| ■Tokyo National Research
Institute for Cultural Properties |
■Center for Conservation
Science |
| ■Department of Art Research,
Archives and Information Systems |
■Japan Center for
International Cooperation in Conservation |
| ■Department of Intangible
Cultural Heritage |
|
Techniques to Support Japanese Traditional Performing Arts: Noh Costume by Sasaki Noh-Isho
The department of Intangible Cultural Heritage published Noh Costume by Sasaki Noh-Isho as the 8th brochures of the series, Techniques to Support Japanese Traditional Performing Arts.
Manufacturing Noh costumes was certified as a Selected Conservation Technique, and Mr. SASAKI Yoji, the 4th president of Sasaki Noh-Isho, as its technique holder by the government in FY 2020. Noh costumes are not only customized for the plays, characters, and traditions of each school, but also introduce new creativities and ingenuities. In this brochure, each process of “making Jacquard cards,” “preparing yarns,” “weaving,” and “finishing” is briefly introduced in the order of work.
The research outline of technique details is published in the Investigation Report on Techniques for Preserving Cultural Properties with a Focus on Musical Instruments 5 (MAEHARA Megumi & HASHIMOTO Kaoru, Research and Reports on Intangible Cultural Heritage 15, Tokyo National Research Institute for Cultural Properties, 2022.) Please refer to this material along with the brochure. It will be available on TOBUNKEN’s website.
These series of brochures can be distributed for non-commercial purposes via Yu-Pack (parcel), Japan Post with a cash-on-delivery option. Please email to mukei_tobunken@nich.go.jp with your name, address with postal code, phone number, and the name(s) and number of the brochure(s) requested.
Series of brochures published so far:
Techniques to Support Japanese Traditional Performing Arts I: Biwa by ISHIDA Katsuyoshi
Techniques to Support Japanese Traditional Performing Arts II: Koma (Bridge of Shamisen) by OKOUCHI Masanobu
Techniques to Support Japanese Traditional Performing Arts III: Futozao Shamisen (Three stringed lute with thickest neck) by ISAKA Shigeo
Techniques to Support Japanese Traditional Performing Arts IV: Wind Instruments for Gagaku music by YAMADA Zenichi
Techniques to Support Japanese Traditional Performing Arts V: Shirabeo (Tension ropes for drums) by YAMASHITA Yuji
Techniques to Support Japanese Traditional Performing Arts VI: Shamisen (three-stringed lute) by Tokyo Wagakki
Techniques to Support Japanese Traditional Performing Arts VII: Koto (thirteen-stringed zither) by KUNII Kyukichi
Recording demonstration to assemble kotsuzumi
Playing water （from the left, Mr. TŌSHA Eishin (drum), Mr. TŌSHA Yukimaru (ōtsuzumi), Mr. TŌSHA Roei, Mr. TŌSHA Rokon (kotsuzumi), and Mr. FUKUHARA Kansui (flute)
Round-table talk
The 15th Public Lecture titled Culture of using Trees – Using Cherry Trees, Playing with Cherry Trees is being distributed on our website (https://www.youtube.com/watch?v=IuSDF2JbGAM) until the end of May 2022. This is the edited video recording, considering the COVID-19 pandemic situation. The report will be published in FY 2022 based on this lecture.
Cherry blossoms are extremely popular among Japanese people and used as motifs in various performing arts. However, in this public lecture, we focused on cherry trees from the viewpoint of “the ones whose timbers and barks are used,” rather than “their blossoms which we enjoy and celebrate or play with.”
In the beginning, Mr. KAWAJIRI Hideki of the Gifu Academy of Forest Science and Culture provided a lecture on the Current Situations and Challenges to Use Various Types of Trees including cherry trees. IMAISHI Migiwa and MAEHARA Megumi, of the department, presented reports on the Usage of trees in the folklore world – Focusing on Cherry Trees and Intangible Cultural Heritage and Cherry Trees – Use Cherry Trees and Play with Cherry Trees – respectively.
Then, focusing on kotsuzumi, whose body is made of cherry wood, an interview of Mr. TŌSHA Roei about the Charms of Kotsuzumi, a Musical Instrument, a demonstration to assemble a kotsuzumi, and the performance of Water composed by Mr. Roei were recorded. Moreover, this lecture was concluded by a round-table talk with Mr. KAWAJIRI, Mr. Roei, IMAISHI and MAEHARA. At that talk, various topics were discussed reflecting the diverse backgrounds of the participants; changes in demands on broadleaf trees including cherry wood, the current situation of forestry and necessity of “woods consisting of various type of trees,” the charms of cherry woods as musical instruments’ materials, and the importance of popularization using “authentic” musical instruments.
Our department continues to strive to share and prepare for occasions to discuss various challenges on intangible cultural heritage and related techniques and materials.
Renewed Performing Art Studio (Recording Room)
The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) has documented live performances of intangible cultural heritage, including traditional performing arts at the Performing Art Studio in the TOBUNKEN facility. The Studio consists of two rooms: a stage for video recording and a recording studio for audio recording. At the stage facility, we have continuously recorded performing arts including kodan and rakugo. In addition, traditional music such as Miyazono-bushi, Tokiwazu-bushi and Heike have been recently recorded. However, the recording studio was hardly used due to its age. Its recording equipment was not suitable for the kind of digital recording widely used today. Therefore, TOBUNKEN made large-scale renovation of this recording studio in FY 2021, and it was completed in March 2022.
The renewed recording studio have a feature suitable for recording Japanese traditional music: Its floor is made of hinoki, Japanese cypress. This can properly reflect the echo of Japanese traditional musical instruments. In addition, a small space exists under the hinoki floor for ventilation. This will release humidity from the recording studio and prevent curving and mold involving the floor materials.
The new recording studio has zigzag shape with wide angle on the rear walls. This is an alternative to traditional byōbu (folding screens), which are set behind performers when they play Japanese traditional music. Byōbu not only visually highlight the performers, but also reflects the sound. The rear walls thus play this role of sound reflection. In addition, the rear walls have several sets of three sliding doors that are set vertically. Opening and closing these mechanisms controls sound reflection. Furthermore, different types of materials including washi (white in the photo) and cloth (black in the photo) are used in the wall, which contribute to control the balance of sound reflection and absorption.
Then, the panels are set in different angles on the ceiling. Some of the panels reflect the sound to the players and others absorb sound and suppress reflection.
Many modern music studios are designed to prevent sound reflection by setting acoustic materials on walls and ceilings. This is because recording clear sounds in the environment requires minimum reflection. However, players feel strange in these circumstances because the music they play does not bounce back. In particular, Japanese traditional music is usually played in an environment with some sound reflection. Therefore, it is important to record the music in an environment close to normal performances to document such live performances. Simultaneously, to record “clear” sounds, an environment with minimum sound reflection is preferable. It is difficult to meet these two incompatible conditions simultaneously, but we attempt this in the recording studio using a highly precise design.
Related with the recording studio’s renewal, the sound equipment was completely replaced with contemporary digital recording equipment. We plan to start live performance documentation in this new recording studio from FY 2022. We expect to record performances with higher quality and presence than ever before.
Survey on slashing and burning common reed riverbeds in Kanmaki and Udono
Hichiriki
A Reed(mouthpiece) of hichiriki
Raw materials of reeds (mouthpieces) of hichiriki (a Japanese flute), is common read (Phragmites Australis; Genus:Phragmites, Family:Poaceae). Especially common reeds growing on the land near the rivers and the lakes are said to be suitable for hichiriki’s reeds. Udono and Kanmaki areas of the Yodo River riverbeds in Takatsuki City, Osaka Prefecture, are well known as a production area of the good quality common reeds grown in the land. For long time, Udono Association for Common Reed Riverbeds Preservation and Kanmaki Working Union have been working to slash common reads and burn the reed riverbeds there to preserve reed riverbeds and exterminate harmful weeds and insects during every February. However, due to the unsuitable weather condition and the COVID-19 pandemic, this work could not be carried out for two consecutive years. We were concerned about the common reeds growing environment. From September 2021, the information was spread that the common reeds in that area were almost extinct.
The Department of Intangible Cultural Heritage has been engaged in the surveys on conservation techniques to transmit traditional performing arts, and the tools and raw materials for these arts. The common reeds are mandatory as raw materials to support gagaku (a Japanese classical music, which are mainly played in courts and shrines.) Therefore, we documented and studied reed riverbeds burning held on Feb 13th, 2022, first time in two years.
They plan to improve the environment for common reeds growing under the initiative of Udono Association for Common Reeds Riverbed Conservation and Kanmaki Working Union by stripping vines which coil around and blight reeds. The department continues to closely monitor the activities as an important attempt to secure the raw materials, which are mandatory for the conservation for cultural properties.
From the left: Mr. TANAKA Naoichi, Mr. KIKUO Yuji, Mr. HIYOSHI Shogo
A Japanese traditional performing art Heike or Heike Biwa faces the crisis of not being inherited by the next generation because of the recent absence of sufficient successors. Given these circumstances, the department of intangible cultural heritage has been recording the performance since 2018, with the cooperation of the Heike Narrative Research Society, which was founded under the initiative of Prof. KOMODA Haruko, Musashino Academia Musicae, including its members comprising Mr. KIKUO Yuji, Mr. TANAKA Naoichi, and Mr. HIYOSHI Shogo. We could not make it happen last year due to the COVID-19 pandemic but managed to resume recording the performance at the Performing Arts Studio of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN), on February 4th, 2022 after a two-years gap.
Sotoba Nagashi, a traditional piece transmitted in Nagoya, was recorded. This piece, which is regarding the priest, Taira no Yasuyori, who was exiled to the Kikaijima Island, narrates the story in which Taira no Yasuyori made a thousand Sotoba (Buddhist wooden objects), and wrote two waka, Japanese poems on two sotoba. After he threw them to the sea, one of them was washed up to the seashore in the Itsukushima Shrine. It was brought to Taira no Kiyomori through other hands. He was very touched by the poem. The highlight of the piece is the part where it is told how wonderful waka is, referring to Kakinomoto Hitomaro and Yamanobe no Akato, who were the poets of Man’yōshū, an ancient collection of waka This part requires to be narrated in high voice tone. This time, it was recorded by the rengin (group reciting) comprising Mr. KIKUO, Mr. TANAKA, and Mr. HIYOSHI.
The Heike Narrative Research Society is characterized by not only learning the traditional pieces but also reconstructing lost pieces of Heike. We will continue recording the traditional and reconstructed pieces of “Heike” to create the archives.
The Shakuhachi 5 performed “Space for three Shakuhachi”
Round table session
Department of Intangible Cultural Heritage held “Forum 3: Traditional Performing Arts amid COVID-19 Pandemic: Seeking Good Practices for Safeguarding” in the seminar room at the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) on December 3rd, 2021.
In the morning session, ISHIMURA Tomo, MAEHARA Megumi, and KAMATA Sayumi of the Department of Intangible Cultural Heritage reported on the topics: the UNESCO’s perspective of “Good Practice,” the current situation of traditional performing arts, and various supports for them amid the COVID-19 pandemic. MAEHARA also introduced the technique recently recognized as the nation’s Selected Conservation Technique. The topics on the movements of young and mid-career performers such as “Souten” and “the Shakuhachi 5” were also introduced. Then shakuhachi performance followed.
In the afternoon session, the case studies were introduced from the viewpoints of various roles:
as planners and producers, the Japan Arts Council, an independent administrative agency, and Hyogo Performing Arts Center;
as performers, Noh performer of Kanze School, and Japan Shakuhachi Professional-players Network（JSPN）;
as a conservation technique practitioner, Fujinami Properties Co. Ltd. (Association of Conservation for Production Techniques of Kabuki stage properties); and
as secretariat of Dissemination and Empowerment for Hogaku, Agency for Cultural Affairs, Toppan Inc.
At the round-table-talk, we discussed how to foresee realistic ways of managing “with COVID-19,” even when we are still amid the COVID-19 pandemic; overview of the current situation of traditional performing arts and their activities; and information sharing. We concluded this forum with the statement that holding this kind of discussion itself is considered as “Good Practice”.
This forum was held with an audience limited to small numbers of related parties, considering the COVID-19 pandemic. However, it is now available to watch on the TOBUNKEN website till March 31st, 2022. We also plan to publish a report at the end of FY2021 and release it on our website in Japanese.
Recording scene
From the video
The Department of Intangible Cultural Heritage records and edits intangible cultural properties and makes them available to the public to the extent possible to contribute to the transmission of preservation techniques related to intangible cultural properties.
We have uploaded videos (short and long versions) that depict how ISHIDA Katsuyoshi produces biwa (a traditional lute) on the website of the Tokyo National Research Institute for Cultural Properties (https://www.youtube.com/watch?v=9cVq4jMWZVY). We researched and recorded the entire process of how Ishida makes satsuma biwa from July to November 2017, and later edited it. Ishida is the fifth-generation owner of Ishida Biwa Store which is probably the only biwa shop that still exists in Japan. He has acquired the techniques of his father, ISHIDA Katsuo (ISHIDA Fushiki the fourth), the holder of selected conservation techniques for the crafting and restoration of biwa lutes.
In the long version, information on the materials and tools is provided as much as possible via subtitles to facilitate the transmission of the techniques. The short version, based on the overall production process, has been edited so that it is easier to watch as we seek to disseminate it widely.
These videos may not be reproduced, distributed, altered, or used for commercial purposes without permission. However, you may use them for exhibitions, lectures, and so on by contacting us and going through a certain procedure. A portion of the video is being used in the exhibition Biwa kokoro to katachi no monogatari (Biwa: a story of the heart and form) (July 31st – December 7th, 2021), which is currently held at the Hamamatsu Museum of Musical Instruments.
Cooperation: ISHIDA Katsuyoshi. Photography: SANO Masaki (the Department of Intangible Cultural Heritage) and ODAWARA Naoya. Editing: ICHIKAWA Koichiro. Supervisory assistance: SOMURA Mizuki. Supervision: MAEHARA Megumi and SANO Masaki (Department of Intangible Cultural Heritage). Production: The Tokyo National Research Institute for Cultural Properties.
Performance of Tokiwazu-bushi (from left to right: TOKIWAZU Hidemidayu, TOKIWAZU Kikumidayu, TOKIWAZU Kanetayu, TOKIWAZU Mojibei, KISHIZAWA Shikimatu, and KISHIZAWA Shikiharu)
Performance by hayashikata (hayashi ensemble) (from right to left: KATADA Kiyo, KATADA Kiyomi, and UMEYA Tomoe)
Performance by hayashikata (from left to right: KATADA Masahiro and KATADA Takashi)
Performance by hayashikata (HOUSEI Chiharu)
The Department of Intangible Cultural Heritage recorded a live performance (audio recording) of “Odoriji (Tokiwazu-bushi)” at the Performing Arts Studio of Tokyo National Research Institute for Cultural Properties on January 29th, 2021. This recording aims at producing an audio recording of kikyoku (rarely performed tunes) “Hidakagawa Mitsuomote (Hidaka River three masks)” and “Tojin (foreign lady)” and preserving it as a joint project co-organized by the Executive Committee for recording Tokiwazu-bushi Hidakagawa Mitsuomote and Tojin and the institute.
Both tunes that were recorded this time are odoriji, which are performed as accompaniment for dancing, and as the dance pieces came to be rarely performed, the music pieces were practically no longer performed. Although how they were created is not well known, there are hardly any practice books left that appear to have been published in the period spanning the end of the samurai period to the Meiji period (all books are published by Tamasawaya Shinshichi) and a film of performance by “Kikujuro no kai” (30th anniversary of the master registration) (held by a private individual). The practice books revealed that the dance pieces were choreographed by NISHIKAWA Koizaburo I (head of Nagoya Nishikawa School). This time, based on these materials, the performances were reproduced and performed.
In “Hidakagawa Mitsuomote,” a butterfly vendor performs three roles, i.e., a priest Anchin, Kiyohime (Prince Kiyo), and a shoke (young priest in training) while changing from one mask to another. As the title “Hidakagawa” suggests, the play is based on the Dōjōjimono, that is, tales that are taken up in Noh plays, jōruri (dramatic narrative chanted to a shamisen accompaniment), and kabuki, and this one is a witty dance piece by a vendor who plays three different characters with a sense of humor. Furthermore, part of the Japanese song “Choucho (butterfly)” based on a German folk song with the Japanese lyrics “choucho, choucho, nanoha ni tomare, nanohani aitara, sakurani asobe” is used as a verse, which is interesting.
“Tojin” is a play made up of Chinese-style music and a dance full of exoticism. It begins with music created from taiko drums and sho bells called Togaku (Tang-era Chinese music) (which is not directly related to Togaku in gagaku (Japanese court music)). A man with his hair shaped in benpatsu (queue) and a woman who piled her hair high on the top of her head dance, and both of them are in Chinese-style costumes. The verses are filled with mysterious words like a spell and are pretty much kuruwa banashi (lovers’ conversation) between the two performers in a comical atmosphere.
The performers were TOKIWAZU Kanetayu (seventh generation, tategatari or first jōruri performer), TOKIWAZU Kikumidayu (wakigatari or second jōruri performer), TOKIWAZU Hidemidayu (sanmaime or third jōruri performer), TOKIWAZU Mojibei (fifth generation, tatejamisen or first shamisen player), KISHIZAWA Shikimatu (wakijamisen or second shamisen player), KISHIZAWA Shikiharu (uwajōshi or high-tone shamisen player), HOUSEI Chiharu (Japanese flute), KATADA Kiyo (kotsuzumi or small hand drum), KATADA Kiyomi (ōtsuzumi or knee drum), UMEYA Tomoe (taiko or drum), KATADA Masahiro (ōdaiko or big drum), and KATADA Takashi (bell).
The Department of Intangible Cultural Heritage will continue to record plays that get few occasions to be performed and invaluable live performances of an exhaustive list of plays, and carry out joint projects like this as the opportunity arises. The records will be used in Japanese dance performances by the Executive Committee and can be listened as research material at the institute.
For your information, the recording was carried out in which all performers used masks, similar to those used on the stage of kabuki to curb the spread of COVID-19.
Scene of Performance Recording of Tokiwazu-bushi (From left to right: Tokiwazu Hidemidayu, Tokiwazu Kikumidayu, Tokiwazu Kanetayu, Tokiwazu Mojibei, Kishizawa Shikimatu, Kishizawa Shikiharu)
On December 25th, 2020, the Department of Intangible Cultural Heritage made the first sound recording of Tokiwazu-bushi in the Performing Arts Studio of Tokyo National Research Institute for Cultural Properties.
Tokiwazu-bushi, an important intangible cultural property of Japan, was created by Tokiwazu Mojitayu in 1747 in Edo. Its rhythm and pace do not change drastically, and it has a moderate depth. Tokiwazu-bushi has been handed down to the present day in connection with Kabuki and Nihon Buyo. Joruri (the voice part) has a good balance of lines and “fushi or bushi” (lines with the melody), and the shamisen part is played on a chuzao-shamisen with a bachi (plectrum), which has a large hiraki (the tip of the plectrum) that imparts a moderate depth to the sound. Another characteristic of Tokiwazu-bushi is that it has a diverse repertoire, including Danmono (works derived from Gidayu-bushi), those based on Noh Kyogen, Shinju-michiyuki, and works with a comical flavor.
In this session, the entire classical piece “Shinobiyoru Koi wa Kusemono: Masakado” was recorded. Although this is one of the most popular pieces of Tokiwazu-bushi, it is rarely performed in its entirety these days. It is a large piece that takes about 40 minutes to perform, with a clear structure consisting of “Oki” (the part before the appearance of the characters), “Michiyuki” (the appearance of the characters), “Kudoki” (expression of passion), “Monogatari” (narration of the story of the battle), “Kuruwa-banashi” (the red-light district story), “Odoriji” (showpiece of the dance), “Miarawashi” (revelation of the character’s true identity), and “Dankire” (the finale). When performed with the typical characteristics of music, each part of the piece stands out. The performers are the seventh Tokiwazu Kanetayu (the first performer), Tokiwazu Kikumidayu (the second performer), Tokiwazu Hidemidayu (the third performer), the fifth Tokiwazu Mojibei (the first shamisen), Kishizawa Shikimatsu (the second shamisen), and Kishizawa Shikiharu (Uwajoshi, high-pitched melody).
The Department of Intangible Cultural Heritage plans to continue to record pieces that are rarely performed as well as valuable full-length performances.
In keeping with the norms of social distancing to prevent the spread of COVID-19, masks used in Kabuki performances were worn during the recording.
Presentation by Mr. OHTSUKI Bunzo, shite kata (main role) of Kanze (a school of Noh) [prerecorded]
Presentation by Mr. OKUDA Utanoichi, so performer
Symposium
The Department of Intangible Cultural Heritage studies the impact of COVID-19 on intangible cultural heritage. It also collects information on related support, new initiatives, and related news in other countries. As a part of these efforts, the first forum of the series titled “Traditional Performing Arts amid COVID-19 Pandemic” was held in the seminar hall at Tokyo National Research Institute for Cultural Properties on September 25th, 2020.
The forum was focused on the traditional performing arts, especially classical performing arts, which have been greatly affected since the onset of the pandemic. In the first half of the forum, we gave a lecture on the role that the “public sector” serves for traditional performing arts amid the pandemic. We also presented some topics from the standpoint of our organization which is engaged in studies and information gathering. In the second half, we took up two different genres of the traditional performing arts, Nohgaku (a form of classical Japanese dance-drama) and Hohgaku (traditional Japanese music by traditional musical instruments such as so, a traditional Japanese zither and shamisen, a three-stringed traditional musical instrument). Then, for each genre, current situations were explained from the standpoint of performers, organizers/producers, and preservation techniques which are indispensable in the traditional performing arts. This was a valuable opportunity to share difficulties amid the pandemic. In the round-table discussion that followed, the talk centered around “social integration” that the traditional performing arts need beyond each genre and role. Participants shared a common view that raising awareness of “social integration” of the traditional performing arts is critical for communicating the current situation accurately in order to receive proper support. It is also critical for promoting education and/or training in anticipation of an increase in demand.
The video footage of this forum was released for free until November 3rd. We will publish a revised report with some additions online at the end of this fiscal year.
Brochure “Techniques Supporting Traditional Performing Arts V: Shirabeo by YAMASHITA Yuji”
The fifth brochure of the series addressing “Techniques Supporting Traditional Performing Arts” has been published. This brochure focuses on Mr. YAMASHITA Yuji, manufacturer of “shirabeo” (also called “shirabe”). Shirabeo is a special hemp rope used to tie the front and back leather of small hand drums, large hand drums, and drums used for noh and kabuki plays and in festivals held all over Japan. Mr. Yamashita has been working on the production of shirabeo, nurturing the younger generations, and disseminating production techniques as the fourth head of a long-established store called Yamashita Keishudo (Kyoto), which has been dealing in shirabeo for generations. The brochure mentions a part of the secret technique involved in producing shirabeo as “firmly yet softly twist the rope.” The survey on Mr. Yamashita’s technique in producing shirabeo was conducted prior to the publication of the brochure. The outline of the survey is available in the “Investigation Report on Techniques for Preserving Cultural Properties with Focus on Musical Instruments 2” (MAEHARA Megumi & HASHIMOTO Kaoru, “Research and Reports on Intangible Cultural Heritage” 13, Tokyo National Research Institute for Cultural Properties, 2018). Please refer to the report along with the brochure. (Access here to download the report: https://www.tobunken.go.jp/ich/maehara-hashimoto-2)
The series of brochures is available to those who require it for any non-commercial purpose. It will be delivered by Yu-Pack parcel post for COD. (Please note that the brochure may be out of stock.)
If you require any of the brochures, please send us details of 1. Your name, 2. Postal code & address, 3. Phone number, 4. The brochure you need (I-V) and the number of copies, by e-mail to mukei@tobunken.go.jp (Department of Intangible Cultural Heritage).
• “Techniques Supporting Traditional Performing Arts I: Biwa by ISHIDA Katsuyoshi”
• “Techniques Supporting Traditional Performing Arts II: Koma (Bridge of Shamisen) by OKOUCHI Masanobu”
• “Techniques Supporting Traditional Performing Arts III: Futozao Shamisen (Three stringed lute with thickest neck) by ISAKA Shigeo”
• “Techniques Supporting Traditional Performing Arts IV: Wind Instruments for Gagaku music by YAMADA Zenichi”
• The latest “Techniques Supporting Traditional Performing Arts V: Shirabeo (Tension ropes for drums) by YAMASHITA Yuji”
We will continue to publish brochures focusing on techniques to produce/repair musical instruments as skills to conserve cultural properties.
Filming of Miyazono-bushi (from left to right: Miyazono Senyoshie, Miyazono Senroku, Miyazono Senkazuya, and Miyazono Senkoju)
On July 31st, 2019, the Department of Intangible Cultural Heritage recorded a live performance of Miyazono-bushi (second recording of a live performance) at the Performing Arts Studio of Tokyo National Research Institute for Cultural Properties.
Miyazono-bushi is an important intangible cultural property of Japan which was founded in the first half of the 18th century by Miyakoji Sonohachi in Kyoto. After seeing a revival during the mid- 18th century in Edo, it has become what it is today. Miyazono-bushi can be characterized by its distinctive vocal part called joruri (dramatic narrative chanted to a shamisen accompaniment) that is sang in a solemn and silky voice, accompanied by the soft and thick sounds of a chuzao shamisen (middle-neck sized three-stringed Japanese banjo). With training and experience, subtle expressions are produced through their harmonization. Traditional songs include classical dramatic piece in ten acts as well as modern songs, with the content of these songs being almost entirely about elopements for double suicides.
This time, two pieces were recorded: a classical piece, the “Michiyuki Natane no Midarezaki – Yamazaki” (blooming of rapeseed flowers during an elopement – Yamazaki) and a modern piece, the “Uta no Nakayama” (small path near Seikanji Temple). Both pieces were performed by Miyazono Senroku (lead singer; an individual certified as a Holder of Important Intangible Cultural Property or what is called living national treasure), Miyazono Senyoshie (supporting singer), Miyazono Senkazuya (lead shamisen player), and Miyazono Senkoju (supporting shamisen player).
The Department of Intangible Cultural Heritage will continue to record live performances of Miyazono-bushi classics, as well as new pieces that get few occasions to be performed live.
Original thread manufacturing machine for traditional Korean string instruments
Research presentations at the National Intangible Heritage Center
The Department of Intangible Cultural Heritage, Tokyo National Research Institute for Cultural Properties has been engaged in research exchange with the National Intangible Heritage Center in the Republic of Korea since 2008. This exchange involves conducting overseas research while staying at the other party’s institution for a certain period of time and holding joint symposiums. Megumi Maehara, Head of the Intangible Cultural Properties Section of the Department sojourned in South Korea from July 1st–19th, 2019 to pursue overseas research.
Considering current conditions in Japan where cultural heritage application is anticipated, the purpose of this overseas research was to derive hints at preserving and transmitting cultural heritage preservation techniques used in musical instrument manufacturing and repair, in addition to cultural heritage utilization. During her stay, Ms. Maehara visited musical instrument manufacturers, musical instrument materials manufacturers and those associated with the education on, and preservation and succession of, traditional performance art (music), and also research organizations. The aim of her visit was to investigate South Korean traditional musical instrument manufacturing and repair techniques, the tools and raw materials used, the frameworks utilized to support these techniques, and the treatment of these techniques in the education about, and dissemination of, traditional music to the masses.
In South Korea, classical music and folk music are considered to be inseparable facets of “traditional Korean music (gugak).” Having knowledge and practical skill in these subjects are requirements for teachers who wish to be employed in music education because “traditional Korean music” is an indispensable qualification for music educators. This environment where one can naturally come in contact with traditional Korean music is starkly different from that in Japan. Nonetheless, there is still room to cultivate a general awareness of the techniques and raw materials supporting traditional performance art (music) in Japan and even in South Korea. Case studies and common issues discovered from this research exchange were compared to the current situation in Japan and the results were presented orally on July 18th at the National Intangible Heritage Center. Together with an investigative report in Japan, an overview of this investigation into musical instrument manufacturing and repair techniques will be published in the 14th volume of the “Research and Reports on Intangible Cultural Heritage” to be issued at the end of the fiscal year.
The Institute would like to extend its deepest gratitude to Kyeong-Hye, Kang of the National Intangible Heritage Center for supporting its research during this exchange, to interpreter Ji-Ye, Lee, and to everyone at the National Intangible Heritage Center.
Demonstration by instrument makers
Panel talk (From left) Megumi Maehara (Tokyo National Research Institute for Cultural Properties), Kaoru Hashimoto (Tokyo University of the Arts)
Conclusion of the public lecture (From left) Kazuko Tanigaito (Japan Council of Performers Rights& Performing Arts Organization), Megumi Maehara, Tamiko Tamura (DO-GU LABO for Japanese Traditional Performing Arts), Hidekazu Hashimoto (Marusan Hashimoto Co.), Tomo Ishimura (Tokyo National Research Institute for Cultural Properties)
Playing nagauta “Tamagawa (Tama River)” (From left) Sachi Oshima, Chie Mitsui, Yuji Suzuki, Akito Tsuzuki
On August 3rd (Fri.), 2018, the 12th public lecture of the Department of Intangible Cultural Heritage, Tokyo National Research Institute for Cultural Properties and the 24th exhibition and demonstration seminar of Tokyo samisen and koto” were held jointly by Tokyo National Research Institute for Cultural Properties and Tokyo Japanese Musical Instruments Association (Tohokyo) under the theme of the “craftsmanship underlying the traditional sounds.”
In the morning, instrument makers (koto and samisen) from Tohokyo gave demonstration and explanation along with time for Q&A session and hands-on experience. Participants had a valuable opportunity to talk directly with makers and learn how to play the instruments. At the lunch time, a staff member who had been engaged in instrument manufacturing and inspection for repairs in the Department of Intangible Cultural Heritage gave a panel talk by introducing specific examples. At the public lecture in the afternoon, three lecturers raised the issues concerning the craftsmanship underlying Japanese traditional sounds and reported their activities from different positions. With a commentator joining in the seminar, all those issues and problems were organized, and opinions were exchanged on clues for solution. Lastly, young promising players closed the seminar with their nagauta (ballads sung to samisen accompaniment). The seminar participants shared the issues at various levels surrounding the traditional craftsmanship with producers, researchers, and players being linked together.
The seminar was attended by 148 participants from various communities, such as manufacturers of music instruments and their accessories, live performers from different genres, researchers, educators, and devotees of traditional performance arts. It was found that there is a great interest in the craftsmanship underlying traditional performance arts. A report will be published at the end of this year, and going forward, we will conduct multi-faceted research on this theme and continue with our studies benefitting the preservation and inheritance of craftsmanship, by utilizing the newly established network at this opportunity.
Miyazono-bushi: Performance during the actual video recording (From left: MIYAZONO Senyoshie, MIYAZONO Senroku, MIYAZONO Senkazuya, and MIYAZONO Senkoju)
On July 30th, 2018, the Department of Intangible Cultural Heritage recorded a live performance of Miyazono-bushi (for the first time) at the Performing Arts Studio of Tokyo National Research Institute for Cultural Properties. Miyazono-bushi is designated as a nationally important intangible cultural property.
The first MIYAKOJI Sonohachi created Miyazono-bushi in Kyoto in the early 18th century. It declined later in Kyoto, but was revived in Edo in the mid-18th century, and has been inherited until today. The musical features of Miyazono-bushi are its unique joruri (vocal part), which is heavy yet silky, and the sound of the chuzao (middle neck) shamisen (Japanese banjo), which is soft yet thick. The traditional tunes are divided into 10 classical ones and modern ones, whose themes are mostly elopements for double suicides.
This time, a classical tune, the “Scene of KOHARU Jihee Using Kotatsu (Japanese foot warmer)” (Kotatsu), and a modern tune, “Double Suicide in Minowa” were recorded. Both were performed by MIYAZONO Senroku (lead singer: an individual certified as a Holder of Important Intangible Cultural Property or what is called living national treasure), MIYAZONO Senyoshie (supporting singer), MIYAZONO Senkazuya (lead shamisen player), and MIYAZONO Senkoju (supporting shamisen player).
The Department of Intangible Cultural Heritage will continue to record the live performance of classical Miyazono-bushi tunes as well as its modern tunes, which are seldom played.
Rehearsal (Prof. Haruko KOMODA, who served as our adviser, in the foreground)
Heike (or Heike-biwa) is one of Japan’s traditional performing arts wherein the blind beggar priests (biwa hōshi) musically recite Heike Monogatari (the Tale of the Heike) while playing the biwa (lute) as an accompaniment. It flourished and reached its peak in the Muromachi period. However, Heike-biwa has gradually declined in popularity since then, and now there is only one person who has officially inherited this tradition. On January 15th, the Department of Intangible Cultural Heritage recorded Heike at the Performing Arts Studio of Tokyo National Research Institute for Cultural Properties, with the help of the Heike-gatari Research Society, a study and performance group founded in 2015 under the initiative of Prof. Haruko KOMODA of Musashino Academia Musicae to promote and pass down the techniques of Heike-gatari (recitation of the Tale of the Heike) to the next generation.
The Department recorded the following performances: the traditional piece, Koyo; the reconstructed piece, Kogo (from the sanjyu part to the beginning of the kudari part); the reconstructed piece, Atsumori (the kudoki part at the start); and the reconstructed piece, Gion Shoja. One of the most notable characteristics of the Heike-gatari Research Society is that the Society, which consists of emerging performers of the Jiuta and koto repertories, Mr. Yuji KIKUO, Mr. Naoichi TANAKA, and Mr. Shogo HIYOSHI, along with Prof. Haruko KOMODA, a leading authority in the study of Heike, has been reconstructing Heike based on objective evidence. The Department, together with the Society, will continue to archive the recordings of not only traditional pieces but also reconstructed pieces of Heike.
