- 2005年9月15日 (14:00 - 16:20)
由任东权 先生/女士 主讲的市民论坛
- 渡过玄海的民俗文化 "搜寻文化的联系"
- 2005年9月17日 (16:00 - 18:00)
In his keynote speech, Professor Im commented on the origin of culture propagation by referring to the ethnic cultural cases seen in today’s Korea and Japan. He argued that cultures – some maintaining their original styles and the others being modified to suit the climate of the area – had taken root on their soil along with the flow of people.
At the following panel discussion, panelists each discussed what similarities Korea and Japan share by raising specific examples. Professor Sano spoke of the cultural exchange viewed from geographical features between the Korean Peninsula and Japan as well as wooden and stone creatures, both symbols of folk belief. Professor Nagamatsu presented an example of the Chikuzen biwa lute to illustrate the role played by blind priests and its history. Professor Matsubara talked about oceanic folk culture such as divers and sea festivals to clarify the similarities. Professor Matsubara referred to Professor Im’s remark “flow of people is flow of culture. People move over with culture.” Professor Im answered this with an example of the Korean Envoys on how people and culture flowed. He said that culture was not only directly transmitted by the Korean craftsmen and priests in their contact with their Japanese counterpart, but they also handed down the culture to the general public, for example, Tojin-odori (literally “the people of Tang” dance).
Finally Professor Inaba reconfirms Professor Im’s remark of “culture changes” in a way to focus on the cultural difference between the coastal area and inland even in Korea as well as to focus on the reverse cultural propagation from Japan to Korea. He concluded the forum by pointing out to us that it is important to have a flexible viewpoint to folk cultural ties between Korea and Japan.
由透康 先生/女士 主讲的市民论坛
- 缅甸历史挖掘物语 "椰树叶用电子数据来保存"
- 2005年9月17日 (13:00 - 15:00)
Dr. Thaw Kaung illustrated different types of traditional manuscripts, the process of how the palm-leaf is made, and the ways of conservation and repair by showing visual images at his keynote speech. He explained that palm-leaf manuscripts and other old documents now face almost certain destruction and have to be preserved. “Only by conserving our intellectual history recorded in our traditional manuscripts, we will be able to preserve the indigenous scholarship of our countries that forms an essential part of our national, as well as Asian culture.” he said.
Professor Okudaira then followed. He said that the old documents are the fruit of intelligence produced in the natural environment and people’s life to explain how old documents have changed with the lapse of time and their historical background in Myanmar.
Professor Saito, showing the images of actually digitalized old documents, explained the specific interpretation on each of the images. She said that old documents are valuable to learn the life, custom and culture of people in relevant times.
On opening the website he releases the database of Myanmar socio-economic history, Professor Ito defined the significance of the digitalization by saying that digitalization of traditional texts enables us to preserve them for a long time and in the future, to utilize the data throughout the world in the form of Internet and other media means.
Finally, Professor Ishizawa concluded the forum by commenting that the preservation of old documents is to preserve historical legacy of intelligence, which is actually to protect the culture of Asia.
由多安都安•彭涅瓮 先生/女士 主讲的市民论坛
- 编制传统的老挝 "无限的设计-一直传承下来的纺织品"
- 2005年9月18日 (14:00 - 16:00)
At the beginning of the forum, Professor Nitta talked briefly the location of Laos and its history while showing a video on Laos, to draw the audience into the charm of the country.
In the following keynote speech, Ms. Bounyavong projected slides to show the scenes of textile weaving in Laos, and to explain the variety of weaving techniques as well as the origin of the designs. Her talk also covered the role played by textiles in the daily life of Lao people with pleasant episodes.
At the panel discussion, Ms. Bounyavong pointed out that the policy-making and assistance by many organizations are needed to keep the tradition of textiles alive. She suggested a school for textiles be created since people are not able to learn weaving skills at home any more. Professor Suzuki commented that women might have put their feelings and dreams into textiles instead of writing letters because they were not given opportunities for education.
When models clad in traditional Lao costumes, all of which were the collection of Ms. Bounyavong, appeared on the stage, the venue instantly turned colorful and showy. The audience listened attentively to the explanation on the characteristics of costumes with colorful and distinctive designs as well as on what occasion people wear each of the costumes.
Professor Nitta concluded the forum by saying “Asia is home to many ethnic people and each group has their unique traditional textiles. Please visit Asia to see this world of rich textile with your own eyes.”
由他西•诺布 先生/女士 主讲的市民论坛
- 不丹的传统音乐 "来自喜马拉雅的歌声"
- 2005年9月16日 (18:30 - 20:30)
- IMS Hall
Preceding the concert, Professor Fujii introduced the achievements of Mr. Tashi Norbu and outlined the country of Bhutan and its culture by showing photos he himself took.
Mr. Tashi Norbu then invited Tashi Nencha, a traditional music group he directs on the stage. The six members dressed in colorful traditional costumes were given a loud applause from the floor.
Mr. Tashi Norbu gave commentaries on each of the songs and dances, explaining Bhutan’s unique cultural background which is strongly influenced by the Tibetan Buddhism. The “Kuzu Zangpo,” which is always played as an opening tune at a performance, was performed with unconstrained singing voice and Bhutanese traditional musical instruments. In a religious mask dance, dancers wearing deer masks bounce around the stage dancing with cymbals. There were also dances of the Lavab people living in the north-western area as well as people of Sakten village in the north-eastern area of Bhutan. A total of nine pieces were performed one after another, getting the audience into the world of somewhat nostalgic traditional culture of Bhutan. As the last program, “Tashi Labey,” the conventional concluding dance in Bhutan was open to all the audience, offering them a happy walk-in performance.