At an early age, Chikujou Ichikawa was taken in charge by a "Bosama" ( a blind musician) from Tsugaru ( Aomori Prefecture) in Northern Japan. There, she was taught traditional songs and shamisen. This formed the basis of her future performing career.

The Renaissance of the Tsugaru folklore music was the work of Master Narita Unchiku. Takahashi Chikusan and Ichikawa Chikujou became Narita Unchiku’s right arm and were essential in the spreading and the preservation of the traditions of Tsugaru. They were very active spreading the music not only locally but all over Japan and later the world. A few years after Master Narita Unchiku passed away, Ickikawa Chikujou formed an organization that would keep the traditions of Tsugaru alive and pass them down to younger generations. Another of their goals is to develop Tsugaru traditions and music.

Chikujou has become a very unique and precious presence in the Japanese performing arts world as she is the only one left who knows the Art of the Bosama and the folklore of Tsugaru from the Edo period(1603-1867) , the Meiji (1868-1911), the Taisho(1912-1926) and the Showa(1927-1988) periods. She has not only been active in keeping the traditions alive , but also in creating new music appealing to current audiences. She has performed numerous recitals in the most prestigious halls of Japan including the National Theatre and NHK Hall,to critical acclaim. She is a beloved performer by musicians from other genres for her extraordinary art and wonderful personal magnetism.

Members of the world famous Taiko groups, Ondekoza and Kodo have also been trained under Ms. Chikujou.

She has recently created a shamisen ensemble, with which she has been actively performing in Japan and around the world.

The shamisen was introduced from China through Japan's Ryukyu islands (Okinawa) in the south. Like the "sakura zensen" (front of blossoming cherry trees from south to north), the shamisen evolved as it moved north to Tsugaru where its metamorphosis was complete. The sanshin from Okinawa is the smallest version and the Tsugaru Shamisen is the largest. Its size and weight make it difficult to play so most performers just play. It is the rare virtuoso who plays and sings.

Tsugaru Shamisen is some of the most exciting music from Japan. Unlike other genres of traditional Japanese music, it is improvisational. Contests held each year among players - like the ever-popular 'dueling banjos' - are wildly popular in the northern Tsugaru region of Japan. During contests, the audience participates with shouts of excitement when they approve but are equally ready to "boo" an unworthy performer off the stage.

The Tsugaru region, known for its long winters, is an isolated place. For Japanese, the area represents "furusato," or the old country where life is simple and thoroughly "Japanese." Tsugaru folk songs have a romantic image of a bygone Japan and continue to exert influence on Japanese music and popular imagination. Playing tsugaru shamisen began as a diversion from harsh weather and developed into a sport. Performers became competitive seeking to outshine each other. It remains the most dynamic of traditional Japanese music.

Tsugaru Shamisen music is sweet and sour. Its uniqueness comes from the snap of the plectrum as it hits the string and skin. As on the biwa, the reverberation is called "sawari." Early shamisen performers were converted storytellers from the biwa schools.