'....For almost every art or amusement patronized by the ruling elite, there existed only a limited number of these familial guilds, each one of which enforced the above rights over anyone who practiced that art throughout the entire kingdom. 5 No one could legally perform a play, a song, a musical piece, or practice any other art in public without either joining the soke's school or paying fees for temporary permission ( ichinichi soden ). Enforcement of these exclusive rights enabled soke families to control huge populations of students across all strata of society. Nishiyama argues that from the middle of the eighteenth century these guilds provided a government-regulated medium for the distribution of cultural knowledge within which people assigned to different social classes (samurai of various ranks, townsmen, merchants, priests, wealthy farmers, rural warriors, etc.) could interact with one another on a near-equal footing (Nishiyama 1982b, 531; 1997, 204-208).'