大館ばやし保存会 - The Odate Bayashi Preservation Association

会長ごあいさつGreetings from the Chairman

第６代目 会長 - The 6th Chairman

第６代目 会長 芳賀 俊明 - The 6th Chairman Toshiaki Haga

2021年に、会長に就任。所属講は、南神講です。

In 2021, I assumed the position of chairman. I am a member of NanshoKo.

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大館ばやし保存会 第６代目会長の芳賀と申します。

My name is Haga, and I am the 6th Chairman of the Odate Bayashi Preservation Association.

４００年以上の歴史がある大館囃子を、先人や諸先輩たちが脈々と引き継いでくれた歴史、技術、魂（スピリット）を後世に伝えていくのが私たちの為すべきことと考えています。常に会員間で技術の研鑽に努め、切磋琢磨していく所存です。

We believe that it is our duty to pass on to future generations the history, techniques, and spirit of Odate bayashi, which has a history of more than 400 years and has been handed down to us by our predecessors and seniors. We are always striving to improve our skills among the members, and we are determined to compete with each other.

この２年間はコロナ禍により大館神明社例祭において余興奉納ができなかったため、市民の皆さまにはこのお囃子を聞いていただく機会が少なかったわけですが、ご依頼をいただければ、私たちはどこにでも演奏に伺わせていただきます。様々な機会を通じて、大館囃子の素晴らしさを伝えることができると考えています。今後も地元に根付いた文化である大館囃子を残していくため、会員一同全身全霊を掛けて取り組んでまいります。

For the past two years, we have not been able to offer entertainment at the Odate Shinmeisha Festival due to the Corona disaster, so there have not been many opportunities for citizens to hear this musical performance. We believe that we can convey the beauty of Odate bayashi through various opportunities. All the members of the group will continue to devote themselves to preserving the Odate bayashi, which is a part of the local culture.

組織図 - 構成メンバー総数44人Organization - Total number of members 44

• 会長　　芳賀　俊明（南神講）
• 副会長　明石　安典（末廣講）、岩澤　重人（田豊講）、小畑　宣昌（新連講）
• 監事　　長谷川文悦 （南神講）、谷地田　英二（一成講）
• 会計　　嶋田　恭輔 （新連講）
• 顧問　　石田　誠孝（末廣講）

• Chairman Toshiaki Haga(Nanshinko)
• Vice Chairman Yasunori Akashi(Suehiroko), Masataka ishida(Suehiroko), Shigeto Iwasawa(Tahoko)
• Supervisor Bunetsu Hasegawa(Nanshinko), Eiji Yachita(Isseiko)
• Accountant Kyosuke Shimada(Shinrenko)

会則

令和３年10月31日施行

大館ばやし保存会のあゆみHistory of Odate Bayashi Preservation Association

01郷土芸能を披露する機会からOpportunities to showcase local performing arts

　大館ばやし保存会は、昭和37年、青年会議所の東北大会が秋田市で開催されるにあたり、各会がその土地を代表する郷土芸能を披露することになり、大館では昔から伝わる「囃し子山車」を出すことがきっかけになりました。囃し方は弁天町を中心に、踊り手は東館部落から応援を得て出演し、多くの人から大変好評を得たそうです。

The Odate Bayashi Preservation Association was formed in 1962 when the Tohoku Conference of the Junior Chamber was held in Akita City, and each society decided to present a local entertainment representing the area. The musical performers were mainly from Benten-cho, and the dancers were from the Higashidate tribe, who supported the performance, which was very well received by many people.

　その頃の神明社のお祭りは戦中・戦後の混乱期や四町（大町、馬喰町、中町、新町）を焼き尽くした昭和31年の大火から復興し、奉納する山車の数も徐々に増え、お囃子も演奏されるようになりました。しかし囃し方や踊り手は市内だけでは賄いきれないのが実情で、旧比内町などから芸人や民謡社中などが、また踊り手には旧花輪町や能代市などからも芸者がいずれも高額の出演料で呼ばれていました。因みに筆者の所属する町内では昭和50年代半ば比内町の社中に20万円の出演料を支出していたと聞いています。そのため運行中にはお囃子だけではなく民謡も聞こえていた時代でした。

The number of floats dedicated to the shrine gradually increased and the Odate bayashi accompaniment began to be performed. However, the number of musicians and dancers could not be covered by the city alone, so geishas and minyo (folk song) singers were invited from the former Hinai-machi and other areas, and geishas from the former Hanawa-machi and Noshiro City were also invited as dancers, all for a high fee. Incidentally, in the mid-1950s, I heard that the town to which I belonged paid 200,000 yen in performance fees to the Hinai-cho company. Therefore, not only Odate bayashi accompaniment but also folk songs could be heard during the performance.

02昭和38年に大館ばやし保存会を結成Formed the Odate Bayashi Preservation Association in 1963.

　昭和38年、成田松太郎氏（以後成松さんと記す）が大館青年会議所の理事長に就任し、それまでの「囃子山車」を「大館ばやし」に改名し、後世まで伝えるべく「大館ばやし保存会」を結成しました。成松さんは「本会の最終日的は何んと云っても山車を出す全町内から、一日も早く大館ばやしが鳴り響くことを念願しているものであります」と大館神明社祭典余興奉納行事のしおり（以下、祭典のしおり）第二号（昭和54年）で述べており、更に同第九号（昭和61年）には「大館ばやし保存会の目的ほぼ達成」と題し次のよう述べています。

In 1963, Matsutaro Narita became the president of the Odate Junior Chamber, and renamed the festival "Odate Bayashi" instead of "Hayashi floats" and formed the "Odate Bayashi Preservation Association" to pass it down to future generations. Mr. Narimatsu stated in the Odate Shinmeisha Festival Entertainment Dedication Event Booklet (hereinafter referred to as the Festival Booklet) No. 2 (1979), "On the last day of the festival, we hope that the Odate bayashi will resound as soon as possible from all the towns where the floats are displayed. In addition, in No. 9 of the same year (1986), the following statement was made under the title of "The Objectives of the Odate Bayashi Preservation Association Almost Achieved.

03当時、会結成25年を迎えるにあたりAt the time, we were celebrating the 25th anniversary of the association.

　「昭和38年大館ばやし保存会を結成以来24年、来年（昭和63年）は25周年を迎える。結成以来本会の目的は、大館ばやしの保存と後継者育成を名文とし、今日まで頑張ってきたところであります。そしてそれと合わせて自分の町内の山車には町内のはやしが乗るようにしたいものと各町内の理解と協力を頂き、各町内にほぼ大館ばやしが育成され、本会の目的が達成された感があります。これからは各町内に育成された大館ばやしの根をたやすことなく、大館を代表する伝統芸能大館ばやしをいついつまでも皆の力で伝承して行ってもらいたいと強くお願い申し上げます。宵祭りのパレードも３年目、大館最大の伝統行事として続けて行きたい。そしてこれまで24年間も大館ばやし保存会会員として、大館ばやしの育成に懸命の努力をしてくれた正会員にたいし、深甚なる敬意を表するものであります。最後に大館ばやしは大館神明社祭典の奉納余興として、また大館を代表する伝統芸能として、大館の各種観光行事等に大きく活躍することを期待するものであります」

It has been 24 years since the Odate Bayashi Preservation Association was formed in 1963, and next year (1988) will mark the 25th anniversary. Since its formation, the purpose of the association has been to preserve the Odate bayashi and to train its successors, and we have worked hard to achieve this. With the understanding and cooperation of each town, the Odate bayashi has been fostered in each town, and we feel that the purpose of this association has been achieved. From now on, I strongly hope that the roots of the Odate bayashi that have been cultivated in each town will not be destroyed and that the traditional Odate bayashi that represents Odate will be handed down to future generations with the help of everyone. The parade in the evening festival is now in its third year, and I would like to continue it as the biggest traditional event in Odate. As a member of the Odate Bayashi Preservation Association for the past 24 years, I would like to express my deepest respect for the regular members who have worked so hard to foster the Odate bayashi. Finally, I hope that the Odate bayashi will play an active role in various tourist events in Odate as a dedicated entertainment for the Odate Shinmeisha Festival and as a traditional performing art representing Odate.

　成松さんはその後も神明社祭典実行委員会第三代会長、大館囃子連絡協議会会長として活躍され「大館市無形民俗文化財」指定に尽力されました。そして平成28年５月惜しまれつつ他界されました。

Mr. Narimatsu continued to play an active role as the third chairman of the executive committee of the Shinmeisha festival and the chairman of the Odate musical ensemble liaison council, and was instrumental in the designation of Odate City as an intangible folk cultural asset. He passed away in May, 2008.

04飾り山車と、囃子山車Decorated floats and musical floats

　大館囃子は古くから大館神明社例祭の際に余興奉納されていた祭りばやしで、「寄せ囃子」「大館祇園囃子」「剣囃子」「還り山」の四曲が伝承されています。

Odate bayashi is a festival dance that has been dedicated to the entertainment of the Odate Shinmei Shrine Festival since ancient times, and four songs have been handed down from generation to generation: Yose-bayashi, Odate Gion-bayashi, Ken-bayashi, and Kaeri-yama.

　初期の頃は四町の分限者（資産家）から奉納された分限山車と呼ばれる飾り山車の後を囃子方がはやしを演奏しながら付き従っており、囃子山車と呼ばれました。明治時代の末頃に街中に電線が張り巡らされると、それまで高さを競っていた鉾や飾り山車は運行できなくなり、店舗や宅地に置山として姿を変え、神明社のご神幸（じんこう）行列には囃子山車だけが参加するようになりました。それまで分限山と一対となっていた囃子山車はその機動性を生かし、いろいろな場所へ単独で運行されるようになりました。最初は人が担いでいましたが、手踊りを披露するようになり、さらには芸子が加わるようになり、曳き山へと変わっていきました。これが現在の山車の原形となっています。

In the early days of the festival, the floats were called "hayashi floats," because they were decorated with ornamental floats dedicated by wealthy people in the four towns, and were followed by the musician who played the hayashi. In the late Meiji era (1868-1912), when electric cables were installed in the city, the floats and decorative floats that had competed in height were no longer allowed to operate, and they were replaced by Oki floats placed in stores and residential areas. At first, they were carried by people. At first, the floats were carried by people, but as they began to perform hand dances and geisha joined them, they became hiki floats. This is the original form of today's floats.

大館ばやし保存会の飛躍のきっかけHow the Odate Bayashi Preservation Association took off

05大館ばやし保存会の発足当初のテレビ出演TV appearance of Odate Bayashi Preservation Association at its inception

昭和42年、ＮＨＫ「ふるさとの歌祭り」に出演し、大館囃子を全国に披露（写真提供「大館ばやし保存会」）

　発足当時は普及のため数多くの文化・スポーツ行事での演奏に積極的に参加しました。その中の大きなイベントとしては昭和42年12月、当時の国民的番組と言われたNHK総合テレビ「ふるさとの歌まつり」出演と昭和54年8月、明治神宮外苑で行われたフレテレビ主催「ふりーばる'79」出演があります。また大館神明社例祭に際しては自動車山車を仕立て、市街地だけではなく郊外までも足を伸ばして大館囃子を披露して廻りました。

At the time of its establishment, the group actively participated in many cultural and sporting events to promote its popularity. Among the major events were an appearance on NHK General TV's "Furusato no Uta Matsuri" (Hometown Song Festival) in December 1967, which was considered a national program at the time, and an appearance on Furi Baru '79, sponsored by FUJI TV, at Meiji Jingu Gaien in August 1979. In addition, on the occasion of the annual festival of Odate Shinmeisha Shrine, they set up floats

　これらの活動が評判を呼び、北東北各地での文化施設・商業施設の開所式や行事、また大滝温泉、湯瀬温泉などの観光施設から演奏の依頼があり、毎週のように出かけていた時期もありました。これらの謝礼で大太鼓、小太鼓、袢天などを購入し今もって保存会の財産になっております。

These activities earned us a good reputation, and we were asked to perform at opening ceremonies and events of cultural and commercial facilities throughout the northern Tohoku region, as well as at tourist facilities such as Otaki and Yuze Onsen. With these rewards, we purchased large drums, small drums, and lintels, which are still the property of the Preservation Association.

06全楽器の楽譜作成Notation for all instruments

大館ばやし保存会演奏のレコードを発売

　保存に関してはこれまで約10年毎に録音しレコード、カセットテープ、CDを媒体に発表してきました。昭和61年には下平富彌氏から五線譜に採譜した楽譜を保存会に寄贈していただきました。平成9年には保存会会員より全楽器の楽譜が作成されました。これは笛のパートは指遣いを図式化した運指表によるものでした。平成13年には大館市無形民俗文化財の指定を受けることができました。平成15年には一般財団法人・地域創造の映像記録保存事業で辯天講による大館囃子を推薦いたしました。

We have been recording and releasing records, cassette tapes, and CDs about every 10 years for preservation. In 1986, Mr. Tomiya Shimohaira donated to the Preservation Association the sheet music he had scored on a staff. In 1997, members of the Preservation Association created scores for all instruments. In 1997, the members of the Preservation Association prepared scores for all the instruments, with a fingering chart for the flute part. In 2001, it was designated as an intangible folk cultural asset by Odate City. In 2003, the Odate musical performance by Bentenko was recommended by the Foundation for Regional Art-Activities for the preservation of video records.

07教則DVD作成と各講、地元小学校に配布Prepared instructional DVD and distributed to each class and local elementary schools

　そして平成30年、教則映像をDVD化し発表することができました。これは平成30年度文化庁の文化遺産総合活用推進事業の一環として行われたもので平成29年11月に収録されました。楽譜や運指表では伝わらない太鼓のバチさばきや笛の指遣いを映像に記録して残すことは長年待ち望んだことでした。各講、各学校に配布しましたので参考にしていただければと思います。

In 2008, we were able to release the instructional video on DVD. The video was recorded in November of 2009 as part of a project to promote the comprehensive utilization of cultural heritage by the Agency for Cultural Affairs. It has been a long time coming to record on film the drumming and fife fingering that cannot be conveyed through music scores and fingering charts. We have distributed the video to each class and school for reference.

08各講自前の囃子演奏Each music performance

平成4年、合同練習会の一コマ。講師は故越前屋清氏（「祭典のしおり第16号」より）

　後継者育成に関しては成田松太郎初代会長の長年の願いであった「自分の町内の山車には自分の町内のはやしが乗るようにしたい」を合言葉に各町内へ囃子指導を行い、昭和50年代にはすべての山車が自前の囃子を演奏し、踊れるようになりました。それ以降も各講への囃子指導、合同練習会を行っております。

As for the development of successors, Matsutaro Narita, the first chairman of the Association, had long wished that "the floats of my town should have the music of my town," and under this slogan, he gave musical guidance to each town, and by the 1975-1985, all the floats were able to play and dance their own music. In the 1950s, all of the floats were able to play and dance their own music. Since then, we have continued to provide musical guidance to each of the groups and hold joint practice sessions.

09地元小学校への演奏指導などTeaching performance to local elementary schools, etc.

　平成30年度は大館市教育委員会生涯学習課主催の伝統文化親子教室で大館囃子の太鼓演奏と手踊り指導を12月，翌年1、2月に行いました。31年度は城南小学校で6月にお囃子教室、城西小学校で7月に第一回夢事業、9月に城西ふれあいフェスティバル出演者へのお囃子・踊りの指導を行いました。また11月に大館市子どもまつり／郷土芸能発表会へ出演しました。

In Heisei year 2018, we held a traditional culture class for parents and children organized by the Lifelong Learning Division of the Odate City Board of Education, where we played the Odate Music Drum and taught hand dancing in December and January and February of the following year. In addition, in November we held an Odate City Children's Festival. We also performed at the Odate City Children's Festival and Local Performing Arts Presentation in November.

　令和2年・3年は新型コロナウイルスの流行があり、神明社例祭の余興奉納が中止になったため残念ながら山車が大館囃子を奏でながら練り歩く姿は見られませんでした。その中で2年には城西・城南小学校、3年には有浦・城西・城南小学校の学校行事に招かれ演奏・指導を行いました。

In 2020 and 2021, due to the outbreak of a new type of coronavirus, the entertainment and dedication of the Shinmeisha Festival was cancelled, so unfortunately we were not able to see the floats parading around playing the Odate-bayashi. In the meantime, we were invited to perform and teach at school events at Josei and Jonan Elementary Schools in the second year, and at Ariura, Josei and Jonan Elementary Schools in the third year.

10幅広い年齢層の会員構成Wide age range of membership composition

　平成30年度からは高校生を含む若い人たちの入会が増え、それまではお断りしていた平日の行事への参加も可能となってきました。この後も地域活性化に少しでもお手伝いできれば幸いです。

Since the year 2018, more young people, including high school students, have joined the club, and it has become possible for them to participate in weekday events, which we had previously refused. We hope that we can continue to help revitalize the community in any way we can.

大館神明社と大館ばやしの今昔日記Odate Shinmeisha and Odate bayashi: A Diary of the Past and Present

11平成13年8月 大館市無形民族文化財指定August 2001: Designated as Odate City Intangible Folk Cultural Property

　大館囃子は大館神明社例祭の余興奉納の際に演奏される祭り囃子として長い間大館の人々に親しまれてきました。四つの囃子が伝承され、中でも「ヨーイヨイ・ソレ弥栄サッサー」と掛け声の入る祇園囃子は特に耳にする機会が多く、大館囃子を代表する囃子です。平成13年8月、大館市無形民俗文化財の指定を受けました。

Odate bayashi has long been familiar to the people of Odate as the festival music played during the entertainment dedication of the Odate Shinmeisha Festival. The Gion-bayashi, with its shouts of "Yoi yoi sore yiyasaka sassa", is the most frequently heard and representative of Odate bayashi. It was designated as an intangible folk cultural asset by Odate City in August 2001.

12大館ばやしの伝播には二説ありThere are two theories about the spread of Odate Bayayashi

　大館囃子は京都の祇園囃子の流れをくむものとされており、伝播には二説あります。一つは大館城主となる佐竹氏が常陸の国よりこの地に転封となった際、道中行進曲として使用し、後に城中に出入りする商人や職人の問に親しまれ広まったという説。もう一つは大館の地主や町方の親方が若者を京都に送り、伝習させたという説。いずれにしろ400年ほど前から地元神明社例祭の余興奉納として若者達が腕を競ったと伝えられています。しかし戊辰戦争やその前後の相継ぐ大火にて記録類は焼失してしまい、囃子の存在を証明するものは明治22年（1889）に書かれた小野儀助日記の記述が最も古いものです。

There are two theories about the spread of the Odate bayashi, which is said to have originated from the Gion music of Kyoto. There are two theories about how it spread. One is that when the Satake clan, the lords of Odate Castle, were transferred from Hitachi to this area, they used it as a marching song on their way to the castle, and later it became popular among merchants and craftsmen who came and went in the castle. The other theory is that the landowners and town leaders of Odate sent young people to Kyoto to learn it. In any case, it is said that young people competed with each other as an entertainment offering at the local Shinmeisha shrine festival for about 400 years. However, the records were destroyed by fire in the Boshin War and successive fires before and after the war, and the oldest proof of the existence of the music is the description in the Gisuke Ono Diary written in 1889.

13大館神明社例祭と儀助日記Odate Shinmeisha Festival and Gisuke's Diary

　神明社の例祭は古来8月1日に例祭、その前日に宵祭り、2日に湯立が行われてきました。明治5年、それまでの太陰暦（旧暦）から太陽暦を用いる改暦が行われた後も旧暦の8月1日に行われてきました。現在の9月11日に改められたのは明治43年（1910）からのことです。

Since ancient times, the annual festival of Shinmeisha has been held on August 1st, the evening festival on the day before, and Yutate on the 2nd. In 1872, after the lunar calendar was replaced by the solar calendar, the festival continued to be held on August 1 of the lunar calendar. It was not until 1910 that the date was changed to the current September 11.

　宵祭の日には笠揃と言う行事が神明社境内にて行われ、飾山車、囃子山車が集まり囃子を奉納しました。今の奉告祭にあたるのでしょうか、境内は群衆で埋まったとのことです。

On the day of the evening festival, an event called "Kasazoroi" was held in the precincts of the Shinmeisha Shrine, where decorated floats and music floats gathered to dedicate the music. The shrine grounds were filled with crowds.

　例祭では神明社のお神輿が氏子町内を練り歩くご神幸行列が行われました。儀助日記の明治20年（1887）9月17日（旧8月1日）の欄には行列の順序の記述があります。

At the annual festival, the portable shrines of the Shinmeisha shrine were paraded through the town of Ujiko. There is a description of the order of the procession in the Gisuke Diary for September 17, 1887 (formerly August 1).

榊、御神旗　数十流
大豊講　かんこう鉾
猿田彦命御下駄行列
御供
神子
祠掌
神官
御神輿
御神馬
唐櫃
司馬温公瓶わりの躰　丸谷儀六
小野道風川図（蛙）を見の躰　栗盛吉右衛門
だこ岩上ニ遊の躰　五十集惚連隊

sakaki, gosinki, sujuryu
Taiho kankohoko
sarutahikonomikoto ongetagyoretsu
otomo
miko
sisyo
sinkan
omikoshi
goshinme
karahitsu
shibaonkoubinwarinokarada Giroku Maruya
onomichikazekawazu minokarada Kichizaemon Kurimori
dakoiwaganjou yunokarada Gojusyusorentai

後の三列が飾山車で大町、馬喰町、中町、新町の分限者（資産家）が個人で奉納し、分限山とも言われました。この山車は前方に人形を飾り、後方に子供を乗せ街を練り歩きました。

The last three rows were decorated floats, which were dedicated by the wealthy residents of Omachi, Bakuromachi, Naka-machi and Shinmachi. These floats were decorated with dolls in the front and carried children in the back as they paraded through the streets.

14明治22年の囃子車は、演奏しながら練り歩くA musical carriage from 1889 is paraded around while playing

　同22年の儀助日記には、鉾は練鼓鉾・大豊講と秋の月鉾・新連講、飾山車は辨天講、大豊分講、越前慶吉、藤嶋忠吉、小野儀助、綿織座、五十集組が奉納し「はやし付」と記され、初めて囃子の存在が明らかになっています。囃子山車は二寸角位の長い木で組み立てられ、四隅を担がれ笛、太鼓、後には三味線のはやし方が囃子を演奏しながら練り歩きました。

In the Gisuke diary of the same year, it is written that the floats were made by the Taiho and Shinren groups, and the decorated floats were made by the Benten group, Taiho group, Echizen Keikichi, Fujishima Chukichi, Ono Gisuke, Wataoriza, and Gojyushigumi. The floats were constructed of long wooden blocks about two inches square, and were carried around the four corners while flutes, drums, and later, shamisen players played the music.

　通常は飾山車と囃子山車は対になって運行されることや儀助日記に宵祭りの三日前に「午後日暮れ方大工町佐吉を呼んではやし方を頼み方依頼せり」とあり、また宵祭り当日に「はやし方佐吉世話して、番屋、谷地町の銅屋、尺迦内の笛吹、十子（独鈷）村重兵衛孫、大工町銅屋長男かれこれ七名」とあります。これらから平成13年、当時の大館市文化財保護審議会・荒谷浩会長は「囃子方が町の者や近在の者で構成され前日の宵祭りにそろっていることは、かれらが長年にわたり囃子方にたずさわっていて、長い練習期間を取らなくてもよかったことを物語る。このことから明治22年以前、おそらくは江戸期からの『はやし』の存在と伝統そして継承が裏付けられよう」と考察しています。

In the Gisuke Diary, three days before the Yoimatsuri, there is an entry that reads, "In the afternoon, at dusk, I called Sakichi in the carpenter's town and asked him to be the hayashi leader. The list goes on and on. In 2001, Hiroshi Aratani, then chairman of the Odate City Council for the Protection of Cultural Properties, stated, "The fact that the musician was made up of people from the town and the surrounding area, and that they were all together the night before the festival, indicates that they had been involved in the musicianship for many years and did not need to spend a long time practicing. This indicates that they have been involved in the hayashi for many years and did not have to take a long time to practice. This confirms the existence, tradition, and succession of the hayashi since the Edo period, probably before 1889.

15明治48年には電線が張り巡らされて鉾、飾り山は通行不能になるIn 1905, electric cables were installed to make the floats and decorative floats impassable.

明治末期、小野呉服店庇（ひさし）上に設けられた置山。写真右が囃子山車で白装束が囃子方（「祭りと大豊講」より）

　明治43年通りに電線が張り巡らされ、これまで高さを競った鉾、飾山車は通行不能となり形態が一変しました。分限山は置山に変わり、行列には囃子山車だけが参加することになりました。また囃子山車は各町内を回ることになったとのことです。置山を見に来てくれるようにとあいさつに回り、あいさつ先の家の前に来ると、先頭の人が止まる合図の拍子木を打ち、羽織、袴を着た一番番頭に当たる人があいさつの口上を述べました。囃子は「歩き出す時」、「止まる時」、「ただ歩いていている時」とそれぞれ異なったとあります。それぞれ寄せ囃子、剣囃子、祇園囃子を演奏したのではと想像されます。

In 1910, electric wires were installed along the street, and the floats and decorative floats that had competed for height were closed to traffic, completely changing the form of the festival. The floats and decorative floats that used to compete in height were no longer allowed to pass through. The floats will now go around the town. When they arrived in front of a house to greet people, the first person hit the clapper to signal them to stop, and the first person wearing a haori and hakama said a few words of greeting. There are three types of music: yose-bayashi, ken-bayashi, and ken-bayashi. I imagine that they played Yose-bayashi, Ken-bayashi, and Gion-bayashi respectively.

16大正時代以降は、若者による曳山車が奉納され始めますAfter the Taisho era, young people began to dedicate their own floats.

大正期、北秋くらぶで奉納した籠山。左側が囃子山車（写真提供「北秋くらぶ」石川博司様

　祭典のしおり六号・越前孫吉氏の手記によると、大正以降には分限山とは別に若者による曳山車が奉納され始めました。飾山車で後方に太鼓を積み、囃子方は歩きながら演奏しました。やがて芸者衆が乗るようになり、だんだん現在の山車の形が形づけられました。

According to Mr. Magokichi Echizen's memoirs in the Festival Booklet No. 6, after the Taisho era (1912-1926), young people began to dedicate their own floats in addition to those of the Bungen floats. They were decorated floats with drums in the back, and the musicians played while walking. Eventually, geishas began to ride on the floats, and the floats gradually took on their present form.

17戦後の混乱以降は...After the post-war turmoil...

　戦後の混乱や人手不足などで一時自動車に牽引されたり、トラックの荷台に山車を作ったりした時代もありましたが、世の中が落ち着くにつれ曳山車が復活しました。囃子方は辯天講など一部を除いて市内や近在の演奏者や社中に依頼しておりましたが、昭和38年成田松太郎氏の発案により「大館ばやし保存会」が発足し、それまで囃子山車と称していた名称を大館囃子と改め、演奏者、社中によって異なっていた曲調を統一しました。リズム楽器としてすり鉦を新たに加え、大館囃子用にアレンジした秋田音頭を取り入れたのもこの頃からです。また山車を奉納する全町内から大館囃子を響かせようと若者や子供たちの指導・育成に努め、昭和60年には全ての山車から自前の大館囃子が聞けるようになりました。

Due to the confusion after the war and the lack of manpower, there was a time when floats were towed by cars or built on the back of trucks, but as the world settled down, the floats were revived. In 1963, the Odate Bayashi Preservation Association was established at the suggestion of Mr. Matsutaro Narita, and the name “Hayashi yama" was changed from the previous name of the festival float to "Odate bayashi". The name was changed to Odate bayashi (Odate Music Festival) and the music, which had been different for each performer and company, was unified. In addition, efforts were made to teach and train young people and children in order to make the Odate bayashi resonate from all the neighborhoods where the floats are dedicated, and by 1985, all the floats were able to play their own Odate bayashi.

18世代を超えて継承Handed down from generation to generation

平成23年、山車合同運行参加講代表による「出陣笛」演奏（写真提供 明石安典様）

　現在はその頃に指導を受けた人たちがそれぞれの町内や保存会で子供たちにふる里の祭り囃子の楽しさを伝えております。

Nowadays, the people who were taught at that time are passing on the joy of festival music in their hometowns to children in their neighborhoods and preservation groups.

参考資料についてAbout reference materials

「明治31年の大館神明社祭典の馬龍講」大館市史第四巻　543ページより

　今回この文書を書くにあたり「大館市史第四巻」を図書館から借り、543頁にある写真を見て驚愕しました。「明治31年の大館神明社祭典の馬龍講」と題された写真には、三階建家屋くらいの高さはあるであろう鉾（おそらく依り代と呼ばれるもの）が写っており、更に左隅には祇園祭の山鉾風の二階建て山車が写っていました。写真を提供したのが筆者の町内の方だったので直ぐに訪ねましたが、ご家族の方が古いものを処分した後で、残念ながらお借りすることはできませんでした。しかし明治時代の大館にこのように立派な鉾が練り歩いていたとは想像できませんでした。なるほどこれなら電線の張られた街は通れないし、祭りの日には見物のため近郷近在から人がいなくなったというのが分かったような気がします。

In writing this article, I borrowed "Odate City History Volume 4" from the library and was astonished to see a photo on page 543. In the photo titled "Baryu-ko at the Odate Shinmeisha Festival in 1898," there is a three-story float (probably called a yorishiro) as tall as a house, and in the left corner, there is a double-decker float in the style of a Gion Festival float. The person who provided the photo was a member of my neighborhood, so I visited him immediately, but unfortunately I could not borrow the photo because his family had already disposed of the old one. However, I could not imagine that such a splendid floats were paraded in Odate during the Meiji era. I can understand why the streets were covered with electric wires and why people from nearby towns and villages disappeared on festival days to watch the festival.

• 小野儀助日記、大館市史第四巻、祭典のしおり六号・八号、祭りと大豊講、「大由来説明書」に関する見解
• 「明治31年の大館神明社祭典の馬龍講」大館市史第四巻　543ページより
• Gisuke Ono's Diary, Odate City History, Vol. 4, Festival Bookmarks No. 6 and No. 8, Festivals and Daiho-kou, Views on "Dai-derivative Explanatory Notes
• "Baryu-kou of Odate Shinmeisha Festival in 1898" from Odate City History, Vol. 4, p. 543

文責：大館ばやし保存会　石田 誠孝

Written by Seikou Ishida,
Odate Bayayashi Preservation Association.