Japan Folklore: Miko

[:it]

Miko (巫女)

"Vergini del tempio"

Photo credits: pinterest.com

Abbiamo visto questa figura in diversi anime: Rei Hino aka la coraggiosa Sailor Mars di Bishōjo senshi Sērā Mūn, la misteriosa Kikyō di Inuyasha, oppure le simpatiche gemelle Hiiragi di Lucky Star.

Tutti questi personaggi avevano in comune la stessa occupazione: erano miko, quelle fanciulle che si prestano a tuttofare nei templi Shintoisti gestendo varie funzioni. Troviamo quindi le miko impegnate ad aiutare il  sacerdote nelle sue funzioni, a tenere pulito il tempio e a raccogliere le offerte dei fedeli.

Definire questa figura secondo canoni occidentali è molto difficile. Le miko non sono assimilabili alle suore Cristiane, né sono dei veri e proprio Sacerdoti, benché nello Shintoismo è possibile che tale funzione sia ricoperta anche da una donna. Sono più simili forse agli oracoli dell’antica Grecia, o a delle sciamane, dato che nell’antichità a loro era data la possibilità di comunicare con i kami,  divinità Shintoiste. Entrando in trance, esse potevano intercedere presso gli dei per poi comunicare il loro volere agli uomini. Le loro doti divinatorie e la loro capacità di comunicare con il mondo degli spiriti erano riconosciute come volere Divino.

Le origini

Photo credits: dannychoo.com

La loro origine risale al periodo Jōmon, la Preistoria Giapponese, che va da circa il 10000 a.C. al 300 a.C. Una delle menzioni più antiche e storicamente accertate di qualcosa si simile alla parola miko si ritrova nel nome della regina sciamana Himiko (175 circa – 248). Ella era la  regnante dello Yamatai, il più potente tra i regni in cui era suddiviso il Giappone arcaico. Non sappiamo però se Himiko fosse una miko o meno.

La parola ‘miko’ è composta dai kanji 巫 ("shamano, vergine non sposata"),  e 女 ("donna"), e generalmente viene tradotto come ‘vergine del tempio’. Anticamente era scritto come  神子 “Bambino di dio” o “Bambino divino”.

La forte connessione con le divinità era data anche dal fatto che le miko ballavano il Kagura (神楽), letteralmente "Intrattenimento per gli dei o musica degli dei". Questa è un’antica danza sacra Shintoista che affonda le sue radici folklore giapponese legandosi alla dea dell’alba Ama-no-Uzume. Si dice infatti che la dea con questa danza riuscì a convincere Amaterasu, la dea del sole, ad uscire dalla caverna in cui si era rifugiata dopo aver litigato con il fratello Susanoo, il dio della tempesta.

La danza kagura veniva spesso presentata anche presso la corte imperiale da quelle miko che di fatto erano viste come le discendenti della dea Ama-no-Uzume.

Nell’antichità, le miko erano erano figure sociali essenziali, ed era questo un ruolo che prevedeva  grossi impegni e responsabilità. La loro discendenza e connessione con il divino le identificava come messaggere del volere del kami, ma non solo. Le poneva infatti anche nella posizione di influenzare la vita sociale e politica, e di fatto quindi le sorti del villaggio presso cui prestavano servizio.

Attraversarono però una notevole crisi a partire soprattutto dal periodo Kamakura (1118-1333). Si cominciò infatti a porre un freno alle loro pratiche sciamaniche e le miko, senza più fondi, furono costrette a mendicare.  Alcune scivolarono tristemente verso la prostituzione.

Dopo un periodo di grandi trasformazioni in epoca Edo, nel 1873, per volere del “Dipartimento degli Affari Religiosi” (教部), fu emanato un editto chiamato Miko Kindanrei (巫女禁断令). Esso proibiva ogni pratica spirituale alle giovani miko.

Come si diventava miko?

Photo credits: thirteensatlas.wordpress.com

Il percorso per diventare miko era lungo e difficile. Scelta dal clan  in base alla propria forza spirituale o per discendenza diretta da una sciamana, la fanciulla iniziava la sua preparazione in giovane età, in genere con il primo mestruo.  Ci volevano dai tre ai sette anni di per diventare una vera miko.

Le ragazze erano solite lavarsi in acque gelide, praticare l’astinenza, e compiere altri riti come atti di purificazione. Il tutto era volto a imparare a controllare il suo stato di trance.

Imparavano una lingua segreta che solo loro e gli altri sciamani conoscevano, e dovevano conoscere il nome di ogni kami rilevante per il loro villaggio. Imparavano anche l’arte divinatoria della chiaroveggenza e le danze per poter entrare in stato di trance  e parlare con le divinità.

Al completamento di questo percorso si svolgeva una cerimonia che simbolicamente rappresentava il matrimonio tra la miko e il kami che avrebbe servito. Vestita con un abito bianco che ne rappresentava la vita precedente, la fanciulla entrava in uno stato di trance e le veniva chiesto quale kami avrebbe servito. Dopo di che, le veniva tirato un dolcetto di riso sul viso provocandone lo svenimento. Veniva poi adagiata in un letto caldo fino al suo risveglio, quando avrebbe vestito un kimono colorato per indicare l’avvenuto matrimonio tra lei e la divinità.

In virtù di questo legame con la divinità le giovani dovevano restare vergini. Ci sono state però miko con una particolare forza spirituale che hanno potuto continuare il servizio anche dopo il loro matrimonio.

Le miko oggi

Photo credits: muza-chan.net

Oggigiorno la figura della miko esiste ancora ma sono per lo più giovani ragazze universitarie che lavorano part-time presso il tempio. Assistono il kannushi o  ‘uomo di dio’ nelle varie funzioni e riti del tempio, compiono danze cerimoniali, tengono pulito il tempio e vendono omikuji, fogli di carta cui è scritto una predizione divina. In genere non hanno bisogno di una preparazione specifica e non devono essere necessariamente vergini, anche se è ancora richiesto che siano non sposate. La danza kagura è divenuta una semplice danza cerimoniale e non più un mezzo per entrare in contatto con l’entità divina.

Il loro abito tradizionale e composto nella parte superiore da un haori bianco che ne rappresenta la purezza, e nella parte inferiore da un  hakama,  “pantalone” rosso fuoco. Rossi o bianchi sono anche i nastri che ne legano i capelli.

Durante le cerimonie usano campanelli, rametti di sakaki, o intonano preghiere suonando un tamburo. Tra gli altri oggetti rituali è presente anche lo azusa-yumi, un arco che veniva usato per cacciare via gli spiriti maligni. In passato usavano anche specchi per richiamare il kami o delle kataka.

Magari le miko hanno perso la loro connessione divina, ma non la tradizione millenaria che le lega alla cura del tempio, restando una delle figure femminili più famose del Giappone ancora ai giorni nostri.

Photo credits: pinterest.com
[:en]

Miko (巫女)

"The Shrine Maiden"

Photo credits: pinterest.com

We have seen them in many different anime: Rei Hino, the brave Sailor Mars from Bishōjo senshi Sērā Mūn, the mysterious Kikyō from Inuyasha, or the cheerful Hiiragi twins from Lucky Star.

All these characters shared the same occupation: they were miko, girls that serve as helpers in Shinto temples managing various functions. In fact, we find miko committed to helping the priest in his functions, they keep the temple clean and collect the offerings of worshippers.

Defining this figure by Western standards in very difficult. Miko are not comparable to Christian nun, nor are they actual Priests, even though in Shinto women are allowed to become priests. They are more similar to the oracles of ancient Greece, or to shamans, as in ancient times they were gifted with the possibility to talk with the kami, Shinto deities. By entering a state of trance, they could intercede with the gods and then communicate their will to the humans. These divinatory gifts and their ability to communicate with the world of the spirits were recognized as Divine will.

The origins

Photo credits: dannychoo.com

Their origin dates back to the Jōmon period, the Japanese Prehistory, which goes from around 10,000 BC. up to 300 AD. One of the earliest record of anything resembling the word ‘miko’ can be found in the name of the Shaman queen Himiko (c. 175 - 248). She was the ruler of the Yamatai, the most powerful among the kingdoms in which archaic Japan was divided. But we do not know if Himiko was a miko or not.

The word ‘miko’ is made of the kanji 巫 "shaman, unmarried virgin",  and 女 "woman", and it is generally translated as ‘Shrine maiden’. An archaic form of the word is  神子 “Divine child”.

Their strong connection with the deities is also testified by the fact that miko danced the kagura (神楽), literaly "god-entertainment” or “music for the gods". This is an ancient Shinto dance rooted in Japanese folklore that links to the goddess of dawn,  Ama-no-Uzume. It is said that with this dance the goddess  managed to convince Amaterasu, the goddess of sun, to leave the cave where she was hiding after quarreling  with her brother Susanoo, the god of the storm.

The kagura dance was often presented at the imperial court by those miko who were in fact seen as the descendants of Ama-no-Uzume.

In ancient times, miko were considered essential social figures, and this role meant great commitment and responsibility. Their divine bond identified them as messengers of the will of the kami, but not only this. It  also placed them in the position to influence the social and political life, and therefore the fate of the village where they served.

However, they underwent a considerable crisis starting mainly from the Kamakura period (1118-1333). In fact, there were attempts to try to take hold of their shamanic practices, and miko, without anymore funds, were forced into a state of mendicancy. Some of them sadly fell into prostitution.

After a period of great transformations during the Edo period, in 1873, the Religious Affairs Department  (教部) issued an edict called Miko Kindanrei (巫女禁断令). It prohibited all spiritual practices of young miko.

How to become a miko

Photo credits: thirteensatlas.wordpress.com

The path to become miko was long and difficult. Chosen by the clan on the basis of her spiritual strength, or because she wa a direct descent of a shaman, the girl began her preparation at a young age, usually with the first menstruation. It took three to seven years to become a full-fledged miko.

The girls would wash in cold water, practice abstinence, and perform other purification acts. Everything was aimed at learning how to control their state of trance.

They learned a secret language only known to shamans, and they also needed to learn the names of all the kami relevant to their village. They also learned the divinatory art of fortune-telling and the dances they needed to perform in order to enter the state of trance necessary to talk with the deity.

At the completion of this training there was a ceremony that symbolized the marriage between the miko and the kami she would serve. Dressed in a white robe that represented her previous life, the girl entered a state of trance and was asked which kami would she serve. After that, a rice cake was thrown at her face causing her to faint and she was laid down in a warm bed until she woke up. Then, she would wear a colorful kimono symbolizing her marriage with the deity .

Due to this bond with the deity, young girls had to remain virgin. Still, there were cases of miko with a particularly strong spiritual power that  continued their service even after marriage.

Miko today

Photo credits: muza-chan.net

Nowadays the figure of miko still exists but they are mostly young university girls who work part-time at the temple. They assist the kannushi or 'man of god' in the various functions and rites of the temple, perform ceremonial dances, keep the temple clean and sell omikuji, sheets of paper on which is written a divine prediction. They generally do not need any specific preparation and do not necessarily need to be virgins, though they are still required to be unmarried. The kagura dance has become a mere ceremonial dance and it is no longer a way of coming into contact with the divine entity.

Their traditional outfit consists of a white haori representing their pureness,  for the upper part of the body, and a pair of red hakama. Red or white are the ribbons in their hair.

During the ceremonies they use bells, sakaki branches, or offer prayers playing a drum.  Among other ritual objects there is also the azusa-yumi, a bow that was once used to ward off evil spirits. In the past they also used mirrors to attract the kami and katana.

Maybe miko have lost their divine bond, but they still retain the millenary tradition of taking care of the temple, remaining one the most famous figures of modern Japan.

Photo credits: pinterest.com
[:ja]

Miko (巫女)

"The Shrine Maiden"

Photo credits: pinterest.com

We have seen them in many different anime: Rei Hino, the brave Sailor Mars from Bishōjo senshi Sērā Mūn, the mysterious Kikyō from Inuyasha, or the cheerful Hiiragi twins from Lucky Star.

All these characters shared the same occupation: they were miko, girls that serve as helpers in Shinto temples managing various functions. In fact, we find miko committed to helping the priest in his functions, they keep the temple clean and collect the offerings of worshippers.

Defining this figure by Western standards in very difficult. Miko are not comparable to Christian nun, nor are they actual Priests, even though in Shinto women are allowed to become priests. They are more similar to the oracles of ancient Greece, or to shamans, as in ancient times they were gifted with the possibility to talk with the kami, Shinto deities. By entering a state of trance, they could intercede with the gods and then communicate their will to the humans. These divinatory gifts and their ability to communicate with the world of the spirits were recognized as Divine will.

The origins

Photo credits: dannychoo.com

Their origin dates back to the Jōmon period, the Japanese Prehistory, which goes from around 10,000 BC. up to 300 AD. One of the earliest record of anything resembling the word ‘miko’ can be found in the name of the Shaman queen Himiko (c. 175 - 248). She was the ruler of the Yamatai, the most powerful among the kingdoms in which archaic Japan was divided. But we do not know if Himiko was a miko or not.

The word ‘miko’ is made of the kanji 巫 "shaman, unmarried virgin",  and 女 "woman", and it is generally translated as ‘Shrine maiden’. An archaic form of the word is  神子 “Divine child”.

Their strong connection with the deities is also testified by the fact that miko danced the kagura (神楽), literaly "god-entertainment” or “music for the gods". This is an ancient Shinto dance rooted in Japanese folklore that links to the goddess of dawn,  Ama-no-Uzume. It is said that with this dance the goddess  managed to convince Amaterasu, the goddess of sun, to leave the cave where she was hiding after quarreling  with her brother Susanoo, the god of the storm.

The kagura dance was often presented at the imperial court by those miko who were in fact seen as the descendants of Ama-no-Uzume.

In ancient times, miko were considered essential social figures, and this role meant great commitment and responsibility. Their divine bond identified them as messengers of the will of the kami, but not only this. It  also placed them in the position to influence the social and political life, and therefore the fate of the village where they served.

However, they underwent a considerable crisis starting mainly from the Kamakura period (1118-1333). In fact, there were attempts to try to take hold of their shamanic practices, and miko, without anymore funds, were forced into a state of mendicancy. Some of them sadly fell into prostitution.

After a period of great transformations during the Edo period, in 1873, the Religious Affairs Department  (教部) issued an edict called Miko Kindanrei (巫女禁断令). It prohibited all spiritual practices of young miko.

How to become a miko

Photo credits: thirteensatlas.wordpress.com

The path to become miko was long and difficult. Chosen by the clan on the basis of her spiritual strength, or because she wa a direct descent of a shaman, the girl began her preparation at a young age, usually with the first menstruation. It took three to seven years to become a full-fledged miko.

The girls would wash in cold water, practice abstinence, and perform other purification acts. Everything was aimed at learning how to control their state of trance.

They learned a secret language only known to shamans, and they also needed to learn the names of all the kami relevant to their village. They also learned the divinatory art of fortune-telling and the dances they needed to perform in order to enter the state of trance necessary to talk with the deity.

At the completion of this training there was a ceremony that symbolized the marriage between the miko and the kami she would serve. Dressed in a white robe that represented her previous life, the girl entered a state of trance and was asked which kami would she serve. After that, a rice cake was thrown at her face causing her to faint and she was laid down in a warm bed until she woke up. Then, she would wear a colorful kimono symbolizing her marriage with the deity .

Due to this bond with the deity, young girls had to remain virgin. Still, there were cases of miko with a particularly strong spiritual power that  continued their service even after marriage.

Miko today

Photo credits: muza-chan.net

Nowadays the figure of miko still exists but they are mostly young university girls who work part-time at the temple. They assist the kannushi or 'man of god' in the various functions and rites of the temple, perform ceremonial dances, keep the temple clean and sell omikuji, sheets of paper on which is written a divine prediction. They generally do not need any specific preparation and do not necessarily need to be virgins, though they are still required to be unmarried. The kagura dance has become a mere ceremonial dance and it is no longer a way of coming into contact with the divine entity.

Their traditional outfit consists of a white haori representing their pureness,  for the upper part of the body, and a pair of red hakama. Red or white are the ribbons in their hair.

During the ceremonies they use bells, sakaki branches, or offer prayers playing a drum.  Among other ritual objects there is also the azusa-yumi, a bow that was once used to ward off evil spirits. In the past they also used mirrors to attract the kami and katana.

Maybe miko have lost their divine bond, but they still retain the millenary tradition of taking care of the temple, remaining one the most famous figures of modern Japan.

Photo credits: pinterest.com
[:]


Japan Folklore: Botan Dōrō

[:it]

Botan Dōrō

La Lanterna di Peonie

Photo credits: allabout-japan.com

Esistono molte storie dove amanti sfortunati sono divisi dal destino, a volte arrivando insieme alla morte (Romeo e Giulietta e Tristano ed Isotta le più famose). Ma nessuna è come la storia Botan Dōrō o La lanterna di Peonie (牡丹燈籠). Due innamorati divisi dal regno dei vivi e quello dei morti sono indissolubilmente legati dal loro giuramento d’eterno amore.

Questa leggenda vede la luce nel libro Jiandeng Xinhua scritto da Qu You durante la prima parte della dinastia Ming. Successivamente, venne poi riproposta durante il periodo Edo dallo scrittore e prete buddista Asai Ryōi sull’onda del  fenomeno Kaidan (怪談). Questo termine giapponese indica tutte quelle storie che narrano di mistero e fantasmi, scritto con due kanji: Kai( 怪)che significa “strano, misterioso, apparizione incantata” e Dan (談)“narrazione recitata”.

Questa leggenda va riconosciuta come una delle prime storie giapponesi riguardanti i fantasmi a diventare film nel 1910. Con numerose riedizioni durante gli anni, è forse una più produttive tra cinema, adattamenti televisivi e Pink Movie, genere Soft Porno Giapponese.

La bella Otsuyu

Photo credits: pinterest.com 

La leggenda narra che durante la prima notte dell’ Obon (la commemorazione dei defunti secondo la tradizione Buddista Giapponese) il samurai Ogiwara Shinnojo incontra una bellissima donna e una bambina sua serva. In mano le due hanno lanterne di peonie, come vuole l’usanza, e il samurai chiede alla bimba il nome della splendida donna. Otsuyu era il suo nome ed il samurai non fu in grado di fare altro se non innamorarsene perdutamente e giurarle amore eterno quella sera stessa. Da li in poi, tutte le sere i due si incontrano bruciando di passione l’uno per l’altra. Tuttavia, durante le prime ore del mattino la bella donna e la bambina sparivano. A causa di questo comportamento sospetto, ed anche per via di una malattia improvvisa dell’uomo, un anziano vicino si incuriosisce. Entrando in casa sua,  scopre che il samurai non giaceva a letto con una bellissima donna ma con uno scheletro! L’anziano vicino avvisa dunque un prete che a sua volta avvisa Ogiwara, il quale scopre così che l’amata è in realtà un fantasma. Ogiwara capisce anche che la sua malattia era dovuta al fatto che dormire con uno spirito consuma l’energia vitale di una persona. Il prete benedice l’abitazione del samurai lasciando incantesimi protettivi e portafortuna affinché la donna e la bambina non possano più entrare. La sera stessa la donna cerca invano di raggiungere l’amato ma, non riuscendovi, urla disperata il suo amore per Ogiwara che alla fine cede lasciandola entrare in casa. La mattina dopo, il vicino ed il prete trovano Ogiwara morto stringendo a sè lo scheletro di Otsuyu.

Dallo stile macabro del periodo Edo al romanticismo di quello Meiji

Photo credits: tumblr.com 

Di questa storia è molto famosa la versione del teatro Kabuki, ma c’è una sostanziale differenza tra le due. Nella versioni teatrale infatti i protagonisti si conoscono prima della morte di Otsuyu. Le loro famiglie sono molto vicine da tempo e questo aveva favorito la nascita dell’amore tra i due. Questa versione è la più conosciuta proprio per il romanticismo pregnante dall’inizio alla fine. Il loro amore, la passione giovanile, e poi la delusione per un distacco forzato dovuto per un periodo alla malattia del ragazzo.  Durante questo periodo di separazione Otsuyu muore convinta che Saburo non fosse sopravvissuto alla malattia. Saburo invece si riprende e disperato per la morte della ragazza prega il suo spirito durante la festa dell'Obon. Quella sera stessa, tornando a casa,  incontra sul suo cammino una donna e la sua serva con in mano una lanterna di peonie. Con sua grande gioia il giovane  si accorge che quella donna è proprio la sua Otsuyu che da quella notte in poi, tutte le notti, andrà a fargli visita. Ma la gioia durerà poco. Infatti, un servo, spiando da una fessura nel muro della stanza di Saburo, si accorge che in realtà egli giaceva ogni notte con uno scheletro. Un prete buddista viene subito avvertito e alle porte della casa vengono affissi dei talismani per impedire allo spirito di entrare. Eppure, ogni notte la fanciulla torna per gridare il suo amore per Saburo che, disperato per la nuova separazione, si ammala nuovamente. Ma la consapevolezza di amarla comunque e nonostante tutto significa una sola cosa. La morte! I talismani vengono rimossi per permettere allo spirito di entrare ancora una volta. L’ultima. Il giovane protagonista però muore felice tra le braccia di colei che ama.

Questa differenza di temi si può attribuire al diverso periodo in cui sono state scritte le due versioni. Quella originale risale al periodo Edo con la vena macabra che caratterizza il folclore Giapponese dell’epoca. Quella teatrale invece è più recente e vede la luce nel periodo Meiji, ovvero il periodo in cui il Giappone si avvicina all’occidente grazie all’apertura dell’imperatore Mutsuhito. Apertura che non si verificò solo a livello politico, ma anche a livello culturale influenzando quindi gusti e costumi, e questa leggenda ne è un esempio.[:en]

Botan Dōrō

The Peony Lantern

Photo credits: allabout-japan.com

There are many stories where unlucky lovers are separated by destiny that sometimes leads them to death together (Romeo and Juliet and Tristan and Isolde are the most famous). But none is like the story Botan Dōrō or The Peony lantern (牡丹 燈籠). Two lovers, divided by the world of the living and the world of the dead, are inextricably bounded by their oath of eternal love.

This legend sees the light in the book Jiandeng Xinhua written by Qu You during the first part of the Ming dynasty. Subsequently, it was revived during the Edo period by the Buddhist writer and priest Asai Ryōi on the wave of the Kaidan phenomenon (怪 談). This Japanese term refers to all those stories that tell of mystery and ghosts, written with two kanji: Kai (怪) that means "strange, mysterious, enchanted appearance" and Dan (談) "recited narration".

This legend is recognized as one of the first Japanese stories about ghosts to become a movie in 1910. With numerous re-editions over the years, it is perhaps the most productive one among cinema, television adaptations and Pink Movie, Japanese Soft Porno genre.

The beautiful Otsuyu

Photo credits: pinterest.com 

The legend  says that during the first night of the Obon (the commemoration of the dead according to the Japanese Buddhist tradition) the samurai Ogiwara Shinnojo meets a beautiful woman and her child servant. The two hold in their hands the traditional lanterns of peonies and the samurai asks the child the name of the beautiful woman. Otsuyu was her name and the samurai is not able to do anything but fall madly in love and swear his eternal love for her that same night. From then on, the two meet every night burning with passion for each other. However, the beautiful woman and the child would always disappear before dawn. Because of this strange behavior, and also because of a sudden illness of the man, an old neighbor gets suspicious. Entering his house, he discovers that the samurai was not laying in bed with a beautiful woman but with a skeleton! The old neighbor then speaks with a priest who in turn warns Ogiwara that discovers that his beloved is actually a ghost. Ogiwara also understands that his illness is due to the fact that sleeping with a spirit consumes the vital energy of a person. The priest blesses the house of the samurai leaving protective spells and good luck charms so that the woman and the child cannot enter it anymore. The same evening the woman tries in vain to reach her beloved but, failing, desperately screams her love for Ogiwara, that eventually yields letting her enter the house. The next morning, the neighbor and the priest find Ogiwara dead clutching the skeleton of Otsuyu.

From the horror style of the Edo period to the romanticism of the Meiji period.  

Photo credits: tumblr.com 

The Kabuki version of this story is very famous, but there is a substantial difference between the two. In the theatrical versions, in fact, the protagonists know each other before the death of Otsuyu. Their families have been close for a long time and this had encouraged the birth of love between them. This version is the perhaps the most renowned one as it is pregnant with romance from beginning to end. Their love, the youthful passion, and then the frustration for a forced separation cause by the boy's illness. During this period of separation Otsuyu dies believing that Saburo had not survived. But Saburo recovers and, desperate for the death of the girl prays to her spirit during the Obon festival. That same evening, he meets on his way home a woman and her servant holding a lantern of peonies. To his great joy, the young man realizes that the woman is his Otsuyu who, from that night on, will go visit him every night. But their joy will not last long. In fact, a servant, spying from a crack in the wall of Saburo's room, realizes that in reality he lies every night with a skeleton. A Buddhist priest is immediately called and talismans are attached to the door of the house to prevent the spirit from entering. Yet, every night the girl returns to cry out her love for Saburo, who, desperate for the new separation, falls ill again. But the awareness of loving her anyway and despite everything means only one thing. Death! The talismans are removed to allow the spirit to enter once again. For the last time. However, the young protagonist dies happily in the arms of the one he loves.

This difference of themes can be attributed to the different periods in which the two versions were written. The original one dates back to the Edo period with the macabre vein that characterizes the Japanese folklore of the time. The theatrical one is more recent and sees the light in the Meiji period, the period in which Japan approaches the West thanks to the opening of Emperor Mutsuhito. Opening that did not occur only on a political level, but also on a cultural level thus influencing tastes and customs, and this legend is an example.[:ja]

Botan Dōrō

The Peony Lantern

Photo credits: allabout-japan.com

There are many stories where unlucky lovers are separated by destiny that sometimes leads them to death together (Romeo and Juliet and Tristan and Isolde are the most famous). But none is like the story Botan Dōrō or The Peony lantern (牡丹 燈籠). Two lovers, divided by the world of the living and the world of the dead, are inextricably bounded by their oath of eternal love.

This legend sees the light in the book Jiandeng Xinhua written by Qu You during the first part of the Ming dynasty. Subsequently, it was revived during the Edo period by the Buddhist writer and priest Asai Ryōi on the wave of the Kaidan phenomenon (怪 談). This Japanese term refers to all those stories that tell of mystery and ghosts, written with two kanji: Kai (怪) that means "strange, mysterious, enchanted appearance" and Dan (談) "recited narration".

This legend is recognized as one of the first Japanese stories about ghosts to become a movie in 1910. With numerous re-editions over the years, it is perhaps the most productive one among cinema, television adaptations and Pink Movie, Japanese Soft Porno genre.

The beautiful Otsuyu

Photo credits: pinterest.com 

The legend  says that during the first night of the Obon (the commemoration of the dead according to the Japanese Buddhist tradition) the samurai Ogiwara Shinnojo meets a beautiful woman and her child servant. The two hold in their hands the traditional lanterns of peonies and the samurai asks the child the name of the beautiful woman. Otsuyu was her name and the samurai is not able to do anything but fall madly in love and swear his eternal love for her that same night. From then on, the two meet every night burning with passion for each other. However, the beautiful woman and the child would always disappear before dawn. Because of this strange behavior, and also because of a sudden illness of the man, an old neighbor gets suspicious. Entering his house, he discovers that the samurai was not laying in bed with a beautiful woman but with a skeleton! The old neighbor then speaks with a priest who in turn warns Ogiwara that discovers that his beloved is actually a ghost. Ogiwara also understands that his illness is due to the fact that sleeping with a spirit consumes the vital energy of a person. The priest blesses the house of the samurai leaving protective spells and good luck charms so that the woman and the child cannot enter it anymore. The same evening the woman tries in vain to reach her beloved but, failing, desperately screams her love for Ogiwara, that eventually yields letting her enter the house. The next morning, the neighbor and the priest find Ogiwara dead clutching the skeleton of Otsuyu.

From the horror style of the Edo period to the romanticism of the Meiji period.  

Photo credits: tumblr.com 

The Kabuki version of this story is very famous, but there is a substantial difference between the two. In the theatrical versions, in fact, the protagonists know each other before the death of Otsuyu. Their families have been close for a long time and this had encouraged the birth of love between them. This version is the perhaps the most renowned one as it is pregnant with romance from beginning to end. Their love, the youthful passion, and then the frustration for a forced separation cause by the boy's illness. During this period of separation Otsuyu dies believing that Saburo had not survived. But Saburo recovers and, desperate for the death of the girl prays to her spirit during the Obon festival. That same evening, he meets on his way home a woman and her servant holding a lantern of peonies. To his great joy, the young man realizes that the woman is his Otsuyu who, from that night on, will go visit him every night. But their joy will not last long. In fact, a servant, spying from a crack in the wall of Saburo's room, realizes that in reality he lies every night with a skeleton. A Buddhist priest is immediately called and talismans are attached to the door of the house to prevent the spirit from entering. Yet, every night the girl returns to cry out her love for Saburo, who, desperate for the new separation, falls ill again. But the awareness of loving her anyway and despite everything means only one thing. Death! The talismans are removed to allow the spirit to enter once again. For the last time. However, the young protagonist dies happily in the arms of the one he loves.

This difference of themes can be attributed to the different periods in which the two versions were written. The original one dates back to the Edo period with the macabre vein that characterizes the Japanese folklore of the time. The theatrical one is more recent and sees the light in the Meiji period, the period in which Japan approaches the West thanks to the opening of Emperor Mutsuhito. Opening that did not occur only on a political level, but also on a cultural level thus influencing tastes and customs, and this legend is an example.[:]


[:it]Japanese Culture: Il Ramen[:en]Japanese Culture: Ramen[:ja]Japanese Culture: Ramen[:]

[:it]

Ramen: “Imperatore” della tavola Giapponese.

Photo credits: narutonoodle.com/

Fino a pochi anni fa, per amanti o meno della cucina etnica, andare al Giapponese equivaleva prettamente a gustare Sushi: piatto composto da pesce crudo e riso.

Questo piatto da colori e forme suggestive strizza l’occhio ai commensali più modaioli (ma non solo!), che hanno modo di gustare “prima con gli occhi che con la gola”. Ma ora un altro piatto famoso in tutto il Giappone è finalmente approdato anche sulle nostre tavole, facendo impazzire i più.

Il Ramen (ラーメン,拉麺 rāmen), forse vero e proprio piatto rappresentativo del paese. Talmente conosciuto in tutto il Giappone che vanta per ogni regione un suo modo diverso di farlo. Regione diversa, ricetta diversa. Gustiamole tutte allora …

Una zuppa ricca di ingredienti: spaghetti cinesi, carne di maiale, Nori (海苔) o alga secca, uova sode, e il kamaboko. Da noi conosciuto come surimi, la sua forma più famosa, quella a spirale, si chiama Naruto (come il personaggio del manga omonimo il cui nome è ispirato proprio a questo ingrediente) . Il brodo può essere di pesce o carne, varie guarnizioni e modi diversi di insaporire, con semi di sesamo o pepe, dal miso alla salsa di soia.

Storia di una Zuppa

Photo credits: travelcaffeine.com

Benché non sia chiaro quando ebbe inizio la diffusione di questo piatto in suolo giapponese, l’origine è cinese, visto che uno degli ingredienti base sono i mian o spaghetti cinesi di frumento. Va anche detto che in Cina solo negli ultimi anni c’è stata una riscoperta, non considerato più piatto tradizionale ma d’importazione giapponese. In Cina vengono chiamati rìshì lāmiàn “Lamian in stile Giapponese”.

Il Ramen è sempre stato un piatto da gustare fuori casa, e all’inizio del ‘900 c’erano numerosi chioschi da strada con gestori Cinesi. Poi, dopo la Seconda Guerra Mondiale, i soldati giapponesi di rientro dalla Cina, dove avevano appreso la tradizione culinaria, aprirono diversi ristoranti in tutto il paese. Da lì in poi, una continua evoluzione che ha portato a come si conosce il Ramen oggi giorno.

Così tanto amato che dal 1994 è stato aperto a Yokohama lo Shin-Yokohama Raumen Museum il museo interamente dedicato a questa prelibatezza.

Ramen da compagnia.

Photo credits: jpninfo.com

Come detto in precedenza, in passato non era poi così strano gustare scodelle di Ramen nei chioschi da strada, famosi anche oggi giorno sebbene non diffusissimi. Questo perché il Ramen è anche un cibo da strada da assaporare nei tradizionali Yatai, bancarelle mobili. I migliori ristoranti invece sono i Ramen-ya con pochi posti a sedere sia al banco che ai tavoli, ma con la finalità di mangiare solo Ramen.

E non è inusuale trovare piatti di Ramen in parchi divertimento o nei menù dei karaoke. Ci scappa anche che finito il lavoro tra colleghi si faccia un salto agli Izakaya, pub con la formula Nomihodai “all you can drink” e Tabehodai “all you can eat”. Qui, con un tempo massimo di tre ore, i commensali tra liquori ed altri cibi possono gustare anche il Ramen con un menù dal prezzo fisso.

Menzioni d’onore e le regionali.

 Photo credits: zerochan.net

Benché la ricetta classica sia comune in tutto il Giappone ci sono varianti sempre innovative.

Qui va menzionato il Ramen Blue , di un bellissimo e brillantissimo colore, e vogliamo anche dirlo del tutto naturale! Ma questa è un'innovazione estrema.

Le varianti “classiche” regionali sono:

  • Quella di Tokyo con tagliatelle spesse in brodo di pollo al gusto soia, con guarnizione di germogli di bamboo, scalogno, maiale a fette, spinaci alghe, un uovo e un po’ di Dashi. Da provare nei quartieri di Ikebukuro, Ogikubo e Ebisu.
  • A Sapporo è famosa per la versione “invernale”, con talvolta frutti di mare, burro, maiale, mais e germogli di fagioli.
  • Yokohama ha il le-kei , uovo alla coque dove il commensale deve indicare la morbidezza desiderata per poi romperlo ed insaporire il brodo con cipolla, maiale, spinaci e alga.
  • Kitakata con tagliatelle spesse ma piatte, servite in brodo di maiale.
  • Hakata con brodo composto da osso di maiale, e con spaghetti sottili, zenzero, aglio, verdure in senape e semi di sesamo.

Se leggendo questo articolo vi è venuta una gran fame vogliamo lasciarvi alcuni indirizzi dove poterlo gustare qui in Italia:

Nozomi

Via Pietro Calvi 2, 20129 Milano, Italia
+39 02 7602 3197
http://www.nozomi.milano.it/

Casa Ramen

Via Porro Lambertenghi 25, Milano, Italia
+39 02 3944 4560
https://www.facebook.com/casaramen

Zarà Ramen

Via Solferino, 48, 20121 Milano, Italia
+39 02 3679 9000
https://www.facebook.com/zazaramen/

Mi-Ramen Bistro

Viale col di lana, 15 | Viale Col Di Lana, 15, 20136, Milano
+39 339 232 2656
http://mi-ramenbistro.it/

Osaka

Corso Giuseppe Garibaldi 68, 20121 Milano, Italia
+39 02 2906 0678
http://www.milanoosaka.com/

Ryukishin

Via Ariberto 1, 20123 Milano, Italia
+39 02 8940 8866
http://www.ryukishin.it/

Banki Ramen

Via Dei Banchi 14 Rosso, 50123, Firenze, Italia
+39 055 213776

Waraku

Via Prenestina 321/A, 00177 Roma, Italia
+39 06 2170 2358
https://www.facebook.com/Waraku-192626757583758/[:en]

Ramen: The “emperor” of Japanese cuisine.

Photo credits: narutonoodle.com/

Until a few years ago, for ethnic cuisine enthusiasts, going to a Japanese restaurant strictly referred to consuming Sushi: a dish made of raw fish and rice.

This dish, with its colourful and evocative shapes, winks at the most fashionable diners (but not just them!), who have the opportunity to taste "first with their eyes, then with their mouth".  But now another famous dish from Japan has finally made its way to our tables with many people going crazy about it.

We are talking about Ramen (ラーメン,拉麺 rāmen), perhaps the real representative dish of the country. It is so famous throughout Japan that each region boasts a different way to prepare it. Different region, different recipe. Let’s taste them all then...

It is a soup dish with many ingredients: noodles, pork, Nori (海苔) or dried seaweed, boiled eggs, and the kamaboko which is also known as surimi. Its most famous form, the spiral one, is called Naruto (like the manga character of the same name whose name derives from this ingredient). Ramen can be made with either a seafood-based or meat-based broth, various garnishes, and different ways to flavour it; sesame seeds or pepper, for example, miso or soy sauce.

Story of a Soup

Photo credits: travelcaffeine.com

Although it is unclear when the popularisation of this plate began in Japan, it originally came from China as one of its main ingredients is the Chinese mian,or wheat noodles. But we must say that in recent years, there has been a reintroduction of this dish in China, as ramen is no longer considered a traditional dish from China, but a Japanese imported product. In China, they are called rìshì lāmiàn or "Japanese style Lamian", which is considered as a completely different dish from the Chinese lāmiàn.

Ramen has always been a dish to be enjoyed outside and at the beginning of the 20th century, there were numerous kiosks manned by Chinese handlers. Then, after the Second World War, Japanese soldiers returning from China, where they had learned this culinary tradition, opened several restaurants across the country. From that point on, there has been an evolution that led to ramen as we know it today.

It is so appreciated that in 1994, the Shin-Yokohama Raumen Museum, which is entirely dedicated to this delicacy, was opened in Yokohama.

‘Company’ Ramen.

Photo credits: jpninfo.com

As previously mentioned, it was not an oddity to taste bowls of ramen in street stalls in the past. These stalls are still popular today, although not as widespread as they once were. This is because ramen is also considered a street food to be enjoyed in traditional Yatai's or stalls. On the other hand, the best restaurants are the Ramen-ya with just a few seats at the counter and at the tables as well, but with the purpose of eating ramen only. It is not unusual to find ramen in amusement parks or in karaoke's menus. It may also happen that after work colleagues stop by an Izakaya, a pub with the formula Nomihodai "all you can drink" - Tabehodai "all you can eat". Here, with a limit of three hours, diners can enjoy ramen together with liquor and other foods with a fixed-price menu.

Honourable mentions and regional variants

Photo credits: zerochan.net

Although the classic recipe is common throughout Japan, there are always innovative variants.

Here we have to mention the Blue Ramen, of beautiful and brilliant colour, and we want to specify that this is completely natural! But this is an extreme innovation.

“Traditional” regional variants are:

  • Tokyo variant, with thick noodles, chicken and soy broth, garnished with bamboo shoots, shallots, sliced pork, seaweed, spinach, an egg and a little bit of Dashi. We recommend that you try shops in Ikebukuro, Ogikubo and Ebisu wards.
  • Sapporo is famous for their "winter" version, sometimes garnished with seafood, butter, pork, corn and bean sprouts.
  • Yokohama has the le-kei , coddled eggs for which each customer can choose the desired softness and then break it so to flavour the broth, also adding onion, pork, spinach and seaweed.
  • Kitakata, with its thick but flat noodles, served with pork broth.
  • Hakata and its broth made of pork bones, thin noodles, ginger, vegetables, mustard and sesame seeds.

If reading this article made you really hungry we want to recommend some places where you can taste ramen in Italy:

Nozomi

Via Pietro Calvi 2, 20129 Milano, Italia
+39 02 7602 3197
http://www.nozomi.milano.it/

Casa Ramen

Via Porro Lambertenghi 25, Milano, Italia
+39 02 3944 4560
https://www.facebook.com/casaramen

Zarà Ramen

Via Solferino, 48, 20121 Milano, Italia
+39 02 3679 9000
https://www.facebook.com/zazaramen/

Mi-Ramen Bistro

Viale col di lana, 15 | Viale Col Di Lana, 15, 20136, Milano
+39 339 232 2656
http://mi-ramenbistro.it/

Osaka

Corso Giuseppe Garibaldi 68, 20121 Milano, Italia
+39 02 2906 0678
http://www.milanoosaka.com/

Ryukishin

Via Ariberto 1, 20123 Milano, Italia
+39 02 8940 8866
http://www.ryukishin.it/

Banki Ramen

Via Dei Banchi 14 Rosso, 50123, Firenze, Italia
+39 055 213776

Waraku

Via Prenestina 321/A, 00177 Roma, Italia
+39 06 2170 2358
https://www.facebook.com/Waraku-192626757583758/

 [:ja]

Ramen: “The emperor” of Japanese cuisine.

Photo credits: narutonoodle.com/

Until a few years ago, for ethnic cuisine enthusiasts, going to a Japanese restaurant strictly referred to taste Sushi: a dish made of raw fish and rice.

This dish, with its colorful and evocative shapes, winks at the most fashionable diners (but not just them!), who have the opportunity to taste "first with their eyes than with their mouth".  But now another famous dish in Japan has finally made its way to our tables, with many people going crazy about it.

We are talking about Ramen (ラーメン,拉麺 rāmen), perhaps the real representative dish of the country, and so famous throughout Japan that each region boasts a different way to prepare it. Different region, different recipe. Let’s taste them all then...

A soup with many ingredients: Chinese noodles, pork, Nori (海苔) or dried seaweed, boiled eggs, and the kamaboko. Mainly known as surimi. Its most famous form, the spiral one, is called Naruto (like the manga character of the same name whose name derives from this ingredient). It can have fish or meat broth, various garnishes and different ways to flavor it, with sesame seeds or pepper for example, miso or soy sauce.

Story of a Soup

Photo credits: travelcaffeine.com

Although it is unclear when the spread of this plate began in Japan, the origin is Chinese as one of its main ingredients are the Chinese mian or Chinese wheat noodles. But we must say that only in recent years there has been a revival in China, as ramen is no longer considered a traditional dish but a Japanese imported product. In China, they are called rìshì lāmiàn or "Japanese style Lamian".

Ramen has always been a dish to be enjoyed outside and at the beginning of the 20th century there were numerous kiosks with Chinese handlers. Then, after the Second World War, Japanese soldiers returning from China, where they had learned this culinary tradition, opened several restaurants across the country. From that point on, there has been an evolution that led to ramen as we know it today.

It is so appreciated that in 1994 the Shin-Yokohama Raumen Museum entirely dedicated to this delicacy was opened in Yokohama .

‘Company’ Ramen.

Photo credits: jpninfo.com

As previously mentioned, in the past it was not so strange to taste ramen bowls in street stalls, which are still popular today, though not so very widespread. This is because ramen is also considered a street food to be enjoyed in traditional Yatais or stalls. On the other hand, the best restaurants are the Ramen-ya with just a few seats at the counter and at the tables as well, but with the purpose of eating ramen only. And it is not unusual to find ramen in amusement parks or in karaoke's menus. It may also happen that after work colleagues stop by an Izakaya, a pub with the formula Nomihodai "all you can drink" - Tabehodai "all you can eat". Here, with a limit of three hours, diners can enjoy ramen together with liquor and other foods with fixed-price menu.

Honorable mention and regional variants

Photo credits: zerochan.net

Although the classic recipe is common throughout Japan there are always innovative variants.

Here we have to mention the Blue Ramen, of a beautiful and brilliant color, and we want to specifie this, it is completely natural! But this is an extreme innovation.

“Traditional” regional variants are:

  • Tokyo variant, with thick noodles, chicken and soy broth, garnished with bamboo shoots, shallots, sliced pork, seaweed, spinach, an egg and a little bit of Dashi. We recommend you try shops in Ikebukuro, Ogikubo and Ebisu wards.
  • Sapporo is famous for the "winter" version, sometimes garnished with seafood, butter, pork, corn and bean sprouts.
  • Yokohama has the le-kei , coddled eggs for which each customer can choose the desired softness and then break it so to flavor the broth, also adding onion, pork, spinach and seaweed.
  • Kitakata with its thick but flat noodles served with pork broth.
  • Hakata and its broth made of pork bones, thin noodles, ginger, vegetables, mustard and sesame seeds.

If reading this article made you really hungry we want to recommend some places where you can taste ramen in Italy:

Nozomi

Via Pietro Calvi 2, 20129 Milano, Italia
+39 02 7602 3197
http://www.nozomi.milano.it/

Casa Ramen

Via Porro Lambertenghi 25, Milano, Italia
+39 02 3944 4560
https://www.facebook.com/casaramen

Zarà Ramen

Via Solferino, 48, 20121 Milano, Italia
+39 02 3679 9000
https://www.facebook.com/zazaramen/

Mi-Ramen Bistro

Viale col di lana, 15 | Viale Col Di Lana, 15, 20136, Milano
+39 339 232 2656
http://mi-ramenbistro.it/

Osaka

Corso Giuseppe Garibaldi 68, 20121 Milano, Italia
+39 02 2906 0678
http://www.milanoosaka.com/

Ryukishin

Via Ariberto 1, 20123 Milano, Italia
+39 02 8940 8866
http://www.ryukishin.it/

Banki Ramen

Via Dei Banchi 14 Rosso, 50123, Firenze, Italia
+39 055 213776

Waraku

Via Prenestina 321/A, 00177 Roma, Italia
+39 06 2170 2358
https://www.facebook.com/Waraku-192626757583758/

 [:]


Japan Italy: Boom Beat Bubble

[:it]

BOOM | BEAT | BUBBLE Stampe Giapponesi fra gli anni sessanta | settanta | ottanta

Photo credits: lazionauta.it

Si è conclusa a Roma una interessantissima mostra presso l'Istituto Giapponese di Cultura:  BOOM| BEAT | BUBBLE a cura di Marcella Cossu.

La mostra, iniziata il 4 maggio e conclusa il 12 ottobre, ha trattato di stampe, arte tipicamente Giapponese iniziata con la corrente ukiyo-e (浮世絵 "immagine del mondo fluttuante")  nel XVII e che continua ancora oggi.

Dal “Miracolo Economico” alla “Bolla Speculativa”

Photo credits:  roma.repubblica.it

Ma la particolarità di questa suggestiva mostra è stata la scelta del periodo storico. Tre decadi più vicine a noi di quanto crediamo, '60, '70 e '80, che aprono una porta e riescono a farci scoprire l’evoluzione del Giappone moderno, così come lo conosciamo. Potremmo definirla la controparte giapponese di quella forma più conosciuta di Pop Art americana con Warhol.

Abbiamo visto l’esplosione la BOOM degli anni ’60 con il “miracolo economico”, lì dove il Giappone in ginocchio uscito sconfitto dal secondo conflitto mondiale riuscì a rialzarsi dalla crisi grazie al picco dell’economia. Passando alla BEAT del dopo '68 che toccò anche loro con un mondo in cambiamento passando alla decade '70 che vide il Giappone spiccare ed affermarsi come superpotenza mondiale. E gli '80 con la BUBBLE  quella che fu la “bolla speculativa” scoppiata poi la decade successiva con il rialzo dei prezzi nel settore azionario e dell’immobile.

Con molteplici argomenti, 24 artisti e 54 opere non è stata la solita mostra.

Stampe ancora oggi molto moderne.

Photo credits: jfroma.it
[:en]

BOOM| BEAT| BUBBLE Japanese Prints  sixties | seventies | eighties

Photo credits: lazionauta.it

An interesting exhibition just closed at the Japanese Cultural Institute in Rome: BOOM | BEAT | BUBBLE by Marcella Cossu.

The exhibition, that began on May 4 and ended on October 12, dealt with prints, a typical Japanese art that started with the current of the ukiyo-e (浮世 絵 "images of the floating world") in the XVII and which continues today still.

From the "Economic Miracle" to the "Speculative Bubble"

Photo credits:  roma.repubblica.it

The peculiarity of this evocative exhibition was the choice of the historical period. Three decades closer to us than we might think, 60s, 70s and 80s, opening a door and making us discover the evolution of modern Japan as we know it. We could call it the Japanese counterpart of that most popular American Pop Art with Warhol.

We saw the BOOM, the explosion of the 60s with the "economic miracle" where Japan on its knees after the defeat in World War II managed to recover from the crisis due to the peak of the economy. Moving to the BEAT after the '68 which also affected them with a changing world leading to the decade of the 70s that saw Japan emerge and stand as one of the world's powerful nations. And the 80s with the BUBBLE, the "speculative bubble" that broke out during the following decade with the consequent rising prices of stocks in the financial and property sector .

With multiple topics, 24 artists and 54 works, it was not the usual exhibition.

Prints that are still modern today.

Photo credits: jfroma.it
[:ja]

BOOM| BEAT| BUBBLE Japanese Prints  sixties | seventies | eighties

Photo credits: lazionauta.it

An interesting exhibition just closed at the Japanese Cultural Institute in Rome: BOOM | BEAT | BUBBLE by Marcella Cossu.

The exhibition, that began on May 4 and ended on October 12, dealt with prints, a typical Japanese art that started with the current of the ukiyo-e (浮世 絵 "images of the floating world") in the XVII and which continues today still.

From the "Economic Miracle" to the "Speculative Bubble"

Photo credits:  roma.repubblica.it

The peculiarity of this evocative exhibition was the choice of the historical period. Three decades closer to us than we might think, 60s, 70s and 80s, opening a door and making us discover the evolution of modern Japan as we know it. We could call it the Japanese counterpart of that most popular American Pop Art with Warhol.

We saw the BOOM, the explosion of the 60s with the "economic miracle" where Japan on its knees after the defeat in World War II managed to recover from the crisis due to the peak of the economy. Moving to the BEAT after the '68 which also affected them with a changing world leading to the decade of the 70s that saw Japan emerge and stand as one of the world's powerful nations. And the 80s with the BUBBLE, the "speculative bubble" that broke out during the following decade with the consequent rising prices of stocks in the financial and property sector .

With multiple topics, 24 artists and 54 works, it was not the usual exhibition.

Prints that are still modern today.

Photo credits: jfroma.it
[:]


Japanese Folklore: The Ring

[:it]

Ringu: La cassetta maledetta

Photo credits: Movieweb.com

The Ring è il fortunato horror statunitense con protagonista Naomi Watson che nel 2002 infestò i cinema di tutto il mondo. Incassando più di 250 milioni di dollari al botteghino ha ridato vita ad un genere ormai stantio con nuovi spunti per procurare brividi agli spettatori più temerari. Ha avuto anche un sequel, The Ring 2, uscito nel 2005, ed è da poco arrivato sugli schermi The Ring 3 a distanza di quindici anni dalla pellicola originale.

Samara Morgan è una bambina dai lunghi capelli corvini e la pelle nivea, e dalla descrizione potrebbe sembrare una candida Biancaneve. Ma la realtà è ben diversa. Con la sua frase celebre “Tra sette giorni morirai” è un fantasma che conduce alla morte, grazie ad un cerchio senza fine, chiunque veda la sua casetta maledetta.

Samara oggigiorno è tra i “cattivi” per antonomasia del genere Horror americano (come Jason di Venerdì 13, o Freddy Krueger di Nightmare con la sua natura soprannaturale e demoniaca). E diciamolo, è anche una delle possibili maschere di Halloween.

Photo credits: flickr.com

Ma la sua nascita non è americana bensì giapponese, nata dalla penna dello scrittore Koji Suzuki autore dell’omonimo romanzo Ring ( リング Ringu). Suzuki è autore anche di Spiral, uno dei sequel di The Ring, e di Dark Water che si guadagnò un film di cui in America venne prodotto il remake. La protagonista è qui Jennifer Connelly, e anche questo è un Horror di indubbio terrore che però non ha eguagliato la fama di The Ring.

Il remake Americano di The Ring non è molto diverso dal soggetto originale(almeno per i primi film è così). La protagonista è in entrambi una giornalista che ricerca il mistero delle inspiegabili morti dovute alla visione della cassetta maledetta. Purtroppo la donna finirà per portare con sé in questa spirale la propria famiglia in una corsa disperata per salvarsi. Ma il fantasma non è più una inquietante bambina ma una giovane donna.

Sadako 貞子

Photo credits: Movieclips.com

Sadako è il fantasma di una diciannovenne con lunghi capelli corvini che le coprono completamente il volto e che uscendo dal televisore porta il malcapitato ad una violenta morte.

Questo fantasma è in realtà una creatura molto complessa, come tutti i fantasmi Giapponesi, la cui crudeltà non è dettata altro che dalla vendetta. E purtroppo, quando la missione di vendicarsi di chi gli ha fatto male nella loro vita umana si conclude, l’odio ormai ha preso il sopravvento. Ogni possibile redenzione è perduta.

Sadako Yamamura era il suo nome umano e in tutti i film abbiamo una visione della sua storia e sappiamo qualcosa del suo personaggio. Ma è nel prequel della prima saga, The Ringu 0: Birthday, che abbiamo una visione completa della sua vita terrena.

Photo credits: anythinghorror.wordpress.com

Prima di diventare il fantasma senza pace che caratterizza tutto il racconto Sadako nasce da un rapporto proibito. Di padre ignoto, si vocifera fosse un demone, sua madre era una sacerdotessa devota alle arti nere. Sin dall’infanzia viene perseguitata dalle voci secondo cui la vicinanza con lei porti sciagura e morte perché dotata di enormi ma oscuri poteri. Potrebbe avere un lieve spiraglio di luce in una vita tormentata quando ormai adolescente si trasferisce a Tokyo con il professor Ikuma. Ex amante della madre, il professore tratterà la giovane come una figlia che arrivata all’età adulta si iscrive in una compagnia teatrale. Qui, una serie di tragici avvenimenti la porterà a diventare attrice protagonista, ma con questo anche all’ascesa della parte maligna dentro di lei.

Si scoprirà infatti che in lei vivono due entità, la sua parte umana e buona, e la parte demoniaca dall’aspetto di una bambina. E saranno le vessazioni e la morte della sua parte buona, uccisa dai suoi colleghi, che faranno prevalere il lato demoniaco, e scateneranno la serie di fatali avvenimenti conseguenti.

Photo credits: noset.com

Ikuma cercherà di uccidere anche la Sadako malvagia buttandola in un pozzo e sigillandolo, ma l’entità sopravvive alla caduta pur restando imprigionata. Qui il demone diventa sempre più forte concretizzando alla fine il suo odio nella videocassetta maledetta che in sette giorni conduce alla morte chiunque la guardi.

Ma ciò nonostante non si può non nutrire compassione per lei, essere travagliato. Nell’ultimo attimo di umana lucidità, prima che la sua parte demoniaca prenda il sopravvento, ricorda Toyama l’unico ragazzo che abbia mai amato.

I film hanno una sostanziale differenza rispetto al libro di Koji Suzuki per quanto riguarda la storia del personaggio. La giovane ha infatti una vita ben più travagliata e molto più complessa, che si conclude con un destino fatale.

Banchō Sarayashiki 番町皿屋敷

Photo credits: Wikipedia

Il personaggio creato da Koji Suzuki, come molti altri del cinema horror giapponese moderno, prende spunto da una antica leggenda.

Parliamo della storia di Okiku e i nove piatti. Molto spesso anche il teatro Kabuki ne ha preso spunto per le sue rappresentazioni e ve ne sono diverse versioni.

In tutte la protagonista è Okiku, una bella e giovane serva che lavora per la famiglia di Aoyama Tessan un samurai innamorato di lei. Innumerevoli volte la ragazza rifiuta le avance del samurai che per farla cedere alla passione le fa credere di aver perso un piatto di finissima porcellana di un servizio da dieci. Okiku conta e riconta i piatti ma il decimo non salta fuori. La povera piange disperata perché sa che la pena che la attende è severa ma il samurai la rassicura dicendo che in cambio del suo amore non subirà punizioni. Okiku rifiuta è il samurai offuscato da un raptus di rabbia la spinge in un pozzo facendola morire. Okiku torna come fantasma per tormentare il suo assassino continuando senza sosta a contare fino a nove e poi iniziare a piangere. Solo un monaco esorcista riesce a liberare lo spirito durante la sua ennesima apparizione notturna. Dopo averla fatta contare fino a nove il monaco urla DIECI! cosi facendo libera Okiku ora pronta ad andare in paradiso.

Photo credits: Wikipedia

Ci sono, come già detto, diverse varianti di questa leggenda, tutte più o meno simili. In una la storia si svolge al castello Himeji e in alcune Okiku muore per un complotto di corte, in altre perché il suo amante, lo shogun, la uccide per aver rotto volontariamente il decimo piatto.

In ogni versione comunque si è mossi a compassione per questo personaggio, sicuramente oscuro ma allo stesso tempo infelice.[:en]

Ringu: The cursed tape

Photo credits: Movieweb.com

The Ring is the fortunate American horror movie with Naomi Watson in the role of the protagonist that in 2002 haunted cinemas all around the world. Earning more than $250 million dollars at the box-office it revived a suffering genre giving the bravest spectators shivers. The movie had a sequel, The Ring 2 out in 2005, and The Ring 3 recently came out, fifteen years after the original movie.

Samara Morgan is a little girl with long raven hair and snow-white skin, and from this description she might appear like a pure Snow White. But reality is quite different. With her famous words “You will die in seven days” she is a ghost that brings to death all those who watch her cursed tape thanks to an infinite ring.

Nowadays, Samara is among the ultimate ‘villains’ of the American horror genre (together with Jason from Friday the 13th, or Freddy Krueger from A Nightmare on Elm Street with his supernatural and demoniac nature). And we might as well say she is one of the many possible Halloween masks.

Photo credits: flickr.com

However her birth is not American but Japanese, as she was born from the pen of the writer Koji Suzuki author of the novel of the same title Ring ( リング Ringu). Suzuki is also the author of Spiral, one of the sequels of The Ring, and Dark Water which gained a movie and an American remake. Here the protagonist is Jennifer Connelly and it's undoubtedly a terrifying movie, yet unable to reach the fame of The Ring.

The American Remake of The Ring in not so different from the original subject (This is true at least for the first movies). In both films the protagonist is a journalist that is trying to solve the mystery behind the inexplicable deaths caused by the viewing of a cursed videotape. The woman will end up involving her family in this spiral, in a desperate run for their lives. But the ghost is not that of a disturbing child now, but that of a young woman.

Sadako 貞子

Photo credits: Movieclips.com

Sadako is the ghost of a nineteenth years old girls with long hair that cover her face completely and that coming out of the television brings the unfortunate person to a violent death.

This ghost is in reality a very complex creature, like all Japanese ghosts, as their cruelty is driven by nothing but revenge. Unfortunately, when the mission of seeking vengeance from those who had hurt them in their human life is accomplished, hatred has already taken over. Every possibility of redemption gone.

Sadako Yamamura was her human name and in each movie we have an insight into her story discovering something about her character. But it's in the prequel of the first story-line, The Ringu 0:Birthday, that we have a complete vision of her human life.

Photo credits: anythinghorror.wordpress.com

Before she became the restless ghost that characterizes the whole story, Sadako was born from a forbidden intercourse. Her father unknown, he was said to be a demon, her mother was a priestess devoted to dark arts. Since her childhood she was harassed by voices saying that being close to her brought misfortune and death because of her enormous but dark powers. She could have had a little light of hope in a tormented life when she moves to Tokyo with professor Ikuma. The professor, her mother’s ex-lover, treats Sadako as his own daughter and reached adulthood she joins a theater company. Here, due to a series of tragic events she becomes leading actress, but this also led to the rise of her evil part.

In fact, we will find out that there are two entities inside her, the human part that is good, and the demoniac part with the appearance of a child. The abuses she suffers and the death of her good part by the hands of her colleagues will bring out her demoniac side, with the consequent series of tragic events.

Photo credits: noset.com

Ikuma will try to kill the evil Sadako too, trowing her in a well and sealing it, but the entity survives the fall even if it is now imprisoned. Inside the well the demon will grow stronger and stronger until its hatred takes concrete form in the cursed video tape that in seven days leads to death whoever watches it.

But in spite of all this we can’t help but pity here, miserable soul. In her last moment of human lucidity, before her demoniac side takes over, she remembers of Toyama the only man she had ever loved.

The movies have a substantial differences from Koji Suzuki’s books regarding the story of this character as the young girl has an even more tormented and complicated life, ending with her fatal death.

Banchō Sarayashiki 番町皿屋敷

Photo credits: Wikipedia

The character created by Koji Suzuki, like many other of the Japanese modern horror genre, takes a cue from an old legend.

We are speaking about the story of Okiku and the nine plates. The Kabuki theater has often used this legend for its representations and there are many versions of it.

The protagonist is always Okiku a young and beautiful servant that works for the family of a samurai, Aoyama Tessan, that is in love with her. Countless times the girl refuses the samurai’s approaches, so to induce her in temptation he makes her believe she had lost a precious porcelain plate part of a set of ten. The poor girl desperately cries because she knows that the punishment will be severe, but the samurai comforts her saying that in exchange for her love she won’t be punished. Okiku still refuses him and the samurai blinded by rage pushes the girl into a well killing her.

Okiku comes back as a ghost to torment her assassin and keeps counting to nine and then start crying. Only a monk and exorcist is able to purify her spirit during one of her appearance. After he had her count to 9 the monk screams TEN!,in this way the spirit is free and ready to go to heaven.

Photo credits: Wikipedia

As we said, there are many variations to this story, more or less similar to each other. In one of them the story takes place in the Himeji castle where Okiku dies because of a conspiracy within the court, or because the shogun, her lover, kills her because she voluntarily breaks the tenth plate.

Anyway, in every version we are brought to pity this character, surely obscure but tormented at the same time.[:ja]

Ringu: The cursed tape

Photo credits: Movieweb.com

The Ring is the fortunate American horror movie with Naomi Watson in the role of the protagonist that in 2002 haunted cinemas all around the world. Earning more than $250 million dollars at the box-office it revived a suffering genre giving the bravest spectators shivers. The movie had a sequel, The Ring 2 out in 2005, and The Ring 3 recently came out, fifteen years after the original movie.

Samara Morgan is a little girl with long raven hair and snow-white skin, and from this description she might appear like a pure Snow White. But reality is quite different. With her famous words “You will die in seven days” she is a ghost that brings to death all those who watch her cursed tape thanks to an infinite ring.

Nowadays, Samara is among the ultimate ‘villains’ of the American horror genre (together with Jason from Friday the 13th, or Freddy Krueger from A Nightmare on Elm Street with his supernatural and demoniac nature). And we might as well say she is one of the many possible Halloween masks.

Photo credits: flickr.com

However her birth is not American but Japanese, as she was born from the pen of the writer Koji Suzuki author of the novel of the same title Ring ( リング Ringu). Suzuki is also the author of Spiral, one of the sequels of The Ring, and Dark Water which gained a movie and an American remake. Here the protagonist is Jennifer Connelly and it's undoubtedly a terrifying movie, yet unable to reach the fame of The Ring.

The American Remake of The Ring in not so different from the original subject (This is true at least for the first movies). In both films the protagonist is a journalist that is trying to solve the mystery behind the inexplicable deaths caused by the viewing of a cursed videotape. The woman will end up involving her family in this spiral, in a desperate run for their lives. But the ghost is not that of a disturbing child now, but that of a young woman.

Sadako 貞子

Photo credits: Movieclips.com

Sadako is the ghost of a nineteenth years old girls with long hair that cover her face completely and that coming out of the television brings the unfortunate person to a violent death.

This ghost is in reality a very complex creature, like all Japanese ghosts, as their cruelty is driven by nothing but revenge. Unfortunately, when the mission of seeking vengeance from those who had hurt them in their human life is accomplished, hatred has already taken over. Every possibility of redemption gone.

Sadako Yamamura was her human name and in each movie we have an insight into her story discovering something about her character. But it's in the prequel of the first story-line, The Ringu 0:Birthday, that we have a complete vision of her human life.

Photo credits: anythinghorror.wordpress.com

Before she became the restless ghost that characterizes the whole story, Sadako was born from a forbidden intercourse. Her father unknown, he was said to be a demon, her mother was a priestess devoted to dark arts. Since her childhood she was harassed by voices saying that being close to her brought misfortune and death because of her enormous but dark powers. She could have had a little light of hope in a tormented life when she moves to Tokyo with professor Ikuma. The professor, her mother’s ex-lover, treats Sadako as his own daughter and reached adulthood she joins a theater company. Here, due to a series of tragic events she becomes leading actress, but this also led to the rise of her evil part.

In fact, we will find out that there are two entities inside her, the human part that is good, and the demoniac part with the appearance of a child. The abuses she suffers and the death of her good part by the hands of her colleagues will bring out her demoniac side, with the consequent series of tragic events.

Photo credits: noset.com

Ikuma will try to kill the evil Sadako too, trowing her in a well and sealing it, but the entity survives the fall even if it is now imprisoned. Inside the well the demon will grow stronger and stronger until its hatred takes concrete form in the cursed video tape that in seven days leads to death whoever watches it.

But in spite of all this we can’t help but pity here, miserable soul. In her last moment of human lucidity, before her demoniac side takes over, she remembers of Toyama the only man she had ever loved.

The movies have a substantial differences from Koji Suzuki’s books regarding the story of this character as the young girl has an even more tormented and complicated life, ending with her fatal death.

Banchō Sarayashiki 番町皿屋敷

Photo credits: Wikipedia

The character created by Koji Suzuki, like many other of the Japanese modern horror genre, takes a cue from an old legend.

We are speaking about the story of Okiku and the nine plates. The Kabuki theater has often used this legend for its representations and there are many versions of it.

The protagonist is always Okiku a young and beautiful servant that works for the family of a samurai, Aoyama Tessan, that is in love with her. Countless times the girl refuses the samurai’s approaches, so to induce her in temptation he makes her believe she had lost a precious porcelain plate part of a set of ten. The poor girl desperately cries because she knows that the punishment will be severe, but the samurai comforts her saying that in exchange for her love she won’t be punished. Okiku still refuses him and the samurai blinded by rage pushes the girl into a well killing her.

Okiku comes back as a ghost to torment her assassin and keeps counting to nine and then start crying. Only a monk and exorcist is able to purify her spirit during one of her appearance. After he had her count to 9 the monk screams TEN!,in this way the spirit is free and ready to go to heaven.

Photo credits: Wikipedia

As we said, there are many variations to this story, more or less similar to each other. In one of them the story takes place in the Himeji castle where Okiku dies because of a conspiracy within the court, or because the shogun, her lover, kills her because she voluntarily breaks the tenth plate.

Anyway, in every version we are brought to pity this character, surely obscure but tormented at the same time.[:]


Japanese Tradition: Oiran

[:it]

Oiran

Cortigiane che dettavano moda.

photo credit: pinterest

Nell’antico Giappone le “donne di piacere” erano le Yūjo (遊女). Questo termine ne indicava il mestiere e marcava la differenza tra le prostitute comuni e le cortigiane ovvero le Oiran  (花魁).  La figura che vedremmo nel seguente articolo è proprio quella delle Oiran.

Il termine deriva dalla frase ‘oira no tokoro no nēsan’ (おいらの所の姉さん) ovvero “Mia sorella maggiore”.  La traduzione del nome potrebbe però anche essere “Il fiore che primeggia” scritto con i kanji: 花 (Hana) “fiore” e  魁(Sakikage) “leader”.  Questo temine fu coniato per le prostitute di alto rango del distretto a luci rosse di Yoshiwara (吉原) a Edo, l’odierna Tokyo. Venne usato successivamente per indicare le cortigiane.

photo credit: pinterest

Le Oiran svolsero la loro attività nel periodo Edo, nei Yūkaku quartieri del piacere (da non confondere con le Hanamachi dove vivevano solo le Geisha). Questi quartieri venivano costruiti fuori dal centro città di Kyoto, Osaka e Edo, unici luoghi dove la prostituzione non era illegale. Al contrario delle Yūjo che vendevano i propri favori sessuali, le Oiran intrattenevano il cliente non solo con il corpo ma anche con le loro abilità. Queste comprendevano il Sadō o cerimonia del Tè, l’Ikebana, l’arte dei fiori, suonare vari strumenti, leggere e avere un’ottima cultura generale.  Infatti dovevano essere in grado di intrattenere il cliente anche  sostenendo con lui una brillante conversazione. Il rango più alto era costituito dalle Tayū (太夫) le quali potevano avere il privilegio di rifiutare i clienti.  Seguivano le Kōshi (格子). I loro clienti  erano parte dell’élite della società, come daimyō e ricchi feudatari, poiché la loro parcella era molto dispendiosa. Basti pensare che solo una notte con una Oiran equivaleva al salario annuale di un lavoratore. Per avere un incontro bisognava essere inviati dalle stesse per poi entrare in liste d’attesa di settimane.

L’ultima Oiran ufficiale visse fino 1761. C’è da notare che con la fama crescente delle Geisha man mano diminuivano le richieste per le Oiran. Oggigiorno non viene più svolta questa professione nel senso vero della parola ma ha la finalità di far rivivere le tradizioni del Paese, i vecchi usi e costumi.

La cosa affascinante di queste figure era che per via dell’isolamento dovuto alla legge sulla prostituzione (erano relegate in zone periferiche) vennero idolatrate e mistificate. In più dettavano mode e costumi. Erano loro che portavano le acconciature più particolari e i kimono più estrosi e ricchi, con Geta (sandali Giapponesi) alti quindici  centimetri.

photo credit: tokyocheapo.com

Shinano, Sakura e Bunsui.

Esistono diversi eventi durante l’anno che celebrano queste donne.

Il primo di questi si svolge in aprile a Tsubame nella regione di Hokuriku ed è il Bunsui Sakura Matsuri Oiran Dōchū. Si tratta di una parata famosa in tutto il Giappone dove ragazze di ogni regione si sfidano per avere il ruolo delle tre Oiran protagoniste: Shinano, Sakura e Bunsui. I nomi derivano dai fiori che nascono da tre specie diverse di ciliegi. Le ragazze sfilano davanti ad un corteo di minimo di settanta figuranti diversi tra Kamuro le loro aiutanti, servi e concubine. Ogni figurante viene selezionato ogni anno con la più massima accortezza.

photo credit: wikipedia

A settembre la parata Oiran Dōchū percorre Shinagawa, ed a inizio ottobre a Nagoya, intorno al tempio Ōsu Kannon, c’è lo Ōsu Street Performers Festival dove migliaia di spettatori assistono a due giorni di parata. Qui le Oiran sfilano nelle gallerie dei negozi dell’Ōsu Kannon district con tutto il loro entourage. Esso è composto dagli Yojimbo simili ai Samurai ma che hanno il ruolo di bodyguard, e dalle apprendiste.

Affascinanti, sensuali e misteriose come tutto in Giappone, donne dai mille volti e dai mille talenti, bellezze di un tempo passato.[:en]

Oiran

Courtesans that led fashion

photo credit: pinterest

In ancient Japan ‘women of pleasure’ were called Yūjo (遊女). This word identified their job and also marked the difference between common prostitutes and courtesans, also called Oiran (花魁). The figure of the Oiran is the one we will analyze in this article.

The word Oiran derives from the sentence ‘oira no tokoro no nēsan’ (おいらの所の姉さん) that means ‘My older sister’. However, the literal translation would also be ‘The leader of all flowers’ since it is written with the kanji of 花 (Hana) “flower” and the kanji of 魁 (Sakikage) “leader”. At first, the word referred to high-class prostitutes of the Yoshiwara district (吉原) in Edo, today’s Tokyo. But later it was used in reference to courtesans.

photo credit: pinterest

Oirans carried out their activities during the Edo period in pleasure districts called Yūkaku (that is not to be confused with the Hanamachi were only Geishas lived) . This districts were built outside the city center of Kyoto, Osaka and Edo, and were the only places were prostitution was legalized.
Unlike Yūjos, that sold their sexual favors, Oirans entertained their clients non only with their body but also with their abilities. These included the Sadō or the Tea ceremony, the Ikebana or the art of arranging flowers, being able to play different instruments, reading and having a good general knowledge. In fact, they had to be able to entertain the client also with their brilliant conversation skills.
The highest rank was that of the Tayū (太夫) that had the privilege to refuse a client if they wanted to. They were followed by Kōshi (格子). Their clients were part of the elite of the society like Daimyōs and rich feudal lords, and this was because the fee for a Oiran was very high. Just think that one night with an Oiran was equivalent to a whole year of a worker’s salary. To be able to meet one of them, clients had to be invited by the Oiran herself and had to enter a waiting list even weeks long.

The last official Oiran lived until 1761. The increasing popularity of Geishas made the request for Oirans decline. Nowadays this profession is not carried out anymore, if not with the meaning of preserving traditions and customs.
The most fascinating thing about Oirans is that due to the isolation they were forced into by the anti-prostitution law (prostitutes were to live in peripheral areas only) they were also idolized and mystified. They also led fashion and customs. They had the most peculiar hair-styles and the most rich and fancy kimonos with Getas (Japanese traditional shoes) fifteen cm high.

photo credit: tokyocheapo.com

Shinano, Sakura e Bunsui.

There are many events that celebrate these women during the year.

The first one, that takes place in April in the city of Tsubame, Hokuriku region, is the Bunsui Sakura Matsuri Oiran Dōchū. It is a parade famous throughout Japan were girls from different regions parade along the streets in order to obtain the role of one of the three leading Oirans : Shinano, Sakura and Bunsui. These names derive from the flowers of three different types of cherry trees. The girls parade ahead of a minimum of seventy different accompanying figures like Kamuros, their helpers, servants and concubines too. Each figure is selected every year with utmost care.

photo credit: wikipedia

In September in Shinagawa there is the Oiran Dōchū parade, and every early October in Nagoya, around the Ōsu Kannon temple, there’s the Ōsu Street Performers Festival were thousands of spectators can attend a two-days parade. Here Oirans walk down the shopping galleries of the Ōsu Kannon district with their whole entourage. Part of this entourage is the Yojimbo, similar to samurai but that actually has the role of a bodyguard, and there are apprentices too.

Charming, sensual and mysterious, like everything is in Japan, women of thousands faces and talents, beauty of an ancient time.[:ja]

Oiran

Courtesans that led fashion

photo credit: pinterest

In ancient Japan ‘women of pleasure’ were called Yūjo (遊女). This word identified their job and also marked the difference between common prostitutes and courtesans, also called Oiran (花魁). The figure of the Oiran is the one we will analyze in this article.

The word Oiran derives from the sentence ‘oira no tokoro no nēsan’ (おいらの所の姉さん) that means ‘My older sister’. However, the literal translation would also be ‘The leader of all flowers’ since it is written with the kanji of 花 (Hana) “flower” and the kanji of 魁 (Sakikage) “leader”. At first, the word referred to high-class prostitutes of the Yoshiwara district (吉原) in Edo, today’s Tokyo. But later it was used in reference to courtesans.

photo credit: pinterest

Oirans carried out their activities during the Edo period in pleasure districts called Yūkaku (that is not to be confused with the Hanamachi were only Geishas lived) . This districts were built outside the city center of Kyoto, Osaka and Edo, and were the only places were prostitution was legalized.
Unlike Yūjos, that sold their sexual favors, Oirans entertained their clients non only with their body but also with their abilities. These included the Sadō or the Tea ceremony, the Ikebana or the art of arranging flowers, being able to play different instruments, reading and having a good general knowledge. In fact, they had to be able to entertain the client also with their brilliant conversation skills.
The highest rank was that of the Tayū (太夫) that had the privilege to refuse a client if they wanted to. They were followed by Kōshi (格子). Their clients were part of the elite of the society like Daimyōs and rich feudal lords, and this was because the fee for a Oiran was very high. Just think that one night with an Oiran was equivalent to a whole year of a worker’s salary. To be able to meet one of them, clients had to be invited by the Oiran herself and had to enter a waiting list even weeks long.

The last official Oiran lived until 1761. The increasing popularity of Geishas made the request for Oirans decline. Nowadays this profession is not carried out anymore, if not with the meaning of preserving traditions and customs.
The most fascinating thing about Oirans is that due to the isolation they were forced into by the anti-prostitution law (prostitutes were to live in peripheral areas only) they were also idolized and mystified. They also led fashion and customs. They had the most peculiar hair-styles and the most rich and fancy kimonos with Getas (Japanese traditional shoes) fifteen cm high.

photo credit: tokyocheapo.com

Shinano, Sakura e Bunsui.

There are many events that celebrate these women during the year.

The first one, that takes place in April in the city of Tsubame, Hokuriku region, is the Bunsui Sakura Matsuri Oiran Dōchū. It is a parade famous throughout Japan were girls from different regions parade along the streets in order to obtain the role of one of the three leading Oirans : Shinano, Sakura and Bunsui. These names derive from the flowers of three different types of cherry trees. The girls parade ahead of a minimum of seventy different accompanying figures like Kamuros, their helpers, servants and concubines too. Each figure is selected every year with utmost care.

photo credit: wikipedia

In September in Shinagawa there is the Oiran Dōchū parade, and every early October in Nagoya, around the Ōsu Kannon temple, there’s the Ōsu Street Performers Festival were thousands of spectators can attend a two-days parade. Here Oirans walk down the shopping galleries of the Ōsu Kannon district with their whole entourage. Part of this entourage is the Yojimbo, similar to samurai but that actually has the role of a bodyguard, and there are apprentices too.

Charming, sensual and mysterious, like everything is in Japan, women of thousands faces and talents, beauty of an ancient time.[:]


Japan Italy Bridge Tips: Edogawa Fireworks

[:it]

Edogawa Fireworks

Edogawa fireworks, japan italy bridge

photo credit: ajpscs

Se questa estate vi trovate a Tokyo vogliamo consigliarvi un meraviglioso spettacolo che da 43 anni a questa parte allieta gli abitanti di Edogawa (quartiere speciale di Tokyo che prende nome dal fiume Edo).
L’Edogawa Fireworks Festival si svolge ogni primo sabato d’agosto, dove per 75 minuti non potrete far altro che tenere gli occhi puntati al cielo. Uno spettacolo con più di 14,000 fuochi d’artificio lanciati nei cieli di Tokyo.

Vi consigliamo di assistere al festival dal Parco di Shinozaki, a circa 15 minuti a piedi dalla stazione omonima di Shinozaki. Guardare ovviamente è gratuito ma fatte presto a prendere il vostro posto perfetto! Giusto in tempo per rimanere estasiati dalla spettacolare apertura con il lancio di 1,000 fuochi d’artificio d’argento e oro solo nei primi incredibili minuti.

Se non siete sicuri di riuscire a conquistare il vostro posto in tempo potrete riservarne uno acquistando il vostro biglietto qui (Solo Giapponese).

Che siate da soli, o in dolce compagnia, con gli amici o con la vostra famiglia.. Non perdetevi questo spettacolo unico!!

DATA: 5 Ago, 2017
ORARIO DI INIZIO/FINE: 19:15 – 20:30
LOCATION: Edogawa Fireworks Festival Location
INGRESSO: Libero / Posto riservabile aquistando tramite questo sito (Solo giapponese)
STAZIONE PIÚ VICINA: Shinozaki
DOVE: Ichikawa, Tokyo

Edogawa fireworks

photo credit: cate♪

photo credit: Luke Kaneko


[:en]

Edogawa Fireworks

Edogawa fireworks, japan italy bridge

photo credit: ajpscs

Se questa estate vi trovate a Tokyo vogliamo consigliarvi un meraviglioso spettacolo che da 43 anni a questa parte allieta gli abitanti di Edogawa (quartiere speciale di Tokyo che prende nome dal fiume Edo).
L’Edogawa Fireworks Festival si svolge ogni primo sabato d’agosto, dove per 75 minuti non potrete far altro che tenere gli occhi puntati al cielo. Uno spettacolo con più di 14,000 fuochi d’artificio lanciati nei cieli di Tokyo.

Vi consigliamo di assistere al festival dal Parco di Shinozaki, a circa 15 minuti a piedi dalla stazione omonima di Shinozaki. Guardare ovviamente è gratuito ma fatte presto a prendere il vostro posto perfetto! Giusto in tempo per rimanere estasiati dalla spettacolare apertura con il lancio di 1,000 fuochi d’artificio d’argento e oro solo nei primi incredibili minuti.

Se non siete sicuri di riuscire a conquistare il vostro posto in tempo potrete riservarne uno acquistando il vostro biglietto qui (Solo Giapponese).

Che siate da soli, o in dolce compagnia, con gli amici o con la vostra famiglia.. Non perdetevi questo spettacolo unico!!

DATA: 5 Ago, 2017
ORARIO DI INIZIO/FINE: 19:15 – 20:30
LOCATION: Edogawa Fireworks Festival Location
INGRESSO: Libero / Posto riservabile aquistando tramite questo sito (Solo giapponese)
STAZIONE PIÚ VICINA: Shinozaki
DOVE: Ichikawa, Tokyo

Edogawa fireworks

photo credit: cate♪

photo credit: Luke Kaneko


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Edogawa Fireworks

Edogawa fireworks, japan italy bridge

photo credit: ajpscs

If you are in Tokyo this summer we suggest this wonderful event that for 42 years has been entertaining people of Edogawa (Special ward of Tokyo that takes it’s name from Edo River).
The Edogawa Fireworks Festival takes place every first Saturday of August, where for 75 minutes you won’t be able to take your eyes from the sky. A show with more than 14,000 fireworks shot up into Tokyo’s sky.

We suggest you watch the show Shinozaki Park, about 15 minutes on foot from Shinozaki Station. Obviously it is a free event but hurry up if you want to catch the perfect spot! Right in time to be amazed by the spectacular opening with about 1000 golden and silver fireworks shot up into the sky only during the first incredible minutes.

If you are not sure to catch a spot then you can reserve one buying your thicket on this site (Japanese only).

Whether you go alone, or with your lover, whether you are with your friends or your family… Don’t miss this unique event!!

DATE: 5th Aug, 2017
STARTING/FINISHING TIME: 07:15pm – 08:30pm
LOCATION: Edogawa Fireworks Festival Location
ENTRY: Free / Reservable seats here (Japanese only)
CLOSER STATION: Shinozaki
WHERE: Ichikawa, Tokyo

Edogawa fireworks

photo credit: cate♪

photo credit: Luke Kaneko


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Japanese Culture: Geisha & Maiko

[:it]Maiko e Geisha: Artiste danzanti.

photo credit: metmuseum.org

La figura artistica più rappresentativa ma al contempo misteriosa del “Sol levante” è la Geisha (芸者 “Persona d’arte”).

Spesso viene confusa con la Maiko (舞妓 “Fanciulla danzante”) che è l’apprendista a questa professione. Per diventare una Geisha si deve fare una lunga gavetta e frequentare scuole apposite. Qui si impara a danzare, cantare e nell’uso del Shamisen (三味線 “Tre corde” tipico strumento musicale). Per quanto riguarda l’intrattenimento con il pubblico, la Maiko impara tutto accompagnando una Geisha in giro per le case da tè. Il rapporto che c’è tra Maiko e Geisha è una “sorellanza” vera e propria. Le due si chiameranno rispettivamente imoto-san "sorella minore" e onee-san “sorella maggiore". Il legame è cosi stretto che il nome d’arte per la futura Geisha viene deciso dalla “sorella maggiore” e lo porterà per tutta la carriera artistica.

photo credit: freshdesignpedia.com

I kimono dai colori sgargianti col passare del tempo tenderanno a diventare scuri. Le Nihongami, pettinature risalenti al periodo Edo, sono molto complicate sia da fare che da mantenere. Esse vengono ornate dai Kanzashi, spilloni decorativi che variano a seconda delle stagioni (Es. fiori durante la primavera, colombe a capodanno). Queste diventeranno più sobrie ed il trucco eccessivo con piccole labbra color carminio che risaltano su una maschera nivea sarà sostituito per un risultato più naturale. Il piccolo vezzo del collo esposto (che nella cultura giapponese è una delle parti più sensuali della donna) da due linee bianche dipinte passeranno a tre.

Nel passato le figlie delle Geisha percorrevano fin dalla prima età questo percorso. Oggi è più comune iniziare l’apprendistato conclusi gli studi universitari. Tuttavia, questa è una professione che si sceglie liberalmente e non per continuare una tradizione familiare. C’è da dire che questa comunità tutta al femminile con tradizioni rigide e una forte etica morale tiene molto a celare il loro segreto secolare.

“L’arte di essere donna”

photo credit: Pinterest

Solitamente, nel nostro immaginario vediamo la Geisha come donna ricca di fascino ma succube, devota al proprio uomo in ogni più piccolo capriccio. Tuttavia questo è un errore poiché nel passato furono le prime donne con piena autonomia della società Nipponica.

Tutto iniziò con i Taikomochi (太鼓持), giullari che intrattenevano con acrobazie e battute umoristiche lo Shōgun (将軍 "comandante dell'esercito") e i Daimyō (大名) la nobiltà feudale.

Benché i Taikomochi erano molto amati per lo spirito goliardico che portavano a corte, questa figura andò man mano sparendo con l’apparizione delle prime Geisha ovviamente dando non poco scalpore ma venendo preferite per i movimenti sensuali e la grazia femminile.

Ma queste donne non erano cortigiane ne prostitute di lusso. Queste ultime nella cultura giapponese sono identificate come Oiran (花魁). Le Geisha erano artiste molto richieste. Le loro specialità includevano danza, canto e musica. Dovevano inoltre essere buone conversatrici e intrattenitrici. Esse esercitavano questa professione nel Okiya (置屋) "case delle geisha" a Kyoto la allora capitale dell’impero.

Durante la seconda metà dell’Ottocento l’isolamento del Giappone durato circa duecento anni terminò. Questo fu il momento in cui l’Europa conobbe un porto nuovo ed esotico.

Assieme a questo, tutto il resto del mondo conobbe anche la figura della Geisha ed il suo fascino. Questo influenzò anche la moda e costume occidentale. Puccini musicò la struggente Madama Butterfly e nell’arte furono muse per i più grandi pittori del tempo. Manet, Monet, Klimt, Renoir e Van Gogh sono solo alcuni dei pittori che hanno provato ad ispirarsi al Giapponismo. Questo è un movimento artistico che offre tributo all’arte Ukiyo-e (浮世絵 "immagine del mondo fluttuante"). Ma non solo, anche alle stampe dei grandi maestri Katsushika Hokusai (La grande onda di Kanagawa) e Kitagawa Utamaro. Quest’ultimo è famoso per le bellissime stampe dedicate alle donne. Più questo movimento artistico prendeva in patria, più le stampe ukiyo-e diventavano famose e richieste in occidente.

photo credit: makeuppix.com

“Mogli del crepuscolo”

Durante la Seconda Guerra mondiale con l’approdo degli Americani la figura della Geisha venne distorta. Ad essa fu attribuito un ruolo da prostituta poiché le giovani che davano conforto ai soldati erano chiamate “Geisha Girls”. Questo causò un’idea anti-femminista e sbagliata di queste donne.

Per le regole rigide di questo lavoro difficilmente la Geisha nel passato poteva concedersi l’amore. Poteva avere come compagno solo il suo Danna (旦那). In giapponese vuol dire padrone ma era più simile ad un marito che la Geisha poteva concedersi. Egli si prendeva cura della sua protetta finanziando le sue esibizioni e talvolta cancellando il debito che la giovane aveva con l’okiya per le spese scolastiche. Era quasi sempre il Danna che sceglieva la sua Geisha non il contrario. Nonostante questo, a lungo andare non era insolito che tra i due nascesse l’amore.

Ma per fortuna i tempi sono cambiati. Oggi le Geisha possono amare liberalmente, ma ovviamente concludendo l’attività con il matrimonio. È consuetudine che le ex Geisha diventino insegnanti di danza.

still dal film "Memorie di una Geisha"

Il numero delle Geisha è in netta diminuzione ed è un lavoro per lo più fine al turismo. Infatti, il loro pubblico oggi non solo è maschile ma anche femminile.

Ricordiamo le meravigliose parole di Arthur Golden che con il suo Best Seller “Memorie di una Geisha” ha creato un meraviglioso quadro. Questo ha permesso di riscoprire questo universo parallelo in bilico nel tempo tra passato e modernità.

“La Geisha è un'artista del mondo che fluttua: canta, danza, vi intrattiene; tutto quello che volete. Il resto è ombra, il resto è segreto.”

 

 [:en]Maiko and Geisha: Dancing Artists

photo credit: metmuseum.org

The most representative and mysterious artistic figure of the 'Country of the rising sun' is the Geisha (芸者 "Person who embodies art").

She is often confused with the Maiko (舞妓 "Dancing girl") that is the apprentice and aspiring geisha. To become a geisha is required a long period of apprenticeship in dedicated schools. Here girls learn how to dance, sing and the use of the Shamisen (三味線 "Three strings" typical musical instrument). Regarding the skills of entertaining costumers, the maiko learns everything following a geisha around the many tea houses. The relationship between maiko and geisha is like a real ‘Sisterhood’. The two of them respectively call each other imoto-san or “younger sister”, and onee-san “big sister". The bound between them is so strong that the stage name of the future geisha is chosen by her big sister, and the maiko will carry that name for all her artistic career.

photo credit: freshdesignpedia.com

The bright colors of their kimonos will become darker as the geisha becomes older. The Nihongami, the typical hair-style of the Edo period, is very intricate and difficult both to realize and to maintain. It is usually embellished with the Kanzashi, decorative hair ornaments that would vary depending on the season (for example flowers in spring, doves for the New Year). The kanzashi too will become simpler over time, and the excessive make-up, with its typical small carmine lips standing out on a snow-white face, will be substituted with a different one for a more natural effect.

The little habit of exposing the neck (in the Japanese culture the neck is the most sensual part of a woman) will add another painted white line to the two lines previously used.

In the past the daughters of geishas would start on this path at a young age. Nowadays it is more common to start the apprenticeship after completing university studies. Nevertheless, this is a career started out of their free will and not in order to continue a family tradition. It must be said that this community made of women, with their strict traditions and strong moral ethics, is determined to keep its centuries-old secret.

The art of being a woman”

photo credit: Pinterest

Usually, in the common imagery, geishas are women full of charm but submissive, devoted to their man and their every little whim. However this is a mistake since in the past they were the first women in the Japanese society with full autonomy.
Everything started from the Taikomochis (太鼓持), jesters that entertained the Shōgun (将軍 "commander of the army") and his Daimyō (大名) the nobility, with acrobatic exercises and jokes.

In spite of the Taikomochis being really appreciated for their carefree spirit, this figure came to slowly disappear with the appearance of the first geishas. Obviously the created a sensation and they were soon preferred to taikomochis for their sensual movements and feminine gracefulness.

But these women were not courtesans nor prostitutes. Prostitutes were identified as Oirans (花魁). Geishas were artists highly requested. Theirs skills included dancing, singing and music in general. They also had to be good conversationalist and entertainer. They would perform their profession in the Okiya (置屋) or “Geisha houses” in Kyoto, the capital of the Empire at that time. During the second half of ‘800 the isolation of Japan, that had lasted for about two-hundred years, came to an end. This was the exact moment when Europe came in contact with a new exotic harbor.

With this, the whole world came to know the figure of the geisha and her charm. And they would influence the occidental style and costumes too. Puccini composed the moving Madame Butterfly, and in the field of the pictorial arts they became muses for well-know painter of the time. Manet, Monet, Klimt, Renoir and Van Gogh are just some of the artists that tried to take their inspiration from this so-called Nipponism. This artistic movement was a tribute to the art of the Ukiyo-e (浮世絵 "picture of the floating world). And not only this, we find geishas in the prints of Katsushika Hokusa (The Great Wave off Kanagawa) and Kitagawa Utamaro. Utamaro in particular became famous for his prints dedicated to women. The more this artistic movement grew in Japan, the more the ukiyo-e prints became famous all over the world too, and the demand for it equally increased.

photo credit: makeuppix.com

Wives of nightfall”

During the Second World War with the arrival of American soldiers the figure of the geisha was distorted. They were given the role of prostitutes because the young girls comforting the soldiers were called “geisha girls”. This produced an anti-feminist and erroneous idea of this women.

It was really difficult for the geishas to focus on love because of the strict rules required in this profession. They could have as sole companion their Danna (旦那). In Japanese “danna” means master and he was the closest thing to a husband for them. He would take care of his protege financially supporting her performances, and sometimes extinguishing the debt that she had with the okiya for her instruction. Usually it was the danna that would chose his geisha, not the contrary. Nevertheless it was not rare for them to fall in love.

Luckily times have changed. Today geishas can freely fall in love with the person they want, but obviously they will put an end to their activities after marriage. It is common for ex geishas to become dance teachers.

still from the movie "Memoirs of a Geisha"

The number of geishas is strongly decreasing and it is a profession kept alive mostly for touristic purpose. In fact, their audience is not made by men only, but women appreciate them too.

I would like here to report the marvelous words of Arthur Golden that with his best seller “Memories of a Geisha” created a beautiful picture of this figure. He allowed us to rediscover this parallel universe half-way between the past and the modernity.

Geisha is an artist of the floating world. She dances. She sings. She entertains you. Whatever you want. The rest is shadows. The rest is secret.”

 [:ja]Maiko and Geisha: Dancing Artists

photo credit: metmuseum.org

The most representative and mysterious artistic figure of the 'Country of the rising sun' is the Geisha (芸者 "Person who embodies art").

She is often confused with the Maiko (舞妓 "Dancing girl") that is the apprentice and aspiring geisha. To become a geisha is required a long period of apprenticeship in dedicated schools. Here girls learn how to dance, sing and the use of the Shamisen (三味線 "Three strings" typical musical instrument). Regarding the skills of entertaining costumers, the maiko learns everything following a geisha around the many tea houses. The relationship between maiko and geisha is like a real ‘Sisterhood’. The two of them respectively call each other imoto-san or “younger sister”, and onee-san “big sister". The bound between them is so strong that the stage name of the future geisha is chosen by her big sister, and the maiko will carry that name for all her artistic career.

photo credit: freshdesignpedia.com

The bright colors of their kimonos will become darker as the geisha becomes older. The Nihongami, the typical hair-style of the Edo period, is very intricate and difficult both to realize and to maintain. It is usually embellished with the Kanzashi, decorative hair ornaments that would vary depending on the season (for example flowers in spring, doves for the New Year). The kanzashi too will become simpler over time, and the excessive make-up, with its typical small carmine lips standing out on a snow-white face, will be substituted with a different one for a more natural effect.

The little habit of exposing the neck (in the Japanese culture the neck is the most sensual part of a woman) will add another painted white line to the two lines previously used.

In the past the daughters of geishas would start on this path at a young age. Nowadays it is more common to start the apprenticeship after completing university studies. Nevertheless, this is a career started out of their free will and not in order to continue a family tradition. It must be said that this community made of women, with their strict traditions and strong moral ethics, is determined to keep its centuries-old secret.

The art of being a woman”

photo credit: Pinterest

Usually, in the common imagery, geishas are women full of charm but submissive, devoted to their man and their every little whim. However this is a mistake since in the past they were the first women in the Japanese society with full autonomy.
Everything started from the Taikomochis (太鼓持), jesters that entertained the Shōgun (将軍 "commander of the army") and his Daimyō (大名) the nobility, with acrobatic exercises and jokes.

In spite of the Taikomochis being really appreciated for their carefree spirit, this figure came to slowly disappear with the appearance of the first geishas. Obviously the created a sensation and they were soon preferred to taikomochis for their sensual movements and feminine gracefulness.

But these women were not courtesans nor prostitutes. Prostitutes were identified as Oirans (花魁). Geishas were artists highly requested. Theirs skills included dancing, singing and music in general. They also had to be good conversationalist and entertainer. They would perform their profession in the Okiya (置屋) or “Geisha houses” in Kyoto, the capital of the Empire at that time. During the second half of ‘800 the isolation of Japan, that had lasted for about two-hundred years, came to an end. This was the exact moment when Europe came in contact with a new exotic harbor.

With this, the whole world came to know the figure of the geisha and her charm. And they would influence the occidental style and costumes too. Puccini composed the moving Madame Butterfly, and in the field of the pictorial arts they became muses for well-know painter of the time. Manet, Monet, Klimt, Renoir and Van Gogh are just some of the artists that tried to take their inspiration from this so-called Nipponism. This artistic movement was a tribute to the art of the Ukiyo-e (浮世絵 "picture of the floating world). And not only this, we find geishas in the prints of Katsushika Hokusa (The Great Wave off Kanagawa) and Kitagawa Utamaro. Utamaro in particular became famous for his prints dedicated to women. The more this artistic movement grew in Japan, the more the ukiyo-e prints became famous all over the world too, and the demand for it equally increased.

photo credit: makeuppix.com

Wives of nightfall”

During the Second World War with the arrival of American soldiers the figure of the geisha was distorted. They were given the role of prostitutes because the young girls comforting the soldiers were called “geisha girls”. This produced an anti-feminist and erroneous idea of this women.

It was really difficult for the geishas to focus on love because of the strict rules required in this profession. They could have as sole companion their Danna (旦那). In Japanese “danna” means master and he was the closest thing to a husband for them. He would take care of his protege financially supporting her performances, and sometimes extinguishing the debt that she had with the okiya for her instruction. Usually it was the danna that would chose his geisha, not the contrary. Nevertheless it was not rare for them to fall in love.

Luckily times have changed. Today geishas can freely fall in love with the person they want, but obviously they will put an end to their activities after marriage. It is common for ex geishas to become dance teachers.

still from the movie "Memoirs of a Geisha"

The number of geishas is strongly decreasing and it is a profession kept alive mostly for touristic purpose. In fact, their audience is not made by men only, but women appreciate them too.

I would like here to report the marvelous words of Arthur Golden that with his best seller “Memories of a Geisha” created a beautiful picture of this figure. He allowed us to rediscover this parallel universe half-way between the past and the modernity.

Geisha is an artist of the floating world. She dances. She sings. She entertains you. Whatever you want. The rest is shadows. The rest is secret.”

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