EITAKO organised a traditional exchange event on November 30th, 2024 at Okayama Convention Centre.
This is the content of the introduction guidance sheet for the participants at the time as below.
Titile of the event: EITAKO international Cultural Exchange Event 2024
The name of the handout: Introduction Guidance of Discussion and symposium on how we can pass on our valuable traditional arts of Japan and New Zealand
Venue: Okayama Tourism Convention Centre
Supporters: Okayama Regional Gevernment, Okayama Prefectual Univeristy, Okayama Tourism Convention Committee, Te Ara Koiora
Sponsor: Kabaya Food Ltd.
Panel: Japanese Traditional Musical Intruments player Ikuko Naitō, Bicchū Kagura - Kagura performer Kōtarō Torigoe, Azo Elementary School Sōichirō Ikenoue, Māori Taiaha practicioner Matiu Tame, Māori acacemic, University of Canterbury Associste Professor Garrick Cooper, University of Canterbury PhD candidate, Okayama Prefectural University Global Learning Centre Guest Associate Professor Yoshimi Fujikawa
Facilitator: Seiko Kato
Chair Nao Sakai, Hiroe Sakai
Produced by Non Profit Organisation EITAKO
The uniqueness and history of Japanese traditional and classic music
The roots of Japanese traditional music lie in the Silk road and was introduced from China in the 4th century. Biwa, Koto (so) fue (flute), taiko (drum) were the first to be introduced to Japan, and the ensemble of these instruments is said to be the first musical ensemble in history. This is called “gagaku: Japanese traditional instruments are commonly thought of as being played by blind musicians, but in archaeological evidence it is commonly found to be the preserve of male nobility. This is seen in the haniwa of Shinmei-cho in Yokosuka’s Tadehara‐Kofun. In the Kojiki, the section of Chu’ai Tenno (emperor), and in the Nihonshoki’s Jingu Tenno section, the nobility below the Tenno were often described as being practitioners of traditional instruments. In ancient times the koto was used to receive divine guidance on political decisions. Hints of the the way the instruments were played can be found in the Haniwa’s right hand in how the hold the bachi (the pick for strumming the shamisen) and it can be seen that the pounded the instrument like hard rock, rather than strummed it gently as is seen today. Through the hard and aggressive playing of the shamisen, the Miko-san (Female Jinja attendants) were sent into a trance like stance and received messages from the kami which provided information to how to rule the land. It is thought that in this way the Tenno received divine guidance on matters of politics.
【Quatation from 横浜市自然・人文博物館「学芸員自然と歴史のたより「古代の琴は神を呼ぶ」】
Ancient Japanese music is often contrasted to Western music in that western music tends to keep the same beat and rhythm from start to finish, whereas Japanese music allows the player to constantly change and find their own beat and rhythm depending on their mood and feeling throughout the performance. This is called “nori” and changes in breathing timing are not decided or fixed. Additionally the materials that instruments tend to be made of in western music may include metals or man made materials, whereas Japanese instruments tend to be made only of natural or organic materials as much as possible with less processing of the raw material. The material the instrument is made of is often related to the purpose of the instrument or the purpose for which it is used for, and this is often indicative of traditional native Japanese beliefs. When western instruments were introduced to Japan, Noh, Kyogen, Joruri type of musical performances were developed, which were different to traditional music in that a set rhythm and tune was introduced as being central to the performance, as opposed to the seemingly random and improvised sounds of traditional Court music. Nowdays we describe music until the Edo-jidai as koten (classic / traditional) and music from the Meiji-jidai as modern Hogaku. The ensemble you will see today will consist of the shakuhachi, shamisen and koto.
〇 "What we want to pass on to the next generation." It is not just the music, we want to pass on the importance of kimono, techniques, mindset , shogi, karate, budo and other traditional Japanese arts at the same time. [Story by Koto player, Ikuko Naitō]
The roots of Matsuri and Bicchū Kagura
Japanese Matsuri have their origins in the Kojiki (712), which tells the story of the rebirth of the sun goddess Amaterasu. Amaterasu hides in the cave, Ama no Iwato in grief over the violence of her brother Susanoo. When Amaterasu disappeared, the world was plunged into darkness, so the multitude of kami gathered at Ame no Yasukawara to discuss matters, called Amaterasu back to return to light up the world. What prompted Amaterasu to reappear from Ama no Iwato where she had been hiding was the dance of Ame-no-Uzume, which caused the kami to rejoice and enjoy themselves. Attracted by the joyful atmosphere, Amaterasu reappeared. Festivals began in Japanese mythology and have been passed down through the generations in various ways by people in various regions of Japan.
Kagura is a representative Japanese religious art form, and involves ceremonies with song and dance in which people pray for the arrival of the Kami (rairin: the coming of the kami) and for divine revelations (shintaku: divine messages). The dance of Ame-no-Uzume, which was performed to lure out Amaterasu, is said to be the origin of Kagura.
Bicchū Kagura is a form of Kagura that has been passed down in the Bicchū region, and is also called Kōjin Kagura or Shinten Kagura, as it is performed in front of the kami Kōjin after inviting him (praying for his arrival). In the past, it was mainly a ritual dance performed by priests, but in the late Edo period, Japanese scholar Nishibayashi Kunihashi created a highly artistic Kagura based on the myths in the Kojiki and Nihon Shoki, including the scenes of Ama-no-Iwato, Ōkuninushi-no-Mikoto-yielding to Amaterasu Ōmikami, and Susanoo-no-Mikoto-slaying the Giant Serpent, which became popular stories, and came to dominate the core of Bitchu Kagura. It took root as a rural pastime in which gods and humans enjoy harmony together, and has developed over the years to the present day, when it was designated an Important Intangible Folk Cultural Property of Japan in 1979. Although all Kagura performances are the same throughout the country in that they are dedicated to the kami, Bitchu Kagura is a mythological drama with a story and a strong entertainment element, and is characterized by a particularly detailed and large amount of dialogue
〇 "What I want to leave for future generations." I believe that this is an important part of historical education, teaching people about their Japanese identity and the birth of Japan. [Story by Bicchū Kagura Kagura Master, Torigoe Kōtarō]
Māori creation story
At first, it was a world of darkness. That's because their father Rangi and mother Papa were always close together, with no space between them for the boys to move. The boys were always pushed into the darkness. Their son Tumatauenga said, "I'm sick of this pitch black place. Let's kill my parents and get out of here!" Their son Tāne Mahuta stretched out his back and pushed as hard as he could, and finally he was able to separate his parents. And finally, the children were able to see the light and start this world.
The separated parents, father and Rangi, became the sky, and mother and guardian deity Papatuānuku became the earth of Aotearoa (New Zealand), and the children were able to live in the world between them. In Māori mythology, many gods called Atua protect Aotearoa (New Zealand) as guardian deities. These traditional myths, like those in Japan, represent the connection with ancestors, or whakapapa. For this reason, Māori also believe that gods, people, and nature are one. Māori Martial Art, Mau Rākau
Mau Rākau is a Māori martial art. In Māori, Mau means to grab and Rākau means tree, and it roughly translates to something like "posture". Mau Rākau was created and is familiar in modern Māori society, and is valued as a national treasure in the Māori community as an opportunity to learn Māori language, social norms, and etiquette as part of their cultural revival activities after being colonized by the British. Taiaha is the son of the owl god and is said to be the god of the tree Akeake. As the son of an owl, his eyes can sense presences in all directions. His long protruding tongue represents his fighting spirit. His nostrils allow him to keenly detect the breath and smell of his enemies. It is considered a symbol of survival as the weapon of Tumatauenga, the Māori god of war. It is held with both hands, and the face part protrudes sharply like a spear, allowing for thrusts. The flat part on the other side can also be used for thrusts and strikes. The sense of responsibility and mission of Tūmatauenga to persevere in the face of adversity is embodied in Māori youth development activities, and this leadership spirit is called mana and has been passed down from generation to generation. Māori Performing Art, Kapa Haka
Kapa haka is a Māori dance. Kapa is said to be the group, and haka is the battle dance. The origin of kapa haka, like Kagura, is said to be that the goddesses Hine Te Iwaiwa and their musical instruments and dance saved their tribe from enemies, and there is a belief in the power of the women who risked their lives to play the instruments, and that the instruments themselves are gods, making it very similar to Japanese performing arts, which are one with the gods and nature. The ideal performance of kapa haka is one with the audience.
〇 "What I want to leave for future generations" We want to pass on the mana passed down to us by our ancestors, and I think it's easiest for Maori people to pass on their mana through traditional cultural activities such as mau rakau and kapa haka. [Story by Māori martial art Mau Rākau practitioner, Matiu Tame, Mau Rākau practitioner & Kapa Haka practitioner, Yoshimi Fujikawa]
EITAKO School Exchange Program: The Case of Aso Elementary School in Soja City
EITAKO's philosophy is to provide opportunities for international exchange from an educational perspective to build ties between Japan and New Zealand and facilitate educational and cultural exchanges with the community to develop connections within the local community as a whole. The School Exchange Program of the EITAKO International Educational Exchange Program, provides a place for online exchanges between schools in Japan and New Zealand, and has involved several elementary schools in Sōja City since 2020. (Azo Elementary School, Soja Higashi Elementary School, Yamate Elementary School, and Kamizai Elementary School). Azo Elementary School is one of the schools that was involved in this program from the beginning and has been continually active ever since. At Azo Elementary School, it is mainly the fourth graders who participate in the exchange three times a year. EITAKO’s exchanges, including the school exchange are unique in that they are not a one-off online exchange, but create a continual relationship which is nurtured by the same members. This is based on EITAKO's philosophy of not simply practicing English, but of conveying culture (i.e. the students’ own lives and thoughts) and learning about the other person's culture. This teaching method greatly improves children's adaptability and retention.
For example, when communicating something in English to people in New Zealand, you may find yourself in a situation where three languages are mixed together. Children naturally notice similarities between Japanese and Māori sounds, and begin to predict related words. Each lesson covers simple themes such as "colors," "animals," and "play," but the content develops naturally, drawing out children's motivation to learn, thinking skills, and independence. Even more impressive is that the children respect each other's countries and cultures and want to know more about them, and that they are both interested in the indigenous Māori and Japanese languages. This motivation is directly linked to their desire to introduce the uniqueness and good points of their own culture and region. Aso Elementary School has strong ties with the local community, so we hope that by collaborating with the EITAKO school exchange program the children themselves will be able to apply their new knowledge and understanding to enthusiastically participate in and enjoy local events and activities. The significance of the EITAKO school exchange is that international online exchange not only brings out children's ability to apply knowledge, but also directly connects them to participate more actively in the local community. [Story by: Mr. Soichiro Ikenoue, Principal of Azo Elementary School, Hiroe Sakai English teacher of Azo Elementary school]
Today's program
Part 1: Public lecture "Okayama! Let's think together about the preservation of traditional culture in Japan and New Zealand in 2024"
Facilitator
● Panel discussion: Seiko Kato
Panelists
● Japanese instrument player Ikuko Naitō
● Bicchū Kagura Kagura master Kotarō Torigoe
● Principal of Aso Elementary School, Soja City, Ikenouemi Sōichiro
● Māori martial arts Taiaha practitioner Matiu Tame
● Māori academic, University of Canterbury Associate Professor Garrick Cooper
● Japanese academic, University of Canterbury PhD candidate, Okayama Prefectural University Global Learning Centre Guest Associate Professor Yoshimi Fujikawa
Part 2: Traditional performing arts dance/demonstration
● Japanese music ensemble performance
● Bicchu Kagura demonstration
● Mau Rākau demonstration, Kapa Haka performane Part 3: Exercise and sing-along
● Māori footwork (all together) ● Japan and Māori in harmony ● Singing the songs "Momiji" and Māori waiata together