ASIMO (アシモ Ashimo) is a humanoid robot created by Honda. Introduced in 2000, ASIMO, which is an acronym for Advanced Step in Innovative Mobility,[1] was created to be a helper to people.[2]
Apparently the resemblance to the name of Isaac Asimov is merely a coincidence.[3]
With aspirations of helping people who lack full mobility, ASIMO is
used to encourage young people to study science and mathematics.[4]
At 130 cm (4 feet, 3 inches) tall and 54 kg (119 lbs), ASIMO was
designed to operate in real-world environments, with the ability to walk
or run on two feet at speeds up to 3.7 mph (6 km/h).[2]
In the USA, ASIMO is part of the Innoventions attraction at Disneyland and has been featured in a 15-minute show called "Say 'Hello' to Honda's ASIMO" since June 2005.[5]
Honda began developing humanoid robots in the 1980s, including several prototypes that preceded ASIMO.
ASIMO has a walking speed of 1.7 mph (2.7 km/hour) and a running speed of 3.7 mph (6km/hour).[18]
24.6.12
Omakase
Omakase (お任せ) is a Japanese phrase that means "I'll leave it to you" (from Japanese 任す, entrust).
The expression is used at sushi restaurants to leave the selection to the chef.
It differs from ordering à la carte.[1] The chef will generally present a series of plates, beginning with the lightest fare and proceeding to heaviest, richest dishes.[2] The phrase is not exclusive to service of raw fish with rice, and can incorporate grilling and simmering as well.[3]
Customers ordering omakase style expect the chef to be innovative and surprising in the selection of dishes, and the meal can be likened to an artistic performance by the chef.[4] Ordering omakase can be a gamble; however, the customer typically receives the highest quality fish the restaurant currently has in stock at a price cheaper than if it was ordered à la carte[citation needed]. From the restaurant's perspective, a large number of customers ordering omakase can help in planning for food costs.[5]
The expression is used at sushi restaurants to leave the selection to the chef.
It differs from ordering à la carte.[1] The chef will generally present a series of plates, beginning with the lightest fare and proceeding to heaviest, richest dishes.[2] The phrase is not exclusive to service of raw fish with rice, and can incorporate grilling and simmering as well.[3]
Customers ordering omakase style expect the chef to be innovative and surprising in the selection of dishes, and the meal can be likened to an artistic performance by the chef.[4] Ordering omakase can be a gamble; however, the customer typically receives the highest quality fish the restaurant currently has in stock at a price cheaper than if it was ordered à la carte[citation needed]. From the restaurant's perspective, a large number of customers ordering omakase can help in planning for food costs.[5]
23.6.12
Wagasa
Oil-paper umbrellas are generally known in Japanese as wagasa (和傘 or わがさ), meaning Japanese umbrella.
The handle and scaffold are often colored black, however, sometimes
other colors are applied as well. The surface paintings include
traditional Japanese culture, gained popularity during the Edo period.
A style of oil-paper umbrella in Kyoto is called kyōwagasa (京和傘). Kyowagasa are completely handmade, colors and images are of Japanese features, materials are also strictly controlled.
Other than its utility, oil-paper umbrellas appear quite often in Japanese culture, and are often associated with geisha, traditional dance, tea ceremony, and daily utility. Oil-paper umbrella shops in Gion have classified their customers into categories for different styles of oil-paper umbrella:
A style of oil-paper umbrella in Kyoto is called kyōwagasa (京和傘). Kyowagasa are completely handmade, colors and images are of Japanese features, materials are also strictly controlled.
Other than its utility, oil-paper umbrellas appear quite often in Japanese culture, and are often associated with geisha, traditional dance, tea ceremony, and daily utility. Oil-paper umbrella shops in Gion have classified their customers into categories for different styles of oil-paper umbrella:
- Geisha use purple
- Dancers use pink
- Middle aged clients like green or red
- Men and elderly use dark blue
- Actors tend to pick black or brown
Japanese sound symbolism - part 1
This article describes sound symbolic or mimetic words in the Japanese language. Most languages have such words; for example, "bang", "zap", "ding", "slither", "pop", etc. in English. Sound symbolic words occur more often in Japanese than in English—they are found in formal as well as vernacular language.
These words cannot all be considered onomatopoeia. Many mimetic words in Japanese are for things that don't make any noise originally, most clearly demonstrated by しいんと shiinto, meaning "silently".
They can be classified into three main categories:
These words cannot all be considered onomatopoeia. Many mimetic words in Japanese are for things that don't make any noise originally, most clearly demonstrated by しいんと shiinto, meaning "silently".
They can be classified into three main categories:
- Phonomime or onomatopoeia (擬声語 giseigo or 擬音語 giongo)
- words that mimic actual sounds. Giseigo refers to sounds made by living things, while Giongo refers to sounds made by inanimate objects.
- Phenomime (擬態語 gitaigo)
- mimetic words to represent non-auditory senses.
- Psychomime (also called 擬態語 gitaigo or 擬情語 gijōgo)
- mimetic words that represent psychological states or bodily feelings.
Neo Tokyo
- The fictional setting of the Akira manga and anime film
- Neo Tokyo (film), a science fiction anthology anime
- A city in the SNES video game Terranigma
- NeoTokyo (video game), a Half-Life 2 first-person shooter modification
- NeoTokyo is also the name of a Tokyo's district in the first-person video game TimeSplitters 2
- A territory in the game Risk 2210 A.D.
- Neo Tokyo, a Brazilian manga and anime magazine.
Hatsumōde
Hatsumōde (初詣 hatsumōde) is the first shrine visit of the New Year in Japan. Some people visit a Buddhist temple
instead.
Many visit on the first, second, or third day of the year as most are off work on those days.
Generally, wishes for the new year are made, new omamori (charms or amulets) are bought, and the old ones are returned to the shrine so they can be burned. There are often long lines at major shrines throughout Japan.
Most people in Japan are off work from December 29 until January 3 of every year. It is during this time that the house is cleaned, debts are paid, friends and family are visited and gifts are exchanged. It would be customary to spend the early morning of New Year's Day in domestic worship, followed by sake—often containing edible gold flakes—and special celebration food. During the hatsumōde, it is common for men to wear a full kimono—one of the rare chances to see them doing so across a year[citation needed]. The act of worship is generally quite brief and individual and may involve queuing at popular shrines. The o-mamori vary substantially in price.
Some shrines and temples have millions of visitors over the three days.
A common custom during hatsumōde is to buy a written oracle called omikuji. If your omikuji predicts bad luck you can tie it onto a tree on the shrine grounds, in the hope that its prediction will not come true. The omikuji goes into detail, and tells you how you will do in various areas in your life, such and business and love, for that year. Often a good-luck charm comes with the omikuji when you buy it, that is believed to summon good luck and money your way.
Many visit on the first, second, or third day of the year as most are off work on those days.
Generally, wishes for the new year are made, new omamori (charms or amulets) are bought, and the old ones are returned to the shrine so they can be burned. There are often long lines at major shrines throughout Japan.
Most people in Japan are off work from December 29 until January 3 of every year. It is during this time that the house is cleaned, debts are paid, friends and family are visited and gifts are exchanged. It would be customary to spend the early morning of New Year's Day in domestic worship, followed by sake—often containing edible gold flakes—and special celebration food. During the hatsumōde, it is common for men to wear a full kimono—one of the rare chances to see them doing so across a year[citation needed]. The act of worship is generally quite brief and individual and may involve queuing at popular shrines. The o-mamori vary substantially in price.
Some shrines and temples have millions of visitors over the three days.
A common custom during hatsumōde is to buy a written oracle called omikuji. If your omikuji predicts bad luck you can tie it onto a tree on the shrine grounds, in the hope that its prediction will not come true. The omikuji goes into detail, and tells you how you will do in various areas in your life, such and business and love, for that year. Often a good-luck charm comes with the omikuji when you buy it, that is believed to summon good luck and money your way.
Emakimono
Emakimono (絵巻物 emaki-mono, lit. 'picture scroll'), often simply called emaki (絵巻), is a horizontal, illustrated narrative form created during the 11th to 16th centuries in Japan. Emaki-mono combines both text and pictures, and is drawn, painted, or stamped on a handscroll. They depict battles, romance, religion, folk tales, and stories of the supernatural world.
The handscroll, along with the hanging scrolls are the two most common forms of Japanese painting.[1]
A normal story would take one to three scrolls in total.
Emaki-mono are read by exposing an arms-length of the scroll at a time, from right to left, as Japanese is written.
The most often discussed example of emaki-mono is the Genji Monogatari Emaki dating from about 1130. This emaki illustrates Murasaki Shikibu's epic The Tale of Genji.
The Chōjū giga (Scroll of Frolicking Animals) is unusual in its own medium, as it does not contain any text, only pictures. It depicts scenes of animals in amusing scenes, analogizing Japanese society in the 12th century.
The handscroll, along with the hanging scrolls are the two most common forms of Japanese painting.[1]
A normal story would take one to three scrolls in total.
Emaki-mono are read by exposing an arms-length of the scroll at a time, from right to left, as Japanese is written.
The most often discussed example of emaki-mono is the Genji Monogatari Emaki dating from about 1130. This emaki illustrates Murasaki Shikibu's epic The Tale of Genji.
The Chōjū giga (Scroll of Frolicking Animals) is unusual in its own medium, as it does not contain any text, only pictures. It depicts scenes of animals in amusing scenes, analogizing Japanese society in the 12th century.
22.6.12
Bugei Jūhappan
The Bugei Jūhappan (武芸十八 "Eighteen martial arts") were a
selection of combat techniques and corollary arts used by the samurai of
Tokugawa-era Japan. Mastery of these arts was considered essential to
the attainment of bushido.[1] The concept was established by Hirayama Gyozo, based on earlier Chinese traditions.[2][3]
The eighteen arts consisted of a mixture of native Japanese and imported Chinese martial techniques and tactics. The exact list varies, but is commonly held to include:
The eighteen arts consisted of a mixture of native Japanese and imported Chinese martial techniques and tactics. The exact list varies, but is commonly held to include:
- Kyujutsu, archery
- Sojutsu, spear-fighting
- Kenjutsu, fencing
- Iaijutsu, sword-drawing
- Tantojutsu, knife-fighting
- Juttejutsu, fighting with a truncheon
- Shurikenjutsu, throwing weapons
- Naginatajutsu, fighting with a polearm
- Hojutsu, shooting (with firearms)
- Bojutsu, stick-fighting
- Kusarigamajutsu, fighting with a chain-and-sickle
- Hojojutsu, tying up an opponent
- Bajutsu, horseriding
- Suieijutsu, swimming in armour
- Ninjutsu, espionage[4]
- Chikujojutsu, fortifying a castle against siege
- Yawara, wrestling
- Fukumibarijutsu, needle-spitting
- Yabusame, mounted archery
- Mojirijutsu, fighting with a barbed staff[1]
- Yadomejutsu, deflecting flying arrows
- Saiminjutsu, hypnotism[5]
- Aikijutsu, grappling and fighting unarmed.
Ganbaru
Ganbaru (頑張る lit., stand firm), also romanized as gambaru, is a ubiquitous Japanese word which roughly means to slog on tenaciously through tough times.[1]
The word Ganbaru is often translated to mean "doing one’s best", but in practice, it means doing more than one's best.[2] The word emphasizes "working with perseverance"[3] or "toughing it out."[4]
Ganbaru means "to commit oneself fully to a task and to bring that task to an end."[5]
It can be translated to mean persistence, tenacity, doggedness and hard work. The term has a unique importance in Japanese culture.[6]
After the 1995 Kobe earthquake, the slogan "Gambaro Kobe" was used to encourage the people of the disaster region as they worked to rebuild their city and their lives.[7] After the 2011 Tōhoku earthquake and tsunami, the most commonly heard expressions were "gaman" (to persevere or tough it out) and "gambaru" (to do your best, to be strong) and "shoganai" (it cannot be helped).[8]
Gambaru focuses attention on the importance of finishing a task and never stopping until a goal is achieved.
The continuing effort to overcome obstacles (even if not successful) is an important concept in Japan.
The word ganbaru originates from the corollary concept of gaman.[9] Unlike gaman which is passive, ganbaru is the active process of doing something.[10]
The word Ganbaru is often translated to mean "doing one’s best", but in practice, it means doing more than one's best.[2] The word emphasizes "working with perseverance"[3] or "toughing it out."[4]
Ganbaru means "to commit oneself fully to a task and to bring that task to an end."[5]
It can be translated to mean persistence, tenacity, doggedness and hard work. The term has a unique importance in Japanese culture.[6]
After the 1995 Kobe earthquake, the slogan "Gambaro Kobe" was used to encourage the people of the disaster region as they worked to rebuild their city and their lives.[7] After the 2011 Tōhoku earthquake and tsunami, the most commonly heard expressions were "gaman" (to persevere or tough it out) and "gambaru" (to do your best, to be strong) and "shoganai" (it cannot be helped).[8]
Gambaru focuses attention on the importance of finishing a task and never stopping until a goal is achieved.
The continuing effort to overcome obstacles (even if not successful) is an important concept in Japan.
The word ganbaru originates from the corollary concept of gaman.[9] Unlike gaman which is passive, ganbaru is the active process of doing something.[10]
Hokusai Manga
The Hokusai Manga (北斎漫画, "Hokusai's Sketches") is a collection of sketches of various subjects by the Japanese artist Hokusai. Subjects of the sketches include landscapes, flora and fauna, everyday life and the supernatural.
The Manga evidence a dedication to artistic realism in portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed.
The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other.
Block-printed in three colours (black, gray and pale flesh), the Manga comprise literally thousands of images in 15 volumes, the first published in 1814, when the artist was 55. The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.
The Manga evidence a dedication to artistic realism in portrayal of people and the natural world. The work was an immediate success, and the subsequent volumes soon followed.
The word manga in the title does not refer to the contemporary story-telling manga, as the sketches in the work are not connected to each other.
Block-printed in three colours (black, gray and pale flesh), the Manga comprise literally thousands of images in 15 volumes, the first published in 1814, when the artist was 55. The final three volumes were published posthumously, two of them assembled by their publisher from previously unpublished material. The final volume was made up of previously published works, some not even by Hokusai, and is not considered authentic by art historians.
Manga
Manga are comics created in Japan, or by Japanese creators in the Japanese language, conforming to a style developed in Japan in the late 19th century.[1] They have a long, complex pre-history in earlier Japanese art.[2]
In Japan, people of all ages read manga.
Manga is a Japanese term that generally means "comics" or "cartoon".
Geisha (1) and the Karyūkai
Geisha (芸者), geiko (芸子) or geigi (芸妓) are traditional, female Japanese entertainers whose skills include performing various Japanese arts such as classical music and dance.
Apprentice geisha are called maiko (舞子 or 舞妓), literally "dance child") or hangyoku (半玉), "half-jewel" (meaning that they are paid half of the wage of a full geisha),[2] or by the more generic term o-shaku (御酌), literally "one who pours (alcohol)".
The only modern maiko that can apprentice before the age of eighteen are in Kyoto.[3] So on average, Tokyo hangyoku (who typically begin at 18) are slightly older than their Kyoto counterparts (who usually start at 15).[4]
It is still said that geisha inhabit a separate reality which they call the karyūkai or "the flower and willow world." Before they disappeared the courtesans were the colorful "flowers" and the geisha the "willows" because of their subtlety, strength, and grace.[5]
Apprentice geisha are called maiko (舞子 or 舞妓), literally "dance child") or hangyoku (半玉), "half-jewel" (meaning that they are paid half of the wage of a full geisha),[2] or by the more generic term o-shaku (御酌), literally "one who pours (alcohol)".
The only modern maiko that can apprentice before the age of eighteen are in Kyoto.[3] So on average, Tokyo hangyoku (who typically begin at 18) are slightly older than their Kyoto counterparts (who usually start at 15).[4]
It is still said that geisha inhabit a separate reality which they call the karyūkai or "the flower and willow world." Before they disappeared the courtesans were the colorful "flowers" and the geisha the "willows" because of their subtlety, strength, and grace.[5]
21.6.12
Kōkyo (Imperial Palace) and the Fukiage Garden
Tokyo Imperial Palace (皇居 Kōkyo; literally, "Imperial Residence") is the main residence of the Emperor of Japan. It is a large park-like area located in the Chiyoda area of Tokyo close to Tokyo Station and contains several buildings including the main palace (Kyūden (宮殿),
the private residences of the imperial family, an archive, museum and
administrative offices.
It is built on the site of the old Edo castle.
The Fukiage Garden has carried the name since the Edo period and is used as the residential area for the imperial family.
It is built on the site of the old Edo castle.
The Fukiage Garden has carried the name since the Edo period and is used as the residential area for the imperial family.
Dogū
The history of Ancient Japan can be broken down into three distinct periods.
The first period is the Jōmon period.
The second period is the Yayoi period.
The last period is the Kofun period.
Dogū (土偶) are small humanoid and animal figurines made during the late Jōmon period (14,000–400 BC) of prehistoric Japan. Dogū come exclusively from the Jōmon period. By the Yayoi period, which followed the Jōmon period, Dogū were no longer made.
There are various styles of Dogū, depending on exhumation area and time period. According to the National Museum of Japanese History, the total number found throughout Japan is approximately 15,000. Most of the Dogū have been found in eastern Japan and it is rare to find one in western Japan.
The purpose of the Dogū remains unclear but, most likely, the Dogū acted as effigies of people, that manifested some kind of sympathetic magic. For example, it may have been believed that illnesses could be transferred into the Dogū, then destroyed, clearing the illness, or any other misfortune.
The first period is the Jōmon period.
The second period is the Yayoi period.
The last period is the Kofun period.
Dogū (土偶) are small humanoid and animal figurines made during the late Jōmon period (14,000–400 BC) of prehistoric Japan. Dogū come exclusively from the Jōmon period. By the Yayoi period, which followed the Jōmon period, Dogū were no longer made.
There are various styles of Dogū, depending on exhumation area and time period. According to the National Museum of Japanese History, the total number found throughout Japan is approximately 15,000. Most of the Dogū have been found in eastern Japan and it is rare to find one in western Japan.
The purpose of the Dogū remains unclear but, most likely, the Dogū acted as effigies of people, that manifested some kind of sympathetic magic. For example, it may have been believed that illnesses could be transferred into the Dogū, then destroyed, clearing the illness, or any other misfortune.
Koto
The koto (箏) is a traditional Japanese stringed musical instrument, similar to the Chinese zheng, the Mongolian yatga, the Korean gayageum and the Vietnamese đàn tranh.
The koto is the national instrument of Japan.[1]
For every part of the koto there is a traditional name which connects with the opinion that the body of a koto resembles that of a dragon.
The ancestor of the koto was the Chinese zheng[2][3] and was first introduced to Japan from China in the 7th and 8th century.[4] When the koto was first imported to Japan, the native word koto was a generic term for any and all Japanese stringed instruments.
The koto is the national instrument of Japan.[1]
For every part of the koto there is a traditional name which connects with the opinion that the body of a koto resembles that of a dragon.
The ancestor of the koto was the Chinese zheng[2][3] and was first introduced to Japan from China in the 7th and 8th century.[4] When the koto was first imported to Japan, the native word koto was a generic term for any and all Japanese stringed instruments.
Tamagoyaki and Tamago kake gohan
Tamagoyaki 卵焼き (literally 'grilled egg', also called tamago or dashimaki) is a type of Japanese omelette,
which is made by rolling together several layers of cooked egg. These
usually are prepared in a rectangular omelette pan called a makiyakinabe.
Tamago is made by combining eggs, rice vinegar, and sometimes sugar or soy sauce. Additionally, sake is used in some recipes.
Tamago kake gohan (卵かけご飯, "egg sauce over rice") or Tamago gohan in short is a popular Japanese breakfast food consisting of cooked rice topped or mixed with raw egg and—optionally—soy sauce.
Tamago is made by combining eggs, rice vinegar, and sometimes sugar or soy sauce. Additionally, sake is used in some recipes.
Tamago kake gohan (卵かけご飯, "egg sauce over rice") or Tamago gohan in short is a popular Japanese breakfast food consisting of cooked rice topped or mixed with raw egg and—optionally—soy sauce.
Daruma doll
The Daruma doll (達磨 daruma), also known as a Dharma doll, is a hollow, round, Japanese traditional doll modeled after Bodhidharma, the founder of the Zen sect of Buddhism.
These dolls, though typically red and depicting a bearded man (Dharma), vary greatly in color and design depending on region and artist. Though considered an omocha, meaning toy, Daruma has a design that is rich in symbolism and is regarded more as a talisman of good luck to the Japanese. Daruma dolls are seen as a symbol of perseverance and good luck, making them a popular gift of encouragement. The doll has also been commercialized by many Buddhist temples to use alongside goal setting.
The eyes of Daruma are often blank when sold.
The recipient of the doll fills in one eye upon setting the goal, then the other upon fulfilling it. In this way, every time they see the one-eyed Daruma, they recall the goal. One explanation how this custom started says that in order to motivate Daruma-san to grant your wish, you promise to give him full sight once the goal is accomplished.
Feminine version:
Daruma dolls also come in the form of Princess Daruma (姫だるま hime daruma) and Lady Daruma (女だるま onna daruma). This contrasts greatly with traditional representations of Dharma, who, accredited as the father of many martial arts, has traditionally been depicted as very masculine with rough facial hair.[23]
These dolls, though typically red and depicting a bearded man (Dharma), vary greatly in color and design depending on region and artist. Though considered an omocha, meaning toy, Daruma has a design that is rich in symbolism and is regarded more as a talisman of good luck to the Japanese. Daruma dolls are seen as a symbol of perseverance and good luck, making them a popular gift of encouragement. The doll has also been commercialized by many Buddhist temples to use alongside goal setting.
The eyes of Daruma are often blank when sold.
The recipient of the doll fills in one eye upon setting the goal, then the other upon fulfilling it. In this way, every time they see the one-eyed Daruma, they recall the goal. One explanation how this custom started says that in order to motivate Daruma-san to grant your wish, you promise to give him full sight once the goal is accomplished.
Feminine version:
Daruma dolls also come in the form of Princess Daruma (姫だるま hime daruma) and Lady Daruma (女だるま onna daruma). This contrasts greatly with traditional representations of Dharma, who, accredited as the father of many martial arts, has traditionally been depicted as very masculine with rough facial hair.[23]
20.6.12
Regions of Japan
The regions of Japan
are not official administrative units, but have been traditionally used
as the regional division of Japan in a number of contexts. For
instance, maps and geography textbooks divide Japan into the eight
regions, weather reports usually give the weather by region, and many
businesses and institutions use their home region as part of their name (Kinki Nippon Railway, Chūgoku Bank, Tōhoku University, etc.). While Japan has eight High Courts, their jurisdictions do not correspond to the eight regions below.
From north to south, the traditional regions are:
From north to south, the traditional regions are:
- Hokkaidō (the island of Hokkaidō and nearby islands, population: 5,507,456, largest city: Sapporo)
- Tōhoku region (northern Honshū, population: 9,335,088, largest city: Sendai)
- Kantō region (eastern Honshū, population: 42,607,376, largest city: Tokyo)
- Nanpō Islands: part of Tokyo Metropolis
- Chūbu region (central Honshū, including Mt. Fuji, population: 21,714,995, largest city: Nagoya), sometimes divided into:
- Hokuriku region (northwestern Chūbu, largest city: Kanazawa)
- Kōshin'etsu region (northeastern Chūbu, largest city: Niigata)
- Tōkai region (southern Chūbu, largest city: Nagoya)
- Kansai or Kinki region (west-central Honshū, population: 22,755,030, largest city: Osaka)
- Chūgoku region (western Honshū, population: 7,561,899, largest city: Hiroshima)
- Shikoku (island, population: 3,977,205, largest city: Matsuyama)
- Kyūshū (island, population: 14,596,977, largest city: Fukuoka) which includes:
- Ryukyu Islands (Nansei-shotō)
- Satsunan Islands: part of Kagoshima Prefecture
- Ryukyu-shotō and Daitō Islands: Okinawa
- Ryukyu Islands (Nansei-shotō)
Nijūni-sha
The Twenty-Two Shrines (二十二社 Nijūni-sha) of Japan is one ranking system for Shinto shrines.
The system was established during the Heian period. The shrines receive special offerings from the Imperial Court. Most were selected from shrines that were in the immediate vicinity of Kyoto, the capital of Japan at the time.[1]
This ranking system consists of the 22 most important Shinto shrines, as designated during the Heian period.
The system was established during the Heian period. The shrines receive special offerings from the Imperial Court. Most were selected from shrines that were in the immediate vicinity of Kyoto, the capital of Japan at the time.[1]
This ranking system consists of the 22 most important Shinto shrines, as designated during the Heian period.
Taiko and Taiko no Tatsujin
Taiko (太鼓) means "drum" in Japanese (etymologically "great" or "wide drum"). Outside Japan,
the word is often used to refer to any of the various Japanese drums
(和太鼓, "wa-daiko", "Japanese drum", in Japanese) and to the relatively
recent art-form of ensemble taiko drumming (sometimes called more
specifically, "kumi-daiko" (組太鼓)). The performances can last between 5
and 25 minutes and typically follow a jo-ha-kyū
(beginning, middle, end/rapid, sudden, urgent, and emergency)
structure, which means the performance will speed up significantly
towards the grand finale.
Taiko no Tatsujin (太鼓の達人) is a series of rhythm games created by Namco. The series has seen releases for the arcade, Nintendo DS, PlayStation 2, PlayStation Portable, Wii, iOS, Advanced Pico Beena, and mobile phones.
There have been many releases of the game in Japan, and one North American release under the name Taiko: Drum Master. Due to the nature of the series, there were no other releases outside of Japan.
The arcade version of the game is featured in the films Lost in Translation and Wasabi.
Taiko no Tatsujin's famous song, Saitama 2000, is featured in the arcade music game Music GunGun.
Taiko no Tatsujin (太鼓の達人) is a series of rhythm games created by Namco. The series has seen releases for the arcade, Nintendo DS, PlayStation 2, PlayStation Portable, Wii, iOS, Advanced Pico Beena, and mobile phones.
There have been many releases of the game in Japan, and one North American release under the name Taiko: Drum Master. Due to the nature of the series, there were no other releases outside of Japan.
The arcade version of the game is featured in the films Lost in Translation and Wasabi.
Taiko no Tatsujin's famous song, Saitama 2000, is featured in the arcade music game Music GunGun.
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