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What was the appeal of kabuki? Argue your answer with reference to visual culture.

Posted by thejapantown at 06:14 PM on March 29, 2009 Comments comments (0)
Traditional belief is that kabuki was founded in 1603 by the Shinto priestess Okuni. Her troupe, composed mainly of women, performed provocative dance and comic sketches on a temporary stage by Kyoto’s River Kamogawa. The word is usually written with three middle Chinese characters – ka (songs), bu (dance) and ki (skills/arts) (Matsuda 1998), however the Japanese verb kabuki is associated with acting dissolutely. During the Edo period (1603 to 1868) it established itself as a popular type of theatre aimed at lower social classes.

Kabuki’s early history is mainly associated with prostitution with performances which enacted scenes showing revelry in brothels and how prostitutes snared their clients. This period in Kabuki’s history is called onna kabuki (women’s kabuki), homosexual male prostitutes were part of these performances and in the topsy-turvy world of kabuki the women dressed as men and the men dress as women. The popularity of kabuki during this early period is recorded by Shively (1955, p 328) who quotes from a 17th century book: “Although there are many different things which are popular in Edo now, there is nothing to compare with the kabuki women of Yoshiwara-cho”. The onna kabuki phenomenon is also captured in a Kyoto guidebook from 1658 where it is said that the kabuki woman “captivated hearts by appealing to their six senses. Men threw away their wealth, some forgot their fathers and mothers, others did no care if they mothers of their children were jealous.” (Shively 1955, p329). The influence of kabuki was not confined to the lower classes, court ladies were influenced by their style.

Governmental fear of social disorder and the worry that the Samurai were being reduced to a sloth like class resulted in women kabuki performers being banned in 1628, however it appears the ban had little effect for it was reissued in 1630, 1640, 1645 and 1646. The imprisoning of a theatre manager in 1647 resulted in an almost total ban for the next 250 years (Shively 1955, p330).

From 1612 another branch of kabuki was evolving, wakashu kabuki (youth’s kabuki) but as with womens’ kabuki it was a front for male prostitution. The bakufu employed various tactics to curtail the popularity of these troupes. This included banning female impersonators, closing kabuki theatres and an outright ban on youth kabuki, which was eventually lifted with the devising of an agreement which saw kabuki evolve into yaro kabuki (Fellow’s kabuki). The bakufu changed tactics by devising restrictions designed to impair the attractiveness of the actors. One tactic was the have those acting female roles had to shave off their forelocks. In a society obsessed with hairstyles the immediate effect was to make the actors seem less attractive, however, in the long term this change had little effect. On their part the actors resorted to using cloth covers, caps, pieces of silk and later on copper cones covered with hair – a form of wig. Edicts governing the performance of kabuki and conduct of the actors in Edo were often extended to include Osaka and Kyoto, however, implementation was often at a much later date.

Shively (1955, p336) notes that it was not until the end of the seventeenth century that art triumphed over sex in kabuki.

Kabuki was not the only style of theatre in Edo. It existed alongside No and Kyogen theatre styles, which were aimed at the higher social classes. No theatre enjoyed government sponsorship (Groemer 1998, p117), had a longer history and was a more codified school of theatre. However, Kabuki would often draw on No and Kyogen themes and stories. It also explored Buddhist concepts of nemesis as well as Confucian traditions of duty and obligation (Matsuda 1998). Kabuki contrasted with the formal style of No theatre by being flamboyant with extravagant make-up and costumes along with an exaggerated acting style which resulted in a spectacular visual feast. However, because it was theatre for the common man many sumptuary laws were introduced to stop kabuki using expensive costumes, the fear being that the upper class samurai may become envious of the common merchant classes whose wealth was increasing (Shively 1955, p345).

New techniques in weaving and dyeing had stimulated a passionate interest in fine clothes and the flamboyant nature of kabuki costume influenced dress styles. In No theatre costumes with lavish silks and brocade were an essential part of the drama, they exuded luxury and elegance, but No theatre was not easily accessible to the lower classes. The laws did not only govern Kabuki performances and kabuki actors on stage, there were restrictions governing day to day living which included dress and restrictions of movement. In 1636 one theatre manager and an actor were jailed for using costumes that were deemed to extravagant. However, as with many laws governing kabuki, the kabuki theatres continually push the boundaries resulting in these laws being restated in 1649, 1650, 1655, 1662 etc. By 1668 concessions were made in the third month of that year:
“1. The shows in Sakai-cho and Kobiki-cho must not be extravagant. In general the actors may wear cloths of silk, pongee, and cotton, and on the stage, they may wear costumes of hirashima, habutae, silk and pongee. Goods dyed to order, purple linings, red linings, purple caps, and embroidered articles are prohibited.” (Shively 1955, p345)


The infusion of Kabuki with No themes and stories probably contributed to official tolerance of the art form, for although No had blatant ideological messages, these were more subtly portrayed in Kabuki. Towards the end of the Edo period a hybrid theatre style called Teriha Kyogen developed which was a combination of Kabuki and No (Groemer 1998, p 130). The Bakufu also tolerated kabuki because, like prostitution, it was a necessary evil that ensured people were not diverted towards more mischievous ends.

Kabuki provided an outlet which enabled criticism of the feudal system. Techniques like mitate enabled current events to be dramatized using past events and changing character names. For example, Kanadehon Chushingura, a play about revenge and loyalty set in fourteenth century Kamakura, takes its theme from the vendetta carried out by the 47 ronin in 1703 (Matsuda 1998). It became common knowledge to theatre patrons that characters called Hojo Tokimasa, who lived from 1138 to 1215, was being used to represent Tokugawa Ieyasu, (1542 to 1616) and that Kamakura was used instead of Edo (Shiveley 1955, p352). Such subversion, though tolerated, was subject to regulation, censorship and licensing for fear of social upheaval. Kabuki theatres were confined to the pleasure areas of Kyoto, Osaka and Edo (Tokyo). There were style differences in each of the three cities. Gerstle (1998, p35) quotes the author of the 1801 book Sakusha Shijo Kezairoku (Treasury of rules for playwrights) who describes Kyoto kabuki as a ‘beautiful woman’, Osaka kabuki as a ‘dandy’ and Edo kabuki as ‘samurai. The distinctly Edo aragoto style probably developed because it was under the closer scrutiny of the bakufu and samurai. Gerstle (1989, p36) goes as far as to say that “the essence of aragoto is defiance toward the samurai.” This tension comes across in floating world art, particularly in the Torii masters work which is discussed later in this essay.


There are other areas of Edo culture where it could be argued kabuki exercised influence. Government painting was divided into two schools, Kano and Tosa. Tosa was responsible for paintings with literary or emotional themes for the shunjo’s court. Kano painters painted in the form of narratives or of auspicious flora and fauna. Kano painters did not sell their work or accept commissions, they were under a hereditary obligation to a daimyo or to the shogunate and received a fixed income. They were deemed to be eshi or ‘samurai in painting’ (Screech 2000, p129). A full Kano training was 21 years and mainly consisted of the replication of existing works. However, deviations from the norm did occur an example being Kano Sosen Kagenobu’s painting of a young woman, probably a prostitute, laid reclined and playing with a ball. Many artists also left the school probably finding the restrictions of painting ‘real painting’ too much.

The Takegawa branch of the Kano school was taken over by the ambitious Eisen-in who developed a close and powerful relationship with Ieharu, the result of this was that the school was re-established in the Kobikicho and area renowned for its kabuki theatres. This was an unusual location to establish a Kano school because the ideologies of each art are incompatible. Kano is concerned with themes of kingship and the samurai, whereas kabuki was for the pleasure of the commoners. The evidence suggests that the school was unable to re-enforce traditional Kano forms. Artist left the school and the desires and political agenda of artists started to permeate works.

Chobusai Eishi, a pupil of the school, established a close relationship with Ieharu via Eisen-in. Chobuai Eishi abandoned the Kano style to produce Ukiyo-E, pictures of the Floating World, a world associated with kabuki and which the author Asai Ryoi defined in his 1661 novel ‘Tales of the Floating World’ (Ukiyo-monogatari) as: "Living only for the moment, savoring the moon, the snow, the cherry blossoms and the maple leaves, singing songs, loving sake, women and poetry, letting oneself drift, buoyant and carefree, like a gourd carried along with the river current.", this utopian definition, however, masks the social strains between commoner and higher classes, a chink was appearing which was “steeping the shogunal space in low-life revelry and eroticism” (Screech 2000, p 138).





"The Courtesan Nakagawa
of the Matsubaya Teahouse", 1796
by Chobunsai Eishi


















Kabuki also gave birth to its own school of art pioneered by the Torii Masters. Torii Shobei Kiyonobu (1664-1729) moved from Osaka to Edo with his actor father. He assumed the name Kiyonobu and by 1700 at around age 36 he appears to have achieved status as an artist (Link 1977, p8)


He adopted two styles, his main style of composition was quiet and decorated, probably drawn from his experiences in Kamigata. Below is the
onnagata in the play Kanto Koroku. In the role of Tsuyu no Mae, the actor is performing a lunatic dance before the Tadasu Shrine. Fluid contours and rounded forms portray elegance. It seems almost perverse, and an example of womens’ oppression, that the onnagata influenced hair fashion, kimono design, style of walking and
defined femininity.











This style was not only confined to kabuki works but could also be seen in his courtesans works. Adjacent
is a black and white sheet of a Courtesan painting a screen whilst watched by her lover, produced around 1711. The work is cleanly produced but the full bodied figures give the work a sedate elegance. His other style was reserved for the depiction of swashbuckling Edo actors and was more energetic. Below is an example of this style.





This work entitled Yamanaka Heikuro and Ichikawa Danjuro II illustrates his energetic style. Light ochre is used to colour the figure, particularly the belly. The effect is to accentuate it, making the character appear enraged and literally fit to burst.

Such was the success of Kiyonobu’s work that it was often pirated and his works could also be found as

votive offerings in Shinto shrines (Link 1977, p9).

The actors performing these roles were held in an almost god-like esteem. Prints of actors often performing a role they were famous for, ensured their names and image were spread beyond Edo into rural areas. They were used to promote kimono patterns, hair styles, even candy. In many respects this give legitimacy to Gerstle’s (1989, pXII) comment “that most art was a commodity produced for a price”. However, in some respects Gerstle’s comment is too general and cynical for as he comments later in his book:
“The contemporary Danjuro’s view (and sources support it) is that ‘Danjuro’ was considered a deity for the Edo chonin (townsman, a god whose fierce look – like that of the guardian god Fudo Myoo at a temple, could exorcise evil and cure sickness. Danjuro was super-hero above the samurai, even above the Shogun himself.” (Gerstle 1989, p36-37)

This raises the interesting prospect that art featuring kabuki actors being religious iconography or even a talisman.

The torii artists held the monopoly in the production of playbills, programs and billboards which were a lucrative business, however, others imitated their style an example being the mysterious Kiyomasu who worked around the same time as Kiyonobu, but cannot be identified. There is speculation
that he may have come from a different branch of the Torii family. This work shows Ichikawa Danjûrô in the role of Soga "Takenuki" Gorô, from the play "Tsuwamono Gongen Soga", which was performed at the Nakamuraza in 1697. These two artist were to significantly influence the style of those who followed them.

The introduction of commercial printing transformed seventeenth century Edo, for the first time ordinary people had affordable access to culture which previously had only been available to the upper classes.



This essay has given a potted history of kabuki to illustrate its foundations and attempted to illustrate that despite government legislation it was a very adaptive artform. In its early days it was almost a front for prostitution before becoming a challenging and dynamic artform. In some respects kabuki could be considered the catalyst for many artistic and social changes, for example the oppression of women and influences in fashion. But it could also be argued that other areas of artistic endeavor, for example some Kano painters, were also rebelling against samurai tradition and constraint. Despite constant regulation, government attempts to curb Kabuki failed. The popularity of the art among common and upper classes inevitably led to concessions which by the nineteenth century meant that kabuki now had the elaborate theatre and staging as well as luxurious wigs and costumes. Even women from the Shoguns castle were being openly sent to the kabuki theatres to learn kabuki dances.


Bibliography

Gerstle C. (1989). 18th Century Japan, Culture and Society. Curzon. Richmond.

Groemer G. (1998). No at the Crossroads: Commoner Performance during the Edo Period. Asian Theatre Journal, Vol. 15, No. 1. (Spring, 1998), pp. 117-141.

Groemer G. (1998). Elite Culture for Common Audiences: Machiiri Nō and Kanjin Nō in the City of Edo. Asian Theatre Journal, Vol. 15, No. 2. (Autumn, 1998), pp. 230-252.

Link H. (1977). The Theatrical Prints of the Torii Masters. Riccar Art Museum. Honolulu.

Matsuda R (1998). An Introduction to Kabuki. http://www.indiana.edu/~japan/kabuki-pfv.html

Shively D. (1955).Bakufu Versus Kabuki. Harvard Journal of Asiatic Studies, Vol. 18, No. 3/4. (Dec., 1955), pp. 326-356.

Screech T. (2000). The Shogun’s Painted Culture. Reaktion Books. London

Opening of Japan

Posted by thejapantown at 04:26 PM on March 29, 2009 Comments comments (0)

From the middle of the 19th Century China and Japan were under threat from the modernised and aggressive western nations.  Through military force China had been forced to sign a treaty with Britain (Treaty of Nanjing 1842) and Japan signed a treaty with the US (General Convention of Peace and Amity 1854) which gave legal and economic privileges to their citizens, missionaries and merchants. To gain sovereignty and compete with the West, China and Japan would need to make radical reforms to their military, economy and political system.

 

Admiral Perry’s success at gaining concessions for foreigners in Japan resulted in the population becoming dissatisfied with the Shogunate and turning, instead, to the emperor. After the meiji (means governing clearly) restoration in 1868 Japan’s political elite were eager modernisers and successfully transformed the agricultural economy to an industrial one.  Chinas attempts to reform failed through lack of urgency.  The reforms of 1898 and 1901 to 1911 were too little too late and not always successfully carried out.  Two-thirds of China’s economy was agriculture.

 

China did not see the changes which were occurring in the world economy until the 1860’s and even then it could not agree on a strategy for self-strengthening.  It was not until the 1870’s that it recognised the importance of Western technology.  Partly this was due to Confucian beliefs that technological improvements were secondary to moral strengthening.  Furthermore, others saw technology being responsible for the moral corruption of the west, for example, mines and railroads digging up the dead which is a sign of contempt in Confucian thought.

 

The sheer size of China meant that western technology  was confined to the coastal treaty ports.  Internal China did not get to see the benefits of technology which led to suspicion.  Resentment of western privileges turned the Chinese against the West.  A series of unsuccessful wars made China’s problems worse because they inflicted damage and resulted in further economic debt.

 

Economic reforms were necessary to pay for the military power that would regain sovereignty and reverse the situation where raw materials were being send the west and finished goods being returned to China and Japan.  Making the very nations they opposed richer.

 

The Agricultural economy would play an important role in developing a market economy which would finance reforms.  It would provide government income through income tax, labour which could become an industrialised workforce as well as consumers. 

 

China’s agricultural capacity was badly damaged because of rebellion and lack of investment, output was low  and a series of famines and increase in the price of silver meant there was little marketable surplus.

 

Japan on the other hand increased agricultural output by investing in irrigation and drainage systems, tools and use of fertilisers.  They also improved the transport system and reformed the tax system.

 

European industrialisation had happened because of central government.  Japan had its own central authority that could provide investment.  In China because the imperial army was committed to suppressing rebellion local officials were allowed to run their own army paid for through taxes levelled by local officials.  The starved central government of the money needed to invest in a modernisation program.

 

Japan also heavily invested in education building technical schools that taught western techniques, but at the same time children were educated in social responsibility and the welfare of the Emperor all designed to give a sense of national pride.  A national syllabus ensured a uniformed education system.  In China technical schools were also set up that taught western techniques, but these were mainly attached to weapons factories.

 

To conclude China’s vast land mass and huge population made centralised reforms difficult especially as the large agricultural economy was unable to provide additional income to enable industrial reform.  Japan on the other hand was able to increase agricultural output greater than the needs of the population, creating a surplus that generated income that enabled the start of a modernisation program.

A guide to obtaining the right visa in Japan

Posted by thejapantown at 11:07 PM on March 25, 2009 Comments comments (0)
A guide to obtaining the right visa in Japan Well I am not really an expert on this so its a good idea to check out your local Japanese embassy or consulate. Click here for your countries embassy Europe http://www.mofa.go.jp/about/emb_cons/over/europe.html NORTH AMERICA http://www.mofa.go.jp/about/emb_cons/over/north_a.html Below is the link to the Japanese embassy in the UK. http://www.uk.emb-japan.go.jp/en/visa/visa-main.html From my experience it was never that hard to get a visa however, with the change in the global economy I think things are getting harder. There are a number of visa that allow you to work in Japan here are a list. http://www.mofa.go.jp/j_info/visit/visa/03.html#categories Spouse i.e your married to a Japanese man or woman. a spouse visa is the best to get as there are no restrictions on what you can do. Work visa this is restricted to what you came to do so if you come in as an English teacher and you leave that job you will have to apply for a change of status you may or may not get it. Working Holiday visa this is open to only a select few countries and enables you to work and stay for up to 12 months in Japan. The UK is one of the countries that is allowed to apply for this type of visa. It is open to anyone from the ages of 18 to 30. http://www.uk.emb-japan.go.jp/en/visa/work_hol.html In order to get your visa you will also need to fill out a Certificate of eligibility. This form basically proves you have fulfilled all the requirements to be issued the visa for the industry you wish to work in or you have the right documentation to go a head and get a spouse visa. Once you have this document and everything is in order you will be able to obtain your visa. please click the link below to find out what you need. http://www.uk.emb-japan.go.jp/en/visa/visa-certif.html if you have any other questions about visas please visit

Getting Settled

Posted by thejapantown at 11:05 PM on March 25, 2009 Comments comments (0)
A few pointers that may help in choosing a new home in Japan: Set a budget Before looking for a new home, consider how much you are willing to spend for your monthly rent. Housing in Japan, particularly in Tokyo, is very expensive. Decide on a location It is important to consider a location that is convenient for your needs, business, environment, transportation, shopping, schools, and recreation. Tokyo is an expansive metropolis, so the proximity to work will be an important factor. Mass transportation is excellent and driving your own car could take as much as twice the time. Before you settle on a residence Inspect the premises and common areas Discuss the term and rental with your agent Real Estate Agents (Fudousan Chukai Gyosha 不動産仲介業者;) Real estate offices tend to be located near train stations. They are easily spotted with property advertisements pasted on the windows. Check for Qualified Agents Real estate agents must be legally licensed by the municipality governor or Minister of Construction, and are required to display their license to show that they are legally certified and how long they have been in the business. Their license number looks like 「xxx“s’mŽ–(7)‘æxxx号」and the greater the number, the more years of business the agent has been certified Pointers for checking property It is important to ask the real estate agent questions until you are totally satisfied with his/her answers. One way to know determine if the realtor is trustworthy or not is to check the property personally and compare your findings with the realtor's explanations. When Signing a Contract Make sure that you understand the all of the contents of the rental contract, as some properties may have very demanding conditions. Normally the rent period is for two years. At the end of each month, rent for the next month has to be paid. In addition to monthly rent payments, some properties may require a maintenance fee every month. Make sure you know the length of period for your contract. In renewing your contract, an increase in rent and renewal fee payment (equivalent to one month's rent specified in the new contract) is required. If you plan to move to another residence after your contract expires, then it is generally accepted that you notify your real estate agent (or landlord) one or two month(s) in advance before the expiration of the contract. Money Needed when Signing a Contract When you rent residential property, the sum of about four to six monthsErent will be necessary at the beginning. Reikin 礼金(Key Money) This is non-refundable (about 1-2 monthsErent) paid to the landlord. It is sometimes called kenrikin 権利金(concession money) Shikikin 敷金(Deposit) As a security for rent payment, this money is refundable (about 1-2 monthsErent) and paid to the landlord. It will be returned when you move out. However, any unpaid rent and/or repair costs will be deducted from your deposit. Chukai Ryokin 仲介料金(Agency Fees) This is paid to the real estate agency for handling. The amount is specified by law as one month's worth of rent or less. Utilities Before moving in or moving out to your new residence, you must notify the electric, gas, and telephone company in order to activate the utilities of your residence. Electricity After Moving In Before Moving Out To use the electricity at your new home, lift the ampere and short circuit breakers. Complete the application postcard for use of electricity and mail the completed postcard to the electric company. As soon as you decide to move, call the number of the Tokyo Electric Company written on your receipts. Give your address, name, moving date, and other necessary information. On the day of your move, press the ampere breaker down before you leave. If you use too much electricity, the ampere circuit breaker will automatically shut down and you will not be able to use electricity. When this happens, reduce the number of electrical appliances in use and lift the ampere breaker again. Gas After Moving In Before Moving Out Contact the local gas office and have the main valve opened Contact the local gas office up to two or three days before your move. Contact the gas company of your new address to notify them of your moving date. Water After Moving In Before Moving Out Contact Tokyo Metropolitan Bureau of Waterworks Service Station or the Waterworks Section of the city or municipal office of your new address, or fill out the application form for use of water services and mail the completed form. Failure to notify the water bureau of water usage at your new address will cause billing problems Contact Tokyo Metropolitan Bureau of Waterworks Service Station or the Waterworks Section/Division of your local city or municipal office, up to three or four days before moving out. Tokyo Metropolitan Bureau of Waterworks (03) 5320-6326 Telephone After Moving In Before Moving Out You should decide on where you would like to have your telephone connected in advance. You must be present in order to have the line put in. When your moving date is decided, call NTT East (dial 116) to make a reservation to disconnect the phone line. Cable TV For information about cable TV services, you can contact SKY Perfect TV! (http://www.skyperfectv.co.jp/en/) Internet Access Cable modem services in Minato-ku (http://www.rosenet.ne.jp/e/index.html) For ADSL/ISDN services. Paying Utility Bills Statement Eyou will receive electric, gas, and telephone (domestic) bills once a month, and waterworks/sewerage bills once every two months. Payment EBills can be paid at banks, credit associations, post offices or at the business office of the utility company. You can also pay your utility bills at some convenience stores. If you are late in payment Ea 3% late fee is added to your bill, except for waterworks/sewerage. In the case of your phone bill, contact NTT. Automatic payment EInstead stepping out to pay your bills each time, there is a more convenient way of paying your bills in which you apply for automatic payment at the bank or post office where you have an account, and have the fees automatically deducted from your account. Every month, you will receive a receipt and notice that gives the amount to be deducted for the next payment and the next payment date. Address changes should be notified for the following: Foreign National Registration/VISA Report to the Municipal Office in your new area within 14 days of moving. Post Office To forward mail for one year, fill in the necessary information in the Change of Address forms available at the post office near you. Bank/Driver's License Notify the change to your bank accounts/ driver's license office Health Insurance/Transportation Pass 　 Insurance for house & furniture: You are recommended to buy insurance policy to cover the following damages. Real Estate Agents help you to buy the insurance policy.

Japanese ghost stories

Posted by thejapantown at 10:59 PM on March 25, 2009 Comments comments (0)



Bancho Sarayashiki (The Story of Okiku)
Okiku works as a maid at the home of the samurai Tessan Aoyama. One day while cleaning a collection of ten precious ceramic plates--a family treasure--she accidentally breaks one of them. The outraged Aoyama kills her and throws the corpse into an old well. Every night afterwards, Okiku's ghost rises from the well, counts slowly to nine and then breaks into heartrending sobs, over and over and over again, tormenting the samurai. Finally, vengeance is wrought when Aoyama goes insane. (In an alternate version, Aoyama wishes Okiku to become his mistress, and falsely accuses her of breaking a plate so that he can offer forgiveness in exchange for her love. When she refuses, he kills her.)




Tsukioka Yoshitoshi, The Ghost of Okiku(The Nelson-Atkins Museum of Art, Kansas City, MO


Tokaido Yotsuya Kaidan (The Ghost Story of Tokaido Yotsuya)
The masterless samurai Iyemon has fallen upon hard times. It is a constant struggle to support his beautiful but ailing wife Oiwa and their newborn child, and he grows increasingly resentful of her. He finally succumbs to temptation when the granddaughter of a well-to-do neighbor falls in love with him. Encouraged by the grandfather, who wants Iyemon as a son-in-law, he poisons Oiwa with a supposedly "medicinal" drink. She becomes horribly disfigured from the poison and dies a brutal death.
To justify his murder of Oiwa, Iyemon fabricates the story that she was having an affair with his servant, Kobotoke Kohei. He then murders Kohei, nails the two bodies to opposing sides of a door, and throws the door into a river.
Now Iyemon is free to enjoy his wedding rites.

Shunkosai Hokuei, The Latern Ghost of Oiwa(Spencer Museum of Art, University of Kansas, Gift of H. Lee Turner)
Flush with joy, he lifts his bride's veil to kiss her--but alas, he is confronted by the terrifying visage of Oiwa instead. In a panic he cuts off her head, only to find that he has really just killed his new wife. He rushes off in horror to confess to the grandfather, but his path is blocked by the appearance of Kohei's ghost. Again he slashes off its head, this time to find that he has killed the grandfather.
Wherever Iyemon goes, he encounters the grisly spirits of those he has murdered. One day he goes fishing to seek solace, only to reel in the door with the corpses of Oiwa and Kohei attached. Terrified, he escapes to a mountain cottage, where he is continually tormented by frightening images, such as that of Oiwa's face emerging from a lantern that swings over his head. Finally Iyemon is put out of

Parks in Yokohama

Posted by thejapantown at 09:43 PM on March 25, 2009 Comments comments (0)



I took Kai to the park the other day it was 23c that is very warm for this time of year considering this week it is meant to snow.
the park is called kishine koen it is about 20 mins from my house by car. it has a duck pond and sand pit and other things for kids to do and an adventure playground.

A guide to Kabuki

Posted by thejapantown at 09:40 PM on March 25, 2009 Comments comments (0)
Going to see Kabuki is a must if you ever visit Japan. You may wonder why I am starting my blog and starting with Kabuki, Well I wanted to be different that's all. Most people go on about Japan and its stats first. I just wanted to do something more cultural. If you love Japanese culture then I feel Kabuki is a must see, I was reading recently that in Tokyo you can go and see a part of a Kabuki play for as little as 1000 yen about 5 pounds or 8$. As you may well know Kabuki is a traditional Japanese theater it means sing dance and skill. however, it is said that the Kanji has changed over the years and the old Kanji meant Sing, Dance and Prostitution. As Kabuki started around 1603 and was played but Women. Kabuki started in the river beds in Tokyo or Edo at that time. The reason for this was that the river beds were not owned by anyone and as such had very little laws. Okuni, maybe a miko was said to be one of the main founders of Kabuki. When she started Dancing and Singing. However, around 1629 Kabuki had got such a bad reputation, that the government bad women from acting and all the rolls were played by men. To get an in dept view of Kabuki please read my essay http://www.theblackship.com/forum/ge...erry-jago.html Going to see Kabuki in the modern day http://hisexperience.jp/index.php?op...view&Itemid=24 This site can hook you up with some fantastic shows but if you want to go by yourself its more fun feel free to contact me if you would like more details about Kabuki.Here is a nice theater in Ginza. http://www.shochiku.co.jp/play/kabukiza/theater/ticket-ordering.html

A Guide to working in Japan

Posted by thejapantown at 09:39 PM on March 25, 2009 Comments comments (0)
This guide is from my own experience for looking for work in Japan and also helping a friend of mine find a job. Japan is a very expensive country so make sure you have enough money to at least last you 3 to 6 months. Depending on the type of work you a willing to take depends on the time of year you should come to Japan. Click here for a budget If you would like to be an English teacher in a school or an ALT then you need to find out the times in the year when the schools finish and start and start applying for work about 3 months before they start and finish. I.E Term times are normally that of the American school calender from the beginning in late August and concluding in mid June for international schools and for Japanese schools the terms start on April 1 st to mid-July. here are some job websites you may be interested in. The reason I have talked about becoming an English teacher is that it is far the easiest way to get in to Japan. JobCube/ GaijinPot Click here for more information on visas

A guide to ATMS in Japan

Posted by thejapantown at 09:36 PM on March 25, 2009 Comments comments (0)


All you need to know about ATM`S in Japan:

Many of Japans ATM`s do not except overseas credit or debit cards
However, there are exceptions you will find you can use the post office ATMs there are around 20,000 Post office ATMs. That work from around 9:00am till 6:00pm. You will also be able to use some of the ATMs at the 7/11 stores around the country. Tokyo and other big cities you will find Citi-Banks you can use the ATM`S in these banks too.these ATM`s let you uses Credit and debit cards and they including Visa, Plus, MasterCard, Maestro, Cirrus, American Express and JCB cards and provide an English user menu.

Gaijin Card

Posted by thejapantown at 09:35 PM on March 25, 2009 Comments comments (0)

Immigration and Registration Procedures
All foreigners living in Japan are obliged to register as foreign residents when they enter Japan. All foreign employees should complete their Foreign Resident Registration at their local ward or municipal office, at the Foreign Resident Registration Desk, and receive a registration card.

Foreign Resident Registration Procedures

In applying for initial registration:

When to Apply Application Period Required Items Notes
When entering Japan Within 90 days of entering Japan 1. Passport
2. Two photographs (taken within the past 6 months), 4.5cmx3.5cm, showing full frontal view of the face without a hat.
3. Business card from Company A signature is required. When you apply, you will be informed a time period when the card will be issued, and must pick up the card within this period.
When a child is born in Japan Within 60 days after birth Birth certificate.
Locations of Local/Municipal Offices (Kuyakusho/Shiyakusho):


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