Japan's Last Goze: Haru Kobayashi

In the picturesque landscapes of present Japan, tradition intertwines with modernity in a perfect tandem. This country has adopted modern sensibilities only after molding them in such a way that befits its culture, tradition, and values. This was a collective endeavor for sure. However, it does not disprove the fact that some key figures stand out among others. The last Goze Haru Kobayashi is one of these outstanding figures in the Japanese Goze tradition. As one of the last surviving Goze, she represents a unique form of artistic expression and also a way of life that is tied to the socio-economic changes in Japan.

Before diving into the life of Haru Kobayashi we need to look at what being a goze means. The Goze were blind women musicians who traveled across rural Japan, particularly in the regions of Niigata and Toyama, during the Edo period. They are often marginalized due to their disability. Historically, the Goze emerged from the necessity of having economic independence. Many women were forced into this profession due to societal pressures and limited opportunities. These women became adept performers of traditional music, using the shamisen—a three-stringed instrument. The Goze not only entertained but also served as preservers of oral traditions and storytelling practices through song.

Haru was born in a small village in Niigata Prefecture in 1990. She was the youngest among four siblings in a relatively opulent household. She could have had a comfortable life with her family, but fate had something else planned for her. At three months of age, she lost her eyesight. There was no known way to recover her eyes. Her family feared the societal pressure that Haru have to face all her life. Two years later, her father died and her mother was unable to take care of her children. So, Haru had to be brought up by her great-uncle.

Social stigma for blind people in that period jeopardized Haru's chance for a normal life in society. A blind woman could not have more than a handful of choices for her career. Haru's family decided on her becoming a goze. She was assigned to receive her training under Fuji Higuchi. Haru was given the goze name "Sum." Subsequently, she took her first step into the world of Goze at a young age.

Her mother had always been horrified of what Haru's fate had to unfold. As a mother, she had to prepare her daughter for the harsh reality of the society. She grew progressively authoritarian to Haru. Fearing her mother's punishment, she relentlessly practiced on the shamisen, which she started learning at the age of 7, disregarding her bleeding fingers. On the banks of the Shinano River, she would practice Kangoe, a vocal style specific to goze, in thin clothes. She was cold and her throat bleeded, but Haru could not stop. Her mother showed motherly emotions to her daughter in a few instances. In one of these events, she cried after learning how Haru's friends pointed out her inability to distinguish between colors.

When a goze is allowed to play duets, it symbolizes her becoming a "true' goze. Haru became a true goze at the age of 13. But, Fuji Higuchi, was not impressed with her. She would often berate Haru for her seemingly unskilled singing. 

Unlike Fuji, Haru's another mentor, Sawa Hatsuji of Nagaoka, was readily captivated by her skill as a goze. In 1995, Haru cut ties with Fuji and went under the tutelage of Sawa in the goze organization of Nagaoka. She wholeheartedly praised Haru on her technique and etiquette. This nurturing environment helped her develop a deep understanding of the art form. And at the same time, she began appreciating the stories and emotions of each piece. During this period, Haru showed tremendous growth in terms of her skills, moreover, her condition was improving as well. As a result, finally, she was about to become a fully-fledged goze. 

After Sawa's death, Haru studied under Tsuru Sakai with whom she shared a warm friendship. Haru took over Tsuru's goze group after her retirement and stayed with her even after becoming independent. Haru announced her own retirement in 1973. She parted with her shamisen and gave it to one of her apprentices. 

Before her retirement, the popularity of goze was already declining l, as television was gaining its appeal in Japan. Near the end of the twentieth century, goze was going through its waning days. But, Haru still retained her popularity among the crowd. She was tailed by television reporters to a church she used to pay frequent visits to.

Haru continued her work and was hopeful that this art form can find its relevance in contemporary culture in Japan. She felt that there was still a future for Goze if proper support was provided. Haru emphasized the need for awareness and education. 

Following her performance at Kokugakuin University in front of an audience, including the scholars of folk arts, she once again came into the limelight of the media and general masses. The education committee of Shibata city wanted  to record the goze performances. They chose Haru for this task and retired Haru resumed performing. This way goze culture was reintroduced to Japan, especially to younger generations of Japan. 

In 1977, she was staying in a special home for the aged, and was united with former gozes who had worked in the region. In the same year, Haru was declared as the preserver of goze activities and in 1979, she was given the "Medal with a Yellow Ribbon," one of medals of honor that the Japanese government awards to the person who is hard-working and a model for the people.

Haru Kobayashi’s life and work is a bridge between past and present. As one of the last Goze, she had to carry the weight of her tradition as well as embody the hope for its survival. In an era where cultural heritage often finds itself at risk of being replaced and faded away from the collective conscience of people. Haru’s journey reminds us of the beauty and significance of preserving our collective history.