The special wards (特別区 tokubetsu-ku) are 23 municipalities that together make up the core and the most populous part of Tokyo, Japan. Together, they occupy the land that was the city of Tokyo before it was abolished in 1943. The special wards' structure was established under the Japanese Local Autonomy Law and is unique to Tokyo.
In Japanese, they are commonly known as the "23 wards" (23区 nijūsan-ku). All wards refer to themselves as cities in English, even though the Japanese designation of tokubetsuku is unchanged.
It is merely a grouping of special wards; there is no associated single government body.
Many important districts are located in Tokyo's special wards.
List of special wards.
Notable districts.
24.8.12
Soroban
The soroban (算盤, そろばん, counting tray) is an abacus developed in Japan. It is derived from the Chinese suanpan, imported to Japan around 1600.[1] Like the suanpan, the soroban is still used today, despite the proliferation of practical and affordable pocket electronic calculators.
The soroban's physical resemblance to the Chinese suanpan clearly indicates its origin. The number of beads, however, is similar to the Roman abacus, which had four beads below and one at the top.
Most historians on the soroban agree that it has its roots on the suanpan's importation to Japan via the Korean peninsula in the 15th century.
The methods of addition and subtraction on a soroban are basically the same as the equivalent operations on a suanpan.
Despite the popularity of calculators, the soroban is very much in use today. The Japanese Chamber of Commerce and Industry conducts examinations which soroban users can take to obtain licenses.[2] There are six levels of mastery, starting from sixth-grade (very skilled) all the way up to first-grade (for those who have completely mastered the use of the soroban). Those obtaining at least a third-grade license are qualified to work in public corporations.
The soroban's physical resemblance to the Chinese suanpan clearly indicates its origin. The number of beads, however, is similar to the Roman abacus, which had four beads below and one at the top.
Most historians on the soroban agree that it has its roots on the suanpan's importation to Japan via the Korean peninsula in the 15th century.
The methods of addition and subtraction on a soroban are basically the same as the equivalent operations on a suanpan.
Despite the popularity of calculators, the soroban is very much in use today. The Japanese Chamber of Commerce and Industry conducts examinations which soroban users can take to obtain licenses.[2] There are six levels of mastery, starting from sixth-grade (very skilled) all the way up to first-grade (for those who have completely mastered the use of the soroban). Those obtaining at least a third-grade license are qualified to work in public corporations.
Space Invaders
Space Invaders (スペースインベーダー Supēsu Inbēdā) is an arcade video game designed by Tomohiro Nishikado, and released in 1978.
It was one of the forerunners of modern video gaming and helped expand the video game industry from a novelty to a global industry (see golden age of video arcade games). When first released, Space Invaders was very successful. Following its release, the game caused a temporary shortage of 100-yen coins in Japan and grossed US$2 billion worldwide by 1982.
It was originally manufactured and sold by Taito in Japan, and was later licensed for production in the United States by the Midway division of Bally. Space Invaders is one of the earliest shooting games and the aim is to defeat waves of aliens with a laser cannon to earn as many points as possible. In designing the game, Nishikado drew inspiration from popular media: Breakout, The War of the Worlds, and Star Wars. To complete it, he had to design custom hardware and development tools.
The game has been the inspiration for other video games, re-released on numerous platforms, and led to several sequels.
It was one of the forerunners of modern video gaming and helped expand the video game industry from a novelty to a global industry (see golden age of video arcade games). When first released, Space Invaders was very successful. Following its release, the game caused a temporary shortage of 100-yen coins in Japan and grossed US$2 billion worldwide by 1982.
It was originally manufactured and sold by Taito in Japan, and was later licensed for production in the United States by the Midway division of Bally. Space Invaders is one of the earliest shooting games and the aim is to defeat waves of aliens with a laser cannon to earn as many points as possible. In designing the game, Nishikado drew inspiration from popular media: Breakout, The War of the Worlds, and Star Wars. To complete it, he had to design custom hardware and development tools.
The game has been the inspiration for other video games, re-released on numerous platforms, and led to several sequels.
23.8.12
Oshizushihako
A oshizushihako (Japanese: 押し寿司箱, literally: pressed sushi box) is a box or mold used to make oshizushi (pressed sushi).
The box is traditionally made from wood, but nowadays often made from plastic.
The box can be taken apart into three parts, a bottom part, the rectangular walls, and a top part.
Before use, the wooden box should be put in water so that the rice sticks less to the box.
The bottom part and the top part can be covered with a layer of plastic foil for easier cleaning.
The bottom part and the walls are assembled before the rice and the topping is added.
Next, the top part is used to press onto the sushi, hence the name pressed sushi.
For disassembly, the rectangular walls are pulled up while the top part still presses onto the sushi.
After removing the top part the sushi is cut and can be served.
A variant of the oshizushihako has half cylindrical shapes cut from the thicker top and bottom parts so that the sushi is pressed in a cylindrical shape.
The box is traditionally made from wood, but nowadays often made from plastic.
The box can be taken apart into three parts, a bottom part, the rectangular walls, and a top part.
Before use, the wooden box should be put in water so that the rice sticks less to the box.
The bottom part and the top part can be covered with a layer of plastic foil for easier cleaning.
The bottom part and the walls are assembled before the rice and the topping is added.
Next, the top part is used to press onto the sushi, hence the name pressed sushi.
For disassembly, the rectangular walls are pulled up while the top part still presses onto the sushi.
After removing the top part the sushi is cut and can be served.
A variant of the oshizushihako has half cylindrical shapes cut from the thicker top and bottom parts so that the sushi is pressed in a cylindrical shape.
21.8.12
Kuji-kiri and Kuji-in
Kuji-kiri (九字切り lit. "nine symbolic cuts") is a practice of using hand gestures found today in Shugendo and Shingon Mikkyo. It is also present in some old and traditional schools ("ryuha") of Japanese martial arts including but not exclusive to schools that have ties with ninjutsu. Originally thought to have originated from Taoism and brought to Japan from China by Buddhist monks, it is often misconceived as a spell or curse (jumon) to cause ones adversary to meet a foul end.[citation needed]
A subset of Kuji Kiri, Kuji-in (九字印 lit. "nine symbolic signs") is the name given to the hand postures that represent each of the nine cuts when performed in the long form as detailed in Shingon Mikkyo Kuji Goshin Ho.[citation needed]
The kuji-in are a tool to be used in meditation, and are frequently over-simplified in popular culture as being a form of magic. This misrepresentation has been further popularized by Dead or Alive, Tekken, Tenchu and certain neo-ninja.
A subset of Kuji Kiri, Kuji-in (九字印 lit. "nine symbolic signs") is the name given to the hand postures that represent each of the nine cuts when performed in the long form as detailed in Shingon Mikkyo Kuji Goshin Ho.[citation needed]
Kuji-kiri (nine symbolic cuts) is an esoteric practice which is performed with an array of hand "seals" called kuji-in (nine symbolic signs).
The kuji-in are a tool to be used in meditation, and are frequently over-simplified in popular culture as being a form of magic. This misrepresentation has been further popularized by Dead or Alive, Tekken, Tenchu and certain neo-ninja.
19.8.12
Tsukumogami: Kasa Obake and Chōchin Obake
Understood by many Western scholars[1] as a type of Japanese yōkai,[2] the Tsukumogami (付喪神) was a concept popular in Japanese folklore as far back as the tenth century,[3] used in the spread of Shingon Buddhism.[4] Today, the term is generally understood to be applied to virtually any object, “that has reached their 100th birthday and thus become alive and self-aware,”[citation needed] though this definition is not without its controversy.[5][6][7]
Tsukumogami are animate household objects. After a service life of nearly one hundred years, utsuwamono or kibutsu (containers, tools, and instruments) receive souls.
Because the term has been applied to several different concepts in Japanese folklore, there remains some confusion as to what the term actually means.[13][14]
Kasa Obake (傘お化け, "umbrella obake"), or Karakasa Obake (唐傘お化け) or Karakasa Kozo (唐傘小僧), are a type of Tsukumogami, a folk legend about a form of Japanese spirit that originate from objects reaching their 100th year of existence, thus becoming animate. Karakasa in particular are Spirits of Parasols (umbrellas) that reach the century milestone. They are typically portrayed with one eye, a long tongue protruding from an open mouth, and a single foot, generally wearing a geta.
Chōchin Obake (提灯お化け, "paper lantern ghost") are a type of Tsukumogami,[1] "[the] lantern-spook (chochin obake) ... a stock character in the pantheon of ghouls and earned mention in the definitive demonology of 1784."[2]
The Chōchin obake in particular was created from a chōchin lantern,[citation needed] composed of "bamboo and paper or silk."[citation needed] They are portrayed with "one eye, and a long tongue protruding from an open mouth."[3]
Tsukumogami are animate household objects. After a service life of nearly one hundred years, utsuwamono or kibutsu (containers, tools, and instruments) receive souls.
Because the term has been applied to several different concepts in Japanese folklore, there remains some confusion as to what the term actually means.[13][14]
Kasa Obake (傘お化け, "umbrella obake"), or Karakasa Obake (唐傘お化け) or Karakasa Kozo (唐傘小僧), are a type of Tsukumogami, a folk legend about a form of Japanese spirit that originate from objects reaching their 100th year of existence, thus becoming animate. Karakasa in particular are Spirits of Parasols (umbrellas) that reach the century milestone. They are typically portrayed with one eye, a long tongue protruding from an open mouth, and a single foot, generally wearing a geta.
Chōchin Obake (提灯お化け, "paper lantern ghost") are a type of Tsukumogami,[1] "[the] lantern-spook (chochin obake) ... a stock character in the pantheon of ghouls and earned mention in the definitive demonology of 1784."[2]
The Chōchin obake in particular was created from a chōchin lantern,[citation needed] composed of "bamboo and paper or silk."[citation needed] They are portrayed with "one eye, and a long tongue protruding from an open mouth."[3]
17.8.12
Tameshigiri
Tameshigiri (試し斬り, 試し切り, 試斬, 試切) is the Japanese art of target test cutting. The kanji literally mean "test cut" (kun'yomi: ためし ぎり tameshi giri). This practice was popularized in the Edo period (17th century) for testing the quality of Japanese swords[1] and continues through the present day.
During the Edo period, only the most skilled swordsmen were chosen to test swords, so that the swordsman's skill was not a variable in how well the sword cut. The materials used to test swords varied greatly.
In modern times, the practice of tameshigiri has come to focus on testing the swordsman's abilities, rather than the sword's. Thus, swordsmen sometimes use the terms Shito (試刀, sword testing) and Shizan (試斬, test cutting, an alternate pronunciation of the characters for tameshigiri) to distinguish between the historical practice of testing swords and the contemporary practice of testing one's cutting ability.
The target most often used at present is the goza or tatami "omote" rush mat. To be able to cut consecutive times on one target, or to cut multiple targets while moving, requires that one be a very skilled swordsman.
Targets today are typically made from wara or goza, either bundled or rolled into a tubular shape. They may be soaked in water to add density to the material. This density approximates that of flesh. Green bamboo approximates bone.
When cutting a straw target that is standing vertically, the easiest cut is the downward diagonal.
Next in difficulty is the upward diagonal cut which has the same angle, but works against gravity and uses slightly different muscles and rotation. The third in difficulty is the straight downward cut, not in terms of the grain but in terms of the group of muscles involved. The most difficult cut of these four basic cuts is the horizontal direction (against a vertical target) which is directly perpendicular to the grain of the target.
During the Edo period, only the most skilled swordsmen were chosen to test swords, so that the swordsman's skill was not a variable in how well the sword cut. The materials used to test swords varied greatly.
In modern times, the practice of tameshigiri has come to focus on testing the swordsman's abilities, rather than the sword's. Thus, swordsmen sometimes use the terms Shito (試刀, sword testing) and Shizan (試斬, test cutting, an alternate pronunciation of the characters for tameshigiri) to distinguish between the historical practice of testing swords and the contemporary practice of testing one's cutting ability.
The target most often used at present is the goza or tatami "omote" rush mat. To be able to cut consecutive times on one target, or to cut multiple targets while moving, requires that one be a very skilled swordsman.
Targets today are typically made from wara or goza, either bundled or rolled into a tubular shape. They may be soaked in water to add density to the material. This density approximates that of flesh. Green bamboo approximates bone.
When cutting a straw target that is standing vertically, the easiest cut is the downward diagonal.
Next in difficulty is the upward diagonal cut which has the same angle, but works against gravity and uses slightly different muscles and rotation. The third in difficulty is the straight downward cut, not in terms of the grain but in terms of the group of muscles involved. The most difficult cut of these four basic cuts is the horizontal direction (against a vertical target) which is directly perpendicular to the grain of the target.
16.8.12
Kasa, Hanagasa and Hanagasa Ondo/Odori
A kasa (笠) is any of several sorts of traditional hats of Japan. When preceded by a word specifying the type of hat, the word becomes gasa as in the Hanagasa (conical hat adorned with flowers)(see Rendaku).
One kind of kasa for Buddhist monks is made overly large, in a bowl or mushroom shape and is made from woven rice straw. It does not come to a point like a rice farmer's hat, nor ride high on the head like a samurai's traveling hat. It is just a big hat covering the upper half to two thirds of the face. Thus, it helps mask the identity of the monk and allows him to travel undistracted by sights around him on his journey.
"Kasa" can translate as "shade" or "umbrella".
Hanagasa Ondo (花笠音頭) is a folk song from Yamagata prefecture, Japan. The name literally means "flower straw-hat song." It accompanies a local community dance called the "Hanagasa Odori." (花笠踊り)
The song is in typical swung ondo rhythm, and features a kakegoe found in no other song; "Ha Yassho Makkasho!" The dance is performed with a simple straw hat decorated with synthetic flowers. It is usually performed by women, but men can also join in. The dance movements are different for each gender.
One kind of kasa for Buddhist monks is made overly large, in a bowl or mushroom shape and is made from woven rice straw. It does not come to a point like a rice farmer's hat, nor ride high on the head like a samurai's traveling hat. It is just a big hat covering the upper half to two thirds of the face. Thus, it helps mask the identity of the monk and allows him to travel undistracted by sights around him on his journey.
"Kasa" can translate as "shade" or "umbrella".
Hanagasa Ondo (花笠音頭) is a folk song from Yamagata prefecture, Japan. The name literally means "flower straw-hat song." It accompanies a local community dance called the "Hanagasa Odori." (花笠踊り)
The song is in typical swung ondo rhythm, and features a kakegoe found in no other song; "Ha Yassho Makkasho!" The dance is performed with a simple straw hat decorated with synthetic flowers. It is usually performed by women, but men can also join in. The dance movements are different for each gender.
Excerpt from Hanagasa Ondo
| Japanese: Oraga zaisho ni kite miyashanse kome no CHOI CHOI! (kakegoe) naruki ga ojigi suru Ha Yassho! Makkasho! Shan Shan Shan! Rough English Translation: Oh come here and see The heads of rice have matured And bow low with fruit (kakegoe) |
15.8.12
Obon (2) and Gozan no Okuribi (Daimonji)
Obon (お盆) or just Bon (盆) is a Japanese Buddhist
custom to honor the spirits of one's ancestors. It has been celebrated in Japan for more than 500
years and traditionally includes a dance, known as Bon-Odori.
Gozan no Okuribi (五山送り火), more commonly known as Daimonji (大文字), is a festival in Kyoto, Japan. It is the culmination of the O-Bon festival on August 16, in which five giant bonfires are lit on mountains surrounding the city. It signifies the moment when the spirits of deceased family members, who are said to visit this world during O-Bon, are believed to be returning to the spirit world—thus the name Okuribi (送り火) (roughly, "send-off fire").
Starting at 8 PM, the giant bonfires are lit, each with a distinctive shape. Three of the fires form giant Chinese characters, and two form familiar shapes. The characters, their locations, meanings, and the lighting times are:
The best place to view the festival is from the Nakagyo Ward, in the center of the city. Many hotels have Daimonji specials where, for a fee, you can see all five fires. Many people also like to go to the Kamo River, between Sanjo and Imadegawa Streets, for an excellent view of the initial fires.
Gozan no Okuribi (五山送り火), more commonly known as Daimonji (大文字), is a festival in Kyoto, Japan. It is the culmination of the O-Bon festival on August 16, in which five giant bonfires are lit on mountains surrounding the city. It signifies the moment when the spirits of deceased family members, who are said to visit this world during O-Bon, are believed to be returning to the spirit world—thus the name Okuribi (送り火) (roughly, "send-off fire").
Starting at 8 PM, the giant bonfires are lit, each with a distinctive shape. Three of the fires form giant Chinese characters, and two form familiar shapes. The characters, their locations, meanings, and the lighting times are:
- Daimonji (大文字), the character meaning "large" or "great:"
- on Daimonji-Yama/Higashi-Yama, Nyoigatake at 8:00PM
- Myō/Hō (妙・法), the characters meaning "wondrous dharma" (referring to Buddhist teachings):
- on Matsugasaki, Nishi-Yama/Higashi-Yama at 8:10PM
- Funagata (舟形), the shape of a boat:
- on Nishigamo, Funa-Yama at 8:15PM
- Hidari Daimonji (左大文字), again, the character meaning "large:"
- on Daihoku-San, Hidaridaimonji-San at 8:15PM
- Toriigata (鳥居形), the shape of a torii or shrine gate:
- on Toriimoto, Mandara-San at 8:20PM
The best place to view the festival is from the Nakagyo Ward, in the center of the city. Many hotels have Daimonji specials where, for a fee, you can see all five fires. Many people also like to go to the Kamo River, between Sanjo and Imadegawa Streets, for an excellent view of the initial fires.
12.8.12
Gagaku
Gagaku (雅楽 gagaku, ancient imperial court music and dances[1], lit. "elegant music") is a type of Japanese classical music that has been performed at the Imperial Court in Kyoto for several centuries.
Gagaku, the oldest classical music in Japan, was introduced into Japan with Buddhism from China. In 589, Japanese official diplomatic delegations were sent to China (during the Sui dynasty) to learn Chinese culture, including Chinese court music, Gagaku.
It consists of three primary repertoires:
Gagaku also accompanies classical dance performances (called bugaku 舞楽), and both are used in religious ceremonies by the Tenrikyo movement and a few Buddhist temples.[3]
Gagaku is related to theater, which developed in parallel. Noh was developed in the 14th century.
Today, gagaku is performed in two ways:
Gagaku, the oldest classical music in Japan, was introduced into Japan with Buddhism from China. In 589, Japanese official diplomatic delegations were sent to China (during the Sui dynasty) to learn Chinese culture, including Chinese court music, Gagaku.
It consists of three primary repertoires:
- Native Shinto religious music and folk songs and dance, called kuniburi no utamai
- A Goguryeo and Manchurian form, called komagaku (named for Koma, one of the Three Kingdoms)
- A Chinese and South Asia form (specifically Tang Dynasty), called togaku.[1]
Gagaku also accompanies classical dance performances (called bugaku 舞楽), and both are used in religious ceremonies by the Tenrikyo movement and a few Buddhist temples.[3]
Gagaku is related to theater, which developed in parallel. Noh was developed in the 14th century.
Today, gagaku is performed in two ways:
- as kangen, concert music for winds, strings and percussion,
- as bugaku, or dance music for which the stringed instruments are omitted.
Uwabaki
Uwabaki (上履き), are a type of Japanese slippers worn indoors at home, school or certain companies and public buildings where street shoes are prohibited.
Japanese culture mandates that people should remove their shoes when entering homes and other buildings, especially where the floors may have rugs, polished wood floors, or tatami (grass mats).
Uwabaki are light, flexible shoes which are easy to slip on and off, designated for indoor use. As they are not generally worn outside, the soles are kept clean, and thus cleaning and maintenance of the building's floors are kept to a minimum. At the entrance of every school, from preschool to college, there is an assigned locker for each student to put his or her uwabaki. A student's grade level is often indicated by a colored stripe across the toes; the body color of the slipper is always white.
In South Korea, uwabaki are known as silnaehwa (실내화). They are worn in an identical manner in schools, hospitals, and other institutions, though they are perhaps less common in private homes (bare feet or socks being preferred instead).
Japanese culture mandates that people should remove their shoes when entering homes and other buildings, especially where the floors may have rugs, polished wood floors, or tatami (grass mats).
Uwabaki are light, flexible shoes which are easy to slip on and off, designated for indoor use. As they are not generally worn outside, the soles are kept clean, and thus cleaning and maintenance of the building's floors are kept to a minimum. At the entrance of every school, from preschool to college, there is an assigned locker for each student to put his or her uwabaki. A student's grade level is often indicated by a colored stripe across the toes; the body color of the slipper is always white.
In South Korea, uwabaki are known as silnaehwa (실내화). They are worn in an identical manner in schools, hospitals, and other institutions, though they are perhaps less common in private homes (bare feet or socks being preferred instead).
11.8.12
Awa Odori - (Awa Dance Festival)
The Awa Dance Festival (阿波踊り Awa Odori) is held from 12 to 15 August as part of the Obon festival in Tokushima Prefecture on Shikoku in Japan.
Awa Odori is the largest dance festival in Japan, attracting over 1.3 million tourists every year.[1]
Groups of choreographed dancers and musicians known as ren (連) dance through the streets, typically accompanied by the shamisen lute, taiko drums, shinobue flute and the kane bell. Performers wear traditional obon dance costumes, and chant and sing as they parade through the streets.
Awa is the old feudal administration name for Tokushima prefecture, and odori means dance.
The song associated with Awa Odori is called Awa Yoshikono and is a localised version of the Edo period popular song Yoshikono Bushi.
The dancers also chant hayashi kotoba call and response patterns such as "Yattosa, yattosa", "Hayaccha yaccha", "Erai yaccha, erai yaccha", and "Yoi, yoi, yoi, yoi". These calls have no semantic meaning but help to encourage the dancers.
Awa Odori is the largest dance festival in Japan, attracting over 1.3 million tourists every year.[1]
Groups of choreographed dancers and musicians known as ren (連) dance through the streets, typically accompanied by the shamisen lute, taiko drums, shinobue flute and the kane bell. Performers wear traditional obon dance costumes, and chant and sing as they parade through the streets.
Awa is the old feudal administration name for Tokushima prefecture, and odori means dance.
The song associated with Awa Odori is called Awa Yoshikono and is a localised version of the Edo period popular song Yoshikono Bushi.
| 踊る阿呆に | Odoru ahou ni | The dancers are fools | |||
| 見る阿呆 | Miru ahou | The watchers are fools | |||
| 同じ阿呆なら | Onaji ahou nara | Both are fools alike so | |||
| 踊らな損、損 | Odorana son, son | Why not dance? |
The dancers also chant hayashi kotoba call and response patterns such as "Yattosa, yattosa", "Hayaccha yaccha", "Erai yaccha, erai yaccha", and "Yoi, yoi, yoi, yoi". These calls have no semantic meaning but help to encourage the dancers.
10.8.12
Yorishiro, Shintai and Kamigakari
A yorishiro (依り代・依代・憑り代・憑代) in Shinto terminology is an object capable of attracting spirits called kami, thus giving them a physical space to occupy [1] during religious ceremonies.
Yorishiro are used during ceremonies to call the kami for worship.[2]
The word itself literally means approach substitute.[1] Once a yorishiro actually houses a kami, it is called a shintai. Shintai used in Shrine Shinto (Jinja Shinto) can be also called mitamashiro (御霊代 spirit replacement or substitute).[1] In spite of what their name may suggest, shintai are not themselves part of kami, but rather just temporary repositories which make them accessible to human beings for worship.[2]
Mount Fuji is Japan's most famous shintai.
Ropes called shimenawa decorated with paper streamers called shide often surround yorishiro to make their sacredness manifest. Persons can play the same role as a yorishiro, and in that case are called yorimashi (憑坐 lit. possessed person) or kamigakari (神懸り・神憑 lit. kami possession).[3]
The most common yorishiro are swords, mirrors, ritual staffs decorated with paper streamers called gohei, comma-shaped jewels called magatama (勾玉 or 曲玉), large rocks (iwasaka (岩境) or iwakura (磐座), and sacred trees.[1][2]
Yorishiro are used during ceremonies to call the kami for worship.[2]
The word itself literally means approach substitute.[1] Once a yorishiro actually houses a kami, it is called a shintai. Shintai used in Shrine Shinto (Jinja Shinto) can be also called mitamashiro (御霊代 spirit replacement or substitute).[1] In spite of what their name may suggest, shintai are not themselves part of kami, but rather just temporary repositories which make them accessible to human beings for worship.[2]
Mount Fuji is Japan's most famous shintai.
Ropes called shimenawa decorated with paper streamers called shide often surround yorishiro to make their sacredness manifest. Persons can play the same role as a yorishiro, and in that case are called yorimashi (憑坐 lit. possessed person) or kamigakari (神懸り・神憑 lit. kami possession).[3]
The most common yorishiro are swords, mirrors, ritual staffs decorated with paper streamers called gohei, comma-shaped jewels called magatama (勾玉 or 曲玉), large rocks (iwasaka (岩境) or iwakura (磐座), and sacred trees.[1][2]
Kamishibai and Kamishiiba Dam
Kamishibai (紙芝居), literally "paper drama", is a form of storytelling that originated in Japanese Buddhist temples in the 12th century, where monks used emakimono (picture scrolls) to convey stories with moral lessons to a mostly illiterate audience.
Kamishibai endured as a storytelling method for centuries, but is perhaps best known for its revival in the 1920s through the 1950s. The gaito kamishibaiya, or kamishibai storyteller, rode from village to village on a bicycle equipped with a small stage. On arrival, the storyteller used two wooden clappers, called hyoshigi, to announce his arrival. Children who bought candy from the storyteller got the best seats in front of the stage. Once an audience assembled, the storyteller told several stories using a set of illustrated boards, inserted into the stage and withdrawn one by one as the story was told. The stories were often serials and new episodes were told on each visit to the village.
Kamishibai also exists in an electronic format for use on a computer.
Kamishibai storytelling is currently being conducted as part of an ongoing campaign to promote world peace.
Kamishiiba Dam (Japanese: 上椎葉ダム ) is a dam in Miyazaki Prefecture, Japan. It was Japan's first arch dam and required significant sacrifices to build.
Kamishibai endured as a storytelling method for centuries, but is perhaps best known for its revival in the 1920s through the 1950s. The gaito kamishibaiya, or kamishibai storyteller, rode from village to village on a bicycle equipped with a small stage. On arrival, the storyteller used two wooden clappers, called hyoshigi, to announce his arrival. Children who bought candy from the storyteller got the best seats in front of the stage. Once an audience assembled, the storyteller told several stories using a set of illustrated boards, inserted into the stage and withdrawn one by one as the story was told. The stories were often serials and new episodes were told on each visit to the village.
Kamishibai also exists in an electronic format for use on a computer.
Kamishibai storytelling is currently being conducted as part of an ongoing campaign to promote world peace.
Kamishiiba Dam (Japanese: 上椎葉ダム ) is a dam in Miyazaki Prefecture, Japan. It was Japan's first arch dam and required significant sacrifices to build.
8.8.12
Nameko
Pholiota nameko, commonly known as Nameko (ナメコ), is a small, amber-brown mushroom with a slightly gelatinous coating that is used as an ingredient in miso soup and nabemono.
In some countries this mushroom is available in kit form and can be grown at home.
It is one of Japan's most popular cultivated mushrooms, tasting slightly nutty and is often used in stir-fries.
In China the mushroom is known as huázĭ mó (Chinese: 滑子蘑).
In Russia, it is also consumed widely, and is known as (often sold as) "o-pyo-nok" (опёнок) or plural "o-pya-ta" (опята).
In America, the mushroom is sometimes called a "butterscotch mushroom".[1]
In some countries this mushroom is available in kit form and can be grown at home.
It is one of Japan's most popular cultivated mushrooms, tasting slightly nutty and is often used in stir-fries.
In China the mushroom is known as huázĭ mó (Chinese: 滑子蘑).
In Russia, it is also consumed widely, and is known as (often sold as) "o-pyo-nok" (опёнок) or plural "o-pya-ta" (опята).
In America, the mushroom is sometimes called a "butterscotch mushroom".[1]
7.8.12
Koinobori
Koinobori (鯉幟), meaning "carp streamer" in Japanese, are carp-shaped wind socks traditionally flown in Japan to celebrate Tango no Sekku (端午の節句), a traditional calendrical event which is now designated a national holiday; Children's Day.[1]
These wind socks are made by drawing carp patterns on paper, cloth or other nonwoven fabric. They are then allowed to flutter in the wind. They are also known as satsuki-nobori (皐幟).
Children's Day takes place on May 5. Landscapes across Japan are decorated with koinobori from April to early May, in honor of sons and in the hope that they will grow up healthy and strong.
In 1988, a 100 m long koinobori weighing 350 kg was made in Kazo, Saitama.
There is a famous short Koinobori Song often sung by children and their families:
Japanese:
屋根より高い鯉幟
大きい真鯉はお父さん
小さい緋鯉は子供たち
面白そうに泳いでる
Translation:
Higher than the roof-tops are the koinobori
The large Carp is the father
The smaller Carp are the children
They seem to be having fun swimming
These wind socks are made by drawing carp patterns on paper, cloth or other nonwoven fabric. They are then allowed to flutter in the wind. They are also known as satsuki-nobori (皐幟).
Children's Day takes place on May 5. Landscapes across Japan are decorated with koinobori from April to early May, in honor of sons and in the hope that they will grow up healthy and strong.
In 1988, a 100 m long koinobori weighing 350 kg was made in Kazo, Saitama.
There is a famous short Koinobori Song often sung by children and their families:
Japanese:
屋根より高い鯉幟
大きい真鯉はお父さん
小さい緋鯉は子供たち
面白そうに泳いでる
Translation:
Higher than the roof-tops are the koinobori
The large Carp is the father
The smaller Carp are the children
They seem to be having fun swimming
6.8.12
Visual Kei
Visual kei (ヴィジュアル系 bijuaru kei, lit. "visual style" or "visual system") is a movement among Japanese musicians,[1][2]
that is characterized by the use of make-up, elaborate hair styles and
flamboyant costumes, often, but not always, coupled with androgynous aesthetics.[3][4] Some sources state that visual kei refers to a music genre, or to a sub-genre of Japanese rock,[5][6] with its sound usually related to glam rock, punk rock and heavy metal.[7][8][9][10]
However other sources state that visual kei is only a fashion, with its
unique clothing, make-up and participation in the related subculture being what exemplifies the use of the term.[11][12][13]
Visual kei emerged in the mid 1980s, pioneered by bands such as X Japan, D'erlanger, Buck-Tick and Color.[14]
Visual kei has enjoyed popularity among independent underground projects, as well as artists achieving mainstream success, with influences from Western phenomena, such as glam, goth and cyberpunk.[4][17] The music performed encompasses a large variety of genres, i.e. punk, metal, pop and electronica.[1][4]
Visual kei emerged in the mid 1980s, pioneered by bands such as X Japan, D'erlanger, Buck-Tick and Color.[14]
Visual kei has enjoyed popularity among independent underground projects, as well as artists achieving mainstream success, with influences from Western phenomena, such as glam, goth and cyberpunk.[4][17] The music performed encompasses a large variety of genres, i.e. punk, metal, pop and electronica.[1][4]
31.7.12
Uchimizu
Uchimizu (打ち水) refers to the sprinkling of water in Japanese gardens
and streets.
It is more than a mere matter of hygiene and has, in temples and gardens, a ritual or contemplative purpose.
In streets in summer, it serves to cool the immediate area, keep down dust and also please neighbors. Japanese people see uchimizu as being exemplifying national values as it combines utilitarian, aesthetic, courteous and dutiful ends.
Traditionally, this was done with a bucket and ladle, and the sprinkler would wear a yukata, or summer kimono. In its more modern forms, various green groups have used the Internet to encourage people in Japan to do uchimizu with recycled water as a form of environmentally aware public courtesy.
It is more than a mere matter of hygiene and has, in temples and gardens, a ritual or contemplative purpose.
In streets in summer, it serves to cool the immediate area, keep down dust and also please neighbors. Japanese people see uchimizu as being exemplifying national values as it combines utilitarian, aesthetic, courteous and dutiful ends.
Traditionally, this was done with a bucket and ladle, and the sprinkler would wear a yukata, or summer kimono. In its more modern forms, various green groups have used the Internet to encourage people in Japan to do uchimizu with recycled water as a form of environmentally aware public courtesy.
Kabutomushi
The Japanese rhinoceros beetle, Japanese horned beetle, or kabutomushi (カブトムシ), Allomyrina dichotoma, is a species of rhinoceros beetle found in Japan, Korea, Taiwan and China.
Japanese rhinoceros beetles are very popular in anime, tokusatsu, advertisements, televisions, and films in Japan. The Monster Rancher video game series also includes a giant rhinoceros beetle called Beaclon.
It is sold as a pet in department stores in many countries of Asia (in Japan, even in vending machines), where it is also frequently depicted in popular media as a common cartoon character for various uses, for example much as cartoon bears, lions, or alligators are seen in advertisements and product labels in the United States.
Many children in Japan buy or catch these bugs and breed them. Male and female insects will cost about 500 to 1000 yen (approximately five to ten US dollars).
Male beetles normally die in the fall after mating many times, whereas female beetles normally die after laying eggs.
Touching the Japanese rhinoceros beetle too suddenly, even after it has metamorphosed, may cause the beetle to die of shock.
Japanese rhinoceros beetles are very popular in anime, tokusatsu, advertisements, televisions, and films in Japan. The Monster Rancher video game series also includes a giant rhinoceros beetle called Beaclon.
It is sold as a pet in department stores in many countries of Asia (in Japan, even in vending machines), where it is also frequently depicted in popular media as a common cartoon character for various uses, for example much as cartoon bears, lions, or alligators are seen in advertisements and product labels in the United States.
Many children in Japan buy or catch these bugs and breed them. Male and female insects will cost about 500 to 1000 yen (approximately five to ten US dollars).
Male beetles normally die in the fall after mating many times, whereas female beetles normally die after laying eggs.
Touching the Japanese rhinoceros beetle too suddenly, even after it has metamorphosed, may cause the beetle to die of shock.
30.7.12
Gyokuro
Gyokuro (Japanese: 玉露, "jewel dew") is a fine and expensive type of shaded green tea from Japan.
Gyokuro is one of the most expensive types of sencha available in Japan.
It differs from the standard sencha (a classic unshaded green tea) in being grown under the shade rather than the full sun.
Gyokuro also differs from another shaded tea called kabusecha (lit., "covered tea"), in the length of time it undergoes the final growth under the shade (gyokuro is shaded for approximately three weeks, while kabusecha is shaded for approximately one week[1]).
Gyokuro tea leaves are shielded from the sun before being harvested. This causes the amino acids (theanine) and caffeine in the tea leaves to increase, giving rise to a sweet flavour.[2]
The name "gyokuro" translates as "jewel dew" (or "jade dew", referring to the pale green colour of the infusion). While most sencha is from the Yabukita (薮北) cultivar of Camellia sinensis, gyokuro is often made from a specialized variety such as Asahi, Okumidori, Yamakai, and Saemidori.
Gyokuro is one of the most expensive types of sencha available in Japan.
It differs from the standard sencha (a classic unshaded green tea) in being grown under the shade rather than the full sun.
Gyokuro also differs from another shaded tea called kabusecha (lit., "covered tea"), in the length of time it undergoes the final growth under the shade (gyokuro is shaded for approximately three weeks, while kabusecha is shaded for approximately one week[1]).
Gyokuro tea leaves are shielded from the sun before being harvested. This causes the amino acids (theanine) and caffeine in the tea leaves to increase, giving rise to a sweet flavour.[2]
The name "gyokuro" translates as "jewel dew" (or "jade dew", referring to the pale green colour of the infusion). While most sencha is from the Yabukita (薮北) cultivar of Camellia sinensis, gyokuro is often made from a specialized variety such as Asahi, Okumidori, Yamakai, and Saemidori.
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