Until about the sixth century, Japanese society was a society that still maintained elements of a tribal type and a strong matriarchal imprint: thanks also to Shintoism, which attributed great consideration to women for their ability to generate life, in Japan there was no lack of priestesses , queens and goddesses.

With the arrival of Buddhism and Confucianism, things changed drastically: the woman gradually lost her social role and was forced to obey the man, father, brother or husband. Yet, despite the subordinate role to which they were relegated, women, especially those belonging to the aristocracy or the imperial court, continued to enjoy esteem, respect and even partial freedom, especially in the amorous sphere.

It is thanks to love, diaries and correspondence between lovers, that Japanese literature was born: if contracts and official documents were the prerogative of men, literary works came to life from feminine genius. Around the year 1000, works that have spanned the centuries and dictated the rules of Japanese literature saw the light, among

which the famous Genji Monogatari and Makura no Soshi, the Notes of the pillow. Something even more peculiar happened in Japanese theater: at the time of its founding by Izumo no Okuni, a traveling dancer, kabuki theater was an exclusively female art form. The shows enjoyed enormous success among all social classes and began to be emulated even in brothels, so much so that the shogun decided to ban them: around 1630 the onna, Japanese term for "women", were replaced on stage by boys, the onnagata ( literally "in the shape of a woman"), men disguised in women's clothes and, from that moment, the theater was considered an unseemly place, not suitable for women.

The new rotation of kakemono intends to invite the visitor to explore the variety of the Japanese female universe: from deities to ladies of the court, from dancers to commoners, without forgetting the symbolism of flowers and birds related to femininity.

Okame is the theatrical transposition of Ame no Uzume, Shinto deity of dawn and joy connected to the myth of the sun goddess Amaterasu no Omikami. According to the myth, it was Uzume, with his obscene and comic dance, who brought the goddess out of the cave in which she was confined and thus made the light return to the world. Okame's dance is sometimes performed as a farcical interlude (kyogen) of theater no.