| ■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 |
|
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.
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.
Exhibits at the Gallery Walk
Fuku-Mi (lucky winnowing baskets) of the Toka Ebisu Festival at Nishinomiya Shrine (Hyogo Prefecture)
An exhibition titled “The Shapes of Mi Winnowing Baskets ― Japanese Wisdom for Living with Nature” is being held from December 2nd, 2020, to January 28th, 2021, at Gallery Walk on the third floor of the Shiodome Media Tower, the headquarters of Kyodo News. (The exhibition is organized by the Department of Intangible Cultural Heritage; co-organized by the Graduate School of Engineering, Chiba University and the Gangoji Institute for Research of Cultural Property, and supervised by the Workshop on Winnowing Baskets.)
Mi (or winnowing) baskets are common, indispensable tools for winnowing rice and other grains. However, the numbers of both users and makers of mi baskets have been declining since the period of high economic growth. The government has made efforts to conserve its weaving techniques by designating three techniques as important intangible folk cultural properties (folk techniques).
Mi baskets are made of natural materials such as wood, bark, and bamboo. While regular hand-woven baskets are made with one or two types of natural materials, mi baskets are made using four or five types of materials, which makes the technique of weaving mi baskets more complicated and sophisticated. Therefore, the technique is said to be the culmination of weaving techniques. Furthermore, various shapes have been created by reflecting the vegetation of specific regions.
This exhibition introduces the materials and techniques used for making mi baskets through fourteen panels, focusing on the high level of skill and knowledge in the use of natural materials that have been condensed into the form of a mi basket.
In conjunction with the exhibition, a webpage has also been launched, displaying a number of videos documenting the production techniques of mi baskets (http://www.tobunken.go.jp/ich/ mi). This webpage will remain open to the public even after the end of the exhibition for you to visit.
(Admission free/Open from 9 a.m. to 7 p.m. on weekdays, and 10 a.m. to 6 p.m. on weekends and holidays.)
Video viewing page of the Conference
The 15th Conference on the Study of Intangible Folk Cultural Properties was held online based on the theme “Intangible Folk Cultural Properties amid the COVID-19 pandemic.” The video of this event was available for viewing from December 25th, 2020 to January 31st, 2021.
(Link: https://tobunken.spinner2.tokyo/
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As the impact of COVID-19 continues, festivals and gatherings that may attract huge crowds are forced to be canceled or scaled back. These restrictions have prevented the successors of intangible folk cultural properties from conducting their activities as usual.
Considering the situation, an online meeting was held to explore ways of preserving and utilizing intangible folk cultural properties amid the COVID-19 pandemic. Three staff from our Institute, three from the local government and museums, and five successors of intangible folk cultural properties from various regions attended the meeting. They presented videos on the current situation and issues in their respective fields and regions, and on practices that had been newly introduced amid the pandemic. Examples of these practices include infection-control measures, online streaming, and crowdfunding. Following the presentation, KUBOTA Hiromichi from the Institute and the five successors had a general discussion and engaged in a lively debate on whether it is possible to continue or resume festivals amid or post COVID-19. They also discussed the necessary measures to be taken if they would hold festivals
A full report of the conference will be published in March 2021; this will also be available on the website of the Department of Intangible Cultural Heritage on a later date.
The Fifteenth Session of the Intergovernmental Committee on the Convention for the Safeguarding of the Intangible Cultural Heritage of UNESCO was held from December 14th to 19th, 2020. It was originally to be held in Jamaica but owing to the impact of the COVID-19 pandemic, the meeting of the Committee was held using a fully online modality. The secretariat was at the UNESCO Headquarters in Paris; however States Parties as well as the committee member states, including Jamaica, the Chair, participated in the online meeting from their respective locations. The meetings were broadcasted in real time on the UNESCO website, and two researchers from our Institute observed the proceedings.
The number of agenda items to be discussed was kept to a minimum because it was online, and the session was scheduled from 1:30 pm to 4:30 pm local time in Paris (9:30 pm to 0:30 am Japan time) each day. In spite of these constraints, three elements were inscribed on the List of Intangible Cultural Heritage in Need of Urgent Safeguarding (Urgent Safeguarding List), and 29 elements on the Representative List of the Intangible Cultural Heritage of Humanity (Representative List). Further, three programmes were added to the Register of Good Safeguarding Practices. In addition, one of the elements added to the Urgent Safeguarding List has been approved for international assistance from the Intangible Cultural Heritage Fund.
Among them, “Traditional skills, techniques and knowledge for the conservation and transmission of wooden architecture in Japan” was added to the Representative List. This element includes 17 conservation techniques selected by the government. They are “building repair,” “building woodwork,” “roofing with Japanese cypress bark or with wood shingles,” “thatching,” “cypress bark harvesting,” “roof panel production,” “thatch harvesting,” “building decoration,” “building coloring,” “building lacquer painting,” “clay tile roofing (using both round and square tiles),” “plastering (Japanese walls),” “fittings production,” “tatami mat production,” “repair and conservation skills for paintings and calligraphies,” “Japanese lacquer production and refinement,” and “gold leaf production.” Until now, most of the elements nominated by Japan and successfully inscribed on the List are nationally important intangible cultural properties and intangible folk cultural properties. However, the set of nationally selected conservation techniques was inscribed for the first time. Japan is famous for its many great historical wooden structures that have been handed down in good condition to the present generation by the skilled craftsmen and technicians who repaired and maintained them in excellent condition. Therefore, the inscription of traditional building techniques is also significant because it highlights the work of those artisans working “behind the scenes.” It is also an example of the relationship between tangible and intangible cultural heritages, which has received international acclaim.
Nominations from other States Parties that were newly added to the Representative List include “Hawker culture in Singapore, Community Dining and Culinary Practices in a Multicultural Urban Context” (Singapore), which refers to the popular street food culture in Singapore, and “Taijiquan” (China), which has many enthusiasts in Japan. A large number of nominations for elements related to lifestyle and culture, such as these mentioned above, was one of the international trends. In addition, “Craft techniques and customary practices of cathedral workshops, or Bauhütten, in Europe, know-how, transmission, development of knowledge and innovation” (Germany, Austria, France, Norway, Switzerland) were selected for being registered as Good Safeguarding Practices. These practices are related to Bauhütten, a cooperative of artists and artisans involved in the construction and repair of cathedrals. It is similar to the traditional building techniques nominated by Japan. However, what is interesting is that while Japan nominated them to the Representative List, Europeans proposed inclusion of these techniques to the Register of Good Safeguarding Practices as an example of heritage conservation activities, showing the difference in approaches.
As Jamaica was the chair country of the session, reggae music, which had been added to the Representative List in 2018, was played in the background of the online broadcast. Unfortunately, there was no scope to experience live reggae music in Jamaica. However, we would like to express our respect to Jamaica, the Chair, as well as the staff of UNESCO, the secretariat, for successfully completing the first online committee session.
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.
The website of “COVID-19 and Intangible Cultural Heritage”
The spread of the novel coronavirus (COVID-19) has been continually causing a serious impact on the safeguarding of intangible cultural heritage at in Japan and abroad.
For example, in the field of traditional performing arts, performances face forced cancellation or postponement, or the reduction of the number of seats even if performances resume. The production of musical instruments and costumes to support traditional performing arts also has been suffering from a serious impact caused by the decline in demand. In the area of traditional craftsmanship as well, we can observe negative effects like restrictions on holding exhibitions, which serve as the occasions to present work, and limitation on opportunities and venues for sales. Furthermore, we know these traditional performing arts and craftsmanship are, in most cases transposed to the next generation through face-to-face training and skill transfer, facing serious diminution of such opportunities.
We can also observe serious impacts on folk performing arts, customs, and techniques handed down in local regions. Regarding these intangible folk cultural properties, it is true that the aging and declining population had already made it difficult for many of them to survive in local areas, It is concerned that this COVID-19 pandemic spurs them to further deterioration, now leading a number of them to face possible annihilation.
When it comes to international affairs, there are concerns that the existence of intangible cultural heritage handed down by ethnic groups is at stake in countries and regions already facing challenges in the medical system and sanitary environment.
Although the impacts of the COVID-19 pandemic are generally widespread on tangible and intangible cultural heritage, we believe that the effect on so-called living heritage including intangible cultural heritage is very serious. This is because such heritage is supported by the activities of living humans, and activities by humans are exactly what the COVID-19 pandemic restrains most.
The Department of Intangible Cultural Heritage of Tokyo National Research Institute for Cultural Properties has been widely collecting information on the effects of the COVID-19 on intangible cultural heritage in Japan and overseas since April 2020. Among them are information on cancellation and postponement of performances, exhibitions and festivities, information on their resumption, information on support (benefits, subsidies etc.) by the government, local public organizations and private organizations, information on new attempts including online distribution and disclosure of performances and exhibitions, information on situations in each country and attempts by international organizations including UNESCO.
We are also working to disseminate some of the collected information. For example, we launched the webpage of “COVID-19 and Intangible Cultural Heritage” (https://www.tobunken.go.jp/ich/vscovid19) on the website of the department. This webpage provides information on supports by the government, local public organizations and private organizations as well as discloses the analytic results of statistical information on postponement, cancellation and resumption of related businesses regarding the effects of the COVID-19 disaster on traditional performing arts. We also launched Facebook Groups “COVID-19 and Intangible Cultural Heritage” (https://www.facebook.com/groups/3078551232201858) on the Facebook page of the Institute to provide information on supports as well as information on new attempts and information on international trends. Anyone who has a Facebook account can join the group as a member and receive information on a regular basis. Also, anyone who has a Facebook account can read articles even without becoming a member.
We are also working to disseminate information through holding forums. In September, we are going to hold “Traditional Performing Arts and Novel Coronavirus” as the forum 1 of “Series Forum: COVID-19 and Intangible Cultural Heritage.” In December, we plan to hold “Intangible Folk Cultural Property in Novel Corona Virus Pandemic (tentative title)” as the forum 2. From the viewpoint of preventing the infectious disease, we have to limit the number of participants and have some presenters participate by recording or remote call. We plan to upload the videos of the forum online for a certain period of time. We will release the details of these forums in our future activity report.
The situation of the COVID-19 disaster is changing from moment to moment, making it already difficult even at present to obtain information on the preceding situation. Therefore, we are going to continuously collect information and comprehensively analyze the data including information not published on websites and in forums so that we will be able to effectively utilize them to contribute to the safeguarding of intangible cultural heritage.
