In the first issue of the review published by the Cobra artistic movement that was born in Paris after the Second World War it says that “Folk art is the only art that is truly international,” In Japan, interest in craftwork developed in the twenties inspired by Yanagi Sôetsu He made great efforts to demonstrate to his contemporaries the importance of the work produced by craftsmen in Japan After losing sight of some of the principles involved, the Japanese have rediscovered the charms of folk art (mingei) over the past decade. Specialist shops are proliferating and craftsmen are once again finding favour among those who appreciate the simplicity of their art. This is a journey to what lies at the heart of the mingei spirit.
THE EDITORIAL TEAM info@zoomjapan info
46.2%
Is the percentage of Japanese in favour of a revision of article 9 in the Constitution that bans Japan from going to war. In 2010, only 24% supported that idea The territorial tensions with China are clearly linked to this turnaround.
A DAY IN JAPAN by Eric Rechsteiner
16 November 2012, Tokyo, Shinjuku quarter
Smoking has decreased in Japan In 2010 38% of Japanese men were smokers compared to 81% in 1960 and 11% of Japanese women compared to 13% fifty years ago), but nevertheless, the Japanese still smoke excessively An anti-tobacco brigade was created that patrols the streets of the capital where smoking is now banned Carrying
POLITICS Strength in unity
Despite notable differences, Nippon Ishin no kai, the party lead by Hashimoto Tôru, mayor of Ôsaka and Taiyô no tô, the party of Ishihara Shintarô, former governor of Tôkyô, have decided to merge for the elections due to take place on 16 December This unprecedented collaboration could wield great influence on the campaign. Both men are well known for speaking their minds.
ECONOMY Bad grades in trade
Many Japanese were hoping for a renewal of the Japanese economy thanks to the reconstruction of the devastated areas in Tôhoku, but there is no improvement to be seen. In October, the countr y’s trade deficit reached 6.7 billion yen, twice that of 2011. It is the worst result recorded for thirty years.
POLITICS What the elections mean
The Japanese have been called to elect their leaders for the first time since the 11th of March. A lot is at stake.
On th e 1 6 th o f No vem b er, Prim e Min i ster No da Yo s h i h i ko en d e d th e susp ens e by
ann o un c ing th e d i ss o luti on o f th e l ower h o us e , wi th a g en era l e l e c ti on ta king p la c e on 1 6 December. It had been the main topic of conversation over the past few weeks and everybody wondered when the government leader would finally make a decision He eventually honoured his resp onsib il ities desp ite the risk these elections pose for his political party, the Democrat Par t y o f Jap an ( D P J ) , which has headed the countr y since the end of Aug ust 2009. The party that defeated the L iberal Democratic Party (LDP) is in a particularly difficult situation now, partly because of the increase in c onsum er ta x that wa s vote d throug h despite strong opp ositions from the g eneral public This issue will play a larg e part in the impending elections as the incoming government will have to decide when the law will come into effect Another sensitive subject that will not play out in favour of the DPJ is the Trans Pacific Partnership ( TPP), a free-exchange treaty agreed on by Mr Noda’s government without explaining to the countr y the far ranging changes it would entail The lack of transparency of the neg otiations g ave rise to numerous criticisms and has encourag ed great suspicion on behalf of the
The vote is due to take place nationwide on sunday, december 16th
population This means the TPP question will be an important issue in the electoral campaign debates that are due to start on 4 December Nuclear energ y will also be on ever ybody’s minds, althoug h most politica l leaders mig ht tr y to avoid the subje ct as nuclear power stations are often of crucial importance on the loca l le vel. The y are a source of public f unding and employment, so nuclear installations cannot be abandoned overnig ht for fear of disrupting the economic balance founded solely on their existence That is why the LDP carefully avoided taking a stand on whether to close them down completely or encourage their redevelopment. The conser vative party, which appears to have every chance of regaining lead er s h ip o f th e c o untr y, knows that it has to handle su c h a sti c ky su b j e c t caref u l ly, a s a se ction of pub l ic op in i on (o f ten stemm ing from urban areas) wants an en d to th e us e o f nu c l e ar en er g y wh i l e many l o ca l electors would rather maintain nuclear power stations to preser ve employment Add to this the tense relations with China or the issues related to the American bases in Okinawa and it is easy to understand how much rests in the balance in the upcoming ballot. Over twelve parties will be represented, and those those with a populist mandate could wreak havoc That is why the p ar ties shou ld ma ke their intentions ver y clear to the electorate in order to break the deadlock in a situation that is penalising the whole countr y.
Gabriel bernard
FOCUS
TREND Can you feel the spirit of mingei?
Af ter appearing at the beginning of the last centur y, folk handicraf ts are making a comeback , but with a different emphasis.
In i t s No v e m b e r 2 0 1 2 i s s u e p u b l i s h e d a t t h e b e g inn ing of O cto b er, Ryo ko Yom iuri, one of Japan’s most p opu lar travel ma g a z ines, de d icat e d a w h o l e s p e c i a l e d i t i o n t o m i n g e i ( f o l k h a ndicrafts) In this feature, entitled “Feeling with your e y e s , a n i n t r o d u c t i o n t o m i n g e i ” ( M i t e , k a n j i r u ha j im e te n o m ing e i ) , th e re a d er s o f th i s m o nth l y mag azine learned about Japan’s handicraft heritag e, wh ich ha s lately b e en at the hear t of a trend , de velop ing over the p a st de cade among Jap anese, showing a ren e we d intere st in cra f t work Many have trie d to exp la in th is trend for hand made o bj e cts, created by craf tsmen all over the countr y. A search for identit y at a time when g lo b a l isation is homog en ising ta stes, a ne e d to rebu ild referenc e p o ints in a c ountr y sha ken up by an unpre c e dente d e c o-
nom ic and so cia l crisis, a return to simpl icit y af ter a f l ir tati o n wi th th e wo rl d’s m
Ryoko Yomiuri ma g azine reminds us in its introduction, “ming ei is a word we often hear, without knowing what it means exactly ” By g u id ing its readers to the main places ming ei is produced, the magazine explains the orig in of the word and the depth of meaning that lies behind folk hand i cr a f ts We ow e th i s th
We owe the rise of mingei to Yanagi Soetsu
i t o Ya na g i Soetsu “It has to be modest, but not cheaply made, a b a r g a i n b ut n o t f r a g i l e D i s h o n e s t y, p er ver s i t y, luxur y, are a few thing s ming ei needs to avoid most: what is natura l , sincere, sure, simple, is ming ei,” he expla ins This intelle ctua l is intereste d in the work of craf tsmen b e cause he b el ie ves the y are the most wor thy representatives of ar t In h is vie w, ma sterp ie c es are not made by ar tists, whom he c onsiders a rro g a nt a n d in d i vi d ua l i sti c , th e y a re ma d e f ro m the work of craf tsmen whose ma in characteristics are hum i l i t y an d a s ens e o f s haring At th e b e g inn ing o f th e n in e te en t wenti e s , wi th s u p p o r t f r o m c r a f t s m e n f r i e n d s , Ya n a g i S o e t s u f o u n d e d a r e v i e w, w h i c h h e ha l l e d Ko g e i , a n d s ta r t e d b u i l d i n g a m u s e u m o f f o l k a r t i n Tokyo in order to spread his ideas At th e ti m
Ceramics made by craftsmen and sold in Kuno Keiichi’s shop
turn towards a world org anised by associations. We ne e d to pro g ress towards a so ciet y in wh ich c ommunal society is protected, and I will call this society “ a co op eration g roup. ” And to rene w the b eaut y of craf t work , its org anisation will ne e d to e volve into a cooperative association. We will need to link people to g ether a g a in and establ ish contacts b et we en m a n a n d n a t ur e , ” h e w r o t e i n h i s b o o k Ko g e i n o michi ( The path to craf t work) publishe d in 1928.
T h e s e w o r d s a
p o l itica l c onf usion A year later, Ko b aya sh i Ta kiji describ es the so cia l m iser y in Jap an in “ The Canner y Boat”. This novel b e came a reference p oint of proletarian literature and became ver y popular after the 2008 financia l crisis that saw many p e ople lose their jobs in Japan That corresponded more or less with the return in popularit y of ming ei in the Japanese archip ela g o. Althoug h many young Japanese w h o f e e l t h e y a r e v i c t i m s o f c a p i t a l i s m r e l a t e t o
Kobayashi Takiji’s book, the same cannot be said of Yanagi Soetsu Yanagi's work is also on sale in booksh op s , b ut i t ha s n o t a c h i e ve d th e s am e sta g g ering sa les a s The Canner y Boat. Yet, in ming ei, you can f e e l that n e e d to g o b a c k to th e ro o ts o f Jap a n e s e culture. Throug h his intelle ctua l approach, Yana g i himself returns to his roots, by taking an interest in art trends related to Buddhism, such as the tea ceremony. During the first de cades of the 21st centur y, there was a g rowth of interest in a ll these elements, c o up l e d wi th a re d i s c o ver y o f a g ri c u l ture . In th e face of deindustria lisation in the archipela g o following widespread centra lisation and the increa se in job instabilit y, many young p e ople are demonstrating the wish to work on the land At the same time, th e n e wl y re tire d , wh o in m o st ca s e s have sp ent a g re at p ar t o f th e ir l i f e in th e c i ti e s , are turn ing to the countr yside to become gentlemen farmers There is a veritable desire for authenticity developing after t h e y e a r s o f t h e f i n a n c i a l b u b b l e , d u r i n g w h i c h sup er f i c i a l i t y wa s th e n orm . To o l s that have b e en hand made by p e ople with sp e cia l knowle d g e and a l o ve o f th e s o i l ta ke on a wh o l e n e w d im ens i on Their simp l icit y is p ar t of their attraction, a s wel l a s their usef ulness and form The nuclear accident at Fu kush ima Da i-ich i wa s a a s ymb ol of a so ciet y that has been overrun by technolog y, and also contrib ute s to re inf orc ing th e d e s ire to re turn to a s impler way of life in which handmade pro ducts have a place That is why the word ming ei ha s lost some of the meaning Yana g i S o etsu attribute d to it, and led to mag azines like Ryoko Yomiuri attempting to re- expla in its sig nificance to a new g eneration It is hard to say if they succeeded Nevertheless, the word ha s in cre a s ing l y b e c om e a s yn onym o f cra f t work , a n d e v er y b o d y c a n d e f i n e i t i n h i s o wn wa y. T h e spirit of Ming ei is well and tr uly here, but like any spirit, it is subje ct to many interpretations.
ODAIRA NAMIHEI
I NTERVIEW
Rediscovering mingei with Okuma Takeo
W h a t i s y o u r d e f i n i t i o n o f mingei ?
Okuma Takeo : It’s a ver y difficult question to answer In Yanagi Sôtesu’s time, and those who started the mingei movement, the word meant “beautiful” objects made b y a n o n y m o u s c r a f t s m e n B u t over time, it has gained a more general meaning It’s not only about objects made by anonymous craftsmen anymore. The word also included ceramists or painters who were part of the movement, such as Hamada Shîjo and Munakata Shikô I understand what Yanagi and the other members of the movement were trying to defend Now it is rare to come across objects that correspond to that original meaning. So I believe that we need to adopt the opposite approach to Yanagi and his friends who said in relation to artefacts that, “this is mingei” Now we need to say, “this isn’t mingei”
The Japanese seem to have a renewed interest in mingei. What do you think about this ? O. T. : I believe there is an increasing interest in craftwork in gener
a generic word The Japanese passion for craftwork can be explained in different ways But I think that, above all, it is a reaction to globalisation The homogenisation of our society in great part related to the
and information tools, encourages many people to take more interest in what is local That is why handcrafts are interesting This trend is a l s
s around the world. The 2008 financ
either Luxury products or designs have become less attractive to us and we have fewer means to make the most of them There is a need to make the most of life and simp l
o b j e c t s y o u w i l l n e v e r p o s s e s s M i n g e i a n d c r a f t w o r k i n g e n e r a l find meaning in this environment
Lastly, our digital society and the p r o m i n e n c e o f t h e v i r t u a l a l s o encourage people to turn towards “analogue” goods and values This leads to their rediscovery of mingei and craftwork to satisfy all five of their senses
W h a t d o e s y o u r j o b a t C l a s k a consist of ?
O T : I ’ m t h e d i r e c t o r T h a t i n c l u d e s t h e m a n a g e m e n t o f a l l the shops, the products we buy, t h e o r g a n i s a t i o n o f t h e e x h i b it i o n s a n d t h e i r a d m i n i s t r a t i o n
O r i g i n a l l y I d e a l t w i t h i n t e r i o r a rc h i t e c t u r e A n d o n e d a y, I w a s a s k e d t o w o r k o n r e d e s i g n i n g Claska That is when I decided to d e v e l o p a s h o p P e r s o n a l l y, I ’ v e always been interested in objects from abroad Even though they still attract me, I thought it would be interesting to open a shop pres e n t i n g J a p a n e s e o b j e c t s , b u t i n a different way I must have been i n f l u e n c e d b y t h e a m b i a n c e a t the time
A c c o r d i n g t o y o u , i s t h i s r e n e -
wal in interest for craftwork a stroke of fortune for Japan ?
O T : I think it can be useful for
the countr y, but it is too soon to s a y w h e t h e r i t i s a s t r o k e o f f o rtune But if the global capitalism t h a t i s c u r r e n t l y d o m i n a t i n g o u r w o r l d e v e n t u a l l y d i s a p p e a r s , w e m i g h t e n d u p e v o l v i n g i n t o a p o s t
mingei will indeed play an important part
Who are your favourite craftsmen ?
O T : Ninjô Yoshikatsu, a master in lacquer-ware His products are
Ts
after having been a buyer for the designer shop idée, Ôkuma Takeo worked for Tsubasa no ôkoku, ana’s inflight magazine He is now director at Claska where he showcases craftwork.
“Handmade” Japan
Main craftwork production centres
L a c q u e r
P
B a s k e t s
Wo o d w o r k
F i g u r i n e s , d o l l s
O t h e r o b j e c t o r s p e c i a l i t i e s
T h e p r o d u c t s i n t h e p h o t o s
C r a f t w o r k m u s e u m
Ehime museum of folk art (Ehime Mingeikan)
Kurashiki museum of folk art (Kurashiki Mingeikan)
Tottori museum of folk art (Tottori Mingei Bijutsukan)
Tamba museum of pottery (Tamba Kotokan)
Kyoto museum of folk art (Kyoto Mingei Shiryokan)
Toyota museum of folk art (Toyota-shi Mingeikan)
Kusabe museum of folk art (Kusabe Mingeikan)
Toyama museum of folk art (Toyama-shi Mingeikan)
Matsumoto museum of folk art (Matsumoto Mingeikan)
National museum of folk art (Nihon Mingeikan)
Mashiko museum (Mashiko Sankôkan)
Serizawa Keisuka museum of folk art (Serizawa Keisuke Bijutsu Kôgeikan)
ENCOUNTER Simplicity at it’s purest
One of Miyamoto Tsuneichi’s former students says it is essential to continue supporting the work of craftsmen.
Si t u a t e d d o w n a s t r e e t i n t h e o l d t o w n o f
Kama kura , Kuno Keiich i’s shop lo o k s l ike a museum . Finely ch isel le d p otteries, ceram ic tea sets, o ld-f a sh ione d b a skets and ind ig o dyes are a ll displaye d a long the leng th of a larg e traditiona l
wo o d en ro o m l i t by a g a rd en win d ow. Ne ver th e -
l e s s , t h e p r o p e r t y o w n
o b j e c ts . To th i
le cte d from a l l over Jap an have a da ily use and are
s o l d l i ke a n y o t h e r p l
He
o b j e c t s i n s p i r e i n h i m
va lues of simp l icit y and honest y.
How d id you come across ming ei ?
K . K . : When I wa s a student at the Un iversit y of the Arts in Musashino, I had a famous ethnography teacher ca l le d Miyamoto Tsuneich i. His teach ing relate d to Japanese minorities That made me want to travel throug hout Japan and that is how I found out about ming ei. I have had this shop for 40 years now, and I op ene d it to promote this kind of craf twork .
What is the difference bet ween mingei and other f orms of cr af t work ?
K . K . : The a im is d ifferent A m ing ei craf tsman ma kes usef u l o bj e cts wherea s most craf tsmen nowadays make pieces to be exhibited They sign them with their name hoping to become famous The cost and the a im of the obj e ct are completely d ifferent A mingei piece doesn’t have a brand It has no name, exc ept for the re g ion in wh ich it wa s create d .
How do you expla in the separ ation of cr af tsmen from the util itarian asp e ct of cr af t work ?
K . K . : There are fewer buyers A ver y small percentag e of Japanese use ming ei objects. Thus craftsmen b e come ar tists That a llows them to promote their work b etter It’s a hard j o b to have nowadays, but there stil l are m ing ei craf tsmen a l l over Jap an But I am the only one to have a shop in Kama kura with m ing ei pro ducts .
Are blacksmiths considere d par t of ming ei ?
K K : B l a c k sm i ths ma ke b l a d e s f o r Jap a n e s e swords with an incredible finish to them However, with the ab olishment of the rig ht to ke ep and b ear arms, many converted to making hôchô, the famous kitchen knives. They are ever yday utensils, but they require special techniques that aren ’ t considered part
of m ing ei The y don’t c onsider themselves a s p ar t of the m ing ei movement Ming ei bring s to g ether p e ople who like neither blades nor blo o d It’s a pacifist movement.
W hat are the char acteristics of Japanese ming ei in comparison with the other tr ad itiona l cr af tsmen in the world ?
K . K . : Jap an ha s four ver y d istinct sea sons with a ver y hum id cl imate The wo o d and the other materia ls use d in m ing ei refle ct these p ar ticu larities Then, there are regional particularities that have been developed by craftsmen since the 17th centur y They create d orig ina l p ie c es with lo ca l characteristics . These insp ire d the m ing ei craf tsmen Franc e is full of regional wines with their own specific features, and in the same way, Japanese craftwork has patterns
and c o lours that chang e from one area to another The renewal of agriculture also encourag ed the production of new implements inspired by mingei This re g iona l d iversit y ha s a lways b e en preser ve d . I b el ie ve that th is is the foundation of orig ina l it y in Jap anese fo l k ar t
Can one say that tr ad itiona l Japanese cr af t work inf luenc e d the d e vel o pment o f “ ma d e in Jap a n ” te chnolog y renowne d throug hout the world ?
K . K . : I belie ve so The know-how and the advance d te chniques that exist today were already visible 1,200 years ago In other countries, the changes in leadership broug ht on great chang es in the population. In Japan, when the g overnment chang es the pe ople stay the same. That is maybe why ancient techniques have be en hande d down to the present day
Kuno Keiichi opened his shop 40 years ago. It contains the best quality craftwork.
W h a t i s t h e e s s en t i a l v a l u e a m i ng e i cr a f t s m a n should hold on to ?
K . K . : The transmission of know-how For examp le, a g o o d craf tsman won ’ t chang e an o bj e ct that ha s b e en made and remade the same way for c enturies. He will pa ss it on when it’s his turn without adding any change or improvement The willingness to ke ep th is pro c ess of transm ission unchang e d is ver y imp or tant to the m ing ei craf tsmen .
Are there many copies or f org eries ?
K K : The y aren ’ t rea l ly any forg eries The y are mostly im itations made in Ch ina , a s wel l a s in Jap an . The y are a ime d for sa le on a larg e sca le. The y
are cheap er. One of my skil ls is the authentication of m ing ei p ie c es
Ca n l over s o f m ing ei re c o g n is e w h ere a p i e c e is from ?
K . K . : Yes, e ver y reg ion ha s its own par ticular patterns that allow you to disting uish it when you know them The p otter y from Oita prefe cture ha s a desig n that has be en in vog ue for the past 50 years. Ceramics from Okinawa or Ka g oshima are re co g nisab le by their b lue c o lour.
T h e d ef in iti on o f m ing ei
w i d e a n d n
row. Do you know what it really covers in Japan ?
K . K . : No, ver y few people know what mingei really is Authentic ming ei is ver y rare nowadays Ever yday objects are nearly always made in factories because it’s cheaper to do so. Ne vertheless, there are still pe ople who are concerned with transmitting the traditional know-how and I am here to support them.
INTERVIEW BY ALISSA DESCOTES-TOYOSAKI
HOW TO GET THERE
MOYAI KOGEI 2-1-10 Sasuke, 248-0017 Kamakura Open from 10 am to 4 30 pm (closed on Tuesdays) Tel 0467-22-1822 - www moyaikogei jp
TRADITION Miyata Hiroshi, master basket maker
A late-comer to bamboo weaving , he learned ever ything from his father.
Bamb o o craf t work ha s a long h istor y in Jap an ; excavations have revealed finely woven and lacquered baskets dating back to the late Jômon period (1100-300 B.C.). Most likely imported from China, the techniques used in Japan have evolved over time with the de velopment of the middle classes during the 17th centur y Wishing to access high quality products in order to imitate the aristocrac y, the y trie d t o p urc ha s e th e s a m e o b j e c t s T h e g re at d ema n d favoured the emerg ence of the basket maker ( kag oshi), who progressively developed a new body of technical knowledge inspired by Chinese techniques The new techniques produced beautiful objects that supplante d the market for Chinese inspire d pro ducts In his remarkable book “The Spirit of Bamboo” (Phil i p p e Pi c q u i er e d i ti o ns , 2 0 0 4 ) , D o m i n i q u e Bu i sson explains it thus; “the basket maker’s craft is close to ca l l ig rap hy in the same way that the empt y and full spaces are balanced as the breath of what is not painted in the ideogram is in harmony with the black mark lef t by the g esture. ” Miyata Hiroshi do es not contradict this He is a specialist bamboo craftsman, and has spent his life manipulating and weaving this plant “I have been making baskets (zaru) and other flower baskets ( hanakago) for 45 years now, ” he says He learnt basket making from his father somewhat late in life “I was 30 years old,” he admits “I had been a c o o k in a sus h i re staurant , b e f ore d e ve l op ing an interest in weaving and its basic techniques ” Only the outer part of the bamboo is use d to make most of the obje cts. To obta in it, the craf tsman ne e ds to sp l it b amb o o that ha s b e en lef t to dr y for a who le year since it was har vested. The splitting is done vertically (tatewari) by successively reducing the width
of the strips horizontally (yokowari) He repeats these movements day after day Despite all his years of experience, Miyata Hiroshi is still humble about his work S ome steps, such a s sp l itting the b amb o o by using the mouth ( kuch iha g i ) are ver y subtle It invo lves dividing the strips in t wo without being able to see them, and by holding their extremities between the te eth One must ta ke care not to sp l it them to the ends in order to preser ve their streng th. Many years are ne e de d to ma ster a l l these movements and the w e av i n g i t s e l f re q u i re s kn o w l e d g e o f th e ma ny methods that allow one to make the best use of the
d i f f erent s tri p s E a c h o f th em i s d i f f erent , w h i c h means that ever y basket is unique The objects that Miyata Hirosh i ma kes have acqu ire d a g reat reputation . “I re ceive orders from a ll over the countr y, ” he adds But when he stops, there will be no one to follow him He did not have any children, so was unable to hand down the methods like his father did He mig ht regret this, but does not say so openly Focused on the weaving for a new order, his eyes are fixed upon his work With steady movements, he assembles the strips one after the other. Time seems to stand still Miyata Hiroshi is at work O. N.
MIYATA Hiroshi works with bamboo and makes baskets and other objects in his workshop situated in Minami Boso, at the edge of Chiba prefecture, East of Tokyo.
CULTURE
EXHIBITION Threads of Silk and Gold
This autumn at the Ashmolean Museum of Arts, you will be able to visit the first exhibition devoted to the art of Meiji textiles ever to be held outside of Japan. Threads of Silk and Gold: Ornamental Textiles From Meiji Japan will introduce the less well known but equally spectacular ornamental textiles that
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were made for the Western market during Japan’s Meiji era (1868–1912). Over 40 examples of the highest quality Meiji textiles from the newly acquired collection of the KiyomizuSannenzaka Museum in Kyoto will be on show. Brought together from around the world, this outstanding collection is one of the finest and most comprehensive of its type. Running until 27 January 2013.
animation movie directed by Yoshiaki Kawajiri. An exciting film whose main character is inspired by Yagyu Jubei Mitsuyoshi, considered to be the best Japanese swordsman of all time. Ninja Scroll, Manga Entertainment, £13.99
T HIS MONTH’S EVENT
EXHIBITION Mariko Mori enlightens London
After succeeding brilliantly at university, Mariko Mori graduated in fashion in Tokyo, and was awarded a masters degree in the history of art in London in 1992, at Chelsea College of Art and Design Since 1993, her creations, such as “Play with me” and “Tea Ceremony”, have attracted much attention She rapidly moved from the world of fashion into fine arts, and took up photography, theatre production and choreography for which she created her own costumes Mariko juxtaposes differing aesthetic practices from music, video,
and fashion, including elements of traditional Japanese culture She builds dreamlike installations exploring images in their various forms, and questions the power of representation in the era of contemporary technology She makes frequent use of 3D images so that the spectators are immersed in her universe After an absence of 14 years, this Japanese artist who now lives in New York, has returned to London to present her most beautiful creations at the Royal Academy of Arts After previously tackling the machismo in Japanese society, her work is currently characterised by fantasy worlds tinged with elements of Buddhism, Shintoism, and primitive shamanism All of her fantastic creations can be experienced in this beautiful exhibition that should not be missed Runs from 13 December 2012 until 17 February 2013 at Burlington Gardens Gabriel bernard 6 Burlington Gardens London W1S 3ET General enquiries : 020 7300 8000 10am-6pm Saturday-Thursday, 10am-10pm Friday - £10
'Transcircle 1 1' (Indoor), 2004
Detail of four-fold embroidered screen Peacock and peahen, c. 1910
THEATRE Ichimura Masachika Interview
Zoom Japan have managed to get an exclusive inter view with Ichimura Masachika, star of the play: Anjin: The Shogun and The English Samurai that is showing in London from Thursday the 31st of Januar y to Saturday the 9th of Februar y 2013.
Firstly, what was it that made you want to become a musical and stage actor ?
Ichimura Masachika : I was an only child and was brought up in an environment where those around me would be delighted and praise me whenever I did something I can remember being ver y happy whenever I entertained people and brought them joy The catalyst that made me become an actor though came when I was in the third year of high school and saw a play called “Otto to Yobareru Nihonjin” (A Japanese man called Otto) by famed playwright Kinoshita Junji In those short two to three hours I was enchanted by a world in which you could live exciting adventures and decided there and then that I would enter that world and bring joy to many people through it.
You have played many varied par ts in your career, such as Alan in Equus, Anderson, the phantom from Phantom of the Opera and Richard the 3rd. Even just among this selection there really are a great variety of different character t y p es Lo oking back , what would you say the most memorable role was for you?
I M : I particularly remember the productions I did when I was in the Gekidan Shiki group, such as West Side Story, Phantom of the Opera, Equus and The Elephant Man Of the plays I appeared in after becoming a free agent I have deeply emotional recollections of Miss Saigon, Fiddler on the Roof and Richard the Third I have appeared in a lot of Shakespeare and other plays written in Britain you know !
PROFILE
ICHIMURA MASACHIKA Debuted in 1973 in the Gekidan Shiki production of Jesus Christ Superstar before going on to perform in such diverse formats as musicals, straight plays and one man shows. Not limiting himself to Japan, Ichimura has also given acclaimed performances around the world. Lauded for his sublime acting skills, he has received many awards and in 2007 received the Medal of Honour with Purple Ribbon the in the name of Emperor Akihito.
SHOW INFORMATION
ANJIN: THE SHOGUN AND THE ENGLISH SAMURAI Thursday the 31st of January to Saturday the 9th of February 2013
Venue : Sadler’s Wells
For more information : www sadlerswells com
You have an image as a through and through stage a c t o r b ut h av e a l s o ap p e a r e d i n f i l ms a n d d o n e voiceover work for anime. How do you view your work outside of the sta g e ?
I M : There are some th ing s that you just cannot do on a sta g e and can only be rea lise d throug h film I am a lways busy with my sta g e work but I do think of the world of film and tele vision as within my territor y too, and always make sure that I do at least one th ing for that e ver y year
I recall many times where you have worked together with K aga Takeshi and Yamag uchi Yuichiro, g o ing b a ck to the time w hen yo u were a l l memb ers of Gekidan Shiki Do you think that there a kind of aff init y or compatibilit y bet ween cer tain actor s when the y are working ?
I. M. : I have known Mr Ka g a for a ver y long time and we b oth debute d at around the same time so I wou ld say that he is a ver y g o o d c omrade of m ine Mr Yama g uchi on the other hand is a pure musica l actor and is jun ior to me in the industr y We have worke d to g e th er many tim e s in th e p a st an d I wou ld l ike to do so a g a in . I th in k you can say that we a l l have a prett y g o o d affin it y with each other
Yo u a l way s ap p e a r s o yo uthf u l a nd d o no t s e em to have chang e d much since your Gekidan Shiki days. What in particular do you take care on when lo oking af ter your self ?
I. M. : Not overindulging in food and drink and exer-
cising to g et a sweat up I wou ld say ! I have a lso g iven up smo king . To ke ep in top c ond ition I a lways tr y to avoid doing thing s that would put undue stress on my b o dy. Ap ar t from my work o bviously.
Are there any d ifferences in the attitude towards a c ting a n d tr a in ing f or th e s t a g e b e t we en Jap anese and British actor s ?
I. M. : For British actors it is a g iven that you wil l b e ab le to act, sing and danc e I th in k the y a l l have a ver y thoroug h grounding in the basics of the stag e There are those in Jap an that have bu ilt up the b asics but an individual’s potential and natural affinit y is what is seen as important there. That point of view is d ifferent I fe el
With the opening of Anjin in London this coming Januar y, please could you say a fe w words for the British audiences who are looking for ward to the show and maybe let them know what to look out f or ?
I M : Th is is a stor y set 400 years a g o, at the time of Shakespeare, when a lone Eng lishman washed up in Japan during its warring states period and encountere d S h o g un To kug awa Ie ya su To kug awa ha d many dreams and learne d a lot from me eting h im It is a man ’ s ta le of me eting , sadness, friendship and parting I hope audiences can enjoy this unique meeting of Brita in and Jap an .
INTERVIEW BY VAN
YOSHIKI
BOOK The best place to drink in the world
According to author Chris Bunting , Tokyo has a lot to offer the curious drinker.
Is Tokyo th e b e st c i t y f o r b o o z e in th e wo rl d ?
Eng lish writer Chris Bunting is pretty sure it is. People outside Japan probably would not agree, but the Tokyo -based British journalist has gathered a hug e amount of information to back up his opinion This information is now available in his book, “Drin king Jap an , ” that wa s pub l i sh e d in 2011 by Tuttle
The author calls himself a booze fan more than a real expert, but after spending a year and a half focusing on the subject he certainly has many stories to share “It was a bit of a voyage of discovery,” he says. “I think the time I spent in Okinawa and Kagoshima getting to know awamori (d istil le d ric e sp irit) and swe et potato shochu was the most e ye-opening I hadn't realized how deep the distilling traditions went in the south of Japan and touring those distilleries and tr ying those drinks was really fun”
Bunting thinks that Tokyo in particular is a unique drinking place when compared to other cities “More than unique,” he points out, “I think it’s better I realize that many people are going to disagree with me o n that p o i nt " B e aut y i s i n th e e y e o f th e b e h o lder, af ter a ll, and Japan would not be a contender on ever y criteria (cheapness, for instance), but there is little doubt that it do es offer exceptiona l riches for the drinker at the moment
“ The two thing s that really blew me away were the breadth and the quality of the drinking experiences on offer,” he says “The whisky bars are just phenome-
REFERENCE
DRINKING JAPAN: A GUIDE TO JAPAN’S BEST DRINKS AND DRINKING ESTABLISHMENTS, by Chris Bunting, Tuttle Publishing, 2011, 288 pp., $24.95
nal. I've heard it described as the ‘single malt drinker`s heaven on earth ’ Also, there have been serious debates over whether the Japanese cocktail scene is the best in the world, and there are rum and tequila bars with selections that are jaw-dropping Let's not forget the craft beer pubs, wine bars, etc ” That turns out to be only half the story because there is a whole world of superb alcohol that is almost completely inaccessible anywhere else “Once you start to immerse yourself in the endless variety of the sake scene, the many types of premium shochu, and the island of Okinawa`s awamori tradition, you beg in to realize the phenomenal energ y of Japan`s drinking culture”
the phenomenal energy of Japan`s drinking culture
According to Bunting , one of the thing s that makes d rin king in Jap an an unf or g e tta b l e e xp eri en c e i s seeing the bartenders in action. “ They truly are perfectionists They have a real sense of vocation and are de vote d to g o o d alcohol I’m not saying that bar staff in other countries do not have similar commitment, but to g ive you an example, here the y don’t just pour you a martini. Their at t enti o n
that
up
minutes to make one ”
There are a few thing s a de dicate d drinker should not miss while in Japan “Japanese whisky has been
Zoetrope is the best place in the world to drink Japanese whisky
justly praised worldwide, but I would also urge people to tr y out Japan's indigenous spirits, starting with sake As a specific example of what the world is missing , I would pick out koshu (awamori that has been ag ed for at least three years)
Okinawa has a centuries-old tradition of aging their a lcohol that is qu ite d istinct from the te chn iques used in the West, and the variety and richness of the spirits it produces is definitely worthy of notice. If we are talking about experiences in a broader sense, then I will be a bit boring and advise visitors to seek out a really traditional izakaya ( pub) There are so many other types of drinking places to tr y out, but to c om e to Jap an an d n o t e xp eri en c e an i z a k aya would be a shame”
Bunting recalls how researching his book often put him in some funny and embarrassing situations “It was pretty much a constant embarrassment,” he says “I was trying to find out about people's lives and their businesses with some pretty mediocre Japanese lang uag e skills, so it was an interesting experience, but I think I bemused a lot of people along the way Perhaps the worst moment was when I was in a bar talking to the owner about featuring it in the g uide when a big fat rat ran across the floor I had to continue the conversation with a straig ht face and then quietly find another bar that I liked to fill that space in the g uide I ’ m not sure he saw the rodent”
It ha s b e en o b s er ve d that many We stern m en in To ky o d rin k way to o mu c h Bunting s om e what agrees. “I would say that there are men (and women) in e ver y maj or cit y drin king way to o much, and I th in k it is tr ue that there is an issue here I ’ ve not really thought about this seriously, but I suppose part of the issue may be that many people are meeting up with fellow foreigners in central Tokyo, and that the main focus of the places where the y are meeting is drinking. If we were in our home countries we might have slightly less centralized social lives, based more in the suburbs and in places that were not devoted to drinking ” .
Gianni SimOne
I a sked Chr is Bunting what his top three bars in Tokyo are Here are the three drinking establishments that should not be missed .
The Aldgate
3F Shin Iwasaki Bldg , 30-4 Udag awa-cho, Shibuya-ku, Tokyo
This is a super little British-style pub with 19 beers on tap, some of them from the U.K (e.g. “Abbot Ale,” and “Old Speckled Hen”) This is also a g ood place to start your education in Japanese craft beer. “Aldg ate Ale”, for example, is made by Swan Lake beer in Niig ata prefecture specifically for this pub, and is justly famous for its refreshing balance of caramel sweetness and hoppy, citrusy bitterness
Of course the British atmosphere would not be complete without The Aldg ate ’ s famous Cornish pasties – big bombs of delig ht filled with g ood-quality meat and potato in a pool of spic y beans.
Shusaron
2F Keiky u Shopping Plaza Wing Takanawa West, 4-10-18 Takanawa , Minato -ku, Tokyo Th
GUIDE
Read it and then…
The first thing I did after reading Chris Bunting’s entertaining and informative book was to observe one minute’s silence for his overworked liver The Tokyo-based British journalist spent about 18 months roaming the country in search of alcoholic excellence
The result is a detailed guide to 122 bars (84 of them located in Tokyo), complete with maps and directions from the nearest train stations This turns out to be a very important detail As Bunting explains in the introductory notes, Japan has some of the strictest drink driving laws in the world, and serious booze explorers are advised to leave their cars at home Those with enough time,
to drink aged sake. Owner Nobuhiro Ueno has just publishe d the definitive bo ok on koshu, and here you will find a selection of 100 t ypes The taste of koshu tends to be much richer than average un-aged sake Beg inners are advised to start with Shusaron’s excellent nomikurabe setto (tasting sets, 1,500 yen and 2,400 yen), which offer three different types of ag ed sake
Zoetrope is the best place in the world to drink Japanese whisky. O ver 250 whiskies from e ver y distiller y in Japan line its shelves, as well as more than a hundred other weird and wonderful Japanese alcoholic drinks, including Japanese rum, vodka , mead and even grappa Owner Atsushi Horigami recommends the “ Yoichi 12-year-old sing le malt” (quite smo ky and with a lot of presenc e) to p e op le who really know about whisky. For people with less experienc e “Koma g ata ke 10-year- o ld” is qu ite ea s y to drink and graceful
energy and mone spend will find out Tokyo is arguably the sest thing to a drink paradise Do you fan Japanese whisky? Sh Bar Zoetrope has mo than 250 Sherry? On bar in Tokyo is in th Guinness Book o Records How abou tequila? Agave stocks around 500 For a non-drinker like me though, the bes book was the huge a rical and cultural information on the drinking habits of the Japanese, focu-
on six major gories (sake, hu, awamori, whisky, wine) book works y well as a trae, with the hatting to proowners and and relaying inating tales itself is a little he information ed in a highly manner, with ctures gracing its pages Highly recommended
G S
G. S.
EATING & DRINKING
RESTAURANT iBUKi: Breathing New Life Into Japanese Cuisine!
Sparkling sake? Why not? In a field once thought to be very traditional, this is a sparkling innovation.
“Mio Sparkling Sake” has just the right balance of sweetness and sourness for sake with the added freshness of millions of tiny bubbles, just like champagne. It comes in a uniquely shaped opaque, deepblue bottle, with the most elegant and beausign With only 5% alcohol, hing and easy to drink, Sparkling Sake” is most ular among young adults, are always keen to try w experiences.
ou know your sake you’ll e some expectations – a d, refreshing, fruity flavour h a soft note of sweet rus. But this is special – the bbles give a new dimension this traditional drink – and ake it a sake for those spewell as just relaxing with friends. What’s in a name? The name ‘Mio’ means two things in Japanese: ‘flowing shallow water’ and ‘a wake of bubbles behind a boat’ ‘Shallow’ implies low-alcohol and ‘wake of bubbles’ implies bubbles. And that’s the sparkling element – the celebratory factor which makes it a great alternative to champagne, making this the perfect gift! That’s if you can resist enjoying it yourself.
Available at Japan Centre, Rice Wine Shop and various restaurants. www.shirakabegura-mio.jp
AMa ida Va le and there is no doubt that this i s a p
“iBU Ki” is r un by Mr and Mrs Hosh ino who are a lovely c oup le and ver y friend ly and inviting . Up on entering the restaurant, the de c or is st yl ish, ele g ant and sop h isticate d There is a sush i c ounter near the back of the restaurant d isplaying the ma gn i f
l s o f Mr Hoshino who has perfe ct e d t h e a r t o f s u s h i ma king for over 35 years ; and onc e you ta ke a lo o k
a t h i s f o o d , y o u c a n clearly se e a refle ction of h i s s k i l l s S o m e o f h i s h a n d - c r a f t e d w o r k includes making a drag on out of sushi, a centrepiece that is incre dibly impressive The sushi really does perfectly resemble a drag on ; rig ht down to the crafti n g o f th e s l i th er i n g sna ke
i
b o d y. L o o ki n g at t h i s m a ke s o n
w
n d e r j u s t h
w m u c h t i m e a n d de d ication it ta kes to b e ab le to create such a ma sterp ie c e In add ition to the dra g on sush i, there are a l s o many o th er d e l i g htf u l l y cre ati ve sus h i ava i lable for you to tr y, such a s the “Ma ida R oll” and the “ Va l e R o l l” tha t a r e i n s p i r e d b y th e l o c a l a r e a In add ition, in front of the counter are h ig h rise sta l ls which adds to the feel of actually being in an authentic sush i restaurant in Jap an Now, onto the fo o d “iBU Ki” is first and foremost a sush i restaurant, but on top of the sush i there are other dishes that tempt you to tr y such as tempura , t er i y a ki , h o m e -ma d e Ja p a n e s e d e s s er t s a n d mu c h
IBUKI SUSHI BAR 12 Lauderdale Road, London W9 1LU phone 020 7286 1496 www.ibuki-sushi.com
EATING & DRINKING
DISCOVERY Enjoy travelling through books in Jimbocho
There are many bookshops in this area situated in the heart of the capital, where Chinese revolutionaries used to come a centur y ago to form their plans.
Along the docks of the Seine in Paris, tourists often stop and leaf through the second-hand books on sale. The booksellers’ lack of courtesy is probably as famous as the green colour of their stalls If you are not too worried about being told off by one of the charming booksellers who seem to get upset so easily, you may sometimes come across some rare editions, or books that have been long out of print. However, nowadays the internet makes finding old books
much easier, and there is no need to deal with disagreeable booksellers anymore In Tokyo, the bookstalls are not concentrated along the Sumida , and most of the owners are friendly and helpful
Many book shops and stalls are situated in Jimbocho and a most enjoyable time can be spent in the capital of Japan visiting the shops selling se cond-hand or new books. There was a time when students used to meet there in the search for out of print books, or simply to stand and read (tachiyomi) the latest edition of their favourite mag azine As in most Japanese bookshops, you are allowed to read a book or a magazine as long as you do not damage it. Although there are fewer than in the past, students still crowd around the new mang a
deliveries to learn about the latest adventures of their favourite character But nowadays the young prefer to meet in Akihabara, formerly a Mecca for fanatics of electronics, before transforming itself in the past few years into a cult area for lovers of mang a and video g ames Jimbocho has lost a bit of its youthful character since
GETTING THERE
TO GET THERE Two undergound lines stop at Jimbocho, the Hanzoman and Mita lines However, you can also travel there by train. From Tokyo station, take the Chuo line and get off at Ochanomizu. Take the western exit and walk down Meidaidori as far as Yasunidori It takes around fifteen minutes
Some bookshops are just a few shelves on a street corner where you may sometimes come across a treasure.
then. Most of its visitors are in their mid thirties or older but age does not matter; what counts is the pleasure in acquiring a book while strolling among the piles, which spill out onto the pavement between the bookstalls. Unlike many other noise-filled places in Tokyo, one of Jimbocho characteristics is its silence that suits the books perfectly On leaving the underground at Jimbocho station (Hanzomon or Mita lines) the silence can be disconcerting , but you rapidly get used to it. The mind can then focus on what is essential, getting to know the 160 book shops in the area. You will find them on the high street and the smaller streets, such as Yasukunidori, the long and winding avenue that crosses Jimbocho Some resemble conventional book shops but others take up just a dozen square meters in a building That is why you need to pay attention if you are looking for one address in particular, especially if the bookseller has opened his shop at the top of an improbably winding staircase Herein lies the charm of the place, which can divert your attention If you like the printed word, especially old examples of the printed word, then you may come across some unexpected treasures in one of theseliterary Aladdin's caves And not just books written in Japanese either! It would be a lie to pretend that they have thousands of foreign lang uag e books, but out of the millions of piled up books, there are hundreds that are very rare, and not necessarily expensive, just waiting to find an owner If you are looking for one book in particular, it is best to prepare the g round by targ eting the bookshops that might have it Indeed, most of the shops specialise There are those that focus on religion, others on photography or architecture Some were opened especially for music lovers on the lookout for old magazines about their favourite singer There is something for ever yone and at all prices Yagichi Tetsuya owns a bookshop which bears his name. It is in a a prime position on Yasukunidori, towards Kudanshita (A3 exit at Jimbocho, 50 m away on the left hand pavement, open every day from 11 am to 6 pm) and his shop is the place to go if you are a fan of Japanese and Western cinema “I love chatting with the customers about our common passion : cinema , ” he says with a smile Rest assured, even if you are not the
biggest fan of cinema, you will get a warm welcome and you will be allowed to rummage around to find a book, a script, or a photograph that you end up deciding you cannot leave behind. You might come across an old magazine for 500 yens [approximately £ 3 80], or a flyer for the release of Tulipe Noire with Alain Delon at Hibiya’s Scala cinema dating back to 18 April 1964 for 20,000 yen [£ 154] This French actor is still a celebrity in Japan And if you prefer music or, more precisely, Japanese rock, then go to Rockonking (A7 exit at Jimbocho, second
feel a bit lost and hesitate in continuing your exploration of the many bookshops, including those that resemble cupboards opening onto the street In these, you cannot touch the books, because they are piled up in a very special way Usually, the available books have a yellow ticket displaying the title. These piles are very impressive and make wonderful photographs (see opposite page) Nevertheless, there is little chance you will come across photography books in these highly specialised bookshops Instead, go to Bondi Books (A1 exit at Jimbocho,
street on the left, just 150 meters away on the right hand pavement). Situated on the second floor of a small building , this little bookshop is crammed with treasures for fans of X Japan or Luna Sea Like many book shops, the opening hours (advertised as from Monday to Saturday, 1pm – 7pm and Sundays 12pm – 5pm) fluctuate, especially towards closing time. Confronted with these masses of books, often written in Japanese, you may sometimes
10 meters from the exit, open ever y day from 1pm to 7pm, Mondays and Tuesdays by appointment, phone 04-3556-9299) managed by Josh Carey You will find all sorts of unique and rare books, which goes some way towards explaining their incredible prices The original edition of Robert Franck’s “ The Americans” (1959) is on sale for 840,000 yen (£ 6,469), that works out at approximately £ 80 per page
We now meet fewer young people in the area, though it was very popular during the first decades after the war
TRAVEL
This, too, is something you see every day in Jimbocho, small ordinary looking bookshops that conceal real treasures This area, situated near several universities, used to a place where young intellectuals would meet up. Iwanami Shoten, the publisher who played a crucial role in distributing foreign literature and helped spearhead political and philosophical debates in Japan, is also situated nearby This is where the Sekai review was founded in December 1945, a few months after the surrender of Japan, to which all the most famous writers in the countr y contributed and still do today. The monthly exists to this day and continues to pursue its pacifist, anti-imperialist, anti-nuclear and anti-g lobalisation agenda. Despite the drop in its readership that followed the progressive decrease of young people in the area, it is still the place for debates and discussions. The publisher opened Iawanami Hall (A6 exit at Jimbocho) in February 1968 (the golden age in which everything was subject to debate), a movie theatre which screens mainly foriegn films that will usually never be shown anywhere else. It is a good opportunity for a break (1800 yen for entrance, 1500 yen if boug ht in advance) when you are feeling a little homesick, or when you get fed up of seeing Chinese characters in the bookshops. Indeed, Chinese characters (kanji) are present everywhere in the area, as were the Chinese themselves at the beginning of the 20th century At that time, Japan had been the dominant military power facing China (since 1895) and Russia (1904-1905), and appeared to be the model to follow for young Chinese wishing to escape the Western imperialist yoke. That is why thousands of them left their home country to come and study in Tokyo Among them were a some well-known figures such as Zhou Enlai, Mao Zedong’s prime minister, and Lu Xun, considered to be one of the founders of contemporary Chinese literature The latter spent three years in Jimbocho, then called “the foreign student quarter ” or “Chinatown” Although it has nothing to do with the Chinese quarters that existed (and still exist) in the port cities of Japan (Yokohama, Kobe, and Nagasaki) that are mostly crowded with restaurants and shops.
Above all though, the Chinese intellectuals residing in
To help the customers and avoid moving piles of books for nothing, the titles are written on the yellow strips
Jimbocho during the first half of the last century played a considerable role in the emerg ence of Chinese selfawareness and help e d to foster a g rowing desire for revolution
One of the quarter ’ s most famous residents was none other than Sun Yat-sen, who contributed much to the Chinese revolution in 1911 and became the first president of the Republic of China (1911-1912) His political involvement is closely related to Jimbocho where the first issue of the review Minbao was printed in 1905 Ver y few traces of this Chinese presence remain, apart from a little stele in Anzen park (A3 exit at Jimbocho,
towards Kudanshita , second street on the rig ht then approximately 100 meters further on), a reminder that Zhou En-lai studied in this place A Chinese restaurant, the Hanyanglou founded in 1911, still exists near Anzen Park All the rest disappeared in the 1923 earthquake, and then during the Second World War.
There are still, nevertheless, two Chinese bookshops to be found in Jimbocho Toho and Uchiyama, both opened much later, contain larg e collections of books of the g reatest imp or tance on ancient and contemp orar y China. Here is a place that confirms that a book is a wonderful way to travel Odaira namiHei
LANGUAGE To speak the language
well, just dive in
Is there anything better than complete immersion to learn a lang uage ? Why not play on words, and just plunge in.
Wh e t h e r a t a h o t s p r i n g ( o n s e n ) , i n
publ ic at the sentô, or simply at home
w i th th e f uro , b ath i n g i s o n e o f th e s e
Ja p a n e s e h a b i t s t h a t i s t h e m a r k o f a l l t h e h o p e s
a n d p e r c e p t i o n s o f t h o s e c a p t i v a t e d b y Ja p a n
Am ong th e many sp i c y to uri st an e c d o te s , b ath ing
i s u s u a l l y o n e o f t h e m o s t p o p u l a r T h e i n t e r e s t
t h e y a r o u s e i s u s u a l l y r e l a t e d t o h o w l i t t l e p e o -
p l e k n o w a b o u t t h i s a c t u a l l y v e r y c o m m o n p l a c e
p r a c t i c e , w i t h w a y s o f m o v i n g a n d m a n i p u l a t i n g
th ing s a c c ord ing to a l o g i c that i s p la in s a i l ing f or
t h e Ja p a n e s e Ye t Ja p a n e s e b a t h r o o m s a r e f u l l o f
surprises if you do not ma ster their subtleties And t h e p r e c i s e e x p l a n a t i o n s o f t h e c a r i n g h o s t a r e
e x p re ss e d a s f o l l ow s
お風呂 �� がわいていますよ。
Ofuro ga waite imasu yo The bath is ready
このタオルを使 �� ってください。
Kono taoru o tsukatte kudasai
You may use this towel
石 �� けんとシャンプ はここにあります。
Sekken to shanpû wa koko ni arimasu.
Here are the soap and shampoo
No th i n g t o o c o m p l i c a t e d s o f a r, a t l e a s t n o th i n g that puzzling But it is when you ask about the inst r u c t i o n s o n t h e w a l l j u s t a b o v e t h e b a t h t h a t a
s tr e a m o f t e c hn i c a l v o c a b u l a r y i s tr i g g e r e d T h e
s enten c e s are l ong er an d th e lang ua g e i s m ore d i fficult A first year student of Japanese can be confus e d .
Oyu ga tarinai to omottara, kono botan de ryô o chôsetsu shite kudasai.
If there isn’t enough water, you can adjust the quantity with this switch
And with that the b athro om, just a fe w steps away f ro m th e b e d ro o m tata m i , s u d d en l y f e e l s l i ke th e c o ntro l d e c k o f a n un kn o wn sp a c e s h i p Ta ke o f f f o r a n a d vent ure
