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It translates to:
She paints her face to hide her face, her eyes are like deep water, desire does not exist for the geisha, the feeling does not exist for the geisha. The geisha is an artist of the Ethiopian world; she dances, sings, to entertains everything you want. The rest are shadows, the others are secret.

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A literary sensation and runaway bestseller, this brilliant debut novel tells with seamless authenticity and exquisite lyricism the true confessions of one of Japan's most celebrated geisha.Nominated as one of America's best-loved novels by PBS's The Great American Read Speaking to us with the wisdom of age and in a voice at once haunting and startlingly immediate, Nitta Sayuri tells the story of her life as a geisha.

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Geisha Makeup, Costume, And Transition into Different Forms of Geisha

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Geisha Makeup, Costume, And Transition into Different Forms of Geisha

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For a geisha, getting ready for work involves hours of preparation. The distinctive appearance of a geisha is part of her allure, but it's not only about beauty and exclusivity. It's also a way to tell the difference between a maiko and a geisha and between a child geisha and an adult geisha. You can tell a lot about a geisha just by looking at her.

Unlike a regular kimono, a geisha kimono exposes her neckline -- in Japanese culture, this is considered the most sensual part of a woman.

Kimono can cost thousands of dollars each. A maiko wears a kimono that has extra long sleeves (they touch the ground when she drops her arms) and is very long, colorful and intricately adorned with embroidery or hand-painted designs. Her collar is red, and her obi is long and wide. She wears tall wooden clogs called okobo to keep her kimono from dragging on the ground. Learning to walk in this outfit without falling over is part of her training.

The white makeup that is a trademark of the geisha was once lead-based and poisonous. Now, it is harmless. If a maiko follows the traditional way of achieving the look, she first applies oil and a layer of wax to her face. This makes the skin perfectly smooth and forms a base to which the white powder can adhere. She then applies red lipstick only to her lower lip. This is a sign that she is an apprentice.

Before becoming an apprentice, a young woman grows her hair very long so that it can be shaped into the elaborate hairstyles of a maiko. She wears at least five different styles, each one signifying a different stage in her apprenticeship. For instance, a new maiko wears a hairstyle called wareshinobu, which incorporates two strands of red ribbon that signify her innocence. An adult maiko wears a style called ofuku. This change was once determined by mizu-age, or a maiko's first sexual experience, but now it is simply a function of time. The switch usually occurs when the apprentice turns 18 or has been working for three years.

Apprentice geisha spend hours at the hairdresser every week to maintain their hairstyle. They sleep on special pillows that have a hole in the middle so they don't ruin their hair while they sleep.

When a maiko becomes a geisha, she switches out her red collar for a white one and her maiko kimono for a geisha kimono.

A geisha kimono is simpler in appearance and easier to deal with. It has shorter sleeves and does not require high clogs to keep it off the ground. A geisha wears zori, which are like flip-flops, and a shorter obi tied in a simple knot. After working for several years, a geisha may chose to wear lighter, "Western-style" makeup instead of the traditional, heavy makeup worn early in her career. A geisha wears variations on the shimada hairstyle and typically wears a series of wigs instead of styling her real hair.

These intricate hairstyles and kimono distinctions mark stages in a geisha's career. Once, they were also a way to tell geisha from prostitutes when prostitution was legal in Japan. If both geisha and prostitutes attended a party, she could look at a woman's hairstyle, kimono or makeup and instantly know which she was.

Ultimately, the appearance, mannerisms and work of a geisha is about pleasing men. But the daily life of a geisha revolves around women.

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For a geisha, getting ready for work involves hours of preparation. The distinctive appearance of a geisha is part of her allure, but it's not only about beauty and exclusivity. It's also a way to tell the difference between a maiko and a geisha and between a child geisha and an adult geisha.

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A young woman spends years studying not only to be an artist, but also to carry herself with grace. She learns the proper way to speak in the accent of the district where she works, to walk in a floor-length kimono without tripping over her hem, and to pour sake so that her kimono sleeve doesn't dip into the cup. In a group of men and geisha, she learns whom to greet first and how low to bow when greeting each person. She learns how to flatter a shy man, an arrogant man and a disinterested man with equal success. These less formal aspects of her training take place while she is a maiko, an apprentice geisha. The apprentice period begins when a young woman finds an onesan ("older sister"), a full geisha who will serve as her mentor. The ceremony that binds them together is the same ceremony that marks the "marriage" of a geisha and her danna : Each takes three sips from three cups of sake. In this transition to maiko status, the young woman takes a new name that will be her "geisha name." This name is typically derived from the name of the onesan.

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A young woman's first step toward becoming a geisha is to apply and be accepted into an okiya, a geisha house owned by the woman who will pay for her training. This woman is the okami or okasan. Okasan is Japanese for "mother."

Training to be a geisha takes about as long as it takes to train to be a doctor. Typically, a young woman spends about six years studying the arts of music, dance, tea ceremony, language and hostessing. During this time, and sometimes throughout her career as a geisha, she lives in the okiya, which is something like a boarding house for geisha and geisha-trainees. The okiya is a big part of a geisha's life -- the women in the okiya are her geisha family, and the okasan manages her career. A geisha pays a percentage of her earnings to maintain the house and support the people living there who are not working geisha, including apprentice geisha, retired geisha and house maids.

Geisha study the arts at a kaburenjo -- a school dedicated to the training of geisha. This school may also house a theater where geisha give their rare public performances. During the course of her studies, a geisha learns how to play the shamisen, a three-stringed instrument that is strummed with a large pick. She will play the shamisen at parties and in performances, usually accompanying another geisha who is singing. She may also learn to play other traditional Japanese instruments including the shimedaiko, a small drum, the koto, a large, stringed instrument, and the fue, a type of flute.

Musical instruments are only one aspect of a geisha's artistic repertoire. She studies singing, traditional Japanese dance ( nihon-buyoh) and tea ceremony ( sadoh), all of which she will use in her job as entertainer. She studies flower arrangement ( ikebana) and calligraphy ( shodoh), because she is the quintessential cultured woman. A geisha may specialize in one art form, such as singing or dancing, but she is proficient in all of them.

A young woman spends years studying not only to be an artist, but also to carry herself with grace. She learns the proper way to speak in the accent of the district where she works, to walk in a floor-length kimono without tripping over her hem, and to pour sake so that her kimono sleeve doesn't dip into the cup. In a group of men and geisha, she learns whom to greet first and how low to bow when greeting each person. She learns how to flatter a shy man, an arrogant man and a disinterested man with equal success. These less formal aspects of her training take place while she is a maiko, an apprentice geisha. The apprentice period begins when a young woman finds an onesan ("older sister"), a full geisha who will serve as her mentor. The ceremony that binds them together is the same ceremony that marks the "marriage" of a geisha and her danna (see Sex in the Flower and Willow World): Each takes three sips from three cups of sake. In this transition to maiko status, the young woman takes a new name that will be her "geisha name." This name is typically derived from the name of the onesan.

An apprentice geisha spends several years studying the behavior of full geisha to learn the arts she can't learn in the classroom. Her onesan brings her to parties where she will not entertain -- she will remain quiet and observe, learning how geisha interact with men and how they use their wit, attention and feminine wiles to keep everyone happy. Her attendance at a party is not only a learning experience, though. The job of an older sister is to introduce a maiko into geisha society, making sure everyone knows who she is. This way, when a maiko makes her debut as a geisha, she already has relationships with the customers and teahouses that will be her livelihood.

The ceremony that marks the transition from maiko to geisha is called eriage, which means "changing of the collar." At this time, the maiko exchanges her red, patterned collar for a solid white one, a symbol of her debut as a geisha. Now she officially starts entertaining.

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A young woman's first step toward becoming a geisha is to apply and be accepted into an okiya, a geisha house owned by the woman who will pay for her training. This woman is the okami or okasan. Okasan is Japanese for "mother."

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The Length Of Time it Takes to Become A Geisha, And What You Study

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The Length Of Time it Takes to Become A Geisha, And What You Study

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Training to be a geisha takes about as long as it takes to train to be a doctor. Typically, a young woman spends about six years studying the arts of music, dance, tea ceremony, language and hostessing. ... She will play the shamisen at parties and in performances, usually accompanying another geisha who is singing.

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A young woman's first step toward becoming a geisha is to apply and be accepted into an okiya, a geisha house owned by the woman who will pay for her training. This woman is the okami or okasan. Okasan is Japanese for "mother."

Training to be a geisha takes about as long as it takes to train to be a doctor. Typically, a young woman spends about six years studying the arts of music, dance, tea ceremony, language and hostessing. During this time, and sometimes throughout her career as a geisha, she lives in the okiya, which is something like a boarding house for geisha and geisha-trainees. The okiya is a big part of a geisha's life -- the women in the okiya are her geisha family, and the okasan manages her career. A geisha pays a percentage of her earnings to maintain the house and support the people living there who are not working geisha, including apprentice geisha, retired geisha and house maids.

Geisha study the arts at a kaburenjo -- a school dedicated to the training of geisha. This school may also house a theater where geisha give their rare public performances. During the course of her studies, a geisha learns how to play the shamisen, a three-stringed instrument that is strummed with a large pick. She will play the shamisen at parties and in performances, usually accompanying another geisha who is singing. She may also learn to play other traditional Japanese instruments including the shimedaiko, a small drum, the koto, a large, stringed instrument, and the fue, a type of flute.

Musical instruments are only one aspect of a geisha's artistic repertoire. She studies singing, traditional Japanese dance ( nihon-buyoh) and tea ceremony ( sadoh), all of which she will use in her job as entertainer. She studies flower arrangement ( ikebana) and calligraphy ( shodoh), because she is the quintessential cultured woman. A geisha may specialize in one art form, such as singing or dancing, but she is proficient in all of them.

A young woman spends years studying not only to be an artist, but also to carry herself with grace. She learns the proper way to speak in the accent of the district where she works, to walk in a floor-length kimono without tripping over her hem, and to pour sake so that her kimono sleeve doesn't dip into the cup. In a group of men and geisha, she learns whom to greet first and how low to bow when greeting each person. She learns how to flatter a shy man, an arrogant man and a disinterested man with equal success. These less formal aspects of her training take place while she is a maiko, an apprentice geisha. The apprentice period begins when a young woman finds an onesan ("older sister"), a full geisha who will serve as her mentor. The ceremony that binds them together is the same ceremony that marks the "marriage" of a geisha and her danna (see Sex in the Flower and Willow World): Each takes three sips from three cups of sake. In this transition to maiko status, the young woman takes a new name that will be her "geisha name." This name is typically derived from the name of the onesan.

An apprentice geisha spends several years studying the behavior of full geisha to learn the arts she can't learn in the classroom. Her onesan brings her to parties where she will not entertain -- she will remain quiet and observe, learning how geisha interact with men and how they use their wit, attention and feminine wiles to keep everyone happy. Her attendance at a party is not only a learning experience, though. The job of an older sister is to introduce a maiko into geisha society, making sure everyone knows who she is. This way, when a maiko makes her debut as a geisha, she already has relationships with the customers and teahouses that will be her livelihood.

The ceremony that marks the transition from maiko to geisha is called eriage, which means "changing of the collar." At this time, the maiko exchanges her red, patterned collar for a solid white one, a symbol of her debut as a geisha. Now she officially starts entertaining.

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A young woman's first step toward becoming a geisha is to apply and be accepted into an okiya, a geisha house owned by the woman who will pay for her training. This woman is the okami or okasan. Okasan is Japanese for "mother."

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Like ghosts from another time, the real geisha seem to float silently along the streets at twilight, making their way to tea houses and restaurants where they will entertain elite, powerful men.

Trained to be exquisite hostesses, they are accomplished musicians, singers, dancers and most importantly conversationalists.

To have a geisha in your company, to be in the presence of a beautiful, articulate, talented companion for the evening, is considered a status symbol.

Their clients used to be samurai and shogun. Now it's politicians, actors and corporate CEOs who hire the geisha by the hour for private dinners at ryotei (traditional Japanese restaurants) and ochaya (tea houses).

They are not courtesans or prostitutes. Before World War II, a geisha's virginity was auctioned to the highest bidder, but sex is no longer part of the transaction. To be a geisha is to be part of a community, a vocation. They are career women. They are performance artists.

An endangered species, the numbers of real geisha in Japan are dwindling. From a reported 80,000 throughout Japan in the early 20th century, they now number only a few thousand.

"In Kyoto, there are about 150 geiko - geisha in the local dialect - and maiko, geisha in training, left in Kyoto," according to Anne Alene, an in-country guide for a recent trip to Japan arranged by the Carnegie Museums of Pittsburgh Travel Program.

The group toured the Gion district, one of several historically preserved neighbourhoods in Kyoto and the place where the 2005 movie "Memoirs of a Geisha" was filmed. It was based on the novel of the same name by Arthur Golden.

In Kyoto, authentic geisha are not nearly as prevalent as faux geisha - young women who dress in traditional Japanese kimono complete with obi, white tabi socks and wooden geta sandals.

While they enjoy being stopped by tourists to have pictures taken, wearing traditional ensembles also appeals to the Japanese reverence for ritual and tradition.

"For many Japanese girls, it's fun to dress up in something they would never ordinarily get to wear," said Amy Boots, executive director of the Japan-America Society of Pennsylvania.

"I think it might be like doing a Renaissance or Old West-style photo shoot for us."

Visitors can also give it a try. In Kyoto, there are several places that rent a kimono ensemble or the men's version, a black kimono with montsuki haori, the short coat over top.

"Kimonos have many layers and are difficult to put on without a helper," said Katsuko Shellhammer, education outreach coordinator for the Japan-America Society of Pennsylvania. "They are also very expensive, and seasonal patterns are important. It can be like wearing a piece of art."

Department stores in both Tokyo and Kyoto have sections dedicated to kimono wear; you can buy off the rack or have a custom-made kimono and obi from the bolts of material offered. A less expensive option is a used kimono, and there are many stores that deal strictly in pre-owned. Kimonos are often passed down from mother to daughter.

Modernising the look is all about the material and new, more graphic patterns. Sou Sou, a Japanese clothing company, has taken the plain tabi shoe and sock and covered them in a riot of colour and designs. They have also re-imagined other traditional Japanese garments.

Just looking like geisha is not enough for some young women. Turning away from Hello Kitty and the modernity of Japanese life, they make the choice to earn a living as a geisha.

Maiko as young as 15 must live in the geisha house, or okiya, learning the nuances of life under the robes and white makeup. The apprentice period lasts between three and five years, during which the okiya and the geisha mother invest in them, paying for lessons and kimonos and providing room and board.

Maiko, pronounced MY-ko, are tested before they can advance. At the erikae ceremony, they don the white collar of geisha.

Twice a year, in spring and fall, the public is treated to a display of geisha talents during the Miyako Odori at the theatre in the Gion district. The 142nd annual Miyako Odori was held earlier this month during the Carnegie Museums group's visit.

The travellers enjoyed a glimpse into this exclusive world, including a very brief tea ceremony with a complicated etiquette that must become second nature to real geisha.

As the living embodiment of history and fantasy, geisha are not allowed to marry - ever. If they do they must leave.

"Geisha and maiko are very special to the Japanese people. They are part of a separate world from ordinary Japanese life," Boots said.
- MCT

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Like ghosts from another time, the real geisha seem to float silently along the streets at twilight, making their way to tea houses and restaurants where they will entertain elite, powerful men. Trained to be exquisite hostesses, they are accomplished musicians, singers, dancers and most importantly conversationalists.

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History of the Japanese geisha. Geisha is said to have roots in female entertainers such as the saburuko female entertainers in the 7th century and shirabyoshi dancers around the early 13th century. ... Prostitution was not illegal in traditional Japan until around the 1900, and courtesans entertained men.

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You may have seen or read Memoirs of a Geisha. You may have seen the girls with painted-white faces in Kyoto. You may think you know what a Japanese geisha is or you may have no idea. Let's take a look at the history of geisha and the way they are today.

Difference between geisha and maiko

Geisha (芸者, げいしゃ), also known as geiko (芸子, げいこ) or geigi (芸妓, げいぎ), are Japanese female entertainers or hostesses in the traditional arts such as classical music, dance, games, and conversation. The word geisha literally could be translated as "artist," with the kanji for "gei" (芸) meaning art and "sha"(者) meaning person, or person doing something.

The term geisha is often used in Eastern Japan, whereas the term geiko is more prevalent in Western Japan, including Kyoto and Kanazawa. Maiko (舞子, まいこ) are apprentice geisha, generally under age 21. Historically, geisha began training as early as 3, however, now in Tokyo apprentices typically start around 18 and in Kyoto, around 15.

History of the Japanese geisha

Geisha is said to have roots in female entertainers such as the saburuko female entertainers in the 7th century and shirabyoshi dancers around the early 13th century. Some of the saburuko girls sold sexual services, while others entertained at high-class social gatherings. Prostitution was not illegal in traditional Japan until around the 1900, and courtesans entertained men. In 1617 the shogunate designated "pleasure quarters," outside of which prostitution would be illegal, and within which yuujo (遊女, ゆうじょ), or "play women" would be classified and licensed.

Of the Yuujo classes, the highest, called Tayuu, is said to be geisha's predecessor. They combined acting and prostitution, entertaining in erotic dances called kabuki (歌舞伎, かぶき) and skits. The form of art was called kabuku (かぶく), meaning "wild and crazy." In the 18th century the entertainment centers became more robust in varied forms of entertainment such as dancing, singing, playing music, poetry, and calligraphy. This was when entertainers were first called geisha, however they were at first all men.

Soon female dancers, known in their younger years as odoriko (踊り子, おどりこ) or "dancing girls," started to call themselves geisha and worked as entertainers rather than prostitutes. The geisha were forbidden to sell sex in order to protect the business of the oiran (花魁, おいらん) or courtesans.

Geisha has been a predominantly female occupation since around 1800, and rose in popularity until World War II, when most women had to work in factories and other places in Japan. Around the same time, the term geisha lost some status due to prostitutes marketing themselves as "geisha girls" to American military men.

Maiko training

Japanese Geisha used to begin their training at a young age, with some bonded to geisha houses, called okiya, as young children. The okiya supplies maiko with food, board, and dress to include kimono and obi. Maiko training is very expensive and their debt is repaid to the okiya with their earnings, even after they become full-fledged geisha.
Maiko training include formal arts training at schools, entertainment training at various tea houses and parties, and social skills training done on the streets.

Maiko wear white makeup on their face and nape, with bright and colorful kimono with red collars. The flashy dress is retired when they are promoted to full-fledged geisha, generally after three to five years in training.

Modern Japanese geisha

Japanese Geisha today still live in traditional okiya in areas called hanamachi (花街, はなまち) or "flower towns". Young women now begin geisha training after high school, college, or even in adulthood. The traditional instruments, games, and dancing are still learned.

Kyoto is most strongly associated with the geisha arts, as well as some parts of Tokyo like Shimbashi, Asakusa and Kagurazaka. They may be seen within hanamachi or chayagai, however today there are only an estimated 1,000 to 2,000 geisha in Japan.

If you want to come and experience the wonders of Kyoto for yourself, whether for long term or short term, the first step is to contact us at Go! Go! Nihon. Why wait?

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Unravel the mystery and explore the history of Japanese Geisha

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You may have seen or read Memoirs of a Geisha. You may have seen the girls with painted-white faces in Kyoto. You may think you know what a Japanese geisha is or you may have no idea. Let's take a look at the history of geisha and the way they are today.

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Halloween Make-Up : How to Create a Geisha Hairstyle

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Making Geta  ( traditional Japanese footwear )

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Geisha (or geiko) are professional entertainers who attend guests during meals, banquets and other occasions. They are trained in various traditional Japanese arts, such as dance and music, as well as in the art of communication. Their role is to make guests feel at ease with conversation, drinking games and dance performances.

Gion Geisha Show & Experience Maikoya
Distinguished teahouse in GION that holds geisha shows, geisha tea ceremony and geisha dinner show everyday. The venue also has genuine geisha artifacts and organizes Gion walking tours. Service hours: 10:30 ~ 19:00.

Where does the geisha culture survive?

Geisha can be found in several cities across Japan, including Tokyo and Kanazawa, but the former capital of Kyoto remains the best and most prestigious place to experience geisha, who are known there as geiko. Five major geiko districts (hanamachi) remain in Kyoto. Four of them, Gion Kobu, Gion Higashi, Miyagawacho and Pontocho, are located in or around the Gion district in central Kyoto, while the fifth, Kamishichiken, is located near Kitano Tenmangu Shrine.

Geiko and geiko aspirants live in special houses (okiya) in the geiko districts. In Kyoto, young girls move there typically at age 15 to be taught communication and hospitality skills and various traditional arts. After an introductory training and exam, the talented and determined will go on to become a maiko (geiko apprentice) and eventually a geiko a few years later.

Where do geiko dinners take place and who can attend?

The typical location for a geiko dinner are ochaya (tea houses), another important element of geiko districts. The ochaya provides just the tatami rooms where the dinners take place, while the food and the geiko are ordered from the outside. Ochaya are highly exclusive places due to their traditional way of doing business and will grant entry only to trusted customers.

Unlike a regular restaurant, an ochaya does not bill its guests at the end of the evening. Rather it adds the entire evening's expenses, including the costs for the room, food, geiko and taxi rides, to a running tab, and charges the customer's bank account once per month. Since this system is obviously based on a trust relation, new customers are only accepted if an existing customer serves as their guarantor.

A former ochaya in Kanazawa's Higashi Chaya district, the Shima Ochaya, has been opened to the public as a museum, allowing tourists to see a traditional ochaya from the inside, including the tatami rooms and exhibits of utensils, accessories and music instruments.

What happens at the ochaya?

Participants at a geiko dinner eat and drink while being entertained by the maiko and geiko. The task of the maiko and geiko is to engage in witty conversation with their guests, while keeping everybody's glasses filled. Another element of a geiko dinner are a whole range of games in which the loser usually has to drink up another glass of beer.

The cultural highlight of the evening is the geiko's performance of a seasonal dance, accompanied by traditional music, typically played on the shamisen by another geiko. The total number of geiko and maiko present depends on the party's size and the customer's budget.

How can regular tourists participate in a geiko dinner?

Geiko dinners have always been exclusive and expensive, high-class events. But like other businesses, the ochaya have been suffering from the economic downturn in recent decades. As a result, they have become less restrictive, and it is now possible for almost any tourist with a sufficient budget to have a dinner with a maiko thanks to travel agencies and hotels serving as the go-between. There are even a few companies which target foreign tourists without Japanese language skills.

If you book through a travel agency, the typical cost for a full-fletched geiko dinner is around 50,000 yen per maiko or geiko plus the cost for the meal which is typically between 10,000 and 30,000 yen per person. Since English conversation is not among the skills learned by geiko (they are supposed to communicate in Kyoto dialect), some services can arrange an interpreter at an additional cost.

What are other ways to experience the geiko culture?

There are also various other ways for people with a smaller budget to experience the geiko culture. The easiest is to watch a daily performance at the Gion Corner, a theater which targets foreign tourists with performances of a wide variety of Japanese arts, including a maiko dance.

During the month of April, the Miyako Odori is an even better opportunity to watch dance performances by maiko and geiko. There are several one-hour performances held every day on the stage of the Gion Kobu Kaburenjo theater in Gion.

A popular service in Kyoto these days is to get dressed up as a maiko or geiko. There are maiko studios all over the city, resulting in quite a few "fake maiko" on the streets of Kyoto around popular sightseeing spots during daytime. Some studios also target foreign tourists, and a typical experience costs around 10,000 yen per person including photo shoot.

Last but not least, with a bit of luck it is possible to spot a real maiko or geiko in the streets of Kyoto, especially in the evenings around Gion or Pontocho. However, if you spot a geiko, act respectfully. Complaints about tourists behaving like ruthless paparazzi have been on the increase in recent years.

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Geisha (or geiko) are professional entertainers who attend guests during meals, banquets and other occasions. They are trained in various traditional Japanese arts, such as dance and music, as well as in the art of communication. Their role is to make guests feel at ease with conversation, drinking games and dance performances.

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It depends on how many people you have to share the cost of hiring a single geisha. The going rate here in Tokyo for a mid-tier geisha is about JPY200,000~JPY300,000 (US$1,700~US$2,600) for a 2-3 hour performance. Usually they will want to come in pairs. So, if you have ten people present, then, yes, including food, JPY50,000 (US$435) per person is reasonable.

Since I'm in the travel business, when I complained to a mama-san about the high cost of a geisha, she pointed out to me that the kimono can cost up to a million yen (US$8,700) a piece, and the hairdresser runs JPY50,000 per engagement. Then there are the people behind the geisha to help her learn and practice, someone has to run the business, and they of course need a cut. So, all things considered, it isn't that bad.

There is a trend in the Japanese tourism industry to present actresses as geisha. That's kind of upsetting and disrespectful to professional geisha, who spend a good chunk of their lives learning dance, music, and the nuances of their position. But as demand for "geisha performances" increases with the increase in tourists visiting Japan, the pressure to provide more cost-effective services is not far behind. The difference in experience between the two, is noticeable, and just like art, why buy a fake if your group can afford the real thing?

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How much does an evening with a geisha cost?

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Answer (1 of 3): It depends on how many people you have to share the cost of hiring a single geisha. The going rate here in Tokyo for a mid-tier geisha is about JPY200,000~JPY300,000 (US$1,700~US$2,600) for a 2-3 hour performance. Usually they will want to come in pairs.

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Geisha - Simple English Wikipedia, the free encyclopedia

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Geisha or geigi are traditional female Japanese entertainers. They are skilled at different Japanese arts, like playing classical Japanese music, dancing and poetry. Some people believe that geisha are prostitutes, this however is false. The term "geisha" is made of two Japanese words, 芸 ( gei) meaning and 者 ( sha) meaning "person who does" or "to be employed in".

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Geiko (Kyoto dialect for geisha) live in an okiya and work in a teahouse ( ochaya), where there are music, dancing, partying, sometimes food, and plenty of alcohol. A geisha pays a percentage of her earnings to maintain the house and support all the people living there who are not working geisha, including maiko (apprentice geisha), retired geisha and house maids.

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Memoirs of a Geisha is a historical fiction novel by American author Arthur Golden, published in 1997. The novel, told in first person perspective, tells the story of a fictional geisha working in Kyoto, Japan, before, during and after World War II, and ends with her being relocated to New York City.

In 2005, a film version was released.

In 1929, nine-year old Chiyo Sakamoto and her 15-year-old sister, Satsu, are sold by their father to work within the entertainment districts of Kyoto. They are taken from their home, the coastal fishing village of Yoroido along the Sea of Japan, and travel to Kyoto by train; upon arrival, Chiyo is taken to the Nitta Okiya (geisha boarding house) in Gion, whereas Satsu - deemed less attractive and therefore a poor investment - is instead taken to a brothel within Kyoto's pleasure district.

Chiyo is taken inside, and is introduced to Auntie, Mother (Auntie's adoptive older sister and the matriarch of the house) and Granny, their elderly and poor-natured adoptive mother and the okiya's former "mother". Both Auntie and Mother are strict, though Auntie is kinder to Chiyo, whereas Mother is driven by money and business. Chiyo is also introduced to Hatsumomo - the premier geisha of the okiya, its primary earner, and one of the most famous, beautiful and ill-mannered geisha of Gion. Hatsumomo takes an instant disliking to Chiyo, and goes out of her way to torment her. Auntie warns Chiyo against both angering and trusting Hatsumomo, knowing the ill-mannered geisha's true nature very well.

Chiyo begins her "training" at the okiya, which consists of household drudgery, before she is deemed worthy enough and starts her geisha training. Having learnt the location of Satsu from Hatsumomo, upon an errand one day, Chiyo runs off to find her, and discovers her working in the pleasure district. The two conspire to run away and escape. Returning to the okiya, Chiyo discovers Hatsumomo with her boyfriend, Koichi; both Hatsumomo and Chiyo are punished after Chiyo is falsely accused of stealing by the furious Hatsumomo.

Miserable and desperate, Chiyo plans to finally run away from the okiya; however, she is caught when she falls off the roof and breaks her arm. Enraged at her for being a poor investment, Mother stops investing in Chiyo's geisha apprenticeship and returns her to the life of a maid. In a letter, Chiyo learns of her parents' deaths, and that Satsu managed to escape and return to Yoroido, only to run away with the son of a fisherman.

A few years later, a downtrodden Chiyo is given money and a handkerchief in the street by a kind stranger known to Chiyo as the Chairman. She donates the money to a shrine in Gion, praying to become a geisha of sufficient status to entertain the Chairman, and keeps the handkerchief as a memento. Soon afterwards, Pumpkin prepares to make her debut as a maiko, and the "younger sister" of Hatsumomo, whilst Chiyo remains a maid; this is, however, until Mameha, another famous geisha in Gion, persuades a reluctant Mother to reinvest in Chiyo's training, with Mameha acting as Chiyo's mentor and "older sister".

Under Mameha's care, Chiyo becomes a maiko with the given name of Sayuri, and is reacquainted with Chairman Iwamura (who appears not to recognise her), his closest friend and business partner Nobu, and a number of other prominent men. As Sayuri gains popularity, Hatsumomo - who has been refused succession of the okiya through adoption by Mother - tries to hurt Sayuri's reputation and career in the hopes of Mother adopting Pumpkin instead, through whom Hatsumomo can run the okiya by proxy.

Mameha devises a plan to orchestrate a bidding war for Sayuri's mizuage (portrayed as a deflowering "ceremony" for maiko as a step to becoming a full-fledged geisha). The plan is almost ruined when Hatsumomo attempts to spread the rumour of Sayuri no longer being a virgin; however, her attempt fails, and Mameha uses the record-breaking payment for Sayuri's mizuage to cover all of her debts. Mother adopts Sayuri over Pumpkin, ultimately destroying their friendship forever, and Hatsumomo begins a downward spiral into alcoholism before being thrown out of the okiya permanently following the assault of a kabuki actor during a party.

Upon Sayuri's promotion to fully-fledged geishahood, Nobu expresses an interest in becoming Sayuri's danna (patron), but loses to General Tottori; with Japan on the eve of war, Mother decides that a connection to the military is more important to the okiya. In 1944, geisha districts are ordered to close, and with many geisha conscripted to work in the factories, Sayuri desperately asks Nobu for help to avoid being conscripted into factory work. He sends Sayuri far north to live with his old friend, Arashino, a kimono maker, where she stays for much of the war.

At the end of the war, Nobu visits Sayuri, asking that she return to Gion to entertain the new Deputy Minister, Sato, whose aid Nobu desperately needs to rebuild his and the Chairman's business, Iwamura Electric. Sayuri returns to Gion to find Pumpkin working in a new okiya; despite hoping to rekindle their friendship, Pumpkin later sabotages Sayuri's plan to scare Nobu off from proposing to be her danna, as revenge for taking her place in the adoption so many years ago.

A few days after her plan fails, Sayuri is summoned to meet a client at a teahouse. Believing Nobu has called her to discuss the arrangements for becoming her danna, Sayuri is surprised to see the Chairman instead, and confesses that she has worked for years to become close to the Chairman. The Chairman admits that he has always known she was the girl he met on the street, and confesses his feelings for her as well, but felt he owed Nobu - his oldest and closest friend - the chance to be with Sayuri out of kindness. He also admits to having asked Mameha to train Sayuri.

Sayuri peacefully retires from geisha work when the Chairman becomes her danna. It is heavily implied that they have an illegitimate son together. Foreseeing the consequences this could have regarding the inheritance of Iwamura Electric, she relocates to New York City and opens her own small tea house for entertaining Japanese men on business in the United States. Sayuri severs her links to the Nitta okiya and in effect, Japan. The Chairman remains her danna until his death and the story concludes with a reflection on Sayuri and her life.

Much of the novel is set in the popular Hanamachi geisha district of Gion in Kyoto and contains references to actual places frequented by geisha and their patrons, such as the Ichiriki Ochaya. Part of the story is also set in the Amami Islands, and Sayuri narrates the story from her suite in the Waldorf towers in New York City.

After the Japanese edition of the novel was published, Arthur Golden was sued for breach of contract and defamation of character by Mineko Iwasaki, a retired geisha he had interviewed for background information while writing the novel. The plaintiff asserted that Golden had agreed to protect her anonymity if she told him about her life as a geisha, due to the traditional code of silence about their clients. However, Golden listed Iwasaki as a source in his acknowledgments for the novel, causing her to face a serious backlash, to the point of death threats.[1] In his defense, Arthur Golden countered that he had tapes of his conversations with Iwasaki.[2][clarification needed ] Eventually, in 2003, Golden's publisher settled with Iwasaki out of court for an undisclosed sum of money.

Iwasaki later went on to write an autobiography, which shows a very different picture of twentieth-century geisha life than the one shown in Golden's novel. The book was published as Geisha, a Life[3] in the U.S. and Geisha of Gion in the U.K.

In 2005, film director Rob Marshall made a film version of the novel. It stars the Chinese actresses Zhang Ziyi as Sayuri, Gong Li as Hatsumomo, and Michelle Yeoh as Mameha; and Japanese actors Ken Watanabe as the Chairman, Suzuka Ohgo as Sayuri's childhood incarnation Chiyo, and Youki Kudoh as the adult Pumpkin.

Filming was primarily done in California, and in some locations in Kyoto, including Kiyomizu-dera and Fushimi Inari-taisha. It was nominated for and won numerous awards, including nominations for six Academy Awards, three of which- Best Cinematography, Best Art Direction and Best Costume Design -were won.

Quotations related to Memoirs of a Geisha at Wikiquote

McAlpin, Heller. "Night Butterflies; Memoirs of a Geisha". Los Angeles Times, November 30, 1997. Pg. 8.

Dalby, Liza. "Geisha". 1983. pp. 54-64 (prostitution); pp. 109-112 ("deflowering" and mizu-age).

Iwasaki, Mineko. Geisha; A Life. Simon and Schuster, 2003, books.google.com/books/about/Geisha.html?id=Yqj4q6M7x9MC.

+Golden, Arthur. Memoirs of a Geisha. G.K. Hall, 1999.

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Memoirs of a Geisha is a historical fiction novel by American author Arthur Golden, published in 1997. The novel, told in first person perspective, tells the story of a fictional geisha working in Kyoto, Japan, before, during and after World War II, and ends with her being relocated to New York City.

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The word geisha consists of two kanji, ( Gei) meaning " art" and ( Sha) meaning "person" or "doer". The most literal translation of geisha into English would be "artist", "performing artist", or "artisan". Another name for geisha is Geiko (), which translates specifically as "Woman of Art".

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An opera in three acts by Giacomo Puccini set to an Italian libretto by Luigi Illica and Giuseppe Giacosa

The opera takes place in the Japanese port city of Nagasaki in the beginning of the 20th century, at a time of expanding American presence in the South Pacific. Japan was hesitantly defining its global role, and Nagasaki was one of the country's few ports open to foreign ships. Temporary marriages for foreign sailors were not uncommon.
Act I
Atop a large hill in Nagasaki, Lieutenant Pinkerton of the United States Navy, inspects a house he recently rented from real-estate agent, Goro. Goro is also a marriage broker and has supplied Pinkerton with three servants and a geisha wife named Cio-Cio San, aka. Madama Butterfly. US Consul Sharpless enters the house breathless after climbing the large hill.

Pinkerton explains to his fried that his is a sailor living life in the moment and seeking one pleasure after the next. He tells Sharpless that he is currently infatuated with Buttefly, but his dream is to marry an American wife. And though he has a 999 year marriage contract with her, it renews from month to month and allows divorce at any time. Sharpless warms him that his Japanese fiancé may feel more passionate about their upcoming marriage than he does. Pinkerton dismisses the advice. Outside in the distance, Butterfly is happily singing about her marriage. Surrounded by her friends, she enters the house. She tells Pinkerton that her family was once wealthy, but fell on hard times. She became a geisha to earn money for her family. She shows Pinkerton some of her most treasured things and tells him she has renounced her faith and taken up Christianity. As Butterfly's family and marriage officials arrive, Pinkerton whispers to Sharpless that this is all a farce and these new relatives will only be around for a month's time.

After the wedding and amidst the toasts and celebrations, Butterfly's uncle, a Buddhist priest, enters the house cursing her for abandoning her faith. Her uncle is interrupted by Pinkerton and leaves the house persuading her entire family to renounce her just as she renounced her faith. Her family leaves and servers all ties with her. Pinkerton takes hold of Butterfly and consoles her. He loves her that she is his for life. She is sad she has lost her family, but is happy in Pinkerton's arms.
Act II
Three years have passed and Pinkerton has not returned. The servant, Suzuki, is praying to Buddha that Butterfly's tears will dry up. After hearing her prayers, Butterfly tells Suzuki that the Japanese gods are worthless, and only her Christian god will bring Pinkerton home. Suzuki explains to Butterfly that the little money they have is about to run out. Butterfly tells her to have faith. Pinkerton will return, because he had arranged the American Consul to provide rent money, mosquito netting, and locks to keep out family and intruders. Pinkerton told her that he will one day (" Un bel di ") return with roses in hand when robins build their nests. At this, Suzuki weeps. Sharpless arrives moments later with a letter for Butterfly. It is from Pinkerton. Before he can read the letter, she asks questions as to his health and return. Overjoyed Pinkerton is in good health, she tells Sharpless that Pinkerton said he will return when the robins build their nests. She asks if the robins have built their nests in America yet, because they have built their nests three times in Japan. She tells Sharpless that Goro has brought many suitors to her for marriage, but she has refused each one including the most recent - a wealthy prince. As Sharpless mentions the idea that Pinkerton may not return, she brings out her son, Dolore. She tells him that once Pinkerton learns of his son, he will surely return. If he does not, she would rather die. Saddened and moved by her devotion, Sharpless is unable to reveal the contents of Pinkerton's letter to her. In it, Pinkerton states he is not returning to Japan. After Sharpless leaves, a cannon report is heard in the distance. Butterfly rushes to the window with her binoculars and sees Pinkerton's ship enter the harbor. Full of excitement, she instructs Suzuki and her son to fill the house with flowers.
Act III
The following morning, Suzuki, having slept all night, enters the room with Dolore to find that Butterfly has been awaiting Pinkerton's return and hasn't slept at all. She persuades Butterfly to get some sleep. Butterfly agrees and takes her son into the bedroom, humming along the way. Several moments go by when Sharpless and Pinkerton knock on the front door. Pinkerton tells Suzuki not to wake Butterfly. He asks her how Butterfly knew he has returned. She tells him that Butterfly studied every ship that came into the harbor and recognized his ship when it came in the previous evening. Sharpless reminds Pinkerton that he once warned him of this impending disaster. A minute later, Suzuki sees another woman waiting outside in the garden. Her name is Kate, Pinkerton's American wife. Suzuki falls to the floor in despair. Full of shame and remorse, Pinkerton cowardly leaves the house. Sharpless tells Suzuki that though they can do nothing for Butterfly, Kate wants to adopt Dolore as her own son and take care of him in America. Suzuki and Sharpless go outside to talk with Kate. Kate asks her to encourage Butterfly to give up her son. Butterfly wakes up and calls out to Suzuki. Suzuki come into the house crying, and Butterfly asks her what is wrong. When Butterfly sees Kate and Sharpless standing outside in the garden, she softly asks Suzuki if Pinkerton is alive. Suzuki answers yes. Butterfly knows immediately what is going on. She knows that Pinkerton has returned with his American wife and she must give up her son. Kate and Sharpless enter the house and Kate asks for Butterfly's forgiveness. Butterfly tells her the only way she will give up her son is if Pinkerton comes to the house and asks for him in person. She sends them away and tells them to come back in half-an-hour. She tells Suzuki to draw all the curtains as there is too much light in the house and orders her into the other room. Butterfly bows before the buddha statue and takes the dagger her father used to commit suicide and reads its inscription. "Who cannot live with honor must die with honor." Just as she is raising the dagger, her son enters the room. She tells him how much she loves him before sending him away to play. Once he leaves, she plunges the dagger into her heart. As she lay there lifelessly on the floor, Pinkerton arrives calling out her name.
Synopsis compiled from historical performance info and various references by the Florentine Opera Company ©2015

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An opera in three acts by Giacomo Puccini set to an Italian libretto by Luigi Illica and Giuseppe Giacosa The opera takes place in the Japanese port city of Nagasaki in the beginning of the 20th century, at a time of expanding American presence in the South Pacific.

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The opera takes place in the Japanese port city of Nagasaki in the beginning of the 20th century, at a time of expanding American presence in the South Pacific.  Japan was hesitantly defining its global role, and Nagasaki was one of the country’s few ports open to foreign ships.  Temporary marriages for foreign sailors were not uncommon.

Act I

Atop a large hill in Nagasaki, Lieutenant Pinkerton of the United States Navy, inspects a house he recently rented from real-estate agent, Goro. Goro is also a marriage broker and has supplied Pinkerton with three servants and a geisha wife named Cio-Cio San, aka. Madama Butterfly. US Consul Sharpless enters the house breathless after climbing the large hill.

Pinkerton explains to his fried that his is a sailor living life in the moment and seeking one pleasure after the next. He tells Sharpless that he is currently infatuated with Butterfly, but his dream is to marry an American wife. And though he has a 999 year marriage contract with her, it renews from month to month and allows divorce at any time. Sharpless warns him that his Japanese fiancé may feel more passionate about their upcoming marriage than he does. Pinkerton dismisses the advice. Outside in the distance, Butterfly is happily singing about her marriage. Surrounded by her friends, she enters the house. She tells Pinkerton that her family was once wealthy, but fell on hard times. She became a geisha to earn money for her family. She shows Pinkerton some of her most treasured things and tells him she has renounced her faith and taken up Christianity. As Butterfly’s family and marriage officials arrive, Pinkerton whispers to Sharpless that this is all a farce and these new relatives will only be around for a month’s time.

After the wedding and amidst the toasts and celebrations, Butterfly’s uncle, a Buddhist priest, enters the house cursing her for abandoning her faith. Her uncle is interrupted by Pinkerton and leaves the house persuading her entire family to renounce her just as she renounced her faith. Her family leaves and servers all ties with her. Pinkerton takes hold of Butterfly and consoles her. He loves her that she is his for life. She is sad she has lost her family, but is happy in Pinkerton’s arms.

Act II

Three years have passed and Pinkerton has not returned. The servant, Suzuki, is praying to Buddha that Butterfly’s tears will dry up. After hearing her prayers, Butterfly tells Suzuki that the Japanese gods are worthless, and only her Christian god will bring Pinkerton home. Suzuki explains to Butterfly that the little money they have is about to run out. Butterfly tells her to have faith. Pinkerton will return, because he had arranged the American Consul to provide rent money, mosquito netting, and locks to keep out family and intruders. Pinkerton told her that he will one day (“Un bel di“) return with roses in hand when robins build their nests. At this, Suzuki weeps. Sharpless arrives moments later with a letter for Butterfly. It is from Pinkerton. Before he can read the letter, she asks questions as to his health and return. Overjoyed Pinkerton is in good health, she tells Sharpless that Pinkerton said he will return when the robins build their nests. She asks if the robins have built their nests in America yet, because they have built their nests three times in Japan. She tells Sharpless that Goro has brought many suitors to her for marriage, but she has refused each one including the most recent – a wealthy prince. As Sharpless mentions the idea that Pinkerton may not return, she brings out her son, Dolore. She tells him that once Pinkerton learns of his son, he will surely return. If he does not, she would rather die. Saddened and moved by her devotion, Sharpless is unable to reveal the contents of Pinkerton’s letter to her. In it, Pinkerton states he is not returning to Japan. After Sharpless leaves, a cannon report is heard in the distance. Butterfly rushes to the window with her binoculars and sees Pinkerton’s ship enter the harbor. Full of excitement, she instructs Suzuki and her son to fill the house with flowers.

Act III

The following morning, Suzuki, having slept all night, enters the room with Dolore to find that Butterfly has been awaiting Pinkerton’s return and hasn’t slept at all. She persuades Butterfly to get some sleep. Butterfly agrees and takes her son into the bedroom, humming along the way. Several moments go by when Sharpless and Pinkerton knock on the front door. Pinkerton tells Suzuki not to wake Butterfly. He asks her how Butterfly knew he has returned. She tells him that Butterfly studied every ship that came into the harbor and recognized his ship when it came in the previous evening. Sharpless reminds Pinkerton that he once warned him of this impending disaster. A minute later, Suzuki sees another woman waiting outside in the garden. Her name is Kate, Pinkerton’s American wife. Suzuki falls to the floor in despair. Full of shame and remorse, Pinkerton cowardly leaves the house. Sharpless tells Suzuki that though they can do nothing for Butterfly, Kate wants to adopt Dolore as her own son and take care of him in America. Suzuki and Sharpless go outside to talk with Kate. Kate asks her to encourage Butterfly to give up her son. Butterfly wakes up and calls out to Suzuki. Suzuki come into the house crying, and Butterfly asks her what is wrong. When Butterfly sees Kate and Sharpless standing outside in the garden, she softly asks Suzuki if Pinkerton is alive. Suzuki answers yes. Butterfly knows immediately what is going on. She knows that Pinkerton has returned with his American wife and she must give up her son. Kate and Sharpless enter the house and Kate asks for Butterfly’s forgiveness. Butterfly tells her the only way she will give up her son is if Pinkerton comes to the house and asks for him in person. She sends them away and tells them to come back in half-an-hour. She tells Suzuki to draw all the curtains as there is too much light in the house and orders her into the other room. Butterfly bows before the Buddha statue and takes the dagger her father used to commit suicide and reads its inscription. “Who cannot live with honor must die with honor.” Just as she is raising the dagger, her son enters the room. She tells him how much she loves him before sending him away to play. Once he leaves, she plunges the dagger into her heart. As she lay there lifelessly on the floor, Pinkerton arrives calling out her name.

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Madama Butterfly Song Madame Butterfly Death Madama Butterfly Finale Main Characters in Madama Butterfly Madama Butterfly WGO Madama Butterfly Bambino Madama Butterfly 2012 Best Madame Butterfly Madam Butterfly 2018 Madama Butterfly Chicago 1985 Un Bel Di Vedremo Madame Butterfly Madama Butterfly Summary Madama Butterfly Death Scene

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Giacomo Puccini Madama Butterfly FULL OPERA CLASSICAL MUSIC HQ

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Madama Butterfly, opera in three acts (originally two acts) by Italian composer Giacomo Puccini that premiered at La Scala opera house in Milan on February 17, 1904. The work is one of the most frequently performed of all operas.
Puccini and his librettists took steps to introduce an element of realism into the new opera. Illica even traveled to Nagasaki to investigate local colour, while Puccini set about researching Japanese music. He visited with the wife of the Japanese ambassador to Italy, who sang Japanese folk songs to him. She also acquired for him sheet music for further study. Puccini’s music for the opera reflects what he had learned and even makes a few direct references to the Japanese songs he had been exposed to. To delineate the American characters, Puccini often used a bluff forthright manner of expression, and he occasionally worked in bits of “The Star-Spangled Banner.”

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An okiya (置屋) is the lodging house in which a maiko or geisha lives during the length of her nenki (contract or career as a geisha). A young woman's first step toward becoming a geisha is to be accepted into an okiya, a geisha house owned by the woman who will pay for her training.
Most of the activity of geisha today is located at the hanamachis of Kyoto(especially the Gion hanamachi) and Tokyo. In modern Japan, they are almost never seen outside of them. In the 1920s there were over 80,000 geisha in Japan, but today there are far fewer.

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December 9, 2005 (USA) is when "Memoirs Of A Geisha" came out.
The genre is historical fiction.

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Arthur Golden wrote Memoirs of a Geisha 

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Arthur Golden wrote Memoirs of a Geisha 

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Memoirs of a Geisha is a historical fiction novel by American author Arthur Golden, published in 1997. The novel, told in first person perspective, tells the story of a fictional geisha working in Kyoto, Japan, before and after World War II.

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1)Some people believe that geisha are prostitutes, this however is false.
2)A maiko is not a complete geisha since there are many differences in their appearance and roles.
3)Iwasaki was the most famous geiko in Japan until her sudden retirement at 29. Known for her performances for celebrity and royalty during her geisha life, she was an established heir or atotori to her geisha house (okiya) while she was just an apprentice.
4)The term geisha literally translates to "entertainer". Some prostitutes refer to themselves as "geisha", but they are not. A geisha's sex and love life is usually distinct from her professional life.
5)In Kyoto, the cost for one night of geisha accompaniment is around 50,000–100,000 Yen per geisha. The cost of the food itself (usually Japanese kaiseki / haute cuisine) is usually 10,000–30,000 Yen per person.
6)Geisha can be found in several cities across Japan, including Tokyo and Kanazawa, but the former capital of Kyoto remains the best and most prestigious place to experience geisha, who are known there as geiko. Five major geiko districts (hanamachi) remain in Kyoto

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skilled at different Japanese arts, like playing classical Japanese music, dancing and poetry

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traditional female Japanese entertainers.

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Geisha (芸者)  or geigi (芸妓)