The actor Nakamura Utaemon III, who was about to travel back to his native Kamigata after more than 4 years spent in Edo, performed in the 9th lunar month of 1812 his onagori kyôgen at the Nakamuraza, which included a sanbasô entitled "Mata Kuru Haru Suzuna no Tanemaki". The roles of the Sanbasô, the senzai and the okina were performed by Nakamura Utaemon III, Nakamura Akashi IV and Nakamura Shichisaburô IV. This dance is also called "Shitadashi Sanbasô" or the sanbasô with his tongue sticking out. The idea of a tongue-sticking sanbasô was older for it was originally created by Nakamura Nakazô I, the head of the Shigayama School of Buyô. Therefore, this dance is also sometimes called "Shigayama Sanbasô".

"Tanemaki Sanbasô" is one of many sanbasô musical dances. Originally sanbasô was derived from a Nô play called "Okina", a very sacred ceremonial play. This spirit has been foremost among plays. A sanbasô serves as a special dramatization to celebrate a special anniversary or a shûmei. When the curtain rises two performers come on the stage, deified beings in the form of men--a man in his heyday (the senzai) and a holy performer (the sanbasô). The two are considered to represent longevity and happiness. They dance solo and as a duet in commemoration of this lucky day and lucky people (including the audience). They thank the mercy of the gods.

This dance is also called "Shitadashi Sanbasô" or the sanbasô with his tongue sticking out. This is because at the climax the protagonist, the sanbasô, sticks his tongue out while dancing to the rhythmical tune of a drum.

"Tanemaki Sanbasô"