From The Roads to Sata: A 2000-Mile Walk Through Japan, by Alan Booth (Weatherhill, 1985), p. 130:
Well into the twentieth century this stretch of coast was the haunt of the goze [瞽女 ‘blind-woman’]—blind wandering shamisen players who trudged through the villages of the old province of Echigo, from wedding to wedding, from festival to festival, begging food and lodging in return for a song. All were women (though the shamisen is an instrument traditionally taken up by the blind of both sexes), and most were members of a strictly hierarchical society that organized them into small dependent bands. The younger and more ambitious of the goze might supplement their pittance of an income by selling their bodies at the village fairs, though if this were known to the society, they would quickly find themselves stripped of companionship and forced to wander through the Back of Japan alone, with only a stick and their songs to survive on.
From The Roads to Sata: A 2000-Mile Walk Through Japan, by Alan Booth (Weatherhill, 1985), pp. 106-107:
Willow trees line the old green streams that crisscross the streets of Tsuruoka, and the streams are walled like the castle moats they once were. The day was immensely hot, with the humidity of gathering rain. In twenty minutes my clothes were soaked, and before I was even out of the city I stopped to cool off in the Chido Museum and dripped my way round a fine collection of ornamental bandori—the backpacks used by country people for humping firewood, vegetables, and kids. The most elaborate of these were the iwai-bandori, designed for carrying wedding trousseaus, and the colors and patterns reminded me of the Navajo rugs I had once seen in New Mexico. (Speaking of the Navajo, I have often wondered why people who strive to depict the Japanese as quaint have never resorted to the Red Indian ploy. The written character for “moon,” for instance, is the same as the written character for “month,” so the Japanese, like the Hollywood redskins, speak of things happening “many moons ago.” To my knowledge, no one—not even the most frantic quaintifier—has ever translated the expression that way, but the quaintifying industry is alive and kicking, and if the Japanese would only start wearing feathers on their heads the oversight could quickly be expunged.)
In the grounds of the museum stood several “old” buildings—a town hall (1881), a police station (1884)—so revered for having survived a century that they had been lugged from their original sites and painstakingly reconstructed. There was also a fine old three-story farmhouse. (It had a warm thatched roof and high paper windows, and on the timber floors of its second and third stories, the old silkworm trays and frames stood intact. This solid old farmhouse had been trundled plank by plank from a little mountain village some sixteen kilometers outside Tsuruoka, and was now fenced off behind a turnstile earning money for the proprietors of the Chido Museum. I wonder what the villagers had had to say, and whether they had put on their war paint.