Japan Italy: Takahiro Iwasaki
[:it]
Takahiro Iwasaki
Photo credits: Jean-Pierre Dalbéra flickr.com
Questa settimana vi parleremo dell'artista che proprio quest'anno ha rappresentato il Padiglione del Giappone alla Biennale di Venezia: Takahiro Iwasaki.
Takahiro Iwasaki è nato e cresciuto a Hiroshima, dove ha frequentato l'Università conseguendo una Laurea in Arte nel 1998. Ha successivamente conseguito un Master in arte nel 2001 e un Dottorato di Filosofia nel 2003.
Parliamo di un artista rinomato a livello internazionale per la sua unicità e riconoscibilità a colpo d'occhio. Le sue opere sono state esposte in tutto il mondo, fra cui: il Museo d'arte moderna di Seul, il Palais de Tokyo a Parigi, il Museo d'arte moderna di Mosca e il Museo d'arte moderna e contemporanea di Trento e Rovereto.
Nel 2005 ha inoltre ricevuto un Master in Fine Arts dall’ Edinburgh College of Art nel Regno Unito.
La Poetica e le Opere
Photo credits: Jean Bosco SIBOMANA flickr.com
Takahiro Iwasaki lavora principalmente sui "cambi di materia" e i "cambi di contesto". È infatti conosciuto per i lavori in cui trasforma materiali apparentemente banali ed oggetti di scarto, in strabilianti sculture realizzate con grande precisione e meticolosità. Trasformando oggetti e materiali comuni, che noi tutti utilizziamo quotidianamente, e reinterpretandoli dando loro una seconda vita, ci permette di guardarli sotto un'altra luce.
Il rapporto profondo e viscerale con la propria città, lo ha spinto a creare una poetica introspettiva e riflessiva. Hiroshima infatti, distrutta in un primo momento dai bombardamenti atomici della seconda guerra mondiale, e poi ricostruita in seguito, ha ispirato l'artista nelle scelte della propria cifra comunicativa e stilistica.
Ma non solo, per Iwasaki è molto importante anche il rapporto con la natura, che insieme alla propria città rappresenta una delle maggiori fonti di ispirazione.
Attraverso la sua infanzia ad Hiroshima, Iwasaki è cresciuto con il riflesso della sua memoria inscritto nella propria mente. Ciò ci ricorda che il momento della riflessione potrebbe essere interpretato anche come la sua coscienza di "tempo che passa".
La serie di opere più conosciuta di Iwasaki è Out of Disorder, che riproduce strutture architettoniche utilizzando materiali insoliti come capelli, polvere, fili, asciugamani e spazzolini da denti.
Tra le strutture ricostruite troviamo la ruota panoramica di Coney Island, il Cosmoworld di Yokohama e anche aree portuali e raffinerie di petrolio.
La serie include anche mappe scolpite su rotoli di nastro adesivo, fra cui una riproduzione del Victoria Peak di Hong Kong.
Le opere sono state esposte in mostra alla galleria Cornerhouse di Manchester nel 2011, alla Biennale di Arte Asiatica presso il National Taiwan Museum of Fine Arts nel 2013 e al Kawasaki City Museum nel 2014.
Un'altra serie di opere di Iwasaki è composta da templi scolpiti in legno di cipresso giapponese. Una versione speculare del tempio è attaccata sotto di esso come fosse un riflesso sull'acqua, e l'intera scultura è sospesa a mezz'aria.
Photo credits: Gerard Lemos flickr.com
La prima opera di questo tipo, Reflection Model, è stata esposta alla Gallery Natsuka di Tokyo nel 2001.
Della suddetta opera, nel 2012 Iwasaki ha poi completato un modello nuovo e più complesso, che rappresenta fedelmente il Byōdō-in vicino a Kyoto. Quest’ultimo è stato esposto alla Triennale Asia-Pacifico di Arte Contemporanea organizzata dalla Queensland Art Gallery in Australia.
Nel settembre dello stesso anno Iwasaki ha disposto numerose sculture microscopiche, fra cui una Torre Eiffel incompleta, nello spazio espositivo del Palais de Tokyo a Parigi.
Nel 2014 Iwasaki ha creato due opere site-specific per la mostra Perduti nel paesaggio del Museo d'arte moderna e contemporanea di Trento. Le due opere, costruite con capelli e polvere, rappresentano la cupola del museo e una torre, e sono visibili tramite telescopi.
Padiglione del Giappone - Biennale d’Arte di Venezia 2017
Per la 57° Biennale d’Arte di Venezia il Padiglione giapponese ospita la sua mostra Turned Upside Down, It’s a Forest (Capovolta, è una foresta), e il cui titolo si ispira proprio a Venezia.
Nel complesso, l’opera si caratterizza per l’inclusione di elementi che sebbene non siano fisicamente presenti, rappresentano la parte principale dell’identità dell’opera. Come ad esempio l’acqua nella serie Reflection Model, per il costante contrasto tra ordine e disordine e per un profondo interesse per le tematiche ecologiche e sociali.
La mostra quindi presenta sette fra opere scultoree ed installazioni, alcune delle quali Iwasaki ha specificatamente pensato per la Biennale 2017.
Photo credits: Gerard Lemos flickr.com
La serie Reflection Models è formata da grandi modelli architettonici di templi giapponesi esistenti, costruiti come se fossero riflessi dallo specchio d’acqua su cui gli edifici originali effettivamente si affacciano. Ciò richiama l'affascinante dualismo che unisce realtà e ambiguità.
Per enfatizzare ulteriormente questo concetto i modelli sono realizzati con lo stesso legno, il cipresso giapponese, utilizzato per gli edifici reali.
Infine, l’opera Flow, che è parte della serie Tectonic Models, allude all’instabilità della crosta terreste, e più in generale, dei nostri sistemi sociali. L’opera è costituita da una pila di libri scientifici appoggiati precariamente su un vecchio tavolino che l’artista ha trovato a Venezia, sistemati in modo da rimandare all’idea di un edificio in costruzione.
Photo credits: Annette Dubois flickr.com
[:en]
Takahiro Iwasaki
Photo credits: Jean-Pierre Dalbéra flickr.com
This week we will talk about the artist who just this year represented the Japanese pavilion at the Venice Biennale: Takahiro Iwasaki.
Takahiro Iwasaki was born and grew up in Hiroshima, where he attended University obtaining a Bachelor of Arts in 1998. He later obtained a Master of Arts in 2001 and a Doctorate of Philosophy in 2003.
We are talking about an artist renowned internationally for his uniqueness and recognizability at a glance. His works have been exhibited all over the world, including: the Museum of Modern Art in Seoul, the Palais de Tokyo in Paris, the Museum of Modern Art in Moscow and the Museum of Modern and Contemporary Art in Trento and Rovereto.
In 2005 he also obtained a Master of Fine Arts from the Edinburgh College of Art in the UK.
Poetics and Works
Photo credits: Jean Bosco SIBOMANA flickr.com
Takahiro Iwasaki mainly focuses on "material changes" and "context changes". In fact, he is known for his works in which he transforms seemingly banal materials and waste products into stunning sculptures realised with great precision and meticulousness. By transforming common objects and materials that we all use every day, and reinterpreting them by giving them a second life, he allows us to look at them in a different light.
The deep and indissoluble relation with his own city prompted him to create an introspective and reflective poetics. Hiroshima, first destroyed by the atomic bomb during the Second World War, and subsequently rebuilt, inspired the artist in the choices of his own communicative and artistic style. But not only this, for Iwasaki the relation with nature is also very important, and together with his city it is one of the greatest sources of inspiration.
Having spent his childhood in Hiroshima, Iwasaki grew up with the reflection of its memory inscribed in his mind. This reminds us that the moment of reflection could also be interpreted as his awareness of "the passing time".
Iwasaki’s most popular series is Out of Disorder, which reproduces architectural structures using unusual materials such as hair, dust, wires, towels, and toothbrushes.
Among the reconstructed structures there are the panoramic wheel of Coney Island, the Cosmoworld of Yokohama and also port areas and oil refineries.
The series also includes maps carved on rolls of duct tape, including a reproduction of the Victoria Peak in Hong Kong.
These works were exhibited at the Cornerhouse gallery in Manchester in 2011, during the Asian Art Biennale at the National Taiwan Museum of Fine Arts in 2013 and at the Kawasaki City Museum in 2014.
Another series of Iwasaki is represented by temples carved in Japanese cypress wood. A specular version of the temple is attached underneath as if it is reflected on water, and the whole sculpture is suspended in mid air.
Photo credits: Gerard Lemos flickr.com
The first work of this kind, Reflection Model, was exhibited at the Tokyo Natsuka Gallery in 2001.
Of the aforementioned work, in 2012, Iwasaki completed a new and more complex model, which faithfully represents the Byōdō-in near Kyoto. The latter was exhibited at the Asia-Pacific Triennial of Contemporary Art organized by the Queensland Art Gallery in Australia.
In September of the same year, in the exhibition space of the Palais de Tokyo in Paris, Iwasaki arranged numerous microscopic sculptures including an incomplete Eiffel Tower.
In 2014 Iwasaki created two site-specific works for the exhibition Perduti nel paesaggio (Lost in Landscape) of the Museum of Modern and Contemporary Art in Trento. The two works, built with hair and dust, represent the cupola of the museum and a tower, and they are visible through the use of a telescope.
Japan Pavilion - Venice Biennale of Arts 2017
For the 57th Venice Biennale in Venice, the Japanese Pavilion hosts his exhibition called Turned Upside Down, It's a Forest, and whose title is inspired by Venice itself.
As a whole, this work is characterized by the inclusion of elements that, although not physically present, represent the main part of the work's identity. For example water in the Reflection Model series, for the constant contrast between order and disorder and for a profound interest in ecological and social issues.
Therefore the exhibition presents seven works among sculptures and installations, some of which were specifically designed by Iwasaki for the 2017 Bienniale.
Photo credits: Gerard Lemos flickr.com
The series Reflection Models consists of large architectural models of existing Japanese temples realised as if they were reflecting on the water pond on which the original buildings were actually located. This recalls the fascinating dualism that unites reality and ambiguity.
To further emphasize this concept the models are made with the same wood, Japanese cypress, used for the real life buildings.
Finally, the work Flow, which is part of the series Tectonic Models, alludes to the instability of the earth's crust, and more generally, of our social systems. The work is made up of a stack of scientific books precariously resting on an small, old table that the artist found in Venice, arranged so as to refer to the idea of a building under construction.
Photo credits: Annette Dubois flickr.com
[:ja]
Takahiro Iwasaki
Photo credits: Jean-Pierre Dalbéra flickr.com
This week we will talk about the artist who just this year represented the Japanese pavilion at the Venice Biennale: Takahiro Iwasaki.
Takahiro Iwasaki was born and grew up in Hiroshima, where he attended University obtaining a Bachelor of Arts in 1998. He later obtained a Master of Arts in 2001 and a Doctorate of Philosophy in 2003.
We are talking about an artist renowned internationally for his uniqueness and recognizability at a glance. His works have been exhibited all over the world, including: the Museum of Modern Art in Seoul, the Palais de Tokyo in Paris, the Museum of Modern Art in Moscow and the Museum of Modern and Contemporary Art in Trento and Rovereto.
In 2005 he also obtained a Master of Fine Arts from the Edinburgh College of Art in the UK.
Poetics and Works
Photo credits: Jean Bosco SIBOMANA flickr.com
Takahiro Iwasaki mainly focuses on "material changes" and "context changes". In fact, he is known for his works in which he transforms seemingly banal materials and waste products into stunning sculptures realised with great precision and meticulousness. By transforming common objects and materials that we all use every day, and reinterpreting them by giving them a second life, he allows us to look at them in a different light.
The deep and indissoluble relation with his own city prompted him to create an introspective and reflective poetics. Hiroshima, first destroyed by the atomic bomb during the Second World War, and subsequently rebuilt, inspired the artist in the choices of his own communicative and artistic style. But not only this, for Iwasaki the relation with nature is also very important, and together with his city it is one of the greatest sources of inspiration.
Having spent his childhood in Hiroshima, Iwasaki grew up with the reflection of its memory inscribed in his mind. This reminds us that the moment of reflection could also be interpreted as his awareness of "the passing time".
Iwasaki’s most popular series is Out of Disorder, which reproduces architectural structures using unusual materials such as hair, dust, wires, towels, and toothbrushes.
Among the reconstructed structures there are the panoramic wheel of Coney Island, the Cosmoworld of Yokohama and also port areas and oil refineries.
The series also includes maps carved on rolls of duct tape, including a reproduction of the Victoria Peak in Hong Kong.
These works were exhibited at the Cornerhouse gallery in Manchester in 2011, during the Asian Art Biennale at the National Taiwan Museum of Fine Arts in 2013 and at the Kawasaki City Museum in 2014.
Another series of Iwasaki is represented by temples carved in Japanese cypress wood. A specular version of the temple is attached underneath as if it is reflected on water, and the whole sculpture is suspended in mid air.
Photo credits: Gerard Lemos flickr.com
The first work of this kind, Reflection Model, was exhibited at the Tokyo Natsuka Gallery in 2001.
Of the aforementioned work, in 2012, Iwasaki completed a new and more complex model, which faithfully represents the Byōdō-in near Kyoto. The latter was exhibited at the Asia-Pacific Triennial of Contemporary Art organized by the Queensland Art Gallery in Australia.
In September of the same year, in the exhibition space of the Palais de Tokyo in Paris, Iwasaki arranged numerous microscopic sculptures including an incomplete Eiffel Tower.
In 2014 Iwasaki created two site-specific works for the exhibition Perduti nel paesaggio (Lost in Landscape) of the Museum of Modern and Contemporary Art in Trento. The two works, built with hair and dust, represent the cupola of the museum and a tower, and they are visible through the use of a telescope.
Japan Pavilion - Venice Biennale of Arts 2017
For the 57th Venice Biennale in Venice, the Japanese Pavilion hosts his exhibition called Turned Upside Down, It's a Forest, and whose title is inspired by Venice itself.
As a whole, this work is characterized by the inclusion of elements that, although not physically present, represent the main part of the work's identity. For example water in the Reflection Model series, for the constant contrast between order and disorder and for a profound interest in ecological and social issues.
Therefore the exhibition presents seven works among sculptures and installations, some of which were specifically designed by Iwasaki for the 2017 Bienniale.
Photo credits: Gerard Lemos flickr.com
The series Reflection Models consists of large architectural models of existing Japanese temples realised as if they were reflecting on the water pond on which the original buildings were actually located. This recalls the fascinating dualism that unites reality and ambiguity.
To further emphasize this concept the models are made with the same wood, Japanese cypress, used for the real life buildings.
Finally, the work Flow, which is part of the series Tectonic Models, alludes to the instability of the earth's crust, and more generally, of our social systems. The work is made up of a stack of scientific books precariously resting on an small, old table that the artist found in Venice, arranged so as to refer to the idea of a building under construction.
Photo credits: Annette Dubois flickr.com
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Japan Tradition: Hadaka Matsuri
[:it]
Hadaka Matsuri
Sebbene oggi giorno la nudità non rappresenti quasi più una vergogna, da questa parte del mondo e non solo, essa rientra spesso nella categoria di quegli argomenti comunemente considerati pruriginosi.
La nudità incuriosisce, talvolta ci turba, e senz'altro stuzzica le fantasie di ognuno di noi.
Il Paese del Sol Levante è terra ricca di abitudini e tradizioni che spesso entrano in contrasto tra di loro. Prendiamo per esempio l'ossessione per le buone maniere, l'estrema riservatezza, il gran senso del pudore e i quartieri dediti alle trasgressioni notturne e ai divertimenti senza fine. Tuttavia in questo paese trovano posto anche i festival dedicati alla nudità. Non c’è migliore occasione per "mettere a nudo se stessi", se non durante l'Hadaka Matsuri.
Prima di entrare nel vivo di questa celebrazione, farei un passo indietro. Nella lingua giapponese, il termine matsuri indica una festa tradizionale. Questo nella loro cultura coincide con un evento che attira nelle strade e nei parchi centinaia di persone.
Le Origini
Molti di questi festival hanno avuto origine dalle feste tradizionali cinesi. Esse tuttavia sono andate scomparendo con gli anni, mischiandosi o venendo rimpiazzate dalle tipiche usanze giapponesi. Infatti in Giappone, il concetto di festa o celebrazione, deriva dal profondo legame che questo popolo ha con la natura, riconducibile anche alla religione tradizionale del Paese, lo Shintoismo.
L’Hadaka Matsuri letteralmente significa "festa dell'uomo nudo". Durante questa celebrazione i circa 9.000 partecipanti, solamente uomini, indossano unicamente il perizoma tradizionale giapponese, il fundoshi, e per chi lo desidera, anche il kimono. Ma non solo, tra i partecipanti, c'è chi sceglie anche di non indossare nulla.
Questa festa ha luogo in diverse zone del Giappone. La più importante è quella di Okayama (sede originaria dell'evento), sull’isola di Honshu. Essa si svolge nel Tempio Saidai-ji, infatti il nome completo della festa è "Saidaiji Eyo Hadaka Matsuri". Trattandosi di un evento di tipo religioso è assolutamente vietato bere o portare alcool. Inoltre, gli uomini che hanno dei tatuaggi possono partecipare, ma solo a patto che li coprano con del nastro.
L'Hadaka Matsuri ha origini lontanissime. Si dice che risalga al 767 d.C., quando i fedeli gareggiavano per ricevere talismani fatti di carta, i go-o, gettati da un sacerdote.
Hadaka Matsuri e la nudità
Secondo alcune testimonianze, si dice che coloro che riuscivano ad ottenere questi talismani avrebbero goduto di un anno di fortuna.
Inoltre, la credenza collettiva vedeva la nudità in grado di assorbire mali e sfortune. Infatti colui che riusciva ad ottenere il talismano, veniva proclamato Uomo Nudo o Uomo dello Spirito (shin-otoko). Tutti coloro che volevano liberarsi della propria sfortuna cercavano di toccarlo.
Ma ancora oggi, essendo in tantissimi uomini a prendere parte alla gara, non è affatto semplice per loro riuscire a "toccare" il più fortunato. Anche per i partecipanti più assidui possono essere necessari molti anni prima di riuscire ad avere un contatto con il suddetto.
Con il passare del tempo, i sacerdoti si resero conto che i go-o, essendo realizzati in carta, avevano vita breve. Infatti, molto spesso finivano per essere distrutti proprio durante la calca per accaparrarne uno. Successivamente furono sostituiti con dei bastoni di legno usati ancora oggi e preparati dagli stessi sacerdoti con l'aiuto di strumenti manuali.
Ed ecco come la nudità si tramuta in sacra tradizione.
La tradizione
Dopo aver vissuto alcuni giorni in isolamento in veglia e in preghiera, i giovani partecipanti con indosso solo il fundoshi, si dirigono verso il Tempio. Essi corrono, mentre vengono investiti da getti di acqua ghiacciata. Giunti nel Tempio, devono riuscire ad afferrare uno dei bastoni di legno, gli shingi. Questi vengono gettati dai sacerdoti che si trovano nella parte alta del Tempio. Alle ore 22:00, per rendere la prova ancora più ardua e di difficile realizzazione, questi talismani vengono lanciati a luci spente o quasi. Una volta agguantato il bastone, il primo che riesce ad infilarlo in posizione verticale in una scatola di legno colma di riso, viene proclamato shin-otoko. Il vincitore viene benedetto con un anno di felicità e fortuna, oltre che ottenere un premio in denaro.
Oltre agli shingi, i sacerdoti gettano anche 100 rami di salice, e chiunque riesca ad afferrarli avrà fortuna nell’anno futuro.
Meno fortunato, succede anche che durante la calca avvengano incidenti. Nel migliore dei casi si tratta "solamente" di ematomi, nasi e labbra rotti. È per questo motivo che i sacerdoti chiedono sempre di annotare sul fundoshi (o su un pezzetto di carta da inserire al suo interno) tutte le informazioni utili, come ad esempio: nome, cognome, indirizzo e gruppo sanguigno.
Fotografo : Kurt Gledhill
[:en]
The Hadaka Matsuri
Even though nowadays nudity is not a shame anymore, in this part of the world, and not only here, it still is one of those topics usually considered tingly.
Nudity intrigues us, sometimes it upsets us, and it surely arouses our curiosity.
The Land of the rising sun is a place rich of costumes and traditions often in contrast with each other. Let's consider for example their obsession with good manners or the extreme attention to their privacy. But also their strong sense of decency and the districts dedicated to night pleasures and endless fun.
What better chance to 'bare ourselves', if not during the Hadaka Matsuri.
Before we focus on this particular celebration I would like to take a step back. In Japanese language the word matsuri indicates a traditional festival. These festivals usually coincide with an event that attracts thousands of people in streets and parks.
The Origin
A great number of festivals took their origin in Chinese traditional festivals. However these festivity tended to disappear as time passed by, mixing with, or even being replaced by typical Japanese costumes. In fact, in Japan, the idea of festival or celebration derives from the deep bond that this community has with nature. This bond can be traced in the traditional religion of the country, the Shintoism.
'Hadaka Matsuri' literally means 'Festival of the naked man'. During this celebration the approximately 9.000 participants, all men, wear nothing but the traditional Japanese loincloth, the fundoshi. for those who want to, they can wear a kimono too. But among all participants there are also men that decide to wear nothing at all.
This festival takes place in many different parts of Japan. The most important is the one that takes place in Okayama (city where this festival originated from), on the island of Honshu. It takes place in the Saidai-ji shrine, and in fact the full name of this festival would be "Saidaiji Eyo Hadaka Matsuri". As it a religious celebration it is absolutely forbidden to bring or drink alcohol. Also, men with tattoos can take part in it, but only if they cover them with a band.
The Hadaka Matsuri has ancient origins. It is said that it can traced back in 767 d.C, when worshipers competed to receive protection charms made of paper, the go-o, thrown to them by a priests.
Hadaka Matsuri and Nudity
According to some evidences, it is believed that those who were able to obtain one of these protection charms would be blessed with good fortune for one year.
Moreover, the collective belief saw in nudity something able to absorb evil forces and misfortune. In fact, the ones that caught the charm were also proclaimed 'Naked man' or 'Naked Spirit' (shin-otoko). All those that wished to get rid of their misfortune tried to touch him.
But still today it is not easy to 'touch' the fortunate man because of the many participants in this festival. Even for frequent participants it might take many years before they are able to touch him.
As time passed by, priests realized that the go-o made in paper did not last for long. In fact, they ended up being destroyed right because of the crowd that tried to catch them. Later, they were replaced by wooden sticks still used now and prepared by priests themselves through manual instruments.
And this is how nudity became a sacred tradition.
The Tradition
After a few days of isolation to keep vigil and pray, young participants move toward the shrine wearing only the fundoshi. They run while being hit by ice-cold jet of water. Reached the shrine, they have to catch one of the wooden sticks, the shingi. Priests throw these sticks to the crowd from the upper part of the Shrine. At 22:00, these charms are throw at them with almost all lights off to make it even more challenging. After catching the sticks, the first one that is able to put it in vertical position into a case filled with rice is proclaimed shin-otoko. The winner is blessed with one year of happiness and good fortune, and they will also receive a monetary prize.
Together with the shingi, priests throw 100 willow branches, and all those that are able to catch one will be granted with good fortune for the next year.
Less fortunate are the incidents that may happen due to the crowd. In the best case scenario they are 'only' bruises, broken noses or lips. For this reason that priests always ask participants to write down on their fundoshi (or on a piece of paper inside it) all useful information like: name, surname, address and blood type.
Fotografo : Kurt Gledhill
[:ja]
The Hadaka Matsuri
Even though nowadays nudity is not a shame anymore, in this part of the world, and not only here, it still is one of those topics usually considered tingly.
Nudity intrigues us, sometimes it upsets us, and it surely arouses our curiosity.
The Land of the rising sun is a place rich of costumes and traditions often in contrast with each other. Let's consider for example their obsession with good manners or the extreme attention to their privacy. But also their strong sense of decency and the districts dedicated to night pleasures and endless fun.
What better chance to 'bare ourselves', if not during the Hadaka Matsuri.
Before we focus on this particular celebration I would like to take a step back. In Japanese language the word matsuri indicates a traditional festival. These festivals usually coincide with an event that attracts thousands of people in streets and parks.
The Origin
A great number of festivals took their origin in Chinese traditional festivals. However these festivity tended to disappear as time passed by, mixing with, or even being replaced by typical Japanese costumes. In fact, in Japan, the idea of festival or celebration derives from the deep bond that this community has with nature. This bond can be traced in the traditional religion of the country, the Shintoism.
'Hadaka Matsuri' literally means 'Festival of the naked man'. During this celebration the approximately 9.000 participants, all men, wear nothing but the traditional Japanese loincloth, the fundoshi. for those who want to, they can wear a kimono too. But among all participants there are also men that decide to wear nothing at all.
This festival takes place in many different parts of Japan. The most important is the one that takes place in Okayama (city where this festival originated from), on the island of Honshu. It takes place in the Saidai-ji shrine, and in fact the full name of this festival would be "Saidaiji Eyo Hadaka Matsuri". As it a religious celebration it is absolutely forbidden to bring or drink alcohol. Also, men with tattoos can take part in it, but only if they cover them with a band.
The Hadaka Matsuri has ancient origins. It is said that it can traced back in 767 d.C, when worshipers competed to receive protection charms made of paper, the go-o, thrown to them by a priests.
Hadaka Matsuri and Nudity
According to some evidences, it is believed that those who were able to obtain one of these protection charms would be blessed with good fortune for one year.
Moreover, the collective belief saw in nudity something able to absorb evil forces and misfortune. In fact, the ones that caught the charm were also proclaimed 'Naked man' or 'Naked Spirit' (shin-otoko). All those that wished to get rid of their misfortune tried to touch him.
But still today it is not easy to 'touch' the fortunate man because of the many participants in this festival. Even for frequent participants it might take many years before they are able to touch him.
As time passed by, priests realized that the go-o made in paper did not last for long. In fact, they ended up being destroyed right because of the crowd that tried to catch them. Later, they were replaced by wooden sticks still used now and prepared by priests themselves through manual instruments.
And this is how nudity became a sacred tradition.
The Tradition
After a few days of isolation to keep vigil and pray, young participants move toward the shrine wearing only the fundoshi. They run while being hit by ice-cold jet of water. Reached the shrine, they have to catch one of the wooden sticks, the shingi. Priests throw these sticks to the crowd from the upper part of the Shrine. At 22:00, these charms are throw at them with almost all lights off to make it even more challenging. After catching the sticks, the first one that is able to put it in vertical position into a case filled with rice is proclaimed shin-otoko. The winner is blessed with one year of happiness and good fortune, and they will also receive a monetary prize.
Together with the shingi, priests throw 100 willow branches, and all those that are able to catch one will be granted with good fortune for the next year.
Less fortunate are the incidents that may happen due to the crowd. In the best case scenario they are 'only' bruises, broken noses or lips. For this reason that priests always ask participants to write down on their fundoshi (or on a piece of paper inside it) all useful information like: name, surname, address and blood type.
Fotografo : Kurt Gledhill
[:]