Sansuyu Village where Movie ‘Weonangsori’ was set
The documentary film "Weonangsori (cowbell sound)" is getting a great popular response here in Korea. Though the movie is an independent film, more than 2.5 million people have seen the movie, breaking the record of viewer numbers for an independent film, and the number is expected to be well over 3 million people soon. The Korean movie society is wondering how many people will see the movie in the future. Let’s take a tour to the remote mountainside village Ttittimi, where a young cow was filmed while pulling heavy tires to train for the popular movie "Weonangsori."
The name of the village Ttittimi is rather peculiar as well as familiar. How did this village acquire its name? A cliff was called Deum in Korean in the old days. The village is surrounded by many mountains. Therefore neighboring villagers called this village Dwitdeum (back cliff). These words were transformed into Ttittimi after they had been changed to Dwitteum-dittimi. The official name of this village on a map is Dudong, but everyone in the neighboring villages and taxi drivers visiting this village always call the village Ttittimi.
An eminent patriotic scholar, Dugok Hong Ujeong of the Yi Dynasty, came here to settle down at this remote village at the end of Byeongjahoran (Chinese invasion between 1636-1637). Insisting that the Joseon Kingdom must not surrender to the invading Chinese Cheong Kingdom, he could not endure the disgraceful surrender made by King Injo at Samjeondo. He gave up his position in the palace and came here seeking a hermit life in the deep mountainside. He determined to keep his conscience and fidelity as a righteous scholar instead of living in a comfortable place as a high ranking subject of a disgraced kingdom. After he settled down at this remote village, his posterity increased continuously generation after generation, forming a clan of the Namyang Hong family in the village. Even nowadays, one out of two houses belongs to the family of Namyang Hong.
Scholar Hong Ujeong planted Sansuyu at Byeongjahoran period
When the scholar Dugok Hong Ujeong came down to this village, the mountainside around the village was covered with the wild plants and bushes of Darae (Actinidia Arguta). Hong Ujeong planted in the village a few trees of Sansuyu (Cornus officinalis) that he had brought from the capital city of the Joseon Kingdom, Hanyang (currently Seoul), and nowadays the blossoms of Sansuyu fill every corner of the village whenever spring comes around. Most of the Sansuyu trees here are well over 100 years old and some of them are nearly 400 years old. The most recently planted Sansuyu trees are commonly 60 to 70 years old. In particular, the Sansuyu fruits produced at this village have rich medicinal ingredients such as Moromicid and Ogaram that are very effective as nutritional stimulants.
The red fruits of Sansuyu maturing in autumn have been as important as rice for the villagers here. As this village is located in the deep mountainside where few rice paddies or crop patches can be found, Sansuyu fruits functioned like deposit notebooks that supported tuition fees and wedding expenses for the children of the villagers. People say Sansuyu trees planted at Uiseong district originated from this village. However, as cheap Sansuyu fruits are imported from China these days, Sansuyu producers in the village are worrying about their poor market situation
Viewed from the surrounding mountains, the village looks like a yellow basket hidden in the bottom of the mountain valleys. Covered with the thick yellow blossoms of Sansuyu, houses in the villages are almost invisible from the nearby mountains. Sansuyu blossoms blooming over the earth and stone walls of four remaining old style houses look very friendly. Sansuyu blossoms begin to bloom from mid March at this village and last until early to mid April.
Valuable cultural properties at nearby Cheonseongsa Temple
Though the Sansuyu tree fields at Ttittimi Village (where only 13 houses out of all 20 houses are currently inhabited) are as attractive as any other well-known Sansuyu villages in Korea, such as Sandong Village at Gurye-gun Jeollanam-do, Hwajeon-ri Uiseong-gun Gyeongsangbuk-do, Gaegun Village at Yangpyeong-gun and Baeksa Village at Icheon-si Gyeonggi-do, they have been known only to a few people so far. However, it is expected that quite a lot of tourists will visit the village from this year, as Ttittimi Village has been known to the public as the place where the popular movie "Weonangsori" was set.
At Geumbong-ri Bongseong-myeon near Ttittimi Village is a Taegojong order temple, Cheonseongsa, on Munsusan Mountain. Though the temple is not very old or large, it has several precious cultural properties. Seokjoyeoraeipsang (standing stone statue of Buddha) in Muryangsujeon Hall is Tangible Cultural Property No. 133 of Gyeongsangbuk-do. It is 159 centimeters high with a 37 centimeter high head and 53 centimeter wide shoulders and is assumed to have been formed around the end of the Silla Kingdom or in the early Goryeo Kingdom. The Buddha statue was found at an ancient temple site in Bongseong-ri Bongseong-myeon but it was moved to this temple by the master monk Lee Hwaseong in 1967.
Cheonseongsa Samcheungseoktap (three storied stone pagoda at Cheonseongsa Temple), which was nominated as Tangible Cultural Property No. 134 of Gyeongsangbuk-do, is one of the twin pagodas found at the ancient temple site in Seonghwanggok Valley in Bongseong-ri. The other pagoda was moved to Bongseong Elementary School. These twin pagodas bear the characteristic charms of the Goryeo Kingdom period and are each 2.7 meters high.
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South Korea is a world leader in the development and adoption of advanced robotics technology and has an ambitious plan to put a robot in every household by 2020. Several robot cities are about to be constructed in the country, with the first city being built in 2009 at a cost of 500 billion won, of which 50 billion is direct government investment. The new robot city will feature research and development centers for manufacturers and part suppliers, as well as exhibition halls and a stadium for robot competitions.
The government is also investing another $1.3 billion to build two new robot theme parks in Incheon and Masan by 2013, which will be developed as centres for the country's robot industry, featuring a number of attractions that allow visitors to interact with robots and test new products. The country's new Robotics Ethics Charter will establish ground rules and laws for human interaction with robots in the future, setting standards for robotics users and manufacturers, as well as guidelines on ethical standards to be programmed into robots to prevent human abuse of robots and vice versa.
Faced with a critically low birth rate and an aging population, the country is quickly turning to robots to replace disappearing workers and loss of military manpower. Korea Advanced Institute of Science and Technology developed the world's second walking humanoid robot, HUBO. In 2005, KAIST announced they had created the world's smartest robot, able to think and learn like a human. It is the first network based humanoid in the world taking advantage of South Korea's advanced communication network. In 2006, South Korean scientists from the Korea University of Science and Technology unveiled the world's second female android, Ever-1, capable of expressing human emotions.
Its successors are expected to walk, sing and dance, to be used in department stores and museums, as well as reading stories to children. Engineers from Samsung Techwin revealed in 2006 the Intelligent Surveillance and Guard Robot, a machine-gunned sentry robot able to detect and repel intruders along the heavily armed border with North Korea.
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Busan, also spelled as Pusan, is the second largest city in South Korea, after Seoul. Situated in South Gyeongsang, Busan has a population of nearly eight million people. As the nation's major as well as the largest sea port, Busan has a plethora of sea routes that serve as gateways to Japan as well as to the other prominent parts of the world.
Lying adjacent to the Korean Straits and Japan, this bustling city is also credited to be the first international city in Korea, and connects continents such as Asia, North America, and Europe. Located on the coast of the East Sea, Busan boasts of a stunning landscape comprising beautiful shorelines, gorgeous beaches, secluded islets, towering mountains, and lush green areas. Hence, it is not a wonder why Busan is sometimes referred to as 'the San Francisco of Korea'.
From towers, forts, and shrines to scenic attractions covering hot springs, Busan presents a host of attractions for people touring the place. In other words, sightseeing in Busan has been categorized into such as seashore sightseeing and interior land sightseeing.
Included in the seashore sightseeing are incredible islands and beaches such as Haeundae, Songjeong, and Gwangalli Beach. All of these beaches are a haven for enjoying a number of water sport activities such as jet skiing, boating, diving, banana boat rides, and much more. When comes to the interior land sightseeing, it covers downtown Busan, interesting museums, ancient shrines, historical monuments as well as ruins, stadiums, and cultural centers.
Some of the most popular museums in the area are Fisheries Museum, which is the first of its kind in the museum; Busan Marine Natural History Museum - the country's largest marine natural history museum; Busan Museum of Modern Art, which has on display artworks done by artists of Busan as well as Yungnam areas; Korean Tea Museum, exhibiting more than 100 varieties of teas; and Suyeong Historical Relics Folk Art Center, which contains such cultural displays as Suyoung Nonchong-nori and Jwasuyoungbang-nori.
If you are a spiritual traveler, then your trip to Busan would not be complete without taking a tour to such shrines in the area as SamGwang Temple, which is one of the most remarkable Buddhist shrines in the area; Tongdosa Temple, which is probably the prominent of all Buddhist temples in the country; and Beomeosa Temple Complex, with a Buddhist nunnery. Equally fabulous is the historical sites in the country such as Kumjongsanong, which is the country's largest walled mountain fortress. A segment of a park, the fortress is attached with a Buddhist Temple, apart from several pavilions and botanical gardens.
Further, your visit to Busan would be incomplete without taking a visit to some of its beautiful parks and gardens such as Busan Aquarium - a marine park featuring more than 250 species of marine animals; Yongdusan Park, which is one of the most scenic areas in the city with more than 70 species of trees; Olympic Park, which is a treasure trove of several magnificent sculptures.
Geumgang Botanical Garden, one of the largest botanical gardens in the country; and UN Memorial Park, which commemorates the soldiers of more than 15 countries who sacrificed their lives in the Korean War. For those looking for fun-filled vacation, Busan comes with a number of amusement parks like APEC Theme Park; Amusement Garden in Grand Children's Park; Taejongdae Amusement Park; and Jayu Land.
Other not to miss attractions in Busan are the Busan Tower, which is about 118 meters high and located within Yongdusan Park; Jalgalchi Fish Market, a must-visit spot in the city; Tongnae Hot Springs, boasting of two huge pools, of which one is hot spring water and another with cold water; Dongbaek Island, an ancient island which is home to camellias as well as pine trees; and Dalmaji Hill, a picturesque area located to the southeast of Haeundae Beach. Above all, Busan hosts a variety of festivals and events including sea festivals, fishing festivals, polar bear swimming festival, tourism festival, and film festival.
In short, Busan has everything for an enjoyable vacation. Hence, in order to cater to the growing number of tourists, Busan boasts of a number of accommodation options. Many of the top notch hotels and resorts in the area allow tourists to choose from a variety of rooms such as standard, deluxe, apartment style, and suits.
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Music
Apart from the instruments used, traditional Korean music is characterized by improvisation and the lack of breaks between movements. A pansori performance can last for over eight hours during which a single singer performs continuously.
Rather than contrasting different speeds as it is common in Western music, most traditional Korean music begins with the slowest movement and then accelerates as the performance continues.
Korean court music, called jeongak, is closely related to the literate upper-class, and has a strong intellectual emphasis. Jeongak is played at a very slow pace, with single beats taking as long as three seconds. The beat matches the speed of breathing rather than the heartbeat as in most Western music, and feels static and meditative.
The tone of Jeongak is soft and tranquil because the traditional instruments are made of non-metallic materials. String instruments have strings made of silk rather than wire. Almost all wind instruments are made of bamboo.
Pungmul is Korea's folk music and is full of expressions and emotions. This kind of traditional music is closely related to the lives of common people. As with the Jeongak, improvisation is common in Minsogak.
Traditional Korean musical instruments can be divided into wind, string, and percussion types. Wind instruments include the piri (cylindrical oboe), taepyeongso (metal-bell shawm), daegeumsaenghwang (mouth organ) and the hun (ocarina). Traditional string instruments include zithers such as the gayageum, geomungo, and ajaeng, and the haegeum, a two-stringed fiddle.
A great number of traditional percussion instruments are used including the kkwaenggwari (hand-held gong), the jing (hanging gong), buk (barrel drum), janggu, (hourglass drum), bak (clapper), and pyeonjong (bell chimes or stone chimes), as well as the eo (tiger-shaped scraper) and the chuk (wooden box).
Dance
As with music, there is a distinction between court dances and folk dances. Common court dances are jeongjaemu performed at banquets, and ilmu, performed at Confucian rituals. Jeongjaemu is divided into native dances (hyangak jeongjae) and forms imported from China (dangak jeongjae). Ilmu are divided into civil dance (munmu) and military dance (mumu).
Religious dances include all the performances at shamanistic rites (gut). Secular dances include both group dances and individual performances.
Traditional choreography of court dances is reflected in many contemporary productions.
Homes
Sites of residence are traditionally selected using geomancy. It is believed that any topographical configuration generates invisible forces of good or ill (gi). The negative and positive energies (yin and yang) must be brought into balance.
A house should be built against a hill and face south to receive as much sunlight as possible. This orientation is still preferred in modern Korea. Geomancy also influences the shape of the building, the direction it faces and the material it is built of.
Traditional Korean houses can be structured into an inner wing (anchae) and an outer wing (sarangchae). The individual layout largely depends on the region and the wealth of the family. Whereas aristocrats used the outer wing for receptions, poorer people kept cattle in the sarangchae. The wealthier a family, the larger the house. However, it was forbidden to any family except for the king to have a residence of more than 99 kan. A kan is the distance between two pillars used in traditional houses.
The inner wing normally consisted of a living room, a kitchen and a wooden-floored central hall. More rooms may be attached to this. Poorer farmers would not have any outer wing. Floor heating (ondol) has been used in Korea for centuries. The main building materials are wood, clay, tile, stone, and thatch. Because wood and clay were the most common materials used in the past not many old buildings have survived into present times. Japan's kidnapping of an entire city known for its castle building skills built Japan's most famous castles and palaces, an act which the Japanese government has formally accepted and apologized for.
Garden
The principles of temple gardens and private gardens are the same. They generally resemble gardens in China, and the Japanese in turn adopted a similar garden layout from Korea. Part of the reason is because gardening in East Asia is heavily influenced by Taoism. Taoism emphasizes nature and mystery, paying great attention to the details of the layout. In contrast to Japanese and Chinese gardens which fill a garden with man made elements, traditional Korean gardens avoid artificialities, trying to make a garden more natural than nature.
The lotus pond is an important feature in the Korean garden. If there is a natural stream, often a pavilion is built next to it, allowing the pleasure of watching the water. Terraced flower beds are a common feature in traditional Korean gardens.
The Poseokjeong site near Gyeongju was built in the Silla period. It highlights the importance of water in traditional Korean gardens. The garden of Poseokjeong features an abalone-shaped watercourse. During the last days of the Silla kingdom, the king's guests would sit along the watercourse and chat while wine cups were floated during banquets.
Cuisine
Rice is the staple food of Korea. Having been an almost exclusively agricultural country until recently, the essential recipes in Korea are shaped by this experience. The main crops in Korea are rice, barley, and beans, but many supplementary crops are used. Fish and other seafood are also important because Korea is a peninsula.
Fermented recipes were also developed in early times. These include pickled fish and pickled vegetables. This kind of food provides essential proteins and vitamins during the winter.
A number of menus have been developed. These can be divided into ceremonial foods and ritual foods. Ceremonial foods are used when a child reaches 100 days, at the first birthday, at a wedding ceremony, and the sixtieth birthday. Ritual foods are used at funerals, at ancestral rites, shaman's offerings and as temple food.
Temple food is distinguished as it does not use the common five strong-flavoured ingredients of Korean cuisine (garlic, spring onion, wild rocambole, leek, and ginger), nor meat.
For ceremonies and rituals rice cakes are vital. The colouring of the food and the ingredients of the recipes are matched with a balance of yin and yang.
Today, surasang (traditional court cuisine) is available to the whole population. In the past vegetable dishes were essential, but meat consumption has increased. Traditional dishes include ssambap, bulgogi, sinseollo, kimchi, bibimbap, and gujeolpan.
Beliefs
The original religion of the Korean people was Shamanism, which though not as widespread as in ancient times, still survives to this day. Female shamans or mudang are often called upon to enlist the help of various spirits to achieve various means.
Buddhism and Confucianism were later introduced to Korea through cultural exchanges with China. Buddhism was the official religion of the Goryeo dynasty, and many privileges were given to Buddhist monks during this period. However, the Joseon period saw the suppression of Buddhism, where Buddhist monks and temples were banned
from the cities and confined to the countryside. In its place a strict from of Confucianism, which some see as even more strict that what had ever been adopted by the Chinese, became the official philosophy.
Even today, Confucianism still plays a major role Korean society, and respect for elders is still a major part of Korean family life. Throughout Korean history and culture, regardless of separation; the influence of traditional beliefs of Korean Shamanism, Mahayana Buddhism, Confucianism and Taoism have remained an underlying religion of the Korean people as well as a vital aspect of their culture, all these traditions coexisted peacefully for hundred years to today despite of stronger Westernization from Christian missionary conversions in the South or the pressure from Communism's atheist government in the North.
Kumsusan Memorial Palace
The final resting place of Kim il-Sung is only open on Fridays and Sundays. Sunday's will no doubt be busy with locals paying their respects to Kim il-Sung on their one and only day off. It is customary to dress in formal clothes, being a shirt and tie for men, or a respective dress for women.
After waiting in line, standing in rows that are 4-wide, your group will be escorted inside. Bags and cameras will be required to be deposited at the counter prior to entry.
There are hundreds of meters of moving walkways that navigate through the enormous compound that is now a mausoleum. Once in the room of the glass display with Kim's body, groups of four will advance one at a time.
It is custom that people bow at Kim's feet. Then move to the left (Kim's right), and bow again. Then walk around his head (no bow here), and bow one last time along Kim's left side.
Once outside of the building, you may take your camera and take photos.
The Ryugyong Hotel : unfinished "Hotel of Doom"
The tallest structure in P'yongyang has sat unfinished and dormant for nearly 20 years. The pyramid-shaped hotel, which would have rivaled any hotel in any major city, has been left as a shell for all to see. The 105 story building has sat dormant with rusting tower crane stuck in position since the Soviet Union disbanded in 1992, because they were the ecomonic benafactor for constrution.
Back in 1988, Seoul hosted the Olympic Games. P'yongyang believed that in good faith since they are also "Korea", that the South would have placed some of the events in P'yongyang's venues. This hotel was initiated to host the world for the Games. But once the government learned that the Games would not be shared, the project was put on hold.
To this day, the tower crane remains in position as it was 20 years ago. There are no windows, no utilities, no lights, nothing... It is a ghost structure. For that reason, it sometimes is called the "Ghost Hotel", or the "Hotel of Doom".
Grand People's Study House
This is a library for everybody. This is at least what they say. The rooms were packed with students, reading in old books, studying the Juche Ideology or simply study their major. As we have been in winter time and there is no heating, all students were wrapped in tons of clothes and it was still very freezing in there. They do have some books from abroad and they are supposed to have "every book that has been published in the 90's worldwide". To prove, they showed us some german books, which were published around the 50's and 60's and even those have never been seen from the students.
The building itself looks very beautiful from the outside. It is held in a traditional korean style with green roof.
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There is a vast cult of personality around Kim Il-sung and Kim Jong-il and much of North Korea's literature, popular music, theater, and film glorify the two men.
A popular event in North Korea is the Mass Games. The most recent and largest Mass Games was called "Arirang". It was performed six nights a week for two months, and involved over 100,000 performers. Attendees to this event in recent years report that the anti-West sentiments have been toned down compared to previous performances. The Mass Games involve performances of dance, gymnastic, and choreographic routines which celebrate the history of North Korea and the Workers' Party Revolution. The Mass Games are held in Pyongyang at various venues (varying according to the scale of the Games in a particular year) including the May Day Stadium.
Culture is officially protected by the North Korean government. Large buildings committed to culture have been built, such as the People's Palace of Culture or the Grand People's Palace of Studies, both in Pyongyang. Outside the capital, there's a major theatre in Hamhung and in every city there are State-run theatres and stadiums.
Korean culture came under attack during the Japanese rule from 1910-1945. Japan enforced a cultural assimilation policy. Koreans were forced to learn and speak Japanese, adopt the Japanese family name system and Shinto religion, and forbidden to write or speak the Korean language in schools, businesses, or public places. In addition, the Japanese altered or destroyed various Korean monuments including Gyeongbok Palace and documents which portrayed the Japanese in a negative light were revised.
In July 2004, the Complex of Goguryeo Tombs became the first site in the country to be included in the UNESCO list of World Heritage Sites.
In February 2008, The New York Philharmonic Orchestra became the first US musical group ever to perform in North Korea, albeit for a handpicked "invited audience".
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Shiretoko
Places:Shari-cho, Shari-gun/Rausu-cho, Menashi-gun, Hokkaido
Shiretoko, a new natural heritage site registered only in July 2005, is considered to be the last pristine wilderness remaining in Japan. Shiretoko is a long narrow peninsula located in northeastern Hokkaido. The volcanic Shiretoko mountain range runs down the center of the peninsula and includes the highest peak of the range, Rausu-dake (1,661 m above sea level) and the active volcano Iouyama. The Sea of Okhotsk lies on the western side of the range and the Nemuro Straits on the eastern side. The coastline cliffs facing the Sea of Okhotsk rise up more than 100 m high, and you can glimpse waterfalls large and small cascading directly into the sea, and colonies of seabirds.
The salmon and trout that breed in the sea off Shiretoko are an important food resource supporting the terrestrial ecosystem with rare birds such as Blakiston's fish owl, Steller's sea eagle and the white-tailed sea eagle, as well as brown bears. The Shiretoko ecosystem is a dramatically clear example of the linkage between marine and terrestrial ecosystems, and it is considered an important wildlife reserve, with unique features unlike any other in the world.
Shiretoko, blessed with mountains, lakes and an abundance of plants and animals, offers many places of interest throughout the seasons. A good example is the Shiretoko Goko or Shiretoko Five Lakes, situated on a lava plateau surrounded by old-growth forest. The five lakes don't have individual names; they are referred to by number from Lake No. 1 to Lake No. 5. If you take a stroll along the walking trail (takes approximately 1 hour), you may see wild animals and will certainly enjoy the beauty of the changing seasons.
In the fall, when the mountains are adorned in red and yellow, the hoards of salmon and trout swarming up river to spawn are an incredible sight. In winter, there is also beautiful scenery as the drifting ice changes the Sea of Okhotsk into a white snowfield. There are various nature experience programs available at the site such as night tours for animal watching under wonderful starlit skies, daytime treks for alpine plant spotting while surrounded by birds singing, or nature watching enjoying waterfalls and wild animals while walking along the trail. It is highly recommended to contact Shiretoko Nature Center before departing.
Himeji-jo Castle, Himeji City
Hyogo prefecture
Because its pure white appearance with white plaster coating looks like a dancing Shirasagi (Egret) with wings spread, this famous castle is also called the "Shirasagi-jo" or "Hakuro-jo". It was spared from damage during the war and from many other disasters and is in a remarkably preserved state compared to other castles. Seventy-four structures within the castle site including a tower and gate are designated as important cultural assets of Japan.
The year of establishment was 1346. Later, the warlord Toyotomi Hideyoshi (1536-1589), who ruled over most of Japan, built a full-scale castle wall, which became the base for present-day Himeji-jo. At the start of the Edo period, the castle underwent considerable renovation over a 9-year period to create the magnificent appearance we see today.
If you are confident in the strength of your legs and back to climb up and down, you should take a look around the inside of the castle. Clearly, beauty was not the only priority of those in power throughout the ages. Its complicated structure, particularly the three tall watchtowers connected by columns and winding maze-like passages, functions well as a war fort and conceals a mechanism to halt the invasion of enemies and throw them into confusion. The design is intended to prevent access to the tallest watchtower and castle keep, situated at the heart of the castle, which functions as a center, so beware if you go there without a map, you may get lost!
Among the many gates are the remains of gate mechanisms for dropping stones on the enemy if they manage to enter, or gates with an extremely narrow passageway so that not many people could pass at once. Numerous holes to shoot from are made in the castle wall and there are windows from which to drop gigantic stones on the enemy, too. It is very interesting that there is a kitchen in the inner court in case the castle falls under siege or an attempt is made to starve out the occupants. By the way, the thick coating of white plaster on the outer surface is not just there for aesthetic purposes but also for defense, because of its excellent resistance to fire and bullets.
The castle keep rising from the peak of Mt. Hime-yama is built with a total height of 32 m on a stone wall approx. 15 m high, and the view from the top of the keep is spectacular. On a fine day, you can imagine the emotions of a feudal warlord with his ambitions to dominate the whole country. At night, the entire castle is lit up, so a visit after sunset is highly recommended as well.
Gusuku Sites and Related Properties of the Kingdom of Ryukyu
Okinawa prefecture
Cultural heritage sites are scattered among the southernmost islands of Japan and on the main island of Okinawa. There are 9 ruins symbolizing the unique culture and religious beliefs of the Kingdom of Ryukyu that once flourished here.
In Okinawa, dictatorships began to arise in various areas from around the twelfth century, and castle-like buildings called "Gusuku" were constructed. However, these buildings were not like Himeji-jo Castle, which is registered as a world heritage site as well, but more like a fort. Gusuku were also treated as sacred sites under local religious belief. When the 14th century came along, each area was unified into three counties and the unified Kingdom of Ryukyu was finally established in 1429. In line with this, the symbol of the Kingdom "Shuri-jo Castle" became the sole Gusuku.
Shuri-jo is built on upland 120 m above sea level overlooking Naha City. The castle area surrounded by stone walls approx. 10 m high is 400 m east to west and 270 m north to south. Inside the castle, there is an open space and facilities for political, cultural and diplomatic activities and festivals, and the largest wooden structure in Okinawa "Shoden (central building)" was built on the castle premises. This building shows a strong influence from various cultures including from Japan and China, which proves that trade with Asian countries was very active at the time. The pattern of dragons or vermilion lacquer coating shows the influence of China, and the structural form of the roof shows the influence of Japan. Shurijo was completely destroyed in World War II and most of the present buildings are reproductions built up until 1992. Because this place is used as a location for TV dramas, it attracts many tourists.
On the west side of Shurijo is a massive stone structure, "Tamaudun", created using a natural rocky outcrop. This is the tomb of the successive royal families of the Kingdom of Ryukyu, and the inside of the tomb is paved with coral reef fragments, and at the center of the structure and in the east and west towers stand lion statues called Shisa, which are a symbol of Okinawa and a charm against evil.
Naha city, Chinen village, Nakagusuku village, Kitanakagusuku village, Katsuren town, Yomitan village, Nakijin village, all on the Okinawa Main Island in Okinawa prefecture.
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The buildings of Ise Jingu are constructed in a style called yui-itsu shinmei zukuri with a central pillar, thatched roof, and plain cedar walls. It developed about 1,300 years ago during the reign of Emperor Temmu and Empress Jito. Since then, with the exception of the Warring States period in the 15th and 16th centuries, the shrine has been rebuilt every 20 years in the ceremony of shikinen sengu. Shikinen means "a set number of years" and sengu means "transferring the shrine."
The shrine is built in exactly the same design and proportions on a plot next to the old one, and the yatakagami (eight sided) mirror of Amaterasu Omikami, the sun goddess, is transferred from the old shrine to the new. The shrine moves alternately to the east and back to the west.
The first sengu took place in 690 AD. The shrine forest, known as misomayama, was established as the source of lumber for the rebuilding. Until the end of the Kamakura period (1185-1333) these woods provided all the cedar needed for the shrine transference ceremony. After that, the source of lumber changed to another area famous for its cedar: Kiso in Gifu and Aichi prefectures.
"One sengu cycle requires a massive amount of cedar, from 8,500 to 10,000 cubic meters about 10,000 logs. Moreover, 90 percent of these need to be more than 200 years old and at least 60 centimeters in diameter. The columns on either side of the shrine, known as munemochi-bashira, are cut from trees roughly 400 years old. Lumber for the doors must be 1.2 meters wide unblemished, with no joints. Builders cannot reuse old wood; they must cut all new timber and prepare it within the shrine precincts," says Masayuki Murase. For the past 26 years Murase, a forestry engineer, has devoted his life to Ise's trees.
The forest around the Inner and Outer Shrines has an area of about 5,500 hectares. This is divided into 'divine precincts' and 'shrine precincts.' Divine precincts are devoted to the integrity of the shrine woods and it is forbidden to cut trees there, except if needed for the health of other trees. Shrine precincts are divided into two categories. The first is basically the same as the divine precincts the purpose of the trees is to improve the scenery, so nothing is cut.
The intent of the second category of shrine precinct is to protect the headwaters of the Isuzu River as well as the scenery. In this area there are man-made plantations of cedar to be used for shrine building. This is because in 1923 the Shrine Precincts Preservation Committee did a study on the condition of the forests and noticed a striking decline. As a result, they started planting cedars around the headwaters and set up a 200 years plan so cedar can once again be obtained from the shrine's own forests. Those trees are now 80 years old.
The last time any lumber was taken from the shine precincts was in 1391. It is the dream of those looking after the forest that once again it will be the source of lumber for rebuilding the shrine. Foresters have laid the groundwork for an environment conducive to cedar, a sensitive species. Their efforts are paying off: in 2014 about 20 percent of the lumber for the 62nd sengu will come from these woods. That will be the first time in 700 years, and the thought makes Murase's eyes sparkle.
"Inside the shrine precincts," he says, "there are cedars marked 'candidates for great trees.' They've been set aside for lumber to be used 200 years from now. We will nurture them to grow until they reach a diameter of more than 1 meter."
In rebuilding the shrine there's a ceremony called misoma-hajimesai for cutting the most auspicious tree the wood that will enshrine the goshintai (object of worship where the deity's spirit dwells). The 1,300 years old tradition requires that three persons wield their axes from three different directions. Murase says, "This is the quintessential way to cut a tree. Unless it is done right, the tree will not be cut properly even if we use a chain saw."
Young forestry staff train for the ceremony, practicing proper axe handling and traditional wood cutting methods. Before they begin, they must obtain permission to fell the trees from the gods of the forest. We observed a practice session. Removing their helmets, the young men politely bowed to the trees, deliberately lifted their axes, and started cutting. Shouting words of encouragement, they finally felled one tree after about an hour. Then they placed the treetop in the center of the stump and performed kabu-matsuri (tree-felling ceremony).
"In this way," Murase explains, "we present the gods of the forest with the root and top of the tree. It expresses our intention of taking only the middle and returning the rest to the gods."
In accordance, Murase and his young staff inserted the treetop into the stump. It would take less than 5 minutes to cut a 200 or 300 years old tree with a chain saw. However, a reverent mindset and proper etiquette are necessary to cut a tree that has been living for so long.
This mindset and the accompanying skills have been handed down at Ise Shrine through the shikinen sengu ceremony. By rebuilding once every 20 years and transferring the deity to a new dwelling, the deity gains renewed power and spirit, rejuvenating the strength of the nation. The grand ceremony, unparalleled anywhere in the world, has extended respect and skills across generations, preserving the cycle of nature and nurturing both the forest and the hearts of the Japanese people.
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In the opening scene of Miyazaki's 1997 Princess Mononoke, set in medieval Japan, range after range of mountains appears. Below them are the following words: "In ancient times the land lay covered in forests where from ages long past dwelt the spirits of the gods."
In the sacred woods that are threatened by encroaching development in Miyazaki's film, there dwells not only the many-horned Shishigami (Deer God), but also the spirits of trees, and animals that understand human speech. The feeling of this mysterious forest is expressed simply in the words of 20th-century writer Georges Bataille, describing France's prehistoric cave paintings: "The animals of Lascaux are at the level of gods or kings." Indeed, in the forest of the Shishigami, animals discover their divinity.
In Miyazaki's 1988 My Neighbor Totoro the hills, where the young girl Mei and the forest spirit Totoro meet, are called Tsukamori (Tumulus Woods). The kanji for tumulus can mean an ancient tomb or grave, so the name suggests a quiet, sacred place. It's not difficult for our imaginations to leap from this name to the idea of forbidden woods. Even today throughout Japan there are shrines with forbidden woods within their grounds. The woods came first, followed by the building of a shrine. That is, our sense of awe came first, and afterwards we developed techniques and trappings of religion to appease the gods. We put up a torii gate and hang sacred ropes in the forbidden forest, but in the end this is nothing but the cleverness of adults. In proof of this, the young heroine Mei, ignorant of the meaning of an entrance path, manages to find her way through a brambly maze to discover the inner mystery of the forest, namely Totoro.
In Princess Mononoke the forests are similarly forbidden territory. The deep woods are a maze that keeps people away. The feeling that something lurks in the deep, dark recesses of the forest stops people from wanting to walk inside. Places that were once divine or sacred are uncomfortable for adult human beings, and only shamans or those who have not learned fear, like children, dare enter. Thus only the young hero Ashitaka, descendant of the Emishi people "with unclouded eyes," or the wolf-girl San are able to see the Shishigami.
When we think about it, the forest of the Sea of Corruption in Miyazaki's 1984 Nausica of the Valley of the Wind, is a kind of forbidden wood filled with savage insects and poisonous spores. What is hidden in the heart of this forest is neither god nor ghost, but truth. It is young Princess Nausica egoless and without fear of the forest, who is able to penetrate to the truth: that the Sea of Corruption is simply a means of purifying the polluted world.
For us, lost in our modern lives, no longer remembering the childhood belief that "something" lurks in the deepest woods, the forests in Miyazaki's animations are nostalgic and terrifying at the same time. Indeed, a ticket to a Miyazaki anime is the passport to enter a forbidden forest.
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Two-thirds of Japan is forested, but throughout the archipelago, from the subarctic to the subtropical zones, virgin forest accounts for only 1 percent of the trees. One could say that the basis of Japan's culture and spirituality lies in these forests. The deep woods—sacred places into which men did not lightly tread—evoked reverence and stirred the imagination. As if it were embedded in our DNA, awe of sacred trees still dwells in the hearts of modern Japanese.
Kumano
Many forests are rich in natural beauty, but if one is seeking supernatural spirit, Kumano tops the list. Stretching across the Kii Peninsula in Wakayama prefecture, it has peaks and valleys lined up one after another like waves billowing across the sea. This area of remote mountains was a pilgrimage route from the Heian period (794-1192) through the Edo period (1603-1867). Commoners and emperors alike came to its three great shrines. Now a UNESCO World Heritage Site, it is still used by ascetics for spiritual practice. In the Heian period, these mountains and forests were considered the Pure Land of Buddhism, therefore sacred. Today the hills are largely covered with Japanese cedar plantations, but in antiquity the glossy-leafed temperate forest was dark and deep and full of spiritual feeling. Even now mossy stone walls and ancient Jizo carvings line the old winding path. There is a feeling of awe toward something invisible, and at the same time the simple thought of one's tiny existence within it all. One could say Japan's sense of nature is completely summed up by this feeling. These forests gave birth to writers Kumagusu Minakata, Haruo Sato, and Kenji Nakagami. These are forests that stir the imagination.
100,000 Sacred Woods remain in Japan
For the Japanese, living in one of the world's most densely forested countries, the forests that always meant the most were the "sacred woods." These were revered as the dwelling places of gods and seen as bringing blessings to human beings. At the same time, the woods were feared as awesome places, which led our ancestors instinctively to worship them.
Masaaki Ueda, professor emeritus at Kyoto University, is chairman of the Shaso Gakkai, a society established for the study, protection, and development of these sacred sites. He says sacred woods were the focal point of interaction between men and gods as far back as Jomon times (10,000 to 300 BC), thus making them the primal place in Japanese culture.
Ueda says, "The Japanese viewed giant trees and pillars as yorishiro—meaning 'a place where the gods draw near.' Even as they cut down the forests to develop rice paddies or towns, there was a sense of taboo, that if you felled a tree in a sacred forest, you would be cursed. As a result they preserved woods with original flora.
Although established as forbidden forests that people were not supposed to enter, the sacred woods became the center of the village community because people could gather around them and offer performances of dance and music to the gods." Sacred woods, which preserved the original trees of the area, are biological treasure houses. And in modern times they have played an important role in environmental preservation. Akira Miyawaki, professor emeritus at Yokohama University and director of the International Ecological Research Institute, has carried out 1,500 forestation programs since 1970. He is promoting the creation of sacred forests for the 21st century under the slogan "hometown forests with hometown trees." Stressing the strength and benefits found only in woods filled with original trees, he says, "Trees that have developed in a local climate not only grow well by themselves without much tending, but also are durable and resistant to severe occurrences such as earthquakes, typhoons, and fires. The few remaining forests with native trees are the sacred forests of the nation of Japan." Sacred woods, at the root of Japanese culture, are being rediscovered in the 21st century in light of increased environmental awareness. They reflect a Japanese view of nature based on the pantheistic belief that spirits reside in stones, plants, and trees. The belief has as its premise harmony and co-existence with nature.
The Grove of Sacred Forest
The illustration is the symbol of the Shaso Gakkai, the society dedicated to sacred sites. The torii gate stands at the beginning of the entry path, which leads man into the gods' dwelling place. As you pass under the torii, you enter the precincts of the sacred wood within which stand the shrine buildings. Spreading out around you is the "forbidden forest," preserved as the realm of gods where human feet should never tread. On the mountain rising behind the forbidden forest, Japanese people felt the divine spirit and it became the object of worship.
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Matsuri - Ekibyobarai
Kyoto Gion Matsuri
Kyoto's most elaborate festival ensued from appeals to banish a devastating plague in the summer of 869. When it duly abated, a great festival of thanksgiving to the illustrious kami of Yasaka Shrine was held at the emperor's behest. A century later the festival was instituted as an annual event, in praise and continuing petition for ever-renewed blessings upon the city. Through the centuries the event has gained in splendor, reaching today's grand proportions as a nearly month-long series of rites and festivities.
Chichibu Kawase Matsuri
For more than 300 years, the townfolk of Chichibu, in the mountains of Saitama, have celebrated Kawase Matsuri. Inspired by the famous festival of Kyoto, it is also known as Chichibu's O-Gion. In fact, in the precincts of Chichibu Shrine is a small Yasaka Shrine associated with the main one in Kyoto, and the kami of both shrines are honored at this festival. Rites include an evening children's parade, a midnight drawing of sacred water from the river, and the next-day procession of magnificent floats bedecked with umbrellas of paper flowers.
Matsuri - Shinwa
Nachi-no Hi Matsuri
The deified waterfall at Kumano Nachi Taisha is the site of an annual fire festival which honors Emperor Jimmu who, according to legend, stopped here to pray before going on to conquer ancient Yamato. The twelve unique ogi mikoshi, each a tall fan-decorated standard in which a deity temporarily resides during the celebration, represent the sacred waterfall, which at 130 meters is the highest in Japan. Shrine priests convey offerings to an altar set among them near the foot of the falls.
Saikusa Matsuri
Wild lilies, yuri, once grew in abundance on sacred Mt. Miwa. There among them lived and played Princess Isuzu, and it is said that Japan's legendary first emperor Jimmu, great-great grandson of the sun goddess, once visited her on the mountainside in lily season. When she died, her spirit was there enshrined, and during Saikusa-no Matsuri, often simply called Yuri Matsuri, offerings of lilies are presented to her spirit, both in dance and as adornment for the cask of sacred sake.
Ko-no-mono Sai
Long ago, in gratitude for nature's bounty, villagers here placed vegetables and sea salt together in offering to the field god. It was discovered, after a time, that they had been transformed, and people gathered around to taste these strange "fragrant things" this gift from the gods. This is the origin of Japan's tsukemono, pickled vegetables. When Yamato Takeru, a legendary hero credited with extending the frontiers of Yamato, stopped here to rest and pray, villagers gave him some as a charm against all illnesses.
Torigoe Yo Matsuri
Warrior Yamato Takeru, enshrined and worshiped at Torigoe Shrine, is honored with an authentic "downtown" festival which draws huge crowds. The so-called obake (monster) mikoshi, said to be the heaviest in Tokyo at four tons, is paraded through parish streets by hundreds of happi-clad bearers to entertain and honor the deity within and ask for his favor. The parade carries on throughout the day, and then in the evening returns to the shrine by atmospheric lanternlight.
Matsuri - Hosaku
Sumiyoshi-no O-Taue Sai
During Sumiyoshi Shrine's Rice Planting Festival, eight ceremonial maidens called ue-me, wearing hana-gasa hats decorated with paper representations of cotton flowers, legendary dispellers of thunder, carry sanctified rice seedlings in procession to the shrine rice paddy. Shimo ue-me, planting girls dressed in white, red, and indigo field clothes and wearing straw hats, plant the seedlings to the accompaniment of traditional rice-planting songs and dances performed on a nearby stage and around the field to entertain both gods and onlookers.
Suneori Amagoi
In supplication for sufficient rain for the continuing growth of the rice crop, Tsurugashima-machi honors the legendary water-loving serpent said to have once lived in Kandachi Pond. Townfolk construct a giant bamboo-and-straw snake, parading it into the water, symbolically taking it back to its original dwelling place. Inside its great mouth are an ofuda charm from Kandachi Shrine and the Shinto zig-zag-folded paper shide and sprig of evergreen sakaki which mark the creature as sacred.
Yata-no Mushi Okuri
Insects, mushi, are the bane of rice fields in summer, and the village of Sobue-cho still preserves an eight-century-old mushi okuri ritual to banish them. A rice-straw effigy of a mounted horseman is dubbed Sanemori-san for the ancient warrior Heike Sanemori who was captured by Genji because he stumbled on rice stubble, and whose spirit in grudge tranformed itself into an insect. Paraded by torchlight through the fields, the effigy is finally burned, along with the insects drawn to the flames.
Mizudome-no Mai
Gonsho-ji's Stop-the-Rain Festival has been passed down from the 15th century when it was first held in supplication to the dragon god to bring torrential rains to an end. Here the role-playing "dragon god" blowing a conch shell hora-gai, is wrapped in a straw snake, for its traditional association with water. As he is rolled and dragged around the grounds, onlookers splash him with more and more water to pay their respects, until finally they symbolically decide, "No more!"
Matsuri - Nagoshi
Chinowa Kuguri
A procession of priests pass through a ring of chigaya, a river grass whose vivid green color and fragrance act as purifiers. On this day, or another in latter June, many parishioners will also make this ritual summer passage.
Minazuki-no Ooharai
Shinto purification by hito-gata utilizes a human-shaped paper doll which a worshiper rubs over the body and blows breath upon to transfer to it any illness or impurity. It is then inscribed with name and age and returned to the shrine with a small money offering. At Iwashimizu Hachiman Shrine, priests bundle these dolls together and place them in small rush boats to be set adrift in the river, thereby symbolically casting away any negative influences.
Yatori-no Shinji
On the last night of summer, in early August by traditional reckoning, Shimogamo Shrine celebrates the community's safe passage through that perilous hot season with Nagoshi Shinji rites. Fifty sacred arrow-like talismans, yatori-no ikushi, are set in the middle of Mitarashi Pond on shrine grounds. As the priests cast away parishioners' purifying hito-gata, young men dressed in loincloths rush into the water to claim one of the talismans, and with it the promise of good fortune, health and longevity.
Matsuri - Seirei
Chankoko Odori
On Japan's southern islands O-Bon retains an exotic flavor, almost unchanged for centuries. In Tamanoura in the Goto Islands, grass-skirted musicians parade through the village, pausing to dance at the grave of the local medieval lord, as well as at the homes of those who have lost a family member during the past year. The ancient rite adopted from China is named for the chan sound of finger cymbals and the ko-ko of drumming with which the spirits of ancestors are welcomed.
Shaara-bune
The people of Nishinoshima construct great straw "spirit ships" with a coiled prow ornament representing an elephant trunk, one of Buddhism's symbols. Kids prepare thousands of little paper prayer flags which they carry around from house to house to be inscribed to Buddha. In return for their efforts, they are given sweet treats, particularly at the homes memorializing the first Bon after a death. These so-called tsuzuki-bata are strung together and suspended to simulate sails.
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All over Japan summer sets the stage for annual traditions of spectacle and ceremony. This season's matsuri (festivals) beseech the gods to stave off illness and insect scourges, ensure a bountiful harvest, and provide safe passage for spirits of ancestors returning home.
The Japanese celebrate this joyous supplication with dazzling decorations, float-filled processions, glowing paper lanterns, bursts of fireworks, music and drumbeat, costumes and sometimes carnival atmosphere. Join Kateigaho International on a pictorial tour of 15 summer spectaculars.
From one end of the archipelago to the other, festivals fill the calendar of summer-time Japan. Originally observances of the indigenous Shinto faith, matsuri evolved through the ages to include certain seasonal rites of Chinese Buddhist origin as well. These ancient celebrations continue to hold an honored and beloved place in contemporary Japanese life.
The Shinto deities are called kami, divine forces of the unseen world. In a mutually beneficial relationship, gods serve the people and the people serve the gods, giving them their due at the proper time and place and in ancient, prescribed ways. Matsuri are the culmination of this worship, providing people opportunities to offer the gods their prayers, gifts, reverence, and joy.
When Slovenian photographer Gorazd Vilhar first arrived in Japan in 1985, he was immediately attracted to the visual power of matsuri. Having grown up in a family of artists and steeped himself academically in art history, Vilhar is passionate about color, form, and detail. In fact, it is his boundless fascination with the aesthetic richness and iconic symbolism in traditional Japanese culture that has compelled him to remain here through the years.
Vilhar was delighted to discover that the genial atmosphere of festivals offers a welcome opportunity for closer contact with the customarily reserved Japanese. Perhaps emboldened by the celebratory spirit, communal goodwill, and some sanctified sake too, people suddenly become more sociable, less restrained. Matsuri are not secret rites for true believers or initiates only, but celebrations for all who care to attend.
Foreign visitors are unquestionably welcome, and their sincere interest in the proceedings is appreciated and enjoyed.
Though many countries have festival customs, Vilhar believes Japan's exceed them all. Not only are they far more numerous and varied here, but the ancient practices are also extremely well preserved. Considerable attention is devoted to the ritual attire and accouterments. The finest materials and workmanship are essential. Details receive painstaking care and enormous investments of money and time, clearly reflecting Japan's affluence and renowned dedication to quality.
The matsuri is many things to the Japanese people: an opportunity for communion with their gods and ancestral spirits; an avowal of their common past reaching far back into mythical times; a celebration of nature and renewal with the cycle of the seasons; and, not least of all, an excuse for exuberant merrymaking with family and neighbors, thereby reaffirming communal bonds and providing welcome relief from the work and routine of daily life. In the past, when life was difficult for most, well-being seemed wholly at the mercy of the kami. Yet even today, the sense of protection and security they offer helps explain their appeal.
For visitors to Japan, festivals can offer a window into traditional culture, providing unforgettable moments and memories. With their roots in the distant past, matsuri embody the continuum of form and heritage upon which Japan was built and provide considerable insight into a society striving to hold on to its identity in a fast-changing world.
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If you're looking to take a holiday in Asia, Japan is an excellent choice. It's a land of many contrasts with ultra modern lifestyles juxtaposed against ancient traditions, and rural communities set against sprawling metropolises. A single holiday in Japan can take in many conflicting aspects of life in the country.
If you're looking to absorb the culture, or simply to find some outstanding entertainment for your stay, you could do a lot worse than timing your visit to coincide with one of the many popular festivals that the country is host to. Here are some of the more memorable ones :
Sapporo Snow Festival
The Sapporo Snow Festival will be entering its 60th year in February 2009, and you can expect the event to have an extra special feel to go along with its landmark year. The festival, based in Sapporo the capital of Hokkaido takes place over a week and includes the construction of hundreds of snow statues and ice sculptures throughout the town. Each year you can expect around 400 immaculately sculpted ice structures displaying everything from instantly recognisable landmarks to famous celebrities. If you're planning a winter holiday in Japan, then it's well worth joining the 2,000,000 people expected to attend this legendary festival.
Nagasaki Kunchi Festival
If you're taking your holiday in Japan in Autumn, the Nagasaki Kunchi festival is a must. Started in the 16th century to celebrate the harvests, the festival has now grown to become one of the most popular in Japan. Visitors to the country will be able to see traditional dancing, huge floats decorated like river barges or Chinese boats and the legendary 'dragon dance'. To give you an idea over how well planned the whole thing is, preparations for the annual festival begin as early as June 1st.
Kyoto Gion Matsuri Festival
The Gion Festival is another famous one, this time held annually in Kyoto. Unlike the previous entries, this one is on for the entire month of July, but the legendary parade (Yamaboko Junko) is worth being there for on the 17th. Those wanting to get an insight into how Kyoto residents live will also want to visit at this time, as the customary Byobo Matsuri (folding screen festival) means that many residents will open their homes for others to visit. An unparalleled opportunity to get off the tourist trail and see how people live on your holiday in Asia.
Nebuta Matsuri Festival
The largest festival in the Tohoku region is the most popular 'nebuta' event in the country with tourists, and that should be enough to convince you to visit on your holiday in Asia. Nebuta festivals involve the float of brave warrior figures carried around the city, accompanied by dancers moving in time to the famous Rassera chant. It has an atmosphere like no other, and is definitely worth seeing.
Sanja Matsuri Festival
Although Sanja Matsuri is celebrated nationwide, Tokyo is without doubt the place to be for it. The main festivities take place at the Sensoji Shrine on the third weekend of May and some 2 million people come to enjoy the huge parades, traditional music and dancing. Those who dislike crowds need not apply, but it is an unusual experience that everyone with an interest in Japanese culture should try.
Takayama Matsuri Festival
One of Japan's most popular festivals, the Takayma Matsuri festivities take place both in Spring and Autumn. Both festivals welcome the changing seasons and involve colourful floats moving through the Takayama streets and huge crowds. The Autumn version is on the 9th and 10th October, while the Spring version is held on April 14th-15th. Accommodation can be hard to come by, but tourists looking to see it should be able to find something in the neighbouring towns of Furukawa and Gero Onsen.
Fuji Rock Festival
It may not be a traditional cultural experience like the others, but if your idea of a good music festival is a muddy field in England, Fuji Rock may just change your expectations completely. Hosted at the Naeba Ski Resort (it was moved from Fuji in 1997, but retained the name), it is the cleanest mainstream music festival you'll likely ever see. Alongside quality food and drink, the acts are impressive too past years have attracted the like of The Cure, The Chemical Brothers, Red Hot Chili Peppers, Beck and The Foo Fighters.
Whether you're interested in music, arts or just absorbing the country's history and culture, there is a Japanese festival for you. By timing your luxury holiday in Japan to coincide with one of these festivals, you're guaranteeing yourself memories that will last a lifetime.
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As early as the first century B.C., more than 80 different kinds of musical instruments were already in use. Among the historical finds of these instruments in Hubei in 1978 was a musical stand of 64 bronze bells. The bells have considerable variation in pitch, and they were made more than 2,400 years ago. They can produce a range of five octaves, and that itself is ample proof of the extraordinary knowledge of music in ancient China.
At present there are a great many song and dance troupes, opera companies, symphony orchestras, choirs and traditional instruments orchestras. The musicians are trained mainly in the eight conservatories of music, which have their own primary and secondary schools, in Beijing, Shanghai, Shenyang, Chengdu, Tianjing, Xi'an and Guangzhou. These institutions and their schools provide music education at different levels from the very basic to the advanced. This comprehensive system has been working well. When a graduate from the secondary music school enters a conservatory, he or she may choose courses offered by various departments such as composition, folk music, vocal music, orchestral music and the piano. The Central Conservatory of Music and Shanghai Conservatory of Music also have departments on conducting, musicology, and modern opera. Most of the young musicians who have achieved outstanding results in national and international competitions have been trained by these schools.
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Traditional Chinese opera has a history of more than 800 years. It is an art form which integrates singing, music, dialogue, acting and acrobatics. There are more than 300 different operatic forms in China. Among the local operatic forms staged nationwide are Beijing Opera, Pingju Opera, Shaoxing Opera and Henan Opera. The best-known is Beijing Opera, which has a history of more than 200 years. It originated in Beijing, then capital of Qing Dynasty.
There are different schools, styles and forms of singing in Beijing (Peking) Opera. In acting and acrobatic fighting, different roles follow different patterns, and their movements and gestures are stylized, suggestive and symbolic. For instance, the actions of opening a door, going up the stairs , rowing a boat or climbing a bill, are done purely through the dance-like movements of the actors with the help of props. String and percussion instruments also provide a distinct characteristic of Beijing Opera.
Modern Chinese drama has developed under the influence of foreign dramatic literature and conventions . In the 1910's, drama troupes were formed in the country. The most popular plays staged in the 1930's and 1940's are Thunderstorm, Sunrise, Qu Yuan and Twin Flowers.
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