johnliddlephotography

Peace Park Memorials (Hiroshima)

August 25, 2014 by johnliddlephotography 5 Comments

Take away the Dome Building from the background of pic 1 and the scene could resemble that found in many municipal parks around the world. However, Hiroshima’s Peace Park is no ordinary park, of which the Dome Building is the focal point and one of many memorials within the Peace Park.

Walking in the park

Four years to the day after the bomb was dropped, the decision was taken to devote the area to peace memorial facilities – a major change from the area’s previous role as Hiroshima’s political and commercial centre. Construction of the park took place between 1950 to 1964 and for those interested in early footage of this period, I again refer you to the classic French movie titled “Hiroshima Mon Amour”.

This post shares images of some memorials and their significance, though I must qualify this by saying that their significance is most strongly felt on site.

The Cenotaph for the A-Bomb Victims (pics 2 and 3) straddles a direct line of sight between the Dome Building and the Peace Museum. Below the arched tomb is a stone chest with a register of the names (more than 200,000) of those who perished in the initial blast or through subsequent exposure to radiation. At the centre of pic 3, one can see the Peace Flame, which has burned continuously since it was first lit in 1964. The Flame stands as a perpetual beacon for peace and will only be extinguished when all nuclear weapons are destroyed. Sadly, one must wonder if that will ever happen.

Cenotaph – pic 1

Cenotaph – pic 2

To the east of the Cenotaph lies the Hiroshima National Peace Memorial Hall, a beautiful yet sobering remembrance to the atomic bomb victims. On the roof of the mostly underground memorial (pic 4), one will observe the clock frozen at 8.15am to mark the time the bomb exploded and the cascading water, symbolic of survivors’ craving to quench their thirst.

National Peace Memorial Hall

Below ground the central feature is the Hall of Remembrance (pics 5 and 6), which features a 360-degree panorama of the destruction following the blast. To create the panorama, a total of 140,000 tiles were used to represent the estimated number of people who died from the bomb by the end of 1945. The depiction of individual victims through their photos on a bank of frequently refreshing screens (pic 7) communicates the personal cost of the tragedy and serves to remind us how many families must have been impacted directly or indirectly.

Hall of Remembrance – pic 1

Hall of Remembrance – pic 2

Hall of Remembrance – pic 3

A particularly poignant memorial is the Children’s Peace Monument to commemorate the children who died as a result of the bombing. Pics 8 to 10 show a group of students paying tribute in a ceremony that ended with laying a bouquet of folded paper cranes at the base of the memorial. (I would have shared the moment photographically had an overly zealous teacher not blocked my view.)

The statue atop the monument shows a girl with outstretched arms, above which is the representation of a folded paper crane. This depiction was inspired by the true story of Sadako Sasaki, a young girl who had appeared to survive the blast only to succumb to a radiation related illness some years later. Sadako’s belief that by folding 1000 paper cranes she would be saved was sadly not enough to save her. However, her story lives on through the adoption of paper cranes (pic 11) as a symbol of peace. In fact, it is estimated that more than 10 million paper cranes per year are sent to Hiroshima, mostly from children around the world.

Children’s Peace Monument – pic 1

Children’s Peace Monument – pic 2

Children’s Peace Monument – pic 3

Inspired by Sadako

As one would expect, not all victims could be identified and the grassy Memorial Mound (pics 12 and 13) contains the ashes of an estimated 70,000 unidentified victims. Similarly, the number of Korean nationals who perished is uncertain and the Cenotaph for Korean Victims (pic 14) was created to honour victims and survivors from the bombing and from Japanese colonialism. An inscription on the statue reads “Souls of the dead ride to heaven on the backs of turtles”.

Memorial Mound – pic 1

Memorial Mound – pic 2

Monument to Korean Victims

Two statues of very contrasting styles encapsulate the message of the Peace Park. The first is the “A-bomb Victim – the Monument of Hiroshima” (pic 15) located 141 metres south of the hypocentre by the bank of the Motoyasu River. The bronze sculpture remembers those victims who were killed instantly by the blast and serves as a graphic reminder of their horrific end. Although the sentiment behind the sculpture is positive, the twisted, distorted representation of the victim remains confronting. Further along the river, close to the Dome Building, one finds the statue of a girl and boy with the boy holding a dove (pic 16), which communicates hope for a peaceful future. These two contrasting sculptures that show the horror, yet advocate for peace is very much the message of the Peace Park.

Monument to A-bomb Victim

To a Peaceful Future

In conclusion, I would like to remember the resonant sound of visitors ringing the Peace Bell (pics 17 and 18) located near the Children’s Peace Monument. This is perhaps the most pleasing sound one hears in the Peace Park. The Bell, donated by the Greek Embassy, is inscribed in Greek, Japanese and Sanskrit characters, which translate to “Know yourself”. I rang the bell only once during my final visit as a mark of respect and to bid farewell to Hiroshima. Whilst I cannot speak for others, I found the experience of ringing the bell as akin to that of making a commitment to support the message of the Peace Park.

The Peace Bell

Ringing the Peace Bell

(Please click on any of the images for an enlarged view.)

August 15, 2014
by johnliddlephotography 1 Comment

Hiroshima Peace Museum

In my last post I described Hiroshima’s Dome Building as the most enduring symbol of the catastrophic events of August 6, 1945 when an atomic bomb was exploded over Hiroshima. Today, looking across the Motoyasu River from the Dome Building, the wasteland has been regenerated in the form of the magnificent Peace Park, at the end of which and in a direct line of sight to the Dome Building lies the Hiroshima Peace Museum (pic 1).

Peace Museum approach

For those readers who would like to see vision of the Peace Museum soon after its opening, I suggest watching a classic French movie titled “Hiroshima Mon Amour”. As the title implies, the movie is set in post-war Hiroshima and the opening scenes contain some interesting footage, including a walk through the Peace Museum and some early footage of the Peace Park during development.

A visit to Hiroshima is incomplete without visiting the Peace Museum and my advice would be to allow more time than you may expect. Given the historic event it exists to portray, the Museum is confronting in the way it provides an accurate and objective account of the events of August 6 1945 and thereafter. In fact, the objectivity and lack of rancor in the presentation of the story is commendable and refreshing. The horror and atrocity is, of course, recognised and discussed, but most importantly the emphasis shifts to the need to learn from what happened and ensure that history is not repeated. It is a museum that should not be rushed and can be visited more than once.

Today’s photographs are mostly shots of Museum exhibits, including a number of archival photographs on display in the Museum. The pictures tell the story. The model at pic 2 shows the hypocentre of the blast as the red pole just to the right of the Dome Building where, it is estimated, the temperature would have approximated 4000 degrees Celsius. One can also note the intersection of the two bridges to the left of the Dome Building forming the T that was the target point for the Enola Gay’s bombardier.

One minute following the explosion, the mushroom cloud photograph (pic 3) was taken by Russell E Gackenbach; a crewman on the Necessary Evil, which accompanied the Enola Gay. It was reported by Russell Gackenbach that the crew’s return journey was made in silence after witnessing the event.

Whilst there is no need for further description of the pain and suffering depicted by pics 5 and 6, the obvious tenderness of the Red Cross nurse and the gratitude of her patient at pic 7 is a heartwarming image of the human spirit.

The series of shots (pics 10 to 16) titled Memories of the day give an insight into the minds of survivors and are particularly compelling when one considers the drawings and paintings were made decades later. One hopes the process of graphically sharing their recollections provided some level of comfort to the contributors, yet their clarity of memory is a frightening reminder of the lasting effects of traumatic events.

On a more positive note, pic 17 shows a 1956 photograph of Japanese students seeking support for the establishment of a Children’s Peace Monument. Their efforts were successful and photographs of the monument will be shown in my next post.

An ongoing role of the Peace Museum is to monitor nuclear testing internationally and via the Peace Watch Tower (pic 18) located in the Museum foyer, to display the number of days since the atomic bombing of Hiroshima and the number of days since the last nuclear test. At the time of posting this blog (August 15, 2014), the current figures are 24,923 days and 49 days respectively.

I strongly recommend anyone visiting Hiroshima to spend time visiting the Peace Museum and the other memorials within the Peace Park. Although the history is dark and sombre, its purpose is to advocate for an end to nuclear arms and a brighter, less oppressive future for all. I have never before written a comment in a Visitors Book. However, during my first visit, I commented to the effect that all newly elected politicians should spend a few days there before taking office, in the hope that they may better understand the futility of war. Perhaps the hope is futile, but who knows!

(Please click on any of the following images for an enlarged view.)

Blast Hypocentre – museum model

One minute later

Once a child’s bike

Pain & suffering – pic 1

Pain & suffering – pic 2

Helping the hurt

Evacuating survivors

Grieving

Memories of the day – pic 1

Memories of the day – pic 2

Memories of the day – pic 3

Memories of the day – pic 4

Memories of the day – pic 5

Memories of the day – pic 6

Memories of the day – pic 7

Children taking a stand

Peace %22Watch%22 Tower

Leaving the Museum

August 7, 2014
by johnliddlephotography 5 Comments

Time and Place (Hiroshima)

Please take a few moments to dwell on the first photograph, rather than dismiss it as merely a bland image of another Japanese street, free of litter and showing people going about their business in an orderly manner. View it as a photograph of time and place – two variables that have such a defining influence on our lives. Where would you rather be: the right place at the right time or the wrong place at the wrong time?

The T intersection

Everyone in the photograph was safe in that place and time. However, at the same place at 8.15am on August 6, 1945 the cyclist at the centre of the pedestrian crossing would have been the target for the bombardier on the Enola Gay, the US bomber assigned to drop an atomic bomb over the city of Hiroshima. A moment that changed the world forever!

The target point was the T-intersection more clearly shown in the archival photograph at pic 2, in which, coincidentally, a cyclist is at almost the same position. Today the two bridges forming the T look much the same and it is easy to forget the historical significance of the place. However, we should not forget how significantly life changed in a blinding flash, a memory poignantly captured by a survivor’s words reproduced at pic 3. From the archival images at pics 4 and 5, one can gain a sense of the destruction, as well as identify the most enduring symbol of the event – the Dome Building.

I was unprepared for my first visit to Hiroshima and the range of emotions one encounters by spending time in the proximity of the Dome Building. Despite having seen images and documentary footage and having a general understanding of the history, it was nevertheless a surreal feeling to be standing at the site of such a horrific event.

Although one tries to imagine what it would have been like, this is, of course, impossible. Some things are beyond imagination. The overpowering feeling was that of sorrow and if one is honest, a feeling of guilt by association of being a national from an allied nation. This took me by surprise. History positions the bombing as a necessary evil within the overall context of an even more horrific war, an argument that can be grasped intellectually. However, when standing at the scene, humanism outweighs intellectualism.

Almost seventy years later, the Dome Building (pics 6 to 16) stands as a reminder, but not the only reminder. Hiroshima continues to wear the scars in less obvious ways. The resilience of the people is commendable in the way they overcame the trauma to rebuild their city and their lives and the smiles of Hiroshima residents are the most genuine one will encounter. Nevertheless, the city presents differently to other Japanese cities.

Hiroshima is playing catch-up. One does not see the obvious lifestyle signs that one sees in (say) Tokyo and Osaka; one does not see as many glitzy high-rise developments; and even in the general demeanor of everyday life, one detects a more serious approach to life – as if the mission is unfinished. In a subsequent and longer visit to Hiroshima, I became more aware of signs that the city is poised to burst free and flower again. The mission is unfinished and below the surface bubbles a subdued excitement.

We must not forget Hiroshima. What happened there and at Nagasaki must never happen again and I firmly believe that awareness is the key to success. August 6, 1945 was a shocking start to the story, yet the real story is how the negative became a positive through people helping people and Japan becoming a strong advocate for peace and for the abolition of nuclear weapons.

Thank you for reading this far and if the subject is of interest, there is a considerable volume of information available online and in libraries around the world. I will be staying with Hiroshima for two or three more posts and I hope you will continue to show an interest. I read somewhere a criticism that Hiroshima was just emotional tourism (or words to that effect). Well, what is wrong with that? It does not hurt us to have our senses awakened to think about important issues. Maybe history keeps repeating because we forget. Let’s not forget this time.

(Please click on any of the following images for an enlarged view.)

Before the bomb

A memory

After the bomb – pic 1

After the bomb – pic 2

Dome Building – pic 1

Dome Building – pic 2

Dome Building – pic 3

Dome Building – pic 4

Dome Building – pic 5

Dome Building – pic 6

Dome Building – pic 7

Dome Building – pic 8

Dome Building – pic 9

Life returns – pic 1

Life returns – pic 2

August 2, 2014
by johnliddlephotography 2 Comments

Harajuku Lebels

In my last post we took a stroll through Harajuku and today we visit the Harajuku Lebels at play.

Last time the stroll started by exiting Harajuku Station and walking straight ahead and down Takeshita Street. Today we turn right after exiting the station and head up the hill towards Yoyogi Park, another of the expansive green spaces one finds within the Tokyo metropolis and an extremely popular venue at weekends for people of all ages.

Near the park entry one finds the Harajuku Lebels, who have staked out their play, or should I say performance space for the day. The Lebels are a group of Rockabillies who put on their own rock and roll dancing show to the sounds of old Elvis and other rock classics. I don’t know what they do during the week, though a Japanese person in the crowd told me they are mostly Salarymen who don their Lebels gear at weekends and transform into their 1960’s personas.

They attract a crowd; yet don’t appear to play to the crowd. In fact, they appear to be totally enclosed in their own little magic circle that becomes their world for a few hours at a time. They dance with each other and for each other. Moves are taught and practiced and the camaraderie within the group is evident. Performances have an impromptu, almost jazz like feel to them. Dancers doing a solo routine will be joined by others, from which choreography equivalent to session musicians jamming will emerge.

Black is the preferred colour, most aptly captured at pic 2 where the young woman’s long black hair complements the black on black look perfectly. However, black is not compulsory, as one can see from several photos featuring the tattooed dancer in blue jeans, who seemed to be, if not the leader, the dominant player within the group. As in all areas of life, dominance Invites challenge and in this case, the dancer featured in pics 3 and 4, who, to my inexpert eye, was the best dancer of the day, gave the impression of staking his claim in a friendly way.

Dancing is hot work and the group worked their way steadily through a lot of beer in their own unique style. Beers were distributed by one dancer opening a can and throwing it in a high arc to another dancer who, except for one mishap, would expertly catch the can and quench their thirst. As you may imagine a lot of beer was spilt in the process.

I couldn’t help noticing a couple of other things. Firstly, several of the dancers had wallets or other items in their back pockets (as in pic 13). This is not an unusual sight in Japan, whereas in most places it would be akin to an invitation to be robbed. Secondly, the dancers were doing it purely for their personal enjoyment and nowhere around their magical circle was there hats or tins to collect donations from spectators. Even watching a group of Rockabillies contains cultural messages.

Apart from references already made to some photographs, the selections speak for themselves – a group of friends having fun doing what they enjoy and entertaining others in the process. Sounds like a win/win.

(Please click on any of the following images for an enlarged view.)

Waiting in the wings

Lady in Black

Rocker 1 – pic 1

Rocker 1 – pic 2

Rocker 2 – pic 1

Rocker 2 – pic 2

Choreography advice – not

Watch me strut

Splits attempt – pic 1

Splits attempt – pic 2

Playing air guitar

Dancing shoes

Taking a break – pic 1

Taking a break – pic 2

Taking a break – pic 3

Big Finale – pic 1

Big Finale – pic 2

Big Finale – pic 3

Big Finale – pic 4

Fans

July 19, 2014
by johnliddlephotography 2 Comments

Harajuku

I first heard of Harajuku long before I visited Japan through the term Harajuku girls. The term is used to describe those (predominantly teenage girls) who enjoy dressing in theatrical costumes to take on the aura of real or fictional characters.

In the past Harajuku was a gathering point for this genre, particularly at weekends and although they are still to be seen, it would seem the popularity of garish dressing is on the decline. The area’s popularity inevitably attracted the attention of large international chain stores, which now compete with the edgier independent fashion stores for the patronage of the fashion and trend-conscious youth market. Nevertheless, Harajuku remains very much a youth oriented area and a major hub for youth culture and fashion.

Geographically, Harajuku is a relatively small area roughly covering the area between Harajuku Station and Omotesando, a more up-market area where one can find many high-end luxury brands. At this point, I should acknowledge that those who know Tokyo well would recognise that some of the photographs in this post are within Omotesando. However, geographic boundaries are often blurry and they are included as being more Harajuku in style.

Most people travel there by train and the first view is from the station platform (pic 1) looking directly down Takeshita Street, the must-see inclusion in any visit to Harajuku. Exiting the station, follow the pedestrian crossing (pics 2 & 3) directly to Takeshita Street, which is really more of a laneway with shops (pics 4 to 6) on either side. Be prepared for a crowd if visiting on a weekend (pic 7), though during the week there is more room to move (pics 8 & 9).

It’s a good place for people watching and one encounters interesting casts of characters such as those in pic 8. There is the Salaryman in his business suit seemingly interested in nothing but his mobile phone; the young attractive woman presumably wanting to be noticed and the young guy on the left who maybe doesn’t want to be noticed. This assortment of characters is typical of Tokyo where, no matter what an area’s dominant demographic might be; one invariably finds a cross-section of people from different walks of life, including those with interesting pets (pic 11).

The area also has entertaining buildings worth a second look. We often hear that land is scarce in Tokyo and perhaps one should not be too surprised to find a three-level café built from (or at least inspired by) shipping containers (pics 12 & 13).

Another standout building is The Watari Museum of Contemporary Art (pics 14 & 15), one of Tokyo’s leading contemporary art galleries. I recall turning my head when I first drove past in a taxi upon my arrival and immediately made a mental note to find the place again. As well as attracting attention to the Museum, one must applaud their promotion of art in this way. If one is wondering what the faces are looking at, the answer is on the other side of the street (pic 16). By the way, pics 16 to 18 are what I meant by Harajuku style in Omotesando.

To conclude this little walk through Harajuku I could not resist snapping the photographer on an overpass setting up his large frame camera (pic 19). What was he photographing? The Sunday afternoon crowds outside Harajuku Station of course (pic 20).

(Please click on any of the following images for an enlarged view.)

Takeshita Street from Station Platform

Harajuku Station Crossing – pic 1

Harajuku Station Crossing – pic 2

Takeshita Street Shops – pic 1

Takeshita Street Shops – pic 2

Takeshita Street Shops – pic 3

Takeshita Street on a Sunday afternoon

Takeshita Street on a weekday – pic 1

Takeshita Street on a weekday – pic 2

People passing by

A Pet’s day out

3 level container cafe – pic 1

3 level container cafe – pic 2

Watari Museum – pic 1

Watari Museum – pic 2

Looking back at Watari

Simple shapes & colours

Place of rest

Capturing the shot

Sunday afternoon outside Harajuku Station

July 12, 2014
by johnliddlephotography 2 Comments

Ginza (part 2)

In part 2 of my post on Ginza I’d like to show there is more to Ginza than beautifully presented stores selling up-market products. Where better to start than with a Ginza institution, Meida-Ya (pics 1 and 2).

Meida-Ya is an up-market grocery store (established in 1885) whose headquarters and flagship store is located in Ginza. Operating under the motto of “The Highest Quality for Everyone Everytime”, the business now operates a network of 12 stores across the Tokyo metropolis and 14 stores elsewhere in Japan, as well as two international stores in Amsterdam and Singapore. A visit to their Ginza store will show adherence to their motto, not to mention the temptation to try some of the goodies on offer.

Despite the dominating impact of the big name brands, there is still room for independent operators to cater to those shoppers looking for individuality and quirkiness. I was quite taken by the two shops shown at pic 3, one catering for a young contemporary market and the other specializing in kimono – the most traditional of Japanese clothing. The birdcage and the coolest umbrella stand (made from a converted violin) (pic 4) draw attention to the store and add further to its individuality.

Those wishing to preserve their credit cards can also find more reasonably priced goods by exploring the quieter side and backstreets, as shown by the small footwear store at pics 5 and 6.

Art galleries are quite numerous in the Ginza area and art lovers could easily spend an interesting day wandering the streets and enjoying the exhibitions on offer. What one finds is naturally dependent on the exhibitions at any given time, though one is likely to find work ranging from jovial Buddhas (pic 8) to antiquities (pic 9). One may even come across some mobile installation art, such as Ugueno (pic 7) parked curbside. I am unsure what the work represents, but I believe it may be an alternative and highly contrasting form of flower arrangement. Whatever the message, it was noticed on the streets of Ginza.

Ginza’s shops and offices support a large workforce, thus creating a demand for bars and restaurants where workers may relax and unwind. Pics 12 to 18 show a sample of the bars and eateries, many of which can be found in Ginza’s quieter streets and laneways.

Walking around Japanese streets, one cannot help but notice the distinctive manhole covers. Rather than cheap, nondescript covers, one frequently comes across eye-catching, decorative covers that enhance the streetscape, such as the cover captured at pic 19. It seems to me that applying this level of attention to such a utilitarian item is yet another way to create pride in local neighbourhoods.

To prove that Ginza is not all gleam and glitter, I have chosen to end this two-part post with pic 20 – a photograph of rubbish awaiting collection. Yes, even Ginza needs to dispose of its rubbish, but as can be seen, it too is very tidy and well organised.

(Please click on any of the following images for an enlarged view.)

Meida-Ya at Ginza – pic 1

Meida-Ya at Ginza – pic 2

Ginza contemporary & traditional

Cool umbrella stand

More affordable footwear

Non designer label shoes

Ugueno

Ginza Galleries – Jovial Buddha

Ginza Galleries – Antiquity

Ginza Galleries – exhibition promotion

Popular transportation mode

After work drinks

Laneway Bar at Ginza

Shark Bar entry

Ginza Eateries – pic 1

Ginza Eateries – pic 2

Ginza Eateries – pic 3

Ginza Eateries – pic 4

Chuo City Manhole Cover

Even Ginza has rubbish

July 5, 2014
by johnliddlephotography 2 Comments

Ginza (part 1)

The young woman (pic 1) exiting Ginza Station is about to emerge at the famous Ginza Crossing, the heart of Ginza and probably the most expensive real estate in Tokyo.

In English, Ginza translates to silver mint and was indeed the location for a silver-coin mint built in 1612. At that time the area was vastly different from today with its traditional wooden buildings and narrow streets. Two events impacted significantly on its transformation, namely the enlightenment of the Meiji Restoration period and the great fire of 1872. Decisions to adopt brick and stone as building materials and the widening of Chuo-dori from 15 to 27 metres, thus created Tokyo’s first boulevard and provided the foundation for the nation’s entrepreneurs to create the Ginza we know today.

Ginza Crossing or, to be more correct, the Ginza 4-chome intersection, is the area’s hub. On one corner is the San-ai building (pics 2 and 3), a tubular glass building housing a variety of businesses, as well as prominent advertising signage. Le Café Doutor occupies the first two levels, with the upper level being an excellent vantage point for people watching over coffee. Unfortunately, the best seats are in the smoking area, so I have not had the pleasure of lingering there to enjoy the view.

The WAKO Department Store with its famous Seiko clock atop the building dominates another corner. This is perhaps the most recognised of the Crossing’s corners (pics 4 and 5) and WAKO has enjoyed loyal patronage since its inception in 1868.

Diagonally opposite WAKO on the third corner is the Nissan Gallery (pic 6), a somewhat unusual yet interesting space where one can peruse displays of Nissan’s latest vehicles. Nissan’s head office is also located in Ginza, thus reminding us that the area is a business centre and not just a retail and entertainment hub.

The fourth corner is occupied by the Mitsukoshi Department Store, which I understand is the oldest of Japan’s major department stores and the starting point for the Mitsui Group, which operates globally across a range of diverse industries. During my visits to Japan I formed a liking for Mitsukoshi over the other major stores and it is somewhat embarrassing not to have a photograph to round out the four corners. It’s on the list for next time.

If one was to include the word Ginza in a word association test, one suspects a frequent response would be “shopping” or similar terms. There is no question that it deserves its place among the world’s great shopping and entertainment precincts, as can be appreciated from the brand names at pics 9 to 21. This is not an exhaustive coverage, but suffices to demonstrate the esteem in which Ginza is held among the world’s top designers and popular global brands.

One of my favourite photos is pic 7, where two generations under the protective cover of their brollies pass on the sidewalk. Each group seems immersed in their own conversations, though I find it amusing that the older ladies have the more colourful brollies.

In this post I have focused on showing glimpses of the well-known Ginza and without the stores depicted here, there would be no Ginza as we popularly think of it. However, there is more than glitz and glitter to Ginza and in my next post I will share some images taken around the area’s quieter streets.

(Please click on any of the following images for an enlarged view.)

Ginza Crossing – Exit A3

Ginza Crossing – San-ai building

Ginza Crossing – San-ai building at night

Ginza Crossing – WAKO building

Ginza Crossing – WAKO building at night

Ginza Crossing – view from Nissan Gallery

Generations under brollies

Ginza – workers at end of day

Armani at Ginza

Cartier at Ginza

Chanel at Ginza – pic 1

Chanel at Ginza – pic 2

De Beers building at Ginza

Dior at Ginza

GAP at Ginza

Lanvin at Ginza

Mikimoto at Ginza

POLA building at Ginza

Swarovski at Ginza

Yamaha at Ginza

ZARA at Ginza

June 24, 2014
by johnliddlephotography 4 Comments

Geisha Blur

Blur is not a word one normally associates with geisha, yet it aptly describes my most valued sightings of geisha from dusk onwards when their focus is getting to their next appointment. This is their busy time and in an evening with several bookings, time is money and they are ladies in a hurry. Sightings can be a “where did she come from?” experience as they pass in a blur of colourful elegance, appearing to float above the pavement with their short, quick steps.

Pics 1 to 3 are examples of geisha blur, all shot in Kyoto’s Gion district. Sadly the Geiko shown in pics 1 and 2 show signs of unwanted attention and it was disappointing to witness the lack of respect shown by many people obstructing their path and popping flashes to get the souvenir shot. Nevertheless, their grace shines through. I did not travel with a flash unit and was happy to record the blur, nor did I elect to join in chasing, which is why pic 3 shows a Maiko moving away. It is unfortunate that a frontal shot was blocked, as she was the most beautiful Maiko I saw. However, there is a certain pleasure in accepting blur as the trade-off for retaining one’s dignity. (I guess a career as paparazzi is out of the question.)

To stay with this theme, one must understand that geisha are celebrities with a difference. Their celebrity is an inheritance from being the current custodians of a traditional entertainment form unique to Japan. Indeed, in my opinion, geisha represent Japan’s most recognisable icon. Unlike western celebrities who seemingly crave attention, geisha go about their business in a quieter, more refined manner. However, their time-honoured practice of walking to appointments means that they are frequently exposed to an adoring and curious public.

Much has been written about the world of geisha, yet so much remains unknown. Retaining an element of mystery and intrigue is essential, but I would like to touch on one aspect that tends to be somewhat overlooked.

A general perception of Japan is that of a male dominated society and there is much to support this perception. Yet the geisha culture challenges this perception. The world of geisha is female dominated, with men occupying specific roles such as dressing, where strength is required to perfectly arrange a geisha’s apparel. The okiya within which geisha live and train under the guidance of an Okasan (mother) is exclusively female and most importantly, the Tea Houses (ochaya) where geisha entertain have traditionally been female owned and operated. I find it fascinating that this most feminine of Japanese cultures has emerged from a male dominated society and whilst geisha do not openly associate with feminism, their achievement is significant.

Pics 5 to 7 are of a young Maiko in Kyoto during the cherry blossom season. I gained the impression that she was somewhat uncomfortable in the public spotlight and perhaps she had not yet realised her powers.

Pics 8 and 9 are of a Tokyo geisha, shot in the late afternoon on her way to a nearby ochaya. Tokyo geisha are more elusive than their Kyoto counterparts and these shots were my reward for several hours spent wandering the streets of Mukojima. It was an enjoyable time as Mukojima is one of Tokyo’s older areas and although my primary focus was to see geisha, the area is interesting in its own right. After wandering for some time, I came across an area that simply felt right and decided to hang around for a while. (Maybe there is a bit of paparazzi in me after all.) A short time later, I heard the distinctive clip clopping and jangling sounds and there she was coming in my direction. My satisfaction with the day’s shoot was heightened after speaking with some Tokyo residents who advised that many people live for years in Tokyo without ever seeing geisha. Maybe I got lucky.

The final photograph (pic 10) of the older woman in kimono was taken shortly after pics 8 and 9. The wrapped object the lady is holding is a shamisen, a stringed Japanese instrument, which she plays as accompaniment for geisha performing dances. I would have liked to know if she had once been geisha, but alas, my Japanese language skills were inadequate.

It is always a special experience when one encounters geisha, whose numbers are unfortunately declining. One hopes this decline can be arrested and their place in Japan’s traditional art forms can be forever ensured. There are traditions that should never be lost. Geisha is one such tradition.

(Please click on any of the following images for an enlarged view.)

Two Geiko in Kyoto

Pink Geiko rushing by

Blurred Beauty

Geisha Poster

Gion Maiko – pic 1

Gion Maiko – pic 2

Gion Maiko – pic 3

Tokyo Geisha – pic 1

Tokyo Geisha – pic 2

Shamisen Player

June 13, 2014
by johnliddlephotography 4 Comments

Gion

I have heard Kyoto described as “old Japan” in contrast to Tokyo being seen as “new Japan”. Like many generalisations, such descriptions may be seen as unkind and incomplete summations of each city given that each sits comfortably in the 21^st century and embrace, in that very Japanese way, the old and the new. Nevertheless, differences in the relative emphasis assigned by each city to the old and the new tends to support these broad classifications, as is supported by the preponderance of world heritage sites in and around Kyoto.

Through previous posts I have shown several of Kyoto’s world heritage listed sites and will show more in future posts. Today, however, I wish to focus on the area that has been Kyoto’s gathering place through the centuries and continues to be so today. The place I am talking about is, of course, Gion.

Its history is too deep to cover in this brief discussion and I will leave readers to pursue their own enquiries, preferring instead to talk of my own experiences.

My first morning in Kyoto was spent in Gion and perhaps it was the chance meeting with a Geiko (Kyoto term for geisha) that cast its spell over me. From then, the place was like a magnet and it seemed that at some point of each day I would find myself somewhere in Gion. This was not always planned, but Kyoto is a great city to explore on foot and many paths lead to and/or from Gion.

In its heyday Gion was a maze of narrow streets filled with traditional wooden buildings and home to many thousands of geisha. If time travel were a reality it would be at the top of my time travel bucket list. Times do, of course, change and with tourism comes commercialisation. However, old Gion remains. The streets and alleys are still narrow and if one can ignore the modern additions such as power lines, a sense of the old maze and its charm can be felt. It is not a place to visit with a guidebook and a list of sights to see. It is a place in which to wander, get lost and keep wandering until you find your way.

The selected photographs attempt to show old and new Gion, though I openly admit they do not do justice to the place. The tea-houses by the canal (pic 1) attract an up-market clientele where geisha entertain. In fact, pic 2 shows a Geiko and Maiko (apprentice geisha) on their way to the tea-house in the foreground of pic 1. One can only wonder how many Geiko/Maiko have and will continue to walk this street. For me, pic 2 is a reminder of a lost opportunity. I was lost in concentration setting-up another shot with the camera mounted on a tripod when I became aware of movement behind me. On turning around I was greeted by the graciously smiling white painted faces of a Geiko and her Maiko sister en route to their appointment. There was only time to settle for exchanged greetings as they passed, hence the shot of them walking away.

Pics 3 to 5 show other examples of the warm, welcoming atmosphere created by the elements of old wooden buildings, cobbled streets, trees and water. To round off the older style images, pic 6 shows the Minamiza Kabuki Theatre, Kyoto’s premier kabuki theatre located in an always bustling section of Gion.

As mentioned earlier, Gion is a major tourist attraction and pics 7 and 8 give some indication of its popularity. Pic 9 shows the same street with fewer people, but what is interesting is how the young Maiko is the focus of attention. Although the kimono worn by regular Japanese women do not match the finery worn by geisha, one does see more kimono worn around Gion than elsewhere in Japan (at least in my experience). Typical examples are those of the kimono clad women in pic 11 enjoying a stroll through one of Gion’s many winding laneways and the young women (pic 12) disappearing into an alley, framed again by those typically Japanese building elements of paved stone and wood.

For those readers who have visited Gion I hope these images may spark some pleasant memories and for those who have not visited in person, I hope this little glimpse may spark some interest.

(Please click on any of the following images for an enlarged view.)

Tea Houses by Canal

Geisha on way to appointment

Welcoming Light

Delightful Footpath

A beckoning courtyard

Minamiza Kabuki Theatre

Gion Streets – pic 1

Gion Streets – pic 2

Gion Streets – pic 3

Gion Streets – pic 4

Kimono clad strollers

Young women in kimono

Gion home – pic 1

Pathway steps

Products of a fertile mind

Gion roofscape

June 3, 2014
by johnliddlephotography 6 Comments

Shinto Weddings

The best pleasures are those of the unexpected variety, such as I experienced on a visit to Kamakura’s Tsurugaoka Hachimangu Shrine. One is always drawn to a crowd and in this instance, a crowd had gathered around the Maiden (an open sided stage or pavilion) in front of the stairway leading to the main hall. Drawing closer it became apparent that, purely by luck, I was about to witness my first Shinto wedding ceremony.

As with western-style ceremonies the centre of attraction is the bride, as one will surely appreciate from the accompanying photographs. The ceremony itself is symbolic and does not legally confer marriage. This takes place previously via a civil ceremony in accordance with Japanese law.

Happening across the Kamakura wedding conducted in public was most fortunate, as most Shinto wedding ceremonies are conducted within the private areas of shrines, thus the public can only view the participants before and after. Nevertheless, it is a sight I would never tire of and I could quite happily spend my weekends photographing Shinto weddings. (Bookings will be gratefully accepted haha.)

As with many things Japanese, the ceremony and the costumes communicate a link to past traditions – a link further emphasised by the historic significance of the shrines within which the weddings take place. The locations for these photographs, the Hachimangu Shrine at Kamakura and Tokyo’s Meiji Jingu, are each steeped in history and are highly significant sites in their own right.

The brides wear exclusively white garments – a colour associated with purity in Japan, with the only exception appearing to be adornments worn in their hair. In ages past, I understand that brides would paint their faces and arms white, as do geisha, though this practice is no longer followed. The bridal kimono is intricately embroidered in patterns of the bride’s choosing, though the patterns do seem to draw heavily on symbols from nature. Perhaps the most striking part of the costume is the wataboshi, the large oval shaped hood intended to conceal the bride’s face to everyone except the groom. Whilst I don’t think it succeeds in this respect, the wataboshi is undoubtedly elegant and adds an air of mystery. For viewers who may be wondering, of the five brides shown in the photographs, four were wearing wigs.

I will now allow the pictures to tell the story. Pics 1 to 5 are shots from the Kamakura wedding and pics 6 to 17 were taken on a rather wet and cold afternoon at Tokyo’s Meiji Jingu, where a number of weddings were taking place.

Of the four brides photographed at Meiji Jingu, it was interesting to observe their different personalities. The first bride (pic 6) was ebullient and radiated happiness and joy. The second bride (pics 7 to 9) was simply a picture of elegance, whom one could happily photograph all day long. (For the photographically minded, I acknowledge that pic 9 is greatly over-exposed, but I like it anyway. It was unintentional and my best guess is that my shutter fired at exactly the same time as the official photographer’s flash.) The third bride (pics 10 to 12) looked so nervous at the conclusion of the ceremony. However, some calming words from her attendant and fine-tuning of her kimono soon transformed her into a radiant bride. Finally, the fourth bride (pics 13 to 17) epitomised grace at all times.

I hope this post gives at least a little glimpse into another of Japan’s links with tradition.

(Please click on any of the following images for an enlarged view.)