The actor Nakamura Utaemon VI playing the role of the shirabyôshi Hanako in the famous dance Musume Dôjôji

The second of Ota's portraits of Utaemon VI in Musume Dojoji captures a different moment in the dance's extended sequence -- perhaps the tenugui or kasa segments, where the shirabyoshi handles a dance prop drawn from the temple ceremony. The hikinuki costume-change tradition makes each phase of Musume Dojoji visually distinct, and Ota's pair of prints would have allowed collectors to follow Utaemon's transformation across the performance. The composition holds to the same [yakusha-e](/glossary/yakusha-e) isolation as the companion sheet, but the kimono pattern, sleeve position, and prop in hand mark this as a separate stage in the choreography. Ota's working practice of producing multiple prints from a single role reflects his approach to kabuki as a sequence of distinct pictorial moments rather than a single canonical pose. For Utaemon VI's Hanako specifically, the dance contained too many signature instants to compress into one image, and the second print preserves what the first could not.