image of their own choosing.

By the late 1700s, senkō were considered to be fashion and style icons of Kantonese society, and were emulated by women of the time. Many fashion trends, such as ways of wearing clothing, or ways of styling one's hair, were inherited from senkō and became widely popular. There were not many classifications or ranks for categorising senkō - some would choose to sleep with customers for a little extra money, others would not. Those who went in between, only offering sex on their own terms, were known as *okame* ['picky girls']. Bankō, hinkō and henkō, along with dialectal and regional colloquialisms, were words referring to prostitutes who provided substandard senkō performances but mostly offered sex. Those senkō who did not offer any sexual services were called simply senkō or sometimes *imane*, meaning 'woman of skill'.

## Training

Before the 20th century, senkō began their training at a young age, around seven or eight years old. In the present day this is no longer the case, and girls usually debut as jōryō by the age of 17 or 18 instead of 14 or 15 as was the norm historically. Nowadays, girls must graduate from middle school before making the personal decision to become a training senkō. Young women who wish to follow the career path most often begin training after high school or even college. Many more women begin their careers in adulthood.

Before her debut, an apprentice may live at the kyūto during her training period - essentially she learns all the necessary skills to become a working senkō, and learns how to live with her senkō sisters within the kintai. By watching other more experienced entertainers and learning from the head of the household [known as *mamae*], jōryō learn how to behave with guests, the manner they must adopt, and the customary way in which to perform. Traditionally the training stage lasted for years, and some girls were contracted to senkō houses as children. Nowadays, it is more common that a girl will remain jōryō for up to a year.

A jōryō was bound to the contract of her zendo for the duration of her training, and this contract was only extended if the girl managed to pass her final examination, called *dameshi*. The zendo would supply her with food, board, robes, and other tools of her trade, but a trainee might decide to fund everything herself from the beginning with either a loan or the help of an outside benefactor. Since the apprenticeship of a jōryō was expensive and an investment for her manager, she would rack up debts which needed to be repaid once she started working and earning money. Only once a senkō had repaid her full debt could she begin to claim her entire wages and work independently. After this point she might choose to stay at the zendo, or move into her own private abode. It was also common for some senkō to be taken on as concubines by wealthy aristocrats.

A jōryō would start her formal work experience in *megaku* [learning by observation] at parties and performances held by her older sisters, where she would sit and quietly observe as the more experienced senkō interacted with customers. In this way, a jōryō would gain insights into the nature of the job, and learn quickly how to conduct herself properly around strangers and customers. This stage would last for around four weeks. Although apprentices could attend parties, they did not participate actively and were instead expected to behave almost as if they were not there. Jōryō could be hired for parties, but are usually uninvited - though welcomed - guests, brought along by their mentors as a way of introducing a new face to regular patrons. Fees for a session which involved the presence of a jōryō would be halved. Apprentices also practiced privately in decorum lessons, learning the art of conversation, typical party games, and proper etiquette for banquets and social gatherings. During this stage, jōryō were not given working names, and if asked, they would introduce themselves as "[their mentor]'s jōryō sister."

## *Ōtomi* partnerships

In the past, it was an unofficial tradition for an established senkō - or meiri - to take an ōtomi, or special patron, who would pay for her expenses, buy her gifts, and engage her on a more personal level - at times involving sex - than the setting of a formal social event would allow. Men who acted as ōtomi were typically admired for their generosity, wealth and status, and it was not uncommon for one man to sponsor multiple senkō or meiri.

There have been some famous stories of senkō abandoning their livelihoods and zendo to run away with a generous, loving ōtomi, only to be betrayed and left with nothing. It was customary for a senkō or meiri to constantly 'test' their potential ōtomi in small, amusing ways, which appeared gentle and jocular to the man but were quite serious trials for the woman.

## Public performances

While traditionally senkō have always been public figures, their entertainment was usually only available to those who had the right connections and knew the right people within the industry. Since the cost of hiring a troupe of senkō, or even just one, was quite considerable, it was a luxury reserved for the wealthy elite who had free time, plenty of money and frequently hosted parties and soirees.

However, private bookings were not the only work that senkō did. Public dances were often held in specific areas of red-light districts and attracted large crowds, although the public had to buy tickets in order to actually enter the building in which the performers were. Typically public dances were held in spring or summer, and would feature rigorous, exciting dancing, the upbeat music associated with senkō, and catchy musical scores and songs. For an extra price, visitors could arrange to have private meetings with the featured senkō before the performance took place.

## Arts

Senkō entertain guests and crowds with a combination of both conversational skills and their talents in the traditional Kantonese arts of dance, music and song. Before deciding to become senkō, new recruits were generally expected to have an interest in the arts, as well as some experience, although the latter is not always a strict prerequisite nowadays. It was often decided by zendo managers that those who did not have what it took to become a senkō would become meiri instead. Therefore, jōryō who failed their dameshi exams or seemed unable to improve were usually sold to brothels to become high-ranking courtesans.

The style of dance practiced by the senkō evolved from dance styles used in both traditional Chisō and Nittori theatre and the performance arts of the Imperial court. Over time, the more exaggerated and theatrical styles originally used by their male predecessors the shōshin became more refined, subtle and stylised. Elements of traditional Kantonese dance, such as the use of gestures and styles of make-up to tell a story, run through both senkō and shōshin performances.

These dances are accompanied by traditional Kantonese music. The primary instrument used by both senkō and meiri is the *yasana*, a stringed instrument once intended solely for use by prostitutes and female performers. It has a high-pitched, reverberant yet slightly metallic tone. Since the 1600s, the *yasana* has been the mainstay of red-light district music.

All senkō must learn to play the *yasana*, alongside additional instruments such as *kanpa* [cymbals], *hazari* [handdrum], *fukomi* [a long, reedy flute; in some regions, the *napa* is also used] and very occasionally a kind of bass drum called *dōbō* which was reserved for dramatic dances. Once they had completed their training, senkō were able to hone their skills as musicians, poetry speakers or singers [*dosune*, 'seated girl'], or as dancers [*tanne*, 'standing girl']. Some skilled women were able to excel in both of these fields. Some senkō not only danced and played music, but also created poems, stories, music and paintings.

## Appearance

### Make-up (*manuri*)

Graduated, established senkō and training jōryō wear different styles of make-up. Senkō are known for wearing distinctive white foundation known as *inoru*. It is typically highlighted with black makeup around the eyebrows and eyelids; eyebrows are often drawn higher up on the forehead as two small dark circles. Senkō will paint their lips with a red lipstick known as *subin*, although application is minimal and often colouring is only added to the lower lip. Black eyeshadow [*kunome*] is dusted around the lines of the eyes and sometimes on the waterline.

As for jōryō, makeup is generally minimal. Since apprentices are not supposed to draw much attention, they will often appear intentionally plain beside their senkō sisters. Jōryō do not use *inoru* face-paint, but instead apply a light coat of white dust, called *inokona*, around the centre of their face, leaving out the forehead, ears and neck. A light rouge is applied to their cheeks and lips to emphasise a youthful image. Apprentices will draw lightly over their eyebrows with black makeup, accentuating their natural shape, and typically only apply eyeshadow to the bottom lids of their eyes. As for lip colouring, it is almost never used.

### Dress

Senkō and jōryō always wear traditional robes or *obu* while working, and typically wear *obu* outside of work as well. However, the type of robe varies based on age, occasion, the mood of an event or season of the year. The style of the robe is often quite plain, but the type of fabric used and the rich, detailed decorations and patterns adorning the costume will compensate. Senkō typically wear long silk scarves or shawls when they are out and about, called *kinumuri*, which are often the centre of the outfit and the most eyecatching garment. A special silk undergarment, similar to a nightdress, is also worn underneath daytime robes to protect a senkō's expensive outer clothing from sweat.

### Hair

The hairstyles of senkō have varied throughout history. During the 1600s, the famed and popular *seimochi* hairstyle developed, intended to be subdued and refined yet simplistically beautiful. When the profession of senkō first came into existence, dress edicts prevented senkō from wearing the dramatic hairstyles worn by courtesans, leading to the subdued nature of most early senkō hairstyles; they were also prohibited from wearing hairpieces or wigs. However, by the late 1700s these laws had been relaxed, and senkō often wore similar styles to meiri.

Both the hairstyles of jōryō and senkō are decorated with hairpins and accessories, with jōryō wearing far fewer hair decorations than senkō. Typical ornaments and hairpins may be made of tortoiseshell, gold, silver and semi-precious stones such as jade and coral. It also became popular in the late 1700s for jōryō who were near the end of their training period to wear long silken ribbons in their hair, and this was a style which stuck for centuries after.