In its fif th issue, Z oom Japan takes you on a trip to the north of the archipelago to discover Hokkaido This region is still lar g e l y un kn own by We stern to uri sts , wh o tend to be se duce d by Tokyo or Kyoto, but the island welcomes an increasing number of Japanese and Asian tourists who appreciate its countr yside and quality of life. It is accessible by train or by plane with reasonably priced flights from Tokyo Hokkaido also attracts many visitors for its food, and this is how this issue of Zoom Japan has decided to help you d iscover the reg ion, by intro ducing you to various unusual and orig inal local products We hope that this will encourage you to travel around Japan, away from the beaten track. THE EDITORIAL TEAM info@zoomjapan info
51,376
Is the number of centenarians in Japan, revealed by the Ministry of Health, Work and Well-being in its annual study. Women make up 87.3% of the total, and it is the first time that the numbers have risen above 50,000. In 1963, there were only 153.
A DAY IN JAPAN by Eric Rechsteiner
12 September, Shinjuku quarter, Tokyo.
On 27 September, people living in
of
SOCIETY Victims of the disaster are in the doldrums
For the third time, the Kahoku Shimpo, Sendai’s daily newspaper, surveyed the victims of the March 11 earthquake, to check on their morale. 38.5% of the people questioned believe that things are not working out well This is a high percentage that demonstrates the continued distress of the victims, many of whom are still having to live in temporary housing..
ECONOMY A worr ying commercial deficit
According to figures published by the Ministry of Finance, the country’s commercial deficit has increased during August with a rate at 472.8 billion yen, compared to 371.9 billion yen in July. Exports have decreased by 2 1% and imports have diminished by 0.2% compared with the previous month. This development is related to lower demand from China and Europe.
Biqlo
Camera
Uniqlo Biqlo
Front cover picture by Jérémie Souteyrat
DIPLOMACY Paralysis and weakness at every level
Tokyo needs to deal with the re-emergence of tensions with its neighbours, but up until now, an adequate response has not been found.
Over the past few weeks, the Japanese media has reported many, sometimes violent,anti-Japanese demonstrations, that have taken place in China They are not the first, and they will not be the last, but as the Weekly Kinyobi rightly underlined, there is now “ an urgent diplomatic situation” for Japan, in the face of which the g overnment appears to be helpless. In addition to the dispute about the Senkaku islands (Diaoyu in Chinese), Tokyo a lso ne e ds to dea l with another issue, involving S outh Korea and related to Takeshima Island (Dokdo in Korean), as well as find a solution to the territorial conflict with Russia over the Southern Kuril Islands (Hoppo ryodo). Japan appears to be in an increasingly weak position facing up to its principa l neig hb ours, and there is little chance that the situation mig ht improve in the coming months, considering the interna l state of the countr y There are fe w arg uments in favour of a rapid improvement The reason why the Chinese are now more upfront concerning their territorial claims, is partly related to their having overtaken Japan to become the second largest economic power in the world. By attacking Panasonic for example, one of the first Japanese production companies to massively
invest in China in the late seventies, the Chinese demonstrators symbolically showe d that the y are no long er dependent on Japanese investors In addition, relations with the United States have changed since the democratic party (Minshuto) took power in Japan in August 2009 S e vera l embarra ssing situations (such a s the controversial deployment of Osprey fig hter planes at Futenma airbase in Okinawa) have weakened relations b et we en Tokyo and Wa shing ton, and g iven Japan’s neighbours the opportunity to test American reaction
The visit of the American Minister of Defence, Le on Panetta , clarifie d the tuation when he rep eate d that the United States would not take up a posion in relation to this sensitive territoal claim Nevertheless, the Senkaku sagreement is connected to an earlier merican decision In 1972, the Amecan administration decided to hand ack the islands to Japan a lthoug h hina, and then Taiwan, had both laid aim to them in December 1970 and ebruar y 1971 respectively Last but ot least, the political uncertainty plauing the archip ela g o is ma king the situation harder to settle The numerous political leaders from all sides who have made multiple embarrassing declarations concerning the territoria l issues, have contributed to reinforcing the nationalist positions of their neighbours, especially when South Korea is in the middle of an electoral campaign, and China is replacing its leadership Given the situation, it is hard to see how can things possibly get any better ?
GABRIEL BERNARD
Anti-Japanese demonstrations in China on the front page of the 17 September edition of Mainichi Shimbun
FOCUS
DISCOVERY Hokkaido makes your mouth water
Long considered to be rather an isolated region, the island was of ten ignored, but thanks to new rail links, it has become more accessible.
Last April, the Japanese media gave a warm welcome to Michelin’s first g uide to Hokka ido.
After Tokyo and Kansai, this northern island has always been known for its high quality food Four restaurants, including a sushi bar, were g iven thre e stars, the supreme reward in terms of worldwide gastronomic recognition. This recognition not only gave great satisfaction to the starred chefs themselves but also helped draw attention to what Hokkaido had to offer the rest of the Japan For a number of years, the island did not have a ver y good image with its harsh, and in certain areas, hostile climate with snow, wind, and freezing cold, that made it difficult to convince Japanese living in the south that it was worth travell ing th ere A s th e Ab a s h iri Pri s on Mus e um in th e
northeast if the island reminds us, Hokkaido was also the place where the most undesirable criminals used to be sent It was a bit like Japan’s version of colonial Australia , but closer to hand For many years it was somewhat complicated to travel there You had to go to Aomori, at the northernmost tip of Honshu, the main island in the archipelag o, and then g et a ferr y to Hakod at e In 1 9 5 4 th e To y a -ma r u f err y d i s a ster that ki l l e d 1 1 0 0 p a ss eng er s and crew, encourag ed the authorities to think of building a tunnel bet ween Honshu and Hokka ido in order to op en up the reg ion Af ter a de cade of studies, the dig g ing star te d in 1964, and the S eikan tunnel wa s op ene d in 1988 53 kilometres long , including 23 kilometres under the sea , it rema ins the long est tunnel in the world. As well as breaking records, it also greatly benefited Hokkaido, bring ing it into closer c ontact with the rest of the archipelago It is now very easy to travel there by train
The Shinkansen ( hig h-spe e d tra in) will g et you to Aomori in three hours, from where you can g et the tr a i n t o Ha ko d at e No w i t i s p o ss i b l e t o tr ave l t o Ha ko d at
m To ky
Hakodate is fewer than five hours away from Tokyo.
ur
Fro m 2035, when the h ig h-sp e e d tra ins from Hokka ido are due to c ome into use, Sapp oro wil l only be 4 hours away from the capital of Japan This rail re volution has completely chang ed the Japanese people’s relationship with Hokkaido They have discovere d its natural treasures and found out that snow is not the only thing g oing there. The beaut y of the landscape attracts an increasing number of tourists who have also gradually learnt to appreciate the island’s cuisine With its large variety of agricultural resources, the reputation of Hokkaidos wide selection of produce continues to grow throug hout th e c o untr y Here a re a f e w o ri g i na l e x a mp l
encourag e you to travel there.
ODAIRA NAMIHEI
Shellfish take pride of place on stalls at Hakodate market, but Hokkaidô does not only produce seafood
WINE In Tokachi, dreams are made of grand crus
For approximately 50 years, Château Ikeda has been building a solid reputation with its wine.
On a r r i v i n g i n Ike d a o n t h e Ne m ur o l i n e , 250 kilometres southeast of Sapporo, your attention is caught by a huge concrete building rising above the station On a grey, cloudy day, it is enoug h to g et horror afficionados fanta sizing . The building lo oks like a hug e prison without any w i n d o w s , a n d f o r a m i n u t e y o u w o n d e r w h y o n earth you have stopped here. You cannot recall Ikeda being known for its prison, the way Abashiri is No, Ike da’s celebrit y stems from its vine yards, and that is the rea son you came here When leaving the station, a little sign points towards Château Ikeda , just 19 minutes walk away. The enormous grey building i s sti l l on y o ur l e f t-han d s i d e , an d a f ter f o l l owing th e map , y o u re a l i z e that th i s i s a c t ua l l y Chât e au Ike da itself The concrete turret you thoug ht was a watc htower i s in f a c t th e repro du c ti on o f a ca stl e tower. As you g et nearer you discover the only spot o f c o l o ur to b e s e en o n th e g i a nt c o n cre te wa l l : a big wooden door resembling that which a fortifie d
c a s t l e w o u l d h a v e T h i s b u i l d i n g i s i n c o m p l e t e
c o n tr a s t t o t h e B o r d e a u x c h a t e a u x , t h o s e g r a n d b ourg e ois houses Ike da’s archite ct must have use d an illustrate d dictionar y to ba se his plans on a fortified castle rather than Versailles. Nevertheless, the in c ong r u o us arc h i te c tura l st y l e a c tua l l y su i ts th i s unlikely vineyard, situated, as it is, in a reg ion where
C URIOSITY
To give you an idea of the incredible diversity of Hokkaido’s agricultural production and the range of tastes it offers, there is nothing better than going to one of the islands’ many markets Some of them are famous across several regions Hakodate is one of the most famous. It is situated close to the railway station and started in 1945 The region’s farmers came by train to Hakodate to sell their produce, and the market is still near the station After an unsuccessful attempt to transfer it to another area in the late 50s, it came back to its initial location and has remained there ever since All kinds of produce are sold in the market, but the
theast of Tokyo, starte d producing wine Howe ver, th e i d e a o f p lanting vin e yard s in Ho kk a
first “Not at all,” says Saito Akihiko, the cellar master. “It snows around here, but the grapes don’t grow in winter It’s ver y sunny the rest of the year, and the soil is g reat, ” he adds.
The idea of starting wine production here goes back to the 60s After a violent earthquake hit the reg ion and the Japanese g overnment pa id comp ensation, t h e l o c a l
t t o d o w i t h t h e mone y. One of them sug g este d planting a vine yard and star ting to pro duc e wine “ There were che ese producers in this region Maybe they wanted to have his own wine to g o with the che ese, ” sug g ests Ma ster Sa i to S o th e f ir st vin e yard s were p lante d , an d th e f ir st b o ttl e s o f win e pro du c e d in 1 9 6 3 , a b o ut 50 years a g o now Sinc e then Ho kka ido ha s de velope d into a wine producing area Château Ike da is also a research centre that focuses on improving the qualit y of the wine because, needless to say, it is not yet comparable to Japan’s b est wines. Ma ster Sa ito ha s travel le d to France se vera l times to p erfe ct h is kn o w l e d g e a n d s o p r o d u c e b e t t e r w i n e “ It t a ke s time,” he says, “ but it is star ting to p ay off We are improving our pro duction , an d we have a lso starte d producing brandy.” He is confident be cause little by little, Tokachi’s wine is g a in ing re co g n ition " The" Japanese are now starting to drink wine with
their mea ls. It’s still limite d , but the habit is spreading , and we produce ver y acceptable table wine to satisf y them ” Many visitors come to have the details of the loca l produce expla ine d to them in the g reat ha l l of Château Ike da S ome of them a lready have t wo or three bottles in their shopping baskets…and the y just mig ht add a fe w more
The morning markets in
region’s specialty, squid, gets special treatment. At the centre of the market is a three metre high sculpture that pays tribute to the sea creature on
which the city’s reputation rests Sapporo also has a morning market (asa-ichi) Like Hakodate’s, it opens very early, around 5 am. It is not as old, only
dating from 1970, but nevertheless, it has become an institution in the island’s main city It is where chefs go to buy their ingredients, especially those who specialize in sushi In fact, it is quite interesting to listen in to discussions between the merchants and the buyers who speak an incomprehensible jargon One of the best things about places like Hakodate, or even Abashiri, is being able to taste the fresh f o o d T h e r e a r e m a n y r e s t a u r a n t s among the market stands, and they serve delicious dishes at modest prices It is there that you can savour the real taste of Hokkaido
At Château Ikeda, the wine is put into French made barrels to mature
Hakodate (left) or Abashiri (right) offer great opportunities to taste fresh produce at low prices
FOCUS
BEER From producer to consumer
A few kilometres away from Sapporo, Otaru’s little port is experiencing a revival with help from a master brewer who comes from Germany.
Nowadays, Otaru is a little port like any other Howe ver, unti l th e n inte en- f or ti e s i t wa s the reg ion’s economic powerhouse It owed its imp or tance to commerce with Sa kha lin Island After being under Japanese control from the second ha lf of the 19th centur y, Sa kha lin passe d into Russian control ag ain after the Second World War, and O ta r u s a n k i nt o o b l i v i o n Th e wa re h o u s e s , b u i l t o ver 1 0 0 y e a r s a g o a l ong a l i ttl e ca na l , a re rem inders of its vibrant past, and it is in one of those building s that Johannes Braun took up residence He is a 44 year- old G erman who has be en living in Japan for 20 years, and settled in Otaru after being recruite d to mana g e a bre wer y “ I wa s working in S c o tland in a whisky distiller y when a head hunter offer e d m e t h e o p p o r t u n i t y t o w o r k i n Ja p a n , ” h e remembers. “I had quite a lot of experience in be er. My family has managed a brewer y in Germany since the 17th centur y and I studied, and then worked in the field for quite a fe w years. ”
Th e re l a x ati o n i n th e l aw o n th e d e ve l o p m ent o f m icro bre weries trig g ere d the star t of th is exciting adventure In 1994, with a b e er market dominate d by Kirin, Asa hi and Sapp oro, the authorities de cide d to lib era lize the se ctor and authorize the creation of small business enterprises in the archipelag o T h i s w a s i n r e s p o n s e t o a s tr o n g d e m a n d a s w e l l as the need to revive a sector that was going throug h a c r i s i s A f t e r y e a r s o f s u s t a i n e d g r o w t h , t h e consumption of beer has been in decline for the past t wo de cades This can be explaine d by the fact that over the years the sector ’ s big g est businesses increasing ly turned their backs on the production
o f r e a l b e e r “ T h e y k d i k that l o o k l i ke b e er, i s n ’ t r e a l l y b e e r S o can ’ t b e surprise d th
t h e c o n s u m p t i o n
r a t e s a r e s o b a d , ”
s a y s t h e m a s t e r
b r e w e r o f O t a r u
Be er with a g rin .
Johannes Braun is
q u i t e o b v i o u s l y
h a p p y t o b e i n
Otaru His fig ures ar g ood. “ The y are inc
s i n g b y 1 0 % p e r y e
a d d s . T h e b u s i n e s s
wel l that he ha s op ene d a se c ond pro duction un it just a fe w kilometres away in Z en ib a ko. “ We prod u c e 2 m i l l i o n l i tr e s p e r y e a r, i n a d d i t i o n t o t h e 150,000 l itres made in O tar u ” When we a sk h im
t o e x p l a i n h i s s u c c e s s , h e r e p l i e s s i m p l y, “ I m a ke b e er ”
Johannes Braun had only one condition for accepting the job, and that wa s for him to b e a llowe d d org anic and 100% natu-
- f i l t e r e d b e e r “ T h e b i g
n e s e b r a n d s f i l t e r t h e i r er, and at the end of the d a y, t h e y o f f e r v e r y f e w varieties The y are four
b r a n d s tha t d o m i na t e t h e m a r ke t , b u t t h e y
p r o d u c e o n l y t w o
k i n d s o f b e e r I
t h o u g h t I m i g h t s u c -
c e e d i n t h e c h a l l e n g e I
ad set myself by offering erent kinds of b e er, ” says w master The Otaru bredunkel (dark b e er), pils-
ner ( pale lag er), and weiss (wheat beer), not forg etti n g a l l th e s e a s o na l b e er s . Th e o n l y d owns i d e o f this wonderful venture is the difficulty that Johannes has in exporting his beers “Because it is 100% org anic , it doesn’t travel ver y well and won ’ t sur vive the d i stri b uti o n m e th o d s c urrentl y us e d that re qu ire long p erio ds in stora g e, ” he stresses . But Jo hannes Braun is not too bothere d by this “If the be er can ’ t travel to the consumer, the consumer must travel to the beer,” he says Soko No 1 warehouse, where the pro du c ti on un i t i s s i tuate d , ha s b e en turn e d into a huge Bierkeller, worthy of it German counterparts. Th e d e c orati on i s G erman , th e mus i c i s G erman , and most of the food is as well “People love it,” says the master brewer At the centre of this venue, which resembles Bavaria rather than Japan, is a copper brewing ro om that he imp or te d from G ermany. From pro duc er to c onsumer - with no m idd leman The quality of Otaru’s water and the yeast that Johannes Braun produces himself both contribute to the beer’s i n i m i t a b l e t a s t e T h o u s a n d s o f p e o p l e tr a v e l t o Otar u for its b e er, wh ich is bring ing back some of this little p or t ’ s lost vita lit y O. N.
Of all Johannes Braun’s beers, the pilsner lager is the most successful
PLEASURE Royce’, the Rolls of chocolates
Situated close to Sapporo, this company is gaining increasing popularity amongst chocolate lovers.
Hokkaido is famous for fish, shellfish, râmen (esp e cia l ly f amous in Sapporo and Asa hik aw a ) , m a y b e e v e n c h e e s e ( Ho kk a i d o ’ s
f a m o u s c a m em b er t s o l d i n a ti n b ox ) , a n d tha t i s
a b o ut i t T h i s r e p r e s e nt s m o r e o r l e s s t h e w h o l e inventor y of the island’s fo o d pro duc e, or at lea st, that i s what m o st Jap an e questione d on the subje ct complete Of course ther
t ur a l p r o d u c t s ( s u c h a s
g r o w n s u c c e s s f u l l y a n d contribute to the reg ion’s reputation but there is one qu ite unexp e cte d pro duc that is growing in populari throug hout the archip ela an d a bro a d , an d that i s c colate. Hokkaido is becom
a m in i ver s i on o f Swi t z er
t h a n k s t o a c h o c o l a t e c R oy c e ’ . Th e f ir st tim e y o its name, you imme diatel it must be a foreign busine loped locally to satisf y the o f g o urm e ts in th e re g i on d o e s n o t s o un d v e r y Ja p fact, it’s the founder’s name wards,” explains Imai Akiko, who is in c ha r g e o f th e c o mp a ny ’ s p u b l i c re l ations It was Yama za ki Yasuhiro (R ohisu when the characters are read in reverse) who founded the company in 1983, in the area surrounding Sapporo “At that time, nobody made milk chocolate in Hokkaido, althoug h the reg ion is well-known for its milk,” says Ima i Ya ma z a ki Ya su h iro ha d just l e f t h i s j o b in a
mach ine -to o l f actor y, and wa s lo o king for an idea to start his own business. That is when he came up with the idea of a chocolate factor y His first workshop was fewer than 200 square metres “I remember I used to make ever ything from scratch. I d i d n ’ t have th e m e a ns t o p ay f o r a ma c h in e My only tools were standard kitchen implements. That’s w
to
rists,” remembers Yamazaki Yasuhiro. Then he star-
the idea of potato crisps coated on one side with choc o l a t e . A
’ w i th th e cri sp s , wh i c h a re th en c o ate d a n d p a c ke d Pe o p l e love them In the f actor y shop in Ish ikari Futom i, just 3 0 m inute s f rom Sapp oro ’ s c i t y c entre , b oxe s and bags of chocolate crisps sell like hot cakes “Many tourists travelling throug h Hokka ido come a ll the way to the factor y to buy some It’s a sign of the product’s qualit y, ” adds Imai
products. It represents 50% of our sales, says Imai. “ We take advantage of the high quality of Hokkaido’s milk products, but that’s not all For a few years now, we have a l s o b e en us ing p o tato e s , ” s h e s ay s wi th a smile, se eing a look of surprise at the idea of a combination of potatoes and chocolate.
But innovation is at the heart of Royce's success, and it so happens that the chocolate maker came up with
Not all the tourists she mentions are Japaso many foreigners who addicted to Hokkaido’s Royce’ uses that fact as arketing strateg y These ars, the island has made s to attract visitors from specially from Asia, and has used one of its advercampa ig ns to help prothis. The company has loped its investments in a , a n d o p e n e d m a ny ta il outlets : Sing ap ore, n 2 0 0 1 , f o l l o w e d b y Hong Kong , Thailand, Ma l a y s i a , t h e P h i l i pe i , In d o n e s i a , Ta i w a n , 011 This fa st- g rowing sia can be explaine d by ts, as well as the quality ka ido’s m il k is wonderful. We only use milk from farms where the animals are fe d with org anic pro duce,” insists Ima i It g ives the product a unique taste and texture that cannot b e f o un d a ny w h e r e e l s e T h
h
e a
n w hy Yamazaki Yasuhiro is confident about the future He is cer ta in that th is ta ste of Hokka ido can conquer the world
O. N.
In its Ishikari Futomi factory, Royce’ makes chocolate crisps (left), its famous “nama” chocolates made with Hokkaido crème fraîche (middle), and twenty other products that benefit from being packed carefully by hand
CULTURE
EXHIBITION Kioku: fracture and memories
Until the 8th of December, Christian Ferreira will present the first collaborative installation by British artists Tom Milnes & Sabine Okami in the Accumulator Tower at Wapping Hydraulic Power Station. Titled "Kioku" (memory) this ambitious installation sees Milnes & Okami working with personal elements relating to emotional memories felt through disconnection. The starting point is based on stories related to the 2011 Japanese earthquake, as experienced by Okami’s grandparents. The artists explore issues of memory, translation and migration by weaving personal narratives
convenience-food products and placing them in an unnerving environment. Milnes & Okami mirror the now disused warehouses of the area, which used to be filled with exotic produce from the Far East, by filling the space with shelves stacked with the re-
MUSIC Shonen Knife is back
Originating from Osaka and founded in 1981 by the Yamano sisters and their fellow band member Nakatani, Shonen Knife has been part of the Japanese rock scene for over 30 years. Although two of the founding members left the band and were replaced by Morimoto Emi and Taneda Ritsuko, they have not lost any of the energy that characterises the pop-punk music that they enthusiastically play on statge, and this is what gives them all their charm and strength. The loud rhythms of their guitars and the power of the drums sound great, and in conjunction with their new album
interpreted copies of Japanese convenience food products. Each of the reinterpreted products is made from a wood-block print, loaded with family histories, thus creating a hybridized product which is then organized and stored away. By stepping into claustrophobic space filled with these re-interpreted products that seem at once familiar, yet exotic and foreign, the viewer will experience an unexpected shudder as the shelves transform the space into one of angst, creating a feeling of imminent danger
Wapping Hydraulic Power Station
Wapping Wall London E1W 3SG
Weds - Sat 12:00pm - 6:00pm
“Pop Tune” released last June, the trio is back on tour throughout Great Britain and Ireland until mid October. This is a performance you must not miss 12 Oct – Crane Lane Theatre, Cork IR 13 Oct –Whelan’s, Dublin IR. 15 Oct – Waterfront, Norwich UK 16 Oct – Cargo, London www damnably com
T HIS MONTH’S EVENT
DVD Blue exorcist: could do better
Rin Okumura is a young man with issues He has been brought up with his twin brother by a priest, whom he calls father, and he is having trouble finding something constructive to do with his life. Neither studious, nor hard working, he is a great worry to his poor father However, everything changes one night when Satan appears to him in person, tells him he is his son and that he has come to get him His adoptive father, who is really an exorcist, prevents the master of evil from executing his plan by sacrificing himself Rin cannot stand by and see his family suffer, so he decides to become an exorcist to vanquish his real father In order to do so, he is sent to an academy that trains exorcists, whose director Mephisto is an enigmatic character
This is the animated adaptation of a classic shonen manga There is nothing wrong with classic stories, but what about Blue Exorcist?
The first thing you must consider is that the intrigue is based almost entirely on the characters, their thoughts and their relationships with each other The basic story is not sufficiently out of the ordinary not to have to rely on something else besides the charisma of the protagonists This works quite well for three of the characters: Rin is a somewhat uncomplicated, easy to understand shônen hero, but from the start, you recognize his desire to reject his relationship with Satan in order to protect the people around him That is the key to his charm, as well as being funny from time to time His brother Yukio is also caught in a paradox: he loves his brother, but he is scared of the problems that might arise, and it is also his fault that his brother is reluctantly forced to become an exorcist That is what makes him interesting Last but not least is Father Figimoto, and although he appears only briefly, reveals a character that gives him immediate authority
Nevertheless, the story is not all that fascinating, although the action scenes are quite successful and are satisfactorily entertaining, but apart from those few scenes, the rhythm is slow and without doubt it cannot compete with the printed version of the manga. All in all, Blue Exorcist is an entertaining adaptation, although the intrigue needs to be explored in more depth so as to broaden the character of the protagonists, who already display a certain amount of charm
ODAIRA NAMIHEI
LITERATURE The memory of our mothers
By continuing the work she starte first novel, Julie Otsuka forcef ull the conditions of Japanese immig America .
On the boat, we were mostly virg long b lack ha ir and flat fe et a n o t ver y ta l l ” It i s wi th th e s e Julie Otsuka starts her new novel In this novel, the American of Japanese orig in account of the life of Japanese women, archipelag o during the last centur y to and get married to compatriots, who had pre viously lef t Japan to ma ke their for Unite d States of America . Japanese em th e U S s ta r t e d i n 1 8 9 0 T hat y e a r, 1 Twent y y e ar s later, th ere were o ver 1 their presence gave rise to many problem nese immig ration wa s officia lly susp e US in 1924.
Following her first novel, When The E Divine, distributed by the same publis in which she described the way immigrants of Japan e s e o r i g i n w e r e m i s tr e a t e d a n d l o c ke d u p i n concentration camps during the Second World War, this time she pursues the quest for her roots “I built up a picture of myself from what I knew of my own f am i l y h i stor y My g ran df ath er wa s susp e c te d o f being a spy for Japan and was picked up by the FBI on the day Pearl Harbour was attacke d (7 De cemb er 1 9 4 1 ) , an d s ent to camp s in Montana , Te x a s a n d Ne w Me x i c o . My m o th er, my un c l e a n d my grandmother were all interned in Topaz, Utah, for t hr e e y e a r s . My f a m i l y h a s a l w a y s b e e n d i s c r e e t about what happened during the war, and in a cer-
REFERENCE
when her first serious fiction, as she called it, was released Similarly, The Buddha In The Attic requir e d a g r e a t d e a l o f h a r d w o r k f r o m t h e y o un g woman “It slowly to o k me over c omp letely,” she explains. However, and here lies the stor y ’ s streng th, the writer ne ver falls into pathos, and opts instead f or a p are d d own st y l e , re su lting in a c er ta in d i stance with the subje ct that allows her to avoid the use of vocabular y desig ne d to play on the reader ’ s emotions. Of course, that does not pre vent emotion from being present, quite the opposite in fact In the same way that roug h texture d ceramics can b e b e auti f u l , Ju l i e O t s u k a ’ s
h a d already beg un her stylistic plucking away of any sentimentalit y in order to g ive the reader fre e dom to
w the characters, the majorit y of whom e d. In The Buddha In The Attic , none men, linked by stories of misfortune in an land, have names The ma in difference, s the omnipresence of the collective “ we ” . e seldom We ate l ittle We were g entle o o d . We n e ver caus e d any tro u b l e an d em to do with us as they pleased We did r them with questions We ne ver ta lke d mp l a in e d . Fo r m o st o f us were s imp l e the countr yside who did not sp ea k any d in America we knew we had no choice b sinks and wash floors ” These few senmmarise the atmosphere in the novel that t o t h e d e e p e s t c
n e r s o f t h
d e r ’ s ness He cannot be insensitive when reaetailed account of the lives of individuals t b e c om e p ar t o f h i s da i l y l i f e on e day, om he might have ver y little interest, only a in . Ultimately, these Japanese women e b e e n l i ke t h e S e n e g a l e s e , G y p s i e
wom en wh o are a c onstant pre s en c e in modern day Paris, and of whom we take little notice One day, they mig ht just disappear, as did the Japanese in 1942. “ The Japanese have disappeared from our cit y Their houses are b o arde d up and empt y now. Their mailboxes have beg un to overflow. All we know is that the Japanese are out there somewhere, in one place or another, and we sha ll probably not me et them a g ain in this world ” In the last c hap ter, Ju
hap ter o f W h en th e Emp eror Wa s D i vin
e d “ Eva c uation order n°19” The novelist takes us back in time, and underlines how societ y ’ s response to immigration issues has barely evolved over the past centur y, a
th
to make up his own mind about his attitude towards foreig ners ODARIA NAMIHEI
MUSIC Interview with Hotei Tomoyasu
Since August this year, legendar y guitarist Hotei Tomoyasu has shifted his base from Japan to London and on Tuesday the 18th of December he will be performing his first ever solo live show here.
You moved to London recently but I understand that you have visited the city many times before. What were your impressions when you came here for the first time?
Hotei Tomoyasu : London is the birthplace of so many rock legends, such as David Bowie whom I personally revere, and for someone like me, who grew up listening to rock records from the ag e of 14, it really is a cit y of dreams Soon after I had made my debut in Japan I came here for the first time and it was indeed like having a dream come true for me
What made you decide to move your base to London?
H T : Last year was my 30th year in the music career and I also turned fifty this year. That was an illustrious turning point in my career and was one of the main catalysts for the move. Also, during my 30th anniversar y concert, right after I had sung ‘Dreamin’, one of my favourite BOØWY songs, I turned to the audience and asked them, “Are you still following your dreams?” This question was also somewhat directed at myself, and brought back memories of the first time that I came to London My dream was always to travel the world with my guitar and I realised that I wanted to continue following that dream
What impressions do you get from the current music scene in Japan?
H. T. : These days the technolog y involved in making music has come on a long way and pieces are put toge-
PROFILE
HOTEI TOMOYASU. One of the most prominent guitarists representing Japanese rock, Hotei Tomoyasu debuted in 1981 as guitarist for legendary rock band BOØWY He started a solo career after the band split, as well as forming COMPLEX with Kikkawa Koji and works as a producer, lyricist and songwriter, achieving numerous million selling hits. His activities encompass a wide variety of fields, including creating music for film soundtracks and appearing in commercials Hotei held a concert to mark his 30th year as an artist in 2011 and moved to London in August 2012.
CONCERT INFORMATION
「ELECTRIC SAMURAI」Tuesday 18th of December 2012 - Round House London
For more information: www roundhouse org uk/
PRIZE DRAW HIS AUTOGRAPH!
For more information: www zoomjapan info
ther electronically, using pre-created, finished sounds, so I kind of feel that the personal touch and musician’s individualit y is being lost When I was 14, I taug ht myself to play the g uitar in my own unique way and searched out the kinds of sounds that I liked and the chords that I liked to play myself. That process of trying and experimenting to see how you can produce your own sound is fascinating and it is a great shame to think if it is completely disappearing There is definitely something important missing today for an old soak like me! (Laughs)
I hear that among the many different areas of music that you are involved in you also provide music for the anime world. What exactly have you done along those lines ?
H T : I did the theme song “STILL ALIVE” for “Fist of the North Star 2010”. Also, the weeping sound made by the Ohmu in Nausicaa of the Valley of the Wind was actually made with my guitar
Please could you tell us about the concept for your live concert in London on the 18th of December and why you are so enthusiastic about it ?
H T : “Battle without Honour or Humanit y ” , the theme song that I did for Quentin Tarentino’s film Kill Bill is pretty well known among British people That song really shows off the dynamism that the guitar can produce The London concert will feature roughly half guitar tracks like this and half pieces with vocals I will be sing ing in both Eng lish and Japanese. There are many great musicians in London so I am really excited about doing a live concert here. I would love it if everyone came along to hear my own style of music that
takes the fundamental vibrancy of the guitar and has absorbed things into that from all kinds of other genres such as funk and electronica I want for British people interested in Japanese culture, as well as those who may ne ver e ven have heard of me to be able to listen to my music straight up. There will also doubtless be those in their late thirties and forties working at Japanese firms over here who heard my music when they were growing up in their youth I really would like for all those people to come together, with me giving it my all up on the stage, and experience the atmosphere as one I am confident that my guitar sound can deliver excitement and satisfaction to ever yone who comes! This live show will be the first page in the second chapter of my long career as a musician I can ’ t wait to see what kind of opening I can make for this new stor y with all my fans I have done many thousands of concerts over the years but getting up on this one will be surely an unforgettable experience for me
Finally, do you have any messages for the readers of Zoom Japan ?
H. T. : Those Brits who have an interest in Japan’s culture really have a de ep understanding of the g ood aspects of Japan that Japanese people are so oft to forget. I am ver y happy that thanks to people like them I can now eat excellent sushi here in London and that Japanese culture is flourishing here. I am one of many Japanese g uitarists who grew up being influenced by the magnificent rock and roll coming out of the U K and I am now here to showcase Japan’s rock and roll on British soil Get your friends together and come along to see the show !
INTERVIEW BY YOSHIKI VAN
HOSODA MAMORU “Making a movie means knowing how to take risks”
The Wolf Children, Ame and Yuki, is this Japanese film director’s latest masterpiece. It was a great success throughout Japan during summer 2012, and it is yet to be released in Britain.
How did you start working in film?
Hosoda Mamoru: When I was 12 years old, I bought an issue of the monthly magazine Animage in which there was a feature about the film The Castle of Cagliostro It was the second movie in the series The names Miyazaki Hayao and Ôtsuka Yasuo were quoted, and I knew nothing about them. So I went to see the movie, and I was bowled over I was in my last year in primary school and I can remember writing in an essay at the end of the year: “I want to become a cartoon director like Miyazaki Hayao ”
Did you read a lot of manga ?
H. M.: My parents didn’t buy them for me ver y often, but my mother loved the cinema, so she let me watch movies, and it is thanks to her I was able to see so many S o I wa s natura lly more intereste d in cinema than manga
What is your favourite film? And who is your favou-
BIOGRAPHY
HOSODA MAMORU was born in 1967 in the prefecture of Toyama. In 1991 he began working at Tôei Animation as an animator After being recognized for his talent, he started an independent career In 2006, he directed The Girl Who Leapt Through Time, for which he received many awards. In 2011, he founded his own production company, Studio Chizu, and he has just released The Wolf Children, Ame and Yuki
rite film director ?
H. M.: In terms of Japanese cinema , I really like the movies of Sômai Shinji, who is dead now. In the eighties, he was very active I like Sailor Suit, Machine Gun and Typhoon Club a lot. I started taking interest in European movies when I was at University That’s when Fellini’s Inter vista was released When I saw the work of Leos Carax, I was completely dazzled by his talent. There are many others, but I still remember V ictor Erice’s first movie, The Spirit of the Be ehive, rea lly move d me Actua lly, when p e ople a sk me what my favourite movie is, that’s usually the one I quote
Were you already thinking about directing cartoons back then?
H M : No I studied painting at universit y and was interested in modern art With time, I became increasingly interested in pictures and cinema.
And when you left university, you started working at Tôei Animation
H. M.: Yes, indeed I could have become an independent director, but I wanted experience of working in a team That’s why I started at Tôei
And you started making children’s films Was there a gap between what you really wanted to do, and what you were doing ?
H. M.: As you can imagine, there was a gap Directing children’s films was completely different from what I was doing before The fact that children didn’t know much about the way of the world bothered me It was difficult for me to find a good way of communicating with them So I thought of a way to tr y and get them interested in my work. In retrospect, I can say that it’s ver y interesting for a director to create for children
It allowed me to learn something very important: how to communicate with people who don’t share the same outlook on the world.
Do you think that may have something to do with your films being appreciated all over the world?
H. M.: Maybe! In general, and not just in Japan, authors draw upon their own countr y ’ s culture and references that don’t need explaining I often ask myself what it is we can all share as human beings despite our cultural differences
How did you start working on your films ?
H. M.: I had been wanting to make a feature film for a long time. When I worked at Tôei, I was offered a job at Studio Ghibli to direct Howl’s Moving Castle I had only dire cte d short movies before, so I g ladly ac c epte d Ghb l i’s offer. In the end , the proj e ct wa s developed without me, but I increasing ly wanted to ma ke a f e ature f i l m . S o I l e f t Tô e i An imati on f or Mad house That’s when I d ire cte d The Girl Who Leapt Throug h Time
Wasn’t it hard to leave a place you had been for such a long time, for a new adventure ?
H M : I think many people hope to make their own movie But it’s ver y difficult And if you fail the first time around, there’s no second chance Not everybody is lucky enoug h to g et a first chance But if you are given one, then you need to put all you have into that movie, even if it means risking your life, your future, your family, and your pride So it was out of the question to stay at Tôei I needed to direct my own movie And I was ready to sacrifice a lot to achieve that It was a weird feeling , but I had the impression I had reached a point of departure
CULTURE
Tell us about your latest movie, The Wolf Children, Ame and Yuki. How was the project born after the success of The Girl Who Leapt Through Time and Summer Wars ?
H M : The Girl Who Leapt Through Time was a love stor y Then I made Summer Wars based on my experience of marriage. The Wolf Children, Ame and Yuki, is about how you bring up a child Many people are concerned with this. Ever ybody has parents, so it’s a common theme for all human beings In spite of this, there are ver y few films on the topic
In yo ur mov i e s , isn’t the ma in cha r a c ter o f ten a woman?
H M : Yes Women are photogenic I always look for someone with great vitality for the main role, someone who can overcome all sorts of difficulties
D o e s th i s m e a n th a t wo m en h av e m o r e v i t a l i t y than men ?
Since March 11th, I think children are at the heart of our preoccupations again We have finally understood that it is essentia l to ra ise our ch ildren, e ven if the world has been completely destroyed. We ask different questions : “In case of a major crisis, how should we bring them up ? What do we need to do it ?” Since the earthquake, we ’ ve come to understand that the only thing that counts is “protecting and bringing up our children”. There is a direct link between The Wolf Children, Ame and Yuki and Japan since March 11th
During the world premiere in France, you were asked many questions about the importance given to the countr yside in your movie. Had you always planned that the stor y should take place in Toyama, the region where you grew up ?
H. M.: Yes, I think so Men’s vitality is different For men, it’s all about winning or losing. Whether in work or in love, men always react that way But for women, winning or losing do esn ’ t rea lly mean much . The y make different choices in life Each one of them develops her own values, her own sense of what life is about Men are to o simpl istic. We rely on on ly one va lue. And we ’ re not p hoto g en ic That is why I ’ m insp ired by women ’ s vitality, because they have the power to change the course of a life I feel comforted when I see what they can do
In your opinion, did the tragic events of 11 March 2011 have an influence on the concept of family in Japan?
H. M.: I think that the way the Japanese think in terms of f am ily ha s chang e d a lot since the ear thqua ke I think they have become aware of what is most important. Before, we use d to say, “this is important, and that is important too ” Ever ything had the same value
H M : Because the film is about the relationship between children and their parents, I thought about my mother a lot. I am an only child. I questioned the feel ing s I had had for my mother wh ile g rowing up I have always wondered if, as her son, I had contributed something to her life Because she is dead, I wasn ’ t able to ask her, but that’s what I was thinking about while making this movie. And that’s also why I naturally imag ined the stor y happening in the reg ion in which I had grown up.
So it had nothing to do with describing the contrast between a big city and a village ?
H. M.: No But you ’ re rig ht, I ’ m of ten aske d if the i d e a in th e m o vi e wa s to d raw a c ontra st b e t we en nature and the cit y In f act, for p ersona l rea sons, I wanted to show children growing up in the countr yside Not e ver ybody is lucky enoug h to g row up in the countr yside, so I thought it would be a good idea to show it and demonstrate other ways of building one ’ s life
Is the countr yside a model ?
H. M.: Yes The countr yside isn’t just a place where nature is g enerous and g ood for humanity. The area in which I was born is quite wild It’s a villag e situa-
Despite her oft dreaming nature and frail constitution, Hana, Ame and Yuki’s mother demonstrates an astonishing and exemplary strength of character.
te d at the foot of the Japanese Northern Alps. L ife there can be quite difficult w h en c o mp a r e d t o b i g c i ti es like Paris or Tôkyô, where you have access to ever ything and it’s easy to bring up children. That’s why I thoug ht it a g ood idea to show how children are raised and grow up in the countr yside.
In the UK , to o , there is g ro w ing enthus i a sm f or e c o l o g y. But m o s t o f th e tim e we h av e a n i d e a l vision that has nothing to do with realit y. We tend to see things through rose tinted glasses.
H M : I c omp letely a g re e Nature isn’t ea s y That is why the movie has nothing to do with ecolog y You only have to look to the events of March 11th 2011. That day, nature destroyed many lives She isn’t always gentle with us, but despite the conditions, humanity sur vived We’ve been tr ying to protect nature from civilisation’s progress for 30 to 40 years now But when considere d on the scale of "human histor y " , nature has always been strong er She can be dang erous, just like she was on March 11th. It is essential to think of ch ildren’s wel l b eing whate ver the environment in which you find yourself
When watching the movie, I couldn’t help but wonder if you wanted to show the wild side of man, with these half-wolf, half-human creatures ?
H. M.: I chose to create ha lf-wolf and ha lf-human
SCREENINGS
THE WOLF CHILDREN will be shown Thu 11 Oct. at 12:45 p.m. and Sat. 13 Oct. at 12:15 p.m. at the Vue Cinema in London, Sun 14 Oct. at 1 p.m. at Rich Mix cinema in London and Sun 21 Oct. at 20:40 at Filmhouse in Edimburgh (tel 0131 228 2688)
creatures because I feel they’re representative of how c h i l d ren are Th e y have t wo f a c e s , on e i s c l o s er to nature and the other is closer to civilisation When growing up, they lose their naturalness little by little. They become aware of societ y and become human It’s called becoming an adult, but I ’ m not convinced by the process Some people succeed in keeping their wild side, in staying natural
At the start, it is Yuki who is closest to the universe o f wo lve s , b ut then s he turns to wa rd s the wor l d of human b eing s Is there a meaning to this e volution?
H. M.: Her little brother, Ame, is quite a weak child in the beginning , but he chooses to turn towards the world of wolves when growing up. Children grow up in different ways They don’t always choose the same path They can completely chang e and that’s part of their dynamic growth. Yuki is ver y curious and lively. When she walks into the world of humans, she fits in e a s i l y. On th e o th er han d , Am e i s cauti o us . He increasingly resembles his father, and he ends up dress i n g a n d th i n ki n g th e wa y h i s f ath er d o e s T h e moment when Yuki and Ame see their destinies transformed in the movie is ver y important
Is it a coincidence that the date on the f ather driver ’ s licence is March 11th?
H M : It’s a coincidence. His birthday is Februar y 11th In Japan, a licence is valid until a month after the driver ’ s bir th date. That is why March 11th on th e l i c en c e ap p e a r s s e ver a l ti m e s d uri n g th e f i l m Althoug h it is a complete coincidence, it’s hard not to connect it to the current situation in Japan When
he dies in the movie, the only thing that rema ins is his driver ’ s licence Many people may have experienced the same situation That Hana, the main character, ends up alone with her two children, and respects her dead husband’s will is ver y symbolic
Could you tell me about the team you work with?
H. M.: Sadamoto Yoshiyuki is the character designer I have been working with since The Girl Who Leapt Through Time I couldn’t have imagined making this m o v i e w i th o ut h i m . Ya k a g i Ma s a k at s u wro t e th e music It’s the first time we have worked together It’s also his first experience composing music for a movie, but what he wrote is ver y subtle and moving . He has a rare talent
What project do you have planned now ?
H. M.: I can ’ t think of f uture plans before a movie is finished. By listening to the viewers’ comments, I tr y and understand what the y felt, what we ne e d to d o n ow, a n d that ’ s w hat
It
something to chew over and then I can start writing a new stor y
Lately, some magazines have been saying that you are the new Miyazaki.
H M : I am not Miyazaki Hayao He is what led me into film, but when I write a stor y, I do not do it to resemble him. What is interesting in cinema is the director ’ s capacity to create a multiplicity of views for the audience. I can ’ t say Miyazaki Hayao didn’t influence me, but I would like to write my own films
INTERVIEW BY YATABE KAZUHIKO AND ODAIRA NAMIHEI
LANGUAGE Technology comes to the rescue for learners
Learning to read and write in Japanese might seem impossible. But there are several different technical solutions that can help.
On arriving at his host family, Pipo discovers w h a t w i l l b e h i s o w n p r i v a t e s p a c e : h i s ro om . From now on, he must de velop h is private response to this new world in Japan and face up to the unknown day by day. S o a s not to app ear uncouth, he needs to put aside all the rules that have reg ulate d his life up until now and adopt new ones Shapes, lines, directions, e ver y thing looks different. To g ain confidence, Pipo ne e ds to learn to read and interpret a ll that he can se e.
Now read over these la st fe w l ines a g a in, and imag i n e w h a t i t w o u l d b e l i ke l e a r n i n g h o w t o w r i t e in Jap anese. You can appro ach writing in Jap anese as a stor y, looking and questioning So says Stéphane Barb er y in his excellent blo g (www.tropiques-jap onaises fr/apprendre-le-japonais), “ you walk throug h l i f e d i f f e r e n t l y w h e n y o u c a nn o t m a ke u s e o f t h e written word. The way you se e th ing s can b e comp are d to p hoto g rap hy It’s ab out b eing on the lo okout. (…) As the texture of the world becomes more complex , so anxiet y increa ses ”
But when you are motivate d , learning how to write in Jap an e s e n e e d n o t caus e y o u an x i e t y, e sp e c i a l l y n o wa d a y s , w i th p l ent y o f e f f e c ti v e a n d f un i nt eractive tools for learning hiragana, katakana and kanji. With the iPhone, iPad and the proliferation of touch scre en te chnolog y such as Kanji L S Touch, you can re cord your thoug hts without using p en and pap er iSho do and Samura Sho do app l ications a l low you t o e n j o y w r i t i n g p r a c t i c e w i t h o u t d i r t y i n g y o u r han d s Th o s e f am i l i ar wi th th e Ninten d o D S wi l l
surely know about that wonderf ul to ol for learning how to write kanji : the Ca llig raphy Tra ining g ame (sold only in Japan). Created for those Japanese peop l e w h o w i s h t o r e g a i n th e b e n e f i t s o f w r i ti n g
hand wh ich have b e en ne g le cte d due to the c ontinual use of computers and mobile phones, this game can a lso b e of g reat help to a lang ua g e student learning kanji, who wishes to p erfe ct his ca llig raphy. This is b e cause the g ame is a ll ab out achie ving p erf e c ti o n . Th e p ro g r a m i mm e d i at e l y i d enti f
a s well.
Some will say, rightly, that a rigid and inflexible computer program cannot reproduce the precision necess a r y f o r c a l l i g r a p hy, o r f o r d r aw i n g , a n d
doing it correctly may not always mean doing it properly. However sophisticated, technolog y will never replace the model from which it took its inspiration
fill in the small gaps in the day that they turn on their D S and practise their ca llig raphy, without e ver forg etting that their education was in fact based on traditiona l metho ds
PIERRE FERRAGUT
PRACTICE
THIS MONTH’S WORD
自然 ��� (shizen) : Nature, natural.
書 � き順 ��� どおりに書 � けば自然 ��� で美 ��� しい字 � になります。
Kakijun dori ni kakeba shizen de utsukushii ji ni narimasu.
Respecting the order of the lines when writing in Japanese allows you to produce beautiful, natural looking characters
PIPO IN JAPAN
EATING & DRINKING
The drink that’s pretty in pink
Drinking alcohol is not normally associated with improving your looks, but more likely the pale, blotchy skin of the morning after.
Two new products from Japanese brewing giant Gekkeikan attempt to change this image however.
RESTAURANT Singing the praises of Suki-yaki
Kirei ume-shu (plum wine) and Kirei momo-shu (peach liqueur) from the Petit Moon label, contain two ingredien usually found in beauty products. Collagen in the plum, and hyaluronic acid, undergoing a bit of a craze in Japan at the moment, in the peach.
The pink labelled bottles, available at the Japan centre, either online or at their Regent Street store, are clearly aimed at the young female market, and claim to rejuvenate the skin and help the body’s regenerative process.
The peach version is slightly sweeter, but they both taste very fruity and light, with a low alcohol content so they go down very easily, either neat, on the rocks, with soda or as a mixer in cocktails.
Whether they actually work is a matter for discussion, but what’s certainly true is they are great for relaxing at the end of the day, without worrying too much about how your head feels in the morning.
Gekkeikan Kirei Umeshu plum wine 300ml £7 20
Gekkeikan Kirei Momoshu peach liqueur 300ml £7.20
(*Prices may be subject to change) Japan Centre
One of the most satisf ying things about eating out in Japan is the number of dishes cooked right in front of you
There’s something communal and incredibly appetizing about gathering round a hot plate or pot, feel its heat, hear the sizzle of fr ying fat, the bubble of simmering stock
One such dish is Suki-yaki, a kind of beef stir-fr y made with onions, cabbag e, carrots, mushrooms and konnyaku noodles
Popular as a family meal for large gatherings, it is similar to Shabu-shabu and Nab e, though no water is added
Incidentally, Suki-yaki is also the Eng lish title of the only Japanese lang uag e song to top the American char ts The Su ki-ya ki song ( Japanese title ‘Ue o Muite Arukou’, or ‘L et ’ s wa l k lo o king upwards’) wa s a hug e h it in the 60s, but has absolutely nothing to do with food, it was g iven the catchy name because Americans associated it with Japan
Suki-yaki is a dish for sharing , it encourages conversation and social interaction, as you take turns to pick out the sweet and succulent pieces of beef with your chopsticks, and devour them with mouthfuls of rice, washed down by miso soup Filling and flavoursome, the only problem is who gets the last slice of sirloin.
Ribon itself covers two floors, with a modern dining area and bar by the entrance, while underneath, down the stone spiral staircase is a more atmospheric space, with nooks, crannies, and archways which feel like they might be part of the original structure of nearby Holborn viaduct
There are private rooms for mahjong and karaoke, and the wa lls are covered with rather kitsch but impressively rendered oil paintings by the restaurant ’ s friendly proprietress, who uses the pen name Junko Ribon.
Often wearing a kappogi, old style Japanese apron, she happily chats away, of ten about news from home which she picks up from the many Japanese salar ymen who work nearby
Ribon restaurant near St Paul’s and Farringdon is a great sp ot to tr y the hear t y dish, esp e cia l ly with the cold nights now drawing in.
A g a s burner is broug ht to your tab le, with a ca sserole dish on top First the veg etables are frie d in oil, then a mixture of soy sauce, sug ar and sake is added, followed by thin slices of sirloin steak, placed to one side.
This is all carried out expertly by your waitress, who at Ribon dress in traditional hakama , a kind of pleated skirt worn over kimono
As soon as the meat browns it’s ready to eat, either by dipping into a dish of raw quail eggs to soften the flavours, or on its own
A popular lunchtime spot, there are daily specials, sushi and sashimi, udon, tempura, and okonomiyaki on the menu
Suki-yaki is available in the evenings, ever y night of the week
Just remember to bring a friend
Alexis Brown
REFERENCE
RIBON JAPANESE RESTAURANT 6 Holborn Viaduct, London EC1A 2AE phone 020 7329 3252 www.ribonrestaurant.co.uk
EATING & DRINKING
DESTINATION When Kyoto goes up in flames…
The ancient imperial capital welcomes visitors all year around, but autumn is the best time of year to visit, and this is why…
“Iwas there, standing near the “ water mirror”, and the other side was bathed in light under the setting sun The fishing pavilion on the left was half hidden. The pond, full of weeds and water plants, reflected the image of the Golden Pavilion perfectly, the reflection even more beautiful than the real thing The rays of the setting sun played on the roof canopies, and were reflected back into the pond Compared to the surrounding daylight, these flashes were too strong and dazzling ; and just as in a painting with exaggerated
perspective, the Golden Pavilion gave me the impression it was both stretching higher, and leaning backwards a little.” These few lines by Mishima Yukio in his famous novel, The Temple of the Golden Pavilion, illustrate the fascination the building holds for those who visit it All you need to do is watch the great number of visitors who stand there every day, staring at it, in an attempt to understand the secrets of its beauty. At the start of Mishima’s novel, the hero says it is, “nothing more than an old, blackened and insignificant two storey construction,” but he very rapidly comes to understand that “nothing else in the world can compete with the beauty of the Golden Pavilion.” This building , completed in 1398, overlooks a pond called “the water mirror”, in which it is per-
fectly reflected all year round. However, in autumn its appearance is altered amidst the surrounding colours that range from yellow to brig ht red. Kyoto, the eternal city, is transformed at that time of year by the stunning changing colours that attract thousands of people Throughout the city, the multicoloured leaves play in the autumn light, filtering it to put on a beautiful show for the awed visitors. We invite you to join us on this autumnal promenade, giving you time to calmly prepare for your next trip to Japan
“Kyoto is the only city in the world where past and present overlap in such a natural way In Tokyo, all the old locations have changed and are unrecognisable. Here, ever y stone, ever y tree, ever y sound, ever y animal has
The Golden Pavilion was burnt down in 1950 by a mentally ill monk who was unable to cope with its beauty His story inspired Mishima Yukio
remained the same, ” says a visitor who often travels to this city, which has been saved from the foolish human desire to constantly change everything
“The creation of Kyoto required generations of aesthete emperors, architects, builders, gardeners, sculptors, poets, goldsmiths, lovers, enamellers, philosophers, town planners, craftsmen and artists, but from the very beginning Kyoto must have demonstrated such purity, such accomplishment that even the most unscrupulous warriors recoiled from destroying it,” wrote journalist Marcel Giug laris in his book, V isa for Japan, published in 1958. Both these quotes describe the city perfectly and still apply today When you step off the train in Kyoto on a beautiful autumn morning , into the railway station that has been completely renovated by the architect Hara Hiroshi, you should first choose to walk to the Golden Pavilion, before it is invaded by cohorts of tourists from around the world later on in the day You cannot put a price on being the first to arrive and having the place to yourself Perhaps, at that moment, you just might be touched by its grace. “Bit by bit it began to exist inside me, profoundly, and completely It be came difficult for me to recall any detail of the Pavilion without feeling the whole of my being vibrating , ” says Mishima’s young hero about the building he will, nevertheless, end up destroying. In spite of all the crowds that gather there, the place always inspires respect It is not only the building that draws your attention but the whole of its surroundings. The red leaves (koyo), that the Japanese love as much as cherry tree blossom, will make your head spin It is hard to know where to look; they are ever ywhere. Along the avenues, the maple trees stretch their reddening branches as if they want to block the way and are begging for attention Amateur photographers need little persuasion, and snap away as thoug h the trees are today’s film stars, while the Golden Pavilion finally disappears as you turn a corner It is now time to leave this beautiful location for another temple, just as attractive at this time of year: Kiyomizu-dera The easiest way
At Kiyomizu-dera temple, every visitor attempts to capture the beauty of the autumn leaves in his own way
TRAVEL
to g et there is by ta xi, and with a bit of luck, you might have a driver who speaks a few words of English In Tokyo, it is often said that people in Kyoto are not ver y friendly, and treat tourists rather rudely. This is sometimes true with visitors from the capital, but the locals are charming to foreign tourists, and proud of the interest shown in their city by travellers from all over the world It is just a question of minutes before you arrive at Kiyomizu-dera, the “Clear Water Temple”, a building that also includes a pagoda and a large raised terrace supported on pillars. It is a magical place to be in the autumn. In the afternoon, the light floods the leaves on the numerous maple trees in this truly magnificent location, and their glorious beauty attracts even more stares than the Golden Pavilion “It’s the season during which the y bloom. Not blossom made up of petals and corollas, but of leaves that turn to crimson A flame, an explosion, a silent fire, slightly melancholic because its beauty isn’t found in the beaut y of g ermination, but in shades of decomposition instead,” said the Italian Fosco Maraini in his Japanese travel notes published in the late ninteen fifties He added, “Maybe this is why maple trees are so sacred to Buddhists, who always embrace the fragility of things, gathering together pictures of the world disintegrating with all the pain, on the threshold of emptiness. No other tree has such precisely defined leaves –mathematical, ineffable, hanging in the air like a veil, such strength, such an intense scream of fiery colours ” You get all of this when you are introduced to Kiyomizudera on an autumn afternoon, when the sun shines on hundreds of trees that encircle the place like a raging fire, although there is no danger The friendly atmosphere tempers the violence of the colours People huddle on the terrace to catch a view of the city, hoping to capture a few beautiful red reflections with their cameras Pictures of maple leaves are often used in camera advertisements, which are tr ying to say that if you were to buy such a camera, your pictures would be of a better quality because it captures the light better The red leaves are transient, and that is why they are so popular in travel photo albums. Brother Enchin founded this temple in 798 It is also popular for its sacred waterfall, Otawa
no taki, whose soothing waters encourage visitors to linger awhile among the trees. You need not rush, as time stops in this magical place Eventually it is time to leave, with regret, but also with a promise to return. It is pleasant to walk through the narrow streets, Ninenzaka and Sannenzaka, leading to the temple Bordered with old houses that have been turned into all kinds of shops, these two streets have a particular charm all of their own The shops are always well stocked and full of surprises, especially the ceramics shops One must beware of the hig h prices thoug h, even if what is on offer is hard to resist There are quite a few middle school students around here on a school outings They walk up and down the streets in little groups, on the lookout for foreign tourists to try out a few words of English, and ask them for their impressions of Kyoto and Japan It is a pleasant interlude before setting off again
Another fantastic place to see when the leaves are turning red and orange is Anraku-ji temple. It is situated half way between Kiyomizu-dera and the Golden Pavi-
lion, and it is only open to the public in the autumn You will soon discover why on you way there. Not only does the sky look as though it is on fire, but the ground is also covered with red leaves, g iving the impression it is in flames It is impossible to remain unmove d when confronte d with such splendour Nature puts on an unforgettable show. She delivers a message that can be understood in many ways, but that cannot leave you indifferent. In these places, the reason why haikus were invented, many years before photography existed, seems clear: to be able to express a moment in just a few words The Irish writer Lafcadio Hearn said that poetry is “universal like the air,” that it, “ was felt by all, read by all, and written by nearly all without any distinction of class or social condition ” The seasons are the main theme of these poems, and autumn naturally predominates A walk through Kyoto is sufficient to convince you Anrakuji temple has not only inspired poets, it also sheltered the philosopher Nishida Kitaro, one of Japan’s great wise men You can walk in his footsteps by following the path
Kiyomizu-dera’s large raised terrace supported on high pillars welcomes a vast number of visitors.
that he used to take through these beautiful places. Near Anraku-ji is the Shinto sanctuary of Kumano Nyakuoji, established by the Emperor Goshirakawa in 1160 It is very popular during the last days of autumn when the trees above the building give the impression that it is burning. It is magnificent, and you cannot help but wonder if it influence d the founder of the Kyoto school of thought, a philosophical movement that tried to bring together Western philosophy with Oriental spirituality and traditions If you continue walking , you will come across the Nanzen-ji temple with its own Zen garden, which must have held a particular interest for the philosopher It is said that he practised Zen intensely and that it had a considerable influence on his thinking. Whether true or not, this Buddhist building is nevertheless still very beautiful in autumn. It is not too large, so you may feel a little less oppressed than in the other historical holy places It is also interesting for its aqueduct, built during the end of the 19th century, that stands out from the older buildings Situated in a wooded area, you can experience some spectacular moments near the temple in October and November, when the forest looks as though it has gone up flames To conclude this philosophical journey, stop at Eikan-do, headquarters of the Buddhist sect of the pure Earth ( jodo) At this time of year, this big building welcomes many visitors who walk through the gardens where the maple trees - yes, yet more maple trees - are putting on their show You have no choice but to enjoy the way they lig ht up ever ywhere they are present Professional artists could not do better, and if you have time to extend the experience with a night in the woods, g o to Hoshinoya Kyoto (tel : 075-871001) This tourist village is situated in the Arashiyama valley, 25 minutes away from Kyoto station by taxi, and it offers incredible services in amazing surroundings You arrive after a short boat trip, which makes it all the more special However you will pay top prices for the hig h standard of the services on offer, and can count on spending 60,000 yen per night It is far from being cheap, for Kyoto can fire up our hearts, but equally, it can fire up its prices.
ODAIRA NAMIHEI
CURIOSITY
Marvellous trains
Since 10 July, Yokohama has boasted an astonishing new museum.
TPRACTICAL INFORMATION
HARA MODEL RAILWAY MUSEUM
Yokohama Mitsui Bldg 2F
1-1-2 Takashima, Nishi-ku, Yokohama 220-0011
Open from 11am to 6pm (closed Tuesdays)
Entrance fee: 1000 yen
here is a great passion for trains in Japan, and many Japanese spend their leisure time in trainrelated activities Some track down their dream train, armed with their cameras. Others g o in search of isolated stations in hidden places in the mountains and the c ountr yside There are a lso those who frequent railway museums. Since the 10th of July, they can visit Yokohama and admire one of the most beautiful miniature train collections in the world. For years Hara Shintaro collected model trains from all around th e worl d He a g re e d to d i sp lay s om e o f th em in a ne w bu ild ing just 5 m inutes away from Yo ko hama station. The Hara Model R ailway Museum does not only display miniature trains behind g lass, it also has the largest diorama in the world (310 square metres), thanks to which the trains can be seen in operation The care g iven to the presentation allows ever y visitor to dream or bask in old memories. It is also a great opportunit y to visit the beautiful cit y of Yokohama and its Chinese quarter.
Phone: 045-640-6699 - www.hara-mrm.com
EXHIBITION Niigata celebrates Water and Earth
Until the 24th of December, the port-city of Niigata, on the Sea of Japan, presents an outdoor exhibition of work by artists from around the world on the theme of "Water and Earth". Most of the artwork is exhibited alongside the Shinano river in Bandaijima (buses travel from Niigata station) One of the most astonishing is “The Pheonix reborn from its ashes” by Wan Wen-Chih. www mizu-tsuchi jp
TRANSPORT Hokkaido for less than 5000 yen
To travel to Hokkaido, you can catch one of the legendary night trains (Twilight Express, Cassiopeia or Hokutosei) but in the last few weeks, a number of low-cost airlines have offered Tokyo-Sapporo flights for just over 4000 yen
Air Asia is one, whose offer (4580 yen), began on the 1st of September. www airasia com/jp/en
A very realistic 310 square metre diorama with many model trains in operation
