the government strove to prove its independence of the system. was an effective means to obtain that goal. and "Folklorism" Folklorism is "folklore on display, mainly for purposes of tourism or cultural preservation". The presentation of Japan's folk performing arts occur frequently "out-of-context" at a number of events for folk-culture and tourism where context is "taken to mean local Shinto or Buddhist festivals and ceremonials". These performing arts have been divided into categories by scholars that incorporate these contexts: those known as are typically part of the late-winter or early-spring festivals to guarantee a successful agricultural cycle. Thornbury (1995) indicates that the study of folk performing arts began in the late 1920s and is "an important area of inquiry both in folklore research and in research on the performing arts in general". She noted that often the studies that came out of these two fields of research had little to do with each other or the realities of the folk performing arts as they currently exist. One exception was the work of Yamaji Kōzō, which identified seven patterns to describe how performances could be rooted in communities. The seven patterns identify a historic basis for understanding the relationship between folk performing arts and associated regions: showing the significance of the folk performing arts in the cultural history of Japan. Yamaji directly mentions in the second and third patterns. Yamaji's second pattern, covering the late 12th to late 16th centuries, when provincial manors were established by the nobles and by powerful religious complexes that introduced festivals like those held in Kyoto to honor their deities. Some performers were sent from the capital but most developed locally. Yamaji refers to this period's processions with their displays of performing arts such as (" dances"). The , which began in 1136, is one of the best documented of Japan's folk performing arts events and is an example of this pattern. Dating from the same time period as the second pattern, the third focuses on those performing arts that were incorporated into the ceremonials of Buddhist temples established by local clans. is the blanket term for such performing arts such as . Performers with professional experience in these particular performing arts were hired to teach the priests and youths-in-training at the temples. A current example of this pattern is (Iwate Prefecture). While Yamaji's analysis cannot account for every form of folk performing art, the evidence