Culture & Tradition Archives

Maiko Masquerade: Crafting Geisha Girlhood in Japan by Jan Bardsley

May 15, 2021 By Michael Lambe

Disclosure: Some links on this page are affiliate links from which I will earn a commission. As an Amazon Associate I earn from qualifying purchases.

“Contemporary maiko are young women, typically between fifteen and twenty years of age, who have chosen to train in an arts profession with roots in the merchant culture and pleasure quarters of the Edo period (1603–1867). Their archaic hairstyles and kimono link them to this artistic past, easily identifying them as maiko. Although other geisha communities in Japan once had apprentices, too, the maiko is famously a Kyoto phenomenon today.”
— From Maiko Masquerade by Jan Bardsley

A new book from University of California Press should be of interest to our readers. A hat tip to the very excellent Shinpai Deshou for bringing it to my attention.

In Maiko Masquerade, the author Jan Bardsley turns her attention to maiko, as a cultural phenomenon. Maiko, she tells us, represent the “quintessential Kyoto girl”, and as the city’s mascot, the image of the maiko is ubiquitous in Kyoto, appearing on maps, posters, stationary, and souvenirs and even from the art atop a cappuccino or matcha latte “milky maiko smile at you”. Maiko are also the key protagonists in many Kyoto-based films, novels, TV dramas, and manga. It’s true that for tourists visiting Kyoto, maiko represent an ideal. Catching a glimpse of a maiko in one of the city’s flower districts, is a magical moment for many visitors, and cosplaying as maiko is a popular tourist activity too.

A major theme of this book is how the image of the maiko has changed from past depictions of maiko as the innocent victims of sexual exploitation, to contemporary 21st century depictions, largely created by women, which emphasize the maiko’s agency. Maiko today are seen as young women who have chosen their own path out of a yearning for the traditional world of kimono and dance. In a fundamental transformation, Bardsley explores how maiko have come “to symbolize the hardworking young artist, the chaste keeper of traditions, and the exemplary Japanese girl” and this in turn has “elevated the maiko’s Kyoto community as a site of deeply rooted cultural values.” By examining popular literature, films, manga and other media Bardsley investigates this archetype of Japanese girlhood as the locus of questions related to “personal choice, gender-appropriate roles, regional and ethnic identity, and the performance of idealized and contradictory femininities.”

Reviews

“Bardsley moves past the reverent tone of the cultural gatekeeper to present maiko through television, art, cosplay, autobiographical texts, and more. This book will be appealing to college instructors for its discussions of race, gender, and nationality; yet a broad audience of readers will also relish its richness and humor.”
–Laura Miller, Ei’ichi Shibusawa-Seigo Arai Endowed Professor of Japanese Studies and Professor of History,University of Missouri-St. Louis

“This is the first book in English to focus on representations of the maiko, positioning these celebrated apprentice geisha at the fruitful intersection of gender studies, Japanese popular culture, research on childhood, and current debates over ‘Japaneseness’ and ‘tradition’ Maiko Masquerade is the rare scholarly study that is sophisticated, accessible, and a true delight to read.”
–William M. Tsutsui, author of Japanese Popular Culture and Globalization

Maiko Masquerade: Crafting Geisha Girlhood in Japan by Jan Bardsley is available from Amazon.com, Amazon.co.jp, and Amazon.co.uk.

About the Author:
Jan Bardsley is Professor Emerita of Asian and Middle Eastern Studies at The University of North Carolina at Chapel Hill. She is the author of Women and Democracy in Cold War Japan (SOAS Studies in Modern and Contemporary Japan, Bloomsbury, 2014) and The Bluestockings of Japan: New Women Fiction and Essays from Seitō, 1911-1916 (University of Michigan, Center for Japanese Studies, 2007) for which she was awarded the 2011 Hiratsuka Raichō Award by Japan Women’s University.

She is co-editor with Laura Miller of Manners and Mischief: Gender, Power, and Etiquette in Japan (University of California Press, 2011) and Bad Girls of Japan (Palgrave, 2005) and co-producer/director with Joanne Hershfield of the documentary, Women in Japan: Memories of the Past, Dreams for the Future (2002).

The recipient of several campus teaching awards, Bardsley regularly taught the course, “Geisha in History, Fiction, and Fantasy” at UNC-Chapel Hill from 2001 to 2018 and presented talks on geisha to university and community audiences across the U.S. In a recent blog post she relates how questions her students asked her during that course inspired her latest book.

Crafting Tatami in 21st Century Kyoto: An Interview with Mitsuru Yokoyama

November 26, 2018 By Michael Lambe

Today we have a special guest post from our old friend, Lisa Y. Allen.

Traditional Japanese Craftsmanship: Tatami in the 21st Century
An interview with award-winning tatami craftsman, Mitsuru Yokoyama

Tatami is a rush-covered straw mat used for flooring and dates back to the Nara Period when the word, tatami, first appeared in the Kojiki, the oldest Japanese book written in 712. Originally a luxury item available only to the wealthy, tatami were thin handmade mats that could be rolled up or placed on top of wooden flooring for the highest aristocrats and nobles to use as seating. In the Muromachi Period (1336–1573), nobles started to spread and install tatami to cover entire floors, and these rooms became known as zashiki, measured by the number of tatami mats that could be configured to fit in a room. In the 16th century, Sen no Rikyu, the founding tea master in Japan, began incorporating tatami in tea rooms, and by the 17th century tatami was common-place and could be found in everyday homes. Even to this day regardless of whether a floor is wooden, carpeted or tatami, rooms in Japan, are measured by tatami fit — for example, “a 6-mat room.” In recent years, however, the demand for tatami has decreased as young people opt for easy-to-clean, modern flooring. Similar to other traditional Japanese crafts, the tatami industry is having to find ways to evolve and adjust to a new market.

A little while ago Lisa Allen sat down for a talk with award-winning tatami craftsman, Mitsuru Yokoyama. Mr. Yokoyama creates tatami for temples and shrines in Kyoto as well as catering to an increasing demand for tatami abroad. He lives in Kyoto with his wife and children.

Lisa Allen: How did you become a tatami shokunin (craftsman)?

Mitsuru Yokoyama: I was living in Australia and working as a boat builder for luxury yachts and catamarans. I liked it, but I knew it wasn’t something I would do long term. It’s a very challenging job — very dusty and the fiberglass destroys your lungs. I am married to an Australian woman so finding something unique and fulfilling long term in Australia was important for me. I thought a lot about how I wanted to make my mark and knew I’d like to pursue something related to my Japanese culture.

I spent a long time thinking about Japan, particularly the architecture and traditional arts such as ikebana (art of flower arrangement) and chanoyu (tea ceremony) — which use tatami. I wanted to create something that no-one else could in Australia. I missed aspects of Japanese life, and after living overseas for a long time, I wanted people outside of Japan to experience this beautiful part of my culture. Tatami is more than mere flooring, it is relevant to many aspects of Japanese life. Still today, tatami is a central and intrinsic aspect of ceremonies and architecture.

Back in the day, tatami shops only accepted people whose parents were in the tatami industry; the business and skill were inherited. Everyone involved was the son of a tatami craftsman. These days, fewer people are interested in learning about the traditions of tatami-making. When I decided to return to Kyoto and rigorously study tatami in school and as an apprentice, I was lucky to meet one of the kumiai (heads) of the organization. He liked my ideas and take on tatami, and connected me with a fourth generation tatami shop that is over 100 years old, which helped me to enter the industry. I’ve been a tatami craftsman for 6 years now, working on a wide variety of projects.

Men making tatami — late 19th century — Image: Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.

LA: What makes a tatami well-made or beautiful?

MY: Tatami is made with igusa (rice straw). We buy the tatami omote (front side), which is the igusa prepared and woven by our partner farmers. The igusa isn’t from the regular rice paddies you see, we have special farms in Japan that must adhere to very strict growing regulations. It’s one of the reasons why Japanese materials are more expensive and look different to the comparable Chinese product. My job is to stitch the tatami omote and base together — it’s a bit more complicated than that but basically that’s what I do.

It’s difficult to tell once the tatami is installed exactly how well-made it is. It’s more obvious when you reverse the tatami and examine the little details, like the stitches by the heri (edges). Are the stitches small and regular? Are the tatami omote and base well connected? Is the extra igusa that is used on the heri straight?

For the temples and tokonoma, it’s clear when the tatami doesn’t look right. Part of kamon (crest) on the edge might be cut off or the dimensions of the room might look off. For a tea room if the tatami is not aligned well, the hearth (opening for the teapot) will look strange. Before we install in a tea room, we must understand the rules of tea ceremony and consult the tea masters.

LA: How long does it take to make a standard tatami? How many do you make per week?

MY: There are two ways to make tatami — by machine, or by hand. Nowadays, tatami is almost all machine made. My shop installs tatami for Urasenke, World Heritage Sites, temples and international clients, all of whom want the highest quality and most traditionally-made tatami, which is lucky as it means I get to make much of the tatami we make in-store by hand. Recently I hand-made tatami for Daitokuji Temple and Ise Shrine. Tatami in apartments and ryokans are more often than not made by machine. Machine made tatami is still beautiful but it’s like anything, something made by hand has a certain energy and shows off the attention to small details.

Ryōgen-in (龍源院), Daitoku-ji (大徳寺). Kyoto, Japan. Picture by 荻野 NAO之

On average, one handmade mat takes a full day to build and usually I have an assistant, while the machine made tatami is very quick and takes 30 minutes to complete. Therefore, handmade tatami is more expensive because it requires intensive labor and requires higher quality materials.

Last week I was busy and made almost 250 tatami. A ryokan (bed and breakfast) in Gion, Kyoto ordered 140 new machine-made tatami. Daitokuji Temple also ordered 12 handmade tatami. Tatami for temples generally have edges with kamon. The pattern has to be matched up exactly to create a flush circle where the mats join, which is tricky and takes time.

There are three sizes of tatami:
1. Kyo-ma (Kyoto size): 191cm x 95.5cm
2. Kanto-ma or Edo-ma (Tokyo size): 176cm x 88cm
3. Chyukyo-ma (Nagoya size): 182cm x 91cm

Six Kyoto tatami equal nearly eight Tokyo tatami. Since I’m based in Kyoto, I mainly make Kyoto sized tatami. However, there is a growing trend for apartment buildings in Kyoto to install Tokyo-sized tatami mats.

During the Edo Period, the bushi (samurai) produced a lot of tatami. In Tokyo they decided to make the tatami a smaller size, so a larger number of tatami could be sold to consumers, and they could make more money. At least that’s one of the theories behind why Tokyo-ma is smaller.

The cost of tatami varies dramatically across the board. The average-machine built tatami costs ¥20,000 (about $200), while a standard handmade tatami is ¥100,000 or $1000. Handmade mats can go right up into a few thousand dollars depending on the materials. If a client wants to use top quality materials and have personalized edges then the tatami has to be produced by hand, otherwise it’s not worth it as it wouldn’t do the materials justice.

Although people may think they see tatami everywhere, few realize how many tatami businesses are struggling to stay open. There is a lot of competition from China where they make cheaper, lesser-quality omote. It’s a shame because I am interested in more traditional spaces that use high-quality materials.

LA: Why do you think tatami is an important feature of Japanese design?

MY: Tatami is natural; it’s part of a natural cycle that has been around for generations. Japanese people are born and die on tatami. It’s part of our lifestyle. One time I installed tatami into a woman’s house, and she said, “I feel much more peaceful and relaxed.” The smell of brand new tatami is beautiful — it’s like being in nature. Tatami works as an environmental agent in the home. It absorbs carbon-monoxide and regulates the temperature in a home by sucking the moisture out of the air when it’s humid, and releasing moisture when the atmosphere is dry. Some people are surprised, but because tatami is made from natural materials, it’s friendly to people and children who are allergy sensitive. Tatami is an experience of the senses with the natural smell, the cushiony feel underfoot, and its wabi sabi nature. It’s perfect for meditation.

LA: What is the most obscure or unique tatami you have made?

MY: The longest tatami I ever made was for Ise Shrine. It was a huge mat, two and a half tatami in length (approximately 4 meters) and it took three of us to carry it.

I was also asked to showcase an innovative type of tatami in the Futaba Aoi Festival, an event presenting works traditional Kyoto craftspeople at Kamigamo Shrine. I’m lucky to know another craftsman who makes zori (Japanese sandals). Through experimentation, he’s created incredible black igusa that I’ve started to make tatami with. It’s unique because while there are other black tatami mats on the market, none are made with as deep and luxuriously black igusa. For the showcase, I received a special red robuchi (hearth frame) from a tea master and hand-made the black tatami for a tea room. I don’t know how and if tea masters will accept black tatami, but these types of new ideas are necessary for the industry to survive.

Black Tatami for Futaba Aoi Festival. Picture courtesy Mitsuru Yokoyama

Black Tatami featured in “ICHIMATSU” house by Fumiko Kaneko. Tatami by Mitsuru Yokoyama. Picture by 荻野 NAO之

LA: Who are your clients?

MY: We continue to build our domestic and overseas client base. We have a new client in Israel who loves Japanese culture and wanted tatami installed in her bedroom, so I flew out there twice, first to take the different measurements for the room and then to install the tatami. We work in the U.S., Canada, Myanmar, Hong Kong, Australia, and parts of Europe.

LA: What is the most important part of the tatami?

MY: A lot of people abroad think Japanese culture is about ninja and maiko (apprentice geisha), but I want to show people that the culture here is much more than that. Japanese people love the smell and feel of tatami. They feel comfortable and calm on tatami. It’s part of everyday life and it’s inherent to our culture.

It’s an honor and responsibility, and I feel excited when I make tatami, especially if it’s for a World Heritage Site. It’s so satisfying to install new tatami into a client’s room. Being open to new ideas is really important. Many people now like tatami in different styles; tatami with no edges or half-size tatami. It creates a minimalistic aesthetic. A good tatami craftsman is someone who pays attention to detail, is strong, careful, and open-minded to new ideas. For tatami to survive into my daughter’s generation, tatami has to appeal to young people and those overseas. That’s what I’m working on.

Mitsuru Yokoyama’s award from the Kyoto Tatami Makers Guild.

Yokoyama Tatami
Kyoto, Japan
Email: yokoyamatatami@gmail.com
Tel: +81 90 9285 5057 (International orders welcome!)

Lisa Yamashita Allen is a photographer, writer, and art nerd based in Washington, DC. She works closely with documentary filmmakers to build impact campaigns for their films. Most recently she was festival manager at Double Exposure Investigative Film Festival. Previously she lived in Kyoto where she was a contributor and editorial assistant at Kyoto Journal. Lisa can be found at the following websites:
http://lisayallen.com/
http://adventuresoflisayallen.tumblr.com/
https://www.instagram.com/reesasan/
https://twitter.com/lisayallen

An earlier version of this article was originally published on the ZenVita blog.

Maiko Dinner Show at Kyoto Restaurant Yasakadori Enraku

September 8, 2017 By Michael Lambe

Many thanks to Anna Kase for sending in the following information.

At Yasakadori Enraku Kyoto’s famous apprentice geisha will both entertain you and chat with you during your meal.

Much has been written about Kyoto’s maiko, the famous apprentice geisha (properly called geiko in Kyoto) who entertain wealthy guests with traditional music, dance, songs, games and good conversation. In the past it was quite difficult for overseas visitors to gain access to the traditional tea houses where maiko and geiko entertained guests. In fact even today local people cannot gain access to such establishments without a personal introduction from one of their regular guests. Partly because of this, the image of the maiko has acquired a kind of romantic mystique. However, in recent years a number of other venues in Kyoto have been offering tourists the opportunity to enjoy maiko entertainment and to talk with these young ladies over dinner. One such venue is the Higashiyama restaurant, Yasadori Enraku.

Yasakadori Enraku is a traditional restaurant a short walk from the heart of Kyoto’s Gion district.

Yasakadori Enraku began to hold special maiko dinner shows for foreign visitors this April. The aim is to help people understand better this important aspect of Kyoto culture. During the show guests will enjoy the following:

1. An introduction to maiko and geiko culture from an English speaking guide.
2. A traditional maiko dance performance.
3. Conversation with a maiko.
4. Traditional “ozashiki” games.
5. A photo session.
6. A full course meal of traditional Kyoto cuisine.
7. An all-you-can-drink free beverage service.

The dinner show at Yasakadori Enraku is very popular and so naturally you do need to book it in advance. Guests have a choice between two courses:

Main Tour Course (Group Tour)
Date: Every Tuesday & Thursday (and Sundays from January 2018)
Time: 18.00 – 20.00
Price: 19,000 yen per person
Location: Dining Hall

VIP Tour Course (Private Tour)
Date: Choose any date (but please make a reservation at least three days in advance)
Time: Any two hour period between 11:00 and 22.00
Price: 2 guests: 39,000 yen per person
3 guests: 35,000 yen per person
4 or more guests: 25,000 yen per person
Location: Private Room

Dinner includes obanzai side dishes, oden, sashimi, tempura, steak, rice, and dessert. A vegetarian menu is also available if you book it in advance.

Yasakadori Enraku is located in the Higashiyama district of Kyoto on Yasaka Dori Street and is not far from Kiyomizu Dera Temple, or the south gate of Kenninji Temple. Here is a MAP of the location. For more details please visit the official booking website: http://www.travel-kyoto-maiko.com/

Thanks to Yasakadori Enraku for all images used in this post.

Celebrate Saint Patrick’s Day with a Glass of Green Matcha Beer at Otani-Chaen Tea Shop, Inari!

March 15, 2017 By Michael Lambe

If you happen to be in Kyoto on Saint Patrick’s Day and are wondering how to celebrate (other than heading to an Irish Pub and getting hammered) – here’s something new.

This traditional Japanese tea shop in Inari has a novel suggestion for Ireland’s national day.

I was strolling through the Fushimi Inari area today when I happened to spy this sign.

The sign suggests celebrating Ireland’s most important holiday, with a glass of beer, flavored and colored with matcha tea. I was immediately intrigued. So I went home, changed into some suitably green attire, and cajoled Mewby into coming along with a promise of matcha ice cream.

The tea shop, Ujicha Otani-Chaen, is a 70-year old family business run by a friendly gentleman named Otani Hideyuki. Their main product is fine green tea from the nearby tea-growing fields of Uji. However, also on the menu are both matcha flavored beer, and matcha-flavored non-alcoholic beer. Guess which one I chose…

First Mr Otani mixes up a fresh bowl of matcha. Then he mixes it into the beer. That second part of the process though, is a trade secret, so we can’t show you that here.

And the result is indeed a very vivid emerald green!

There’s definitely a whiff of the shamrock about this glass… But how does it taste?

To my surprise – not bad at all! The beer used at the Otani-Chaen shop is the Japanese salaryman’s beer-of-choice: Asahi. Asahi has a crisp but subtle flavor, so the added bitterness of the matcha tea really does dominate. In other words, if you like matcha tea, you will probably enjoy this beer.

And they were good enough to serve it up with a couple of cubes of cheddar cheese which compliment it nicely.

Is that the green, white and gold that I see before me?

If you don’t like beer, you can always order a matcha flavored ice cream instead (like Mewby). I’m told it’s very good.

A glass of matcha beer at Otani-Chaen costs 500 yen. Alcohol-free beer is 380 yen. And a matcha ice cream is 280 yen. They also sell a range of fine teas, which make for very good local souvenirs. The shop is just a hop, skip and jump from Fushimi Inari Taisha Shrine. If you walk north on Honmachi Doori Street after exiting the shrine, you will see it on the west side of the street after about 150 meters. Here is a MAP of the location. The shop is open every day from 9.30 – 19.30.

All that remains to be said is – wherever you are in the world on March 17th – a very happy Saint Patrick’s Day to you!

Shichi-go-san: A special ritual for child health and longevity

November 3, 2015 By Michael Lambe

From Ian Ropke,

This month visitors will have a great chance to photograph children all dressed up in kimono, a special opportunity not to be missed. November is the month of the shichi-go-san (7-5-3) ritual for girls (seven and three years of age) and boys (five years of age).

Four generations celebrate shichi-go-san.

Shichi-Go-San is believed to have started in the Heian Period (794-1185). It was a ritual developed by court nobles to celebrate the passage of their children into middle childhood. In Japanese numerology, odd numbers are considered to be lucky.

In the Kamakura period (1185-1333), the fifteenth of what is now known as November was set as the date for this ceremony.

The samurai class also found the ritual beneficial for their children. Samurai children, according to the custom of the warrior class, had their heads shaven until they were three years old. Samurai boys were allowed to wear their first hakama (samurai formal wear) at age five. And samurai girls from age seven onwards were allowed to wear obi sashes around their kimono instead of simple cords.

By the Meiji period (1868-1912), the shichi-go-san tradition was firmly part of the annual traditional practices observed by all classes. By this time, the practice also included visiting a shrine to have the local deities keep the children free of bad spirits and to bless them with a long, healthy life.

Today, the tradition has changed little. Three-year-old girls and five-year-old boys often wear their first formal Japanese clothing, kimono for girls and hakama for boys, at a shichi-go-san ceremony. Three-year-old girls differ from the seven-year-olds in that they usually wear hifu padded vest over their kimono.

Chitoseame or “thousand year candy” is something that children also look forward to in November, as part of the shichi-go-san ritual. These long, thin candies, presented bags decorated with a crane and a turtle, symbols of longevity, are colored red and white (the colors of celebration in Japan). Eating the candy is said to ensure a child’s healthy growth and a long life.

The best shrines in Kyoto to see this beautiful and colorful ceremony are Heian Shrine, Shimogamo Shrine, and Kamigamo Shrine. Though the 15th is still considered the actual correct day of the event, modern times have resulted in both weekends before and after the 15th as being the most popular. This month, the 14th and 15th and the 21st and 22nd will be the best time to experience shichi-go-san and take some of the cutest and most memorable pictures you will ever see.

Text and image by Ian Ropke. Ian Ropke is the author of the Historical Dictionary of Osaka and Kyoto, and director of Your Japan Private Tours. You can read his previous articles for Deep Kyoto here.

What is “Deep Kyoto”? ~ Some thoughts from Lonny Chick

September 25, 2015 By Michael Lambe

In recent months the Deep Kyoto Group on Facebook has really taken on a life of its own, with members sharing events, photos, info, opinions and even fun little quizzes! It really does feel like it has naturally grown into a vibrant community and a center of friendly discussion. One of our frequent contributors is Lonny Chick, who is perhaps better known on Twitter and Flickr as Rekishi no Tabi, and his photographs and posts on historical matters are always fascinating. A recent discussion about the kind of content we would like to see more of in our group, inspired Lonny to write a wonderful meditation on what “deep Kyoto” means to him personally. It was so beautifully written and so full of heartfelt love for this city that I thought it deserved a wider audience, and I am very glad to say he has given me permission to reproduce it here.

* * *

What is “Deep Kyoto”? What does it mean to you?

I don’t mean this in terms of the Facebook Group, which is a stellar community and I do truly enjoy the posts, but what is “deep Kyoto”?

I ask myself this question a lot, as Kyoto is a very special place that resonates deep in me. It is a destination that allows me to forget the burdens of work and daily life and all the associated stress that really sometimes drags me down both mentally and physically. It is in Kyoto that I can find an inner peace, refresh myself and find the resolve to re-don my samurai salaryman armor to fight in the workplace trenches another day.

So what then is my “Deep Kyoto”? I think the best way to answer that is with a list. In no particular order, here is a portion of that list.

A Quiet Sunday in Kyoto by Lonny Chick — A Quiet Sunday in Kyoto © Lonny Chick – Click to view original.

1. It’s the feeling of joy to see the owners and senior staff of one of my favorite obanzai restaurants, who go out of their way to make me and my wife feel special. It is all about the omotenashi (hospitality) and the relationship that has developed over a decade with these people. It is the fact that the okami-san eagerly WANTS to talk about Japanese history and traditional culture with me. It’s the special sake that they bring out for me to sample. It is the box of chirimenjako or special Kyoto pickles that the okami-san presses into our hands to take back to Tokyo. It’s the master preparing extra special goodies for us, unsolicited. Again, Kyoto-style omotenashi really goes a long way with me.

2. It is the taste of botan nabe (wild boar hot pot) cooked in an iribancha tea-based broth on a cold winter’s night. It’s pure Kyoto and pure delight!

3. It is the smile of recognition and greeting one gets when seeing a geiko or maiko on the street who actually remembers you.

4. It is the sound of a shamisen accompanied by a singer emitting from the open second story machiya window on a hot and sultry summer’s night.

5. It’s running into Kyotoite friends on the street at night by pure chance who are on their way to a bar and drag you along, only to find out you will be drinking with a stunning geiko.

6. It is the sound of “kon-chiki-chin” music of the Gion Matsuri during Yoi-yoiyama up through the big parade every July 17. It just helps set the mood.

7. It is the feeling of being revitalized while walking through the Kibune Shrine complex, especially after a rainfall, or during a light drizzle. Water and the dragon god go hand in hand.

8. It is the feeling of deep relaxation and satisfaction one gets when sitting on the veranda at Entokuin or Eikandō, nearly all alone and undisturbed, staring out into the garden and thinking of absolutely nothing for about an hour.

9. It’s the subtle smile and sideways glance one gets from a favorite Buddhist statue.

10. It’s the conversation one has about “what constitutes the best cup of tea” with an accomplished tea master while sipping whisky in a small Gion bar run by a charming semi-retired geiko, who also has a treasure chest full of great stories.

11. It is being told by the owner of an ancient restaurant to wait until all the dinner customers are gone so you can have nearly a free reign to go and photograph just about every nook and cranny of the historic building.

12. It’s being told by the owner of a restaurant, which you are visiting for the first time, to wait until the last lunch customer is gone so he can show you how hamo is prepared.

13. It is just browsing in an antique store and talking to the owner about the history of a piece when he suddenly invites you to an impromptu tea ceremony in his shop using 15th century utensils.

Akai-san Prepares a Bowl of Matcha © Lonny Chick. Click for original image, and story!

14. It is the wonderful old architecture that co-exists with some interesting new structures.

15. It is a stroll down Kiyamachi at night, holding hands with your loved one, admiring the sakura and soaking up the history of the area.

16. It is stopping to dally around the Tatsumibashi bridge and shrine around midnight, while on the way back to your hotel, just to admire a sudden snowfall and watch the area slowly get blanketed in white.

17. It is the old couple who owns a kissaten, set in an old machiya, who invites you to come back tomorrow to just hang out and watch the carrying of the mikoshi (portable shrine) from their place during the Gion Matsuri and to get tested on Kyoto history knowledge via the Kyoto Kentei books.

18. It’s the sound of thundering hooves and the sight of a mounted archer whiz pass you while firing arrows at targets on the grounds of the Shimogamo Shrine during the Aoi Matsuri.

19. It’s just walking up and down the narrow walkway in the Pontochō at dusk, trying to count the number of languages you hear spoken, catching a glimpse of a geiko or maiko, and wondering how the area must have looked during the Bakumatsu period. Pontochō is magical at dusk.

20. It’s the sudden sense of being overcome with awe and wonderment when you are led upstairs to the Sumiya’s second floor to see the beautiful settings where courtesans and geiko mingled with Edo period literati and elites.

This list can go on and on, but this is just a part of my “deep Kyoto”.

Exploring Fushimi on Inside Kyoto

May 27, 2015 By Michael Lambe

My latest article for Inside Kyoto is an exploration of the backstreets and waterways of Fushimi – Kyoto’s famed sake making district. Included in the article are places to taste sake, a boating cruise, a visit to the Teradaya Inn (where Sakamoto Ryoma narrowly escaped assassination), and a Buddhist temple dedicated to a Hindu river deity that happens to have a Hidden Christian lantern!

Here’s a taste,

Fushimi. Say it aloud and the very sound of those soft syllables seems refreshing. This is not inappropriate. The name originally meant “underground water”, and Fushimi is famous for its springs. The water from these underground sources is soft, mellow and is held to be particularly delicious – perfect for sake production. Many sake breweries thrive in this area and Fushimi sake is renowned as the perfect complement for Kyoto cuisine. Historically the waters of Fushimi also made this area an important hub of transport and trade. Here the confluence of three rivers, the Uji, Katsura and Kamo, and an intricate network of canals were put to good use, sending rice, sake and other goods between the cities of Kyoto and Osaka…

Omuro Sakura at Ninna-ji Temple

April 16, 2015 By Michael Lambe

This year’s cherry blossom season was basically a washout, with many hanami parties cancelled because of the incessant rain. Ninna-ji Temple in western Kyoto, has a special variety of cherry blossom that blooms later than most, but when it was at its best last week, the rain was still coming down. Mewby and I resolved to defy the weather and visit the temple anyway. At least, I thought, the rain will keep the bulk of tourists away. We’ll probably have the place to ourselves. I couldn’t have been more wrong. Even in the rain, Ninna-ji Temple is very popular.

Perhaps it is because Ninna-ji is on UNESCO’s World Heritage list as one of the “Historic Monuments of Ancient Kyoto”? It is certainly ancient. Ninna-ji Temple was first built in 888.

Like many Kyoto temples though, the original buildings of Ninna-ji were long ago destroyed by fire. In Ninna-ji’s case the temple was destroyed during the conflict of the Ōnin War in 1467. The majority of the current buildings date from a 17th century restoration.

Most striking of all must be the five storied pagoda…

But the grounds are extensive and there is much to see here.

The Kyōzō (経蔵) or sutra repository had a sign outside describing many treasured wall paintings and Buddhist statuary, yet the building itself was completely locked up. There was however a tiny hole in the wooden walls through which we took a little peak and saw…

The main attraction though was Ninna-ji’s famous orchard of 200 dwarf cherry trees. These date from the early Edo period, so people have been enjoying cherry blossoms here for about 400 years!

This orchard was designated as a national scenic beauty spot in 1924.

Even in the rain, cherry blossoms can gladden the heart!

We enjoyed our trip to Ninna-ji and will certainly go again – but hopefully in better weather!

You can find out more about Ninna-ji Temple at their multi-lingual website here: http://www.ninnaji.or.jp/multilingual_info.html It is also possible to stay at Ninna-ji overnight. You can find out about that here: https://ninnaji.wordpress.com/2011/05/21/staying-overnight-at-ninna-ji/

Directions:

Getting to Ninna-ji is little complicated but much of the route is quite scenic and pleasant.

To get to Ninna-ji from Kyoto station, take the JR subway to Karasuma-Oike Station and change to the Tozai line. Go as far as Uzumasa-Tenjingawa/Randen-Tenjingawa (it has two names), and then change to the Keifuku Dentetsu-Arashiyama line. Take that line as far as Katabiranotsuji and then take the Keifuku Dentetsu-Kitano Line as far as Omuro-Ninna-ji. That’s three changes over 46 minutes for 610 yen.

To get to Ninna-ji from the town center take the Hankyu line from Kawaramachi to Sai, then change to the Keifuku Dentetsu-Arashiyama line. Take that line as far as Katabiranotsuji and then take the Keifuku Dentetsu-Kitano Line as far as Omuro-Ninna-ji. That’s two changes over 45 minutes for 360 yen.

Check for details of train times at: http://www.jorudan.co.jp/english/

Fire Ceremony & Kyōgen Performance at Seiryō-ji on March 15th

March 9, 2015 By Michael Lambe

Seiryō-ji temple grounds with festival stalls & giant torches ready to be lit!

Many temples hold special ceremonies on March 15th to commemorate the Buddha’s death, or passing into Nirvana (Nehan 涅槃 in Japanese). One of the more spectacular and eventful commemorations is at Seiryō-ji temple in Saga. There are a number of reasons why you might want to attend this particular event.

On this day only, entry to the temple interior is free.
It has a real local festival feel with food stalls set up all about the temple grounds.
Traditional Kyōgen comedy performances are held throughout the day.
There is a huge fire festival in the evening.

Mewby and I visited Seiryō-ji for last year’s Nehan-e (涅槃会）, so here are some pictures from our visit.

Seiryō-ji Temple

Naturally we took advantage of the free entry to the temple interior and gardens. Normally this would cost us 400 yen each, but on this day alone there is no charge!

Many Buddhist artworks of incredible detail are on display inside the temple. In contrast the gardens provide space for peaceful reverie.

Take a look around yourself!

Click on this image for a 360 degree rotational view.

Kyōgen Comedies

Two monks carry in a "living" statue of the Buddha. — Actors portray two monks carrying in a “living” statue of the Buddha.

Saga Kyōgen is a form of medieval mummer’s play, performed completely without words and so very easy to understand, even for non-Japanese. Accompanied by drum and gong, the masked performers, use exaggerated miming to convey very simple plots. The play we saw, concerned a visit to Seiryō-ji temple by a beautiful mother and her less than beautiful daughter.

The "homely" daughter is on the left and the mother on the right. — The “homely” daughter is on the left and the mother on the right.

So beautiful is the mother that monks become overly excited in her presence and welcome her warmly. Naturally, the plainer daughter gets a colder reception. Not very subtle I know, but the play does contain some religious satire. Seiryō-ji is famous for its rarely displayed sandalwood statue of the Buddha. This statue is held to be so sacred it is termed a “living Buddha”. In the Kyōgen comedy, the Buddha literally comes to life, turning away from the plain-faced daughter, and actually running off with her mother instead!

The Buddha statue running off with a beautiful lady as a temple monk tries to stop him.

Naturally, both the daughter and the monks are very upset by this, but not to worry. There is a Japanese expression, 蓼食う虫も好き好き, or “some prefer nettles”, which means that beauty is very much in the eye of each beholder – and so the homely daughter also finds true love in the end!

All's well that ends well for the homely daughter... — All’s well that ends well for the homely daughter…

The Fire Ceremony

Saga no hashira taimatsu, (嵯峨の柱松明) is part of a religious ceremony commemorating Buddha’s passing from this world into Nirvana. The ceremony begins around 8pm and the two giant torches are set alight at 8.30. You need to get there early though, if you want a decent view.

The pine torches quickly catch fire... — The pine torches quickly catch fire…

I’ve read that the condition of the fire can be used to divine the fortunes of the coming year.

Fire fighters are on hand to prevent the fire from getting out of hand... — Fire fighters are on hand to prevent the fire from getting out of hand…

As the fires blaze, monks from the temple parade around bearing lanterns and chanting sutras.

The fires really do reach quite high and send their sparks up to the heavens.

My pictures don’t really do the experience justice, so take a look for yourself!

Click on this image for 360 degree rotational view.

Details and directions:

Kyōgen performances are held in the afternoon at 15.30, 17.00 and 18.30. The temple interior and gardens are open from 9:00 until 16:00. The fires are lit between 20.00 and 20.30. To get there, take Kyoto Bus #71, or #72, and get off at Saga Shakado-mae. The temple can also be reached by taking a 15 minute walk from JR Saga-Arashiyam Station. Here is a MAP.

Hina Matsuri ~ A Magical Doll Festival

March 3, 2015 By Michael Lambe

The first tier of a Hina doll display bears the Emperor (男雛 O-bina) and Empress (女雛 Me-bina).

Hina Matsuri (雛祭り) is a Doll Festival held every year on March 3rd. It is dedicated to the health and happiness of young girls in each family’s household. Though I have lived in Japan for many years, family celebrations like Hina Matsuri, have never really meant much to me – until now. Now that I am marrying into a Japanese family, I get to take part and experience these celebrations first hand. So a few days ago, I helped set up the hina dan (雛壇), the platform on which the dolls are displayed. As I took the various dolls out of their boxes and arranged them in the correct order with their various accoutrements I found myself fascinated. Much as a Western family might enjoy decorating a tree together for Christmas, this too is a delightful custom.

a child's eye view — Viewing the Hina Doll display from a child’s perspective, it truly is a thing of wonder.

The Hina doll festival as we know it today, was developed in the mid-Edo period, but it has its roots in something much older. In ancient times people believed that doll-like effigies had magical powers and could take on a person’s misfortune and disease and carry it away. Dolls would be placed beneath a child’s pillow for this purpose and then in the spring, the dolls would be put in straw boats and set afloat on a river. As the dolls sailed off toward the sea, so too would bad luck and illness be carried away. Apparently, this custom is still practiced in some parts of the country…

The Emperor bears a ritual baton (笏 shaku) representing his authority.

Today though the typical Hina Doll display depicts a Heian era court and is symbolic of a well ordered family. Presumably the Emperor and Empress at the top represent mom and dad.

On the second tier are three court ladies, san-nin kanjo (三人官女). They are holding equipment for serving sake.

A lady bearing sake:

Below the ladies are five musicians, gonin bayashi (五人囃子), bearing an assortment of drums and flutes.

This young fellow has no instrument because he is the singer, or utaikata (謡い方).

Below the musicians are two retainers bearing swords, bows and arrows. The Minister of the Left (左大臣 Sadaijin) is a venerable old man.

The Minister of the Right (右大臣 Udaijin) is much younger.

On the fifth tier of the display are two trees: an orange tree (右近の橘 ukon no tachibana) and a cherry tree (左近の桜 sakon no sakura). And between these trees are three intriguing figures: the three servants or sannin jōgo 三人上戸. 上戸　is usually translated as “drunk” but why these three honest workers should be drunk I have no idea. They are named the crying drunk, nakijōgo (泣き上戸):

The laughing drunk (waraijōgo (笑い上戸):

And the angry drunk, okorijōgo (怒り上戸):

On the sixth tier a variety of laquered furniture, representing a young girl’s dowry is displayed. Among these treasures is a miniature tea ceremony set.

The final tier carries vehicles used when carrying a bride away from the imperial palace, such as a palanquin:

And an ox-drawn carriage. In Heian times, an ox-drawn carriage was the favored mode of transport for the nobility.

And there we have it: seven tiers and fifteen dolls (the numbers are said to be auspicious) that give us a miniaturised glimpse at how Japanese view their own cultural roots. A set like this is too big for most houses these days, so I feel very lucky to see one for myself. If you would like to see some traditional dolls though, the Kyoto National Museum has an ongoing “Hina Matsuri & Japanese Dolls” exhibition throughout March which may well be worth a look. Our display must be entirely cleared away though, soon after Hina Matsuri is over, for folklore would have it that leaving the dolls out too long, will delay your daughter’s marriage. I fully intend to marry the daughter of this household and so will be happy to help pack it all away. Until then however…

Let’s light the paper lamps!
And decorate with flowers and peach blossom!
Five musicians play with pipe and drum!
Today is so much fun – Hina Matsuri!

You can read the rest of the song lyrics for Ureshii Hina Matsuri in Japanese and English here: http://thejapanesepage.com/audio/hina_matsuri

Plum Blossom at the Imperial Palace Park

February 27, 2015 By Michael Lambe

On my way home from Kitano Tenmangu Shrine the other day, I stopped by the Imperial Palace Park to enjoy the plum blossom. The trees at Kitano Tenmangu are probably more famous, but the shrine grounds were also a lot more crowded. Though each tree in the park had its admirers, there was really only a small scattering of people around, and so I could enjoy the blooms in a more relaxed and pleasant manner.

Every tree has its admirers... — Every tree has its admirers…

And there is something very calming about viewing plum blossom.

The scent of plum blossom is subtle, not strong, but deep like wine and very rich. I love to stick my nose in a spray and take a big sniff!

梅が香に追い戻さるるさむさかな [松尾芭蕉]

ume ga ka ni
oimodosaruru
samusa kana
~ Matsuo Bashō

plum blossom scent –
this chases off
the cold!
( tr. Michael Lambe)

梅花祭 ~ Plum Blossom & Geisha at Kitano Tenmangu Shrine

February 25, 2015 By Michael Lambe

Kitano Tenmangu Shrine has a huge flea market on the 25th of every month, but on the 25th of February this coincides with the peak period for plum blossom viewing. Naturally this calls for a special celebration so every year they hold a special outdoor tea ceremony with geiko and maiko (Kyoto’s geisha) serving the tea. I went along today and found the place packed out with people. Despite the crowds though I could still enjoy the blossom.

There was a long queue of people lining up for tea with the geisha. For 1,500 yen you can get matcha tea and some kind of traditional Japanese sweet…

I’m not a big fan of matcha tea, so I opted to peek over the fence with these guys instead.

Unlike all the other fellows straining for that perfect maiko shot, I did not have a massive telephoto lens, and so I didn’t really think I’d be able to get a decent picture. But one lady there today, happened to be taller than all the other maiko.

She was quite literally head and shoulders above the rest.

Plum blossom at Kitano Tenmangu will be viewable until mid-March. To get there take Kyoto City Bus #50, and get off at Kitano Tenmangu-mae. The shrine is open from 9:00~17:00 (7:00～21:00 on the 25th for the flea market). Find out more at the Kitano Tenmangu website: www.kitanotenmangu.or.jp/

Sumi Workshop Article in Kansai Scene

February 11, 2015 By Michael Lambe

This month, Kansai Scene have been good enough to publish an article I wrote about attending Christine Flint Sato’s sumi ink workshop. In her workshops Christine teaches neither calligraphy nor sumi-e ink painting, but breaks down the techniques used in both of these arts to their simplest and most abstract forms. With a uniquely meditative teaching method she helps her students gain familiarity with the materials and having gained confidence first with essential techniques they can then go on to tackle more advanced designs. Here’s a clip from the article:

Our lesson did not begin with Chinese characters. “I don’t intend to teach shodō calligraphy, or sumi-e in this workshop, ” Christine said, “It’s more of an encounter with sumi, to see how it reacts with the page…” Then we did stretches, for Christine says that relaxation is key. Having loosened up, we began with the simplest of abstractions: the line. Take a breath, she told us and then as you breath out, let the brush move across the page: “The breath tells us how long to draw the line.” And so the whole room fell into a quiet meditative focus, as each student drew repeated lines across the page. Christine moved among us, offering tips: “Don’t grip the brush too tightly. Relax with the ink.”

Next, we moved onto circles, then squares, then triangles and dots. By focusing on these simple abstract shapes, we were able to familiarize ourselves with the spring of the brush held in different positions and with different pressures and speeds. And when we had fully practiced these basic shapes in different shades of ink, we were given free rein to play with more complex designs and combinations. All the while we were encouraged: let the breath be the brush’s guide. Christine told me that this method of using the breath was something she intuitively came up with. “I wanted to relax into it and get away from the pressure of doing it right”.

To read the full article you can pick up a free copy of Kansai Scene at any of the locations listed here: Kansai Scene Pick-up Points

Or you can wait till next month when the full magazine will be available as a downloadable pdf: Kansai Scene Back Issues

To find out more about Christine Flint Sato visit her website here: http://www.sumiwork.com/

Maiko at Yasaka Jinja

February 3, 2015 By Michael Lambe

Maiko, Kyoto’s apprentice geisha, at Yasaka Jinja today celebrating Setsubun.

Both the maiko and the crowds were awfully excited about those lucky beans... — Both the maiko and the crowds were awfully excited about those lucky beans…

Setsubun is celebrated at Yasaka Jinja every year in both the 2nd and 3rd of February, though the festival proper is on the 3rd. To learn more about the traditions associated with Setsubun read John Dougill’s marvellous blog: Green Shinto.