Nakamara Utaemon III (三代目 中村歌右ヱ門) as 'Kuronbo (黒ん坊)'
Collection:CSM Museum & Study Collection
Date: 1825
Maker: Toyokawa Yoshikuni (豊川芳国)
Medium: O-ban Nishiki-e (大判錦絵, large-format coloured print)
Object number: O.23
DescriptionA scene from a play titled 'Yosete Arata ni Kokono Bake(日本新玉九尾化).'
The word 'Kuronbo (黒ん坊)' is a denigrating term. 'Kuro' means black and 'bo' means boy. In the 19th century, 'exotic'-themed shows became popular, with examples of actors, painting their skin black, acting as Kunlun (昆裔, an imaginary land) people.
In 1819, Nakamura Shikan (中村芝翫) played a black person in another Kabuki play, Onnagori Oshie no Mazehari (御名残押絵交張). The actor is depicted with his skin painted black along with coral, which was considered a product of the 'south.' Toyokawa Yoshiyuki's Nakamura Utaemon III （三代日中村歌右ヱ門）Kuronbo has striking similarities in the way the actors are portrayed, despite the fact that the makers, actors and plays are different from each other. One possibility is that Toyokawa referred to Kunisada's work in 1821, or that the two referred to the same reference material. The variety of reference materials was limited, as during this period, information related to outside Japan was very strictly controlled and kept away from the ordinary people due to the Edo Shogunate's diplomatic policy. Thus, it is easily possible that two referred to the same source material. It is worth noting that stereotypical visual images of certain ethnicity were reproduced in this structure.
The word 'Kuronbo (黒ん坊)' is a denigrating term. 'Kuro' means black and 'bo' means boy. In the 19th century, 'exotic'-themed shows became popular, with examples of actors, painting their skin black, acting as Kunlun (昆裔, an imaginary land) people.
In 1819, Nakamura Shikan (中村芝翫) played a black person in another Kabuki play, Onnagori Oshie no Mazehari (御名残押絵交張). The actor is depicted with his skin painted black along with coral, which was considered a product of the 'south.' Toyokawa Yoshiyuki's Nakamura Utaemon III （三代日中村歌右ヱ門）Kuronbo has striking similarities in the way the actors are portrayed, despite the fact that the makers, actors and plays are different from each other. One possibility is that Toyokawa referred to Kunisada's work in 1821, or that the two referred to the same reference material. The variety of reference materials was limited, as during this period, information related to outside Japan was very strictly controlled and kept away from the ordinary people due to the Edo Shogunate's diplomatic policy. Thus, it is easily possible that two referred to the same source material. It is worth noting that stereotypical visual images of certain ethnicity were reproduced in this structure.
