| ■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 |
|
Biwa used by Mr. NAGAMATSU Daietsu (owned by NAGAMATSU Mitsutoyo at that time)
Biwa used by Mr. HASHIGUCHI Keisuke (owned by HASHIGUCHI Kenichi)
The Department of Intangible Cultural Heritage has investigated the Higo Biwa Preservation Society and the successors of Higo biwa technique, who have dedicated to pass down the Higo biwa, and its related materials including the biwa. We conducted the third on-site investigation from September 7th to 9th. We studied the biwa used by Mr. NAGAMATSU Daietsu, a sighted Higo biwa player and the one used by Mr. HASHIGUCHI Keisuke (HOSHIZAWA Tsukiwaka), a successor of Hoshizawa school, whose root is Sumoto, Amakusa City. Both were preserved by their bereaved families. Therefore, we visited them and studied the biwa there. We had precious opportunities to learn about these two Higo biwa players from their families. Mr. NAGAMATSU’s biwa will be donated to Historical Museum Kokoropia of Tamana City associated with his related hand-written books of relics and records via the curator who accompanied us. We expect them to be widely available for studies.
Furthermore, we conducted studies on the biwa owned by Shinwa Museum for History and Folklore and Amakusa Hondo Museum of History and Folklore and concluded this investigation series. We may conduct a few supplementary studies and plan to issue the report in FY 2022.
We noticed that a village manages a single Higo biwa instrument in turn and plays it as an offering every new year. We cannot study this case in our investigation series, but we hope that our analysis inspires further research on Higo biwa tradition status.
Domestic paulownia lumbers left in the rain and winds for three to five years to remove tannin after sawing (Aizukiridansu Corporation)
Paulownia trees planted in the town in 2016
The Department of Intangible Cultural Heritage continues to conduct surveys of the raw materials which support intangible cultural heritage. We have been focusing on techniques to collect and process trees as materials, and conduct surveys, recordings, and a reevaluation of the disappearing techniques and knowledge since FY2020. These activities are supported by the Research Grants in the Humanities of the Mitsubishi Foundation offered for the project “Research on Traditional Wood-use Techniques and Knowledge Regarding Intangible Cultural Heritage.” As a part of these surveys, we visited Mishima Town, Fukushima Prefecture on July 14th, 2022 and investigated the production status and associated issues of Aizugiri: paulownia timbers planted and produced there in Aizu district.
Paulownia timbers are excellent materials because of their characteristics: lightness, limited distortion, excellent function of humidity control, and low heat conductivity. They are generally well-known as materials for Japanese traditional chests and wooden clogs. They have also long been used for koto, a Japanese traditional musical instrument. Furthermore, paulownia boxes have been popular as the most suitable conservation containers for fine arts and crafts. However, the domestic demand for paulownia materials shrunk to approximately one eighth compared to 1959 at their peak, partly because of a shift in consumer preferences away from Japanese traditional chests. Additionally, domestic materials among the overall paulownia material supply dropped sharply. At their peak, domestic materials represented almost 95% of the total supply in Japan. However, they dropped to approximately three percents as of 2018 because of imported paulownia timbers (Data by Mishima Town). The production of Nanbugiri, paulownia produced in Nambu district in Iwate Prefecture, had already ceased, although it was as popular as Aizugiri. The annual market dedicated to paulownia timbers in Yuzawa City, Akita Prefecture, which was the last one, has now been halted. Domestic paulownia timbers are now only produced in limited districts, including Aizugiri and Tsunangiri, paulownia produced in Tsunan district in Niigata Prefecture.
Among them, Aizu district is said to have been the place where paulownia planting began. Since large-scale paulownia afforestation occurred there in the Meiji period, paulownia raw woods have been actively shipped as farmers’ side business. Based on this background, Mishima Town founded Aizukiritansu Corporation (meaning a corporation for Aizu Japanese traditional chests made of paulownia), co-funded by the town and the private sector in the early 1980s, when the demand for paulownia timbers decreased. Since then, the town has trained craftsmen and developed new products and markets. These days, it allocates “Kiri (paulownia) experts” and plants paulownia saplings, manages planting, makes manuals for paulownia planting, and conducts various other activities.
Paulownia trees grow quickly and become ready for timbering in approximately 30 years. Meanwhile, they require intensive work including mowing undergrowth, fertilization, and disinfection. It was said to be a reason why people planted paulownia trees near their houses and took sufficient care of them. Now, approximately 900 paulownia trees are planted and managed by the town. It requires special know-how unique to paulownia trees such as a wider space required between each tree than Japanese cedar trees and efforts against damages by pests and rats. The town not only keeps striving toward a stable supply of paulownia timbers, but also proposes new types of chests suitable for the modern life and develops completely new products such as chairs and butter cases.
Markets for domestic timbers including paulownia have been shrinking. Both the demand and supply of lumbers especially used for further niche fields of intangible cultural heritage have been shrinking drastically. Thus, we face a greater risk of being unable to obtain suitable materials when necessary. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) will strive to enlighten larger audiences about the efforts necessary for planting, managing, and processing timbers including paulownia, at a reasonable value for its price, to liaise among production regions, craftsmen, and consumers, and to elucidate raw material characteristics from the scientific study. We will continue to work on this.
Viewing images on a dedicated computer at the TOBUNKEN Library.
Example of additional revisions to a once-published manuscript ('Sanja Matsuri', Kiyomoto-bushi No.39)
The Department of Intangible Cultural Heritage organizes and makes available to the public valuable materials that serve research on intangible cultural properties. Digital images of the manuscripts of traditional Japanese music notations, transcribed by Mr. ASADA Masayuki (1900-1979), have been made available for viewing at the TOBUNKEN Library.
Asada-fu is the result of Mr. ASADA’s continuous transcription of a wide variety of shamisen music genres, including melodies of voice (jōruri or uta) and shamisen accompaniment. It is estimated that more than 100 notations were privately published over a period of 23 years. Because the original manuscripts require careful handling, only the bound versions (copied and bound from the original manuscripts) were previously available to the public. However, with the completion of the digital imaging of manuscripts (Kiyomoto-bushi in FY2021 and other genres, including Icchū-bushi and Miyazono-bushi in FY2022), image data for all genres have been made available in the TOBUNKEN Library from July 2022. This allowed us to examine at our discretion details not reflected in the photocopies, such as traces of detailed modifications to the voice passages made by cutting the paper out of the manuscript.
Those interested in viewing materials can refer to the TOBUNKEN Library Visitor’s Guide and reserve a dedicated computer. A list of Asada-fu manuscript holdings is available (Japanese only). We hope that these images will be utilized by a wide range of interested people, including researchers, performers, and enthusiasts.
Ms. GOTO Akiko played Higo biwa at the Zenkōji Temple in Yamaga City
Japanese government selects “the performing arts including music, dance and drama, and the techniques playing an important role in such performing arts’ establishment and construction, which possesses a high value for seeing the history of the transition of the performing art in Japan” as “Intangible Cultural Properties that need measures such as documentation (performing art)” under the Law for the Protection of Cultural Properties.
As of March 2021, 31 techniques were selected. However, 24 of them were held by individuals. Therefore, all these techniques were practically lost when these individuals died. On the contrary, the rest seven were held by groups. While one of the seven, Kineya Eizo School, a holder of geza ongaku (geza music: music play behind the stage) of kabuki lost its power due to the death of its leader, Mr. Kineya Eizo, the third, in 1967, the other six (Sagiryu kyogen (the kyogen of the Sagi School), Higo biwa, Ryukyu traditional sokyoku (3 groups), and wazuma) are considered as being passed down in their respective groups.
The department of Intangible Cultural Heritage started investigations on Higo biwa, one of these “Intangible Cultural Properties that need measures such as documentation (performing art).” We began collecting information last year and initiated full investigations this year about the Higo Biwa Preservation Society and Higo biwa technique successors, who have been dedicated to passing down the Higo biwa, and the materials related to the Higo biwa including biwa itself. We conducted the second investigation from June 22nd to 24th, 2022. Thereafter, we investigated the objects left by Mr. YAMASHIKA Yoshiyuki, a Higo biwa player (March 20th, 1901 to June 24th, 1996), which are kept in Yamaga City Museum. They vary from his favorite everyday items to photos and biwas, and were counted to 84 cases (containing even more items). As the last day of this investigation happened to be his death anniversary, we were fortunate and honored to be a part of his memorial service with biwa play offering by Ms. GOTO Akiko, who had learned from him and the people very close to him.
We plan to publish a report on the Higo biwa tradition and its related materials in this fiscal year after the planned third investigation.
Rehearsal the day before the event
Reporting to the shrine that prayers are back from Shiokaki (purification with sea water)
The Department of Intangible Cultural Heritage conducted a field survey of the “Tokakujinomatsue” of the Tokakuji area of Kanda Town, Fukuoka Prefecture, on April 16th and 17th, 2022. Tokakujinomatsue is a folk event that has been passed down at the Tokakuji area of Kanda Town, Fukuoka Prefecture. The people in that area have been actively making video documentation and reports in cooperation with the Board of Education in Kanda Town while they face the challenges of continuing the event under the pressures of depopulation and the aging of the population.
Fuchisan Tokakuji, located in this area, was one of the bases for Shugendō called Buzenroppo (six peaks of Buzen) in Kyusu until the Haibutsu kishaku (a movement to abolish Buddhism and destroy Shākyamuni) during the Meiji era. Every early April, people in the area, who are said to be descendants of Shugenja, conduct “Tokakujinomatsue” to pray for good harvests, protection from plagues, and national prosperity. Matsue consists of shinkōretsu (the procession of the shrine god), dedication of shishimai (lion dance), “Tagyōji” (playing mimic activities to grow rice crops), and“Katanagyōji” (playing with masakari (broadaxes) and naginata (long handled swords)). At the end of the event, a person climbs a 12-meter pillar set in the field, reads the kiganbun (optative sentence), and performs “Heikiri” to cut ōnusa (paper-made streamers used for Shinto pray) with a real sword.
Tokakujinomatsue has been heavily affected by the COVID-19 pandemic, much as other folk events nationwide have been. The event was cancelled the last two consecutive years, and this year the event was held but not in the usual way. The Board of Education of Kanda Town contacted us to inquire how to conserve and utilize the videos and photos documented so far, which triggered this survey. In the beginning, we planned to survey the status of the recorded event. However, it was decided to hold the event, even though the event format was to be changed. As the result, this survey led us to think further about the impacts of the COVID-19 pandemic on intangible cultural properties. During the last two years, the department has paid special attention to the impacts of the COVID-19 pandemic on intangible cultural heritage. We will continue to investigate how folk events and folk performing arts that were forced to be cancelled or held in temporary different ways will be passed down in the future.
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.
Finished drumheads (front and back)
Recording the production process at the Hatamoto Taiko Workshop
Ōtsuzumi is not only an instrument used as a musical accompaniment to Nohgaku, Kabuki, Hōgaku and other traditional Japanese musical theater forms but also a crucial element of Japanese traditional performing arts. Its drumheads are roasted dry as preparation before every single play. Therefore, they tend to become severely worn out and torn after every use and need to be replaced after ten uses. As ōtsuzumi drumheads are an integral component of ōtsuzumi the techniques to manufacture ōtsuzumi drumheads (manufacturing nohgaku ōtsuzumi (drumheads)) are considered as important techniques to conserve cultural properties.
The Department of Intangible Cultural Heritage conducted a survey, visually documenting the techniques of making ōtsuzumi drumheads in collaboration with Mr. HATAMOTO Toru of the Hatamoto Taiko Workshop in Tokyo. The video is available online https://youtu.be/eml2A65kbtY. We recorded his entire production process, which included softening leather for drumheads and stitching the material using hemp. Mr. HATAMOTO uses his own techniques during some parts of the process, although the whole manufacturing process is based on traditional techniques. Thus, we edited some parts of the video for the public, considering the possible commercial impacts of revealing his own techniques. We also created a long version of the video documentation separately only to maintain a record of the whole process.
Various conservation techniques supporting intangible cultural heritage are faced with risks for survival due to changing social circumstances and lack of successors. We continue to conduct surveys on conservation techniques to perpetuate and protect them.
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.
Asada-fu manuscripts, organized by piece.
The music notations, transcribed by Mr. ASADA Masayuki (1900-1979), are widely known as a source for describing the melodies of voice (jōruri or uta) and shamisen accompaniment in shamisen music. His notations span a variety of genres, primarily Kiyomoto-bushi, but also Icchū-bushi, and Miyazono-bushi, among others. The Department of Intangible Cultural Heritage has been organizing and preserving the valuable manuscripts, which were collectively donated by the bereaved families when the department was known as the Department of Performing Arts. The outline of the material is reported as “Scores of Japanese Music Transcribed by ASADA Masayuki” [in Japanese] in Vol. 5 of “Research and Reports on Intangible Cultural Heritage.”
The bound versions of Asada-fu (copied and bound from the original manuscripts) are held by various institutions and are available for viewing. In addition, we have been working on digital imaging of the manuscripts, which have only remained at the Institute to ensure their availability for long-term use. We have recently completed the digital imaging of the manuscript of Kiyomoto-bushi genre.
Documenting intangible cultural properties based on oral/aural traditions, especially vocal music with various verses, remains a difficult task. This was even more so in the period when Asada-fu was created, that is before technological developments made it easier to record sound and edit images. From the manuscript, two types of traceable revisions were found: manuscripts revised by cutting and pasting of papers and those rewritten from scratch by destroying the previous version. The use of digital images allows future research into the revision process to be conducted without damaging the original manuscript, which calls for careful handling.
The list of manuscripts in our collection [in Japanese], which includes the progress of digital imaging, was posted on the website of the Department of Intangible Cultural Heritage on February 1st, 2022. The list will be updated based on the progress of our research.
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.
General discussion
Tokyo National Research Institute for Cultural Properties (TOBUNKEN) held the 16th Conference on the Study of Intangible Folk Cultural Properties titled “The Power of Video Documentation – to Overcome the Crisis” participated by a minimum number of stakeholders on December 17th, 2021, to comply with the COVID-19 protocols.
We are still suffering from the consequences of the COVID-19 pandemic. The stakeholders representing intangible folk cultural properties are trapped in the situation, as they have been unable to organize the usual activities. Japan’s annual festivals, including religious and local festivals, have been on hold for two consecutive years. This has hindered the techniques succession process and reduced motivations, thus affecting the succession process of intangible cultural heritage.
An attempt was made to overcome these crises through the utilization of video documentations. In the COVID-19 pandemic, which imposed a limit on people’s gathering, video technology, including video documentation and online video meetings, has gained popularity. This has made it possible to connect people without face-to-face meetings. Additionally, as videos have proven to be useful for the succession of cultural heritage, various video documentations have been produced and archived video recordings utilized.
Thus, we used this year’s conference as an opportunity to discuss the challenges of video documentations. Two participants from TOBUNKEN and five from public administration and research delivered the presentation about the activities undertaken for the conservation and utilization of video and media in local governments, industries, and academia. Then, they participated in a general discussion with two additional commentators, where the topics were examined in detail.
This conference is available online between January 14th and February 14th, 2022 at https://tobunken.spinner2.tokyo/frontend/login.html. All contents of this conference will be published as a report in March 2022 and be available online at the webpage of the department of Intangible Cultural Heritage.
Kiribati faces the risk of being submerged by increasing sea levels (photo taken in February 2014)
Currently, climate change is one of the most important issues that need resolution. To that end, the 26th session of the Conference of the Parties to the United Nations Framework Convention on Climate Change (COP 26) was held from October 31st to November 12th, 2021 to tackle this issue on a global scale.
Climate change is closely linked to the conservation of cultural heritage. For example, large typhoons and heavy rain that are considered common indicators of climate change could damage cultural heritage and museums. Furthermore, rising sea levels caused by climate change could vanish the cultural heritage in coastal areas and at low altitudes. The Tokyo National Research Institute for Cultural Properties (TOBUNKEN) conducted a survey entitled “The Current State of Cultural Heritage Sites that Are Likely to be Affected by Climate Change” as a “Project for International Contribution to Cultural Heritage Protection (Exchange of Experts)” commissioned by the Agency for Cultural Affairs in FY2013; in the project, we made surveys in Tuvalu, Kiribati, and Fiji of the Oceania region which were likely to be affected by climate change.
In 2021, the International Co-Sponsored Meeting on Culture, Heritage and Climate Change (ICSM CHC) was held online from December 6th to 10th and was co-sponsored by the United Nations Educational, Scientific and Cultural Organization (UNESCO), the International Council on Monuments and Sites (ICOMOS) and the Intergovernmental Panel on Climate Change (IPCC). It became the first international opportunity to comprehensively discuss the impacts and issues of cultural heritage and climate change. More than 100 experts participated from all over the world. Two experts from Japan participated: ISHIMURA Tomo (this article’s author), Head, Audio-Visual Documentation Section of the Department of Intangible Cultural Heritage and Dr. IWABUCHI Akifumi, Professor of Tokyo University of Marine Science and Technology and a member of the ICOMOS International Committee on the Underwater Cultural Heritage (ICUCH).
Prior to this meeting, three preliminary meetings were held online from September to October 2021 in which discussion points were organized and clarified in preparation of the ICSM CHC. The outcomes were then compiled as reports titled “White Papers” on December 1st; these reports formed the basis of discussions during the ICSM CHC.
Three themes were discussed: 1) Knowledge Systems and Climate Change: Systemic connections of culture, heritage and climate change; 2) Impacts and Climate Change: Loss, damage and adaption for culture and heritage; and 3) Heritage Solutions and Climate Change: Role of culture and heritage in transformative change and alternative sustainable futures. Each theme had a panel discussion, workshop and poster presentations. Preliminarily selected experts participated in the panel discussions which were broadcasted online. Experts participated in the workshops using an online conference platform. Since simultaneous discussion with all participating experts was not practical, the experts were divided into groups of 5 to 10. For the poster presentations, experts posted their posters on the web and participated in related Q&A sessions and discussions using an online conference system.
Many topics were discussed in the meetings. Currently, the secretariat of the ICSM CHC is compiling the outcomes of discussions and the final report will be published in the first half of 2022.
I, as a participant in this meeting, strongly feel that people are powerfully connected to cultural heritage, especially intangible cultural heritage, and can thus be spurred to better attend to climate change issues. Many participants said that in the discussion for the theme “Knowledge Systems and Climate Change,” we would need to seriously consider not only “scientific knowledge” but also “indigenous knowledge” and “local knowledge” to address climate change. These are considered equivalent to the so-called “traditional knowledge” that intangible cultural heritage provides. Participants made the claim that, to understand the effects of climate change on cultural heritage, it is essential to incorporate local community knowledge in areas surrounding such heritage. Additionally, many people suggested that the key to solving climate change related issues can be found in indigenous and local knowledge.
ICOMOS will continue to work on this project to build a framework to pursue the issues of culture, heritage, and climate change. The author, in collaboration with the TOBUNKEN team, will also continue to monitor the situation.
Field research for canoe culture in the Federated States of Micronesia by TOBUNKEN (August 2018)
The Sixteenth Session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage of UNESCO was held from December 13th to 18th, 2021. This session was planned to be held in Sri Lanka but was held online like the previous session due to COVID-19. While the previous session was shortened to three hours per day for deliberations, this session had 6 hours per day and the agenda was the same as usual. In the meeting, only Dr. Punchi Nilame Meegaswatte, chairperson of the session and Secretary General of Sri Lanka National Commission for UNESCO, and members of the secretariat gathered at UNESCO’s headquarter in Paris, while other representatives from the Committee Member States, States Parties, accredited non-governmental organizations etc. participated using an online conference platform. It was broadcasted via the internet and two researchers of the Tokyo National Research Institute for Cultural Properties (TOBUNKEN) participated as observers.
This time, while Japan did not submit any agenda, the Intergovernmental Committee inscribed four elements on UNESCO’s List of Intangible Cultural Heritage in Need of Urgent Safeguarding, 39 elements on the Representative List of the Intangible Cultural Heritage and 4 elements on the Register of Good Safeguarding Practices. The elements of 9 countries were inscribed for the first time on the list: the Federated States of Micronesia, Montenegro, Democratic Republic of the Congo, Congo, Denmark, Seychelles, Timor-Leste, Iceland, and Haiti.
Among these elements, “Carolinian wayfinding and canoe making” which was nominated by the Federated States of Micronesia and inscribed in the List of Intangible Cultural Heritage in Need of Urgent Safeguarding, is the one related to the international cooperation projects for cultural heritage conservation by TOBUNKEN. TOBUNKEN has been working on the conservation of canoe culture as intangible cultural heritage (ICH) in the Pacific Island nations: the first “Canoe Summit” was held in Guam in May 2016 and interactions took place in Japan with the traditional navigators of the Federated States of Micronesia. In fact, one of the TOBUNKEN outcomes was the inscription of “Carolinian wayfinding and canoe making” at this time. “Joumou soup” nominated by Haiti was discussed in this session and inscribed in the Representative List in accordance with Haiti’s wish and international society’s consideration to encourage the people in Haiti, who were devastated by the 2021 earthquake. The important role that ICH plays to encourage people suffering in the aftermath of disasters was highlighted in the discourse regarding the Great East Japan Earthquake in 2011 and reaffirmed in this case.
In this session of the Intergovernmental Committee, the outcomes of “Open-ended intergovernmental working group meeting in the framework of the global reflection on the listing mechanisms of the 2003 Convention” held in 2021, were also discussed. Though the operational procedures for the Convention for the Safeguarding of the Intangible Cultural Heritage are described in “Operational Directives,” there are various cases whose procedures were not covered by the current “Operational Directives” as it has been more than 10 years since the Directives were first adopted. For example, there are no descriptions on how to transfer the elements in the List of Intangible Cultural Heritage in Need of Urgent Safeguarding to the Representative List of the Intangible Cultural Heritage, and how to remove the elements once inscribed from the list. These cases have been individually judged in the intergovernmental committee. The working group, which was set up in 2018 to comprehensively discuss these issues, has submitted the revision of “Operational Directives” based on the outcome of the intergovernmental working group meeting held in 2021 described above. While the reform plan was decided to be submitted to General Assembly in 2022, the mandate of this working group was extended to 2022 to further streamline the discussion.
This session progressed smoothly despite it being online owing to the mutual trust and cooperation among the state party representatives including committee member states and the UNESCO secretariat; nevertheless, I felt that it was largely because of the chairperson’s leadership. The session in Sri Lanka, the chairperson’s native country, could not happen but he took his position’s responsibility seriously and made the participants feel comfortable using his sense of humor. We were deeply impressed by his attitude. The next host country will be officially announced after monitoring the COVID-19 situation. We sincerely hope to hold the meeting in person.
Manually adjusting warps set on the loom
Handweaving with various types of woof
Cutting and tailoring Noh costumes
The Department of Intangible Cultural Heritage conducts the research on the preservation techniques for cultural properties. We studied the “manufacturing Noh costumes related to Nohgaku*1” technique among various preservation techniques. Nohgaku is performed on stages, where the performers wear masks (Noh masks), costumes (Noh costumes), and other traditional items. Not only the performing arts themselves but also the techniques to support them are mandatory to inherit the intangible cultural heritage.
Mr. SASAKI Yoji (in Kyoto Prefecture) is a government –certified technique holder who has mastered the techniques to manufacture Noh Costumes, moreover these selected preservation techniques are certified by the national government. Mr. SASAKI, who is the fourth president of Sasaki Noh Robes (founded in 1897), manufactures Noh costumes with Nishijin’s*2 traditional handlooms equipped with the Jacquard machine*3 for each order. Noh costumes come in various forms, styles, and patterns and are selected for each drama. Most of them exhibit gorgeous designs, which include shining silk and gold and silver threads, to stand out on the stage. Thus, manufacturing requires highly skilled technique holders to perform weaving techniques to meet the subtle demands of Noh performers.
We interviewed Mr. SASAKI Yoji and recorded each process of manufacturing Noh costumes; the recording included still pictures and videos. We plan to publish a leaflet named “Techniques to support Japanese traditional performing arts” based on the outcomes of this research.
*1. Nohgaku is one of the traditional styles of Japanese theater. It includes the lyric drama noh, and the comic theater kyogen (https://en.wikipedia.org/wiki/N%C5%8Dgaku)
*2. Nishijin: is a district in Kamigyō-ku, Kyoto, Japan. It is well known for traditional textiles which are often referred to as Nishijin-ori (西陣織) (https://en.wikipedia.org/wiki/Nishijin)
*3. Jacquard machines control movements of warps by punch cards to generate complex patterns. They are not powered automatic looms. Sasaki Noh Robes manually develop clothes (using hands) using handlooms equipped with Jacquard machines.
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.
On June 3, 2021, this year’s panel exhibition “Intangible Cultural Heritage Preserved and Communicated through Records,” curated by the Department of Intangible Cultural Heritage, opened in the lobby of the National Research Institute for Cultural Properties, Tokyo. The purpose of this exhibition is to inform people of the importance of recording intangible cultural heritage, especially when many examples of such heritage are facing crises due to the spread of COVID-19.
For example, the COVID-19 pandemic has caused a sharp decline in the number of programs of classical performing arts, causing serious difficulties for the performers. Nevertheless, we continue to take measures against COVID-19 and make efforts to ensure that such arts are passed on even if the scale of performances has been reduced. The news that major Shamisen manufacturer Tokyo Wagakki was threatened with closing down has also been a great shock to the traditional entertainment world.
Folk entertainment and festivals are also being forced to be canceled due to the COVID-19 pandemic. The threat to their survival for future generations is becoming serious since even canceling an annual event just once would result in a two-year gap. Moreover, the risks associated with natural disasters, a declining birthrate, and an aging population are constantly threatening their survival. In particular, crafts and folk techniques that use natural materials are being greatly affected.
Preserving intangible cultural heritage, which can be lost because of these various risks, through records is an important task. Furthermore, recording the current crisis situation will form a basis for examining future survival. We also hope this exhibition will give you a sense that transmitting such records will be a boost to such heritage being passed on to future generations.
The Department of Intangible Cultural Heritage began releasing the “SAITO Tama’s Folklore Research Card Collection” on February 1st. This database is an archive of research cards created by an independent folklore researcher, SAITO Tama (1936–2017). https://www.tobunken.go.jp/materials/saito-tama
Ms. SAITO Tama began traveling and traversing fields all over Japan in the 1970s. She visited at least 2,500 areas from Hokkaido to Okinawa to conduct folk research. The research covers a wide range of genres such as plants, animals, spells, play, words, annual events, and life rituals. The total number of research cards that summarize the interviews is about 47,000. All of them are characterized by targeting often overlooked folklore that is closely linked with people’s daily life. Regrettably, there are many folklore cases that have been lost today.
These cards were originally kept by Ronsosha, which publishes many books written by Ms. SAITO. In 2017, they were entrusted to Tokyo National Research Institute for Cultural Properties through Ms. IWAKI Koyomi, a folklore scholar who has been studying Ms. SAITO. (For more details, please refer to “Document: Research Cards by Saito Tama” by KARINO Moe, published in Volume 12 of “Research and Reports on Intangible Cultural Heritage”.)
The Department of Intangible Cultural Heritage has been working on creating a system that allows us to browse the images of the cards and search through them using keywords, classifications, and place names so that we, as the next generation, can make full use of her valuable work. Thanks to the kindness of the bereaved family, we have made it possible to publish some of the achievements. We are still working on organizing the cards and plan to add and update the contents around the 15th of every month.
Each piece of information on the research card is trivial and small. However, the world that can be perceived when observing them together is extremely rich. We hope that the release of this archive will once again shed light on Ms. SAITO’s achievements and also deepen the understanding of the reality in the abundant world of folklore.
