“The key is to be in the right state of mind," declared Inoue Yachiyo V to a hall of young women gathered at the Yasaka Club in Gion. "Spirit and attitude will be vital," she emphasised, speaking to the district's 90 Geiko and Maiko as they prepared for the first Miyako Odori performance after the COVID-19 pandemic. The event carried an unusual weight for organisers and participants. After two years of cancellations, Gion's renowned spring dance was set to feature a larger-than-usual number of debut performers.

For some aspiring Geiko (芸妓)—Kyoto's term for Geisha (芸者)—the psychological toll of waiting in uncertainty during the pandemic had proven too great. Far from their homes, they faced the prospect of a career that might never begin. Many chose to abandon the profession. Those who remained struggled with anxiety over their lack of practice. Even their immediate seniors, who would typically offer a stabilising presence, were uncertain if they had the experience to support their juniors adequately.

Inoue, the fifth-generation head of the Inoue School of Kyōmai, is well qualified to speak on mindset. As a Living National Treasure, she represents the discipline the Kyōmai (京舞) dance form requires. It demands a perpetually low centre of gravity, necessitating physical endurance and exceptional self-control. In Gion, Geiko must master this art during their formative years as a Maiko (舞妓), a trainee Geiko.