Segawa Kikunojo III as a Samurai 1780 - 1810

Editor: This is "Segawa Kikunojo III as a Samurai," a woodblock print by Katsukawa Shun'ei, sometime between 1780 and 1810. I’m really struck by the figure’s poise, this sense of contained power within a delicate frame. What draws your eye when you look at it? Curator: The tension you've noted is central. Here, we have Segawa Kikunojo III, a celebrated onnagata actor, a male performer specializing in female roles, posing as a samurai. How does the work play with gender and power? Consider the complexities: is this a subversion, an appropriation, or a nuanced commentary on the performative nature of both gender and societal roles? Editor: I see what you mean. The swords, the samurai garb… it’s all performance, layered onto another performance, the onnagata role. Curator: Exactly. Think about the socio-political context of the Edo period. Ukiyo-e prints, like this, were popular amongst the merchant class, often depicting actors and courtesans. What might the representation of a male actor in a traditionally male role, filtered through the lens of *onnagata*, suggest about the fluidity of identity and class during that time? Is the artist making a statement, and if so, what kind? Editor: So, it's not just about appreciating the aesthetic, but also unpacking what it meant for audiences then, and what it could mean now? Curator: Precisely. And thinking about *who* was in the audience then. Art always speaks within—and challenges—its cultural moment. This portrait challenges us to look at gender, class and identity through a more intersectional lens, encouraging a deconstruction of historical narratives and a fresh perspective on agency within societal constraints. Editor: That's fascinating; I’ll never look at Ukiyo-e prints the same way again! Curator: Hopefully. Keep asking questions and let's continue thinking critically.