Not much is known about the past activities of blind biwa players from Kyushu. During the 20th century a number of researchers and folklorists, such as Kimura Yūshō, Narita Mamoru, Hyōdō Hiromi, Hugh de Ferranti, etc., collected data on blind biwa players in various regions of Kyushu, made recordings of their performances and published the results of their research on the tradition. Despite these efforts to document and preserve the tradition of blind biwa players, it ceased to exist around the end of the 20th century. However, the recordings made and the materials collected during these past decades of its existence are a valuable source for research that can deepen our understanding of the history and nature of orality and oral literature both in Japan and in other parts of the world.

Blind biwa players from Kyushu were both entertainers and ritualists, and, accordingly, their repertory included both secular tales and ritual narratives performed during exorcism or blessing rites for the hearth (kamado-barai), earth (Jijin-barai), wells (Suijin-barai) and for new houses (watamashi). Based on comparative analysis of narrative texts of kamado-barai and watamashi rites (multiple performances) this paper will examine the nature and characteristics of ritual texts and explore the relationship between the processes of memorization of ritual texts and oral composition in the performance of secular tales in the tradition of blind biwa players.