Shoki gaurdians, nuka bran scrubs, kendo dojo, psychologist interview
This post is covers Kyoto's unique Shoki guardian statues, nuka bran skin scrubs, kendo swordplay in Kyoto, and an interview with a clinical psychologist Dr. Kawai Hayato. Learn more! Content by Japan travel specialist, Ian Martin Ropke, founder of Your Japan Private Tours (since 1990).
Before we get to the main sections of this post let's take a look two Japanese things: Shoki house gaurdians and nuka bran skin scrubs.
Chinese legend has it that a feverish Tang-dynasty emperor was attacked in a dream by two demons, and saved by a little bearded spirit with a sword in his right hand and high boots. When the emperor asked the spirit who he was, the little man answered: “I am the Shoki. I was called on six times in my past life to help peole in trouble and failed each time, so I killed myself. But thanks to you, my dead body was clothed in this fine blue cloth. I am here to thank you for your kindness.” When the emperor woke up, he was cured. He immediately instructed his court artists to paint the Shoki as he remembered him.
By the end of the Tang dynasty, ceramic figures of the Shoki had become a commonplace form of protection on Chinese roofs (over the entrance). The tradition spread to Japan in the Heian period (794-1185). Today you can see gray, baked-clay Shoki on the entrance rooftops of many traditional homes in Western Japan. Look for them!
You may have noticed that rice has many uses in Japan. Eaten plain, it is the main staple of the Japanese diet; beaten to a pulp, it becomes mochi, traditional New Year's fare; and, of course, fermented, it becomes spirit-raising sake. But did you know that rice, or more specifically, the left-over rice bran called nuka, is also used as soap, shampoo, dish washing detergent, floor polish, and as an essential ingredient in making the pickles so popular in Japan?
In Japan's not so distant agricultural past, every part of the rice harvest was put to use. After the rice was polished, the left-over nuka was mixed with water and salt and set aside to ferment. Vegetables were placed in the mash, and the pickle was born. In the absence of refrigeration, the whole fermenting mixture was stored in a compartment beneath the kitchen floor--still a feature of older Japanese homes. Although this kept the vegetables from rotting, it also meant that the house was permeated with a distinctive pickle smell.
Put inside a cloth bag, plain nuka can be used to wash dishes, as a bath soap, or to polish wooden floors. In fact, it is the oil from the nuka that produces the deep luster of old wooden floors in Japan. The same oil is said to soften the skin, and the beauties of old no doubt scrubbed with nuka.
Commercial nuka products include face scrubs, soaps, and shampoos, which can be found in health stores and some supermarkets. Bijin (Beautiful Woman) Nuka brand shampoo and facial scrub (a bag with powdered nuka inside) somewhat resemble mild 'natural' shampoo and soap. Those who like organic products will probably enjoy the shampoo, which has a distinctly 'natural' texture. The facial scrub, much nicer than commercial soaps, is much less likely to dry out your skin.
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Content by Ian Martin Ropke, owner of Your Japan Private Tours (est. 1990). I have been planning, designing, and making custom Japan private tours on all five Japanese islands since the early 1990s. I work closely with Japan private tour clients and have worked for all kinds of families, companies, and individuals since 1990. Clients find me mostly via organic search, and I advertise my custom Japan private tours & travel services on www.japan-guide.com, which has the best all-Japan English content & maps in Japan! If you are going to Japan and you understand the advantages of private travel, consider my services for your next trip. And thank you for reading my content. I, Ian Martin Ropke (unique on Google Search), am also a serious nonfiction and fiction writer, a startup founder (NexussPlus.com), and a spiritual wood sculptor. Learn more!
The most famous kendo swordplay dojo in Japan!
Passing behind the Heian Shrine, one is likely to hear cries and the sound of cracking bamboo emanating from a large temple-like structure. The urge to flee is somewhat quelled by the knowledge that Japan's warrior class is a tradition of the past, and, as curiosity gets the upper hand, one is drawn into the fencing hall, or kendo dojo. What at first seems to be an arena of armor-clad people madly beaning one another on the head with long bamboo sticks quickly gives way to the impression that something more profound is happening.
Three years ago a casual visit to a dojo resulted in my being presented with a bamboo fencing foil, or shinai, and eventually led to my practicing kendo, the way of the sword. Curiosity soon turned into enthusiasm and fascination for this Japanese martial art.
The feudal art of swordsmanship, and what eventually developed into kendo, has a long and complex history. While Japan's armor, weaponry, and even the manner of carrying the sword (in a sling on the left hip) reveal Chinese influences, it is believed that kendo is a uniquely Japanese martial art. In the past, fencing was studied not simply in order to master the techniques of swordsmanship, but also in order to learn a code of behavior that was followed outside the fencing hall as well. This philosophy, or bushido, the way of the samurai, was codified in the thirteenth century.
Basic sword techniques and maneuvers gradually improved over time. Fortunately, by the eighteenth century, bamboo fencing staves had replaced steel ones during practice, as training often resulted in the loss of one's appendages, or worse, in death. Nowadays, with well-padded gloves (kote), chest plate (do), and steel helmet (men), bodily injury is rarely incurred during practice sessions.
During a bout, the kendoist faces his or her opponent in a full front stance, as opposed to the European counterpart where the opponents face each other side to side. The first kendoist to strike the opponent's target area two separate times with proper form and fighting spirit wins the match. Needless to say, speed, accuracy, and stamina are essential. The various offensive striking and thrusting techniques are aimed primarily at three target areas: the head, forearm, and the waist (and, occasionally, the throat) and seem appallingly simple to master in the beginning. This makes the pursuit of the art of kendo seem quite ridiculous, until one is engaged in a bout with an opponent for the first time. Inevitably, one becomes confused and uncertain, striking wildly and randomly like a demented windmill. At this time, it becomes apparent just how tough it is to hit the target while employing the proper footwork and kiai (fighting cry) and advancing from the appropriate distance.
The difficulty in mastering these three techniques, much less attaining the proper mind set and fighting spirit, makes kendo a life-long pursuit for many. Despite the fact that training sessions are often grueling, it is not unusual to see men in their seventies and eighties, still practicing and moving up in rank. (There are ten dans, or levels of achievement — shodan being the lowest, and judan being the highest.) Children as young as six years of age also attend, although the effect is similar to two miniature equipment racks with feet engaged in playful banter.
Today, fencing schools and clubs flourish. Millions practice as part of a regular school curriculum, or in sports clubs, private dojos, or company facilities. The highest ranking kendoists usually began at an early age and trained intensively throughout their lives. Two such masters in the Kansai area are Nakano Toshiyuki and Otogawa Masateru. In addition to having attained an impressive seventh dan, both have worked tirelessly to promote their art. As outstanding as their technique is their ability to make the seemingly inscrutable aspects of kendo accessible to the foreign enthusiast.
Those interested in seeing the experts wield their bamboo swords will be pleased to know that from the 3rd to the 6th of this month the Kyoto Taikai, one of twelve annual tournaments sponsored by the All Japan Kendo Federation, will be held at Kyoto's Budokuden. The Budokuden is located on Sakura no Baba, between the Handicraft Center and Heian Shrine. Bouts will begin at 8:30 am and finish at about 4 pm. For more information, please contact (in Japanese) the Kyoto Kendo Renmei Jimukyoku office at 761-8288.
2002 interview with clinical psychologist Dr. Hayao Kawai
Dr. Hayao Kawai was born in Sasayama City in 1928. He graduated from Kyoto University and has the distinction of being the first Jungian analyst in Japan. He has served as a professor at Kyoto University and for many years was the Director of the International Research Center for Japanese Studies (Kyoto). He is an honorary specialist of the Board of Education, City of Kyoto. As a practicing, widely respected, clinical psychologist, he has written many important books on subjects ranging from psychology to Japanese education.
He took his present office as the Commissioner of the Agency for Cultural Affairs, Japan in January, 2002. At a press conference on April 26, 2002, in Tokyo, Dr. Kawai announced a new program, with a budget of 300 million yen, for introducing Japanese culture through Japanese modern literature more widely to readers around the world. In the first year of the program, 10 Japanese books will be translated and distributed around the world.
YJPT: How did the Kyoto Office for the Agency for Cultural Affairs Japan get established? What are its main activities?
DHK: I am not an expert in Japanese traditional culture, so when I was offered the position to head this office it took me some time to decide whether I would accept or not.
My background is in psychotherapy and I am a psychotherapist. It might seem an unlikely background for a position in the Agency for Cultural Affairs. However, I felt and still feel that a country in a state of economic depression is very much like an individual who is depressed. When a person is in a depression, creative activities, like painting, or singing, have shown a great deal of promise in helping the individual back on to the road of balanced mental and emotional health. I am not saying that creativity leads to recovery, but that it leads to a new interest in life, which, in turn, ultimately makes the individual more energetic and balanced. I am an expert in helping people in these terms, so I felt I could be equally effective in helping Japan in the same way. This is why I took the position.
I have been working in the Kansai region for a long time, and I feel great responsibility for this region as well. Though I can not be here all the time, considering the circumstances and the need for more information and interaction with regional governments, I though it was an excellent idea to establish a Kyoto office in addition to the main office in Tokyo.
YJPT: What do you consider as one of the first steps in helping Japan out of its “depression?”
DHK: What I first thought about was the necessity of creating a “class” of cultural volunteers. This idea is not new to Western society, but when Japanese think about the word “volunteer,” most people think of welfare but not culture. Most people also think that being a volunteer does not involve money or payment. Helping society to be more healthy by organizing art events or music events or other cultural events, whether paid or unpaid, is the role of the cultural volunteer. Japan needs to devote more money to supporting its culture, traditional and modern, as many European countries have long done. I am pleased to say that the situation is improving. In spite of the recession, the budget for the Agency for Cultural Affairs was increased this year. This is a good sign.
YJPT: What are your views of the education system and the importance of keeping Japanese cultural values alive?
DHK: I think we are starting to rethink what we are teaching to the next generations of our young. It used to be a lot of Western songs, and Japanese songs and music were rather neglected. However, recently Japanese songs or instruments, like the shamisen or koto are being widely introduced in our elementary school system. However, the sad thing is that the teachers, who are supposed to teach these traditions, don’t know much about Japanese traditional instruments. This is where the volunteers come in. Local music teachers are now increasingly involved with the schools in their area. The same is true of Noh or Kabuki theatre, which are currently very popular with the young.
YJPT:What do you think about exporting Japanese culture?
DHK:Dr. Kawai: Japan imports far more culture than it exports. This has led to many serious and not so serious misunderstandings and misconceptions about Japan. For example, after seeing a Kabuki play many foreigners ask if the Japanese still practice seppuku. This means many foreigners know very little about our culture. We must try to teach the world more about the traditions and history of Japan and its arts, to avoid misunderstandings. After all, misunderstanding and misconceptions are not good for international relations of any kind.
A good example of successfully exporting our culture can be found in the performance of an opera held in Uzbekistan last year. The name of the opera was Yuzuru. It is a famous story that was originally a Kabuki play. The performance featured Uzbeki performers and musicians, in addition to four singers and conductors from Japan. It was a smash success. Uzbeki kids dressed in kimono sang the background chorus. This is what I consider a flexible, fun cultural export.
YJPT: What do Japanese should do in order to be better understood by other cultures?
DHK:Generally, the word “individualism” is misunderstood as “egoism” in Japan. This is an unfortunate misunderstanding. As individuals, we have to communicate our goals and desires much more clearly. Often, we think being quiet is a good thing. But it is not anymore. We need to show what we are thinking and what we are trying to do. Japanese people are not used to expressing themselves. They are afraid of making mistakes or giving the wrong information. All they have to do is start saying “Personally I think . . .” more often. It is not difficult. In fact, we seem to better at it when we are speaking in English. I think that is why a lot of people want to study English.
YJPT: As a psychologist, what do you think about Japanese young people?
DHK: Today’s young people are caught between two worlds: Japan and the West. Regardless of how much young people want to adapt to Western ways of thinking, their parents and the older people around them are still very traditional. Young people have a tendency to do things right if they are given the right situation. Unfortunately, the media often focuses on the negative aspects of the young. This is a serious mistake. Statistics overwhelmingly prove that young Japanese people are among the best behaved and least criminal in the world. And the crimes are also of the mildest form. A lot of adults say “Things were better in the old days.” This is not right. We have to change. New relationships between parents and kids, teachers and kids should be created. Going back to the old days is a totally backward approach to our present problems. We have to create new forms of social interaction.
YJPT: Americans are much more open about their problems and counseling is very common through out society, as are self-help methods. As a psychologist, do you think Japan is also suited for such treatment forms?
DHK: Counseling in the Japanese school system is rapidly being accepted and I think it is essential. It used to be extremely uncomfortable to go to see a therapist, but this is no longer true. The interesting thing is that students seek out the counselor in groups, and then eventually gain the trust they need to attend one-on-one sessions. This is proving to be an excellent solution.
YJPT: Do you have any message for our readers?
DHK: Yes, I do. I want more and more foreigners to come to Japan and experience our culture and people firsthand.
Content by Ian Martin Ropke, owner of Your Japan Private Tours (est. 1990). I have been planning, designing, and making custom Japan private tours on all five Japanese islands since the early 1990s. I work closely with Japan private tour clients and have worked for all kinds of families, companies, and individuals since 1990. Clients find me mostly via organic search, and I advertise my custom Japan private tours & travel services on www.japan-guide.com, which has the best all-Japan English content & maps in Japan! If you are going to Japan and you understand the advantages of private travel, consider my services for your next trip. And thank you for reading my content. I, Ian Martin Ropke (unique on Google Search), am also a serious nonfiction and fiction writer, a startup founder (NexussPlus.com), and a spiritual wood sculptor. Learn more!