@article{oai:tobunken.repo.nii.ac.jp:00003152,
 author = {俵木, 悟 and HYOKI, Satoru},
 issue = {4},
 journal = {無形文化遺産研究報告, Research and Reports on Intangible Cultural Heritage},
 month = {Mar},
 note = {In the present article, the author aims to describe the recent situation of how organizations  transmitting folk performing arts have been reorganized, taking the case of Osato Tanabata  Odori (important intangible cultural property) in Ichiki-kushikino city, Kagoshima prefecture as  an example.
     Osato Tanabata Odori has been transmitted by the participation of 14 settlements of Osato  ward. It consists of two parts: taiko odori by performers representing each settlement (at least  one performer from each settlement) and kammawai, which includes several performances by  people manipulating large figures made by themselves and processions. Each settlement is  responsible for a part of the kammawai and each event is performed by the members of the young  men’s group of each settlement.
     However, in recent years, it has become more difficult for young men’s groups to participate  in tanabata odori. The greatest reason is the decrease in the number of youth in this area. To  overcome this difficulty, some settlements have launched new organizations to participate in  tanabata odori; some have raised the age of retirement from young men’s groups; still others have  decided to participate jointly with nearby settlements so as to recruit enough participants.
     Nevertheless, it is not possible to say that these phenomena show a decline in interest in  traditions or a weakening of motivation for participation in local traditions among the people. In  fact, the transmission of tanabata odori faced a crisis as early as in the 1960s although there was  the largest number of young people in local groups in postwar history and the groups were more  active than today. Rather, the ratio of people participating in tanabata odori today has increased,  compared with that in the 1960s.
     As described above, there are always rise and fall in the history of transmission of folk  performing arts, and organizations engaged in transmission change accordingly. People are apt to  pay attention only to the forms of expression or tradition of folk performing arts. But considering  that folk cultural properties are, by nature, transmitted in the daily life of people, we need to take  much more notice of the dynamic process of transition. It will also be the basis for thinking what  effective support is needed in today’s mobile society.},
 pages = {69--88},
 title = {大里七夕踊にみる民俗芸能の伝承組織の動態},
 year = {2010}
}