I vividly recall being captivated by the world of geishas after watching Memoirs of a Geisha, a 2005 American epic period film directed by Rob Marshall. Based on the 1997 novel by Arthur Golden, the film narrates the compelling tale of a young Japanese girl (played by Zhang Ziyi) who is sold by her struggling family to an okiya, or geisha house. After years of training, she eventually becomes a geisha and adopts the name Sayuri Nitta.
The story delves into the sacrifices and hardships endured by geishas before World War II, highlighting the tensions between their traditional society and the changes brought by both the war and modernization.
When I visited Kyoto years ago, I was filled with anticipation, hoping to catch a glimpse of a geisha. As I wandered through the ancient streets of Gion, I could almost hear the rustle of silk kimonos and the soft click of wooden sandals, imagining the graceful figures of women from another time. The city, rich in history, felt like a portal to another era, and for a fleeting moment, I believed I might step into that world and witness the geishas’ elusive elegance. Sadly, it wasn’t meant to be.
Imagine my excitement when the Japan Foundation Manila sent an invitation to watch a performance by Geiko and Maiko from Gion Higashi in Kyoto. The once-in-a-blue-moon performance recently offered Filipino audiences a rare chance to experience traditional Japanese performing arts, showcasing the grace, refined movements, and time-honored culture of Kyoto’s Hanamachi.
Maiko and Geiko performed classical Japanese dances. Tomitsuyu and Tomieri performed Harusame (Spring Rain), while Tomitae danced Momiji no Hashi (The Bridge of Autumn Leaves). For their final performance, the Geiko and Maiko performed Gion Kouta (Ballad of Gion).
Before the performance, their okaasan, Okami Tomimori-san, explained each piece. After their group performance, Tomitsuyu and Tomieri stayed to explain the differences between Geiko and Maiko and share insights into their centuries-old traditions.
In Kyoto, geishas are called Geiko. In Japanese, gei means art, sha translates to person, and ko means child. By definition, Geiko are professional performing artists trained in traditional Japanese performance arts such as music, dance, and playing the shamisen, among others.
How does one become a geisha? Most girls start as shikomi. At the okiya, the shikomi is responsible for household chores such as cleaning and cooking while also learning the skills needed to become a Maiko and, eventually, a Geiko.
After six months to a year, the shikomi advances to Maiko status, where the training to become a full-fledged Geiko begins. A Maiko, which translates to “dancing girl,” undergoes about five years of training in various arts before graduating to Geiko. Outside Kyoto, Maiko are known as hangyoku, which means “half jewel.”
dance, and playing the shamisen, among others.
How do we differentiate a full-fledged Geiko from an apprentice Maiko?
The first thing onlookers notice is the white makeup on their faces. While both Geiko and Maiko wear this distinctive makeup, there are key differences in their overall appearance.
A Maiko’s eyebrows are typically colored red or pink, and their eyes are outlined with red and black. Those who have been in training for less than a year will have only their lower lips painted red. Maiko who have trained for two years or more will have both their upper and lower lips painted.
Geiko, meanwhile, will have only a touch of red on their eyebrows, their eyes outlined in black, and their lips painted bright red.
Another noticeable difference is the hairline. Geiko wear simple wigs over their natural hair, while Maiko do not wear wigs, resulting in a visible band of unpainted skin along their hairline.
Maiko style their own hair into elaborate arrangements depending on their stage of training. They wear intricate kanzashi, including fan- or ball-shaped ornaments and decorative combs. First-year Maiko usually wear hana-kanzashi, ornaments with silk flowers dangling from their head to chin. In contrast, Geiko wear simpler hair ornaments, such as decorative combs.
Their kimonos and footwear also differ.
Maiko wear brightly colored, long-sleeved kimonos with wide obi (sashes), tied into bows that extend to their feet. Their collars, often embroidered in red, gold, and white, hang low at the back of their neck.
Geiko, being older, usually wear kimonos in solid colors with shorter sleeves. Their obi is narrower and often tied in a square knot. Their collars are completely white and sit higher on the back of their neck.
Maiko pair their kimonos with very high okobo (wooden sandals), while Geiko wear shorter zori or geta.
After their performances, the Geiko and Maiko also played the konpira kune kune game with the audience. It is a Japanese drinking game often played by Geiko and Maiko with their clients at the okiya. The rule is simple—two players face each other and alternately touch the box on the table between them. If the box is on the table during their turn, they must touch it with a flat hand. If the box is not on the table, they must touch the table with a fist. Failure to do either results in losing the game.
The Geiko and Maiko performance at Shangri-La Plaza was part of Nihongo Fiesta 2025, the annual celebration of Japanese language and culture organized by the Japan Foundation, Manila. This year’s festivities also included the 52nd Nihongo Speech Contest, where talented Filipino learners of Japanese showcased their language skills, as well as a special Kobanashi (comic storytelling) performance, adding humor and wit to the program.
