With just a license, musicians, mimes, and other artists can now perform in specially designated public locations without first receiving permission from the police and local government. This new license system, which is a godsend for street performers, was put into effect in Tokyo in September 2002. The official name of the system is "Heaven Artist." Previously, it had been extremely difficult for street performers to receive permission due to concerns that they might block traffic or disturb people. The new system, which is modeled after one in New York, took its name from the fact that most of the publicly recognized places for performances will be in the high-pedestrian-traffic areas of Ginza and Shinjuku, locations ideal for street performers.

Intense Screening
In response to the new system, some 647 groups, most of them from the Tokyo area, applied for licenses. A total of 247 groups passed the first stage of the examination and were divided into the categories of performance art and music. They then took part in public auditions that began on July 30. Participants ranged in age from 16 to 79 and included both men and women. There were also 18 groups made up of foreigners. A total of 115 groups in the "performance" category and 25 in the "music" category received certification, and these included a total of 12 non-Japanese groups. A wide variety of performance artists, such as mimes, jugglers, dancers, and magicians, received licenses.

A Continuing Tradition
On the afternoon of September 20 at Tokyo's Inokashira Park, the Kosen Kagami Troupe performed Edo daikagura, a traditional type of juggling and lion dance. Daikagura traces its roots to the Heian period (794-1185), but it first achieved wide popularity in the Edo period (1600-1868). The dance was once a celebration of Shinto gods and had religious overtones, but nowadays it serves mainly as entertainment.

Daikagura involves a number of different acrobatic performances. There is the gokai jawan (five-story bowl), in which the performer balances a wooden drumstick called a daijawan on his chin and then places boards, bowls, and an object called a keshofusa on top, one after another, while continuing to keep everything balanced. Another performance is the wa no kumidori (ring toss), in which two performers begin by tossing three rings between them. They increase the number of rings to five and then six but never have more than one in their hands at a time; the rest are flying through the air. The troupe has 16 members and is led by Kosen Kagami, the thirteenth grand master of daikagura in his family.

Frenchman Joins Troupe
Performing that afternoon at the park were Senwaka Kagami and Sen'emon Kagami. Senwaka Kagami joined the troupe in 1998 and has demonstrated daikagura in the United States. Sen'emon Kagami is the stage name given to Frenchman Pierre-Yues Cornec. Cornec is currently 23 years old and has been in Japan for three years. In France he was active as a circus performer; he came to Japan after becoming acquainted with a Japanese in his circus company. After coming across Edo daikagura on the Internet, he became an apprentice and is now a seasoned performer. He spends each day practicing the techniques of Edo daikagura and studying Japanese.

At the park that afternoon, the two performers demonstrated a wide range of techniques, from the basic kasamawashi (spinning umbrella) to more complex tricks involving the bachi and the mari (cloth ball). Whenever they pulled off a trick, the crowd gathered to watch oohed, aahed, and applauded.
Senwaka Kagami says, "Street performers are treated completely differently overseas than they are in Japan. Over there they are viewed as artists. I hope the new Heaven Artist system will lead to an improved image for street performers in Japan." At the same time, others have expressed misgivings that the new system may make it difficult for street performers to enjoy the freedom they once had to perform at a time and location of their choice, flexibility that may allow them to draw a greater audience. Cornec says, "It feels stifling to have to perform at a predetermined time and place regardless of whether there is an audience present or not."

The new Heaven Artist system has just begun, and its goal is to preserve street performing and bring it closer to the people. Hopes are growing that this system will provide an opportunity for the revitalization of street performance.