ABSTRACT
This chapter explores through historical documents the creative process and reception of the 1919 performance of Ryky and the 1924 performance of Chsen. It discusses the establishment of the Miyako-odori, and elucidates the important and hitherto unacknowledged role of Tsujimura Tasukes accomplishments as the managing director of the Gik. The Miyako-odori began as entertainment for the first Kyoto Exhibition of 1872. In the autumn of 1915, with the celebrations surrounding the enthronement of the Taish emperor, the nakabasami was first introduced into well-known Miyako-odori. While the performing arts of Ryky were first incorporated into the 1919 Miyako-odori, there was a long sequence of events that preceded the performance. In 1924, five years after the Ryky-derived performance, the Miyako-odori turned to the Korean performing arts for inspiration. The Gik management devotes considerable time and energy to this creation of the new production from the initial planning stages and preparations.
