Anime originated at about 1917. Due to the fact that Anime could be released in all types of new media platform, its ability to reach out to many people globally has allowed it to gain a lot of fans and support for it from all around the globe.
It all began with the Japanese experimenting with the animation techniques also established in leading animation producing countrie, namely France, Germany, the United States, and Russia. The oldest known anime in existence first screened in 1917. By the 1930s, animation became another platform of storytelling to the underachieving live-action industry in Japan. Artists were able to set their imagination run wild, enabling them to produce any characters and settings.
Manga, which was later mostly animated, increased in popularity by the 1970s. In the 1980s, anime became more accepted in the mainstream in Japan, and experienced a growth in production. Following a few successful adaptations of anime in overseas markets in the 1980s, anime gained increased recognition in those markets in the 1990s and even more at the turn of the 21st century.
Showing posts with label Japanese arts. Show all posts
Showing posts with label Japanese arts. Show all posts
Cosplay
Cosplay, short for costume play is a fan type of performance art in which participants put on costumes and accessories to embody a specific character or idea. Characters are often drawn from popular fiction in Japan. It is not unusual to see genders switched, with women playing male roles and vice versa.
Cosplay is one of Japan’s most popular forms of art and dressing. In fact, it’s popularity is not only growing in Japan but also in many other parts of the world, namely China and America. The costumes worn by the fans that participate in Cosplay are often handmade by themselves. In Japan, Cosplay goers come together to share experiences as well as to show off their creations.
The most renowned event attended by cosplayers thus far has to be the semiannual doujinshi market, Comiket. This event attracts thousands of people annually regardless of the unpredictable weather conditions they faced.
Cosplay though popular amongst many is found by others as a ridiculous form of Japanese behaviour. Furthermore, due to the negative sexual implication that comes with Cosplay, it made many find Cosplay to be reprehensible. In addition, North Americans who Cosplay often refer to themselves as "otaku", which is in actual fact the Japanese word for "geek", but mistakenly use this word in an effort to symbolize themselves in a sociological group that they can be proud of.
Despite that many negative views it has received, the popularity of Cosplay is still growing strong and it has even managed to reach many more places globally.
Cosplay is one of Japan’s most popular forms of art and dressing. In fact, it’s popularity is not only growing in Japan but also in many other parts of the world, namely China and America. The costumes worn by the fans that participate in Cosplay are often handmade by themselves. In Japan, Cosplay goers come together to share experiences as well as to show off their creations.
The most renowned event attended by cosplayers thus far has to be the semiannual doujinshi market, Comiket. This event attracts thousands of people annually regardless of the unpredictable weather conditions they faced.
Cosplay though popular amongst many is found by others as a ridiculous form of Japanese behaviour. Furthermore, due to the negative sexual implication that comes with Cosplay, it made many find Cosplay to be reprehensible. In addition, North Americans who Cosplay often refer to themselves as "otaku", which is in actual fact the Japanese word for "geek", but mistakenly use this word in an effort to symbolize themselves in a sociological group that they can be proud of.
Despite that many negative views it has received, the popularity of Cosplay is still growing strong and it has even managed to reach many more places globally.
Seppuku/Hara-kiri
The name samurai has been closely related to death. In fact, the samurai's supposed affinity for death seems to separate him from other warriors and captures the imagination.
Seppuku or otherwise more commonly known as hara-kiri in the world outside of Samurai’s, is the act of slitting one's own belly is such an implausible way to end one’s life. Perhaps the most prominent aspect of the samurai myths, the initial purpose for this method of death may well have been solely practical. Cutting off one's own head is slightly tricky, while slitting the belly open was considered to be the simplest way to die.
The acts of belly slitting need extraordinary bravery. Over the years, it became such a way that only samurais could perform Seppuku. To be plainly put to death was a sign of dishonour and disgrace, and normally set aside for tarnished traitors.
During the act of seppuku, a knife laid in front of the samurai. When he was ready, the samurai would loosen his kimono and expose his belly before lifting the knife with one hand and unsheathe it with the other. He would then force the knife into the left side of the stomach, and then draw it across to the right. The blade would then be turned in the wound and brought upward. Many samurai did not have to suffer this last, implausible pain, as the second would chop their heads off at the earliest sign of pain.
Japanese Tea Ceremony
Japanese tea ceremony can be considered as a part of their culture. Even though it may be a simple ritual it plays a significant part in the Japanese tradition. A simple tea making session can involve an individual to a group of people. The tea ceremony is considered as an art as there are certain protocols that a person needs to adhere to while going through the ceremony. (Refer below for the details on tea ceremony).
The Japanese tea ceremony is not merely a traditional ceremony, it also serves as a medium that allows people to gather and interact with one another. The social gatherings organised are known as either chakai or chaji. Chakai is an informal gathering while chaji is a formal one. During such gatherings the host will invite those that usually get along with one another. The guests will be served with tea and some sweets. To the Japanese, a tea ceremony also acts as a symbol of friendliness.
The tea ceremony can be considered as an art due to its beauty. The Japanese people believed that the food and drink will be evaluated by the people even before they taste it. Hence there is a need for the snacks and tea served during a chaji to be pleasant looking. The tea ceremony is perfected with its choreographed movements, since as mentioned earlier there are procedures need to be done in tea ceremonies.
Tea ceremonies are also often considered by the Japanese as a way to relax and let them to forget about their problems. This is because the tea ceremony allows them to enjoy the sweet and relaxing scent of tea and at the same time learnt to wait patiently while the tea is being prepared.
Annex
1) Main procedure during a tea ceremony
• Bow when receiving the cup
• Receive the cup with right hand and place it on the left palm
• Turn the cup 3 times clockwise before drinking the tea
• Once the tea is finishing give out a slurp sound as gesture to tell the host that the tea is nice
• Wipe the part of cup that your lips touched
• Turn the cup anticlockwise thrice and hand it back to the host
The Japanese tea ceremony is not merely a traditional ceremony, it also serves as a medium that allows people to gather and interact with one another. The social gatherings organised are known as either chakai or chaji. Chakai is an informal gathering while chaji is a formal one. During such gatherings the host will invite those that usually get along with one another. The guests will be served with tea and some sweets. To the Japanese, a tea ceremony also acts as a symbol of friendliness.
The tea ceremony can be considered as an art due to its beauty. The Japanese people believed that the food and drink will be evaluated by the people even before they taste it. Hence there is a need for the snacks and tea served during a chaji to be pleasant looking. The tea ceremony is perfected with its choreographed movements, since as mentioned earlier there are procedures need to be done in tea ceremonies.
Tea ceremonies are also often considered by the Japanese as a way to relax and let them to forget about their problems. This is because the tea ceremony allows them to enjoy the sweet and relaxing scent of tea and at the same time learnt to wait patiently while the tea is being prepared.
Annex
1) Main procedure during a tea ceremony
• Bow when receiving the cup
• Receive the cup with right hand and place it on the left palm
• Turn the cup 3 times clockwise before drinking the tea
• Once the tea is finishing give out a slurp sound as gesture to tell the host that the tea is nice
• Wipe the part of cup that your lips touched
• Turn the cup anticlockwise thrice and hand it back to the host
Haiku-Japanese Poem
Haiku is one of the many types of poetry in Japan. It was founded by Masaoka Shiki in the Meiji period (1868-1912). Haiku is also known as hokku or haiki. Haiku is a poem that follows a 5, 7, 5 syllabus arrangement in three verses.
Haiku poems consist of short verses and kigo. Kigo are words that describe what season the poem is set in. Kigo may or may not be clearly mentioned in the haiku poem.
Haiku poems are very short poems that can convey deep message that the poet wants the reader to receive after reading his or her poems. Since the verses are short it makes it more impactful. Since haiku is a simple poem with deep meaning, soon its popularity began to spread beyond its borders. For example, haiku poems is now modernized. There are also English haiku poems. One of such was published by a Japanese poet called Sadakichi Hartmann.
Haiku poems consist of short verses and kigo. Kigo are words that describe what season the poem is set in. Kigo may or may not be clearly mentioned in the haiku poem.
Haiku poems are very short poems that can convey deep message that the poet wants the reader to receive after reading his or her poems. Since the verses are short it makes it more impactful. Since haiku is a simple poem with deep meaning, soon its popularity began to spread beyond its borders. For example, haiku poems is now modernized. There are also English haiku poems. One of such was published by a Japanese poet called Sadakichi Hartmann.
Japanese Dance
The Japanese has a variety of dance types. Two out of the dance types are known as Noh mai and Bon Oduri. Although both dance types are traditional dances, they serve different purposes.
Noh mai dance is mainly for entertainment purposes. It was created during the 13th century. The dance is usually performed on stage either in dance concerts or theatrical plays. Noh mai is usually accompanied by music from the flute or small hand drums. Noh mai may also be performed to vocal and percussion music, this is known as kiri or kuse.
There are several basic dance steps involved in Noh mai. The dance movements can be slow, fast or moderate in speed. In Noh mai the costumes play a major part. This is because if the dance begins slowly, the dancers are to use costumes that are colorful so as to keep the audience engaged with the performance. The dancers are also supposed to wear costumes that will represent which region they originate from. The main Noh mai dancers will put on masks. These masks are considered to be the most artistic mask in Japan.
Another traditional dance is called Bon Oduri. This dance is specially performed in the month of August. Bon Oduri is a dance dedicated for the loved ones who had passed away. This dance is performed at night. This is because the Japanese believed that the souls will only visit at night. The dance is performed with happy songs so as to show that they are welcoming the spirits of the dead. The dance is performed around a Yargura. The Yargura is actually a wooden tower specially designed and built for the dance to be performed. The people will dance around the Yargura.
However, bon Oduri are performed differently in the different regions. The dance choreographed is mainly influenced by the regions history. This is to allow the people to reminisce about their past.
Noh mai dance is mainly for entertainment purposes. It was created during the 13th century. The dance is usually performed on stage either in dance concerts or theatrical plays. Noh mai is usually accompanied by music from the flute or small hand drums. Noh mai may also be performed to vocal and percussion music, this is known as kiri or kuse.
There are several basic dance steps involved in Noh mai. The dance movements can be slow, fast or moderate in speed. In Noh mai the costumes play a major part. This is because if the dance begins slowly, the dancers are to use costumes that are colorful so as to keep the audience engaged with the performance. The dancers are also supposed to wear costumes that will represent which region they originate from. The main Noh mai dancers will put on masks. These masks are considered to be the most artistic mask in Japan.
Another traditional dance is called Bon Oduri. This dance is specially performed in the month of August. Bon Oduri is a dance dedicated for the loved ones who had passed away. This dance is performed at night. This is because the Japanese believed that the souls will only visit at night. The dance is performed with happy songs so as to show that they are welcoming the spirits of the dead. The dance is performed around a Yargura. The Yargura is actually a wooden tower specially designed and built for the dance to be performed. The people will dance around the Yargura.
However, bon Oduri are performed differently in the different regions. The dance choreographed is mainly influenced by the regions history. This is to allow the people to reminisce about their past.
Dress Code-Geisha
Geisha literally means a person that specializes in performing arts. However geishas were constantly perceived as courtesans. Geishas were dressed in kimono.
Although most of the women then, wore apparels known as kimonos,
theirs were slightly different as compared to those that belong to the geishas. The kimonos worn by geishas expose their neckline. This is because the Japanese considered the neckline as the most attractive part of their body. Geishas’ kimonos were simple and had sleeves of considerable length.
Kimonos worn by a maiko (trainee, waiting to be a geisha), were slightly different from the adult geisha. The kimonos had very long sleeves that will normally touch the ground. The maiko’s kimono will also have a red collar. This is to allow people to identify and differentiate between a trainee and a professional geisha.
Geisha’s footwear was different from other people. Traditional Japanese footwear is called geta. A geta can be described as sandals in modern day. Geisha’s geta had heels made of wood. Unlike a normal geta, the geishas’ geta had no “teeth” (refer below for picture of geta with “teeth”). It is called okubu. A maiko’s okubu is a bit taller than those that belongs to a geisha. This is to train the maiko to walk without tripping.
Art of Judo
Judo is many things to different people. It is a fun sport, an art, a discipline, a recreational or social activity, a fitness program, a means of self-defense or combat, and a way of life. It is all of these and more.
Kodokan Judo comes to us from the fighting system of feudal Japan. Founded in 1882 by Dr. Jigoro Kano, Judo is a refinement of the ancient martial art of Jujutsu. Dr. Kano, President of the University of Education, Tokyo, studied these ancient forms and integrated what he considered to be the best of their techniques into what is now the modern sport of Judo.
Judo is best known for its spectacular throwing techniques but also involves considerable grappling on the ground utilizing specialized pins, control holds, arm locks, and Judo choking techniques. Judo emphasizes safety, and full physical activity for top conditioning. Judo is learned on special mats for comfort and safety.
Judo is unique in that all age groups, both sexes, and most disabled persons can participate together in learning and practicing the sport. Judo is an inexpensive, year-round activity that appeals to people from all walks of life. Many people over sixty years of age enjoy the sport, as well as very young boys and girls.
Judo develops self-discipline and respect for oneself and others. Judo provides the means for learning self-confidence, concentration, and leadership skills, as well as physical coordination, power, and flexibility. As a sport that has evolved from a fighting art, it develops complete body control, fine balance, and fast reflexive action. Above all, it develops a sharp reacting mind well-coordinated with the same kind of body. Judo training gives a person an effective self-defense system if the need arises.
Judo, which is translated as the "gentle way", teaches the principle of flexibility in the application of technique. This is the flexible or efficient use of balance, leverage, and movement in the performance of Judo throws and other skills. Skill, technique and timing, rather than the use of brute strength, are the essential ingredients for success in Judo. For example, in Judo classes you may learn how to give way, rather than use force, to overcome a stronger opponent.
The principles of Judo, such as "Maximum Efficiency" and "Mutual Welfare and Benefit", can also be used in our dealings with others in life. The ultimate goal in Judo is to develop oneself to the maximum extent possible, always striving for perfection, so that you can contribute something of value to the world.
Judo practitioners traditionally wear white uniforms called jūdōgi, which simply means "judo uniform", for practicing judo. The jūdōgi was created by Kano in 1907, and similar uniforms were later adopted by many other martial arts.[citation needed] The modern jūdōgi consists of white or blue cotton drawstring pants and a matching white or blue quilted cotton jacket, fastened by a belt (obi). The belt is usually coloured to indicate rank. The jacket is intended to withstand the stresses of grappling, and as a result, is much thicker than that of a karate uniform (karategi).
However, there are some criticisms about the use of judo for self-defense training:
Over-reliance on using the judo-gi (clothing): In order to train judo for self-defense, it is necessary to have some experience in sparring against partners who are not wearing a gi. However, many techniques do not strictly rely on grabbing the gi; indeed, some techniques (especially in groundwork or Ne Waza) do not use the gi at all.
Over-emphasis on the rules of sports judo: Some judo clubs or instructors teach judo strictly in the context of sport.
Lack of striking techniques: Striking techniques in judo are usually only taught to dan grades (ie. black belts) for demonstrations and kata.
Kodokan Judo comes to us from the fighting system of feudal Japan. Founded in 1882 by Dr. Jigoro Kano, Judo is a refinement of the ancient martial art of Jujutsu. Dr. Kano, President of the University of Education, Tokyo, studied these ancient forms and integrated what he considered to be the best of their techniques into what is now the modern sport of Judo.
Judo is best known for its spectacular throwing techniques but also involves considerable grappling on the ground utilizing specialized pins, control holds, arm locks, and Judo choking techniques. Judo emphasizes safety, and full physical activity for top conditioning. Judo is learned on special mats for comfort and safety.
Judo is unique in that all age groups, both sexes, and most disabled persons can participate together in learning and practicing the sport. Judo is an inexpensive, year-round activity that appeals to people from all walks of life. Many people over sixty years of age enjoy the sport, as well as very young boys and girls.
Judo develops self-discipline and respect for oneself and others. Judo provides the means for learning self-confidence, concentration, and leadership skills, as well as physical coordination, power, and flexibility. As a sport that has evolved from a fighting art, it develops complete body control, fine balance, and fast reflexive action. Above all, it develops a sharp reacting mind well-coordinated with the same kind of body. Judo training gives a person an effective self-defense system if the need arises.
Judo, which is translated as the "gentle way", teaches the principle of flexibility in the application of technique. This is the flexible or efficient use of balance, leverage, and movement in the performance of Judo throws and other skills. Skill, technique and timing, rather than the use of brute strength, are the essential ingredients for success in Judo. For example, in Judo classes you may learn how to give way, rather than use force, to overcome a stronger opponent.
The principles of Judo, such as "Maximum Efficiency" and "Mutual Welfare and Benefit", can also be used in our dealings with others in life. The ultimate goal in Judo is to develop oneself to the maximum extent possible, always striving for perfection, so that you can contribute something of value to the world.
Judo practitioners traditionally wear white uniforms called jūdōgi, which simply means "judo uniform", for practicing judo. The jūdōgi was created by Kano in 1907, and similar uniforms were later adopted by many other martial arts.[citation needed] The modern jūdōgi consists of white or blue cotton drawstring pants and a matching white or blue quilted cotton jacket, fastened by a belt (obi). The belt is usually coloured to indicate rank. The jacket is intended to withstand the stresses of grappling, and as a result, is much thicker than that of a karate uniform (karategi).
However, there are some criticisms about the use of judo for self-defense training:
Over-reliance on using the judo-gi (clothing): In order to train judo for self-defense, it is necessary to have some experience in sparring against partners who are not wearing a gi. However, many techniques do not strictly rely on grabbing the gi; indeed, some techniques (especially in groundwork or Ne Waza) do not use the gi at all.
Over-emphasis on the rules of sports judo: Some judo clubs or instructors teach judo strictly in the context of sport.
Lack of striking techniques: Striking techniques in judo are usually only taught to dan grades (ie. black belts) for demonstrations and kata.
Art of Shintaido
Shintaido, a Japanese word translated as ‘New Body Way’, is a unique system of movement that uses the body as a means of expression and communication. Incorporating both physical and artistic elements, it was created in Japan in the 1960s. Its roots lay in the traditional Japanese martial arts, Chinese medicine and Buddhist meditation techniques, while its creator Hiroyuki Aoki was also influenced by modern Western art and Christianity.
As well as being a practical martial art Shintaido is also a form of artistic expression, a healthy exercise, and a path of self-discovery and transformation. Shintaido is a unique combination of martial arts and body movement that cultivates the spirit along with the mind and body. It has been called a moving meditation.
Shintaido assumes that the challenges facing modern people are more rooted in emotional and psychological matters than physical. Shintaido offers body movements that aim to build the resources that to live better and develop a new 'way of being' that is more intuitive, aware and with less tension, this stems from the belif that the freer the body, the more effective its movements can be.
The hope of founder Hiroyuki Aoki was to create a martial art that could reach the level of great art, so beauty and fluidity are essential aspects. The practice of Shintaido brings with it a bodily awareness and receptivity to the many messages the body transmits so that it can be used as a tool to explore the individuals’ inner state of being, evolution, limitations and resources. The partner exercises aim to provide an opportunity to discover and develop the ability to communicate and affirm oneself.
Shintaido is practised with bare hands, but its very broad curriculum also includes bojutsu), involving the use of the long staff, and kenjutsu , using a wooden sword.
The first objective of Shintaido is to make the body and mind completely relaxed, fluid and flexible. Next it develops large movements through which we can express our vital energy and talents. Many exercises to open the body, especially the hips, the stomach, chest and hands. Practitioners aim to develop an open spirit with which they hope to approach life at large, and other people. Kumite, partner practices, allow us to test the effectiveness of the techniques we have learned: an open body, large movements and clear intention make the techniques effective. There is no competition. Each participant is encouraged to express him or herself freely and to discover his or her potential in a spirit of cooperation with, respect for and confidence in one another. A kumite may begin with a formal movement but is transformed progressively into a kind of free dance between two partners.
The Shintaido philosophy is grounded in body movement. It takes us to the core of our beings to express our highest aspirations:
· to find our true selves,
· to communicate with others,
· to become unified with nature,
· and to contribute to the struggle for world peace through the practice of Taimyo kata and the development of the worldwide Taimyo network.
As well as being a practical martial art Shintaido is also a form of artistic expression, a healthy exercise, and a path of self-discovery and transformation. Shintaido is a unique combination of martial arts and body movement that cultivates the spirit along with the mind and body. It has been called a moving meditation.
Shintaido assumes that the challenges facing modern people are more rooted in emotional and psychological matters than physical. Shintaido offers body movements that aim to build the resources that to live better and develop a new 'way of being' that is more intuitive, aware and with less tension, this stems from the belif that the freer the body, the more effective its movements can be.
The hope of founder Hiroyuki Aoki was to create a martial art that could reach the level of great art, so beauty and fluidity are essential aspects. The practice of Shintaido brings with it a bodily awareness and receptivity to the many messages the body transmits so that it can be used as a tool to explore the individuals’ inner state of being, evolution, limitations and resources. The partner exercises aim to provide an opportunity to discover and develop the ability to communicate and affirm oneself.
Shintaido is practised with bare hands, but its very broad curriculum also includes bojutsu), involving the use of the long staff, and kenjutsu , using a wooden sword.
The first objective of Shintaido is to make the body and mind completely relaxed, fluid and flexible. Next it develops large movements through which we can express our vital energy and talents. Many exercises to open the body, especially the hips, the stomach, chest and hands. Practitioners aim to develop an open spirit with which they hope to approach life at large, and other people. Kumite, partner practices, allow us to test the effectiveness of the techniques we have learned: an open body, large movements and clear intention make the techniques effective. There is no competition. Each participant is encouraged to express him or herself freely and to discover his or her potential in a spirit of cooperation with, respect for and confidence in one another. A kumite may begin with a formal movement but is transformed progressively into a kind of free dance between two partners.
The Shintaido philosophy is grounded in body movement. It takes us to the core of our beings to express our highest aspirations:
· to find our true selves,
· to communicate with others,
· to become unified with nature,
· and to contribute to the struggle for world peace through the practice of Taimyo kata and the development of the worldwide Taimyo network.
Art of Sumo
Sumo is a competitive contact sport where a wrestler (rikishi) attempts to force another wrestler out of a circular ring (dohyō) or to touch the ground with anything other than the soles of the feet. The sport originated in Japan, the only country where it is practiced professionally.
Sumo matches take place in a dohyō: a ring, 4.55 metres in diameter and 16.26 square meters in area, of rice-straw bales on top of a platform made of clay mixed with sand. A new dohyō is built for each tournament by the yobidashi. At the center are two white lines, the shikiri-sen, behind which the wrestlers position themselves at the start of the bout.
Sumo has its roots in the Shinto religion. The matches were dedicated to the gods in prayers for a good harvest. The oldest written records date back to the 8th century.
A sumo wrestling match is accompanied by a lot of traditional ceremony. The marching-in of the wrestlers is a sequence of formal rituals. The wrestlers are accompanied by two assistants - one walking in front and one behind him - the one behind is usually hard to spot.
The referee is clad in a luxurious kimono and wears a strange hat. After performing a series of opening rituals, the contest begins.
The wrestling match is all about pushing or throwing the opponent out of the doyo - the ring - or to bring the other guy down on the floor.
The negative effects of the sumo lifestyle become dangerously apparent later in life. Sumo wrestlers have a life expectancy of between 60 and 65, more than 10 years shorter than the average Japanese male. They often develop diabetes, high blood pressure, and are prone to heart attacks. The excessive intake of alcohol can lead to liver problems and the stress on their joints can cause arthritis. Recently, the standards of weight gain are becoming less strict, in an effort to improve the overall health of the wrestlers.
Women are not allowed to enter or touch the sumo wrestling ring (dohyō), as this is traditionally seen to be a violation of the purity of the dohyō.
The view of those who criticize this continuing "men-only" policy in sumo is that it is discriminatory and oppressive. In general, women in the Sumo world are only expected to be supportive wives of rikishi, and, in the case that their husband has become a stable master, a surrogate mother for all of his disciples. The view of the Sumo Association is that this is a tradition that has been firmly maintained through the centuries, so it would be a dishonor to all of their ancestors to change it.
Sumo matches take place in a dohyō: a ring, 4.55 metres in diameter and 16.26 square meters in area, of rice-straw bales on top of a platform made of clay mixed with sand. A new dohyō is built for each tournament by the yobidashi. At the center are two white lines, the shikiri-sen, behind which the wrestlers position themselves at the start of the bout.
Sumo has its roots in the Shinto religion. The matches were dedicated to the gods in prayers for a good harvest. The oldest written records date back to the 8th century.
A sumo wrestling match is accompanied by a lot of traditional ceremony. The marching-in of the wrestlers is a sequence of formal rituals. The wrestlers are accompanied by two assistants - one walking in front and one behind him - the one behind is usually hard to spot.
The referee is clad in a luxurious kimono and wears a strange hat. After performing a series of opening rituals, the contest begins.
The wrestling match is all about pushing or throwing the opponent out of the doyo - the ring - or to bring the other guy down on the floor.
The negative effects of the sumo lifestyle become dangerously apparent later in life. Sumo wrestlers have a life expectancy of between 60 and 65, more than 10 years shorter than the average Japanese male. They often develop diabetes, high blood pressure, and are prone to heart attacks. The excessive intake of alcohol can lead to liver problems and the stress on their joints can cause arthritis. Recently, the standards of weight gain are becoming less strict, in an effort to improve the overall health of the wrestlers.
Women are not allowed to enter or touch the sumo wrestling ring (dohyō), as this is traditionally seen to be a violation of the purity of the dohyō.
The view of those who criticize this continuing "men-only" policy in sumo is that it is discriminatory and oppressive. In general, women in the Sumo world are only expected to be supportive wives of rikishi, and, in the case that their husband has become a stable master, a surrogate mother for all of his disciples. The view of the Sumo Association is that this is a tradition that has been firmly maintained through the centuries, so it would be a dishonor to all of their ancestors to change it.
The Sumo Belt- MAWASHI
In sumo, a mawashi is the belt that the rikishi (or sumo wrestler) wears during training or in competition. Upper ranked professional wrestlers wear a kesho-mawashi as part of the ring entry ceremony.
For top-ranked rikishi, the belt is made of silk and comes in a variety of colors. It is approximately 30 feet (9.1 m) in length when unwrapped, about two feet wide and weighs between eight and eleven pounds. It is wrapped several times around the rikishi and fastened in the back by a large knot. A series of matching colour, stiffened silk fronds, called sagari are inserted into the front of the mawashi. Their number varies from 13 to 25, and is always an odd number. If these fall out during competition the referee will throw them from the ring at the first opportunity.
Senior rikishis wear a second ceremonial kesho-mawashi during their ring entering ceremony. The silk 'belt' opens out at one end into a large apron which is usually heavily embroidered and with thick tassles at the bottom. The kesho-mawashi may also be used to advertise sponsors of the rikishi.
Yokozuna, the highest rank in Sumo, have matching sets of three kesho-mawashi, with two being worn by his 2 wrestler assistants during his ring entrance ceremony.
Amateur sumo wrestlers are expected to wear a white cotton mawashi, without the looping accorded to the senior professional's training garb.
On entering sumo, they are expected to grow their hair long to form a topknot, or chonmage, similar to the samurai hairstyles of the Edo Period. Furthermore they are expected to wear the chonmage and traditional Japanese dress when in public. Consequently, sumo wrestlers can be identified immediately when in public.
The type and quality of the dress depends on the wrestler's rank. Rikishi in jonidan and below are allowed to wear only a thin cotton robe called a yukata, even in winter. Furthermore, when outside they must wear a form of wooden sandals called geta that make a clip-clop sound as one walks in them. Wrestlers in the makushita and sandanme divisions can wear a form of traditional short overcoat over their yukata and are allowed to wear straw sandals, called zōri. The sekitori can wear silk robes of their own choice and the quality of the garb is significantly improved. They also are expected to wear a more elaborate form of topknot called an ōichō on formal occasions.
Many rikishi are superstitious and they will change the color of their mawashi to change their luck. Sometimes a poor performance will cause them to change colors for the next tournament, or even during a tournament, in an attempt to change their luck for the better. The rikishi only wears the silk mawashi during competitive bouts either during ranking tournaments or touring displays. During training, a heavy cotton mawashi is worn.
Sometimes a rikishi may wear his mawashi in such a way as to give him some advantage over his opponent. He may wear it loosely to make it more difficult to be thrown or he may wrap it tightly and splash a little water on it to help prevent his opponent from getting a good grip on it. His choice will depend on the type of techniques he prefers to employ in his bouts. Thus a wrestler preferring belt sumo will usually wear it more loosely, while those preferring pushing techniques will tend to wear the mawashi more tightly.
For top-ranked rikishi, the belt is made of silk and comes in a variety of colors. It is approximately 30 feet (9.1 m) in length when unwrapped, about two feet wide and weighs between eight and eleven pounds. It is wrapped several times around the rikishi and fastened in the back by a large knot. A series of matching colour, stiffened silk fronds, called sagari are inserted into the front of the mawashi. Their number varies from 13 to 25, and is always an odd number. If these fall out during competition the referee will throw them from the ring at the first opportunity.
Senior rikishis wear a second ceremonial kesho-mawashi during their ring entering ceremony. The silk 'belt' opens out at one end into a large apron which is usually heavily embroidered and with thick tassles at the bottom. The kesho-mawashi may also be used to advertise sponsors of the rikishi.
Yokozuna, the highest rank in Sumo, have matching sets of three kesho-mawashi, with two being worn by his 2 wrestler assistants during his ring entrance ceremony.
Amateur sumo wrestlers are expected to wear a white cotton mawashi, without the looping accorded to the senior professional's training garb.
On entering sumo, they are expected to grow their hair long to form a topknot, or chonmage, similar to the samurai hairstyles of the Edo Period. Furthermore they are expected to wear the chonmage and traditional Japanese dress when in public. Consequently, sumo wrestlers can be identified immediately when in public.
The type and quality of the dress depends on the wrestler's rank. Rikishi in jonidan and below are allowed to wear only a thin cotton robe called a yukata, even in winter. Furthermore, when outside they must wear a form of wooden sandals called geta that make a clip-clop sound as one walks in them. Wrestlers in the makushita and sandanme divisions can wear a form of traditional short overcoat over their yukata and are allowed to wear straw sandals, called zōri. The sekitori can wear silk robes of their own choice and the quality of the garb is significantly improved. They also are expected to wear a more elaborate form of topknot called an ōichō on formal occasions.
Many rikishi are superstitious and they will change the color of their mawashi to change their luck. Sometimes a poor performance will cause them to change colors for the next tournament, or even during a tournament, in an attempt to change their luck for the better. The rikishi only wears the silk mawashi during competitive bouts either during ranking tournaments or touring displays. During training, a heavy cotton mawashi is worn.
Sometimes a rikishi may wear his mawashi in such a way as to give him some advantage over his opponent. He may wear it loosely to make it more difficult to be thrown or he may wrap it tightly and splash a little water on it to help prevent his opponent from getting a good grip on it. His choice will depend on the type of techniques he prefers to employ in his bouts. Thus a wrestler preferring belt sumo will usually wear it more loosely, while those preferring pushing techniques will tend to wear the mawashi more tightly.
Manga---- The Japanese arts
Nowadays, the term “manga” is used worldwide to refer to Japanese cartoons, as distinct from American comics or French bandes dessinees. Likewise, the term “anime” refers to Japan-produced animation as opposed to Disney cartoons or animation produced elsewhere. The 1990s saw the Japanese animated films AKIRA and Ghost in the Shell become popular among young people in North America, Europe and Asia, but it was also a period during which children and young people began to perceive Japanese pop culture as “cool”. In 2003, Spirited Away, directed by Hayao Miyazaki, won an Academy Award for best animated feature film. Moreover, Pokemon, the animated TV programme immensely popular among children, was shown in over 68 countries around the world, further enhancing its appeal. In consequence, the Pokemon market grew to 3 trillion yen in size (about US$250 billion), of which 2 trillion yen was from overseas sales. The Japanese manufacturer Nintendo became a byword for home game machines, while shipments of the PlayStation and PS2, made by Sony Computer Entertainment, reached 100 million units each. Japanese pop culture, which includes manga, anime and games, and the market for them, clearly has the power to transcend national borders, languages and religious differences.
The foundations of modern Japanese manga and anime were first laid in 1959, with the simultaneous publication of such comics for young people as Shukan Shonen Magajin (Boys’ Weekly) and Shukan Shonen Sande (Boys’ Sunday Weekly) , and then in 1963 with the commencement of TV broadcasting of productions such as the animated series Tetsuwan Atom (Astro Boy) by the cartoonist Osamu Tezuka and Tetsujin 28-go (Gigantor), which was based on an original script by cartoonist Mitsuteru Yokoyama. Since then, the intimate relationship between manga and anime has continued, and even today over 60% of the animated cartoons produced are based on manga, with the cartoonists, manga publishers, animation production companies and the TV stations all in commercial partnership.
In the 1980s, adults started to show an interest in manga and anime, which until then had been for children, leading to the launch of manga magazines for male adults. Similarly, a number of women’s magazines were also launched in the 1970s and 1980s, adding to the series of girls’ comics such as Margaret and Shojo Komikku (Girls’ Comics). The market then underwent further subdivision into targeted categories, from infants to small children, girls, teenagers, businessmen, young women and housewives, each of them being offered a full line-up of magazines and products.
In the animation market, creations such as Space Battleship Yamato and Mobile Suit Gundam appeared in the 1970s and evolved into a variety of forms, from TV animation to film, music and character-based products. This then led to the establishment of a market for toys given away as “freebies” with candy and plastic versions of favourite characters. Then in 1983, with the coming to market of the first home game machines, games themselves started to generate their own manga, anime, card game and character-product spin-offs in a kind of media cross-fertilisation.
A classic example of this trend would be the Pokemon characters painted onto an aircraft fuselage. Visitors from all over the world started flocking to Akihabara in Tokyo to visit this shrine to the Japanese pop culture market. The Tokyo International Anime Fair, which is held there every March, sees 100,000 visitors annually including overseas business customers.
Japanese domestic manga account for 28% of the total number of magazines published domestically, or 18% of sales. Revenues that the Japanese anime industry receives from TV, film, DVD and Internet media run to about 250 billion yen annually. In addition, the retail market for character goods based on the characters in manga and anime has reached 1.61 trillion yen. The ripple effect it has caused is enormous: it is said that 60% of animation broadcast on TV worldwide is Japanese. Meanwhile, the domestic hardware and software home game market combined totals 400 billion yen, while about 1 trillion yen in games are exported.
The foundations of modern Japanese manga and anime were first laid in 1959, with the simultaneous publication of such comics for young people as Shukan Shonen Magajin (Boys’ Weekly) and Shukan Shonen Sande (Boys’ Sunday Weekly) , and then in 1963 with the commencement of TV broadcasting of productions such as the animated series Tetsuwan Atom (Astro Boy) by the cartoonist Osamu Tezuka and Tetsujin 28-go (Gigantor), which was based on an original script by cartoonist Mitsuteru Yokoyama. Since then, the intimate relationship between manga and anime has continued, and even today over 60% of the animated cartoons produced are based on manga, with the cartoonists, manga publishers, animation production companies and the TV stations all in commercial partnership.
In the 1980s, adults started to show an interest in manga and anime, which until then had been for children, leading to the launch of manga magazines for male adults. Similarly, a number of women’s magazines were also launched in the 1970s and 1980s, adding to the series of girls’ comics such as Margaret and Shojo Komikku (Girls’ Comics). The market then underwent further subdivision into targeted categories, from infants to small children, girls, teenagers, businessmen, young women and housewives, each of them being offered a full line-up of magazines and products.
In the animation market, creations such as Space Battleship Yamato and Mobile Suit Gundam appeared in the 1970s and evolved into a variety of forms, from TV animation to film, music and character-based products. This then led to the establishment of a market for toys given away as “freebies” with candy and plastic versions of favourite characters. Then in 1983, with the coming to market of the first home game machines, games themselves started to generate their own manga, anime, card game and character-product spin-offs in a kind of media cross-fertilisation.
A classic example of this trend would be the Pokemon characters painted onto an aircraft fuselage. Visitors from all over the world started flocking to Akihabara in Tokyo to visit this shrine to the Japanese pop culture market. The Tokyo International Anime Fair, which is held there every March, sees 100,000 visitors annually including overseas business customers.
Japanese domestic manga account for 28% of the total number of magazines published domestically, or 18% of sales. Revenues that the Japanese anime industry receives from TV, film, DVD and Internet media run to about 250 billion yen annually. In addition, the retail market for character goods based on the characters in manga and anime has reached 1.61 trillion yen. The ripple effect it has caused is enormous: it is said that 60% of animation broadcast on TV worldwide is Japanese. Meanwhile, the domestic hardware and software home game market combined totals 400 billion yen, while about 1 trillion yen in games are exported.
Jujutsu ----the martial art of Japan
Jujutsu (柔術:じゅうじゅつ jūjutsu?), literally translates to "art of pliance". More accurately, however, it means the art of using indirect force, such as joint locks or throwing techniques, to defeat an opponent, as opposed to direct force such as a punch or a kick. This is not to imply that jujutsu does not teach or employ strikes, but rather that the art's aim is the ability to use an attacker's force against him or her, and counter-attack where they are weakest or least defended.
Methods of combat included striking (kicking, punching), throwing (body throws, joint-lock throws, unbalance throws), restraining (pinning, strangulating, grappling, wrestling) and weaponry. Defensive tactics included blocking, evading, off balancing, blending and escaping. Minor weapons such as the tantō (dagger), ryufundo kusari (weighted chain), jutte (helmet smasher), and kakushi buki (secret or disguised weapons) were almost always included in koryū jujutsu.
Most of these were battlefield-based systems to be practiced as companion arts to the more common and vital weapon systems. At the time, these fighting arts went by many different names, including kogusoku, yawara, kumiuchi, and hakuda. In reality, these grappling systems were not really unarmed systems of combat, but are more accurately described as means whereby an unarmed or lightly armed warrior could defeat a heavily armed and armored enemy on the battlefield. Ideally, the samurai would be armed and would not need to rely on such techniques.
In later times, other koryū developed into systems more familiar to the practitioners of the jujutsu commonly seen today. These systems are generally designed to deal with opponents neither wearing armor nor in a battlefield environment. For this reason, they include extensive use of atemi waza (vital-striking technique). These tactics would be of little use against an armored opponent on a battlefield. They would, however, be quite valuable to anyone confronting an enemy or opponent during peacetime dressed in normal street attire. Occasionally, inconspicuous weapons such as knives or tessen (iron fans) were included in the curriculum.
Today, jujutsu is practiced in many forms, both ancient and modern. Various methods of jujutsu have been incorporated or synthesized into judo and aikido, as well as being exported throughout the world and transformed into sport wrestling systems, adopted in whole or part by schools of karate or other unrelated martial arts, still practiced as they were centuries ago, or all of the above.
Methods of combat included striking (kicking, punching), throwing (body throws, joint-lock throws, unbalance throws), restraining (pinning, strangulating, grappling, wrestling) and weaponry. Defensive tactics included blocking, evading, off balancing, blending and escaping. Minor weapons such as the tantō (dagger), ryufundo kusari (weighted chain), jutte (helmet smasher), and kakushi buki (secret or disguised weapons) were almost always included in koryū jujutsu.
Most of these were battlefield-based systems to be practiced as companion arts to the more common and vital weapon systems. At the time, these fighting arts went by many different names, including kogusoku, yawara, kumiuchi, and hakuda. In reality, these grappling systems were not really unarmed systems of combat, but are more accurately described as means whereby an unarmed or lightly armed warrior could defeat a heavily armed and armored enemy on the battlefield. Ideally, the samurai would be armed and would not need to rely on such techniques.
In later times, other koryū developed into systems more familiar to the practitioners of the jujutsu commonly seen today. These systems are generally designed to deal with opponents neither wearing armor nor in a battlefield environment. For this reason, they include extensive use of atemi waza (vital-striking technique). These tactics would be of little use against an armored opponent on a battlefield. They would, however, be quite valuable to anyone confronting an enemy or opponent during peacetime dressed in normal street attire. Occasionally, inconspicuous weapons such as knives or tessen (iron fans) were included in the curriculum.
Today, jujutsu is practiced in many forms, both ancient and modern. Various methods of jujutsu have been incorporated or synthesized into judo and aikido, as well as being exported throughout the world and transformed into sport wrestling systems, adopted in whole or part by schools of karate or other unrelated martial arts, still practiced as they were centuries ago, or all of the above.
Ikebana--- the Japanese art of flower arrangement
Ikebana (生け花?, "arranged flower) is the Japanese art of flower arrangement, also known as kadō (華道?, the "way of flowers").
More than simply putting flowers in a container, ikebana is a disciplined art form in which nature and humanity are brought together. Contrary to the idea of floral arrangement as a collection of particolored or multicolored arrangement of blooms, ikebana often emphasizes other areas of the plant, such as its stems and leaves, and draws emphasis towards shape, line, form. Though ikebana is a creative expression, it has certain rules governing its form. The main(?) rule is that all the elements used in construction must be organic, be they branches, leaves, grasses, or flowers. The artist's intention behind each arrangement is shown through a piece's color combinations, natural shapes, graceful lines, and the usually implied meaning of the arrangement.
Another aspect present in ikebana is its employment of minimalism. That is, an arrangement may consist of only a minimal number of blooms interspersed among stalks and leaves. The structure of a Japanese flower arrangement is based on a scalene triangle delineated by three main points, usually twigs, considered in some schools to symbolize heaven, earth, and man and in others sun, moon, love & earth. The container is also a key element of the composition, and various styles of pottery may be used in their construction.
The history of Ikebana dates back to approximately 500 years ago and the History of Ikenobo--the oldest school of Ikebana. The school dates its beginnings from a priest of the Rokkakudo Temple --official name is Shiun-ji (Purple Cloud Temple ) in Kyoto who was so skilled in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements.
The Rokkakudo temple was erected in 587 by Prince Shotoku . It is said that Prince Shotoku was searching for materials to build the Shitenno Temple . During his search, one day he went to bathe in a pond, where he hung a Buddhist amulet over a nearby tree. After his bath, he tried to remove the amulet, but he was unable to do so. That same night, the Prince saw the Buddha in his dream. The Buddha instructed him to erect a temple near the pond at the cedar tree under a purple cloud. From that cedar wood Rokkakudo temple was built to house a Kannon (Quan-Yin) Goddess statue.
The spiritual aspect of Ikebana is considered very important to its practitioners. Silence is a must during practices of Ikebana. It is a time to appreciate things in nature that people often overlook because of their busy lives. One becomes more patient and tolerant of differences, not only in nature, but also in general. Ikebana can inspire to identify with beauty in all art forms. This is also the time when one feels closeness to nature which provides relaxation for the mind, body, and soul.
In the 20th century, with the advent of modernism, the three schools of Ikebana partially gave way to what is commonly known in Japan as Free Style.
Moribana (upright style)– it is considered as the most basic structure in Ikebana. Moribana literally means “piled-up flowers” which are arranged in a shallow vase or suiban, compote, or basket. Moribana is secured on kenzan or needle point holders, also known as metal frogs.
Moribana (slanting style)- reversed arranging style that can also be used depending on the placement of the display or shapes of the branches. Branches which look beautiful when slanted are mostly chosen for this arrangement. This style gives a softer impression than the upright style.
Nagaire (upright style)- arranged in a narrow-mouthed, tall container without using kenzan or needle point holders. This is a simple arrangement that can contain even just one flower which does not use frogs to hold the flower(s).
Nagaire (slanted style)- this arrangement presents a gentle touch and flexibility. It is ideal for Ikebana beginners.
Nagaire (cascading style)- this arrangement has the main stem hang lower than the rim of the vase. Choose a flexible material that will create beautiful lines balancing with flowers.
Ikebana remains one of the most distinct arts in Japanese culture. It is shown on television, taught in schools, and admired daily. An example of a television show that involves Ikebana is Seikei Bijin (Artificial Beauty). The story incorporates the importance of natural beauty.
More than simply putting flowers in a container, ikebana is a disciplined art form in which nature and humanity are brought together. Contrary to the idea of floral arrangement as a collection of particolored or multicolored arrangement of blooms, ikebana often emphasizes other areas of the plant, such as its stems and leaves, and draws emphasis towards shape, line, form. Though ikebana is a creative expression, it has certain rules governing its form. The main(?) rule is that all the elements used in construction must be organic, be they branches, leaves, grasses, or flowers. The artist's intention behind each arrangement is shown through a piece's color combinations, natural shapes, graceful lines, and the usually implied meaning of the arrangement.
Another aspect present in ikebana is its employment of minimalism. That is, an arrangement may consist of only a minimal number of blooms interspersed among stalks and leaves. The structure of a Japanese flower arrangement is based on a scalene triangle delineated by three main points, usually twigs, considered in some schools to symbolize heaven, earth, and man and in others sun, moon, love & earth. The container is also a key element of the composition, and various styles of pottery may be used in their construction.
The history of Ikebana dates back to approximately 500 years ago and the History of Ikenobo--the oldest school of Ikebana. The school dates its beginnings from a priest of the Rokkakudo Temple --official name is Shiun-ji (Purple Cloud Temple ) in Kyoto who was so skilled in flower arrangement that other priests sought him out for instruction. As he lived by the side of a lake, for which the Japanese word is Ikenobo, the name Ikenobo became attached to the priests there who specialized in these altar arrangements.
The Rokkakudo temple was erected in 587 by Prince Shotoku . It is said that Prince Shotoku was searching for materials to build the Shitenno Temple . During his search, one day he went to bathe in a pond, where he hung a Buddhist amulet over a nearby tree. After his bath, he tried to remove the amulet, but he was unable to do so. That same night, the Prince saw the Buddha in his dream. The Buddha instructed him to erect a temple near the pond at the cedar tree under a purple cloud. From that cedar wood Rokkakudo temple was built to house a Kannon (Quan-Yin) Goddess statue.
The spiritual aspect of Ikebana is considered very important to its practitioners. Silence is a must during practices of Ikebana. It is a time to appreciate things in nature that people often overlook because of their busy lives. One becomes more patient and tolerant of differences, not only in nature, but also in general. Ikebana can inspire to identify with beauty in all art forms. This is also the time when one feels closeness to nature which provides relaxation for the mind, body, and soul.
In the 20th century, with the advent of modernism, the three schools of Ikebana partially gave way to what is commonly known in Japan as Free Style.
Moribana (upright style)– it is considered as the most basic structure in Ikebana. Moribana literally means “piled-up flowers” which are arranged in a shallow vase or suiban, compote, or basket. Moribana is secured on kenzan or needle point holders, also known as metal frogs.
Moribana (slanting style)- reversed arranging style that can also be used depending on the placement of the display or shapes of the branches. Branches which look beautiful when slanted are mostly chosen for this arrangement. This style gives a softer impression than the upright style.
Nagaire (upright style)- arranged in a narrow-mouthed, tall container without using kenzan or needle point holders. This is a simple arrangement that can contain even just one flower which does not use frogs to hold the flower(s).
Nagaire (slanted style)- this arrangement presents a gentle touch and flexibility. It is ideal for Ikebana beginners.
Nagaire (cascading style)- this arrangement has the main stem hang lower than the rim of the vase. Choose a flexible material that will create beautiful lines balancing with flowers.
Ikebana remains one of the most distinct arts in Japanese culture. It is shown on television, taught in schools, and admired daily. An example of a television show that involves Ikebana is Seikei Bijin (Artificial Beauty). The story incorporates the importance of natural beauty.
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