This article lists the practices listed in UNESCO intangible cultural heritage to Japan.
Understand
The country has 22 practices included in the "representative list of intangible cultural heritage From UNESCO.
No practice is included in the "register of best practices for safeguarding culture "Or on the"emergency backup list ».
Lists
Representative list
| Convenient | Year | Domain | Description | Drawing |
|---|---|---|---|---|
| Kabuki theater | Kabuki is a form of traditional Japanese theater that originated in the Edo period in the early seventeenth century, when it was particularly popular with city dwellers. Originally performed by men and women, it has subsequently been performed by all-male troupes, a tradition that has continued to this day. Actors specializing in female roles are called onnagata. There are two other main types of roles: aragoto (violent style) and wagoto (gentle style). Kabuki plays illustrate historical events and the moral conflict associated with emotional relationships. The actors speak in a monotonous voice and are accompanied by traditional instruments. The stage is equipped with various devices such as turntables and hatches through which actors can appear and disappear. Another specificity of Kabuki is the catwalk (hanamichi) which juts out into the middle of the audience. The Kabuki theater is distinguished by its particular music, its costumes, its machinery and its accessories, as well as by its repertoire, a style of language and play, such as crumb, where the actor freezes in a characteristic pose to camp his character. Kabuki's own makeup, kesh¯o, is an easily recognizable style element, even by those unfamiliar with the art form. After 1868, when Japan opened up to Western influences, actors focused on improving Kabuki's reputation among the upper classes and adapting classical styles to modern tastes. Kabuki is the most popular form of traditional Japanese theater today. |  | ||
| Ningyo Johruri Bunraku Puppet Theater | Regarded in Japan as a major traditional drama genre, like Noh and Kabuki, Ningyo Johruri Bunraku Puppet Theater is a blend of sung narrative, instrumental accompaniment, and puppet theater. This dramatic form originated at the beginning of the Edo period (circa 1600) when puppet theater was associated with Johruri, a narrative genre very popular in the fifteenth century. The plots told in this new form of puppet theater come from two main sources: historical dramas set in the Middle Ages (Jidaimono) and contemporary plays exploring the conflict between affairs of hearts and social obligations (Sewamono) . The Ningyo Johruri adopted its characteristic stage play in the middle of the eighteenth century. Three puppeteers, masked to the waist by a screen, handle large articulated puppets. From a raised platform (yuka), the narrator (tayu) tells the story as a musician plays the shamisen, a three-stringed lute. The tayu plays all the characters, male and female, adapting his voice and intonations to roles and situations. If the tayu "reads" a written text, he enjoys a great deal of freedom to improvise. The three puppeteers must perfectly coordinate their movements to give more realism to the gestures and attitudes of the puppets. These, with their own rich costumes and facial expressions, are made by master craftsmen. The genre took its current name, Ningyo Johruri Bunraku at the end of the nineteenth century, the Bunrakuza being a famous theater of the time. Today, it is mainly performed at the National Bunraku Theater in Osaka, but its renowned troupe also performs in Tokyo and other regional stages. Of the 700 pieces written in the Edo period, barely 160 are still in the repertoire. The performances, which once lasted all day, have been reduced from six to two or three acts. Ningyo Johruri Bunraku was proclaimed "Important Intangible Cultural Property" in 1955. Today it attracts many young artists, and the aesthetic qualities as well as the dramatic content of the pieces continue to appeal to contemporary audiences. |  | ||
| Nôgaku theater | The Nôgaku Theater had its heyday in the fourteenth and fifteenth centuries, but dates back to the eighth century, when the Sangaku moved from China to Japan. At the time, the term Sangaku referred to various types of performances combining acrobatics, songs, dances and comedy skits. Its subsequent adaptation to Japanese society resulted in the assimilation of other forms of traditional art. Today, Nôgaku is the main form of Japanese theater. He influenced puppet theater as well as Kabuki. Often inspired by traditional literature, the Nôgaku theater mixes masks, costumes and various accessories in a performance combining dance movements. It requires highly skilled actors and musicians. The Nôgaku theater includes two types of theater, the Nô and the Kyôgen, represented in the same space. The stage, which juts out into the middle of the audience, is linked by a catwalk to a backstage "hall of mirrors". In Noh, emotions are expressed through conventional stylized gestures. The hero, often a supernatural being, takes on human form to tell a story. The special masks for which Noh is famous are used for the roles of ghosts, women, children and old people. The Kyogen, on the other hand, makes less use of masks. It comes from the comic pieces of Sangaku, as evidenced by its playful dialogues. The text, written in medieval oral language, describes in a very lively way the small people of this time (12th-14th centuries). In 1957, the Japanese government declared the Nôgaku Theater "Important Intangible Cultural Property", thus ensuring legal protection for this tradition and its most accomplished practitioners. The National Noh Theater, founded in 1983, regularly presents shows. He also organizes courses to train actors in the main roles of Nôgaku. | | ||
| Traditional Ainu dance | The Ainu people are an aboriginal people who today live mainly in Hokkaido, in northern Japan. The traditional Ainu dance is performed at ceremonies and banquets, as part of new cultural festivals, or in private as part of daily life. Very diverse in expression, it is closely linked to the way of life and religion of the Ainu people. In its traditional style, the dancers form a large circle. Sometimes the spectators sing along with them, but no musical instrument is ever used. Some dances consist of imitating the cries and movements of animals or insects; others, like the sword dance or the bow dance, are ritual dances; for still others, the end is improvisation or the only entertainment. The Ainu people, who believe in the existence of deities in the world around them, often use this dance tradition to worship them and thank nature. Dance also occupies a central place in official ceremonies, such as the ceremony Iyomante, during which participants return to paradise a deity disguised as a bear after having fed on it, imitating the gestures of a living bear. For the Ainu people, dance helps consolidate relationships with the natural and religious worlds and is a link with other arctic cultures in Russia and North America. | _(10795473465).jpg/150px-Ceremonial_round_dance,_resembles_the_Japanese_Bon-Odori_(Temple_dance_in_which_the_departed_are_commemorated)_(10795473465).jpg) | ||
| The Daimokutate | In the Yahashira Shrine in the city of Nara, in the central region of Japan, young people from the Kami-fukawa community stand in a semi-circle, dressed in samurai clothes and holding a bow in their hands. . They are called, one by one, by an old man who invites them to come forward to the center and who announces the name of a character from tales recounting the feud between the Genji and Heike clans. In turn, each of them recites from memory the text corresponding to his character, adopting a characteristic accent, but without particular playing or musical accompaniment. After the twenty-six characters have completed the exercise, the young people stamp their feet in rhythm before leaving the stage singing. Originally conceived as a rite of passage at the age of seventeen to mark the official admission of the eldest son into the community of the twenty-two families of Kami-fukawa, the Daimokutate is held today annually. in mid October and is open to young people of various ages and from other families. Since the twentieth century, in fact, because of the dispersal of the original twenty-two families, other inhabitants of Nara have had to invest in the ceremony to preserve its continuity. Unique in Japan as a scenic art without specific game or music, Daimokutate constitutes an important identity landmark and an essential element in maintaining solidarity in this mountain town. | | ||
| The Dainichido Bugaku | According to legend, itinerant artists specializing in bugaku, ritual dance and music from the Imperial Palace, traveled to the city of Hachimantai, located in northern Japan, in the early 8th century, during the reconstruction of Dainichido, the shrine's pavilion. This is where the ritual name Dainichido Bugaku comes from. Since then, this art has evolved considerably, enriching itself with local specificities transmitted by the elders to the younger ones within each of the four communities of Osato, Azukisawa, Nagamine and Taniuchi. Each year, on January 2, the populations of these communities gather in specific places before going to the sanctuary, where, from dawn until midday, nine sacred dances are performed intended to pray to invoke the happiness during the New Year. Some dances are performed by masked dancers (notably the kind of imaginary lion shishi of mythology), others by children, according to the variations specific to each community. This practice strengthens a sense of belonging to the local community, both for the participants and for the many locals who come to the event each year. Although it was interrupted for almost sixty years, towards the end of the 18th century, the tradition of Dainichido Bugaku was reinstated by the people of Hachimantai who take great pride in it and regard it as the spiritual foundation of the solidarity of its people. members. | | ||
| The Akiu no Taue Odori | Akiu no Taue Odori is a dance that simulates the gestures of transplanting rice and is performed by residents of Akiu, a town in northern Japan, to pray for a good harvest. Practiced since the end of the 17th century by the communities of the region, Akiu no Taue Odori is presented today at festivals, in spring and in autumn. Accompanied by a group of two to four dancers, ten dancers, dressed in colorful kimonos and wearing a headdress decorated with flowers, perform between six and ten dances depending on the repertoire. Holding fans or bells in their hands and lined up in one or two rows, the women reproduce movements that evoke the gestures performed during the complete cycle of rice cultivation, in particular the shut up, which designates the transplanting of the young planes in a larger field, filled with water. Once equated with the assurance of a bountiful harvest, this practice has lost its religious significance as attitudes and beliefs evolved and modern farming techniques replaced rituals meant to ensure abundance, such as Akiu no Taue. Odori. Today, this dance performance has a cultural and aesthetic dimension and helps to preserve the link between the inhabitants of the cities and their agricultural heritage, the tradition of Japan's dependence on rice and the belonging to a group transmitted. from century to century thanks to the popular performing arts. | | ||
| Hayachine's Kagura | In the 14th or 15th century, the inhabitants of Iwate prefecture, located in the northern part ofmain island of Japan, worshiped Mount Hayachine, whom they considered to be a deity. From there was born a tradition of folklore show, which, even today, is one of the activities of the Grand Festival of the Hayachine Shrine held in the city of Hanamaki on August 1. Hayachine's Kagura is a series of dances performed by performers wearing masks and accompanied by drums, cymbals and flute: the performance begins with six ritual dances, followed by five dances telling the story of the deities and the history of Japan in the Middle Ages, then of a final dance featuring a shishi, sort of imaginary creature resembling a lion and embodying the divinity of Hayachine herself. Originally performed by the sacred guardians of the shrine to demonstrate the power of the mountain deity and bless the people, Hayachine's Kagura is today performed by representatives of the whole community who derive great pride in their very particular culture. The transmission of this ritual and the public performances that are given are a way of reaffirming the feeling of belonging to the group and of contributing to the sustainability of an important tradition. They are also a way to commemorate events in Japanese history and to celebrate one of the mountain deities worshiped throughout the country. | | ||
| Oku-noto no Aenokoto | Oku-noto no Aenokoto is an agrarian ritual that is passed down from generation to generation by rice farmers of the Noto Peninsula, which extends north of Ishikawa Prefecture in the central part of Honshu, the main island of the Japan. Performed twice a year, this ceremony is unique in its kind compared to other agrarian rituals in Asia, its peculiarity being that the master of the house invites the divinity of the rice paddy to his home and behaves as if this invisible spirit were truly here. In December, the rice farmer, eager to express his gratitude to the divinity for the harvest, runs a bath for her, prepares a meal for her and tries to lure her so that she leaves the paddy field by making her hear the sound of rice cakes pestle. Dressed in ceremonial garb and provided with a lantern, the farmer welcomes the deity and lets her rest in the guest room before helping her take a bath and offering her a meal consisting of rice, beans and fish. As the deity's poor eyesight is notorious, the master of the house describes the dishes to him as he serves it. In February, before planting, he performs a similar ritual to ask for a bountiful harvest. The Oku-noto no Aenokoto ritual shows slight differences from region to region. It reflects the culture that underpins the daily life of Japanese people devoted, since ancient times, to rice cultivation and serves as an identity landmark for rice farmers in the region. | | ||
| The Koshikijima no Toshidon | According to popular belief in Japan, a deity visits our world at the dawn of a new period to bless the community. The Koshikijima no Toshidon Festival, which takes place every year on New Year's Eve, on the island of Shimo-Koshiki, in the southwest of the Japanese archipelago, celebrates this custom of the visiting deity, called raiho-shin. A group of two to five men disguise themselves as Toshidon gods, dressed in straw cloaks for protection from the rain, decorated with leaves of local plants, and wearing monstrous masks topped with a long, pointed nose, with large teeth and horns like those of a demon. Walking through the village, the Toshidon knock on the doors and walls of houses, calling out to the children who live there and whose misbehavior they have previously learned from their parents about during the past year. They sit in front of the children, berate them for their nonsense and urge them to behave better. As a farewell gift, the Toshidons give each child a large ball-shaped rice cake, meant to protect them so they can grow up in peace for the coming year, then they back out of the house before surrendering. in the following family. These visits play an important role in the consolidation of the community of Shimo-Koshiki: the children gradually develop their sense of affiliation with their village and its culture; as for the men who embody the role of Toshidon, they acquire a stronger sense of identity and ensure the continuity of their ancestral traditions. | | ||
| 1 The Yamahoko, the float ceremony of the Gion festival in Kyoto | Every year on the 17th July, the city of Kyoto, located in the central part of Japan, hosts the Gion festival. The highlight of the festival is the grand procession of yamahoko, floats richly decorated with tapestries and ornaments in wood and metal, which has earned them the name of "mobile museums". This festival is organized by the Yasaka shrine in the vicinity of Gion. The thirty-two chariots are built by residents of the city's autonomous districts according to a tradition that is passed down from year to year. Each district uses musicians to play in the orchestras that will accompany the parade and different artisans to assemble, decorate and dismantle the floats, in an order that is determined each year by the drawing of a lottery. There are two types of tanks: tanks yama topped with decorated platforms resembling mountains and chariots hoko equipped with long wooden poles, originally intended to implore the god of the plague so that, honored by the music, the dances and the worship which are devoted to him, it is transformed into a protective spirit. Today, the yamahoko parade is the occasion of a great summer festival of the city, illustrating the artistic creativity of the districts for the construction of the floats and giving rise to many animations in the streets. |  | ||
| The Hitachi Furyumono | The Hitachi Furyumono parade is held every year in April, in the city of Hitachi located on the Pacific coast in the heart of Japan, on the occasion of the Cherry Blossom Festival, or every seven years at the month of May, on the occasion of the Great Festival of the Temple of Kamine. Each of the four local communities - Kita-machi, Higashi-machi, Nishi-machi, and Hom-machi - craft a chariot intended to serve as both a deity-worshiping space and a multi-story puppet theater. A group of three to five puppeteers is assigned to manipulate the control strings of a single puppet, while musicians perform to accompany their show. A community event administered in a consensual climate by all residents, the Hitachi Furyumono Parade is open to anyone who wishes to participate. However, the art of the puppeteer is transmitted only within families by the father, who reveals the secret only to his eldest son, thus making it possible to preserve an ancient repertoire of techniques and stories whose he origin dates back to the 18th century during the passage of an itinerant artist. For the annual cherry blossom festivals, only one community presents its float each year. For the Great Kamine Temple Festival, on the other hand, the four communities compete against each other to determine which has the most talented puppeteers and which can provide the local deity with the best conditions of hospitality. | | ||
| Ojiya-chijimi, Echigo-jofu: techniques for making ramie cloth in the Uonuma region, Niigata prefecture | Lightweight and quality decorated textiles, which are made from the ramie plant, are especially suitable for hot and humid Japanese summers. Developed in the northwestern part of the main island of Japan, Ojiya-chijimi, Echigo-jofu: techniques for making ramie cloth in Uonuma region, Niiagata Prefecture, bears the mark the cooler climate that prevails in this region, especially its snowy winters. The ramie fibers are separated from the rest of the plant with the fingernail, then twisted by hand to form threads. According to the knot-dyeing process, the ramie threads are tied into bundles with a cotton thread, then soaked in the dye, so as to create a geometric or floral pattern when weaving on a simple loom. strap attached in the back. The fabric is washed in hot water, then kneaded with the feet, and finally exposed, for ten to twenty days, on the snow-covered fields to dry and take on a lighter coloring under the action of the sun and the sun. ozone released by the evaporation of water contained in snow. The fabrics produced in this way have been highly prized by all social classes for centuries. This art, which is now only practiced by elderly craftsmen, remains a sign of cultural pride and helps to strengthen the sense of identity of the community. | | ||
| The Gagaku | Gagaku, characterized by its long, slow chants and choreographic-type body language, is the oldest of the traditional performing arts in Japan. It is presented at banquets and ceremonies at the Imperial Palace and in theaters across the country, and spans three distinct artistic genres. The first, Kuniburi no Utamai, is made up of ancient Japanese songs, sometimes accompanied by simple choreography to the sound of harp and flute. The second is instrumental music (mostly wind instruments) associated with a ritual dance, originating in the Asian continent and later adapted by Japanese artists. The third, Utamono, is danced to sung music whose repertoire consists of popular Japanese songs and Chinese poems. Marked by political and cultural history at different times during its long evolution, Gagaku is passed down, as in the past, from masters to apprentices within the Music Department of the Imperial Household Agency. The masters are often the descendants of families deeply imbued with this art. An important cultural vector of Japanese identity and crystallization of the history of Japanese society, it is also the demonstration of the possible marriage between multiple cultural traditions to give birth to a unique heritage, thanks to a constant process of recreation over the years. time. |  | ||
| The Chakkirako | Located on a peninsula in the kanagawa prefecture in the central part of Japan, the city of Miura has a military port opening onto the Pacific and a second port which accommodates passing ships. Initiated by sailors staying in their ports to dances performed in other towns, the people of Miura started the Chakkirako tradition intended to celebrate the New Year, attract prosperity and ensure abundant fishing in the months to come. In the mid-18th century, this practice evolved into a performance aimed at showcasing the talents of local young girls. Each year, in mid-January, ten to twenty young girls, dressed in colorful kimonos, dance in the sanctuary or in front of the houses of the community, accompanied by a group of five to ten women aged 40 to 80 who sing a capella. . According to the dances, the young girls stand in two rows face to face or in a circle; they sometimes hold fans in front of their faces or even thin bamboo stems that they snap against each other. The name of the dance, Chakkirako, evokes the sound these rods make when they collide. Passed down from mother to daughter, the Chakkirako calls upon a large repertoire of centuries-old songs and dances. As an element of entertainment, it is also a means of reaffirming the cultural identity of the performers and their community. | | ||
| Yuki-tsumugi, silk production technique | Yuki-tsumugi is a Japanese silk weaving technique found mainly in the towns of Yuki and Oyama, on the banks of the Kinu river, north of Tokyo. The region enjoys a mild climate and fertile land, ideal conditions for mulberry cultivation and sericulture. The Yuki-tsumugi technique is used to produce pongee (also known as wild silk) - a light, warm fabric with characteristic suppleness and softness, traditionally used to make kimonos. The production of the fabric involves several stages: hand-spinning the silk floss, hand-making skeins before dyeing the yarn to make patterns, then weaving the silk on a back strap loom. The floss of silk used to produce the yarn for the Yuki-tsumugi comes from empty or deformed silkworm cocoons, unusable for the production of silk thread. This recycling process plays a major role in providing additional livelihoods for local communities who practice sericulture. Traditional Yuki-tsumugi techniques are passed down by members of the Association for the Preservation of the Honba Yuki-tsumugi Weaving Technique. This association is concerned with keeping alive the traditions of spinning, dyeing and weaving passed down from generation to generation within the community. It encourages the transmission of Yuki-tsumugi through exchanges of know-how, the training of young weavers and demonstrations. | | ||
| 2 The Kumiodori, traditional Okinawan musical theater | Kumiodori is a Japanese performing art practiced in the Okinawa Archipelago. Based on traditional Okinawan music and dance, it incorporates elements from the main islands of the Japanese archipelago, such as Nogaku or Kabuki, and from China. The Kumiodori repertoire recounts historical events or legends, with the accompaniment of a traditional three-string musical instrument. The texts have a particular rhythm, based on traditional poetry and the particular intonation of the Ryukyu scale, and are interpreted in the ancient language of Okinawa. The movements of the actors are reminiscent of those of a pythoness during traditional rituals of ancient Okinawa. All roles are held by men; the hairstyles, costumes and sets used on stage use specific techniques that can only be found in Okinawa. The need to strengthen transmission prompted Kumiodori actors to create the Traditional Kumiodori Preservation Society which trains actors, revives parts of the repertoire that had been abandoned and regularly organizes performances. In addition to the classical works which have loyalty and filial duty as their main themes, new pieces have been produced on contemporary themes and choreographies, but maintaining the style of the traditional Kumiodori. Kumiodori plays a crucial role in the preservation of ancient Okinawan vocabulary as well as in the transmission of literature, performing arts, history and ethical values. |  | ||
| Sada Shin Noh, sacred dance at Sada shrine, Shimane | Sada Shin Noh is a series of ritual purification dances, performed annually on September 24 and 25 at Sada Shrine, Matsue Town, Shimane Prefecture, Japan, as part of the ritual gozakae change of rush carpets. The dances are performed to purify the new rush rugs (goza) upon which the tutelary deities of the sanctuary will sit. The purpose of replacing rugs is to attract their benefits to the community. Various types of dance are performed on a purpose-built stage inside the shrine. For some dances, the dancers carry swords, sacred wooden sticks and bells; for others, they wear masks imitating the faces of elderly men or gods and bring Japanese myths to life. During the ritual dance of gozamai, the dancers hold the rush carpets to purify them before offering them to the gods. Musicians seated around the stage accompany the dances with their songs and instruments (flutes and drums). Some people believe that Sada Shin Noh should be performed regularly to revive the power of the patron gods and to ensure a rich and peaceful future for people, their families and the community. Sada Shin Noh is passed down from generation to generation by members of the community and its safeguarding is actively ensured by members of the Association for the Preservation of Sada Shin Noh. | | ||
| 3 Mibu no Hana Taue, rice transplanting ritual in Mibu, Hiroshima | Mibu no Hana Taue is a Japanese agricultural ritual performed by the Mibu and Kawahigashi communities of the city of Kitahiroshima, Hiroshima Prefecture, to honor the god of rice so that he can assure them of a bountiful harvest of rice. On the first Sunday in June, when the transplanting of the rice is finished, the ritual illustrates the planting and transplanting. Villagers lead cattle animals to Mibu Sanctuary, which wear colorful collars and elaborately decorated saddles. Un ancien portant un bâton sacré les conduit jusqu’à une rizière spécialement réservée pour le rituel. Une fois le champ labouré par le bétail, des filles aux vêtements colorés placent des plants dans une caisse en interprétant un chant sous la direction d’une personnes plus âgée. Puis le sol de la rizière est aplani à l’aide d’un outil (eburi) qui passe pour contenir le dieu des rizières. Les filles repiquent ensuite les plants un par un, en reculant, suivies de l’utilisateur de l’eburi et de la personne portant les plants, qui arasent le champ au passage. Des chants rituels sont exécutés avec un accompagnement de tambours, de flûtes et de petits gongs. Quand le repiquage rituel est terminé, l’eburi est placé sens dessus dessous dans l’eau avec trois bottes de plants de riz. La transmission est assurée par les anciens qui connaissent les chants et la musique pour planter le riz et qui veillent à la bonne exécution du rituel. |  | ||
| Le Nachi no Dengaku, art religieux du spectacle pratiqué lors de la « fête du feu de Nachi » | Le Nachi no Dengaku est un art populaire japonais du spectacle profondément lié à Kumano Sanzan, un site sacré de Nachisanku. Il est exécuté sur une scène à l’intérieur du sanctuaire de Kumano Nachi lors de la Fête du feu de Nachi, célébrée chaque 14 juillet. C’est une composante clé de la fête qui prend la forme d’une danse rituelle exécutée au son de la flûte et des tambours dans l’espoir d’obtenir d’abondantes récoltes de riz. Le Nachi no Dengaku est exécuté par un flûtiste, quatre batteurs de tambour avec plusieurs instruments autour de la taille, quatre joueurs de binzasara, instrument à cordes, et deux autres musiciens. Huit à dix interprètes dansent sur la musique dans diverses formations. Il y a 22 répertoires d’une durée de 45 min chacun. La danse est aujourd’hui exécutée et transmise par l’Association pour la préservation du Nachi Dengaku, composée de résidents locaux de Nachisanku. Le Nachi no Dengaku se transmet dans un contexte de croyance en Kumano Sanzan et son sanctuaire. La population locale et les transmetteurs respectent et vénèrent le sanctuaire comme une source de réconfort mental et spirituel. | | ||
| Le washoku, traditions culinaires des Japonais, en particulier pour fêter le Nouvel An | Le washoku est une pratique sociale basée sur un ensemble de savoir-faire, de connaissances, de pratiques et de traditions liés à la production, au traitement, à la préparation et à la consommation d’aliments. Il est associé à un principe fondamental de respect de la nature étroitement lié à l’utilisation durable des ressources naturelles. Les connaissances de base ainsi que les caractéristiques sociales et culturelles associées au washoku sont généralement visibles lors des fêtes du Nouvel An. Les Japonais préparent divers mets pour accueillir les divinités de la nouvelle année : ils confectionnent des gâteaux de riz et préparent des plats spéciaux joliment décorés, à base d’ingrédients frais ayant chacun une signification symbolique. Ces plats sont servis dans une vaisselle spéciale et partagés par les membres de la famille ou de la communauté. Cette pratique favorise la consommation d’ingrédients d’origine naturelle et de production locale tels que le riz, le poisson, les légumes et des plantes sauvages comestibles. Les connaissances de base et les savoir-faire associés au washoku, comme le bon assaisonnement des plats cuisinés à la maison, se transmettent au sein du foyer lors du partage des repas. Les associations locales, les enseignants et les professeurs de cuisine jouent également un rôle dans la transmission des connaissances et du savoir-faire, par le biais de l’éducation formelle et non formelle ou par la pratique. | .jpg/150px-Tempura,_sashimi,_pickles,_ris_og_misosuppe_(6289116752).jpg) | ||
| Le washi, savoir-faire du papier artisanal traditionnel japonais | Le savoir-faire traditionnel de la fabrication du papier artisanal, ou washi, est pratiqué dans trois communautés du Japon : le quartier de Misumi-cho dans la ville de Hamada, located in the préfecture de Shimane, the city of Mino in the Gifu prefecture, et la ville d’Ogawa/le village de Higashi-chichibu dans la préfecture de Saitama. Ce papier est fabriqué à partir des fibres du mûrier à papier, qui sont trempées dans de l’eau claire de rivière, épaissies, puis filtrées à l’aide d’un tamis en bambou. Le papier washi est utilisé non seulement pour la correspondance et la fabrication de livres, mais aussi pour réaliser des aménagements intérieurs tels que des panneaux shoji en papier, des cloisons de séparation et des portes coulissantes. La plupart des habitants des trois communautés jouent différents rôles dans le maintien de la viabilité de ce savoir-faire, allant de la culture du mûrier à l’enseignement des techniques, en passant par la création de nouveaux produits et la promotion du washi à l’échelle nationale et internationale. La transmission de la fabrication du papier washi se fait à trois niveaux : dans les familles d’artisans du washi, dans les associations de préservation et dans les municipalités locales. Les familles et leurs employés travaillent et se forment sous la direction de maîtres du washi, qui ont hérité les techniques de leurs parents. Tous les habitants de ces communautés sont fiers de leur tradition de fabrication du papier washi et la considèrent comme le symbole de leur identité culturelle. Le washi favorise également la cohésion sociale, du fait que les communautés se composent de personnes ayant une implication directe ou un lien étroit avec cette pratique. | |
Register of Best Safeguarding Practices
Le japon n'a pas de pratique inscrite au registre des meilleures pratiques de sauvegarde.
Emergency backup list
Le japon n'a pas de pratique inscrite sur la liste de sauvegarde d'urgence.
