The preceding chapter discussed temae as legitimated by a set of myths – that is, a set of historical propositions altering or re-presenting the past. Then it argued that around the turn of the twentieth century emerged gender-based, dichotomous discourses, that the tea ceremony was ‘art for men’ and ‘sahô for women’. The latter discourse impelled women to acquire body-mind control through temae, only minimally associating themselves with the myths of the tea ceremony’s glorious ancestors.