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Home › Forums › Short Online Seminars › Objects and Ritual in Japanese History, Fall 2021 › Session 4 - July 7
Ying Yu.
cgaoThe Performance of Power in Early Modern Japan
Lecture 1
Lecture 2
Required Assignments and Readings
Thomas PinedaThe articles describing the role and style of Noh theater were enlightening, particularly with the heavy emphasis on emotional themes or the embodiment of these emotions by ghosts and with masks. The actors almost take on a form of method acting, ruminating on the mask and the emotion they plan to portray, until they feel like they truly embody it. It was surprising to learn how supported these arts were by the samurai class as well, in terms of providing them with entertainment and nostalgia of their glory days or past battles. I think the writing prompts suggested in the article could be interesting if students were given choices of contemporary or other historical events and got to create a plot for a Noh play.
Miguel DiazLecture 1
I am interested to know to what extent Noel Perrin ‘s book, Giving Up the Gun, Japan's Reversion to the Sword, 1543-1879, is responsible for propagating the myth that the samurai of the Tokugawa completely gave up their guns. More precisely, was Perrin simply giving new life to an old myth that existed before his time or was he the creator of such myth?
I remember learning in two my undergraduate history classes that the Tokugawa dumped their guns into Edo Bay (or some other bay in Japan) because guns interfered with the preferred warfare tactics of the samurai. Furthermore, I learned that the samurai dumped their guns because they thought that it was dishonorable to fight with them.
I’ve always held the perception that the samurai fought exclusively on foot -- and only with swords. I didn’t know that samurai leaders incorporated volleys of gunfire, archers, and cavalry in their arsenal.
I have a lot to learn about warfare!
It was really interesting to learn from the lecture that the Tokugawa never gave up their guns, and in fact, used them to engage in acts of pageantry rather than acts of force. This reminds me of the military parades that are put on by some modern nations around the world.
Thomas PinedaI definitely agree that these acts of pageantry are reminiscent of current displays of military arsenals and parading that so many nations do now. Airshows or parades that we have now that celebrate the country’s events, history, defense budget or give more opportunities to practice in times of relative peace. I can see the samurai using these as opportunities to wear their customized, extravagant armor and exalt their warrior status around the country- it must have been a sight to see.
Thomas PinedaThese are very interesting relics, that from one glance seem to be xenophobic and intolerant of other religions- demanding people to trample on images and perform blasphemy to prove thet were not converts of Christianity. They also fall in line with the notion that Japan was isolative and closed-off during this period to outside influence (“Closed Country Edicts”). But, it’s been a revelation to learn some of the background history that explain these objects and edicts and how they were used help solidify political control of their own country by not allowing these influential groups to gain power. And that also Japan may have seemed self-isolative, but was still constantly trading goods with neighbors and keeping up with the political news and events around the world, adapting their foreign policies through the years.
David MilliansThe culture of this period is fascinating. I enjoyed learning more about the various ways Japanese society adapted the technology of guns or the outmoded nature of warriors into something new during the Edo Period. I think I can also make classroom connections with the ways in which our modern governments use symbols, events, and rituals to evoke their power and attributes.
The conceptual framework of Noh theater makes it difficut for those from a Western tradition of storytelling and performance. The emphasis on building an emotional experience over characterization and plot is unlike much of what I'm familiar with and moreso my students, but I think I can connect it to the emotional impact of a piece of art or perhaps even a soundtrack to one of their favorite movies, especially those with some emotional intensity. I will keep exploring.
Angela GranataI loved this week articles and information! It brought back memories of traveling to Japan with my Aunt and Uncle many years ao ago and being introduced to the Noh Mask.
I enjoyed the videos of Dr. Pitelka. What a powerhouse Japan has been in the past, currently and in the future!
I loved reading about the Atsumori, Japanese NOH, and how this brave samurai Taira was killed int he Genpei War and how his killer Kumagai is protrayed in the Heike.
I enjoyed learning that guns did play a role in their battles. Yes swords was their preferred method of choice for the Samurai but guns were also used.
I learned in Japan with my Aunt and Uncle, about the masks and how the mask used by the actor/actresses became a part of them due to an emotional bond with the mask.
I wanted to also point out about the Porcelain dish - being in Japan and having a friend from Japan, Porcelain dishes are used over and over-een when it it broken. The belief that when a dish is broken and glued back, it still serves a purpose like life (hearts can be broken).
This week was fun to watch and read!
Lou KindschiI am wondering if Professor Pitelka might share insights regarding the difference between Kabuki and Noh performance. It seems that Noh was intended as ritual performance for Samurai, whereas Kabuki serves a broader audience in Japanese society?
Katharine DavisWhile the subject of "women" were not directly addressed in either video lecture, they came up during our live session and I (finally!) had the chance to mention a book I read recently, where I noticed Dr. Pitelka's name in the the Acknowledgements section. I found it to be a VERY interesting read about not just Japanese history, but seen through the eyes of a common woman. If you are intersted, Dr. Pitelka gave it a high recommendation during our session!
cgaoI'll be sharing this with other educators in our Teaching about East Asia Facebook group.
Morgan PitelkaThe artist who produced that remarkable folding screen of irises from the lecture will be profiled in an online lecture by a curator from the Freer and Sackler Art Galleries at the Smithsonian. The details are below!
We would like to invite you to the talk Modes of Making: Ogata Korin and Art in Early Modern Japan by Frank Feltens (Associate Curator of Japanese Art, Smithsonian Institution, Freer Gallery of Art and Arthur M. Sackler Gallery) on his research and book project about the prolific Japanese painter Ogata Korin.
Modes of Making: Ogata Korin and Art in Early Modern Japan
Frank Feltens (Associate Curator of Japanese Art, Smithsonian Institution, Freer Gallery of Art and Arthur M. Sackler Gallery)12. July 2021 (Mo), 18:15 (German time/CEST)
PDT (US) 9:15
MDT (US) 10:15CDT (US) 11:15
EDT (US) 12:15
BST (London) 17:15
JST (Tokyo) 1:15
https://us02web.zoom.us/j/84323829020?pwd=cWNVOVBMV3RoRDVheko5bUtORTNBUT09
Meeting ID: 843 2382 9020
Passcode: Korin
Abstract:
Ogata Korin (1658-1716) is one of early modern Japan's most cherished artists. He was also one of the era's most versatile painters, having worked in nearly every medium available to artists during his time: painting, lacquer, ceramics, and textiles. Korin's mastery lies in the multivalence of his materials and his skill in recasting age-old themes into novel visual experiences. Through the lens of the iris subject--one of Korin's signature tropes--this talk explores the processes of production, layered cultural meanings, and impact of key examples of Korin's iris works in different media. The talk draws from Feltens' book Ogata Korin: Art in Early Modern Japan, available from Yale University Press.
The talk is part of this summer term’s lecture series on New Publications in Japanese Art History at the Institute for East Asian Art History, Heidelberg University.
Deirdre HarrisLearning about The Performance of Power in Modern Japan in this week's Video Lectures was interesting and lots of fun. I wanted to share how fascinated I was learning about the differences between the NOH Theater and the Kabuki Theaters in Japan. NOH drama is the oldest type of theater surviving in Japan. In the NOH theater, we learned that this type of performance was very serious, expressing an emotion usually, often using the wooden masks shown in the slides by Professor Piltelka. The NOH theater was performed for the Aristocratic elite people of Japan, as opposed to the Kabuki theater which was more for the common people of Japan to enjoy. NOH theater was "etherial and other-worldly" as described by our discussion, and kept things simple in the sense that there was not a lot of ornate dress, etc... but rather they kept things simple in order to keep focused on the emotion being expressed. I found it very interesting that the teeth were darkened out on purpose in both the masks of the NOH theater, but also in the real elite women of the court, so as not to draw attention to the bright flashes white teeth would have. (Keeping to the modest behaviors especially for women, often never being seen directly, but through screens many times.)
Kabuki theater on the other hand was more geared for the common audiences. The performers wore make-up, wigs, elaborate costumes, with loud sound effects, usually telling soap-opera type of stories. Another interesting thing about Kabuki theater, which also still continues today, is that it began with women doing the acting, but they became promiscuious, and it was outlawed, to be only performed by men by the Shogunate Tokugawa government. Even to this day, men are still performing in the Kabuki theater.
I think that it would be very interesting to show students versions of both of these theater types in my classes, and see what they think and if they can compare them to any of our theater, or any other country's performative styles. They could easily be able to at least distinguish between the two, and learn about these, and know that they both continue to this day in Japan if they ever have the opportunity to visit.
Katharine DavisIf you aren't aware, there have been kabuki adaptations of modern stories that our students might find really fascinating! It could be a very interesting way to discuss how traditional arts try to maintain relevance and interest among younger people.
Recently a "Star Wars" tale was adapted into a kabuki play! Apparently it revolves around Kylo Ren, but I'm not certain if the script was adapted from a single film. (Anyone know?) Here's an article with some decent photos: https://japan-forward.com/kabukis-ichikawa-ebizo-brings-star-wars-back-to-its-japanese-roots/ (Unfortuantley I couldn't find a good article with videos...)
For any Studio Ghibli fans out there, you likely recognize Princess Nausicaa. This adaptation of MIYAZAKI Hayao's comic-turned-anime debuted in 2019 and only ran for a few weeks. It was streaming online for some time, but I'm not sure if it's available anywhere any longer. There is a short preview/trailer on this article site: https://www.timeout.com/tokyo/news/watch-kabuki-adaptation-of-miyazakis-nausicaae-of-the-valley-of-the-wind-is-now-online-082820
David MilliansThese are great links and images. Thank you, Katharine! I'll be using them.
Shuang YangIn my opinion, theatre is a very direct reflection of culture, history and rituals. It is a great start point to get students interested. In my Chinese classes, we study Peking Opera, especially the face paint and what they represent. Each color is associated with certain characteristics. I think it would be fun to show students Japanese masks for Noh Theatre. They can compare the art forms and dig into the related history. There are some similarities, but huge differences. The stories in Noh theater show samurai supremacy during the Edo period. Peking opera has been used for political propaganda during the Cultural revolution.