Članek proučuje fenomen združenj hozonkai za ohranjanje ljudskih pesmi oz. ljudskih uprizoritvenih umetnosti, ki si prizadevajo ohraniti in prenašati japonske ljudske pesmi v »avtentični«, ...nespremenjeni obliki. Kot primer enega takšnih združenj in njegovega ravnanja z ljudskim glasbenim izročilom avtorica obravnava organizacijo in trenutne dejavnosti združenja Kokiriko uta hozonkai – ustanovljenega leta 1951 in zadolženega za ohranjanje in prenos plesne pesmi Kagura mai.Ob upoštevanju Hughesovih splošnih značilnosti združenj kot osnove avtorica poudari skupne značilnosti, ki jih Kokiriko uta hozonkai deli z večino združenj, hkrati pa osvetli tudi njegove posebnosti. Kokiriko uta hozonkai ima močnejši koncept lokalnosti in ni povsem konservativen glede morebitnih sprememb v glasbi Kagure mai v prihodnosti. Raziskava o združenju Kokiriku uta hozonkai in njegovem »ohranjanju« Kagure mai zastavlja tudi vprašanje, ali hozonkai resnično prenaša starodavno različico pesmi Kagura mai?
The article gives first insights into the correspondence of the Sōgetsu Art Center with the artist Henry Jacobs and the composer Edgard Vare`se, as well as – for the first time – into letters ...referring to the above-mentioned correspondence. At the same time, it reveals the Center’s responsible figures for the international exposure, notably Toshirō Mazuyumi, Hiroshi Teshigahara and Tōru Takemitsu.
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Eno ključnih dogajanj v široki paleti japonske avantgardne umetnosti v zgodnjih šestdesetih letih dvajsetega stoletja je proizvedlo umetniško gibanje Sōgetsu (Sōgetsu geijutsu undō 草月芸術運動). To je od ...svojega začetka leta 1958 skoraj desetletje in pol ponujalo bogat eksperimentalni in inovativni prostor japonske umetnosti. Raziskovanje in arhiviranje fenomena tega gibanja in njegovega skupnega prostora (umetniškega centra Sōgetsu) sega v začetek enaindvajsetega stoletja, medtem kot je spletno mesto in participatorno spletno objavo dobilo šele leta 2013.S kvalitativno raziskovalnim pristopom (predvsem neformalnega in pol-strukturiranega intervjuja) članek ponazarja, kako lahko gledamo na prostorje umetniškega gibanja Sōgetsu in ga definiramo. Upošteva predvsem načine arhiviranja ter (re)produkcije nekaterih glavnih del, značilnih za gibanje. Članek prikaže, kako je to prostorje v konfliktu z osnovnimi koncepti gibanja v šestdesetih letih, med katerimi sta bila med glavnimi eksperimentalni duh in meddisciplinarno sodelovanje, in kako lahko to prostorje vidimo z vidika današnjega koncepta potrošništva.
Umetniški center Sōgetsu, ki je eden od pomembnejših avantgardnih središč 60. let 20. stoletja, bi lahko opredelili kot umetniški »eksperimentalni peskovnik«. Japonski umetniki, ki so na svojih ...področjih danes že mednarodno priznani, so se prav v tem »peskovniku« imeli možnost preizkusiti v krogu interdisciplinarnih umetnikov in najti svoj umetniški slog. Dober primer takšnih ustvarjalcev so: filmski režiser Hiroshi Teshigahara (1927–2001), novelist Kōbō Abe (1924–1993) in glasbenik Tōru Takemitsu (1930–1996).V članku bomo orisali natančen pregled vseh umetniških združenj in njihovih dogodkov, ki so jih oblikovali umetniki v času delovanja Centra, od septembra 1958 (13. septembra je potekalo odprtje Centra) do marca 1971, ko je Center prenehal delovati. V ospredje bodo postavljena glavna združenja oziroma aktivnosti, predvsem s področij jazzovske glasbe, sodobne glasbe, eksperimentalnih filmov in animacije. Poiskali bomo skupen imenovalec vseh aktivnosti v tem »peskovniku« ter poudarili novosti, ki so jih glavni akterji gibanja z deli, ki so nastala v Centru, vnesli na področji glasbe in filma.
Članek predstavlja uvod v predstavitev umetniškega gibanja Sōgetsu (1958–1971), njegovega mesta v zgodovini japonske avantgardne scene, pomembnosti umetniškega centra Sōgetsu (Sōgetsu Art Center ali ...SAC), kjer se je gibanje odvijalo, in njegovega mecena Sōfuja Teshigahare. Ob pregledu prvih obstoječih dokumentov o SAC-u, prvega, ki je služil kot uvodni vodič Centra (objavljen 1. septembra 1958), in drugega, ki je bil ekskluzivno izdan ob njegovem odprtju (13. septembra 1958), bomo lahko natančneje razkrili SAC-ovo podobo in kapacitete ter opredelili cilje, ki si jih je postavil pred začetkom delovanja. Kaj je Center nudil, da je bil razglašen za »sanjski grad vsakega umetnika«?
This article examines one of the works created in the collaborative milieu of the Sōgetsu Art Center: Tōru Takemitsu’s film music for Otoshiana (1962), also known in English as Pitfall or Cheap, ...Sweet and a Kid. It is Hiroshi Teshigahara’s (1927 - 2001) first full-length film, a documentary fantasy that is also the first Japanese movie to be distributed by the Art Theater Guild (ATG), a network that has supported independent cinema since 1961. The music for Otoshiana (1962) differs from Takemitsu’s earlier film music, where he applied genres such as the Charleston, jazz, blues, and Latin American rhythms. Musically, Otoshiana is distinguished by its use of the cembalo and two pianos, one of which is prepared and the other used for inside-piano techniques. It is considered the first work in which Takemitsu applied the prepared piano, and is exemplary of Takemitsu’s tendency to use various techniques to create new sounds. What also gives this work a particular stance is that it is composed and performed in collaboration with Toshi Ichiyanagi and Yūji Takahashi. Through the author’s interview with Yūji Takahashi and with reference to Yūji Takahashi’s recently completed Otoshiana music timetable, which resulted from correspondence between the composer and the author, the article revises the sources on Otoshiana’s music and further analyzes the characteristics of the work. Moreover, it highlights the collaboration of the three musicians and emphasizes Takemitsu’s role as music director, composer, and performer.
U ovom se članku ispituje jedno od djela stvorenih u suradničkom krugu Umjetničkog centra Sōgetsu – filmska glazba Tōru Takemitsua za film Otoshiana (1962.), poznatom pod engleskim nazivom Pitfall ili Cheap, Sweet and a Kid. To je prvi cjelovečernji film Hiroshija Teshigahare (1927. – 2001.), dokumentarna fantazija koja je istodobno i prvi japanski film što ga je distribuirao Art Theater Guild (ATG), mreža koja je podupirala neovisnu kinematografiju od 1961. nadalje.
Glazba za film Otoshiana (1962.) razlikuje se od Takemitsuove ranije filmske glazbe gdje je upotrebljavao žanrove poput charlestona, jazza, bluesa i latino-američkih ritmova. Glazbeno se Otoshiana odlikuje uporabom čembala i dvaju klavira, od kojih je jedan preparirani a drugi upotrebljava klaviru imanentne tehnike. Smatra se prvim djelom u kojem je Takemitsu upotrijebio preparirani klavir i primjer je Takemitsuove tendencije da upotrebljava razne tehnike za stvaranje novih zvukova. Ono što također daje ovom djelu osobitu notu jest to da je skladano i izvedeno u suradnji s Toshijem Ichiyanagijem i Yūjijem Takahashijem.
Putem autoričinog intervjua s Yūjijem Takahashijem i s obzirom na njegovu nedavno dovršenu glazbenu satnicu Otoshiane, koja je proizašla iz korespondencije između skladatelja i autorice, članak revidira izvore za glazbu filma Otoshiana i dalje analizira karakteristike ovoga djela. Štoviše, u članku se ističe suradnja trojice glazbenika i naglašava Takemitsuova uloga glazbenog ravnatelja, skladatelja i izvođača.
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Artists are responding very differently to the COVID-19 around the world. In Japan, this has been manifested in artistic production of the mythical creature called Amabie, one of the yōkai. Most ...often, it appears as a mermaid, with both animal and human features recognizable by its three limbs, long hair, beak-like mouth and body covered by scales. This is a mythical character which, according to legend, allegedly predicted the plague and advised people to share drawings of its image with each other, thus protecting them from diseases. The character was documented for the first time in 1846 in one of the early kawaraban newspapers.
This paper presents a new wave of Amabie that overran social media when COVID-19 seriously affected Japan. The author focuses on the world of art, where the character distinctly stepped to the fore, and examines the characteristics of Amabie’s interpretation by selected artists. One of the first to attract special attention in this respect is the artist Shigeru Mizuki (1922–2015), a master of the yōkai genre, whose comic book featuring Amabie was revived in the midst of the pandemic. He was followed by other illustrators, designers and artists or groups of artists. Utilization of the character of Amabie as a talisman, however, is specific not only of the artists’ domain. The mass popularization of the character, including drawings, puppets, paper sculptures, costumes, sweets, tattoos and the like can be followed through all kinds of social media. The paper attempts to lay stress on the phenomenon of the struggle of Japanese society with COVID-19 through the prism of popularizing Amabie folklore, which has become in the last few months an internet meme and mascot of pop culture that has spread around the entire world.
The paper’s main aim is to bring forward Marija Skušek (born Tsuneko Kondō Kawase 近藤常子(1893–1963) and her presentations and transmission of Japanese culture to the Slovene (at that time Yugoslav) ...public as the first Japanese citizen who was naturalised in Slovenia. It focuses mainly on the period from 1920, when she first entered the country, until the Second World War, drawing special attention to one of her main activities––giving lectures in the years 1930–1931, and on a smaller scale 1935–1936, mostly presented to the public under the title “A Japanese about a Japanese Woman”. Such lectures testify to the Japanese-Slovenian cultural exchanges, and the cultural milieu in Slovenia in which she acted. The author takes into consideration newspaper and journals sources discussing her activities and in particular the data available from the “Archive on Marija Skušek–Tsuneko Kondō Kawase”, recently re-discovered at the Slovene Ethnographic Museum of Slovenia, where her original lecture’s manuscripts, correspondence, newspaper clips and photos are collected.
Artists are responding very differently to the COVID-19 around the world. In Japan, this has been manifested in artistic production of the mythical creature called Amabie, one of the yōkai. Most ...often, it appears as a mermaid, with both animal and human features recognizable by its three limbs, long hair, beak-like mouth and body covered by scales. This is a mythical character which, according to legend, allegedly predicted the plague and advised people to share drawings of its image with each other, thus protecting them from diseases. The character was documented for the first time in 1846 in one of the early kawaraban newspapers. This paper presents a new wave of Amabie that overran social media when COVID-19 seriously affected Japan. The author focuses on the world of art, where the character distinctly stepped to the fore, and examines the characteristics of Amabie’s interpretation by selected artists. One of the first to attract special attention in this respect is the artist Shigeru Mizuki (1922–2015), a master of the yōkai genre, whose comic book featuring Amabie was revived in the midst of the pandemic. He was followed by other illustrators, designers and artists or groups of artists. Utilization of the character of Amabie as a talisman, however, is specific not only of the artists’ domain. The mass popularization of the character, including drawings, puppets, paper sculptures, costumes, sweets, tattoos and the like can be followed through all kinds of social media. The paper attempts to lay stress on the phenomenon of the struggle of Japanese society with COVID-19 through the prism of popularizing Amabie folklore, which has become in the last few months an internet meme and mascot of pop culture that has spread around the entire world.
The paper’s main aim is to bring forward Marija Skušek (born Tsuneko Kondō Kawase 近藤常子(1893–1963) and her presentations and transmission of Japanese culture to the Slovene (at that time Yugoslav) ...public as the first Japanese citizen who was naturalised in Slovenia. It focuses mainly on the period from 1920, when she first entered the country, until the Second World War, drawing special attention to one of her main activities––giving lectures in the years 1930–1931, and on a smaller scale 1935–1936, mostly presented to the public under the title “A Japanese about a Japanese Woman”. Such lectures testify to the Japanese-Slovenian cultural exchanges, and the cultural milieu in Slovenia in which she acted. The author takes into consideration newspaper and journals sources discussing her activities and in particular the data available from the “Archive on Marija Skušek–Tsuneko Kondō Kawase”, recently re-discovered at the Slovene Ethnographic Museum of Slovenia, where her original lecture’s manuscripts, correspondence, newspaper clips and photos are collected.
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