| ■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 |
|
Conducting Research at the Okinawa Prefectural Museum & Art Museum
Fibers used in cultural properties come from a variety of sources including hemp, ramie, kudzu, and bashō (Japanese banana). As discussed in the May 2017 monthly report (Takuyo YASUNAGA, “Historical Position of ‘Hakubai-zu byobu’ by Goshun－A workshop is organized by the Department of Art Research, Archives and Information Systems”), we have learned in the more recent years that in addition to silk and paper, fiber is also used as the support medium in paintings. There are no well-defined, established methods of identification, however, in part due to the difficulty of discerning the characteristics of individual fibers once in textile state. Tokyo National Research Institute for Cultural Properties (TNRICP) is working to find a solution to these and other problems, in a cooperative research effort into fiber identification among the Department of Art Research, Archives and Information Systems; Center for Conservation Science; and Department of Intangible Cultural Heritage.
As a part of this research, the three-dimensional forms of fibers in a calligraphy work and a dyed article made of bashō-fu (textile woven from banana plant fiber) were examined using a digital microscope at the Okinawa Prefectural Museum from January 22nd to 23rd, 2019.
Bashō-fu is textile developed in Okinawa and Amami Islands and has been designated an important intangible cultural property, with Ms. Toshiko TAIRA recognized as an individual practitioner and Kijōka Bashō-fu Preservation Society recognized as a heritage protection organization. Of the work examined this time, the calligraphy work is known to have been created in a particular year and the dyed article is an item whose wearer can be guessed at. The examination showed that despite being all works thought to be made of bashō-fu, the look and the feel of the textiles varied due to differences in yarn density and yarn processing method.
While it is difficult to judge whether the differences are rooted in regional variation within Okinawa and Amami Islands or due to differences in use, we were able to conclude that many kinds of bashō-fu were created through different processes.
Accurate identification of fibers goes to the most basic data on a particular work, and is a key element in considering the circumstances of production. It is also a pressing issue in the organization of basic data for use in the present repair or the passing on to future generations of intangible cultural heritage.
We hope to continue furthering the research into identification of fibers through field investigations into techniques in conjunction with examination of exhibits at museums and art museums.
Viewing of "Shishifuri" (lion dance) performance in Onagawa-cho
Seven staff of our Institute, including the Deputy Director General Emiko YAMANASHI, participated in the “Asia-Pacific Regional Workshop on Intangible Cultural Heritage and Natural Disasters” co-organized by the International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI) and our Institute and held in Sendai on December 7th to 9th, 2018. This workshop was conducted as the conclusion of the “Research on Intangible Cultural Heritage (ICH) Safeguarding and Disaster Risk Management in the Asia-Pacific Region” conducted by the IRCI since 2016. Additionally, the Department of Intangible Cultural Heritage of our Institute cooperated in this project and dispatched staff for field surveys in Vietnam, the Philippines, and Fiji.
Cultural heritage and disaster risk management experts from eight countries in the Asia-Pacific Region were invited to this workshop. Together with experts from Japan and other countries, they reported and discussed how to protect intangible cultural heritage from natural disasters. On the second day, Hiromichi KUBOTA of the Department of Intangible Cultural Heritage conducted an excursion to Onagawa-cho, Miyagi Prefecture, to show the participants the roles the intangible cultural heritage played in the reconstruction after the Great East Japan Earthquake.
Each country and region’s seemingly different perception of the relationship between intangible cultural heritage and natural disasters marked the discussions in the workshop. For example, while Japanese experts emphasized that intangible cultural heritage formed a bond in the disaster-affected communities and became a source of strength for the reconstruction, several foreign experts highlighted that traditional knowledge contains knowledge to forecast and prepare for natural disasters. The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage lists “knowledge and practices concerning nature and the universe” as a form of intangible cultural heritage, and traditional knowledge is generally recognized as intangible cultural heritage. On the other hand, Japan’s Act on Protection of Cultural Properties does not clearly consider traditional knowledge as a category of intangible cultural properties.
In Japan, attention has been paid to the folkloric records and knowledge related to natural disasters, such as tsunami monuments; however, they were not much discussed in the context of the relationship between intangible cultural heritage and natural disasters. This workshop was a meaningful opportunity to know different perceptions from each country and region, discuss with people who have diverse ideas, and widen our perspective.
View of the seminar
The seminar entitled “Safeguarding Living Heritage in Nepal” was held on December 10th, 2018. The Director General Jaya Ram SHRESTHA and the curator Yamuna MAHARJAN of the National Museum of Nepal were invited and spoke on the current situation and challenges of intangible cultural heritage in Nepal. Tomo ISHIMURA and Hiromichi KUBOTA (Department of Intangible Cultural Heritage) also presented the surveys on Nepalese intangible cultural heritage conducted by our Institute. Dr. Tomoko MORI (Sapporo City University) who has been involved in the preservation of urban scenery in Nepal gave comments as well.
Diverse ethnic groups and religions coexist in Nepal, which has given birth to abundant intangible cultural heritage. However, the earthquake of April 2015 caused severe damage in many regions and affected traditional cultures to no small extent. Moreover, the rapid modernization in recent years is forcing traditional cultures to change. We spent meaningful time learning about such situation of the Nepalese intangible cultural heritage, sharing information with Japanese experts on Nepal who attended the seminar, and exchanging ideas with Nepalese experts.
This seminar was held as part of the Project “Technical Assistance for the Protection of Damaged Cultural Heritage in Nepal” which is the Networking Core Centers for International Cooperation in Conservation of Cultural Heritage Project commissioned by the Agency for Cultural Affairs in FY2018.
Appearance of the venue.
Inscription of “Raiho-shin, ritual visits of deities in masks and costumes” was adopted by the committee.
The Thirteenth session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage took place in Port Louis, the capital of Mauritius, an island nation in the Indian Ocean, from November 26th through December 1st, 2018. Two researchers from this Institute attended the session.
At this session, whether or not “Raiho-shin, ritual visits of deities in masks and costumes” nominated by Japan should be inscribed on the Representative List was discussed. The Committee decided its inscription on November 29th. At the Sixth session of the Intergovernmental Committee in 2011, the similarity of “Oga no Namahage, New Year visiting of masked deities in Oga, Akita” nominated by Japan to “Koshikijima no Toshidon (visiting deity that occurs every New Year’s Eve on Shimo-Koshiki Island),” which had already been inscribed on the Representative List, was pointed out. In response to the decision of the referral of the element by the Committee, ten nationally designated Important Intangible Folk Cultural Properties (protecting groups identified) including “Oga no Namahage, New Year visiting of masked deities in Oga, Akita,” “Paantu” on Miyako Island in Okinawa Prefecture, and “Boze” on Akuseki Island in Kagoshima Prefecture were grouped into the expanded “Koshikijima no Toshidon” as its elements. Therefore, the number of Japan’s intangible cultural heritage elements inscribed on the Representative List remains twenty-one. However, more Japanese cultural properties have been inscribed as UNESCO intangible cultural heritage.
It is highly important that “Reggae music” nominated by Jamaica was inscribed on the Representative List among the other properties examined by the Committee this time. Inscription of “Reggae music” might not have been decided at this session since the Evaluation Body initially recommended the element to be referred back to the State Party. However, a discussion by the Committee members resulted in inscription.
Japan serves as a Committee member from 2018 to 2022. Also at this session, the Japanese delegation introduced two cases of intangible cultural heritage in need of urgent safeguarding with a focus on Japan’s efforts making a significant contribution: “Disaster Prevention for Intangible Cultural Heritage” on which this Institute works, and “Research on Intangible Cultural Heritage (ICH) Safeguarding and Disaster Risk Management in the Asia-Pacific Region” with which the International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI) deals. Japan is expected to continually make a presence at the Intergovernmental Committee.
On the other hand, we felt concerned about how the Committee meeting should be developed. In recent years, referral recommendation by the Evaluation Body is often turned into inscription decision by the Committee. Occasionally, we also came across such cases at this session. In some cases, proceedings that are not accepted in the guideline for the Convention were decided by the Committee. In fact, some signatory States Parties expressed concern about such a policy of the Committee, causing a stir in its ruling idea for the coming session.
Metalwork removed from the float for restoration (shaft-point metalwork).
Mr. Kiyoshi TSUJI engaged in restoration work.
The Department of Intangible Cultural Heritage has been researching and studying conservation techniques for cultural properties. To hand down tangible and intangible cultural properties to the coming generation, it is necessary to conserve and inherit the techniques required for conservation and restoration of cultural properties, as well as manufacturing technologies for the materials and tools used for them, in addition to cultural heritage itself. In Japan, we call these techniques “conservation techniques for cultural properties” under the Act on Protection of Cultural Properties. By selecting those that particularly require conservation measures as “selected conservation techniques,” great effort has been put into their conservation and protection. According to each nation, techniques subject to safeguarding are just a small percentage of the whole. We think this Institute should play a leading role in paying attention to the techniques not selected by the national government as subjects of our research and study.
In FY 2018, we conducted a survey for Mr. Kiyoshi TSUJI, a holder of the “Hikiyama Metalwork Restoration” technique selected for conservation by the Shiga Prefectural Government jointly with the Shiga Prefectural Board of Education. Mr. Tsuji has been engaged with restoration of numerous festival floats as a holder of the restoration technique for metalwork such as metal ornaments for floats used in the “Nagahama Hikiyama Festival” designated as one of the nation’s Important Intangible Folk Cultural Properties, also serving as an element composing “Yama, Hoko, Yatai, float festivals in Japan” inscribed on the UNESCO intangible cultural heritage list. At present, he is working on restoration of the metalwork for the float of Kin-ei Town (Hogiku Float) used for the “Hino Hikiyama Festival” (prefecturally designated intangible folk cultural property) held in Hino Town, Shiga Prefecture. We have been surveying and video-recording the restoration process.
Needless to say, festival floats are essential for the implementation of the Hikiyama Festival. Accordingly, conservation of and succession to the festival as an intangible cultural property require a restoration technique for the floats. It is true that successors to such technique are insufficient. Our research and study aims not only to conserve and record the technique for the coming generation but also to highlight the conservation techniques for such cultural properties attracting less attention for their significance.
Researchers at an agehama-style salt farm in the Okunoto area
Researchers at a tea field in Uji
The Department of Intangible Cultural Heritage of Tokyo National Research Institute for Cultural Properties has been participating in a research exchange program with the National Intangible Heritage Center in the Republic of Korea since 2008. As part of the research exchange program, we hosted Ms. Yun Soo Kyung, researcher of the National Intangible Heritage Center, as a visiting researcher from October 15th to November 2nd, 2018.
Ms. Yoon Soo Kyung’s theme in this research exchange program is Japanese folk technology as an intangible cultural heritage, particularly focusing on salt production and tea production. Therefore, the Department of Intangible Cultural Heritage supported her research expertise by traveling with her to the following cities: Suzu City in Ishikawa Prefecture in the Okunoto area, known for agehama-style salt production designated as one of the nation’s Important Intangible Folk Cultural Properties and Shizuoka City in Shizuoka Prefecture as well as Uji City in Kyoto Prefecture, reputed for tea production.
Folk techniques as an intangible cultural heritage is regarded as one of the three categories in intangible folk cultural property in Japan along with manners and customs, and folk performing arts. However, in 2004, when the Act on Protection of Cultural Properties was amended, folk techniques were added to this list. In 2018, 309 items were designated as the nation’s Important Intangible Folk Cultural Properties but only 16 items were classified into the category of folk techniques. With regard to salt production, the production of agehama-style salt in the Okunoto area is designated by the country as an Important Intangible Folk Cultural Property while tea production is designated as a folk property, not by the country but by the prefectures. “Uji Tea” is produced in Uji City and the tea fields and tea factories are considered as elements comprising the “Cultural Landscape in Uji,” designated as the nation’s Important Cultural Landscape, as well as components of “A Walk through the 800-year History of Japanese Tea,” designated as Japan Heritage.
In Korea, salt production and tea production are classified into one of the categories for intangible cultural properties, “traditional knowledge,” and they are also selected as national cultural properties. Under the Act on Protection of Cultural Properties in Japan, designation of a certain intangible folk cultural property requires the authorization of its conservation group(s). In Korea, such a property inherited in a wide area can be designated comprehensively without identifying its holders or conservation groups. It is interesting to know the differences in the Japanese and Korean protection systems for intangible cultural properties.
The advantage in this kind of a research exchange program is an understanding of the differences in the classification of intangible cultural properties by the two countries, which results in knowledge of the differences in how conservation should be supported. It is meaningful for both countries to start seeking better ways to conserve cultural properties in their own country through the cultural exchange programs.
Opening ceremony of the workshop
Trainees classifying and organizing actual materials
The Cultural Heritage Protection Cooperation Office of the Asia-Pacific Cultural Centre for UNESCO (ACCU) in Nara City organized the “Cultural Heritage Workshop 2018 (Fiji)” from October 22nd to 27th, 2018 in Fiji. The workshop was co-organized by ACCU, the Fiji Museum, and the Agency for Cultural Affairs with an aim to teach the trainees to record specific items, such as archaeological items and ethnic materials, stored in the museum. The workshop attracted twelve Fijian people involved in museums in addition to one participant from the Kingdom of Tonga, Fiji’s neighboring country. Mr. Tomo ISHIMURA, the Head of the Audio-Visual Documentation Section of the Department of Intangible Cultural Heritage, gave lectures in the first half of the workshop, i.e., October 22nd to October 24th.
First, the trainees classified and organized the earthenware unearthed from actual archaeological sites according to their patterns and parts (rims, bodies, etc.). Following this, they recorded notes in a ledger in order to document these earthenware pieces. Then, they gathered characteristic relics from the classified ones to prepare rubbed copies and measured drawings (sectional views) of the relics. Next, they prepared measured drawings of the unfragmented earthenware with replicas for practice. Finally, they prepared and organized cards based on the rubbed copies and measured drawings.
The advantage of the on-site workshop was that it provided a concise understanding of technological transfer in a more practical manner by actually allowing the participants to work with local materials. However, the disadvantage was in the planning of the workshop which was more suitable for the local materials, the features being different according to each site. For example, in Fiji, it is rare for an archaeologist to unearth an unfragmented piece of earthenware from the site. In many cases, the earthenware is discovered in small pieces. The focal point of the archaeological workshop organized by ACCU in Japan was the practice of measuring unfragmented earthenware whereas in this workshop in Fiji, a lot of time was spent in the classification and organization of earthenware pieces and recordings of their rubbed copies in accordance with the local conditions.
Many trainees attending this unique workshop were interested in the topic since they had practically handled materials in diverse manners without systematic processes to classify, organize, and record the materials. We would be honored if this workshop contributed to the conservation of cultural properties in this region.
Mr. Raigetal delivering a presentation at the World Social Science Forum (WSSF) (Fukuoka City)
Mr. Raigetal exchanging opinions on canoe-building technique with members of the Nippon Voyaging Association (Hyuga City)
The “World Social Science Forum (WSSF)” took place in Fukuoka City from September 25th through 28th, 2018. This is one of the largest international conferences on social science. The opening ceremony, which was held on September 25th, was attended by Their Imperial Highness Crown Prince Naruhito and Crown Princess Masako. His Imperial Highness Crown Prince Naruhito delivered the opening speech. On September 26th, the session “Protection and Promotion of Heritage and the Diversity of Cultural Expressions to Foster Culture of Belongings in Pacific Small Island Developing States (SIDS) under Globalization and Climate Change” co-chaired by the Department of Intangible Cultural Heritage of Tokyo National Research Institute for Cultural Properties (TNRICP) and the UNESCO Office for the Pacific States took place. Prior to the session, to exchange opinions particularly on the conservation and utilization of canoes as intangible cultural heritage, the Institute invited Mr. Larry RAIGETAL, who has traditional navigation technique and heads up Waa’gey, an NGO working on revival of canoe culture and environmental issues based in Yap State of the Federated States of Micronesia.
Mr. Tomo ISHIMURA, from the Department of Intangible Cultural Heritage, TNRICP and Dr. Akatsuki TAKAHASHI from the UNESCO Office for the Pacific States moderated the session. In addition to the presentations by Mr. Raigetal, Ms. Sandy MORRISON (University of Waikato), a researcher on the native tribe in New Zealand (the Maori), and Mr. Yuji KURIHARA (Executive Vice Director of Kyoto National Museum), Dr. Matori YAMAMOTO (Hosei University), the President of the Japanese Society for Oceanic Studies, offered a comment. At the session, an active discussion was held over how to conserve tangible and intangible cultural heritage in the Pacific States and how it should be developed further into the renaissance of culture.
During the presentation, Mr. Raigetal expressed his opinion that the conservation of traditional culture in a sustainable manner under the current circumstances of climatic change and globalization would result in finding a key to solving the problems of modern society while referring to traditional navigation technique for canoes acquired by him, particularly to his knowledge on star navigation. The opinion of Mr. Raigetal, who has wide international knowledge by attending the Conferences of the Parties to the United Nations Framework Convention on Climate Change, was a precious, thought-provoking one.
On September 29th after the forum, we were invited to the workshop organized by the Nippon Voyaging Association (Representative: Mr. Tomoki OKU) in Hyuga City, Miyazaki Prefecture. Mr. Raigetal exchanged opinions with the members of the NPO association. The association has been working on the restoration of traditional navigation canoes donated by the Republic of Palau to Japan and their test navigation, as well as on attempts to revive ancient Japanese navigation technique. Through the exchange between the association and Mr. Raigetal, the linkage of canoe culture is expected to extend from the Pacific States to Japan, boosting the momentum for interactions between the two regions.
TNRICP has been involved in international cooperation for conservation and utilization of canoe culture in the Pacific States by organizing “the First Canoe Summit” at the 12th Festival of Pacific Arts and Culture held in Guam in May 2016. Presently, people in the Pacific States are getting the momentum rolling toward the nomination of canoe culture as intangible cultural heritage by UNESCO. TNRICP hopes that it will contribute further to such a movement as part of its international cooperation.
Demonstration by instrument makers
Panel talk (From left) Megumi Maehara (Tokyo National Research Institute for Cultural Properties), Kaoru Hashimoto (Tokyo University of the Arts)
Conclusion of the public lecture (From left) Kazuko Tanigaito (Japan Council of Performers Rights& Performing Arts Organization), Megumi Maehara, Tamiko Tamura (DO-GU LABO for Japanese Traditional Performing Arts), Hidekazu Hashimoto (Marusan Hashimoto Co.), Tomo Ishimura (Tokyo National Research Institute for Cultural Properties)
Playing nagauta “Tamagawa (Tama River)” (From left) Sachi Oshima, Chie Mitsui, Yuji Suzuki, Akito Tsuzuki
On August 3rd (Fri.), 2018, the 12th public lecture of the Department of Intangible Cultural Heritage, Tokyo National Research Institute for Cultural Properties and the 24th exhibition and demonstration seminar of Tokyo samisen and koto” were held jointly by Tokyo National Research Institute for Cultural Properties and Tokyo Japanese Musical Instruments Association (Tohokyo) under the theme of the “craftsmanship underlying the traditional sounds.”
In the morning, instrument makers (koto and samisen) from Tohokyo gave demonstration and explanation along with time for Q&A session and hands-on experience. Participants had a valuable opportunity to talk directly with makers and learn how to play the instruments. At the lunch time, a staff member who had been engaged in instrument manufacturing and inspection for repairs in the Department of Intangible Cultural Heritage gave a panel talk by introducing specific examples. At the public lecture in the afternoon, three lecturers raised the issues concerning the craftsmanship underlying Japanese traditional sounds and reported their activities from different positions. With a commentator joining in the seminar, all those issues and problems were organized, and opinions were exchanged on clues for solution. Lastly, young promising players closed the seminar with their nagauta (ballads sung to samisen accompaniment). The seminar participants shared the issues at various levels surrounding the traditional craftsmanship with producers, researchers, and players being linked together.
The seminar was attended by 148 participants from various communities, such as manufacturers of music instruments and their accessories, live performers from different genres, researchers, educators, and devotees of traditional performance arts. It was found that there is a great interest in the craftsmanship underlying traditional performance arts. A report will be published at the end of this year, and going forward, we will conduct multi-faceted research on this theme and continue with our studies benefitting the preservation and inheritance of craftsmanship, by utilizing the newly established network at this opportunity.
Miyazono-bushi: Performance during the actual video recording (From left: MIYAZONO Senyoshie, MIYAZONO Senroku, MIYAZONO Senkazuya, and MIYAZONO Senkoju)
On July 30th, 2018, the Department of Intangible Cultural Heritage recorded a live performance of Miyazono-bushi (for the first time) at the Performing Arts Studio of Tokyo National Research Institute for Cultural Properties. Miyazono-bushi is designated as a nationally important intangible cultural property.
The first MIYAKOJI Sonohachi created Miyazono-bushi in Kyoto in the early 18th century. It declined later in Kyoto, but was revived in Edo in the mid-18th century, and has been inherited until today. The musical features of Miyazono-bushi are its unique joruri (vocal part), which is heavy yet silky, and the sound of the chuzao (middle neck) shamisen (Japanese banjo), which is soft yet thick. The traditional tunes are divided into 10 classical ones and modern ones, whose themes are mostly elopements for double suicides.
This time, a classical tune, the “Scene of KOHARU Jihee Using Kotatsu (Japanese foot warmer)” (Kotatsu), and a modern tune, “Double Suicide in Minowa” were recorded. Both were performed by MIYAZONO Senroku (lead singer: an individual certified as a Holder of Important Intangible Cultural Property or what is called living national treasure), MIYAZONO Senyoshie (supporting singer), MIYAZONO Senkazuya (lead shamisen player), and MIYAZONO Senkoju (supporting shamisen player).
The Department of Intangible Cultural Heritage will continue to record the live performance of classical Miyazono-bushi tunes as well as its modern tunes, which are seldom played.
Shibetsu Icarpa implemented on the Ichani Karikariusu-iseki Ruins
On June 17th, 2018, a traditional rite for Ainu people called icarpa was established out on the Ichani Karikariusu-iseki Ruins (nationally designated site) inside the Po-gawa River Historical Nature Park in Shibetsu Town, Hokkaido. Researchers of the Department of Intangible Cultural Heritage also visited the site.
Shibetsu Icarpa is a memorial service for 23 Ainu people who were executed due to the Menashi-Kunashir rebellion in 1789, one of the resistance activities against the Wajin (the ethnic Japanese). The icarpa, organized by the Shibetsu municipal Ainu Association, was started in 2009, and it commemorated its tenth anniversary this year. For the first half of the rite, kamuinomi was established to offer sacred sake to the gods. For the last half of the rite, icarpa was conducted as a memorial service for the deceased. At the end of the rite, a song and a dance called upopo and rimse were performed.
Shibetsu Icarpa was carried out at the Ichani Karikariusu-iseki Ruins, where a settlement had been formed most probably in the period when the Tobinitai culture had flourished from an archaeological perspective (circa 9th – 13th century). Together with Shibetsu Wetlands spreading in front of the site, it is now preserved in the Po-gawa River Historical Nature Park. Strictly speaking, the zenith of prosperity in the site is not consistent with the time when the rebellion occurred. Given that the site was run by their ancestors, it seems to have been chosen as a ritual place for reviving the traditional rite for Ainu people.
In recent years, following the requirement of utilization of cultural properties, the case of Shibetsu Icarpa may become one of the good models in the utilization of relics. This is because utilization is realized by making good use of an intangible element of the site or “cultural space” as the land of the ancestors. That is, the historical value of the site can be considered utilized as a cultural resource in today’s cultural renaissance for the Ainu.
On the other hand, the value of the Ichani Karikariusu-iseki Ruins does not belong to Ainu people only. In time, with Shibetsu Icarpa, “Po-gawa River Festival” is held for local citizens by organizing a variety of events such as canoeing, historic spot guide touring by curators, and Jomon kids’ village. As part of the educational program, local school children continually participate in the icarpa in an attempt to understand the local culture. Although most of the residents in Shibetsu Town do not trace their roots to the Ainu, the site is utilized as a local cultural resource for these people too. At the same time, the site also serves as a place of interaction between people who have Ainu ancestry and non-Ainu ancestry.
Recently, one city and four towns in Eastern Hokkaido including Shibetsu Town (Nemuro City, Betsukai Town, Shibetsu Town, Nakashibetsu Town and Rausu Town) have started an activity to jointly nominate the heritage of this area as Japan Heritage. The Ichani Karikariusu-iseki Ruins is positioned as its key component. In Hokkaido, a region where people with diverse roots live in harmony, how to honor its local heritage is a difficult issue. We will continually pay attention to the movements in Eastern Hokkaido including Shibetsu Town.
Reproduced mill and milling hut in Jeju Island
Ongoing workshop at the National Intangible Heritage Center
The Department of Intangible Cultural Heritage at Tokyo National Research Institute for Cultural Properties has been conducting research exchanges with the National Intangible Heritage Center in the Republic of Korea since 2008. During the exchange, staff members of each institution stay at the other institution to conduct research while holding joint symposiums. As part of this research exchange, Tomo ISHIMURA, Head of the Audio-Visual Documentation Section of the Department, stayed in Korea for overseas research for two weeks from April 23rd to May 7th, 2018.
The objectives of overseas research currently was to research the movements of anthropological and ethnological studies made by Japanese researchers in the Korean Peninsula during the colonial period and to critically redefine their significance today. In this instance, research was conducted to retrace the steps of Professor Seiichi IZUMI (1915-1970), who worked as an assistant professor at Keijo Imperial University in the Korean Peninsula until the end of the war and was involved in the establishment of Japan’s first Cultural Anthropology Department at the University of Tokyo after returning to Japan.
During the first half of the research in Korea, Tomo ISHIMURA visited Jeju Island where Professor IZUMI conducted research in the 1930s and 1960s, in order to organize a hearing survey in the villages that Professor IZUMI had visited. The society on Jeju Island drastically changed due to the Jeju uprising that lasted from 1948 through 1954. It resulted in the replacement of most village residents. Fortunately, ISHIMURA could meet an old man who had been living in the same village since the 1930s when Professor IZUMI conducted the first research. ISHIMURA succeeded in clarifying the tangible changes in the village. Through research, Professor IZUMI defined multiple families who jointly owned a flour mill as a “molbange (mill) association” by regrading such a group of families as a unit comprising the social aggregation on Jeju Island. However, through the current research, ISHIMURA found that the use of the mill almost ceased from the 1950s to 1960s and that not only social changes but also mechanization of flour milling affected the extinction.
In the last half of the research in Korea, ISHIMURA stayed at Jeonju, where the National Intangible Heritage Center is located. He organized the details of his research on Jeju Island to report the achievements at the workshop while expanding exchanges with the staff members at the National Intangible Heritage Center．
Through this study in Korea, ISHIMURA confirmed that Korean society including Jeju Island drastically changed during the prewar and postwar periods and that former anthropological and ethnological research materials are significant today in understanding such changing processes.
Last but not least, we would like to express sincere gratitude to Myung Jin LEE (National Intangible Heritage Center) and Doc Woo LEE (Kanagawa University), who supported his study during this research exchange.
“Kariyado Folk Journal”
Making a speech to introduce the published folk journal at the unveiling ceremony of the monument
In the Kariyado area, Namie Town, Fukushima Prefecture, intangible cultural heritage such as “Shishimai (Deer Dance)” and “Kagura (sacred Shinto music and dance)” have been passed down from generation to generation. In 2011, however, all residents of the area evacuated due to serious nuclear accidents caused by the Great East Japan Earthquake. The succession of their folk performing arts also faced a crisis. Therefore, the Department of Intangible Cultural Heritage conducted several surveys to accumulate information on Shishimai and Kagura, as well as the history and life of the area supporting such intangible cultural heritage, in order to compile it into a folk journal. In March 2018, “Kariyado Folk Journal” was finally published.
Although the residents were allowed to return to their homes in the Kariyado area in April 2017, only some households have returned now in a year. Under the circumstances, a “Monument for the Reconstruction of the Kariyado Area Devastated by the Great Earthquake” was built, hoping for the recovery of the area. Its unveiling ceremony was held on April 21st and was attended by Hiromichi KUBOTA from the Department of Intangible Cultural Heritage. During the ceremony, the newly published folk journal, whose number of copies is large enough to be distributed to all households in the Kariyado area, was introduced to the public. We hope that this folk journal will contribute not only to the succession of the intangible cultural heritage of the area but also to the further progress of the reconstruction of the area.
Top page of “INTANGIBLE.” The character on the left is Kobayashi, while the one on the right is Nyadeshiko.
As part of the “Cultural Heritage Disaster Risk Mitigation Network Promotion Project” (a project subsidized by the Agency for Cultural Affairs), the Department of Intangible Cultural Heritage developed a website called “INTANGIBLE” to start its publication and operation for intangible cultural heritage lovers. Prompt relief and recovery from the Great East Japan Earthquake were hindered due to very limited information on devastated intangible cultural heritage and its support. Particularly, intangible cultural heritage includes numerous assets other than designated cultural properties. To collect such diverse information, networks for the people involved and lovers were focused on.
This website was started to share information required for the construction of such networks. To attract as many web surfers as possible, news and backstage reports on intangible cultural heritage, as well as the gallery and collection pages for lovers, have been provided. Along with the unique characters of the website, friendly pages will welcome all visitors.
http://intangible.tobunken.go.jp/
Participants of the Second Festival Network Meeting
The second meeting of the “Festival Network” for festival and folk performing art lovers was conducted jointly with Omatsuri Japan Co., Ltd. in the basement conference room of Tokyo National Research Institute for Cultural Properties on Saturday, April 14th. The theme of this meeting was “Shishimai × Shishimai (Lion Dance × Lion Dance).” Four people were invited as guest speakers: Mr. Osamu KATSUYAMA from Shishieden Shishikatashu in Toyama Prefecture, Ms. Kumiko KATSUYAMA from the Lion Dance Preservation Society in Imizu Town, Toyama Prefecture, Mr. Mitsuru TOGAWA, representative of the Sanuki Lion Dance Preservation Society in Kagawa Prefecture, and Ms. Ayumi NAKAGAWA, spokesperson of the said Society and representative of the Tokyo Sanuki Lion Dance. An overwhelming number of lion dances have been passed down in these two prefectures. After the speakers talked about the passion for their local lion dances, questions and answers were exchanged actively with the audience. They commented that persistence to preserve local festivals and traditions, as well as rural depopulation and generation gap issues, could be recognized anew through the actual cases indicated by the speakers
Exchange of ideas with the delegation from the Ministry of Culture in Thailand
Visit to the Performing Arts Studio of the Institute
On March 13th, 2018, five delegates headed by Mr. Pradit Posew, the Deputy Director-General of the Department of Cultural Promotion (the Ministry of Culture, Thailand), visited Tokyo National Research Institute for Cultural Properties, and exchanged ideas with researchers at the Institute
In 2016, the Thai government ratified the Convention for the Safeguarding of the Intangible Cultural Heritage, a UNESCO Convention. At present, the government is preparing an inventory of the intangible cultural heritage of the country. In 2017, the government made an nomination files to have “Khon (traditional mask dance drama of Thailand)” and “Nuad Thai (traditional massage of Thailand)” included in the Representative List of the Intangible Cultural Heritage of Humanity. The former will be examined at the 13th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage in Mauritius, scheduled for November 26th through December 1st, 2018.
The objectives of their visit to Japan were to update themselves on the current condition of conservation and utilization of intangible cultural properties and heritage in Japan, which has years of accumulated experience in these activities, and to exchange ideas with Japanese experts. At this Institute, Thai and Japanese experts reported the current status of their respective intangible cultural heritage and discussed the issues common to the two countries, along with related questions and answers. Particularly, all the members recognized that how to hand down intangible cultural heritage to the coming generations is an important issue both in Japan and in Thailand.
In the course of modernization, numerous traditional cultures have disappeared in Japan. Today, Thailand is experiencing rapid economic growth and accelerating development while facing the possibility of deterioration or extinction of its traditional cultures. Thus, the balancing of economic development with the preservation of culture is an important issue there. We believe that Thai people would be able to find a better way to hand down their intangible cultural heritage to future generations by referring to Japanese experiences not only of success but also of failure in preserving cultural heritage.
Rehearsal (Prof. Haruko KOMODA, who served as our adviser, in the foreground)
Heike (or Heike-biwa) is one of Japan’s traditional performing arts wherein the blind beggar priests (biwa hōshi) musically recite Heike Monogatari (the Tale of the Heike) while playing the biwa (lute) as an accompaniment. It flourished and reached its peak in the Muromachi period. However, Heike-biwa has gradually declined in popularity since then, and now there is only one person who has officially inherited this tradition. On January 15th, the Department of Intangible Cultural Heritage recorded Heike at the Performing Arts Studio of Tokyo National Research Institute for Cultural Properties, with the help of the Heike-gatari Research Society, a study and performance group founded in 2015 under the initiative of Prof. Haruko KOMODA of Musashino Academia Musicae to promote and pass down the techniques of Heike-gatari (recitation of the Tale of the Heike) to the next generation.
The Department recorded the following performances: the traditional piece, Koyo; the reconstructed piece, Kogo (from the sanjyu part to the beginning of the kudari part); the reconstructed piece, Atsumori (the kudoki part at the start); and the reconstructed piece, Gion Shoja. One of the most notable characteristics of the Heike-gatari Research Society is that the Society, which consists of emerging performers of the Jiuta and koto repertories, Mr. Yuji KIKUO, Mr. Naoichi TANAKA, and Mr. Shogo HIYOSHI, along with Prof. Haruko KOMODA, a leading authority in the study of Heike, has been reconstructing Heike based on objective evidence. The Department, together with the Society, will continue to archive the recordings of not only traditional pieces but also reconstructed pieces of Heike.
Venue of the symposium (Institute of Ethnology, Academia Sinica, Taiwan)
During the international symposium
The international symposium “Cultural Heritage and Religion in East Asia” was held at the Institute of Ethnology, Academia Sinica, Taiwan, from January 8th to 9th, 2018. The participants at this symposium, co-hosted by Academia Sinica and The Australian National University, included specialists in cultural heritage studies from Taiwan, Hong Kong, South Korea, Australia, the U.S., and the U.K. As a representative from Tokyo National Research Institute for Cultural Properties, Tomo ISHIMURA, Head of the Audio-Visual Documentation Section, Department of Intangible Cultural Heritage, was invited to present at the symposium. In his presentation titled “Intangible cultural heritage and the protection system related to religion in Japan,” ISHIMURA argued that the Act on Protection of Cultural Properties in Japan can cover some elements of intangible cultural heritage with religious associations, but not other elements, by citing the examples of the Shunie ceremony held at Todaiji Temple and the Yamahoko Junko parade held as part of the Gion Festival. As a commentator, a South Korean researcher reviewed ISHIMURA’s presentation from various perspectives, making reference to Japan’s postwar policy of separating religion from the state.
The main takeaway from this symposium was that many East Asian countries and regions recognize religion as an important element of intangible cultural heritage and that this notion is often reflected in their heritage protection and tourism policies. ISHIMURA also learned that this has both positive and negative aspects; while religious elements of heritage are protected under such policies, these elements can lose their original forms in the process of tourism or development.
In contrast, Japan does not, in principle, apply the Act on Protection of Cultural Properties to religious elements. In reality, however, while festivals celebrated primarily by religious bodies are not easily designated as cultural properties to be protected under this act, those celebrated primarily by local communities can be designated as cultural properties. It is, in fact, often difficult to separate religious and secular elements of actual festivals.
This symposium served as a valuable opportunity for us to reflect on what is considered “cultural heritage” in Japan, that is, what “cultural heritage” means in Japan, by comparing our country’s situation with examples of other countries.
Rice terrace (Hapao, Ifugao Province)
Weaving on a hand loom (Oong, Ifugao Province)
The International Research Centre for Intangible Cultural Heritage in the Asia-Pacific Region (IRCI), established in Sakai City, Osaka Prefecture as one of UNESCO’s Category 2 Centres, has been conducting research and surveys on disaster prevention for intangible cultural heritage in the Asia-Pacific Region since fiscal 2016. The Department of Intangible Cultural Heritage of Tokyo National Research Institute for Cultural Properties has continuously cooperated with the IRCI in its research projects. Recently, Tomo ISHIMURA, Head of the Audio-Visual Documentation Section of the Department, who also serves as Cooperative Researcher at the IRCI, joined the IRCI’s field survey in the Philippines.
The Philippines is a country prone to natural disasters. For example, the volcanic eruption of Mount Pinatubo in the island of Luzon in 1991 caused catastrophic damage to Aeta, an indigenous tribe living in the area. More recently, in October 2013, an earthquake occurred near Bohol Island and damaged some historical buildings, including Santo Niño Church, the country’s oldest church in Cebu Island. The earthquake was followed by Typhoon Yolanda in November of the same year, which devastated many parts of the country, including the island of Leyte. Therefore, how to protect both tangible and intangible cultural heritage from such disasters is a major challenge.
A field survey was conducted from January 24 to February 1, 2018, in the provinces of Ifugao and Abra, which are part of the Cordillera region in northern Luzon. Cordillera is a mountainous area where many indigenous peoples live, and therefore is home to a great diversity of intangible cultural heritage. Furthermore, many parts of this region are still underdeveloped and vulnerable to disaster risks. The project team for this survey comprised five members: Ms. Yoko NOJIMA, Associate Fellow of the IRCI; Prof. Norma RESPICIO of the University of the Philippines, specializing in textile weaving and dyeing; two officials from the National Commission for Culture and the Arts, Philippines; and Mr. ISHIMURA from the Institute.
Of the two provinces, Ifugao is more famous because of the Rice Terraces of the Philippine Cordilleras listed by UNESCO as a World Heritage site. However, this heritage site was once included on the List of World Heritage in Danger because of the declining population and abandonment of rice farming by communities. Since then, community-led activities have been conducted to revive the culture. Hudhud Chants of the Ifugao was recently inscribed on the UNESCO’s List of Intangible Cultural Heritage, along with the traditional tugging ritual practiced in the village of Hapao, Ifugao, as part of tugging rituals and games jointly nominated by Vietnam, Cambodia, Republic of Korea, and the Philippines. The survey revealed that because Ifugao is primarily located on rugged, mountainous terrain, landslides triggered by typhoons and earthquakes are serious problems for the province, often causing hazardous situations to rice terraces, houses, and roads. In recent years, however, local communities have been actively leading tourism and development programs, and the team witnessed how traditional handcrafts, such as textile weaving and wood carving, are gaining popularity. Thus, the province of Ifugao seemed to be successfully incorporating traditional culture with a modern approach by effectively taking advantage of the “brand” of the province, including UNESCO’s World Heritage or Intangible Cultural Heritage sites.
Compared with other provinces in the Cordillera region, Abra Province is located in relatively low land, mainly over a basin along a river. From the survey, however, the team learned that deforestation and mining development in mountainous areas have exposed the province to the risks of such disasters as overflowing of rivers and floods. In response to this problem, the province has implemented the Lapat system, which incorporates a traditional resource use management system practiced by indigenous communities into the modern legal system. The project team examined how the Lapat system is helping the province achieve sustainable development. In addition, the remnants of traditional culture are still clearly visible in this province. It seemed that traditional practices, such as worshipping of a sacred stone called pinaing, or a ritual performed by a psychic medium called baglan, coexist with Christian beliefs and the knowledge of modern science to support the local identity.
Through this field survey, the team learned how the two provinces are taking advantage of traditional culture in line with sustainable development and successfully demonstrating resilience despite their vulnerability to disasters. These examples would provide important suggestions for disaster prevention for intangible cultural heritage worldwide.
Group discussion
For festivals brought to the brink of extinction as intangible cultural heritage nationwide in Japan, the Department of Intangible Cultural Heritage organized the “Festival Network” meeting to establish a network connecting successors and supporters. The first meeting was held jointly with Omatsuri Japan Co., Ltd. at the Tokyo National Research Institute for Cultural Properties on December 9th, 2017, attracting more than 40 lovers who were interested in “Festivals.”
During the first half of the meeting, Mr. Yohei YAMAMOTO (Omatsuri Japan), who has been working on regional revitalization by coordinating “Festivals” from a corporate perspective, Mr. Shutaro KOIWA (Japan Folk Performing Arts Association), who has been supporting national folk performing arts, and Mr. Hiromichi KUBOTA, Head of the Intangible Folk Cultural Properties Section, gave presentations under the theme “Challenges in Festivals.” In the last half, participants were divided into seven groups for discussion in response to the presentations. Finally, each group reported on “Challenges in Festivals,” expecting further progress at the next meeting.
This network meeting will be ongoing as an opportunity to share opinions among successors, supporters, lovers, researchers, and others who are involved in “Festivals” in various ways.
