Nureki Chimuo Archive

The host, Hanshiro Mikazuki, appears to the tune of an enka melody and dances with confidence, moving his arms and legs with ease.

Just as he turned his back to the audience at the perfect spot in the center of the stage and gave his hips a little wiggle, I got an erection as if struck by lightning.

It was because the shape of Hanshiro’s butt and the way he moved it were just too sexy.

With his back still turned to the packed audience, he moved only his butt in time with the rhythm.

At the same time, he twists just his face to glance at the audience. That fleeting, sidelong glance is terrifyingly alluring.

With the confident look in his eyes and the movement of his buttocks, he scatters an utterly bewitching eroticism throughout the audience.

That said, Hanshiro is not naked.

Hanshiro is a male actor.

He does play female roles, but right now he’s dancing in men’s attire. I had gotten an erection from a man’s butt.

The dancing Hanshiro wore a single-layered kimono of deep navy blue, left open, with a pale yellow sash.

On the back of the kimono is a large white carp, dyed in a pose with its tail boldly arched upward. That white carp writhes seductively, as if it were alive.

At the change in the song’s melody, his dance pose freezes.

At the same moment, a woman’s voice rises from the audience.

“Han-chan!”

“Zachou!8”

“Hanshiro-chan!”

A woman in her fifties sitting diagonally in front of me shifted in her seat, leaning forward, “Hanshiro! Hanshiro!” calling him by his first name.

Her cries gradually grew higher and sharper, becoming almost like screams or shrieks.

However, no matter how enthusiastic their cheers may seem, I get the feeling that the women who support this troupe retain a certain level of detachment.

Perhaps it’s because many of them seem to have experienced the hardships of life.

This show goes on for an hour and fifteen minutes without a break.

Led by the troupe leader, Hanshiro Mikazuki, the eight or so members take turns changing costumes and wigs as they dance.

Each person dances for about five minutes on average. One song, though there are also performances by pairs of men and women. Sometimes three or four members appear simultaneously, performing in dramatic choreography.

The show is staged to keep the audience engaged. There are three female performers, each dancing with skillful grace. These actresses also receive applause from the audience.

The one who appears most frequently and dances most boldly in this Mikazuki troupe show is the troupe leader, Hanshiro.

In the second half, Hanshiro takes on female roles. He transforms into a young girl, a mature woman, a geisha, and even a courtesan, changing costumes and wigs as he dances energetically to the music.

No matter what he dances, he never cuts corners. The eroticism radiating from his entire body fills the stage with an increasingly alluring aura.

8

座長, Zachou, means troupe leader.

Even if it appears as though he is pandering to the audience, one can sense an unyielding tension running through his very core. I feel that this is what upholds the dignity of his art.

A regular patron rises from his seat, bends at the waist, and approaches the edge of the stage. He beckons the dancing performer right up to him. Extending one hand, he slips a prepared envelope containing a monetary gift into the performer’s chest.

The performer offers thanks in a low voice, yet with eyes brimming with emotion, and extends both hands to grasp the patron’s hand, cradling it gently.

And then he subtly and skillfully returns to the dance routine. This is repeated over and over again.

While dancing, the performers are constantly focused on the movements of their regular patrons.

There are times when I wonder if they are aware of every single face and expression of the two hundred people filling the audience.

The auditorium is dark, yet they possess eyes that can see even in the dark. And their senses are as keen as those of a swiftly moving insect.

Hanshiro’s popularity is, as expected, remarkably outstanding. Patrons holding gift envelopes rise from their seats one after another and approach the stage, resting one hand on its edge. At times, these patrons even form a line.

Hanshiro approaches the patrons while dancing, kneels on the stage, and accepts the gift envelopes.

He thanks them in a voice inaudible to the other audience members, bows his head slightly, shakes the guest’s hand, and then returns to his dance. There is not a single flaw in this sequence of movements.

I am always moved by the way he presents this, shaking the guest’s hand, as a “performance.” I sometimes even feel a sense of awe at the fact that there is no trace of vulgarity in these movements.

I do not know the exact amount inside the envelopes. I remember a time when, instead of putting them in envelopes, ten or twenty 10,000 yen bills were left exposed and hung from the actor’s neck down to their chest as decoration. That was not so long ago.

Ahh, if only I had a lot of money, I too would like to offer it to Hanshiro Mikazuki in that manner.

Hanshiro’s onnagata performance is so beautiful it makes me tremble. No, Hanshiro transcends the categories of woman or man. He is erotic. He is so beautiful and sexy that he seems otherworldly.

Hanshiro is tall.

He might be over 180 centimeters. When he dresses as a woman and wears a wig, he becomes even taller.

A large physique is generally considered a disadvantage for a female impersonator. A woman must be petite and cute.

However, because he is so incredibly alluring, Hanshiro’s tall stature is not a drawback. Enveloped in a radiance of eroticism that transcends common sense, his captivating presence becomes overwhelming every time he appears in a new costume.

(Damn it!)

I let out a groan in my heart.

No matter how stylish and seductive his geisha costume may be, no matter how he dances while casting intense, lingering glances, isn’t Hanshiro a man? He is not a woman.

No matter how much sex appeal he exudes or how sensually he dances, there must be a penis between that geisha’s legs. Since his body is so massive, his penis must surely be huge as well.

(Damn it!)

What could possibly be the psychology behind these women, clapping and cheering so wildly for Hanshiro Mikazuki as he dances in geisha attire, hiding that massive penis?

Is it precisely because he is a beautiful woman with a penis that the women go wild?

In the minds of the women who shout in ecstasy, what place does Hanshiro’s penis occupy?

Is this not perversion itself?

If we delve deeper into this perverted sense of ecstasy, where will it lead us?

Naturally, there should be no penis like Hanshiro’s inside the geisha costume worn by the actress as she dances.

When an actress without a penis dances, no matter how beautifully she is dressed, no envelopes of money will fly from the audience. No matter how skillfully she dances, the audience will offer nothing but applause.

I remembered.

A conversation I had with Minomura Ko one day, some fifty-odd years ago.

“....Suma-san (Minomura Ko’s real name), lately, when I have sex with a woman, I keep getting this image where I’ve become a woman with a vagina and am being penetrated by the man. When I insert my penis into a woman’s vagina, it’s not me doing the penetrating, it’s another man, and at that moment, my body has become a woman with a vagina. In reality, I’m the one inserting my penis into her vagina, but in my imagination, I’m the woman spreading my legs and having a penis inserted into me. And when I have sex with that image in mind, it feels really good, though…”

I don’t know if Minomura Ko understood what I was saying.

I couldn’t even understand this sensation I was describing myself.

I thought that even if I tried to explain this image to an ordinary person, they wouldn’t understand it at all. But I wanted to tell someone.

I thought Minomura Ko wouldn’t understand it either. This perverse sensation is too extreme.

But Minomura Ko was someone I could talk to about anything. In reality, I feel like I spoke about my image in a much more roundabout way.

Minomura Ko, however, understood immediately and responded.

He stared intently at my face and said with a serious expression.

“...Is that so? That’s good. That’s a good thing. You really are the real deal, aren’t you? I understand perfectly. Without that kind of sensibility, you couldn’t edit this magazine.”

This was around the time I took on the editing of “Uramado,” so I think it was around 1960, the 35th year of the Showa era.

Actually, when the show began that day, and Hanshiro Mikazuki appeared and turned around to shake his butt while dancing, I immediately recalled a conversation I’d had with Minomura Ko fifty years ago.

butt?

Why did that memory from fifty years ago suddenly resurface when I saw Hanshiro’s

I don’t know.

Rakka-san was sitting next to me, as usual.

It was Rakka-san who invited me to join this Makazuki troupe. Rakka-san is even more obsessed with this gypsy troupe than I am.

her.

While watching the stage, I wrapped my right arm around Rakka-san’s hips and stroked