zoom japan no.004
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September 2012TRANSCRIPT
Jéré
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SocietyHeart to heart
Soul to soul
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Editorial
Who said that the Japaneseare defensive about theirtraditions and are incapa-ble of accepting that forei-gners might try to becomepart of them? Nobody?
Everybody? Anyhow, this common idea fallsto pieces thanks to the example of a hand-ful of people who chose to immerse them-selves in areas that had, until then, always beenthe reserve of the Japanese. Even though theyhad to fight for recognition, their talent endedup paying off. As such, their paths are all themore interesting to read about. That does notprevent the Japanese being proud of their heri-tage, and they are right to be. The journey weare about to take you on to Kamakura showshow the Japanese continue to foster affectionfor their past and their traditions.
THE EDITORIAL [email protected]
NEWS
A DAY IN JAPAN by Eric Rechsteiner
In the areas situated close to the Fukushima Dai-ichi nuclear power station that received less contamination fromradioactive fallout, some of the population wish to start a new life. But before they can to do so the decontaminationoperation needs to be completed. That is what is taking place in litatemura, the man wearing white overalls is decon-taminating the rice fields.
July 26, litatemura, Fukushima prefecture
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Front cover picture by Jérémie Souteyrat
2 ZOOM JAPAN number 4 september 2012
POLITICS Early elections inNovemberIt has become a habit, Prime Ministers
leave office before the end of their first
year in power. Noda Yoshihiko should
be no exception, as several rumours
have announced his intention to dissolve
Parliament. Challenged for his policies on
nuclear energy and VAT increases, his party
could well go down with him when the
anticipated elections come.
ECONOMY Nintendo smilesin 3DDespite its disappointing results in Europe,
the Nintendo 3DS portable console
is a hit in Japan. Over 7 million of them
have been sold, more than
the mythical Nintendo DS and
its exceptional sales. It is positive news
for the Kyôtô based company,
which has overtaken Sony and
its PS Vita.
… is the percentage of Japanese people
who took out insurance in 2011 against
natural disasters. The number has risen by
5.6 % since the previous year. In the
regions affected by the 11 March
earthquake, such as Miyagi, the
percentage exceeds 80 %.
53.7 %
NEWS
The Chinese and the Japanese have beenfighting over the Senkaku islands againover the past few weeks.
Should one believe the Japanese tabloids that pro-vocatively state that the Chinese are preparing tosend military forces to the Senkaku islands
(Diaoyu in Chinese) in November? No, of course not.But it has become obvious how tense the situation bet-ween Japan and its Chinese neighbour is currently, andhow somewhat overwhelmed the Japanese governmentappears to be with what is going inthe tiny area situated between Tai-wan and Okinawa. As a friend ofBeijing, Taiwan contests Japanesesovereignty on the islands. Over the past few years, incidentshave taken place regularly. Theworst happened two years ago,ending up with the captain of a Chi-nese trawler being kept prisonerafter having deliberately hit a buil-ding belonging to the Japanese mari-time defence forces. This incidentdegenerated into a diplomatic cri-sis between both capitals. The Japa-nese authorities freed the captain,hoping that would calm the tenserelations between them. It alloweda lull in the conflict for a fewmonths, but for several weeks now the temperature hasrisen again. Mid-August, Chinese activists from Hong Kong travel-led to the islands and were able to disembark before Japa-nese forces stopped them and sent them back to where
they had come from. In response, several days later, a fewJapanese nationalists proceeded to do the same thing. Itseemed important to stick a Japanese flag on the islandsas a reminder of who owned the land. That gave way tohuge anti-Japan demonstrations in over twenty Chinesecities. Several factors explain the rise of Senkaku-relatedconflict. First, the attitude of a few Japanese leaders, inclu-ding the governor of Tokyo, Shintaro Ishihara, who laun-ched a public subscription to enable the purchase of someof the islands that were already privately owned. Ofcourse, this initiative did not impress the Chinese who
are already accustomed to the governor’soutrageous nationalism. It was percei-ved as an act of provocation.In addition, China’s economy is notdoing too well, and social discontentis on the rise. Beijing is using its territo-rial argument with Tokyo to divert theattention of the population. Conse-quently, the next few weeks may see anincrease in anti-Japanese protests on thepart of the Chinese. Japan seems quiteunable to respond. Weakened by thebadly managed question of nuclearenergy, and the decision to increase VAT,the Prime Minister knows his days arenumbered. As a result, nothing much isbeing done about it, and other territo-rial disagreements have risen up over thepast few weeks: with South Korea over
Tokushima Island and with Russia over South Kuril. Itis a hot potato he cannot get rid of, and which couldcause his successor bad indigestion. In the meantime,the tabloids will continue publishing their provocativefront pages. Gabriel bernard
DIPLOMACY Why Tokyo andBeijing are quarrelling
september 2012 number 4 ZOOM JAPAN 3
On 15 August, the conservative paper
Sankei Shimbun published a special
edition forecasting the arrival of sol-
diers from Hong Kong.
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4 ZOOM JAPAN number 4 september 2012
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And the Japanese, who wish to learn more abouttheir lifestyle and gain inspiration from it, havegiven them a warm welcome. There are also
those who have moved to Japan with the desire to createsomething Japanese. The path they chose was harder,but their dreams finally came true. These are their sto-ries.Some of them are famous. Others are not, and do nottry to be. Some live in Tokyo. Others have chosen tolive far away from the capital. Some were able to set-tle easily. Others have had a hard time before achievingrecognition. But they all have two things in common:they are all sentimentally attached to Japan, and theyhave all succeeded in mastering a Japanese speciality; a
real challenge for foreigners seeing how little incli-ned the Japanese are to believe that anybody exceptthey themselves could possess the necessary sensibili-ties to brew sake, prune bonsais, make soba, or singenka. For years gaikokujin, which literally means “indi-viduals coming from outside nations”, have succee-ded in being accepted by Japanese society. A few ofthem, such as Carlos Ghosn, manager at Renault-Nis-san, have become role models, but their competencywas not Japanese in nature. Patrice Julien, a formersenior member of Tokyo’s French Institute, became oneof the archipelago’s most famous foreigners in the 90s.He owed his popularity to being French, and his abi-lity to advise the Japanese about Western lifestyles.Many like him could be cited, but those who have fullyimmersed themselves in Japanese culture and traditionin order to take up typical local professions are muchrarer. Yes, a few of you might be thinking of the sumo
wrestler. Indeed, over the past twenty years or the num-ber of foreign sumotori has increased. They have comefrom Hawaii, Mongolia, and more recently Russia, theBaltic States, and even one from Finland. But theyare an exception that proves the rule. It is not so easyfor those working in other fields. Ask Philip Harper,Master Brewer of sake at Kinoshita brewery, or his Bri-tish compatriot Peter Warren, who spent many yearslearning bonsai pruning techniques. Both of these men,as well as the Swiss Amen Godel who was taught byone of the greatest artists in Noh theatre, have gainedrecognition from their Japanese peers, who now acceptthem completely and consider their know-how as goodas, if not better than, that of the Japanese. We met upwith these gaikokujin who chose to rise to the chal-lenge. Algerian, Turkish, British, American - they areall Japanese at heart. It is their story that we are goingto tell. Odaira namihei
Heart to heartSoul to soul
Many foreigners have settled in Japan overthe past few decades and many of themhave also worked there.
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september 2012 number 4 ZOOM JAPAN 5
is little time for family. Because of this, the MasterBrewer's role is all the more important, as he is theone who establishes a positive working atmosphere.Despite his foreign origins the British toji has madea name for himself amongst his colleagues, whobehave exactly the same way towards him as theywould towards someone Japanese. In this field hie-rarchy is important. The Master Brewer is the onewho sets the tone and who ensures cohesion withoutwhich the sake would not turn out well. Since Phi-lip Harper has been at the head of Kinoshita’s bre-wing, the company has been praised by lovers of sake,and rewarded with prizes. Nothing could please Phi-lip Harper more, a man who has shown unfailingenthusiasm for this drink for so many years, a drinkwhose recent decline local producers have tended toneglect. “They think that the Japanese have alwaysdrunk sake, and will continue to do so. They haven’tunderstood that tastes evolve”, he complains. He canrest assured, however, that his expertise and know-how are now recognized throughout the whole ofthe archipelago. It has triggered progress in the waysake is now regarded in Japan and has encouraged itsexport. As a connoisseur, and thanks to his efforts infinding the best way to describe it (by borrowingvocabulary from oenology), when he gets the oppor-tunity Philip Harper is an ambassador for sake acrossthe world. Master Brewer Harper speaks about hislove for sake, whether in London, Los Angeles, oreven New York.
O. n.
Although the amount of sake drunk acrossthe archipelago is decreasing (the Japaneseprefer drinks from elsewhere), it continues
to be an important part of Japanese culture becausethere is something sacred about it. All you needto be convinced of this is to go one of the manyShinto sanctuaries across the country. Sake is notonly drunk for ceremonies and religious rituals, itis also placed on the ground and presented as anoffering. During various national holidays (the NewYear, Girls' Day, etc.) celebrated throughout theyear, sake is first of all offered as a welcome to thegods before being drunk during the meal. Whethersigning an important contract, or when becomingpart of a yakuza (Mafia) family, sake is used to markthe event. In the first case it is drunk out of a spe-cial cup to sacralize the formal agreement, in thesecond case, sake symbolises the blood relationshipbetween the different members of the group. Thisdrink is so Japanese that it is hard to imagine a forei-gner becoming one of its best brewers, but such isthe case. His name is Philip Harper, he comes fromthe south west of England, and he has discovered apassion for Japan and its rice and water based drink.Over the past twenty years he has been studying thelanguage of Mishima intensively, and trying to unra-
vel the secrets of making sake. This huge investment of time onhis behalf is what led him tobeing accepted inside the smallworld of local brewers, whoappreciate both his perseve-rance and his talent. “Philiploves sake, and he also lovestraditional Japanese culture.He resembles a Japanese per-son, because he understandshow we think, as well as ourlifestyle. All of that can befound in his sake”, says thebrewer for whom this Bri-tish subject has becomepart of the family.After having proven him-self in different breweriesin order to master thedifferent steps inmaking the drink of thegods, Philip Harper
GREAT BRITAIN Philip Harper, Mr. SakeAfter arriving in Japan in 1988, this Britishman fell in love with the drink of theJapanese gods. He learned all he couldabout it, and became one of Japan’s mosthighly regarded sake producers.
was “adopted” by the Kinoshita brewery in 2008.Appointed master brewer (tôji), he now has respon-sibility for the entire production of the company,which was founded in 1842. “Philip has been withus for four years now. Three months prior to mee-ting him, our master brewer had passed away, andthe person who was trained to take over didn’t feelcapable of taking the responsibility of being incharge. I was very worried because it put the bre-wery’s existence in danger. I asked for advice froma specialist in Osaka, and was then introduced tothis Japanese-speaking British man, who was veryobviously interested in our culture. Nevertheless, Iwasn’t sure that a foreigner could produce good sake.But he spoke with passion, and that is what convin-ced me. Since then, I have never regretted my deci-sion,” explains Kinoshita Yoshito, the brewery’smanager. “I think the sake we now make is the bestwe have ever made. That is partly due to the qua-lity of the rice, and good polishing. Of course, otherbreweries have their good qualities, but what alsodifferentiates us is the atmosphere in the company.Around Philip, the whole team works admirablywell. Every member at heart aims to produce excep-tionally good sake,” he adds.It is a wonderful tribute to Philip Harper who sparesno effort to do his best. The family-like atmosphereis very important, especially during the productionperiod that goes on throughout October to March.During that time, the brewers live very much isola-ted from the world. The work is intense, and there
Tôji (master brewer) Philip Harper, surrounded by his Kinoshita brewing family.
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6 ZOOM JAPAN number 4 september 2012
TURKEY HalitMizirakli’swell pickedwordsBeing funny in a foreign language is no easytask. Yet it’s the challenge Halit Mizirakli, asharp 35-year-old Turk, set himself whendeciding to become a Rakugoka, adistinctively Japanese kind of storyteller.
When he first set foot in Japan in 2001,Halit Mizirakli would never have ima-gined becoming famous there one day,
being appreciated and acclaimed by audiences as arakugoka (a funny story teller) under the Japanesename Warattei Harito. “I started studying Japaneseat university in Turkey. It enabled me to get a one-year scholarship to go to Tsukuba University. Andthat’s where I discovered rakugo. When I got back toIstanbul, I decided to continue improving my know-ledge of Japan before getting another scholarship fromthe Japanese government to study Japanology at OsakaUniversity. As I had previously enjoyed rakugo, I deci-ded to spend more time on it and Japanology helpedbecause it embraces several fields in the social sciences.That’s when I immersed myself in it”, he says. Beingin Osaka was a good opportunity to do that. The capi-tal of Kansai is famous for its sense of humour. Ithas many theatres in which the artists act out theirplays with a pillow, a fan, or a piece of material as theironly prop. While kneeling, they tell a story involvingseveral characters. Their misfortunes always cause theaudience, which veritably laps up the storyteller’swords, to burst out laughing.“My Japanese teacher at Tsukuba University often usedrakugo in her classes, with stories by Yanagiya Kosan,a great rakugoka who passed away in 2002. She thenencouraged me to go and see a show. It was love at firstsight”, he remembers. He then undertook a long appren-ticeship alongside various famous raku-goka, including Yanagiya Sankyô whogave him his stage name WaratteiHarito. He learned that the actor is notperforming a role at the start of thestory. “One of rakugo’s characteristicsis that the actor is situated between reality and fiction.It’s not easy to explain, but it’s the basis of the genre”,he explains. Indeed, the actor conditions the audience,and prepares it to discover the roles he will end up inter-preting. “Sometimes the audience is a bit lost. Peopledon’t know whether the actor is playing a role or not.
They wonder if the last sentence was pronounced bythe character or by the storyteller. Even though it maybe of no great importance, it is part of the show. Peo-ple love the combination of fiction and reality. Theyfind it fun”, adds the young rakugoka, whose talent wasrewarded in 2010 with the Grand Prize during a com-petition in Gifu (city in central Japan) that brings toge-ther some of the best performers in the field.Of course, to rise to such a level not only must you be
a good actor, you must also master thelanguage of Mishima to perfection. It isin this that Halit Mizirakli excels. He isglad to have gained recognition fromhis peers, but he expects the same fromthe audience. “The audience often
comes to see a Turk on stage, and they do show metheir support. I am thankful for that, yet still a littlefrustrated as an actor. I would like them to value theperformance above all else. Sometimes I wonder whe-ther they would pay more attention to the acting if Iperformed in Turkish. Seeing a Turk tell stories in Tur-
kish might seem more natural to them”, he says with ahint of regret. Is this the impatience of youth? Pro-bably, because he quickly adds that the relationshipbetween the rakugoka and his audience takes timeto develop. “When someone attends a rakugo showfor the first time, they can’t yet fully appreciate thequality of the acting. If they return a few times afterthat, they will then find out whether they like it or not.I still lack experience”, he admits. Although he has notfinished learning he is still proud of having achievedso much. “The first time I saw a rakugo show, I didn’tunderstand much of what was going on. Everybodywas laughing except for me. Of course it was due tomy level of understanding of the Japanese language,but also to my weak knowledge of Japanese culture.Now I understand Japanese humour and the Japanesepeople, and that’s huge. It’s a great opportunity to pro-mote Turkish culture in Japan”, says Warattei Harito,a.k.a. Halit Mizirakli, a Turkish-Japanese person, orJapanese Turk, his face lit up by a broad grin.
O. n.
Now I understandJapanese humourand the Japanesepeople.
september 2012 number 4 ZOOM JAPAN 7
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easy thing to do. When I was lucky enough to becomean enka singer, I knew I still had many barriers toovercome but that, in the end, all the effort wouldbe worth it.” Hearing Jero speak with such humility,despite his great success, you can feel how heavilyinfluenced he is by Japan. He has sold hundreds ofthousands of CDs and made the front cover of manymagazines, but he still acts as if he needs to provehimself. That’s probably also why he is so well accep-ted in Japan. “It was never a problem being a forei-gner. I think it helped. Of course, I surprised a fewwhen I started. They were curious, so they made theeffort to listen. And when I told them my story, theycontinued to follow me”, he adds. His love for hisJapanese grandmother and his indirect cultural heri-tage are what touched the audience. Jero realises that,but still it surprises him. “I didn’t think I would
be so successful and that the Japanese would showso much affection. Nevertheless, I will neverbe Japanese, and don’t wish to be. I was bornAmerican. For the most part of my life I’ve
lived in the States. But I am proud of my Japa-nese heritage, which has allowed me to make my
dream come true”, he explains. “I want to staymyself, that’s also why I didn’t adopt the traditionalenka singer look. If I had walked out on stage in akimono, I don’t think people would have taken meseriously. By dressing in my American clothes I pre-serve my identity. And at the same time, I think Icontribute to giving enka a younger image, and Ihope that will allow a younger audience to become
interested in it. What characterises enka arethe lyrics. Often melodramatic and pro-found, they are also very poetic. They can’tleave you indifferent if you really do listento them”, says the young singer, aware thathe is defending a piece of Japanese cultu-ral heritage. It’s not surprising that hewas able to move so many Japanese withhis honesty and simplicity on 31December 2008. Just over three yearslater, he is still working with the sameyouthful desire to reach perfection.
O. n.
T here were millions watching television on31 December 2008. Like every year at thistime, they were glued to their TV screens
watching the great annual song show on NHK,during which two teams of popular singers – the redand the white team – compete in interpreting a song.That night Jerome Charles White Junior, a.k.a. Jero,was on the show for the first time. He was not unk-nown to the Japanese, but he definitely conqueredtheir hearts when he performed Umiyuki, a song hehad released a few months before, dedicated to hisJapanese grandmother. The young Afro-American’stears moved the live audience on TV, as well as thosewatching the show at home. He is the son of twoBlack-Americans and, though his maternal grand-mother is Japanese, Jero is not at all Japanese inappearance. The colour of his skin and the fact helooks like a rapper from Pittsburgh (his home cityin the US) encourage you to believe that he couldmaybe launch a career as a rap singer or TV presen-ter in Japan, as others have done in the past. Before hearing him perform Umiyuki, nobody wouldhave guessed that Jero could be an enka singer. Forthose who are unfamiliar with enka, it is a typical Japa-nese music genre in which the singers are oftenmature and wear a kimono or acostume. The songs lamentlost love and nostalgia aboutones origins. They are oftensung in a low-pitched voicewith vibrato for addedemotion.“I started listening toenka when I was veryyoung. My grandmo-ther lived close by and,when I visited her, Iwould hear a lot ofit. At the age of fiveI sung my grand-mother an enkasong for the firsttime after lear-ning it by myself.She was verymoved, andthat’s when Idecided to domy best tobecome an enkasinger and make
USA Jero, new prince of enkaOriginally from Pittsburgh, this youngBlack-American has learned to conquer hisaudience with tear-jerking songs.
sure my songs would always make my grandmothersmile”, Jero remembers with emotion.Recalling his grandmother is what prompted the deepemotion experienced by the singer and his audienceduring the NHK show in 2008. The audience reali-zed that appearances can be deceptive, and that hidingbeneath his unconventional enka style was a perfor-mer with true Japanese feeling. His first contact with Japan was when he was fifteen.“I was representing the US in a Japanese speech com-petition. I came back later as an English teacher. Itwasn’t my cup of tea, but I knew I had to get throughthat to reach my goal.Making a dreamcome true isnever an
A lthough he is completely awareof how hard it is to export enka
(“the deep meaning and subtletieswould be lost in translating the lyrics,”
he says), Jero has not given up on theidea of presenting this genre outside Ja-
pan. In the meantime, you can take alook at his discography on his website
www.jero.jp
Discover
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8 ZOOM JAPAN number 4 september 2012
soba. That’s what I did. And that is how I make bet-ter soba than many Japanese people now. But, again,you need to feel it in your heart. If your heart is in it,the soba will be good”, Lakhdar Belouzani reminds us.The customers are never wrong. Although his restau-rant is in Kawasaki, twenty kilometres to the southof Tokyo, at the very end of a shopping street near toMusashikosugi station, the chef welcomes a very diverseclientele ready to travel a great distance to get to tastehis delicious yuzu soba - a dish made with a citrus fruitthat is related to the lime. “I have a web site, and themedia have often talked about me over the past fewyears,” he claims. But what works best is kuchikomi,word of mouth. “People want to know where they caneat good soba. And my restaurant is often quoted. ButI still try to remain low key”, he adds. One feels he isa man of great humility, with a desire to satisfy all thosewho enter his restaurant. “My customers are betweenfive and ninety years old. They are happy to come here,and that is what is essential to me. I couldn’t care lessabout all the rest, even the Michelin guide. My cus-tomers are regulars. Some come every week. And whenI’m on TV, they stay away, sometimes for up to two orthree weeks. They don’t like the publicity. They worryabout their tranquillity. And that is part of the sobaworld. It’s a bit like a ritual. They need to be in a relaxedstate of mind to eat”, stresses Lakhdar Belouazani,who would nevertheless like to increase the numberof his customers. He serves fifty to sixty covers a daybut “some days I only serve fifteen. With the crisis,people don’t eat out as often. It’s been a little har-der over the past five to six years.” The situation means
M uch can be understood from someone’sexpression, and when Lakhdar Belouazanilooks at you, you feel something intense. In
his eyes you can read all the determination and the energyhe had to summon up to succeed in becoming one ofJapan’s great soba masters; he is the only foreigner to bepart of this very exclusive profession. “It has to be in yourheart”, explains the forty-nine year-old cook, who wai-ted many years for recognition. “I opened this restaurantnineteen years ago. Time was key, a lot of time was nee-ded in order to gain people’s trust”, he adds. To beginwith, he had to be accepted in the district. “At first, it wasvery hard. Just like my neighbours, I would sweep out-side my restaurant. All we would say was hello. I felt likean intruder. It was quite a difficult period. It was hard toaccept the way people would keep away from me. ButI came to understand that it was also part of the learningprocess. Being married to a Japanese woman, and withtwo children going to school in the area, was not suffi-cient; I still needed to prove myself. And that can onlybe done with patience”, he says. He worked with Japa-nese people for many years in France so he knows whathe’s talking about. “I was born in Algeria, but bought upin France. After a few small jobs, I ended up being hiredby a Japanese restaurant in Paris. That is where I met mywife, and where I learnt the basics of Japanese cuisine”,explains the owner of Kabura-An.Yet culinary recognition was a long time coming. It ismaybe because buckwheat noodles are part of the Japa-nese’ tradition of everyday life that people displayedsuch reservations towards him. The recipe for makingsoba noodles appears so easy: water, a pinch of salt, andflour; three common ingredients that neverthelessrequire a special know-how that takes time to acquireand finally determines whether one will be acceptedby local customers. “Some Japanese eat soba at leastonce a day. Others eat them two or three times a day,so they can be very difficult to please. You can makegood soba yet spoil the soup. And, in that case, the jud-gement is harsh. It’s all about balance. And to get thatbalance you need to have travelled throughout thewhole of Japan and tasted hundreds and hundreds of
ALGERIA
LakhdarBelouazani’ssoba Based in Japan for twenty years, anAlgerian chef, thanks to his talent and hisgreat generosity, has progressively made hisway into a very exclusive circle.
he cannot plan to expand his activities in Japan. Hewould like to develop something in Algeria, his home-land. Yet he seems deeply attached to this district.He has lived here for twenty years and has investeda lot in it. It was here that he first received recogni-tion. And, although things are not always easy, Lakh-dar Belouazani has faith in soba. “It’s all in your heart”,he says again. “Another cook can use the same ingre-dients without accomplishing the same dishes as Ido, because in every soba there is a part of yourself.”With such a warm heart it is easy to understand whyKabura-An’s owner’s soba is so delicious and appre-ciated by connoisseurs. O. n.
Before going to Kabura-An, Lakhdar Belouazani’srestaurant, we advise you to check on the web-
site or call to make a reservation.044-711-1147 - www.geocities.jp/bel_kaburaan 485-10 Imai Minamichô, Nakahara, Kawasaki 211-0064
Gourmet
CULTURE
10 ZOOM JAPAN number 4 september 2012
T HIS MONTH’S EVENT
In the year 2047 the brutal arrival of FOS, an extrater-restrial intelligence with an incommensurate destruc-tive power, radically changes the landscape of the pla-net. After the traditional armies are defeated, thehuman race is close to extinction. At the last minutethe erection of aprotective energyshield allows thelast survivors toenjoy an additionalperiod of grace. Awonderful protec-tion that is as effec-tive as it is mysterious. Where does all the energy nee-ded come from for it to create such a strong force field?After six years of an oppressive siege, FOS is more readythan ever to completely wipe out the human race. TaikiAkeshima lost his father when the conflict started. Sincethen, he has become a soldier and joined the Japanesearmy’s most prestigious unit. As a mecha pilot, along-side his teammates, he will try a last desperate assaultagainst the invincible FOS.It is codenamed: PlanZet. If they fail, we are all lost forgood. So it is official, Jun Awazu is completely obses-sed with giant robots and space monsters! After wri-ting the beautiful Negadon, he is back with a very simi-lar, atmospheric scenario. Only the length has changed,from 26 minutes to 53. But underlying this tragic,heroic story, it is the graphic design that is most impres-sive. 3D competes in a spectacular way with the lea-ders of the genre, such as Final Fantasy, The SpiritsWithin, which left its own imprint at the time of itsrelease. Its only weakness is the animation of the cha-racters, whose dubious quality contrasts sharply withthe rest of the production. The scenario of PlanZet issacrificed in favour of aesthetic polish, and is inspi-red by nostalgia for B-movies full of space monsters,giant robots and heroes ready to die for their cause.Without being a total must-see, PlanZet still deservessome interest. ODAIRA NAMIHEI
PlanZet, by Jun Awazu, Manga Entertainment, KazeAvailable on DVD and Blu-Ray.
DVD Jun Awazu lays iton thick
BOOKMasteringthe art ofnarrationMitsu is the narrator. He is
twenty-seven years old and
the father of an abnormal
child, like his sister who
committed suicide before
she reached adulthood.
Mitsu never gets over the
suicide of his best friend. It is
a recurring image
throughout the novel. Taka,
Mitsu’s younger brother, is
back from the United States.
He advises his brother to
start a new life and return to
Shikoku, their home village,
in the south west of Japan.
Taka hopes to follow in the
footsteps of one of his
ancestors: his great
grandfather, who was leader
of the farmers’ uprising in
1860. The brothers' great
grandfather was not a
farmer but a village
administrator. Taka wins
over the village’s population
when he starts up a football
club. In Kenzaburô Ôé’s
novel, winner of the Nobel
Prize for Literature in 1994,
all the main themes of
Japanese culture play their
part: suicide, the
relationship of man to
nature, forests, snow, racism
towards the Koreans,
alcoholism, music, dancing
with the dead.
It is quite a disconcerting,
difficult novel. Its
atmosphere is harsh and
violent, yet interesting
because it tells the story of
Japan, its history and
mysterious legends, while
depicting an imaginary
world that is dear to the
author. This is a novel to be
discovered, or rediscovered.
Gabriel bernardThe Silent Cry, Kenzaburo Oe,
Translated by John Bester, ed.
Serpent's Tail, £7.99
EXHIBITION Premiere inLondonNorth of Tokyo lies Mashiko, a small town
that is famous for its pottery. During the
10th century AD the region’s population
already specialized in ceramics. But it was
not until the 1930s, with the development
of the Mingei movement, that Shoji Hamada
gave this pottery a more modern dimension,
allowing it to gain incredible recognition
throughout the country. In spite of this
fame, Mashiko’s pottery has never been
exhibited abroad. This is why the presence
of potters from Mashiko at Tent London is
an event of great importance. Do not miss
this opportunity to discover some of Japan’s
most beautiful ceramics, from the 20th to
23rd September. Otherwise you will have to
travel thousands of miles to admire them.
Not to be missed under any circumstances.
Old Truman Brewery - Hanbury Street - London E1
6QR - www.tentlondon.co.uk/buy-tickets
CULTURE
Daido Moriyama is a traveller, a photogra-pher and a fascinating author. He was bornin 1938 and his childhood memories reach
back to the Occupation of the Allied Powers. Hebegan his career as a photographer designing match-boxes for bars in Osaka before getting a job in a pho-tography studio. On the docks at Kobe he took sou-venir pictures of sailors and passengers. In 1961he became a freelance. Around 1965 the aestheticform of Moriyama's work began to evolve towardssnapshots. His pictures represent the darkest dimen-sions of urban life. He traps the hidden corners ofconsumer society. He catches the other side of thedazzling landscapes of contemporary cities. Hisworks are often a reminder of how urban landscapescan be full of nostalgia.Daido Moriyama likes to watch the world fromground level; from a dog’s perspective, for example.He travels around Japan by car and takes picturesfrom its windows. This new point of view is unu-sual in the world of photography; the standing posi-tion has always been preferred. His photographybecame a personal expression from the moment itleft convention behind. The pictures are takenwithout a viewfinder; the photographer’s eye has tofunction outside conventional forms. DaidoMoriyama was not a reckless photographer and healways kept his distance. This distance allowed theobject of his pictures to always appear true to itself.
Voyeurism? A description based on timidity? Seeingthe world as the spectator of a dream? The perspec-tive his pictures are taken from shows the sameapproach as that of a voyeur or a rapist. His gaze,from the window of a moving car, or from a shadow,is that of a criminal. This is the work of someonewho speaks without looking people in the eye.The Michael Hoppen Gallery is delighted to presentan exhibition of new work by one of the giants of Japa-nese photography, Daido Moriyama. This latest col-lection of pictures, entitled "Tights", developed out ofhis famous earlier series, "How to Create a BeautifulPicture 6: Tights in Shimotakaido" from 1987, a smallselection of images depicting close-up shots of legsin fishnet tights. The complete series comprises
twenty pictures. This event coincides with a majorexhibition at Tate Modern, “William Klein/DaidoMoriyama”, which shows how both of these artistsinfluenced each other, and how they both exploredNew York and Tokyo in their famous pictures ofmodern urban life. ”Yet the feeling behind the picturesis the same: a desire to observe and preserve every-day details that are too often overlooked. He sees thingswe don’t see”, say the promoters of this beautiful exhi-bition that gives one the opportunity to grasp this pho-tographer’s great talent. This collection is presentedtogether with a series of photos focusing on lips. Itreveals Daido Moriyama’s genius in being able to seizethe power of the moment.
Gabriel bernard
You can enjoy Daido Moriyama’s work at theMichael Hoppen Gallery until 20th October. It is a must see.
PHOTOGRAPHY A red carpet for Moriyama
PRACTICAL INFORMATION3 Jubilee Place, London SW3 3TDTel. 020 7352 364910.30am-6pm Mon-Fri, 10.30am-5pm Sat
september 2012 number 4 ZOOM JAPAN 11
Dai
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oriy
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Tights, 2011 Silver gelatin print Lips, Silver gelatin print
CULTURE
In turn a cosmogony, a theogony, an epic, a his-tory manual, a collection of songs, embracingthe birth of gods and their cults, the Earth and
its multiplicity of names, men and their verses, theKojiki is a complete anthology”. These are the wordschosen by the French editor of the ‘Record ofAncient Matters’ to describe this monumental workof Japanese culture. It was reviewed and adapted bythe French writer Pierre Vinclair. Complied in 712, exactly 1300 years ago, this antho-logy occupies a supremely important position in thehistory of Japanese literature. Divided into threevolumes, the Kojiki starts with the creation storiesof the Sky and the Earth, the birth of the gods, andthe formation of the Japanese islands, including theconnection between the gods and their variousdeeds. It also tells the stories of the country’s almostlegendary emperors, starting with Jimmu and endingwith other historical figures such as the empressSuiko, who ruled from the end of the sixth centuryuntil the beginning of the seventh. The role of this book is essential in legitimizing theimperial leadership, according to which emperorsare the direct descendants of the gods. In fact, it canbe read in the Kojiki’s introduction that when orde-ring the compilation of this anthology, emperorTemmu declared, “This book is the backbone of theState, the foundation of imperial influence”. Andno emperor ever contradicted this. It was only afterJapan was defeated in 1945 that the emperor lost
LITERATURE 1300 candles for the KojikiCompiled in the year 712, it is about timeyou were introduced to the ‘Record ofAncient Matters’, a monument of Japaneseculture
his divine recognition. A great part of the Kojikiis focused on the quarrel between Amaterasu, god-dess of the sun, and Susanoo, god of storms, the lat-ter ending up being banished from Earth. Susanoo’sdeeds are also described, he is said to be good-hear-ted on Earth although he was mean-spirited in theSky. The story of Okuninushi, Susanoo’s son, andwhat he gets up to in Izumo province (in the west
of the archipelago), also figures in the text. The epo-nymous sanctuary dedicated to Ôkuninushi wasbuilt in that region. It is one of the oldest Shintosanctuaries in the islands. In 2013 a grand ceremonywill take place to celebrate the return of Ôkuni-nushi’s spirit, which has lately been forced to moveout because of the renovation work on the sanc-
REFERENCEKOJIKI: RECORDS OF ANCIENT MATTERS, Translatedby Basil Hall Chamberlain - Tuttle Publishing, £28.00
12 ZOOM JAPAN number 4 september 2012
tuary. The large number of myths (around a third)connected with this region illustrates how impor-tant it is. The Kojiki also legitimizes the imperialdynasty of Amaterasu’s descendents. It recounts thestory of "the surrender of the country", which allowsthem to take the upper hand. That is how Ninigi,the grandson of the goddess of the sun, descends toearth and founds the court of Yamoto, whilst hisgreat grandson, the emperor Jimmu, founds the lineof imperial leaders, which continues to this day. Itis a unique story in the history of the world, but theJapanese do not question their founding myths des-pite the fact they might have been adapted to suitthe political needs of a particular period.That does not detract from the fact that this 1300-year-old book is one of the oldest texts in the archi-pelago and that it greatly helps in forming a betterunderstanding of Japanese culture. The philosopherKatô Shûichi says that, “the most beautiful and ins-pired pages in the Kojiki are nearly always related tolove, especially the lovers’ flight from their father’shouse”, and he cites the tragic example of princeKaruno and his stepsister Karuno-Oiratsume.Karuno was exiled because of their forbidden love,but his sister followed him. “According to the Kojiki,the banned couple decide that without love, theirhome and country hold no significance for them,and after singing love songs at length to one another,they end up committing suicide together. Theconcept that love finds supreme accomplishment indeath is very common in Japanese literature that fol-lowed on from the Kojiki”, he notes. This clearly sug-gests the important place this anthology occupies inthe country’s culture. Professor Ueno Makoto stressesthis as well (see interview, page 15). According tohim, by reading the Kojiki and its founding myths,one succeeds in better understanding how the Japa-nese think and behave. So it is worth a try!
Gabriel bernard
september 2012 number 4 ZOOM JAPAN 13
CULTURE
Could you describe how you wereintroduced to the Kojiki? And does ithave anything to do with yourbecoming an expert in thisfoundational text of Japanese culture?Ueno makoto : I was born and grew upin Fukuoka on Kyûshû island. There aremany sanctuaries dedicated to the em-press Jingu in that region. So ever since Iwas a child, without even meaning to, Ilearned many stories about her that aredrawn from the Kojiki. In Japan, peoplemaintain a special relationship with thetemples and sanctuaries in its regions. Thatis also the case with both the universe ofthe Kojiki and the Nihon Shoki (TheChronicles of Japan). That is how I was in-troduced to the stories that are told inthose books. But that’s not what drove meto start analyzing them.
What is the best way of defining theKojiki, according to you?U. m. : Literally, the Kojiki is the book of“ancient facts”. It’s a document in whichthe eighth-century Japanese compiledtheir ancestors’ stories. That is why theyare “ancient matters”.
The Kojiki is mainly a compilation ofJapanese myths. If we compare themto other myths, particularly the Greekones, what are the main differences, ifindeed there are any?
U. m. : As Levi-Strauss said, myths area form of wisdom. I think wisdom issomething that all human beings share.In fact, when you compare myths fromone country to another, many similari-ties can be found. In a certain way, Japa-nese myths do resemble the Greekmyths.
What does the Kojiki mean to theJapanese today?U. m. : The year 710 is when Heijô-kyô[Nara’s former name] became the capi-tal. And I believe that the appearance ofthe Kojiki two years later may have some-thing to do with this change. In otherwords establishing a new capital, and theadvent of a new era, favoured the emer-gence of nostalgia for the past. France isa country that is renowned for its scien-tific and technical expertise. Its agricul-ture is also one of its main assets. Never-theless, for me, France is the Opera, theLouvre, or the Orsay museum. It is acountry in which history, art and cultureall converge. And that is what gives it allits charm. I’d like to say that in some waythe Kojiki presents a concentration of his-tory, art and culture for the Japanese.
Nature plays a major role in theKojiki. When reading it 1300 yearslater, what lessons can Japan learnfrom it today?
U. m. : In Japan, mountains are believedto shelter gods, and rivers have their owndivinities. When human beings die they,too, become ancestors that are worshi-ped. For the Japanese, gods are part ofnature. It’s different for monotheist reli-gions. In a universe in which there isn’ta unique god, things aren’t settled byrules that are set in stone, they adaptaccording to the fluctuation of relations-hips between people. In Japan, it is belie-ved that things aren’t settled during mee-tings, they also depend on the nature ofour relations towards and with others.
That is why it sometimes takes time toestablish what the nature of the relations-hip is. If you read the Kojiki, you’ll seethat in important situations, the godstake a decision at the end of the meeting.For the Japanese, there is no one univer-sal god; there is a multitude of themamongst which there are the good ones,the bad ones, the beautiful and the ugly.I feel that by using simple words to des-cribe the way the Japanese think, itmakes it easier to share their culture withthe rest of the world.
inTerview held by G. b.
Ueno Makoto, at the heart of the Japanese soul
I NTERVIEW
The folklorist Ueno makoto was born in 1960. he is an expert on the man’yôshû,the first anthology of Japanese poetry that dates back to the year 760. he focuseson the founding texts of Japanese culture, including the Kojiki. he currentlyteaches in the literature department at nara University.
Uen
o M
akot
o
EATING & DRINKING
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14 ZOOM JAPAN number 4 september 2012
Chirashizushi, or ‘scattered sushi’ sounds likewhat might happen if you ask a particularlytemperamental sushi chef for some ketchup on
your marbled tuna. It’s actually the name of a version of sushi popular forbeing fast, filling and good value, but just as artfully pre-sented.A bowl of sushi rice is topped with sashimi, tamagoyaki(squares of ‘grilled’ egg omelette) and garnished, usuallywith cucumber.It’s a great option if you’re hungry, not sure what to order,but fancy a bit of everything. And a great place to try itis at Tajima-tei between ChanceryLane and Farringdon?. Often some of the best places to eatin London can be found in the mostinconspicuous places, and Tajima-teiis a good example, situated on theground floor of a non-descript officebuilding, hidden behind the bustlingstalls of Leather Lane market.The market, said to be one of London’s oldest, may notmatch Tsukiji in Tokyo for size and atmosphere. You’remore likely to find knock-off high street fashions andmobile phone accessories than the best of the catch ofthe day, but the noise and clamour make a suitable set-ting for this unpretentious sushi-ya. Easy to miss from the outside, inside you’ll enjoy afriendly welcome. The restaurant, run by a husband andwife team, is popular with locals as well as Japanese cityworkers and has an informal, relaxed feel. The menu may change depending on what’s freshly avai-lable, but on our visit the topping for chirashizushi inclu-ded sea bass, sea bream, yellowtail, tuna, salmon, sal-mon roe, crab sticks and tamagoyaki all beautifullyarranged on a bed of rice.Unlike nigiri or makizushi which are already conve-
Curry took a roundabout route into Japan.Arriving via the British navy at the end of the19th century,when Indiawas still partof theempire, itwas seen asa Westerndish.Served withsteamed rice, anda pickled daikongarnish, the classic Japanese curry is madewith beef, onion, carrots and potatoes,though chicken, pork katsu cutlets, or evencheese can be used. Initially seen as a luxury,it became a household staple after theSecond World War with the introduction ofcurry roux (blocks of curry powder, mixedwith flour and oil). One of the biggest manu-facturers of these is House Foods, and one oftheir most popular brands is Vermont Curry,first launched in 1963, with a sweet flavour,and three levels of spiciness.To cook, brown the meat and onions, add thevegetables with water, simmer until tender,then add the roux. The number of blocks nee-ded depends on how much you’re making,but they should dissolve completely in thewater creating a thick, rich sauce.It’s incredibly easy to make, and perfect forbig family meals. But if this still sounds liketoo much work, House also sell instant varie-ties.
RESTAURANT In the market forchirashizushi
niently divided into bite-sized parcels, chirashizushi canbe a little messy to eat.It’s best to flavour the fish separately in a small dish ofsoy sauce mixed with wasabi, then take some rice fromthe bowl and eat together.Its simplicity allows you to appreciate the quality andfreshness of the ingredients. It’s also hearty, with gene-rous chunks of fish, leaving you satisfied but not uncom-fortably bloated.The ground floor of Tajima-tei has table seating cosilydivided by wooden screens, with plenty of natural lightduring the day, and seats at the sushi counter if you want
to see the chefs at work. Downstairs are three private rooms,holding 10-16, 5-6, and 4-5 people.Note the golfing trophy on the waydown the stairs. The owner and headchef Miyakawa-san is a keen player,with a reputed 9 handicap.Of course if sushi is not your thing,there are plenty of other options on
the menu, including tempura, udon noodles, teriyakiand tonkatsu dishes. Enough to keep everyone happy.
Alexis Brown
REFERENCETAJIMA-TEI JAPANESE RESTAURANT
Unit 1 Doorington House, 9-15 Leather Lane,London EC1N 7STphone 020 7404 9665 www.tajima-tei.co.uk
Curry OK!
House Vermont Curry (roux type): £2.98House Kukure Curry (instant type): £4.12All prices are current as of August 2012 at JapanCentre.
EATING & DRINKING
september 2012 number 4 ZOOM JAPAN 15
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Leaving Tokyo at this time of the year, with itsstifling heat, is rather a good idea. Even moreso now, since the accident at the Fukushima
Dai-ichi power station means that air conditioninghas been reduced to a minimum. So why not leavethe capital for another, older, one? I am not thinkingof Kyoto, however charming it may be, but ratherKamakura, which became the capital of Minamoto
no Yoritomo in 1192, and gave its name to the periodfrom 1192 to 1333. It is situated just an hour away bytrain from Tôkyö (on the JR Yokosuka line), has apopulation of 174,000 and offers many advantagesto the traveller in search of to something fresh - whichis provided by the sea, the woods, and the many reli-gious buildings to be found in the area. During thetwelfth century, in a time of military turbulence,Kamakura became famous for its Zen Buddhism,which explains the presence of over sixty temples inthe locality. There are also close to twenty Shintosanctuaries, so your itinerary will be packed. I advise
you to spend at least two or three days there if youalso want to take advantage of the sea front at Sagami
The Japanese love trains. The Enoden line that runs between Kamakura and Fujisawa is particularly popular.
Just an hour away from the capital,Kamakura is so full of charm that you willforget how close you are to a big city.
ESCAPE So close, yet so different from Tokyo
PRACTICAL INFORMATIONFrom Tokyo, catch a train on the JR Yokosuka line toKita-Kamakura (780 yen) or Kamakura (890 yen).From Shinjuku, catch a train on the JR ShônanShinjuku Line (890 yen).When staying overnight, the Kaihinsô Kamakura is abeautiful hotel dating from the twenties, just twosteps away from Yuigahama station (Yuigahamaeki). Prices start at 18,900 yen for half-board.www.kaihinso.jp
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bay, so loved by the Japanese, with its memorable sun-sets.As is customary in Japan, and Kamakura is no excep-tion, the visit starts at the station. If you want to beefficient and make the most of the public transport,get off the train at Kamakura station (Kamakura eki),which is also the end of the Enoden line that runsalong the coast. Several buses also leave from that sta-tion, and serve the main tourist sites. Nevertheless,if you choose to get there early and you have enoughtime, it is much nicer to enjoy this city’s treasures bygetting off at Kita-Kamakura (Kita-Kamakura eki),the station before Kamakura. From there you cantake a pleasant walk towards the architectural andhistorical locations of the ancient capital. First stop:Engaku temple (Engaku-ji), situated just two minutesaway from the station. Founded in 1282, as a tributeto the Japanese and Mongolians who died during thetwo attempted invasions of the archipelago by theMongolians, this site is surrounded by trees - whichmakes for a lovely summertime walk. During thespring the cherry blossom is the attraction for manyvisitors, and in the autumn the maple trees turn allshades of red. The Sanmon gate was the inspirationfor The Gate by novelist Natsume Sôseki [translatedby Francis Mathy, Peter Owen Ltd edition, 2006],and it is the only ruin that reveals how majestic thissite once was. It shelters two national treasures: theGreat Bell of 1301 and the Pavilion of Relics (Shari-den). You can end your visit to Engaku Temple atBenten-dô teahouse where you can taste some deli-cious macha (600 yen), while contemplating the viewof nature below you.Then, proceed towards Kenchô temple (Kenchô-ji),which is approximately a fifteen-minute walk away.It was the first Zen temple in the country, built in1253, and the most beautiful compared with theother four in the city. Its Buddha Hall (Butsu-den)and Dragon in the Clouds (Unryû), painted in the1920s on the ceiling of the public ceremonial hall(Hattô), are both definitely worth a visit. Followingthis, another ten-minute walk will get you to Tsuru-
gaoka Hachiman-gû. It is Kamakura’s main histori-cal Shinto sanctuary, built in the heart of the townin 1180.This sanctuary offers something quite different fromthe previous visits, and is a beautiful conclusion toyour first day spent in Kamakura. Although the walkunder the trees is not too tiring you will soon feel hotand hungry. Now that you are close to Kamakura sta-
tion you can easily find a place to eat. You can thenreturn to Tôkyô aboard one of the many trains thatrun on the JR Yokosuka line, or you can extend theenjoyment by taking the famous Enoden line thatruns between Kamakura and Fujisawa. The latter isa thirty-minute ride running partly along the beau-tiful coastline. More like a tram than a train, theEnoden line was opened in 1902. It is the third oldest
train line still in use on the archipelago. Many trainlovers visit Kamakura to take pictures of the pale yel-low and green carriages known throughout the coun-try. For 580 yen you can get a day ticket that allowsyou to get on and off the train and take advantage ofthe many attractions along the line. If you want tocontinue at this pace then just ten minutes away fromHase station is Kôtoku-in, mainly worth a visit to see
the great Buddha statue. It is bronze, weighs 121 tonsand stands 13.35 metres high. Inspired by Nara’sTôdai-ji Buddha, Kamakura’s is smaller but recogni-zed as more beautiful. It would be a shame to missout on this amazing sculpture, just as it would neverdo not to visit the temple at (Hase-dara) just fiveminutes away from Kôtoku-in. This beautiful placeis worth a long stop so as to take advantage of all
Kôtoku-in’s great Buddha (Daibutsu) is one of Kamakura’s main attractions.
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its treasures, the most famous being a statue of Kan-non, the eleven-headed Goddess of pardon, whichis situated in the Kannon-do and provides a view-point overlooking Sagami bay. On your right, in theAmida-dô pavilion, you can see the gold statue ofYakuyoke, a protection against evil spirits. The tem-ple is particularly attractive to visit in autumn, whenall the leaves change color. In the summer it is theturn of the hydrangeas. They bloom all around Hase’sTemple, in pink, crimson and white, and along theway to Goryô’s temple (Goryô jinja), Jôju-in andGokuraku’s temple (Gokuraku-ji), from where youcan get back on the Enoden line.From then on forget the temples and sanctuaries andfocus on the sea and the outline of Enoshima in thedistance. Many Japanese stop at Inamuragasaki sta-tion (Inamuragasaki eki) or Kamakura Kôkômae
(Kamakura Kôkômae eki). Quite a few films havebeen shot there, and they are locations from whichyou can take wonderful pictures at sunset. Youngcouples enjoy sitting outside one of the many restau-rants. Do not expect haute cuisine, however, a beau-tiful sunset is sometimes worth a good meal.Outside Shichirigahama station (Shichirigahamaeki), between Inamuragasaki and Kamakura Kôkô-mae, Amalfi della Sera (which sounds and looks moreItalian than Japanese) serves delicious Mediterraneanfood. But it can be hard to get a seat on its famousterrace. You can also continue to Enishima station(Enoshima eki) for a stroll at dusk. Whether you stayfor a day or more you always end up forgetting howhot it is in Tôkyô when visiting Kamakura. In addi-tion, you return with beautiful pictures and memo-ries to share with your friends. G. b.
NISHIKAMAKURANISHIKAMAKURA
Kotoku-InKotoku-In(Great Buddha)(Great Buddha)
Goryo Goryo templetemple
ShichirigahamaShichirigahama
HaseHase YuigahamaYuigahama
KamakuraKamakura
ImamuragasakiImamuragasaki
Enoshima
FUKASAWA
NISHIKAMAKURA
K A N A G A W A
P R E F E C T U R E
S a g a m i b a y
KamakuraKôkômae
Enoshima Gokuraku temple
Enoshima observatory
Hase temple
Goryotemple
Engaku Temple
Kencho Temple
Hachiman-gûTsurugaoka sanctuary
Shichirigahama
Gokuraku-ji
Hase Yuigahama
Kita-Kamakuratowards Ofuna
Kamakura
Imamuragasaki
Odaky
u lin
e
Enod
en l
ine
Kamakura beach
600 m
JR Yokosuka line
towardsFujisawa
JR Tokaido line
1
1
2 3
45
6
Engaku Temple2 Kamakura station3 Hachiman-gû Tsurugaoka sanctuary
4 Gokuraku-ji station5 Enoshima’s station6 View of Enoshima from Kamakura Kokomae station
Kotoku-In(Great Buddha)
ion
io
i
n
Tokyo
Kyushu
Shikoku
Honshu
Hokkaido
Kamakura
At Engaku temple, take the time to savour a Japanese pas-
try and some iced tea.
NIHONGO
PIPO IN JAPAN
The first direct confrontation with Japanesespeakers may render the pupil perplexed, evenif he has worked hard. He knows the basics
for a conversation in Japanese, has mastered essen-tial vocabulary, and has an ear trained for speechrecognition, but it often happens that he does notproperly understand the subtleties of Japanese man-ners in the language: keigo.
ようこそ いらっしゃいました。Yôkoso irasshaimashita.You are welcome
Irasshaimashita, the past tense of irassharu (or irass-haimasu), means ‘to come.’ So what about the verbkuru? It is too neutral, and thus inappropriate. Themeaning is the same, so why complicate matters byjuggling with vocabulary? Why bend over back-wards and run the risk of falling over and lookingclumsy? Because, in Japanese, it is by adapting yourvocabulary to your interlocutor, or to the personyou are talking about, that you are at your best, mostpolite, most sociable, and consequently most accu-rate. The use of the polite form of the verb ‘to come’in the above example is related to Pipo’s status asa guest who does not yet share any intimacy withthe hosting family. As a young Frenchman whosecomfort in the archipelago will in great part be dueto his caring hosts, Pipo should reply in the follo-wing formal and modest way:
LANGUAGE Keigo: Mannersplease
お世話��
になりますので、よろしくお願��
いいたします。Osewa ni narimasu no de, yoroshiku onegai itashi-masu.I am at your mercy, thank you for your indulgence.
Note that the famous expression used in our previousissue is slightly modified in this sentence. Shimasu isreplaced by itashimasi, its modest equivalent. Instead,Pipo speaks gibberish. But it is this lack of a sufficientlevel of language that makes him ‘important’ and giveshim the feeling of being welcomed like a member ofthe royal family.Keigo and its subtleties can become second nature bypracticing every day, and it is necessary for anybodywho wishes to be more than just a tourist. On the otherhand, the Japanese do not expect a tourist to masterall the intricacies of the language. The foreigner whois just passing through and uses keigo is an exception,quite unusual, anything but normal. But the fact thatthis formal language is used all day long (all Japaneseinteraction uses this language), justifies the visitor lear-ning a few basic expressions. Even the cash dispenserspeaks in keigo and, although no reply is necessary,it is always better to understand what is being said.
PIERRE FERRAGUT
Manners, respect, modesty… Essential language ingredients for living inJapan.
PRACTICETHIS MONTH’S WORD
親切����
(shinsetsu) : kind
ホストファミリーの皆��
さんがあまりにも親切����
なので、感動����
しました。Hosuto famirî no minasan ga amari ni mo shinsetsu na no de, kandô shimashita.The members of my host family are very kind and Iam very touched.
september 2012 number 4 ZOOM JAPAN 19
