For many, the term “geisha” conjures a striking image: a face painted bright white, a head of glossy sculpted black hair, and traditional kimono in an array of vibrant colors.
Since 2021, Japan has been grappling with how to handle skyrocketing numbers of overseas tourists—some 25 million in 2023 and 11.6 million in the first four months of 2024 alone. Many of them travel to the country's second most popular destination (behind Tokyo), Kyoto, hoping to catch a glimpse of the iconic entertainers.
The city, considered the country’s cultural capital and a bastion of geisha business, was flooded with travelers unaware of (or purposefully turning a blind eye to) etiquette and rules of the geisha district Gion.
After Gion residents filed complaints against what they termed “unruly tourists,” the local government was forced to act, instituting a tourist ban that went into effect in earlier this year. “Kyoto is not a theme park," the local council said. The fines for trespassing are listed as up to ¥10,000, or about US $64.
Repeated complaints against tourists have been made by geisha (regionally known as geiko) and maiko (geiko in training, often only teens), who are often subjected to photos against their consent—even with numerous signs posted around Kyoto that clearly state the rules and the fines for infractions.
The new policy is the latest in Japan’s ongoing battle with overtourism, which has led to stressed infrastructure and marginalization of local communities. But understanding the new ban goes beyond the sheer numbers of visitors—it also requires recognition of centuries of Western sexualization and erasure of geisha’s historic and cultural context.
Understanding geisha in modern Japan
Thanks to centuries of sexualization in Western media, the image of the geisha is often closely linked with sex work. There is some historical truth here—geisha had been connected to the pleasure quarters and, back in the Tokugawa period, did engage in sex work during a time when it was more widely practiced.
However, much of the contemporary, erotically charged conceptions stem from highly sensationalized tales told by writers like Arthur Golding, whose novel Memoirs of a Geisha set the tone for how these women have been understood in the West for decades.
But this misunderstanding of the geisha strips them of a centuries-long history rooted in culture and art.
The term geisha (芸者) emphasizes entertainment, artistry, and performance. The first character, gei, is the same found in words for the arts (芸術), artist (芸術家), performing arts (芸能), and so on.
“It can't be overemphasized that the image that geisha would almost automatically conjure up today—especially abroad but not exclusively so—is rather irregular when we try historicizing the term," Maki Isaka, a professor at the University of Minnesota who specializes in Japanese performance and gender studies. "Geisha means ‘that which (sha)’ do ‘gei(acquired artistic technique),’ a term that was used in that exact manner in the past, but was even broader to include even martial arts practitioners.”
The term itself is not necessarily even gendered. Historians note that the first geisha were actually men who worked in what was then called Edo, now modern-day Tokyo. “Depending on regions,geishaas a ‘gender-neutral’ term indicates malegeisha, and a gender signifier would be necessary to signify female counterparts,” Isaka says.
Geisha is also not a monolithic word, it is simply the word that was carried over into English; in other cities, like Kyoto, the term geiko is used instead.
The connection to entertainment and performance is clear even in the aesthetics of geisha—the striking painted-on white makeup that is so striking is also found in kabuki theater and in the pale white masks used in Noh theater.
“In Edo-era theatre-related publications from the late 17th through early 18th centuries,geishausually meanskabukiactor, when kabukiactors were default male at that time,” Isaka says.
And, like the traditional performance houses of kabuki and Noh, geisha houses follow a system of passing down knowledge and skills through hierarchical systems to guide maiko, geisha-in-training, along their journey.
These maiko, generally between fifteen to twenty years old, learn tea ceremony, dance, and even music as part of their training. Becoming a geisha is a rigorous process that takes nearly a decade and includes a probationary period, apprenticeship, and training before a young woman even debuts as a maiko. Once a maiko, there is further training to become a geisha.
The number of geisha have dropped somewhat in recent years due to the pandemic. The number of geisha in the five Kyoto districts hovered around 161 in 2021, with the number of maiko at 68. Young women can still apply to become maiko—even some Japanese American women have done so and shared their journey on social media—but like many industries tied to traditional culture, there is plateauing interest.
Kyoto’s Gion district ban
Although other cities in Japan have a history of geisha districts, Kyoto remains the main node of modern geisha culture.
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There are five geisha districts in Kyoto where geisha work, creating an ecosystem based in traditional culture that include other businesses that provide necessities for customers, including tea houses or banquet halls.
Not only do these establishments need ingredients to create full menus to service regulars and tourists, they also require artisans who can assist in the upkeep of buildings done in a traditional style, like tatami mat makers and skilled carpenters. Similarly, geisha need access to craftspeople to provide them with the necessities of their trade like elaborate kimono and their various accessories.
But these districts also include run-of-the-mill residents who often find their lives disrupted by a flood of tourists on foot and on buses, particularly in the last several years.
Unfortunately, most tourists who visit Kyoto aren’t aware of the history of geisha nor are they aware of the etiquette and rules of the district. Florentyna Leow, writer, editor, and long-time travel consultant based in Kyoto noticed an uptick in tourism across Japan in the last few years, particularly in Kyoto.
“There are far more selfie-sticks, more video-filming in all sorts of places from temples to tiny restaurants, along with more wandering around and talking into a phone," compared to before the pandemic, she says. "This all means that total strangers are unwittingly pulled into photos or video they did not consent to.”
The tourist ban in Kyoto might seem extreme, but the idea of limiting who has access to geisha and their spaces isn’t new. Tea houses may limit customers and can even institute a referral system—first-time customers may not be allowed in unless they can be vetted by a regular, repeat customer or through a trusted third-party.
It’s also well known that geisha and maiko hold their professional secrets close, making it difficult even for well-meaning academics to gather information from their informants until they can prove their good intentions.
But the ban raises another crucial problem—determining who is a resident or a domestic tourist and who is a foreign, non-Japanese tourist. There are many non-Japanese residents who may be barred from going about their legitimate business simply based on appearance. Such a ban won’t be easy to uphold and instead presents a short-sighted approach to a very real problem that is unlikely to disappear.
