Tag: 英語

Coming Home to the Flames: The Timeless Magic of Sagicho in Oiso

On By Kanariya EishiIn Educational, Japanese Culture, Japanese HistoryLeave a comment

Kia ora everyone- I’m finally back in New Zealand!

Earlier this month, I was lucky enough to celebrate Sagicho (左義長) while I was visiting my hometown, Oiso (大磯), Japan, and the whole experience felt both nostalgic and grounding!

The crackling of the bonfire, the scent of pine drifting through the freezing air, and the sight of everyone gathering to send off the New Year decorations and lucky charms from the previous year reminded me of how deeply these traditions shape the rhythm of the community.

Watching the flames rise against the winter sky made me feel connected to something timeless, and it was a beautiful reminder of why coming home always means so much to me.

This gorgeous fire festival, held in the Kitahama (北浜: ‘North Beach’) area of Oiso, is a National Intangible Cultural Heritage. It is celebrated to pray for the safety of one’s family and the health of the community (and also for a better handwriting if you were a calligrapher).

The Journey Begins: Ichiban Musuko (一番息子)

TV crew was there!

Though the bon fire part of the festival is held in January, the spirit of the festival begins much earlier. In early December, an event called Ichiban Musuko (一番息子; literally means ‘The First Son’) marks the start of the New Year season.

Local children go from house to house carrying Goro-ishi (ゴロ石)– a stone tied with a rope made of hay, which is offered to the local deity Saenokamisan (サエノカミサン) to pray for the healthy growth of boys.

As they move through the neighbourhood, the children chant wishes for the residents, such as praying for good health and marriage, and receive small monetary offerings. With this money, the children buy and eat tofu to ward off evil spirits and to ensure they don’t catch colds.  This tradition is linked to the legend of Yaobikuni (八百比丘尼; also know as Happyaku Bikuni), a nun who lived 800 years by eating mermaid’s flesh- obviously, its texture is similar to the one of tofu!

The Spectacle of Seetobaree (セエトバレエ)

The main event, known as Seetobaree*, takes place on the beach where nine massive structures as in the picture above are erected. These towers reach heights of 13-14 meters. They are intricately decorated with:

  • Onbe-dake (The bamboo in the middle)
  • Dharma dolls and lucky charms from the previous year
  • New Year’s calligraphy (Kakizome)

Around 6:30 in the evening, the towers are lit simultaneously from the “lucky direction” (Ehō; 恵方) of that year. As the flames reach toward the sky, participants roast dango dumplings on long bamboo poles in the fires.

* In my part of Oiso, it was called Dondoyaki (どんど焼き).

Yannagokko (ヤンナゴッコ)

Sorry about the bad photo quality!

As the bamboo towers begin to burn and fall, the festival reaches its most exciting phase: Yannagokko (ヤンナゴッコ). Young men dressed only in loincloths (fundoshi) gather from different districts to engage in a fierce ritual. They chant the Yanna Ondo (ヤンナ音頭) while performing a tug-of-war with a sled-mounted temporary shrine (Kari-miya; 仮宮) with evil spirits trapped inside. By pulling this shrine into the sea three times, the community symbolically drives away the spirits of plague and bad luck. The shrine is destroyed during this ritual.

It was my first time seeing this ritual, but honestly, it looks like a few half‑naked men in loincloths being dragged on a sled- quite a comical sight, even if it’s probably not meant to be 😁.

Uncover the Magic of Rakugo: A Beginner’s Guide to Japanese Comic Storytelling

On By Kanariya EishiIn Digital Rakugo, Educational, Japanese Culture, Japanese History, Rakugo Commentary, TriviaLeave a comment

Happy Lunar New Year! Wishing you and your family peace, happiness, and good fortune!

To celebrate this special occasion, I have decided to write a beginner’s guide to rakugo. It is based on an introduction video that I made for YouTube, but I thought a note that accompanies it would be good addition for you to deepen your understanding of rakugo 😊 So…

Have you ever stumbled upon this storytelling tradition that’s both ancient and strikingly modern? Enter the world of rakugo, the Japanese traditional art of comic storytelling that blends storytelling with theatrical flair. It’s more than just comedy; it’s a window into Japanese culture and a testament to the power of narrative (I dare say!). Hopefully, this guide will introduce you to the unique and exciting world of rakugo!

What Exactly is Rakugo?

At its heart, rakugo is a 400-year-old Japanese tradition of comic storytelling. While you might initially think that it might be like stand-up comedy performed sitting down, but it is actually quite different. It’s a form of narrative performance where the goal is to engage and captivate the audience, not just make them laugh. Rakugo stories can be incredibly diverse, ranging from lighthearted ghost stories and tragedies to fantastical tales, erotica, and even science fiction. I personally see it like a sitcom or an old-time radio show, delivered by a single storyteller.

Key Elements that Make Rakugo Unique

  • Traditional Meets Contemporary: Rakugo is both traditional and contemporary. Performers almost always wear kimono, honoring the traditions of the past, but the stories themselves can explore themes of the present and even the future.
  • Minimalist Staging: In the Tokyo (Edo) style of rakugo, performers use only two props: a fan and a tenugui (traditional Japanese towel). The fan, also known as ‘kaze’ (literally means ‘wind’) in rakugo circles, can be used to create sound effects or symbolise various objects like a calligraphy pen or chopsticks. The tenugui, also referred to as ‘mandala’, is a highly versatile prop that can represent anything from a book to a wallet or even a smartphone!

The Art of the Single Performer

Rakugo is performed by a single storyteller who takes on all the characters within the narrative. Very subtle head movements and shifts in gaze are used to differentiate between each character. The performer’s direction of gaze also indicates social status and whether they are indoors or outdoors.

  • Characters with higher social status are indicated by the performer looking stage right, while those of lower status are indicated by looking stage left.
  • Characters inside a building are indicated by the performer facing stage right while those outside always face towards stage left regardless of the character’s social status.

The Historical Roots of Rakugo

The origin of Rakugo is often traced back to Seigan Temple (誓願寺) in Kyoto. It’s said that a monk named Anrakuan Sakuden (1554-1642) began incorporating characters and anecdotes into his Buddhist sermons to keep his students engaged. His approach was a means of enlivening what might otherwise be considered dry religious teachings. He compiled a book called Seisuishou (醒酔笑) in 1623, marking a significant milestone in the history of rakugo.

Rakugo further developed in two major Japanese cities with regional differences:

  • Osaka/ Kyoto: Rakugo initially evolved as a lively street performance, incorporating music and sound effects.
  • Edo (Tokyo): In Tokyo, rakugo became more of a theatrical performance, focusing on the art of storytelling with minimal props.

Why Should You Experience Rakugo?

Rakugo is a unique experience, far removed from the typical Western theatrical fare. It’s not just a performance; it’s a cultural memory that blends storytelling, minimalist performance, and a connection to Japan’s history. Whether you’re seeking a different kind of comedy or an enriching cultural experience, rakugo offers a journey into a world that is both familiar and wonderfully unique… and sometimes VERY quirky!

If you prefer just watching the video… (maybe I should’ve put the video above, but hey I wanted you to read the article!)

Performing Rakugo on Saturday 7 September!

On By Kanariya EishiIn Notice, UpdatesLeave a comment

I’m letting you know that my rakugo performance at Te Pou Theatre is happening this weekend!

Some people have asked me what time my slot is, so here you go!

PLACE: Tāhū Studio at Te Pou (Corban Estate Arts Centre, 2 Mt Lebanon Lane, Henderson, Waitakere)

TIME (for my performance): 2:15PM-2:45PM

As I mentioned before, it’s a part of Whānau Day, and you can check out heaps of other amazing artists, too, FOR FREE!

Hope to see you there, and make sure to say hi to me!

Social Media Dilemma

On By Kanariya EishiIn Life, Notice, Random, Updates4 Comments

It’s been 8 months since I closed my Twitter/ X account.

The platform was getting filled up with hate speech, misinformation, and trolls, and I no longer wanted to be a cog for the billionaire’s virtual playground where I was one of his products.

But… I have to admit that I later regretted my decision when my account was completely swiped off the system. I really felt, then, that regardless of all the cons, what mattered the most was the real people on the other side of the digital sinkhole.

I almost felt guilty that I chose my dislike of the platform over the real people who I knew in real life and those who I’d possibly meet in the unforeseen future.

Having said that, it’s time to move on.

The problem with X was that a single powerful person (or an egomaniac?) dominated the entire platform. Unfortunately, this could potentially happen to all other centralised platforms including Meta-owned sites like Facebook, Instagram, Threads, or even WhatsApp, which means pretty much all the major platforms in the world.

However, as a true “indie of indies”, I cannot do without SNS to share my work as a rakugo performer, and this has been a huge dilemma to me.

In an ideal world, I’d rather meet and chat with people face-to-face rather than only connecting with them virtually. But I’ve been told by my producer and actor friends that I must keep at least one major platform, which according to them is Instagram, Facebook, or X. In fact, one of the recent contracts that I signed said, I have an obligation to share the event that I’m involved in at least 3 times via my SNS, so I literally can’t get rid of them 😁

Then, enters the Fediverse concept.

I don’t fully understand it, but it’s basically a collection of social networking sites that can communicate with each other, therefore not bound by one single individual or company unlike other platforms.

In Fediverse, you can move around between platforms. So even if you close down your current account, you can take it with you to another platform.

WordPress, Mastodon, and Bluesky probably are the most famous ones, but recently Threads (half-) entered the Fediverse.

It seems like some instances (or servers) have rejected to connect with Meta-owned Threads as it might interfere with their internet freedom. I don’t really know enough about the consequences of their participation, but we’ll see.

But for now, to look ahead for the future, it’d make sense for me to stick with platforms in the Fediverse.

You are most likely to find my latest news and thoughts on Mastodon and Threads… for the time being.

Rakugoka (落語家) vs. Hanashika (噺家)

On By Kanariya EishiIn Uncategorized2 Comments

In Japanese, Rakugo (落語) means a story with a punchline, and Rakugo storytellers are called Rakugoka (落語家).

Another common way to call them is Hanashika (噺家), which simply means a storyteller. In my personal opinion, this expression captures what Rakugo performers do more accurately.

Even though Rakugo is almost always accepted as a form of comedy in Japan and also introduced overseas as such, Rakugo is not always funny. If you have ever listened to stories like “Shinkei Kasanegahuchi” (真景累ヶ淵), “Bunshichi Mottoi” (文七元結 ), or “Tachikiri” (立切り), you would understand this.

“Shinkei Kasanegahuchi” is a pure tragedy, a horror story with very little humour. “Bunshichi Mottoi” is a human drama that would make you cry (I cry every time I listen to it!). “Tachikiri” is a heartbreaking love story, which also brings you tears.

I do not think Rakugo would have received the same kind of popularity if it was just comedy.

It is an all inclusive storytelling art.

I really appreciate that the manga/ anime/ TV drama
“Descending Stories: Showa Genroku Rakugo Shinju” (昭和元禄落語心中) has captured this multifaceted nature of Rakugo rather well.

The beauty of the expression Hanashika (噺家) is that the kanji “噺” is used instead of “話”, which is the most common character to mean a story.

The character “噺” can be broken into “口” (mouth) and “新” (new), so as a whole it means uttering something new.

As a traditional art, the Rakugo World has faced two missions: one being to protect the tradition and the other being progressing it so that it will remain relevant for generations to come.

To me personally, the act of “uttering something new” captures what they do as performers of this traditional art.