@article{oai:tobunken.repo.nii.ac.jp:00008402,
 author = {半戸, 文 and Hando, Aya},
 issue = {12},
 journal = {無形文化遺産研究報告, Research and Reports on Intangible Cultural Heritage},
 month = {Mar},
 note = {The acquirement, teaching and performance of classic performing arts such as Nagauta and Japanese dance have been understood through the careers of the masters and well-known performers. However, not much is known about the activities among the mid-level members of a given school, particularly those in areas that are not considered major. This study reveals the development of Shamisen music in non-major areas, especially the process of practice and teaching of classic performing arts in Hokkaido as well as the relationship between the teacher and the local community, by interviewing a person who has been engaged in teaching Shamisen music and dance by taking over the role from her mother.
The first part describes the interviewee’s mother, a Nagauta teacher born in 1920. She started to learn classic performing arts in the beginning of the 1930s at her parents’ suggestion. After graduating from girls’ high school, she became a live-in disciple of Kineya Rokuichiro and acquired a license for Kineya Nagauta School in her teens. Having received this license, she returned to her hometown where she taught the people Nagauta before and after World War II. The interview unveiled the facts that she became independent as a teacher because she not only gained financial support and an understanding in performing arts from her parents, but she was also closely related with the local community with regard to her activity.
The second part focuses on the interviewee. She learned Shamisen music under her mother’s teaching. She also learned Hanayagi School of Japanese dance and obtained a teaching license at the age of 23, after which she taught dance to the people. Moreover, she was engaged in events to promote activities of the area, such as Bon dance, by teaching dance and changing choreography. She has been selected to sing regional songs (not the folk songs that have been transmitted from the past but the songs intentionally made at that times) at events as well. Although she is a teacher of classic performing arts, it is clear that she had some other roles expected by the local community.},
 pages = {137--148},
 title = {北海道地方における古典芸能の稽古と指導ー長唄師匠の聞き取りを中心にー},
 year = {2018}
}