for a large portion is insufficient for certainty but it does dismiss the notion that folk performing arts are originally local creations. This is not to say that every folk performing art was born in a cultural capital: is one exception that is frequently mentioned. Carnival aspect , or Drunken Demon, is "one of the most famous and popular legends in medieval Japanese literature". According to the legend, Shuten Dōji (overlord of the ) and his followers were "abducting and devouring young Kyoto maidens" and warriors were sent by the imperial court to destroy them. The warriors, helped by attending deities, carried out this mission: rescuing the survivors and restoring peace to the land. Carnivalesque literature "inverts power structures, demystifying and lampooning that which a particular culture holds serious or sacred". At one point in the legend, a group of disguised as a troupe emerge to entertain the warriors. A fierce stare wards them off. The general meaning of "refers to all rituals related to agriculture and thus to fertility and regeneration". It could be simply described as a form of dance in which some people play musical instruments while dancing in various combinations. In the scroll, two warriors visit a shrine to pray for protection and are entertained by . In the scene at villain's palace, the also perform . The locations of the performances are similar. The angles of the buildings are the same. The postures and costumes are identical. The 's lampoons the earlier and more wholesome dance at the shrine: the shrine performance is for the warriors' prayers to succeed in their mission whereas the seeks to trick the warriors so to facilitate killing them. is described as being welcomed by all classes for its fund-raising capacity. A monk organized a competition to raise funds for the building of a bridge. Those in attendance for the performance ranged from members of the imperial court down to commoners. All in attendance were fascinated by the until the collapse of the reviewing stand claimed the lives of people of all backgrounds. This contrast between a fertility ritual and the deaths of innocent people is important to this carnivalesque event: it represents both destruction and renewal. The growth of the performing arts was considered by part of Japanese society to be a bad omen: "the sudden appearance of as a troupe in the story can be seen as a