Preserving the Legacy of Japan's Forgotten Blind Musicians

Rieko Hirosawa, a 65-year-old blind woman, sits on a stone bench outside her home in Tomi, Nagano prefecture, tuning her shamisen and preparing to play the haunting melodies of the goze uta, a centuries-old musical tradition of blind and visually impaired women in Japan. Her performance cuts through the stillness of the humid afternoon, a testament to her unwavering dedication to preserving this captivating and little-known aspect of Japanese cultural heritage.

Rediscovering the Forgotten Melodies of the Goze

The Resilient Blind Musicians of Feudal Japan

In feudal Japan, girls from impoverished rural regions who suffered from visual impairments due to common ailments like measles and cataracts had limited options for earning a living. Many turned to the path of the goze, becoming itinerant musicians who traveled from village to village, performing traditional songs and narratives. These women formed tight-knit communities, with strict hierarchies and regulations governing their lives. They were expected to memorize a vast repertoire of songs, pass on their skills to apprentices, and contribute a portion of their earnings to their guild's leader. Despite the hardships they faced, the goze were revered for their resilience and perceived to possess a certain mystical power.

The Last True Goze and the Preservation of a Vanishing Tradition

The goze tradition began to decline in the 20th century, as modern entertainment and social welfare programs emerged. Haru Kobayashi, born in 1900, is considered the last true goze. Hirosawa had the opportunity to meet Kobayashi when she was 101 years old, and the experience left a profound impact. Hearing Kobayashi's powerful, thunderous voice sing a single stanza of a goze song inspired Hirosawa to dedicate herself to preserving this vanishing musical legacy.

Hirosawa's Journey: From Anxiety to Empowerment

Hirosawa, who has been blind for over 20 years, initially struggled with the anxiety of losing her sight. However, her encounter with Kobayashi and the goze tradition has transformed her perspective. Hirosawa now plays the shamisen and sings the goze uta with the composure of a seasoned performer, despite the lack of written musical scores and her inability to read them. She sees her own experience as vastly different from that of the historical goze, yet she recognizes the societal limitations still faced by blind women in Japan. By sharing the music of the goze, Hirosawa hopes to inspire a deeper appreciation for the struggles and resilience of these remarkable women.

Preserving the Goze Legacy: A Grassroots Movement

In the northwestern prefectures where the goze tradition flourished, a grassroots movement has emerged to protect this cultural heritage. Zenji Ogawa, the curator of a museum dedicated to the goze in Takada, Niigata prefecture, has spent the past decade collecting artifacts and organizing tours to educate the public about the lives and music of these remarkable women. Hirosawa and others like her are at the forefront of this effort, determined to ensure that the haunting melodies and the stories of the goze are not lost to time.

The Enduring Spirit of the Goze

As Hirosawa prepares to sing another goze uta, facing the majestic Japanese Northern Alps, she reflects on the enduring spirit of these blind musicians. Their resilience, their sense of purpose, and their ability to find solace in music despite the immense challenges they faced continue to inspire Hirosawa and others who are committed to preserving this unique and captivating aspect of Japan's cultural heritage.