Miso soup (味噌汁 misoshiru) is a traditional Japanese soup consisting of a stock called "dashi" into which softened miso paste is mixed. Many ingredients are added depending on regional and seasonal recipes, and personal preference.
The choice of miso paste for the miso soup defines a great deal of its character and flavor.
Wappani (wappani (わっぱ煮)) is a miso soup based dish unique to Awashima island off the coast of Niigata, Japan. A cedar
flask ("wappa") is filled with miso soup, fish and vegetables and it is
heated by dropping in hot rocks, which quickly bring it to a simmer.
Hot rocks retain their heat for hours after being taken from the fire,
so a hot meal can be prepared without the use of fire.
Dashi (出汁, だし) is a class of soup and cooking stock used in Japanese cuisines. Dashi forms the base for miso soup, clear broth, noodle broth, and many kinds of simmering liquid.
31.3.13
Shichinin no Samurai (Seven Samurai)
Seven Samurai[1] (七人の侍 Shichinin no Samurai) is a 1954 Japanese period adventure drama film co-written, edited, and directed by Akira Kurosawa.
The film takes place in 1587 during the Warring States Period of Japan. It follows the story of a village of farmers that hire seven masterless samurai (ronin) to combat bandits who will return after the harvest to steal their crops.
Seven Samurai is described as one of the greatest and most influential films ever made,[2] and is one of a select few Japanese films to become widely known in the West for an extended period of time. It is the subject of both popular and critical acclaim; it was voted onto the top three of the Sight & Sound critics' list of greatest films of all time in 1982, and onto the directors' top ten films lists in the 1992 and 2002 polls.[3]
The film takes place in 1587 during the Warring States Period of Japan. It follows the story of a village of farmers that hire seven masterless samurai (ronin) to combat bandits who will return after the harvest to steal their crops.
Seven Samurai is described as one of the greatest and most influential films ever made,[2] and is one of a select few Japanese films to become widely known in the West for an extended period of time. It is the subject of both popular and critical acclaim; it was voted onto the top three of the Sight & Sound critics' list of greatest films of all time in 1982, and onto the directors' top ten films lists in the 1992 and 2002 polls.[3]
Okinawan Terms: Utaki and Gusuku
Utaki (御嶽) is an Okinawan term for a sacred place.
Although the term utaki is used throughout the Okinawa region, the terms suku and on are heard in the Miyako and Yaeyama regions respectively. Utaki are usually located on the outskirts of villages and are places for the veneration of gods and ancestors.
Most gusuku have places of worship, and it is theorized that the origins of both gusuku and utaki are closely related.
The Miyako Islands (宮古列島 Miyako Rettō) are a group of islands in Okinawa Prefecture, Japan, east of the Yaeyama Islands.The Yaeyama Islands (八重山諸島 Yaeyama-shotō, also 八重山列島 Yaeyama-rettō, Yaeyama: Yaima Okinawan: Eema) are a group of islands in the southwest of Okinawa Prefecture, Japan.
Gusuku (ぐすく, 城, Okinawan: gushiku)[1] often refers to Okinawan castles or fortresses that feature stone walls.
Although the term utaki is used throughout the Okinawa region, the terms suku and on are heard in the Miyako and Yaeyama regions respectively. Utaki are usually located on the outskirts of villages and are places for the veneration of gods and ancestors.
Most gusuku have places of worship, and it is theorized that the origins of both gusuku and utaki are closely related.
The Miyako Islands (宮古列島 Miyako Rettō) are a group of islands in Okinawa Prefecture, Japan, east of the Yaeyama Islands.The Yaeyama Islands (八重山諸島 Yaeyama-shotō, also 八重山列島 Yaeyama-rettō, Yaeyama: Yaima Okinawan: Eema) are a group of islands in the southwest of Okinawa Prefecture, Japan.
Gusuku (ぐすく, 城, Okinawan: gushiku)[1] often refers to Okinawan castles or fortresses that feature stone walls.
Important Utaki
- Biinudaki (弁ヶ嶽), Naha
- Misaki-on (美崎御嶽), Ishigaki
- Miyatori-on (宮鳥御嶽), Nago
- Pyarumizu-utaki (漲水御嶽), Miyako
- Sefa-utaki (斎場御嶽), Nanjō
- Sunuhyan-utaki (園比屋武御嶽), Naha
- Tohaya-uganju (渡波屋拝所), Nago
- Tsunoji-utaki (ツノジ御嶽), Miyako
- Upugusuku-utaki (大城御嶽), Miyako
Nunobiki Falls
Nunobiki Falls (布引の滝 Nunobiki no Taki) is a set of waterfalls near downtown Kobe, Japan, with an important significance in Japanese literature and Japanese art.
In Japan, Nunobiki is considered one of the greatest "divine falls" together with Kegon Falls and Nachi Falls.
Nunobiki waterfalls comprises four separate falls: Ondaki, Mendaki, Tsusumigadaki, and Meotodaki.
A well-known section of the Tales of Ise describes a trip taken by a minor official and his guests to Nunobiki Falls. They begin a poetry-writing contest, to which one of the guests, a commander of the guards, contributes:
In Japan, Nunobiki is considered one of the greatest "divine falls" together with Kegon Falls and Nachi Falls.
Nunobiki waterfalls comprises four separate falls: Ondaki, Mendaki, Tsusumigadaki, and Meotodaki.
A well-known section of the Tales of Ise describes a trip taken by a minor official and his guests to Nunobiki Falls. They begin a poetry-writing contest, to which one of the guests, a commander of the guards, contributes:
- Which, I wonder, is higher-
- This waterfall or the fall of my tears
- As I wait in vain,
- Hoping today or tomorrow
- To rise in the world.
- It looks as though someone
- Must be unstringing
- Those clear cascading gems.
- Alas! My sleeves are too narrow
- To hold them all.[1]
30.3.13
The Gojūon: A Kind Samurai Told Naomi How My Yak Ran Wild.
| a | i | u | e | o | |
|---|---|---|---|---|---|
| ∅ | あ | い | う | え | お |
| K | か | き | く | け | こ |
| S | さ | し | す | せ | そ |
| T | た | ち | つ | て | と |
| N | な | に | ぬ | ね | の |
| H | は | ひ | ふ | へ | ほ |
| M | ま | み | む | め | も |
| Y | や | ゆ | よ | ||
| R | ら | り | る | れ | ろ |
| W | わ | ゐ | ゑ | を | |
| Additional kana | |||||
| ん | |||||
Each kana, which may be a hiragana or katakana character, corresponds to one sound in the Japanese language. As depicted at the right using hiragana characters, the sequence begins with あ (a), い (i), う (u), え (e), お (o), then continues with か (ka), き (ki), く (ku), け (ke), こ (ko), and so on for a total of ten rows of five.
In order to remember the gojūon, various mnemonics have been devised. For example,
- A Kind Samurai Told Naomi How My Yak Ran Wild.
For vowel ordering, the vowel sounds in the following English phrase may be used as a mnemonic:
- Ah, we soon get old.
One can also use
- HAIL UNESCO
Kana are syllabic Japanese scripts, a part of the Japanese writing system contrasted with the logographic Chinese characters known in Japan as kanji (漢字). There are three kana scripts: modern cursive hiragana (ひらがな), modern angular katakana (カタカナ), and the old syllabic use of kanji known as man’yōgana (万葉仮名) that was ancestral to both.
Hanami and Umemi
Hanami (花見, lit. "flower viewing") is the Japanese traditional custom of enjoying the beauty of flowers, "flower" in this case almost always meaning cherry blossoms ("sakura") or (less often) plum blossoms ("ume").[1]
From the end of March to early May, sakura bloom all over Japan,[2] and around the first of February on the island of Okinawa.[3]
The blossom forecast (桜前線 sakura-zensen, literally cherry blossom front) is announced each year by the weather bureau, and is watched carefully by those planning hanami as the blossoms only last a week or two.
In modern-day Japan, hanami mostly consists of having an outdoor party beneath the sakura during daytime or at night. In some contexts the Sino-Japanese term kan'ō (観桜, view-cherry) is used instead, particularly for festivals.
Hanami at night is called yozakura (夜桜, literally night sakura).
In many places such as Ueno Park temporary paper lanterns are hung for the purpose of yozakura. On the island of Okinawa, decorative electric lanterns are hung in the trees for evening enjoyment, such as on the trees ascending Mt. Yae, near Motobu Town, or at the Nakijin Castle.
A more ancient form of hanami also exists in Japan, which is enjoying the plum blossoms (梅 ume) instead, which is narrowly referred to as umemi (梅見, plum-viewing). This kind of hanami is popular among older people, because they are more calm than the sakura parties, which usually involve younger people and can sometimes be very crowded and noisy.
The practice of hanami is many centuries old. The custom is said to have started during the Nara Period (710–794) when it was ume blossoms that people admired in the beginning.
In the United States, hanami has also become very popular. In 1912, Japan gave 3,000 sakura trees as a gift to the United States to celebrate the nations' friendship. These trees were planted in Washington, D.C., and another 3,800 trees were donated in 1965.[13] These sakura trees continue to be a popular tourist attraction, and every year, the "National Cherry Blossom Festival" takes place when they bloom in early spring.[14]
From the end of March to early May, sakura bloom all over Japan,[2] and around the first of February on the island of Okinawa.[3]
The blossom forecast (桜前線 sakura-zensen, literally cherry blossom front) is announced each year by the weather bureau, and is watched carefully by those planning hanami as the blossoms only last a week or two.
In modern-day Japan, hanami mostly consists of having an outdoor party beneath the sakura during daytime or at night. In some contexts the Sino-Japanese term kan'ō (観桜, view-cherry) is used instead, particularly for festivals.
Hanami at night is called yozakura (夜桜, literally night sakura).
In many places such as Ueno Park temporary paper lanterns are hung for the purpose of yozakura. On the island of Okinawa, decorative electric lanterns are hung in the trees for evening enjoyment, such as on the trees ascending Mt. Yae, near Motobu Town, or at the Nakijin Castle.
A more ancient form of hanami also exists in Japan, which is enjoying the plum blossoms (梅 ume) instead, which is narrowly referred to as umemi (梅見, plum-viewing). This kind of hanami is popular among older people, because they are more calm than the sakura parties, which usually involve younger people and can sometimes be very crowded and noisy.
The practice of hanami is many centuries old. The custom is said to have started during the Nara Period (710–794) when it was ume blossoms that people admired in the beginning.
In the United States, hanami has also become very popular. In 1912, Japan gave 3,000 sakura trees as a gift to the United States to celebrate the nations' friendship. These trees were planted in Washington, D.C., and another 3,800 trees were donated in 1965.[13] These sakura trees continue to be a popular tourist attraction, and every year, the "National Cherry Blossom Festival" takes place when they bloom in early spring.[14]
29.3.13
Oshizushi (aka Hako-zushi)
Oshizushi (押し寿司, "pressed sushi"), also known as 箱寿司, hako-zushi, "box sushi"), is a pressed sushi from the Kansai Region, a favorite and specialty of Osaka.
It is a block-shaped sushi formed using a wooden mold, called an oshibako.
The chef lines the bottom of the oshibako with the toppings, covers them with sushi rice, and then presses the lid of the mold down to create a compact, rectilinear block. The block is removed from the mold and then cut into bite-sized pieces.
Particularly famous is バッテラ (battera, pressed mackerel sushi) or 鯖寿司 (saba zushi).[24]
It is a block-shaped sushi formed using a wooden mold, called an oshibako.
The chef lines the bottom of the oshibako with the toppings, covers them with sushi rice, and then presses the lid of the mold down to create a compact, rectilinear block. The block is removed from the mold and then cut into bite-sized pieces.
Particularly famous is バッテラ (battera, pressed mackerel sushi) or 鯖寿司 (saba zushi).[24]
Yakitori, Kushiyaki and Binchō-tan
Yakitori (焼き鳥, やきとり, ヤキトリ), grilled chicken, is commonly a Japanese type of skewered chicken. The term "yakitori" can also refer to skewered food in general.
Kushiyaki (skewer grilled), is a formal term that encompasses both poultry and non-poultry items, skewered and grilled. Both yakitori and kushiyaki mean the same, so the terms are used interchangeably in Japanese society.
The average yakitori is made from several bite-sized pieces of chicken meat, or chicken offal, skewered on a bamboo skewer and grilled, usually over Binchōtan charcoal.
Binchō-tan or white charcoal or binchō-zumi (備長炭) is a traditional charcoal of Japan. It dates to the Edo period, when during the Genroku era, a craftsman named Bitchū-ya Chōzaemon (備中屋 長左衛門) began to produce it in Tanabe, Wakayama. The raw material is oak, specifically ubame oak (Quercus phillyraeoides), now the official tree of Wakayama Prefecture.
Kushiyaki (skewer grilled), is a formal term that encompasses both poultry and non-poultry items, skewered and grilled. Both yakitori and kushiyaki mean the same, so the terms are used interchangeably in Japanese society.
The average yakitori is made from several bite-sized pieces of chicken meat, or chicken offal, skewered on a bamboo skewer and grilled, usually over Binchōtan charcoal.
Binchō-tan or white charcoal or binchō-zumi (備長炭) is a traditional charcoal of Japan. It dates to the Edo period, when during the Genroku era, a craftsman named Bitchū-ya Chōzaemon (備中屋 長左衛門) began to produce it in Tanabe, Wakayama. The raw material is oak, specifically ubame oak (Quercus phillyraeoides), now the official tree of Wakayama Prefecture.
Nishiki-e (aka Edo-e)
Nishiki-e (錦絵 nishiki-e) (lit. "brocade picture") refers to Japanese multi-colored woodblock printing; this technique is used primarily in ukiyo-e.
It was invented in the 1760s, and perfected and popularized by the printmaker Suzuki Harunobu, who produced a great many nishiki-e prints between 1765 and his death five years later.
Previously, most prints had been in black-and-white, colored by hand, or colored with the addition of one or two color ink blocks.
A nishiki-e print is created by carving a separate woodblock for every color, and using them in a stepwise fashion. An engraver by the name of Kinroku is credited with the technical innovations that allowed so many blocks of separate colors to fit perfectly onto the page where they ought to, relative to one another, in order to create a single complete image.
This style and technique is also known as Edo-e (江戸絵 edo-e), referring to Edo, the capital city of the time.
In the Meiji period, various nishiki-e illustrated new fashions, imported goods, events, the railroad, and other new topics. "Newspaper nishiki-e" (新聞錦絵, shinbun nishiki-e) were very popular among the public during this period.
The Meiji period (明治時代 Meiji-jidai), also known as the Meiji era, is a Japanese era which extended from September 1868 through July 1912.[1]
It was invented in the 1760s, and perfected and popularized by the printmaker Suzuki Harunobu, who produced a great many nishiki-e prints between 1765 and his death five years later.
Previously, most prints had been in black-and-white, colored by hand, or colored with the addition of one or two color ink blocks.
A nishiki-e print is created by carving a separate woodblock for every color, and using them in a stepwise fashion. An engraver by the name of Kinroku is credited with the technical innovations that allowed so many blocks of separate colors to fit perfectly onto the page where they ought to, relative to one another, in order to create a single complete image.
This style and technique is also known as Edo-e (江戸絵 edo-e), referring to Edo, the capital city of the time.
In the Meiji period, various nishiki-e illustrated new fashions, imported goods, events, the railroad, and other new topics. "Newspaper nishiki-e" (新聞錦絵, shinbun nishiki-e) were very popular among the public during this period.
The Meiji period (明治時代 Meiji-jidai), also known as the Meiji era, is a Japanese era which extended from September 1868 through July 1912.[1]
28.3.13
History of Canned Tea
Canned tea is a relatively recent method of marketing tea which has been sold traditionally as leaf tea and also, for the last 100 years, in tea bag form. It utilises the canning process to produce a ready made drink.
Perceived advantages are ease of use (minimal or no preparation time)
and the possibility of additives (such as flavours or sugar); the
disadvantages are the cost of shipment (and therefore the price of the
product) and a lack of freshness.[1]
Tea has been consumed in China for around 5,000 years.
Oolong (Chinese: 烏龍; pinyin: wūlóng) is a traditional Chinese type of tea somewhere between green and black in oxidation.[7] Although it has a taste more akin to green tea than to black tea, it does not have the stridently grassy vegetal notes that typify green tea. The best Oolong has a nuanced flavor profile. It is commonly brewed to be strong and bitter, yet leaving a faintly sweet aftertaste. The first commercially canned Oolong tea was available in Japan in 1981.[2]
Green tea (simplified Chinese: 绿茶; traditional Chinese: 綠茶; pinyin: lǜchá) has undergone minimal oxidation during processing. It is popular in China, Taiwan, Hong Kong, Japan, Korea, and the Middle East. Recently it has become more widespread in the West.
The first commercially canned green tea was available in Japan in 1985.[2] Subsequently, other brands have been launched in many countries due mainly to the claimed health and diet benefits of green tea.
History:
ITO EN Ltd (Japan) [2]
Tea has been consumed in China for around 5,000 years.
Oolong (Chinese: 烏龍; pinyin: wūlóng) is a traditional Chinese type of tea somewhere between green and black in oxidation.[7] Although it has a taste more akin to green tea than to black tea, it does not have the stridently grassy vegetal notes that typify green tea. The best Oolong has a nuanced flavor profile. It is commonly brewed to be strong and bitter, yet leaving a faintly sweet aftertaste. The first commercially canned Oolong tea was available in Japan in 1981.[2]
Green tea (simplified Chinese: 绿茶; traditional Chinese: 綠茶; pinyin: lǜchá) has undergone minimal oxidation during processing. It is popular in China, Taiwan, Hong Kong, Japan, Korea, and the Middle East. Recently it has become more widespread in the West.
The first commercially canned green tea was available in Japan in 1985.[2] Subsequently, other brands have been launched in many countries due mainly to the claimed health and diet benefits of green tea.
History:
ITO EN Ltd (Japan) [2]
- 1981 - First canned tea (oolong) launched
- 1985 - First canned green tea launched.
Tamagotchi
The Tamagotchi (たまごっち Tamagotchi) is a handheld digital pet, created in Japan by Akihiro Yokoi of WiZ and Aki Maita of Bandai.
It was first sold by Bandai in 1996 in Japan.
As of 2010, over 76 million Tamagotchis have been sold world-wide.[1]
A Tamagotchi is a keychain-sized virtual pet simulation game for people of all ages. The characters are colorful and simplistically designed creatures based on animals, objects, or people.
However, the story behind the games remained the same: Tamagotchis are a small alien species that deposited an egg on Earth to see what life was like, and it is up to the player to raise the egg into an adult creature.[3] The creature goes through several stages of growth, and will develop differently depending on the care the player provides, with better care resulting in an adult creature that is smarter, happier, and requires less attention. Gameplay can vary widely between models, and some models, such as TamagoChu, require little to no care from the player. Tamagotchi has a large fan base.
Most Tamagotchis are housed in a small egg-shaped computer with an interface usually consisting of three buttons, although the number of buttons may vary for different variations.
According to Bandai, the name is a portmanteau combining the Japanese word "たまご" (tamago), which means "egg", and the English word "watch" (ウオッチ - uocchi).[2] Consequently, the name is romanized as "Tamagotch" without the "i" in Japan. But recently in Japan, the romanized name has changed to the English "Tamagotchi" with the i. Most Tamagotchi characters' names end in 'tchi' or 'っち' in Japanese, with the exception of a few newer characters, such as Makiko.
It was first sold by Bandai in 1996 in Japan.
As of 2010, over 76 million Tamagotchis have been sold world-wide.[1]
A Tamagotchi is a keychain-sized virtual pet simulation game for people of all ages. The characters are colorful and simplistically designed creatures based on animals, objects, or people.
However, the story behind the games remained the same: Tamagotchis are a small alien species that deposited an egg on Earth to see what life was like, and it is up to the player to raise the egg into an adult creature.[3] The creature goes through several stages of growth, and will develop differently depending on the care the player provides, with better care resulting in an adult creature that is smarter, happier, and requires less attention. Gameplay can vary widely between models, and some models, such as TamagoChu, require little to no care from the player. Tamagotchi has a large fan base.
Most Tamagotchis are housed in a small egg-shaped computer with an interface usually consisting of three buttons, although the number of buttons may vary for different variations.
According to Bandai, the name is a portmanteau combining the Japanese word "たまご" (tamago), which means "egg", and the English word "watch" (ウオッチ - uocchi).[2] Consequently, the name is romanized as "Tamagotch" without the "i" in Japan. But recently in Japan, the romanized name has changed to the English "Tamagotchi" with the i. Most Tamagotchi characters' names end in 'tchi' or 'っち' in Japanese, with the exception of a few newer characters, such as Makiko.
Hydroplane Racing in Japan: Kyōtei (aka Boat Race)
The Kyōtei (競艇), literally "boat racing" and referred to as BOAT RACE,[1] is a hydroplane racing event primarily held in Japan.
It is one of Japan's four "Public Sports" (公営競技 kōei kyōgi), which are sports events where parimutuel betting is legal.
Kyōtei was introduced in Japan in 1952.
A unique aspect of the sport is the fact that women can compete as equally as men.
A Kyōtei race is conducted on man-made lakes with a 600-meter oval boat course. Six boats race three laps around the course (1,800 meters).[2] Races are generally over in about two minutes.
If a boat causes an infraction during the race or becomes disabled, the boat is immediately disqualified (失格 shikkaku).
Competitors are assigned an engine and a boat at random to use for race day. Only competitors are permitted to tune their assigned engine, however they are permitted to use their own propellers.
The current advertising slogan for Kyōtei racing is "Battle of 6/BOAT RACE".[5] The official theme song for promotional purposes is "Everything will be all right", performed by the J-pop group Do As Infinity.[6] Theme songs in previous years have been performed by singers Akiko Wada and Yuki Koyanagi, and pop group Tube.[7]
In April 2010, to promote the sport to a wide variety of people as well as internationally, the Kyotei Promotion Association began referring to the sport as BOAT RACE, and the organization itself has been renamed the BOAT RACE Promotion Association.[1] Accordingly, all of Japan's 24 kyōtei courses now refer to themselves as BOAT RACE courses.
It is one of Japan's four "Public Sports" (公営競技 kōei kyōgi), which are sports events where parimutuel betting is legal.
Kyōtei was introduced in Japan in 1952.
A unique aspect of the sport is the fact that women can compete as equally as men.
A Kyōtei race is conducted on man-made lakes with a 600-meter oval boat course. Six boats race three laps around the course (1,800 meters).[2] Races are generally over in about two minutes.
If a boat causes an infraction during the race or becomes disabled, the boat is immediately disqualified (失格 shikkaku).
Competitors are assigned an engine and a boat at random to use for race day. Only competitors are permitted to tune their assigned engine, however they are permitted to use their own propellers.
The current advertising slogan for Kyōtei racing is "Battle of 6/BOAT RACE".[5] The official theme song for promotional purposes is "Everything will be all right", performed by the J-pop group Do As Infinity.[6] Theme songs in previous years have been performed by singers Akiko Wada and Yuki Koyanagi, and pop group Tube.[7]
In April 2010, to promote the sport to a wide variety of people as well as internationally, the Kyotei Promotion Association began referring to the sport as BOAT RACE, and the organization itself has been renamed the BOAT RACE Promotion Association.[1] Accordingly, all of Japan's 24 kyōtei courses now refer to themselves as BOAT RACE courses.
27.3.13
Famikon (aka NES) and the Family Computer Robot (aka R.O.B)
The Nintendo Entertainment System (also abbreviated as NES or simply called Nintendo) is an 8-bit video game console that was released by Nintendo
in North America during 1985, in Europe during 1986 and Australia in
1987. In Japan (where it was first launched in 1983), it was released as
the Family Computer (ファミリーコンピュータ Famirī Konpyūta), commonly shortened as either the Famicom (ファミコン Famikon), or abbreviated to FC.
The best-selling gaming console of its time,[7]e[›] the NES helped revitalize the US video game industry following the video game crash of 1983,[8] and set the standard for subsequent consoles of its generation.
Following a series of arcade game successes in the early 1980s, Nintendo made plans to produce a cartridge-based console called the Famicom. Masayuki Uemura designed the system.
R.O.B. (Robotic Operating Buddy), released in Japan as the Family Computer Robot (ファミリーコンピュータ ロボット), is an accessory for the Nintendo Entertainment System (NES). It was released in July 1985 in Japan and later that year in North America. It had a short product lifespan, with support for only two games which comprised the "Robot Series"; Gyromite and Stack-Up. R.O.B. was released with the intention of portraying the Nintendo Entertainment System as something novel in order to alleviate retail fears following the video game crash of 1983.[1][2]
R.O.B. was available in the Deluxe Set, a configuration for the console that included, among other things, R.O.B. and Gyromite. Stack-Up was purchased separately and included its own physical game pieces.
The creation and marketing of R.O.B. as a "Trojan horse" after the North American video game crash of 1983 was named the fifth in GameSpy's twenty-five smartest moves in gaming history.[1][2] The Yahoo website ranked R.O.B. as one of the craziest video game controllers and noted the unfortunate fact that the gaming peripheral only worked with two games.[5]
The North American video game crash was a massive recession of the video game industry that occurred from 1984 to 1985.
The best-selling gaming console of its time,[7]e[›] the NES helped revitalize the US video game industry following the video game crash of 1983,[8] and set the standard for subsequent consoles of its generation.
Following a series of arcade game successes in the early 1980s, Nintendo made plans to produce a cartridge-based console called the Famicom. Masayuki Uemura designed the system.
R.O.B. (Robotic Operating Buddy), released in Japan as the Family Computer Robot (ファミリーコンピュータ ロボット), is an accessory for the Nintendo Entertainment System (NES). It was released in July 1985 in Japan and later that year in North America. It had a short product lifespan, with support for only two games which comprised the "Robot Series"; Gyromite and Stack-Up. R.O.B. was released with the intention of portraying the Nintendo Entertainment System as something novel in order to alleviate retail fears following the video game crash of 1983.[1][2]
R.O.B. was available in the Deluxe Set, a configuration for the console that included, among other things, R.O.B. and Gyromite. Stack-Up was purchased separately and included its own physical game pieces.
The creation and marketing of R.O.B. as a "Trojan horse" after the North American video game crash of 1983 was named the fifth in GameSpy's twenty-five smartest moves in gaming history.[1][2] The Yahoo website ranked R.O.B. as one of the craziest video game controllers and noted the unfortunate fact that the gaming peripheral only worked with two games.[5]
The North American video game crash was a massive recession of the video game industry that occurred from 1984 to 1985.
Abura-age, Kitsune Udon and Inari-zushi/-maki
Aburaage (油揚げ abura-age or aburage) is a Japanese food product made from soybeans. It is produced by cutting tofu into thin slices and deep frying first at 110~120 °C then at 180~200 °C again.
Abura-age is often used to wrap inari-zushi (稲荷寿司), and is added to miso soup. It is also added to udon noodle dishes which are called kitsune-udon because of legends that foxes (kitsune) like deep-fried tofu. Aburaage can also be stuffed e.g. with nattō before frying again.
There is a thicker variety known as atsu-age (厚揚げ) or nama-age (生揚げ).
The Japanese were the first to develop tofu pouches. However, little is known of their early history.
Because of their long storage life, light weight, and complexity of production, tofu pouches lend themselves to large-scale factory production and widespread distribution.
In Japanese mythology abura-age is the favorite food of Kitsune and Inari.
Inarizushi (稲荷寿司) is a pouch of fried tofu typically filled with sushi rice alone.
It is named after the Shinto god Inari, who is believed to have a fondness for fried tofu.
The pouch is normally fashioned as deep-fried tofu (油揚げ, abura age). Regional variations include pouches made of a thin omelette (帛紗寿司, fukusa-zushi, or 茶巾寿司, chakin-zushi). It should not be confused with inari maki, which is a roll filled with flavored fried tofu.
A version of inarizushi that includes green beans, carrots, and gobo along with rice, wrapped in a triangular aburage (fried tofu) piece, is a Hawaiian specialty, where it is called cone sushi and is often sold in okazu-ya (Japanese delis) and as a component of bento boxes.[9][10][11][12]
Abura-age is often used to wrap inari-zushi (稲荷寿司), and is added to miso soup. It is also added to udon noodle dishes which are called kitsune-udon because of legends that foxes (kitsune) like deep-fried tofu. Aburaage can also be stuffed e.g. with nattō before frying again.
There is a thicker variety known as atsu-age (厚揚げ) or nama-age (生揚げ).
The Japanese were the first to develop tofu pouches. However, little is known of their early history.
Because of their long storage life, light weight, and complexity of production, tofu pouches lend themselves to large-scale factory production and widespread distribution.
In Japanese mythology abura-age is the favorite food of Kitsune and Inari.
Inarizushi (稲荷寿司) is a pouch of fried tofu typically filled with sushi rice alone.
It is named after the Shinto god Inari, who is believed to have a fondness for fried tofu.
The pouch is normally fashioned as deep-fried tofu (油揚げ, abura age). Regional variations include pouches made of a thin omelette (帛紗寿司, fukusa-zushi, or 茶巾寿司, chakin-zushi). It should not be confused with inari maki, which is a roll filled with flavored fried tofu.
A version of inarizushi that includes green beans, carrots, and gobo along with rice, wrapped in a triangular aburage (fried tofu) piece, is a Hawaiian specialty, where it is called cone sushi and is often sold in okazu-ya (Japanese delis) and as a component of bento boxes.[9][10][11][12]
26.3.13
Ninjō and Giri
Ninjō (人情 "human emotion or compassion") in Japanese, is human feeling that complements and opposes the value of giri,
or social obligation, within the Japanese worldview.
Broadly speaking, ninjo is said to be the human feeling that inescapably springs up in conflict with social obligation.
As ninjo is a culture-specific term, the validity and/or importance of this concept is subject to a wide range of viewpoints, inextricably tied in to one's perspective on nihonjinron as a whole.
Giri (義理)[1]:95[2] is a Japanese value roughly corresponding to "duty", "obligation", or even "burden of obligation" in English.
It is defined as "to serve one's superiors with a self-sacrificing devotion" by Namiko Abe. This value is so integral to Japanese culture that the conflict between giri and ninjō, or "human feeling", is said to have been the primary topic of Japanese drama since earlier periods in history.
A classic example is that of a samurai who falls in love with an unacceptable partner (perhaps somebody of low social class or somebody of an enemy clan). As a loyal member of his clan, he then becomes torn between the obligation to his feudal lord and to his personal feelings, with the only possible resolution being shinjū or double love-suicide.
Today, social critics[who?] decry the diminishing influence of giri on shinjinrui, the new generations of Japan, who pursue an individualistic path in life that seems quite disparate from traditional Japanese culture.
The term Nihonjinron (日本人論) literally means theories/discussions about the Japanese. The term refers to a genre of texts that focuses on issues of Japanese national and cultural identity.
Broadly speaking, ninjo is said to be the human feeling that inescapably springs up in conflict with social obligation.
As ninjo is a culture-specific term, the validity and/or importance of this concept is subject to a wide range of viewpoints, inextricably tied in to one's perspective on nihonjinron as a whole.
Giri (義理)[1]:95[2] is a Japanese value roughly corresponding to "duty", "obligation", or even "burden of obligation" in English.
It is defined as "to serve one's superiors with a self-sacrificing devotion" by Namiko Abe. This value is so integral to Japanese culture that the conflict between giri and ninjō, or "human feeling", is said to have been the primary topic of Japanese drama since earlier periods in history.
A classic example is that of a samurai who falls in love with an unacceptable partner (perhaps somebody of low social class or somebody of an enemy clan). As a loyal member of his clan, he then becomes torn between the obligation to his feudal lord and to his personal feelings, with the only possible resolution being shinjū or double love-suicide.
Today, social critics[who?] decry the diminishing influence of giri on shinjinrui, the new generations of Japan, who pursue an individualistic path in life that seems quite disparate from traditional Japanese culture.
The term Nihonjinron (日本人論) literally means theories/discussions about the Japanese. The term refers to a genre of texts that focuses on issues of Japanese national and cultural identity.
Spirit of Jūdō: The Principle of Jū
"True spirit of Judo is nothing but the gentle and diligent free spirit.
Judo rests on flexible action of mind and body. The word flexible
however never means weakness but something more like adaptability and
openmindedness. Gentleness always overcomes strength." Kyuzo Mifune[7]
The principle of Ju (柔 Jū, Yawara) underlies all classical Bujutsu methods and was adopted by the developers of the Budō disciplines.
Acting according to the principle of Jū, the classical warrior could intercept and momentarily control his enemy's blade when attacked, then, in a flash, could counter-attack with a force powerful enough to cleave armor and kill the foe.
The same principle of Jū permitted an unarmed exponent to unbalance and hurl his foe to the ground. Terms like "Jūjutsu" and "Yawara" made the principle of Jū the all-pervading one in methods cataloged under these terms. That principle was rooted in the concept of pliancy or flexibility, as understood in both a mental and a physical context. To apply the principle of Jū, the exponent had to be both mentally and physically capable of adapting himself to whatever situation his adversary might impose on him.
There are two aspects of the principle of Jū that are in constant operation, both interchangeable and inseparable.
One aspect is that of "yielding", and is manifest in the exponent's actions that accept the enemy's force of attack, rather than oppose him by meeting his force directly with an equal or greater force, when it is advantageous to do so. It is economical in terms of energy to accept the foe's force by intercepting and warding it off without directly opposing it; but the tactic by which the force of the foe is dissipated may be as forcefully made as was the foe's original action.
The principle of Jū is incomplete at this point because yielding is essentially only a neutralization of the enemy's force.
While giving way to the enemy's force of attack there must instantly be applied an action that takes advantage of the enemy, now occupied with his attack, in the form of a counterattack. This second aspect of the principle of Jū makes allowance for situations in which yielding is impossible because it would lead to disaster. In such cases "resistance" is justified. But such opposition to the enemy's actions is only momentary and is quickly followed by an action based on the first aspect of Jū, that of yielding.
Budō (武道) is a Japanese term describing martial ways.[1][2][3] Literally translated it means the Way of War. In modern usage, bujutsu, meaning martial/military art/science, is typified by its practical application of technique to real-world or battlefield situations. Budō, meaning martial Way, has a more philosophical emphasis. The "dō" is a reference to this path.[11]
The principle of Ju (柔 Jū, Yawara) underlies all classical Bujutsu methods and was adopted by the developers of the Budō disciplines.
Acting according to the principle of Jū, the classical warrior could intercept and momentarily control his enemy's blade when attacked, then, in a flash, could counter-attack with a force powerful enough to cleave armor and kill the foe.
The same principle of Jū permitted an unarmed exponent to unbalance and hurl his foe to the ground. Terms like "Jūjutsu" and "Yawara" made the principle of Jū the all-pervading one in methods cataloged under these terms. That principle was rooted in the concept of pliancy or flexibility, as understood in both a mental and a physical context. To apply the principle of Jū, the exponent had to be both mentally and physically capable of adapting himself to whatever situation his adversary might impose on him.
There are two aspects of the principle of Jū that are in constant operation, both interchangeable and inseparable.
One aspect is that of "yielding", and is manifest in the exponent's actions that accept the enemy's force of attack, rather than oppose him by meeting his force directly with an equal or greater force, when it is advantageous to do so. It is economical in terms of energy to accept the foe's force by intercepting and warding it off without directly opposing it; but the tactic by which the force of the foe is dissipated may be as forcefully made as was the foe's original action.
The principle of Jū is incomplete at this point because yielding is essentially only a neutralization of the enemy's force.
While giving way to the enemy's force of attack there must instantly be applied an action that takes advantage of the enemy, now occupied with his attack, in the form of a counterattack. This second aspect of the principle of Jū makes allowance for situations in which yielding is impossible because it would lead to disaster. In such cases "resistance" is justified. But such opposition to the enemy's actions is only momentary and is quickly followed by an action based on the first aspect of Jū, that of yielding.
Budō (武道) is a Japanese term describing martial ways.[1][2][3] Literally translated it means the Way of War. In modern usage, bujutsu, meaning martial/military art/science, is typified by its practical application of technique to real-world or battlefield situations. Budō, meaning martial Way, has a more philosophical emphasis. The "dō" is a reference to this path.[11]
25.3.13
Game of Go (aka Igo) and Go Proverbs
Go (Chinese: 圍棋 wéiqí, Japanese: 囲碁 igo, [nb 2] Korean: 바둑 baduk, Vietnamese: 碁圍 cờ vây, common meaning: "encircling game") is a board game for two players that originated in China more than 2,500 years ago.
The game is noted for being rich in strategy despite its relatively simple rules.
According to chess master Emanuel Lasker: "The rules of Go are so elegant, organic, and rigorously logical that if intelligent life forms exist elsewhere in the universe, they almost certainly play Go."[2]
The traditional way to place a Go stone is to first take one from the bowl, gripping it between the index and middle fingers, with the middle finger on top, and then placing it directly on the desired intersection.
Go proverbs are traditional proverbs relating to the game of Go, generally used to help one find good moves in various situations during a game. They are generalisations and thus a particular proverb will have specific situations where it is not applicable. Knowing when a proverb is inapplicable is part of the process of getting stronger as a Go player.
Some proverbs have a more general applicability. For example, one famous proverb is to move where your opponent wants to move. This may be used as a heuristic in games such as Scrabble.[1]
Several books relating to Go proverbs have been written, for example Go proverbs illustrated by Kensaku Segoe (瀬越憲作) was published in 1960. Such books do not just quote the proverb but spend their pages explaining the meaning and application of the proverbs.
The game is noted for being rich in strategy despite its relatively simple rules.
According to chess master Emanuel Lasker: "The rules of Go are so elegant, organic, and rigorously logical that if intelligent life forms exist elsewhere in the universe, they almost certainly play Go."[2]
The traditional way to place a Go stone is to first take one from the bowl, gripping it between the index and middle fingers, with the middle finger on top, and then placing it directly on the desired intersection.
Go proverbs are traditional proverbs relating to the game of Go, generally used to help one find good moves in various situations during a game. They are generalisations and thus a particular proverb will have specific situations where it is not applicable. Knowing when a proverb is inapplicable is part of the process of getting stronger as a Go player.
Some proverbs have a more general applicability. For example, one famous proverb is to move where your opponent wants to move. This may be used as a heuristic in games such as Scrabble.[1]
Several books relating to Go proverbs have been written, for example Go proverbs illustrated by Kensaku Segoe (瀬越憲作) was published in 1960. Such books do not just quote the proverb but spend their pages explaining the meaning and application of the proverbs.
- Add a second stone to one on the third line then abandon both.
- An eye of six points in a rectangle is alive.
- Don't make dangos.
- Don't make empty triangles.
- Don't peep at a cutting point.
- Don't peep at both sides of a bamboo joint.
- Even a moron connects against a peep.
- Do not be greedy! Chinese: 贪不得胜; pinyin: Tān bùdé shèng; literally "Greed cannot prevail"
- Play fast, lose fast.
- Don't play 1, 2, 3 - Just play 3.
- For rectangular six in the corner to live, liberties are necessary.
- Hane at the head of three stones.
- Hane at the head of two stones.
- If you don't understand ladders then don't play Go.
- If you have lost all four corners then you have lost.
- If you have secured all four corners then you have won.
- In a fight, contact plays strengthen the underdog.
- In a semeai capture the ko on the final play.
- In the corner six stones live but four stones die.
- Keep your stones connected.
- Learn the eye-stealing tesuji.
- Never try to cut bamboo joints.
- On the second line eight stones live but six stones die.
- On the third line, four will die but six will live.
- Play in the centre of a symmetrical formation.
- Ponnuki is worth 30 points.
- Separate your opponent's stones.
- Strange things happen at the 1-2 points.
- Strike at the waist of the knight's move.
- The carpenter's square becomes ko.
- The comb formation is alive.
- The monkey jump is worth 8 points.
- The weak carpenter's square is dead.
- There is death in the hane.
- You only have one weak group. Your other weak groups are dead.
- Your enemy's key point is your own key point.
Horagai
Horagai (法螺貝) (or jinkai (陣貝) ) are large conch shells that have been used as trumpets in Japan for many centuries.
The hora is especially associated with the Yamabushi, ascetic warrior monks of the Shugendo sect. The yamabushi used the trumpet to signal their presence (or movements) to one another across mountains and to accompany the chanting of sutras.
The conch is used by Buddhist monks for religious purposes. Its use goes back at least[citation needed] 1,000 years, and it is still used today for some rituals, such as the omizutori (water drawing) portion of the Shuni-e rites at the Tōdai-ji in Nara. Each Shugendo school has his own conch shell melodies
The instrument, which has served a number of purposes throughout Japanese history, has been given a number of Japanese names depending on its function. Special schools still teach students to play the traditional music associated with the conch.
Unlike most shell trumpets from other parts of the world which produce only one pitch, the Japanese hora or horagai can produce three or five different notes. The different pitches are achieved using a bronze or wooden mouthpiece attached to the apex of the shell's spire.
Omizutori (お水取り), or the annual, sacred water-drawing festival, is a Japanese Buddhist festival that takes place in the Nigatsu-dō of Tōdai-ji, Nara, Japan. The festival is the final rite in observance of the two-week-long Shuni-e ceremony. This ceremony is to cleanse the people of their sins as well as to usher in the spring of the new year. Once the Omizutori is completed, the cherry blossoms have started blooming and spring has arrived.
The hora is especially associated with the Yamabushi, ascetic warrior monks of the Shugendo sect. The yamabushi used the trumpet to signal their presence (or movements) to one another across mountains and to accompany the chanting of sutras.
The conch is used by Buddhist monks for religious purposes. Its use goes back at least[citation needed] 1,000 years, and it is still used today for some rituals, such as the omizutori (water drawing) portion of the Shuni-e rites at the Tōdai-ji in Nara. Each Shugendo school has his own conch shell melodies
The instrument, which has served a number of purposes throughout Japanese history, has been given a number of Japanese names depending on its function. Special schools still teach students to play the traditional music associated with the conch.
Unlike most shell trumpets from other parts of the world which produce only one pitch, the Japanese hora or horagai can produce three or five different notes. The different pitches are achieved using a bronze or wooden mouthpiece attached to the apex of the shell's spire.
Omizutori (お水取り), or the annual, sacred water-drawing festival, is a Japanese Buddhist festival that takes place in the Nigatsu-dō of Tōdai-ji, Nara, Japan. The festival is the final rite in observance of the two-week-long Shuni-e ceremony. This ceremony is to cleanse the people of their sins as well as to usher in the spring of the new year. Once the Omizutori is completed, the cherry blossoms have started blooming and spring has arrived.
24.3.13
Baku: The Dreams and Nightmares Eater
Baku (獏 or 貘)
are Japanese supernatural beings that devour dreams and nightmares.
They have a long history in Japanese folklore and art, and more recently have appeared in Japanese anime and manga.
The Japanese term baku has two current meanings, referring to both the traditional dream-devouring creature and to the zoological tapir (e.g., the Malayan tapir).[1]
In recent years, there have been changes in how the baku is depicted.
They have a long history in Japanese folklore and art, and more recently have appeared in Japanese anime and manga.
The Japanese term baku has two current meanings, referring to both the traditional dream-devouring creature and to the zoological tapir (e.g., the Malayan tapir).[1]
In recent years, there have been changes in how the baku is depicted.
Lost Wolves of Japan: Yama-inu and Ezo Ōkami
The Honshū wolf (Canis lupus hodophilax), known in Japan as the Japanese wolf (ニホンオオカミ（日本狼） Nihon Ōkami), yamainu (ヤマイヌ（豺、犲、山犬）, "mountain dog"), or simply wolf (オオカミ（狼） Ōkami), is one of the two extinct subspecies of the gray wolf once endemic to the islands of Japan. The Honshū wolf occupied the islands of Honshū, Shikoku, and Kyūshū in Japan. The other subspecies was the Hokkaidō wolf, native to the island of Hokkaidō.
The Honshu wolf is a prominent figure in Japanese folklore and culture. The mountains of Japan, seen as a dangerous, deadly place, are highly associated with the wolf. The Honshu wolf is believed to be the protector and guardian of the mountains, where it resides in its most remote parts.
Some villages have wolf charms called shishiyoke, that protected their village and their crops against wild boar.
Sightings of the Honshu wolf were very rare, and the wolf was described as being more of a spirit entity protecting travelers. Some legends bring this to a whole new level, where abandoned infants are found and raised by the wolves. The wolves also protect surrounding villages from the dangerous wildlife.[2]
The clan leader Fujiwara no Hidehira was said to have been raised by wolves, and the wolf is often symbolically linked with mountain kami in Shinto. The most famous example is the wolf kami of Mitsumine Shrine in the town of Chichibu in Saitama Prefecture.
The Hokkaidō wolf, known in Japan as the Ezo wolf (エゾオオカミ（蝦夷狼） Ezo Ōkami, Canis lupus hattai), an endemic wolf of Japan occupied the island of Hokkaidō. The Hokkaidō wolf was larger than the Honshū wolf, more closely approaching the size of a regular gray wolf. The Hokkaidō wolf became extinct during the Meiji restoration period. Sightings of the Hokkaidō wolf have been claimed from the time of its extinction to the present day, but none of these have been verified.[3]
The Honshu wolf is a prominent figure in Japanese folklore and culture. The mountains of Japan, seen as a dangerous, deadly place, are highly associated with the wolf. The Honshu wolf is believed to be the protector and guardian of the mountains, where it resides in its most remote parts.
Some villages have wolf charms called shishiyoke, that protected their village and their crops against wild boar.
Sightings of the Honshu wolf were very rare, and the wolf was described as being more of a spirit entity protecting travelers. Some legends bring this to a whole new level, where abandoned infants are found and raised by the wolves. The wolves also protect surrounding villages from the dangerous wildlife.[2]
The clan leader Fujiwara no Hidehira was said to have been raised by wolves, and the wolf is often symbolically linked with mountain kami in Shinto. The most famous example is the wolf kami of Mitsumine Shrine in the town of Chichibu in Saitama Prefecture.
The Hokkaidō wolf, known in Japan as the Ezo wolf (エゾオオカミ（蝦夷狼） Ezo Ōkami, Canis lupus hattai), an endemic wolf of Japan occupied the island of Hokkaidō. The Hokkaidō wolf was larger than the Honshū wolf, more closely approaching the size of a regular gray wolf. The Hokkaidō wolf became extinct during the Meiji restoration period. Sightings of the Hokkaidō wolf have been claimed from the time of its extinction to the present day, but none of these have been verified.[3]
Christmas in Japan
Encouraged by commerce, the secular celebration of Christmas is popular in Japan, though Christmas is not a national holiday.
Gifts are sometimes exchanged.[15]
Christmas parties are held around Christmas Day; Japanese Christmas cake, a white sponge cake covered with cream and decorated with strawberries, is often consumed.
Christmas lights decorate cities, and Christmas trees adorn living areas and malls.[15]
Christmas Eve has become a holiday for couples to spend time together[15] and exchange gifts.
A successful advertising campaign in the 1970s made eating at KFC around Christmas a national custom. Its chicken meals are so popular during the season that stores take reservations months in advance.[16]
The first recorded Christmas in Japan was a Mass held by Jesuit missionaries in Yamaguchi Prefecture in 1552.
The birthday of the current emperor, Akihito, on December 23 is a national holiday.
Gifts are sometimes exchanged.[15]
Christmas parties are held around Christmas Day; Japanese Christmas cake, a white sponge cake covered with cream and decorated with strawberries, is often consumed.
Christmas lights decorate cities, and Christmas trees adorn living areas and malls.[15]
Christmas Eve has become a holiday for couples to spend time together[15] and exchange gifts.
A successful advertising campaign in the 1970s made eating at KFC around Christmas a national custom. Its chicken meals are so popular during the season that stores take reservations months in advance.[16]
The first recorded Christmas in Japan was a Mass held by Jesuit missionaries in Yamaguchi Prefecture in 1552.
The birthday of the current emperor, Akihito, on December 23 is a national holiday.
23.3.13
Hikimayu
In pre-modern Japan, hikimayu was the practice of removing the natural eyebrows and painting smudge-like eyebrows on the forehead. Hiki means "pull" and mayu means "eyebrows".
Aristocratic women used to pluck or shave their eyebrows and paint new ones using a powdered ink called haizumi, which was made of soot from sesame or rape-seed oils.[1]
Hikimayu first appeared in the eighth century, when the Japanese court adopted Chinese customs and styles.[2] Japanese noblewomen started painting their faces with a white powder called oshiroi (de). One putative reason for hikimayu is that removing the natural eyebrows made it easier to put on the oshiroi. At this time the eyebrows were painted in arc shapes,[2] as in China. Women also started painting their teeth black, which is known as ohaguro.
Hikimayu is mentioned in both of the great literary classics of the Heian period, The Tale of Genji and The Pillow Book.
Hikimayu can be seen in Rashomon, Ugetsu and Ran, three of the great masterpieces of Japanese cinema.
Aristocratic women used to pluck or shave their eyebrows and paint new ones using a powdered ink called haizumi, which was made of soot from sesame or rape-seed oils.[1]
Hikimayu first appeared in the eighth century, when the Japanese court adopted Chinese customs and styles.[2] Japanese noblewomen started painting their faces with a white powder called oshiroi (de). One putative reason for hikimayu is that removing the natural eyebrows made it easier to put on the oshiroi. At this time the eyebrows were painted in arc shapes,[2] as in China. Women also started painting their teeth black, which is known as ohaguro.
Hikimayu is mentioned in both of the great literary classics of the Heian period, The Tale of Genji and The Pillow Book.
Hikimayu can be seen in Rashomon, Ugetsu and Ran, three of the great masterpieces of Japanese cinema.
History of the Keikogi (aka Dōgi)
Keikogi (稽古着 or 稽古衣) or dōgi (道着) is a uniform for training, used in martial arts derived from Japan, or budō. (keiko means practice, gi means dress or clothes).
The prototype for the modern keikogi emerged in the late 19th century.
The keikogi was developed by judo founder Kanō Jigorō.[1]
Judogi is the formal Japanese name for the traditional uniform used for judo practice and competition.
Japanese martial arts historian Dave Lowry speculates Kano derived the uniform's design from the uniforms of Japanese firefighter's heavy hemp jackets called "hanten."[2]
By 1920, the keikogi as it exists today was worn by Kano's students for judo practice.
The Kodokan (judo headquarters) has a photo taken in 1920 that shows Kano wearing a modern keikogi.[3]
Until the 1920s, Okinawan karate practice was usually performed in everyday clothes. Given the social climate between the Japanese and Okinawans during this time, karate was seen as brutish compared to Japanese martial arts which had their roots in samurai culture, such as jujutsu. To help market karate to the Japanese, Gichin Funakoshi -- the founder of Shotokan karate and the instructor responsible for importing karate to mainland Japan—adopted a uniform style similar to Kano's design.[4] Over time, Karate practitioners modified the keikogi for karate by lightening the weave of the fabric and adding strings to the inside of the jacket that are tied to keep the jacket neatly closed. The jacket is also held closed by the belt or obi.
Judo (柔道 jūdō, meaning "gentle way") is a modern martial art, combat and Olympic sport created in Japan in 1882 by Jigoro Kano.
Kodokan (講道館 Kōdōkan), or the Kodokan Institute, is the headquarters of the worldwide judo community. Literally, kō means "to lecture", dō means "way," and kan is "a public building" together translating as "a place for the study of the way." The Kodokan was founded in 1882 by Kanō Jigorō, the founder of judo, and is now an eight-story building in Tokyo.
The prototype for the modern keikogi emerged in the late 19th century.
The keikogi was developed by judo founder Kanō Jigorō.[1]
Judogi is the formal Japanese name for the traditional uniform used for judo practice and competition.
Japanese martial arts historian Dave Lowry speculates Kano derived the uniform's design from the uniforms of Japanese firefighter's heavy hemp jackets called "hanten."[2]
By 1920, the keikogi as it exists today was worn by Kano's students for judo practice.
The Kodokan (judo headquarters) has a photo taken in 1920 that shows Kano wearing a modern keikogi.[3]
Until the 1920s, Okinawan karate practice was usually performed in everyday clothes. Given the social climate between the Japanese and Okinawans during this time, karate was seen as brutish compared to Japanese martial arts which had their roots in samurai culture, such as jujutsu. To help market karate to the Japanese, Gichin Funakoshi -- the founder of Shotokan karate and the instructor responsible for importing karate to mainland Japan—adopted a uniform style similar to Kano's design.[4] Over time, Karate practitioners modified the keikogi for karate by lightening the weave of the fabric and adding strings to the inside of the jacket that are tied to keep the jacket neatly closed. The jacket is also held closed by the belt or obi.
Judo (柔道 jūdō, meaning "gentle way") is a modern martial art, combat and Olympic sport created in Japan in 1882 by Jigoro Kano.
Kodokan (講道館 Kōdōkan), or the Kodokan Institute, is the headquarters of the worldwide judo community. Literally, kō means "to lecture", dō means "way," and kan is "a public building" together translating as "a place for the study of the way." The Kodokan was founded in 1882 by Kanō Jigorō, the founder of judo, and is now an eight-story building in Tokyo.
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