During the Shinkokinshu era, Japanese court poetry, waka or uta emerged as a discrete literary field, with its own genres and sub-genres, along with a sense of history and ideological purpose. As the Shinkokinshu period came to an end, the Mikohidari house of Fujiwara no Teika was preeminent partly because it could claim long traditions of practice as well as scholarship in a world in which nothing was important than affiliation with the legitimizing authority of ancient traditions. Poetry in the late Kamakura period remained a kind of performance art, aired if not composed in communal gatherings where such understated scenes served as models of decorum, and subtle gradation of expression. Tameie's, Teika's son, chief ambition was to gain for his descendants a secure place in the poetic culture of the imperial court. One sign of the healthy situation of poetry in the mid fifteenth century was planning for a new imperial anthology, sponsored by the shogun Ashikaga Yoshimasa.