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From 2004 to 2017, Kamigata Rakugo Kyōkai (KRK) – the professional comic storytelling guild for the Osaka area – issued the magazine  Nna aho na  (That’s ridiculous). Concurrent with the tenure of one of the art’s most recognisable and progressive artists, Katsura Bunshi VI (b. 1943), as KRK chairperson, the magazine hailed Kamigata  rakugo ’s ‘new era’. It heralded the first dedicated  rakugo  hall open in Osaka in 60 years, as well as several other big-ticket enterprises.  Nna aho na  presented a brassy campaign of building and monument erection teamed with pageants and re-enactments of history, displays of tradition, and ritual. These served to promote Kamigata  rakugo  as a venerable art and one worthy of official recognition by Japan’s government. Examining the reforms that Bunshi VI orchestrated in the early twenty-first century, one sees a tension between ‘traditional’ and ‘new’ negotiated through an expedient trade-off. KRK was able to use Bunshi VI’s considerable star power to improve the art’s exposure, status, and infrastructure, while he became the face of the art, advanced his own agenda, and cemented his name in  rakugo  history.

A Celebrity’s Fifteen-Year Reign and Reinvention of Kamigata Rakugo