Today is Monday, and I am back in Boston. Everything is so familiar, yet, somewhat surreal.
I left my apartment in partial disarray, just boxing things up, cleaning, preparing for sublet. I've lived here too many years. But now that I'm back, so many of the objects I surrounded myself with, have lost parts of their meaning. It feels like I'm surrounded by excess baggage and I have a lot to do.
Other than that, I am glad to be home. Money was an issue while I was away, and by the end of my month traveling, I could not shake the feeling of being homeless. From boarding the plane in Japan, to carrying my bags up the steps into my apartment, 30 hours passed. Add to that the night spent in beforehand in KIX airport, and it was a long, long, trip.
But I'm back now, and feel myself wanting to move forward, to change, to do better. Japan was an experience. In some ways it showed me my strengths, in others highlighted my weaknesses. I would change many things if I could do it again, but those thoughts are of no use, yet. Right now, I move forward, and with my classes starting again this Thursday, it's time to jump right in.
I will be completing this Blog as I find the time, more photos, finished words, back-dated to become a daily record of my time in Japan. I will post recent entries to the left.
1.9.08
6.8.08
Rotembro
I had wanted to sleep in, but my tent was sweltering from the morning sun. So I got up, packed up, then walked down the road a bit to an onsen/hotel I had seen the night before. Very simple, just the single, big bath with a wide sliding door looking out over the lake, but felt nice on my sore legs, and it was neat as it was the first onsen I had been to with natural river stone below my feet.
Found a bus from there, had ramen at a transfer point, and later that day I was at Wakoto-Hantou, a really nice beach-side campsite with free rotembro nearby. Rotembro is open-air bath, and this was was pretty bare bones. The water smelled of sulfer, and there was moss on the rocks. Also, not for the shy as it was right by the beach area with children playing, and mixed-sex bathing.
The lake was great, with the sunset and very calm、
Found a bus from there, had ramen at a transfer point, and later that day I was at Wakoto-Hantou, a really nice beach-side campsite with free rotembro nearby. Rotembro is open-air bath, and this was was pretty bare bones. The water smelled of sulfer, and there was moss on the rocks. Also, not for the shy as it was right by the beach area with children playing, and mixed-sex bathing.
The lake was great, with the sunset and very calm、
5.8.08
Travel day
Travel day. I was on the train for about 14 hours. This is from my discount tickets, I`m only allowed to take local trains, and Akan National Park is very far east Hokkaido. Lots of sleeping and reading, finished a whole book, The Life & Times of Michael K., by J.M. Coetzee. It was given to me, worth a read.
Arrived at Kawayu Onsen station where I got off. Apparently the stop beforehand was more of a transportation hub, so there was nobody at all around and no buses to the campsite I wanted to get to. So I started walking.
It was farther than I thought, passed Mt. Iou in the dark, knew this because it`s a small, active volcano, I could see the silohuette in the sky, but could more smell all the sulfer and rotten eggs on the wind. I kept walking and saw a car stopped ahead of me. As I got closer a Japanese man was there telling me I should get a ride. His english was good, as was that of his wife, turns out he does some kind of lectures and helps proofread translations. They gave me a ride to the nearest campsite, telling me the campsite I had wanted to get to was far away.
I said goodbyes and walked around the campsite looking for a place to pitch my tent, when I heard `Mr. Crayton!` being called in the distance. My ride had come looking for me to give me a pair of bannanas and wish me well for a second time.
Later, I walked into town, most everything was closed, but I did soak my feet in one of the many free foot-baths scattered around.
Arrived at Kawayu Onsen station where I got off. Apparently the stop beforehand was more of a transportation hub, so there was nobody at all around and no buses to the campsite I wanted to get to. So I started walking.
It was farther than I thought, passed Mt. Iou in the dark, knew this because it`s a small, active volcano, I could see the silohuette in the sky, but could more smell all the sulfer and rotten eggs on the wind. I kept walking and saw a car stopped ahead of me. As I got closer a Japanese man was there telling me I should get a ride. His english was good, as was that of his wife, turns out he does some kind of lectures and helps proofread translations. They gave me a ride to the nearest campsite, telling me the campsite I had wanted to get to was far away.
I said goodbyes and walked around the campsite looking for a place to pitch my tent, when I heard `Mr. Crayton!` being called in the distance. My ride had come looking for me to give me a pair of bannanas and wish me well for a second time.
Later, I walked into town, most everything was closed, but I did soak my feet in one of the many free foot-baths scattered around.
4.8.08
Yotei-zan to Sapporo
3:15am came much to early. Actually, 3:15am is ALWAYS early. At home I'm even just getting to bed then! But there was lots of noise above me and I got up and ready. Slower than the Japanese, and they were ahead of me on the trail, but when I stepped out into the pre-dawn, it was all worth it. I looked down at the top of the clouds. I could see far, far over the horizon. It was spectacular, and only got better as I turned to follow the trail towards the sunrise. At first it was fairly steady, then it was all up hill again between trees and bushes, over rocks and roots. But I had no trouble, and all around me I was alone on top of the world. Mist would blow past me, so thick and sudden like it had physical form. The light slowly changed, and as I came over the ridge, I was looking down into a giant crater. I followed the trail still higher, saw red light above me, and as I came over the crest I was bathed in sunlight. The sunrise itself was ordinary, but what it did to everything around was amazing. Looking behind me, I could see the sharp, distinctive shadow of the mountain spread out below me, and still, we were on the top of the world.
I said hello the the Japanese hikers, they were curious what I was doing there, I explained how I was travelling around in August and Yotei-san was close to Otaru, then I headed down slope to do part of the crater curcuit. When I arrived at the other side, the clouds there were even thicker, and the wind even harsher. I took my pictures then headed towards the same trail down. It was just the same as going up, abusive and unrelenting. But I stopped and rested, had lots of time that day with such an early start, passed hikers coming up, always with a friendly konnichiwa. I had not brought enough food with me, and ate a lot of my high-energy snacks on the way up, so I was pretty exhausted. I had to be extra careful not to make mistakes, but still, I was so worn out by the end, that the only time I slipped in the mud and fell on my pack was on the last stretch of almost flat trail.
Back at camp, most of the botany training group had gone to the lake to swim. They were leaving that afternoon and had spent the last two days exploring the area around camp, drawing, collecting, etc. They asked about the mountain, but nobody had to say much as we all knew how spectacular and challenging it was. My plan before staying at the hut had been to do a day hike up and down (so glad I didn't do that, don't think I would have made it actually), then get up early the next day and ride trains all day out to Akan National Park. But with change came the new plan to go only part way on a train that afternoon, stay a night in Sapporo, then continue east. It was a long ride anyway, and that made it slightly easier. As luck would have it, they were also headed to Sapporo and offered me a seat on the bus! Ya!
The group had a big farewell meeting, interesting to hear, as one thing Peter said that stuck in my mind was about nutrition. Nutrition for the body, but also nutrition for the sprit, and how nature is a guide in that. They wanted a big group picture, and since I was the odd one out, I was the photographer and took group shots with about a dozen different digital cameras.
We then loaded up the bus, man my pack is big, maybe I'm carrying too many socks? and away we went. I slept a little, not sure how long the ride was, but everything was smooth up until we were 10 minutes away and the bus driver rear-ended a van at a stop light. Not a big deal, but this being Japan, and a hired bus, we had to stop and wait for a policeman to come and make an accident report, then everyone on the bus had to write down their contact information before we could go.
Reaching Peter's hotel, there were many thanks and farewells exchanged all around, then I was walking through Sapporo on my way to the main train station and information center. I got a lot of stares along the way, carrying a big backpack through the streets, but I enjoyed the sights. It was a busy city, signs and lights everywhere, but also more spread out than a place like Osaka. With a large park in the middle, and the iconic Sapporo radio tower (which is dwarfed by buildings around it unless you're at the right angle). No problem finding the station and went to the information desk for help with trains. I'm using a special discounted ticket, the 'seishun juhachi kippu', which allows for unlimited train travel within a 24-hour period on certain trains, and I wasn't sure which ones to take to my destination. They were very helpful and figured everything out for tomorrow. I then stopped and had a big bowl of ramen, something I was craving on that mountain climb, then headed to my accomodations for the evening, the i-cafe.
Japan has been innovative in many areas, and differnt places to rest or spend the night is definately one of them. i-cafe is an internet cafe and manga-kissa (comic book salon), but its also 24-hours and has things like a shower, free drinks, snacks, food, private booths for computer usage/tv/video games, and sleeping. So right now I am sitting in a cubicle-like enclosure (with sliding door), a reclining chair, and a computer in front of me. I'm here for the night, updated this blog, and tomorrow I will be riding trains all day from 7am to 8pm, then camping lakeside in Akan National Park.
My only concern right now is my camera. I still have lots of space, but I forgot the cable to transfer images off onto my usb drive! So until I find a place with a SanDisk card reader (i-cafe had a reader but not the right type), photos can only stay on my camera.
I said hello the the Japanese hikers, they were curious what I was doing there, I explained how I was travelling around in August and Yotei-san was close to Otaru, then I headed down slope to do part of the crater curcuit. When I arrived at the other side, the clouds there were even thicker, and the wind even harsher. I took my pictures then headed towards the same trail down. It was just the same as going up, abusive and unrelenting. But I stopped and rested, had lots of time that day with such an early start, passed hikers coming up, always with a friendly konnichiwa. I had not brought enough food with me, and ate a lot of my high-energy snacks on the way up, so I was pretty exhausted. I had to be extra careful not to make mistakes, but still, I was so worn out by the end, that the only time I slipped in the mud and fell on my pack was on the last stretch of almost flat trail.
Back at camp, most of the botany training group had gone to the lake to swim. They were leaving that afternoon and had spent the last two days exploring the area around camp, drawing, collecting, etc. They asked about the mountain, but nobody had to say much as we all knew how spectacular and challenging it was. My plan before staying at the hut had been to do a day hike up and down (so glad I didn't do that, don't think I would have made it actually), then get up early the next day and ride trains all day out to Akan National Park. But with change came the new plan to go only part way on a train that afternoon, stay a night in Sapporo, then continue east. It was a long ride anyway, and that made it slightly easier. As luck would have it, they were also headed to Sapporo and offered me a seat on the bus! Ya!
The group had a big farewell meeting, interesting to hear, as one thing Peter said that stuck in my mind was about nutrition. Nutrition for the body, but also nutrition for the sprit, and how nature is a guide in that. They wanted a big group picture, and since I was the odd one out, I was the photographer and took group shots with about a dozen different digital cameras.
We then loaded up the bus, man my pack is big, maybe I'm carrying too many socks? and away we went. I slept a little, not sure how long the ride was, but everything was smooth up until we were 10 minutes away and the bus driver rear-ended a van at a stop light. Not a big deal, but this being Japan, and a hired bus, we had to stop and wait for a policeman to come and make an accident report, then everyone on the bus had to write down their contact information before we could go.
Reaching Peter's hotel, there were many thanks and farewells exchanged all around, then I was walking through Sapporo on my way to the main train station and information center. I got a lot of stares along the way, carrying a big backpack through the streets, but I enjoyed the sights. It was a busy city, signs and lights everywhere, but also more spread out than a place like Osaka. With a large park in the middle, and the iconic Sapporo radio tower (which is dwarfed by buildings around it unless you're at the right angle). No problem finding the station and went to the information desk for help with trains. I'm using a special discounted ticket, the 'seishun juhachi kippu', which allows for unlimited train travel within a 24-hour period on certain trains, and I wasn't sure which ones to take to my destination. They were very helpful and figured everything out for tomorrow. I then stopped and had a big bowl of ramen, something I was craving on that mountain climb, then headed to my accomodations for the evening, the i-cafe.
Japan has been innovative in many areas, and differnt places to rest or spend the night is definately one of them. i-cafe is an internet cafe and manga-kissa (comic book salon), but its also 24-hours and has things like a shower, free drinks, snacks, food, private booths for computer usage/tv/video games, and sleeping. So right now I am sitting in a cubicle-like enclosure (with sliding door), a reclining chair, and a computer in front of me. I'm here for the night, updated this blog, and tomorrow I will be riding trains all day from 7am to 8pm, then camping lakeside in Akan National Park.
My only concern right now is my camera. I still have lots of space, but I forgot the cable to transfer images off onto my usb drive! So until I find a place with a SanDisk card reader (i-cafe had a reader but not the right type), photos can only stay on my camera.
3.8.08
Climbing Yotei-zan
Woke up a few times in the night, then got up early as I heard everyone around me stirring. I'm always up early when camping, even when I would be better off sleeping more. Since I intended to stay in the hut, I emptied most of my backpack and put in just the things I thought I would need. I also needed water for two days, as there was none on the top unless I wanted to boil it (I have a filtration unit, but Hokkaido has a special problem with a parasite found in fox feeces that contaminats the still water unless boiled). My pack was heavier than I would have liked, but I'm out of shape so it'd be good exercise.
The hike started off pretty smoothly, nice gentle climb, but very soon it tilted upwards and I was climbing up and over stones, plodding through wet volcanic mud, and over loose stones and criss-crossed roots. I started to really, really appreciate my new trekking poles, as they gave me great stability as I climbed. And I continued climbing, and the trail became even harder. There was no respite, no flat sections or traverse, it was always up, over the stones, through the mud, narrow sloping trail, under low hanging branches (I had my hat on and bumped my head a few dozen times), over roots, step up, step up. It started raining, not a heavy rain, but a constant misting. Mountains in Japan are divided into 10 stages. 10 being the peak, 1 being trail head. By 2nd stage I was tired. By the 5th stage I was exhausted. At the 6th stage, I was dead and simply moving one foot slowly in front of the other. It was unrelenting. Rocks and volcanic mud. Yotei-zan is very steep, it being a volcano, and I was experiencing that first hand. Many rests, keeping my fluids up, I kept going. And going. Every once in awhile I was rewarded by a spectacular overlook, and I could see the road I hiked in on way down there.
After 5 hours of constant, abusive, unrelenting climb, I came out above the tree line and was blasted by the wind and rain. I had been very sheltered on the undermountain, and now at the 9th station I was completely exposed. The view was spectacular, what seemed like a straight drop down behind me, and low mountain bushes or barren rock everywhere. Yotei-zan has a curcuit around the crater rim, but by then I was only interested in finding the hut. I had to go along a narrow, traversing path with encroaching bush and plants for another 45 minutes and ended up completely soaked by the time I reached the hut.
Inside was bare bones, hang your wet things in the entrance, remove shoes, step up to an expansive wooden floor and an old coal burning stove. No electricity. Holes in the floor for latrines. There was a sign-in log, and cost was $8 for the night. Talked with the warden for a bit, his english was pretty good, found out they're on a rotating schedal and change everyone Sunday, he had passed me on the trail coming up and the previous warden coming down. I rested, did some reading in a book I had lugged up, and an ink-pen drawing. The warden was interested in my drawing, and came over with a Yotei-zan stamp with the date and elevation. It made a great addition in the corner of my image.
Bit later, a large group of Japanese hikers, I heard the number at 31 people, came in and settled into the 2nd floor sleeping space. Lots of noise, but everyone, including me, went to bed early to be able to get up an hour before dawn and hike to the other side of the mountain and see the sun come up.
The hike started off pretty smoothly, nice gentle climb, but very soon it tilted upwards and I was climbing up and over stones, plodding through wet volcanic mud, and over loose stones and criss-crossed roots. I started to really, really appreciate my new trekking poles, as they gave me great stability as I climbed. And I continued climbing, and the trail became even harder. There was no respite, no flat sections or traverse, it was always up, over the stones, through the mud, narrow sloping trail, under low hanging branches (I had my hat on and bumped my head a few dozen times), over roots, step up, step up. It started raining, not a heavy rain, but a constant misting. Mountains in Japan are divided into 10 stages. 10 being the peak, 1 being trail head. By 2nd stage I was tired. By the 5th stage I was exhausted. At the 6th stage, I was dead and simply moving one foot slowly in front of the other. It was unrelenting. Rocks and volcanic mud. Yotei-zan is very steep, it being a volcano, and I was experiencing that first hand. Many rests, keeping my fluids up, I kept going. And going. Every once in awhile I was rewarded by a spectacular overlook, and I could see the road I hiked in on way down there.
After 5 hours of constant, abusive, unrelenting climb, I came out above the tree line and was blasted by the wind and rain. I had been very sheltered on the undermountain, and now at the 9th station I was completely exposed. The view was spectacular, what seemed like a straight drop down behind me, and low mountain bushes or barren rock everywhere. Yotei-zan has a curcuit around the crater rim, but by then I was only interested in finding the hut. I had to go along a narrow, traversing path with encroaching bush and plants for another 45 minutes and ended up completely soaked by the time I reached the hut.
Inside was bare bones, hang your wet things in the entrance, remove shoes, step up to an expansive wooden floor and an old coal burning stove. No electricity. Holes in the floor for latrines. There was a sign-in log, and cost was $8 for the night. Talked with the warden for a bit, his english was pretty good, found out they're on a rotating schedal and change everyone Sunday, he had passed me on the trail coming up and the previous warden coming down. I rested, did some reading in a book I had lugged up, and an ink-pen drawing. The warden was interested in my drawing, and came over with a Yotei-zan stamp with the date and elevation. It made a great addition in the corner of my image.
Bit later, a large group of Japanese hikers, I heard the number at 31 people, came in and settled into the 2nd floor sleeping space. Lots of noise, but everyone, including me, went to bed early to be able to get up an hour before dawn and hike to the other side of the mountain and see the sun come up.
2.8.08
Otaru
Otaru was pretty nice. Seaside town, that distinct odor everywhere, many fishing boats sitting at harbor. I walked along the canal, which is the touristy/historical area. Many of the buildings were preserved, and there were signs everywhere explaining the original purpose of each section. Also many shops, particularly glass craft shops. Otaru is also well known for it's glassmakers. You can even sign up to take a short lesson and make a blown glass creation yourself! I saw this in process, you really only get to mark where to cut, and to blow a bit into the tube. Handling the tube and working with the fire is left to your instructor.
Right around 11am, after I had been walking for a bit, all of a sudden all the tourists appeared! Because of this, I felt it was a good time to go in and have lunch. Otaru is well known for its sushi, so it was obvious what I wanted. Ordered a set meal, and most of the stuff that arrived I had no name for. I knew the standard octopus, salmon, tuna, but the rest of it was a mystery. Also, my miso soup had a bit leg of crab sticking out. Everything was good, though I hesitate to say it was the best sushi ever, I think I'm too interested in the moment of eating to compare.
Stopped for a shave and a haircut (long over due), but did not do the shaved head thing I had been thinking about. Not really sure why, but I think I just didn't want it done by that barber. So he cut it short, gave me the scalp massage and all that (Nagaokakyo barber was much better), then I went back to the hostel, picked up my backpack, and went to the Otaru train station.
I stopped at the information desk for a train schedule on how to get to my next destination. I was just in time for the next train, and went away with a nice booklet of train times for all of Hokkaido. In Japanese of course, but I can decipher enough of it to get by (bascily just matching Kanji of each location with a grid of numbers and times.) I purchased a ticket, went through the gates and saw a single car waiting on the track. Not the most popular of routes.
Two hours train ride later, I got off at Hirafu station and started hiking towards my campsite. As soon as I got out of the trees, I could immediately see my destination, Yotei-zan looming above me. Yotei-zan was formed by a volcano, 1898m tall and is one of the famous mountains of Japan. It was marked as 'hard' in my Lonely Planet Hiking in Japan book, had a convenient (free) campsite, easily public transportation accessable, and was close to my entry point to Hokkaido. Perfect!
I hiked in, Yotei-zan above me, and when I reached the campsite, discovered it to be occupied by about 16 Japanese being led by an older Australian couple. The Australian man, Peter, was a consultant and the rest of the group were part of an organization that teaches nature appreciation to children. This trip was the culmination of a month spent in Japan helping develop curiculum and training. They had just came down from the mountain after having spent 3 days up there exploring plant life and staying in the mountain hut. Peter convinced me that it would be worth it to stay up there one night, as it was supposed to rain the next day, but be perfect weather the day after, so I agreed. And they were all very interested when I mentioned Japanese painting, and immediately wanted to know more about it. So I gave a brief overview of the process and they were all very appreciative.
Before going to bed that night, I went on a short hike to a nearby lake. It was very secluded, and I had to hike down a long trail to get to the water. It was very quiet, and the trees loomed up all around me. Dusk was a perfect velvet above the tree line, and then the stars came out. Eventually I went back and called it a night.
Right around 11am, after I had been walking for a bit, all of a sudden all the tourists appeared! Because of this, I felt it was a good time to go in and have lunch. Otaru is well known for its sushi, so it was obvious what I wanted. Ordered a set meal, and most of the stuff that arrived I had no name for. I knew the standard octopus, salmon, tuna, but the rest of it was a mystery. Also, my miso soup had a bit leg of crab sticking out. Everything was good, though I hesitate to say it was the best sushi ever, I think I'm too interested in the moment of eating to compare.
Stopped for a shave and a haircut (long over due), but did not do the shaved head thing I had been thinking about. Not really sure why, but I think I just didn't want it done by that barber. So he cut it short, gave me the scalp massage and all that (Nagaokakyo barber was much better), then I went back to the hostel, picked up my backpack, and went to the Otaru train station.
I stopped at the information desk for a train schedule on how to get to my next destination. I was just in time for the next train, and went away with a nice booklet of train times for all of Hokkaido. In Japanese of course, but I can decipher enough of it to get by (bascily just matching Kanji of each location with a grid of numbers and times.) I purchased a ticket, went through the gates and saw a single car waiting on the track. Not the most popular of routes.
Two hours train ride later, I got off at Hirafu station and started hiking towards my campsite. As soon as I got out of the trees, I could immediately see my destination, Yotei-zan looming above me. Yotei-zan was formed by a volcano, 1898m tall and is one of the famous mountains of Japan. It was marked as 'hard' in my Lonely Planet Hiking in Japan book, had a convenient (free) campsite, easily public transportation accessable, and was close to my entry point to Hokkaido. Perfect!
I hiked in, Yotei-zan above me, and when I reached the campsite, discovered it to be occupied by about 16 Japanese being led by an older Australian couple. The Australian man, Peter, was a consultant and the rest of the group were part of an organization that teaches nature appreciation to children. This trip was the culmination of a month spent in Japan helping develop curiculum and training. They had just came down from the mountain after having spent 3 days up there exploring plant life and staying in the mountain hut. Peter convinced me that it would be worth it to stay up there one night, as it was supposed to rain the next day, but be perfect weather the day after, so I agreed. And they were all very interested when I mentioned Japanese painting, and immediately wanted to know more about it. So I gave a brief overview of the process and they were all very appreciative.
Before going to bed that night, I went on a short hike to a nearby lake. It was very secluded, and I had to hike down a long trail to get to the water. It was very quiet, and the trees loomed up all around me. Dusk was a perfect velvet above the tree line, and then the stars came out. Eventually I went back and called it a night.
1.8.08
Ferry to Otaru
Most of the day was spent on the ferry doing nothing. Everyone boarded around 11:30, then left port close to 1:00. My 2nd class ticket did not have a room number on it, but all the 2nd class rooms did! So I walked up and back down the hallway, until a japanese guy helped me out by saying no number simply means any room. So I chose one that looked suitably empty and picked a spot. No luxury here, just a space and a blanket. But there was lots of room as the trip was not fully-booked.
The ship itself was pretty nice, there was a public bath, kinda small and no cold-bath, but still nice. A grill, a cafeteria, a small takeout place, a little convenience store, and some vending machines provided snacks and food. The beer vending machine was particularly popular. There were some comfy chairs around, and an open-air seating area to visit. I slept for awhile, got up, looked around, then slept more. Got up, had some food (which was more expensive that would have liked, the whole captured audience thing), sat on deck, then went and slept some more. It was a nice, lazy boat ride and I wasn't doing much of anything. But I wasn't alone in this, as that what a lot of the Japanese did, just slept as much of the way as they could. And talked a bit with some bikers, Hokkaido is popular to travel by motorcycle in the summer, there are road houses set up all over for lodging, and its a good way to see the scenery (and motorcycles/cars can be brought on the ferry to).
On arrival, everyone filed off. I looked at maps and tourist info in the terminal, but didn't feel like walking an unknown distance with a heavy pack so I grabbed a taxi to take me to the hostel. Nice backpackers hostel, bunkbeds, library of books, dvds, trinkets around, nice shower, etc. I relaxed a bit, took a shower, then went to read a book at the kitchen table when the host came in with some Otaru beer and another guest. It was good to drink a dark craft beer, instead of the mass-produced stuff you get everywhere, and we all sat around talking for a bit. Or, actually, I didn't do a ton of talking, simply because the Japanese conversation was flying all around me. It was fun, and met a german backpacker who had hitchhiked up from Tokyo. Good to hear a first-hand success story about hitching in Japan, maybe I'll try a bit of it.
The ship itself was pretty nice, there was a public bath, kinda small and no cold-bath, but still nice. A grill, a cafeteria, a small takeout place, a little convenience store, and some vending machines provided snacks and food. The beer vending machine was particularly popular. There were some comfy chairs around, and an open-air seating area to visit. I slept for awhile, got up, looked around, then slept more. Got up, had some food (which was more expensive that would have liked, the whole captured audience thing), sat on deck, then went and slept some more. It was a nice, lazy boat ride and I wasn't doing much of anything. But I wasn't alone in this, as that what a lot of the Japanese did, just slept as much of the way as they could. And talked a bit with some bikers, Hokkaido is popular to travel by motorcycle in the summer, there are road houses set up all over for lodging, and its a good way to see the scenery (and motorcycles/cars can be brought on the ferry to).
On arrival, everyone filed off. I looked at maps and tourist info in the terminal, but didn't feel like walking an unknown distance with a heavy pack so I grabbed a taxi to take me to the hostel. Nice backpackers hostel, bunkbeds, library of books, dvds, trinkets around, nice shower, etc. I relaxed a bit, took a shower, then went to read a book at the kitchen table when the host came in with some Otaru beer and another guest. It was good to drink a dark craft beer, instead of the mass-produced stuff you get everywhere, and we all sat around talking for a bit. Or, actually, I didn't do a ton of talking, simply because the Japanese conversation was flying all around me. It was fun, and met a german backpacker who had hitchhiked up from Tokyo. Good to hear a first-hand success story about hitching in Japan, maybe I'll try a bit of it.
31.7.08
On the road
My pack is much too big, much of it from food I had in the pantry, but I am off now to catch the ferry to Hokaido. The last few days were a blur at school, so much to finish up, but now I am done. My plan to ship my big suitcase did not work, as apparently my information was wrong and the normal Japan post will not ship it. A private company is asking for over $230! Instead, I am leaving my big suitcase, plus my carry-on with computer, at the school where I will pick them up on the 29th and take them with my on the plane home. I was looking forward to only checking my backpack, but oh well.
Posts will be sporatic (possibly moreso than already are lol), but whenever I have access to a computer I will be sure to post an update.
Posts will be sporatic (possibly moreso than already are lol), but whenever I have access to a computer I will be sure to post an update.
28.7.08
Final language
Today was my final Monday language class. It went well, learned about the -kudasai form of verbs, which is basically saying please this, please that. Obviously they're very useful and used often. The problem is, for a non-native, they're really complicated. There a four different groupings of verbs, and exceptions to every rule.
Afterwards, chatted with Kawakatsuさん about my plans for August. Whenever I talk about where I want to travel and what I want to do, Japanese seem to get so impressed. For one thing I'm headed north to Hokkaido and working my way south again through most of mainland Japan, which is a pretty good distance (Japan is approx the same size as California fyi). But more shocking is the fact I'm backpacking, intend to climb mountains, sleep in a tent, follow wind and whim wherever it may lead. I have a loose plan, things I'd like to see and do, but if I end up on a deserted mountain top somewhere, and decide to just stay there for another day, then I will. I don't have an hour-by-hour itinerary, and even if it means I don't get to see as much as I possibly could have, I'm ok with that.
Also more painting. As I said previously, this second painting is not a piece I really like. I came here to learn materials and methods, which I feel successful doing, but the real ideas, the art I want to make and be proud of, those ideas are still bouncing around. On Wednesday I have a final critique with Sawano-sensei and Muraoka-sensei. I look forward to it, though I am hesitant to believe I'll get real feedback. They know I came to learn materials more than anything else, but also they're Japanese and I'm a visitor. They're not likely to be very critical.
Afterwards, chatted with Kawakatsuさん about my plans for August. Whenever I talk about where I want to travel and what I want to do, Japanese seem to get so impressed. For one thing I'm headed north to Hokkaido and working my way south again through most of mainland Japan, which is a pretty good distance (Japan is approx the same size as California fyi). But more shocking is the fact I'm backpacking, intend to climb mountains, sleep in a tent, follow wind and whim wherever it may lead. I have a loose plan, things I'd like to see and do, but if I end up on a deserted mountain top somewhere, and decide to just stay there for another day, then I will. I don't have an hour-by-hour itinerary, and even if it means I don't get to see as much as I possibly could have, I'm ok with that.
Also more painting. As I said previously, this second painting is not a piece I really like. I came here to learn materials and methods, which I feel successful doing, but the real ideas, the art I want to make and be proud of, those ideas are still bouncing around. On Wednesday I have a final critique with Sawano-sensei and Muraoka-sensei. I look forward to it, though I am hesitant to believe I'll get real feedback. They know I came to learn materials more than anything else, but also they're Japanese and I'm a visitor. They're not likely to be very critical.
27.7.08
Cleaning
Cleaning and organizing today. I've collected piles and piles of papers, from school, info sheets for places I've been, maps, ticket stubs, etc, etc. I'm a pack-rat. I like to keep those things, and it's a big future project of mine, wanting to scan those objects into digital form and always have them at my fingertips. Even the sheets I can't read, and especially the sheets I can't read, I want to keep for future reference. They will be shipped back home with the majority of my stuff, leaving me with just a backpack to carry around in August.
I'll be packing light, and that means making choices. Do I want this, or that? Will I miss not having, or will I regret having to carry? What if I pick things up along the way? Souvenirs and oddities from travel, it all adds up very quickly. But, worse scenarios I can purchase anything I might desperately need, or ship home anything I might be sick of carrying. Couple more days!
I'll be packing light, and that means making choices. Do I want this, or that? Will I miss not having, or will I regret having to carry? What if I pick things up along the way? Souvenirs and oddities from travel, it all adds up very quickly. But, worse scenarios I can purchase anything I might desperately need, or ship home anything I might be sick of carrying. Couple more days!
24.7.08
Big Painting #2
I am not happy with my second large painting. Not at all happy. And it's my own fault, I did not learn. I did not prepare a good sketch. I tried to freewheel, and now I am not happy. As I continue with the image, it feels simplistic, childish, empty. The colors are all wrong, and I don't know what I'm doing. If this was a drawing, I would simply discard it, start again, but because of the materials, I struggle and search for every little thing that might make it better. Which isn't much in my mind.
But having said that, I am using 岩絵の具IWAENOGU, vs DORAENOGU in this painting and that is part of the problem. It's a problem because I approached the Iwaenogu not knowing how different it would be, and it's very different. I really like it now that I understand it better, the materials are amazing. Once you mix up the paint, and brush it onto the paper, it is like nothing else I have ever done. I can take a brush and push it around. I can take previously dried areas, apply water, and rework them. It's like pushing around grains of colored sand, drawing on a beach.
I may hate the image, but I'm privileged getting to use these materials. Doraenogu and Iwaenogu are different from each other, but they work in concert. Next time, which will unfortunately not be until back in Boston, I will do better.
But having said that, I am using 岩絵の具IWAENOGU, vs DORAENOGU in this painting and that is part of the problem. It's a problem because I approached the Iwaenogu not knowing how different it would be, and it's very different. I really like it now that I understand it better, the materials are amazing. Once you mix up the paint, and brush it onto the paper, it is like nothing else I have ever done. I can take a brush and push it around. I can take previously dried areas, apply water, and rework them. It's like pushing around grains of colored sand, drawing on a beach.
I may hate the image, but I'm privileged getting to use these materials. Doraenogu and Iwaenogu are different from each other, but they work in concert. Next time, which will unfortunately not be until back in Boston, I will do better.
23.7.08
めいし
Today I had some business cards printed, and it took forever.
The place I went was very close to me and the only printing company I knew of in the area. Business cards are very common, and extremely important in Japan, so I had high hopes that they'd be able to help me. Unfortunately, this was no Kinkos, and when I went in with my digital file on USB drive, I was told they had no way of opening it. They had a big offset printer going, and all the carbon copies and light boxes to go with it, but they had to have a way to open a digital file!
So I went to school and printed a hard copy, this was good in a way, as it allowed me to see the couple different versions I had made. Some were ornate with clipart, others more traditional Japanese text only. I went back to the shop and asked which image was their favorite. Bad idea, as it involved a lot of delaying and discussion and back and forth, calling for a second opinion, and eventually I made the choice myself. The Japanese man did point out that one design was definately an American めいし, while another was Japanese めいし, and his comment did make me realize that as a foreigner, I would make a foreigners めいし.
After this little discussion, I was invited to sit for tea, during which another Japanese man came from upstairs, with a laptop computer and a version of Illustrator. Could've saved a step there. Unfortunately he was running Illustrator 9, so I ran home quickly to resave my file, then we both went upstairs to a dedicated business card printer. This is what I was looking for, quick and easy. Yet it wasn't, because this guy didn't know Illustrator. At all. So I ended up fiddling with the file myself, trying to use keyboard shortcuts and guessing which menu option I wanted before I had the file all set to print. And then it printed wrong. I knew immediately what the problem was, their printer did not like embedded raster files, but I had no way of explaining this. About 10-minutes later during which the guy fiddled with the settings and did the best he could to act like he knew what the problem was, he finally suggested that they do the cards via offset. I was ok with this, as they gave me the same price, but also meant he wanted me to create a file with proper registration and crop marks. No problem, but why can't he do it?
After a quick trip home again, fixing the file on a computer I could actually read text on, I went back with a two new files. One with the crop marks as requested, another with my raster image converted into vector so it would print on their dedicated めいし printer. After a false start with the crop mark file, where my helper could not figure out how to get it to print onto a page without being cut off, I asked him to try the other file upstairs. It worked, and I left with a stack of 2-sided cards to give out in my travels and to people I have already met. But still, this was no Kinkos and it felt like I was renting equipment to do the work myself! That's the way it works sometimes, and being from a graphic arts background, I'm a bit more informed than the average client. The cards are nice though, and the translation a friend did for the back will be very useful as an introduction with 'much-less-likely-to-speak-any-english' Japanese people I will meet in August.
The place I went was very close to me and the only printing company I knew of in the area. Business cards are very common, and extremely important in Japan, so I had high hopes that they'd be able to help me. Unfortunately, this was no Kinkos, and when I went in with my digital file on USB drive, I was told they had no way of opening it. They had a big offset printer going, and all the carbon copies and light boxes to go with it, but they had to have a way to open a digital file!
So I went to school and printed a hard copy, this was good in a way, as it allowed me to see the couple different versions I had made. Some were ornate with clipart, others more traditional Japanese text only. I went back to the shop and asked which image was their favorite. Bad idea, as it involved a lot of delaying and discussion and back and forth, calling for a second opinion, and eventually I made the choice myself. The Japanese man did point out that one design was definately an American めいし, while another was Japanese めいし, and his comment did make me realize that as a foreigner, I would make a foreigners めいし.
After this little discussion, I was invited to sit for tea, during which another Japanese man came from upstairs, with a laptop computer and a version of Illustrator. Could've saved a step there. Unfortunately he was running Illustrator 9, so I ran home quickly to resave my file, then we both went upstairs to a dedicated business card printer. This is what I was looking for, quick and easy. Yet it wasn't, because this guy didn't know Illustrator. At all. So I ended up fiddling with the file myself, trying to use keyboard shortcuts and guessing which menu option I wanted before I had the file all set to print. And then it printed wrong. I knew immediately what the problem was, their printer did not like embedded raster files, but I had no way of explaining this. About 10-minutes later during which the guy fiddled with the settings and did the best he could to act like he knew what the problem was, he finally suggested that they do the cards via offset. I was ok with this, as they gave me the same price, but also meant he wanted me to create a file with proper registration and crop marks. No problem, but why can't he do it?
After a quick trip home again, fixing the file on a computer I could actually read text on, I went back with a two new files. One with the crop marks as requested, another with my raster image converted into vector so it would print on their dedicated めいし printer. After a false start with the crop mark file, where my helper could not figure out how to get it to print onto a page without being cut off, I asked him to try the other file upstairs. It worked, and I left with a stack of 2-sided cards to give out in my travels and to people I have already met. But still, this was no Kinkos and it felt like I was renting equipment to do the work myself! That's the way it works sometimes, and being from a graphic arts background, I'm a bit more informed than the average client. The cards are nice though, and the translation a friend did for the back will be very useful as an introduction with 'much-less-likely-to-speak-any-english' Japanese people I will meet in August.
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14.7.08
wtb ēgo
After putzing around a bit in the morning, I went to my school studio for painting and study. Often I need to wait for the paper to dry before moving onto something else, so I used the extra time to study for a Japanese language test I was expecting that afternoon. It felt good to review, and while I am weak on vocabulary, I surprised myself on how well I recalled sentence structure.
But it was all for naught, as we did not have a test in my Japanese language class. Instead, we continued in our book and free-ranging discussions. The most important tidbit I learned was the word for 'area', ちほう. By area, I mean a region, like the Kansai region of Japan, or the New England in the US. Up until now, I couldn't really explain New England, only having words for state, city, or prefecture.
After class, returned to my studio for a little while before then going to an artist talk. This was not a normal event, but a special presentation by 12 German artists on an exchange program. I had seen and met some of the artists around the school, as anyone not Japanese is hard to miss, but I was curious to see their work and how it was presented. Also I was hoping there might be English involved and I'd actually be able to understand what was going on!
Alas, it was not to be. The artists were at tables in the front of the room, and there were images shown of their work here in Japan, but most of the artists talked in German (two in English), which was then repeated in Japanese by the translator. There were two translators, neither professionals, one a native German/English speaker also fluent in Japanese, the second a native Japanese/English speaker. So, anything hard to translate was discussed in English between the translators and I could eavesdrop, but mostly I sat there, watching the slides, and not being able to understand yet another language. I thought it was pretty funny actually!
The artists themselves came from a range of specialties. Painters, print makers, sculptors, graphic design, photography, and most interesting to me was trying to see any connection the art had with Japan. Some things were obvious, one sculptor created a large, organic form using bamboo and had nothing but praise for being able to use the material. There were drawings related to manga, drawings reacting to the environment and the constant sight of electrical lines everywhere, prints about the weather (super hot) or Japanese landscape. Other images, I could find no obvious connection, like a crude and rough painting of a nude, or abstract textures, or a pair of drawings showing strong, muscular men in motion.
I did not connect with everything, some of the work just did not interest me, and that's fine, but it was the images without clear connection to Japan that I was most curious about. Being here has, among other things, highlighted for me the link between art and surroundings. Even the artist who works only from imagination and abstraction is themselves a product of their environment. I would have liked to hear more of their thought process and if/how their work in Japan is different from anything else they may have done. That is a question for any artist traveling abroad, and one that I will soon have to answer for myself.
But it was all for naught, as we did not have a test in my Japanese language class. Instead, we continued in our book and free-ranging discussions. The most important tidbit I learned was the word for 'area', ちほう. By area, I mean a region, like the Kansai region of Japan, or the New England in the US. Up until now, I couldn't really explain New England, only having words for state, city, or prefecture.
After class, returned to my studio for a little while before then going to an artist talk. This was not a normal event, but a special presentation by 12 German artists on an exchange program. I had seen and met some of the artists around the school, as anyone not Japanese is hard to miss, but I was curious to see their work and how it was presented. Also I was hoping there might be English involved and I'd actually be able to understand what was going on!
Alas, it was not to be. The artists were at tables in the front of the room, and there were images shown of their work here in Japan, but most of the artists talked in German (two in English), which was then repeated in Japanese by the translator. There were two translators, neither professionals, one a native German/English speaker also fluent in Japanese, the second a native Japanese/English speaker. So, anything hard to translate was discussed in English between the translators and I could eavesdrop, but mostly I sat there, watching the slides, and not being able to understand yet another language. I thought it was pretty funny actually!
The artists themselves came from a range of specialties. Painters, print makers, sculptors, graphic design, photography, and most interesting to me was trying to see any connection the art had with Japan. Some things were obvious, one sculptor created a large, organic form using bamboo and had nothing but praise for being able to use the material. There were drawings related to manga, drawings reacting to the environment and the constant sight of electrical lines everywhere, prints about the weather (super hot) or Japanese landscape. Other images, I could find no obvious connection, like a crude and rough painting of a nude, or abstract textures, or a pair of drawings showing strong, muscular men in motion.
I did not connect with everything, some of the work just did not interest me, and that's fine, but it was the images without clear connection to Japan that I was most curious about. Being here has, among other things, highlighted for me the link between art and surroundings. Even the artist who works only from imagination and abstraction is themselves a product of their environment. I would have liked to hear more of their thought process and if/how their work in Japan is different from anything else they may have done. That is a question for any artist traveling abroad, and one that I will soon have to answer for myself.
13.7.08
Yasugawa river
Up and out super early today to go with classmates from the outdoors club to Yasugawa river, near Moriyama train station in Shiga. It was about an hours ride and we had to be there early to prepare for a rafting event. This was no ordinary rafting event, but a sponsored event where participants construct their own vessels, are judged, then float down the river to end at a mini festival atmosphere. There were about a hundred groups participating, a lot of scouting groups, schools groups, and other community organizations. There was also a video crew roaming around documenting, and they went around taking closeup shots of everyone.
Our rafts were made of PET bottles (plastic), a painted wooden panel and little bits and pieces for decoration. We did most of the work over the last few days, but constructed them on site. There were eight of us in the group, so we had three rafts in total, a big, mamma raft, and two smaller baby rafts. We had chains and hooks to try and keep them in line, with fins for decoration. We were provided PFDs and rafting helmets like this was a real rafting trip, but in reality the river was somewhat low and we bottomed out in areas.
With everyone ready, we were called up by number and presented to a group of judged. I was the only foreigner anywhere in sight, I think that was why everyone was especially interested about our group. A short cheer and we carried our rafts down to the launch point. The river was alive, little fish swarming about everywhere I looked, and the distinct smell of river (you know what I mean). The early parts we took turns having someone pull us along, not much current and shallow, but farther ahead the river widened and deepened and we all got on our rafts and floated ahead. It was a hot day, but nice riding on the water. I wish the river had had more water, would have made it even more fun without having to stop at a few points and walk.
About 50-minutes onward, we came to the end, and a big crane was there to lift the rafts to the bank where we took it apart and recycled the components (plastic bottles at least, rest of it just went into a common 'burnable' dumpster). There were a number of food stands around, but somehow I was not able to find a bottle of water anywhere and I was really dehydrated from the river. The river had also washed away the little bit of sun screen I had put on my legs and I was sunburned. But food was good, one area had bins of fish swimming around, order one and the japanese man would grab it, skewer it right in front of you, roll it around in some salt and throw it on the grill. Tasty and fresh, if you could get past the eating a whole fish, head and all thing. There was an award ceremony, and we won! From what I could understand, it was a popularity prize, and came with a grill for cooking takoyaki.
As part of our participation, we were given free passes to an onsen in the area. One of my classmates parents had driven up with the raft materials, and they gave us a ride to the onsen. It was nice, connected to a big hotel and resort. The hot water scalded my burnt legs, but the cold water did wonders. On the way out I purchased some milk from a vending machine. These are especially popular around onsen and sento, and for good reason! A ride back to Nagaokakyo and pretty much ended crashing for the rest of the night.
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Our rafts were made of PET bottles (plastic), a painted wooden panel and little bits and pieces for decoration. We did most of the work over the last few days, but constructed them on site. There were eight of us in the group, so we had three rafts in total, a big, mamma raft, and two smaller baby rafts. We had chains and hooks to try and keep them in line, with fins for decoration. We were provided PFDs and rafting helmets like this was a real rafting trip, but in reality the river was somewhat low and we bottomed out in areas.
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With everyone ready, we were called up by number and presented to a group of judged. I was the only foreigner anywhere in sight, I think that was why everyone was especially interested about our group. A short cheer and we carried our rafts down to the launch point. The river was alive, little fish swarming about everywhere I looked, and the distinct smell of river (you know what I mean). The early parts we took turns having someone pull us along, not much current and shallow, but farther ahead the river widened and deepened and we all got on our rafts and floated ahead. It was a hot day, but nice riding on the water. I wish the river had had more water, would have made it even more fun without having to stop at a few points and walk.
About 50-minutes onward, we came to the end, and a big crane was there to lift the rafts to the bank where we took it apart and recycled the components (plastic bottles at least, rest of it just went into a common 'burnable' dumpster). There were a number of food stands around, but somehow I was not able to find a bottle of water anywhere and I was really dehydrated from the river. The river had also washed away the little bit of sun screen I had put on my legs and I was sunburned. But food was good, one area had bins of fish swimming around, order one and the japanese man would grab it, skewer it right in front of you, roll it around in some salt and throw it on the grill. Tasty and fresh, if you could get past the eating a whole fish, head and all thing. There was an award ceremony, and we won! From what I could understand, it was a popularity prize, and came with a grill for cooking takoyaki.
As part of our participation, we were given free passes to an onsen in the area. One of my classmates parents had driven up with the raft materials, and they gave us a ride to the onsen. It was nice, connected to a big hotel and resort. The hot water scalded my burnt legs, but the cold water did wonders. On the way out I purchased some milk from a vending machine. These are especially popular around onsen and sento, and for good reason! A ride back to Nagaokakyo and pretty much ended crashing for the rest of the night.
12.7.08
Museums and Shodo in Kyoto
Up early today for a trip into Kyoto. Even with all the things I've seen there, I can still find more to do. Today, I was headed to a special exhibition at the Museum of Kyoto, as had been recommended to me by Muraoka-sensei. I ended up a little lost getting there, saw one sign, but it wasn't very clear about which street to turn down. I asked directions from an official looking Japanese man, but still ended up wandering a little. When I did find the Museum of Kyoto, I realized I had passed it before on one of my trips into Kyoto and could have found it immediately if I had known that was where I was going. Figures.
The special exhibition was on the 4th floor, so I went straight up. There was so much to see, painting after painting by Japanese artists. Many of them were your standard nihonga subjects, trees, nature, geisha, festivals, those sorts of things, and it illustrated how much art is influenced by ones surroundings. The Japanese paint what they see around them, so do many artists, and that is one of the defining characteristics of the style, even if the image is abstracted.
This exhibition felt different in a few ways. One was the size. With few exceptions, they were all wall-sized, 2' x 3' or so, some bigger or smaller. The colors were all over the place, bright, saturated hues, or darkened neutrals with everything between. Some of the paintings were very realist oriented, shadows, colors, almost a photograph, while others were little more than line with fuzzy color filling the shapes. Presentation was very good, I appreciated the lighting especially, as it made bright colors seem to glow and dark colors reseed into the distance. I've noticed before how some nihonga can be very thickly painted, while others thin and wispy, and I saw the same variance here. I also noticed a lot of different surface textures, even some purposefully stressed or scratched away. One painting was covered in bristles having fallen out of the artists brush. It was a great exhibition, and I recorded the names of many artists that impressed me. I was very tempted to purchase an exhibition catalog, but held off for the moment as I can go back another time if I decide.
From the museum I went again to the Kyoto International House for the free class in shodo, or Japanese Calligraphy. It was fun, I enjoy using the brush and learning the techniques of control. I focused mainly on kanji today, reproducing the characters for 'study abroad', 'winter', 'the four seasons', 'above, between, below', and a few others. Afterwards I went for late lunch with a Japanese friend, Syunpei. Among other things, we discussed how english does not focus so much on anything like 'calligraphy', sure there is cursive writing, and I explained this concept as best I could, but that is very personal and unique to the individual. Japanese calligraphy does entail some individuality in each character, but the difference lies in what is considered art. In Japanese shodo, one might see art on the gallery wall because of the way it is written over what is said, while in english, with a much more universal character set, the focus would be on what was said over how it was written. Sure, font selection is important, but it is a different aspect than the individual hand of an artist.
The special exhibition was on the 4th floor, so I went straight up. There was so much to see, painting after painting by Japanese artists. Many of them were your standard nihonga subjects, trees, nature, geisha, festivals, those sorts of things, and it illustrated how much art is influenced by ones surroundings. The Japanese paint what they see around them, so do many artists, and that is one of the defining characteristics of the style, even if the image is abstracted.
This exhibition felt different in a few ways. One was the size. With few exceptions, they were all wall-sized, 2' x 3' or so, some bigger or smaller. The colors were all over the place, bright, saturated hues, or darkened neutrals with everything between. Some of the paintings were very realist oriented, shadows, colors, almost a photograph, while others were little more than line with fuzzy color filling the shapes. Presentation was very good, I appreciated the lighting especially, as it made bright colors seem to glow and dark colors reseed into the distance. I've noticed before how some nihonga can be very thickly painted, while others thin and wispy, and I saw the same variance here. I also noticed a lot of different surface textures, even some purposefully stressed or scratched away. One painting was covered in bristles having fallen out of the artists brush. It was a great exhibition, and I recorded the names of many artists that impressed me. I was very tempted to purchase an exhibition catalog, but held off for the moment as I can go back another time if I decide.
From the museum I went again to the Kyoto International House for the free class in shodo, or Japanese Calligraphy. It was fun, I enjoy using the brush and learning the techniques of control. I focused mainly on kanji today, reproducing the characters for 'study abroad', 'winter', 'the four seasons', 'above, between, below', and a few others. Afterwards I went for late lunch with a Japanese friend, Syunpei. Among other things, we discussed how english does not focus so much on anything like 'calligraphy', sure there is cursive writing, and I explained this concept as best I could, but that is very personal and unique to the individual. Japanese calligraphy does entail some individuality in each character, but the difference lies in what is considered art. In Japanese shodo, one might see art on the gallery wall because of the way it is written over what is said, while in english, with a much more universal character set, the focus would be on what was said over how it was written. Sure, font selection is important, but it is a different aspect than the individual hand of an artist.
11.7.08
Hot hot hot
It's hot every single day. Hot and humid. If you sweat, it doesn't dry. Today, temperatures reached over 100°F, and this is not unusual. The Japanese carry towels around their neck to wipe themselves down. Everywhere, I see clothing labeled 'Always Dry', or 'Cool'. 'Always Dry' Socks, 'Always Dry' Shirts, 'Always Dry' Underwear, even 'Always Dry' Jeans. I've stopped wearing most of the shirts I brought with me, in favor of the hot-weather, dry, sports shirts I've purchased here. Otherwise I'd be walking around as one big, disgusting sweat stain.
And it will get even worse. August is the hottest month in Japan, which is fun for me, as that's when I'll be farthest away from regular access to air conditioning. I bought a second water-reservoir to make sure I will always have plenty of fluids with me, though it means extra weight, I won't be thirsty out there. And I'm going to shave my head. You'll get pictures.
And it will get even worse. August is the hottest month in Japan, which is fun for me, as that's when I'll be farthest away from regular access to air conditioning. I bought a second water-reservoir to make sure I will always have plenty of fluids with me, though it means extra weight, I won't be thirsty out there. And I'm going to shave my head. You'll get pictures.
10.7.08
Focus
Early lecture, then lots of painting in my studio today. I was motivated and I enjoyed myself. Base colors for my mountains painting, then planning as I waited to be able to continue.
As I was in my studio earlier than usual, I was able to chat a bit with one of my classmates. She is an older student, returning to studies after time working. Similar to me in that respect, but farther along as she also has a daughter of college age in Tokyo. We talked for awhile, about the paintings we were both working on, about the upcoming Gion festival in Kyoto, and about what souvenirs I will have of Japan. I mentioned how I would like to purchase some ukiyo-e Japanese wood block prints, and also a large hanging scroll before I leave. I have also been purchasing some postcards, as I enjoy the imagery on some of them, and it was then that she told me her intent to purchase omiyage, aka souvenir, for me when next she visits Kyoto. I thought this was a very generous thing to do, and it makes me wish I had brought more interesting souvenirs of my own from Boston.
Later, when class actually started and Matsumoto-sensei came in, we touched base a little about where I wanted to take my painting and she offered some advice about how to proceed.
Taking a break, I went outside and helped outdoors-club classmates work on building a raft. This is a raft constructed from panel and PET bottles, which we have plans to use this Sunday during a river race in Shiga. I guess when we first talked about it, I didn't realize the effort that would go into making the raft and decorating it (not required, but still fun), so I'm glad my classmates are more on the ball. Sunday is a really early train ride when I would rather be sleeping, but it should be lots of fun all around.
As I was in my studio earlier than usual, I was able to chat a bit with one of my classmates. She is an older student, returning to studies after time working. Similar to me in that respect, but farther along as she also has a daughter of college age in Tokyo. We talked for awhile, about the paintings we were both working on, about the upcoming Gion festival in Kyoto, and about what souvenirs I will have of Japan. I mentioned how I would like to purchase some ukiyo-e Japanese wood block prints, and also a large hanging scroll before I leave. I have also been purchasing some postcards, as I enjoy the imagery on some of them, and it was then that she told me her intent to purchase omiyage, aka souvenir, for me when next she visits Kyoto. I thought this was a very generous thing to do, and it makes me wish I had brought more interesting souvenirs of my own from Boston.
Later, when class actually started and Matsumoto-sensei came in, we touched base a little about where I wanted to take my painting and she offered some advice about how to proceed.
Taking a break, I went outside and helped outdoors-club classmates work on building a raft. This is a raft constructed from panel and PET bottles, which we have plans to use this Sunday during a river race in Shiga. I guess when we first talked about it, I didn't realize the effort that would go into making the raft and decorating it (not required, but still fun), so I'm glad my classmates are more on the ball. Sunday is a really early train ride when I would rather be sleeping, but it should be lots of fun all around.
1.7.08
Yama
Some good progress on my mountain painting today. I think nihonga is difficult for me because it requires planning. My drawings, and digital artwork before that, are more of an evolution of an idea. Rarely is the image fully realized in my head before I start working, and things change along the way. I enjoy working like this, but it is a weakness as much as a strength.
Osaka-Seikei University has visitors, a group of artists from Germany. They have been traveling in Kyoto, visiting different studios and museums, I'm not clear on their purpose for being here other than independent research, but I'm sure they are having just as much of an experience as I am. Today I met one of them, a woman named Britta. She works mainly as a printmaker, but was getting a lesson in Japanese painting from Muraoka-sensei when I came in. They were talking about paper and priming materials, but having small language difficulties. Britta speaks German with some English, and Muraoka-sensei speaks Japanese with some English, so I had the advantage by speaking good English and broken Japanese. I'd have to say Britta was more prepared than me, having both translated business cards and little wrapped up packets of postcards from her own portfolio to give out to. My time here is obviously different, but when next I come I will have the same.
Before heading home, I had to stop into the office and pay my rent. I had used a bunch of 10¥ and 5¥ coins to do this, because I've been accumulating change and those 'dimes' and 'nickels' aren't of much use. I also have a bunch of 1¥ coins, which are of absolutely no use, the Japanese tend to use these small coins to pay their taxes. While in the office, I learned I need to write a Scholarship essay before I leave, telling Osaka-Seikei about my time here, what I've been doing, and how I've been spending their money. I have a month still to go, and a lot of work to finish, before I can report with confidence on time well spent.
I really look forward to August though, when I can wander and experience with more freedom. I still have much planning to do, but at the beginning of the month, there are two matsuri, festivals, in Northern Honshu that just so happen to correspond to where I would be going anyway. The Kanto Matsuri and the Aomori Nebuta.
Osaka-Seikei University has visitors, a group of artists from Germany. They have been traveling in Kyoto, visiting different studios and museums, I'm not clear on their purpose for being here other than independent research, but I'm sure they are having just as much of an experience as I am. Today I met one of them, a woman named Britta. She works mainly as a printmaker, but was getting a lesson in Japanese painting from Muraoka-sensei when I came in. They were talking about paper and priming materials, but having small language difficulties. Britta speaks German with some English, and Muraoka-sensei speaks Japanese with some English, so I had the advantage by speaking good English and broken Japanese. I'd have to say Britta was more prepared than me, having both translated business cards and little wrapped up packets of postcards from her own portfolio to give out to. My time here is obviously different, but when next I come I will have the same.
Before heading home, I had to stop into the office and pay my rent. I had used a bunch of 10¥ and 5¥ coins to do this, because I've been accumulating change and those 'dimes' and 'nickels' aren't of much use. I also have a bunch of 1¥ coins, which are of absolutely no use, the Japanese tend to use these small coins to pay their taxes. While in the office, I learned I need to write a Scholarship essay before I leave, telling Osaka-Seikei about my time here, what I've been doing, and how I've been spending their money. I have a month still to go, and a lot of work to finish, before I can report with confidence on time well spent.
I really look forward to August though, when I can wander and experience with more freedom. I still have much planning to do, but at the beginning of the month, there are two matsuri, festivals, in Northern Honshu that just so happen to correspond to where I would be going anyway. The Kanto Matsuri and the Aomori Nebuta.
30.6.08
McCain
Woke up early today and did some studying. After expressing concerns about school credit for private language lessons, we have been getting more involved homework assignments and actually having to turn them in. So we'll get credit, which is a relief. After finishing my homework for the day, I went down to school and my studio.
Didn't spend a whole lot of time there, but put what will be, hopefully, the last required priming coat on my paper and then the real work can finally begin. While waiting for that, I played around with sumi and tried to put into practice methods from my free shodo class.
In language class, we had the normal oddball discussions here and there, politics came up, and from what I hear, the Japanese do not like Hillary Clinton. Or at least Yamada sensei does not. Then I heard something really funny about McCain, who is not reported on very much here. Apparently, translated to katakana, マケエイン, includes マケ ('make') which is 'defeat' and 'loss'. Quick, someone tell the press!
Didn't spend a whole lot of time there, but put what will be, hopefully, the last required priming coat on my paper and then the real work can finally begin. While waiting for that, I played around with sumi and tried to put into practice methods from my free shodo class.
In language class, we had the normal oddball discussions here and there, politics came up, and from what I hear, the Japanese do not like Hillary Clinton. Or at least Yamada sensei does not. Then I heard something really funny about McCain, who is not reported on very much here. Apparently, translated to katakana, マケエイン, includes マケ ('make') which is 'defeat' and 'loss'. Quick, someone tell the press!
28.6.08
世守
I overslept somewhat, being up late the night before, then went into Kyoto. My destination was the Kyoto International House and a free (50¥ for materials) cultural class on Japanese calligraphy, called shodo. There is a class like this offered almost every Saturday, but it's the first time I've made it.
I was very happy I did. When I went into the room, there were about five Japanese women moving about the room, and about the same amount of participants sitting at tables. Some were gaijin like me, but there were a few Japanese as well. We were given brushes and sumi materials, then started with a few simple exercises. I didn't have much problem with these as I've used sumi off/on since I got here. Never a specific class about it's use though, so I was very happy to learn a system of preparing three shades of black and using them in a more structured way.
I practiced some bamboo drawings, did well on the stalks and got some compliments, but the leaves eluded me. Just more practice. I also learned something that made me very happy, my name in Kanji (instead of katakana, セス クレイトン). Well, one translation, as there are many Kanji pronounced Se and many others pronounced Su (the closest Japanese has to a th- sound). So here it is, 世守, 'sesu', which means 'world/life protector'. So I've got that going for me. The woman probably has lots of experience doing this for foreigners, as she selected Kanji of positive meaning.
I also enjoyed chatting with the women and another Japanese man, Syunpei, sitting at the table with me. As always, I got many wide eyes when I told them I was there studying nihonga. Talked more with Syunpei on the way out. He's a post-doc student studying Physics. His English is very good, and I promised I would try to help him learn more about American humor. Cross-cultural humor is always hard to understand, I sure don't understand what's funny to the Japanese.
I was very happy I did. When I went into the room, there were about five Japanese women moving about the room, and about the same amount of participants sitting at tables. Some were gaijin like me, but there were a few Japanese as well. We were given brushes and sumi materials, then started with a few simple exercises. I didn't have much problem with these as I've used sumi off/on since I got here. Never a specific class about it's use though, so I was very happy to learn a system of preparing three shades of black and using them in a more structured way.
I practiced some bamboo drawings, did well on the stalks and got some compliments, but the leaves eluded me. Just more practice. I also learned something that made me very happy, my name in Kanji (instead of katakana, セス クレイトン). Well, one translation, as there are many Kanji pronounced Se and many others pronounced Su (the closest Japanese has to a th- sound). So here it is, 世守, 'sesu', which means 'world/life protector'. So I've got that going for me. The woman probably has lots of experience doing this for foreigners, as she selected Kanji of positive meaning.
I also enjoyed chatting with the women and another Japanese man, Syunpei, sitting at the table with me. As always, I got many wide eyes when I told them I was there studying nihonga. Talked more with Syunpei on the way out. He's a post-doc student studying Physics. His English is very good, and I promised I would try to help him learn more about American humor. Cross-cultural humor is always hard to understand, I sure don't understand what's funny to the Japanese.
26.6.08
Waiting. Again.
Today was super frustrating. It started off ok, arrived to morning lecture and sat there in the dark looking at art. There were many ink screen paintings today, which are my favorite of Japanese art. Trees, and mountains, and mist and fog. Disparate forms, dancing and echoing. The slides were followed by a short movie, which was especially interesting as it showed professional artists at work, mixing sumi, moving the brush. They used a surprising variety of brushes, including brushes of straw and pine needles for different effects.
After lecture I went home for a little while and prepared for my later studio class. I've been trying to do more drawings while here, pencil mostly, and just sketches, but in preparation for a larger painting, I reverted to charcoal use and referenced a photo I had taken. The paper I found in the store didn't have a whole lot of tooth for charcoal, more like printmaking paper, but things like that didn't bother me as I simply adapted. I even took advantage of it, my linseed-oil prepared charcoal is somewhat hard and digs away at the surface when over worked, so I was getting some interesting stress effects and textures.
Having a charcoal drawing I was happy with, and definitely looking like I had made it, I needed to distill this into line. Or at least rough shapes to provide definition when painting. It was very difficult, somewhat frustrating, and not really necessary in the end. Mountains are indistinct, shapes blur together, areas of darkness, ares of light, gradients in between. It sent me off on a tangent, trying to distill the image into some sort of abstraction. I wasn't happy with what I came out with, and pretty much ignored it later except for the main outline.
Back at school, I transferred my image onto a prepared panel. I had done this previously, mounting my primed paper onto a borrowed wooden panel, so I was all set to go. My line drawing was all ready on some tracing paper, which I then flipped over and used some willow charcoal over all the lines, then flipped it back to the front and went over my lines again with a pencil to press the underneath carbon onto my panel. An easy transfer method, good for many things.
Thats when the problems really started. I used my sumi to start making outlines, but then when I started to darken areas of shadow, the sumi acted weird, would speckle, lay inconsistent. It didn't look very good. Still, I thought it was me, so I cleaned my suzari to make sure there were no hardened chunks, patiently remixed my sumi and tried again. Some isolated areas were fine, but the same thing kept happening. Eventually my sensei came back into the room and I asked what was going on. Turns out the paper was not primed enough, instead of the 3 coats it had gotten, needed 4 or 5 at least.
So again. More waiting. I can't paint because the materials are not primed. I couldn't prime the paper again today because it was wet with the sumi. I have just one more month of studio time here (before I'm homeless roaming around Japan). I'd like to finish two larger sized works in that time, but it's so time consuming to do it right.
After lecture I went home for a little while and prepared for my later studio class. I've been trying to do more drawings while here, pencil mostly, and just sketches, but in preparation for a larger painting, I reverted to charcoal use and referenced a photo I had taken. The paper I found in the store didn't have a whole lot of tooth for charcoal, more like printmaking paper, but things like that didn't bother me as I simply adapted. I even took advantage of it, my linseed-oil prepared charcoal is somewhat hard and digs away at the surface when over worked, so I was getting some interesting stress effects and textures.
Having a charcoal drawing I was happy with, and definitely looking like I had made it, I needed to distill this into line. Or at least rough shapes to provide definition when painting. It was very difficult, somewhat frustrating, and not really necessary in the end. Mountains are indistinct, shapes blur together, areas of darkness, ares of light, gradients in between. It sent me off on a tangent, trying to distill the image into some sort of abstraction. I wasn't happy with what I came out with, and pretty much ignored it later except for the main outline.
Back at school, I transferred my image onto a prepared panel. I had done this previously, mounting my primed paper onto a borrowed wooden panel, so I was all set to go. My line drawing was all ready on some tracing paper, which I then flipped over and used some willow charcoal over all the lines, then flipped it back to the front and went over my lines again with a pencil to press the underneath carbon onto my panel. An easy transfer method, good for many things.
Thats when the problems really started. I used my sumi to start making outlines, but then when I started to darken areas of shadow, the sumi acted weird, would speckle, lay inconsistent. It didn't look very good. Still, I thought it was me, so I cleaned my suzari to make sure there were no hardened chunks, patiently remixed my sumi and tried again. Some isolated areas were fine, but the same thing kept happening. Eventually my sensei came back into the room and I asked what was going on. Turns out the paper was not primed enough, instead of the 3 coats it had gotten, needed 4 or 5 at least.
So again. More waiting. I can't paint because the materials are not primed. I couldn't prime the paper again today because it was wet with the sumi. I have just one more month of studio time here (before I'm homeless roaming around Japan). I'd like to finish two larger sized works in that time, but it's so time consuming to do it right.
25.6.08
はな
Continued today on a flower drawing for 1st year nihonga. This class has been about specific technique, and I've really enjoyed it, but still, I can always do better. One facet of doing better is scale, and positioning. On my first class drawing, I was big and bold, but the rest of the class was smaller objects with lots of surrounding space. Mmaybe it's subconscious, because since that first painting it has been the opposite, I feel like I'm working too small and leaving too much empty space, while the rest of the class has gotten bigger and bolder.
Thats not to say my drawings and paintings are not good, but they can be better. With the flower drawing, I captured the details of the leaves, and then later the details of the blossom as it opened. But I was impatient. I transfered my drawing to washi, pasted it down, let it dry, then outlined the form in sumi. Then I made a mistake, thinking the paper was dry, I tried to continue into the shadows, but the paper that was dry to the touch was not really dry. The carbon spread outwards, beyond the lines, and was not smooth.
An obvious mistake, and could have been avoided. It can be fixed, covered up, none would be the wiser, but still, it disturbed me. I like to work fast, let the creative bursts out, but with nihonga, there is waiting. Always waiting. I've seen my sensei create an ink drawing, layering and layering with a practiced hand. He rarely needs to stop, because the sumi is so light and perfect. As one part dries, he works somewhere else. There is no pause, only deliberation. A wiser man might say to slow the hand, is to slow the mind and to see more. But I am not so wise.
Thats not to say my drawings and paintings are not good, but they can be better. With the flower drawing, I captured the details of the leaves, and then later the details of the blossom as it opened. But I was impatient. I transfered my drawing to washi, pasted it down, let it dry, then outlined the form in sumi. Then I made a mistake, thinking the paper was dry, I tried to continue into the shadows, but the paper that was dry to the touch was not really dry. The carbon spread outwards, beyond the lines, and was not smooth.
An obvious mistake, and could have been avoided. It can be fixed, covered up, none would be the wiser, but still, it disturbed me. I like to work fast, let the creative bursts out, but with nihonga, there is waiting. Always waiting. I've seen my sensei create an ink drawing, layering and layering with a practiced hand. He rarely needs to stop, because the sumi is so light and perfect. As one part dries, he works somewhere else. There is no pause, only deliberation. A wiser man might say to slow the hand, is to slow the mind and to see more. But I am not so wise.
24.6.08
Blogging
This blog is a record of my time in Japan. I will have an entry written for every day I'm here, even if just to say I didn't do anything interesting. But sometimes, I get behind, and the missed days keep adding up. If you want to keep up, watch the blog listing to the right.
There are reasons that this happens. Some reasons are good, like I spent the day out and didn't get back until late, or that it takes time to process details and write about events while the post sits unfinished as a draft.
Other reasons are bad. I'm stressed. I have nothing to say. I'm unmotivated. I'm confused. I just don't feel like it. Most of the time it's that last one. And so the draft sits there. I have one entry from back during Golden week and my trip to Shikoku that I haven't finished, though it's mostly done, I just haven't put it up.
Blogging should not be a chore, but at times it is, and that's why some entries are posted out of order. Technology allows me trickery, back-dating and editing, but that flexibility itself is a trap. I can 'get away' with mass postings, even while true day-by-day recordings of my time would be more efficient, and more to the spirit of this project. All my life, the idea of a journal, sketchbook, a daily practice, a constant un-shakeable routine, those things call to me, but continue to remain elusive. Good habits are hard to form, and my bad habits are hard to break.
There are reasons that this happens. Some reasons are good, like I spent the day out and didn't get back until late, or that it takes time to process details and write about events while the post sits unfinished as a draft.
Other reasons are bad. I'm stressed. I have nothing to say. I'm unmotivated. I'm confused. I just don't feel like it. Most of the time it's that last one. And so the draft sits there. I have one entry from back during Golden week and my trip to Shikoku that I haven't finished, though it's mostly done, I just haven't put it up.
Blogging should not be a chore, but at times it is, and that's why some entries are posted out of order. Technology allows me trickery, back-dating and editing, but that flexibility itself is a trap. I can 'get away' with mass postings, even while true day-by-day recordings of my time would be more efficient, and more to the spirit of this project. All my life, the idea of a journal, sketchbook, a daily practice, a constant un-shakeable routine, those things call to me, but continue to remain elusive. Good habits are hard to form, and my bad habits are hard to break.
20.6.08
Prime paper 2
Learned something important today, how to make the glue solution required to prime washi paper. Obviously, this is a very important step in the process. As I have discussed, improper preparation of materials can be very frustrating.
Not too hard, the nikiwa, or glue, comes in solid sticks that I purchased in the school store. After allowing this to soften in water for a few hours, I melted it over heat to create the primary glue solution. I use this liquid to create my paints, adding pigments and grinding it by hand in a little dish. To make the priming solution, I add more water and allow it to cool. I also add a scoop of chemical, aluminium potassium sulfate, as an additional stabilizing element.
It felt good to have this under my own control, I wonder about materials when I go back to Boston, if I can find the same type of pigments and papers. Nihonga is a slow process, somewhat demanding, but it is interesting. I look forward to continuing with these materials, as I gain a different type of satisfaction from their use than I do with a large-format charcoal drawings. Note, different does not mean greater or better, only different, and I feel myself struggling to combine newly-learned materials with past-developed methods.
Not too hard, the nikiwa, or glue, comes in solid sticks that I purchased in the school store. After allowing this to soften in water for a few hours, I melted it over heat to create the primary glue solution. I use this liquid to create my paints, adding pigments and grinding it by hand in a little dish. To make the priming solution, I add more water and allow it to cool. I also add a scoop of chemical, aluminium potassium sulfate, as an additional stabilizing element.
It felt good to have this under my own control, I wonder about materials when I go back to Boston, if I can find the same type of pigments and papers. Nihonga is a slow process, somewhat demanding, but it is interesting. I look forward to continuing with these materials, as I gain a different type of satisfaction from their use than I do with a large-format charcoal drawings. Note, different does not mean greater or better, only different, and I feel myself struggling to combine newly-learned materials with past-developed methods.
19.6.08
Prime paper
Raining today. I can expect more of that with the rainy season on the way. Still, rode my borrowed bike to class holding an umbrella in one hand just like the Japanese do. Most bikes here are single speed, so it's not like riding around at home where I would never try the same zooming around in a high gear.
Class today was all preparation, I needed to prime my paper so I could then mount it on a panel and paint. As a priming solution, it's just glue, the same glue as is used for the paints, diluted in water. It needs to be layered on thick, one side, wait an hour, then the other. Sometimes it requires three coats, but I didn't have time for that today as with the humidity, everything was slow to dry.
During my waiting, and there is often waiting with nihonga for your paints to dry, I continued on my shell painting from Tuesday. The shells themselves are small and occupy only one corner of the image, so I am most concerned about the background. I see so many layering possibilities with this medium, ways of making fog, and obscuring, and mixed images, but I lack the technical ability to execute my ideas. I focus on my craft, and this painting is about background and layer color.
Class today was all preparation, I needed to prime my paper so I could then mount it on a panel and paint. As a priming solution, it's just glue, the same glue as is used for the paints, diluted in water. It needs to be layered on thick, one side, wait an hour, then the other. Sometimes it requires three coats, but I didn't have time for that today as with the humidity, everything was slow to dry.
During my waiting, and there is often waiting with nihonga for your paints to dry, I continued on my shell painting from Tuesday. The shells themselves are small and occupy only one corner of the image, so I am most concerned about the background. I see so many layering possibilities with this medium, ways of making fog, and obscuring, and mixed images, but I lack the technical ability to execute my ideas. I focus on my craft, and this painting is about background and layer color.
18.6.08
Sawano-sensei art
Today I had the opportunity to see some of Sawano-sensei art on display in Kyoto. I learned this is a yearly exhibition that he has been a part of for the last 10 years. From other teachers and artists I've talked to in Japan, this feels common, as they all seem to have steady shows at the same places over and over.
I had known we were going into Kyoto from last week, but had forgotten and ended up being late to class and everyone had left. I had a card announcing the show, but it was all in Japanese. There was a map showing me it was by the river in Kyoto, so after some comparison to other maps, I figured out the cross street and off I went. The cost of trains in Kyoto really add up and if I had more time I would have taken a different route, but after the Hankyu train, a switch to the subway, and a fast paced walk, I was there.
The building was a performance center of some kind, and when I walked in I surprised my classmates who probably did not expect to see me. Sensei seemed very happy to see me, and I was very glad to make it. The exhibition included three of his own works, and maybe 9 other pieces. The first thing I noticed was the size, everything in the room was big, and Sawano senseis' paintings were all 6ft square. The paintings were all cityscapes, he told me the first was from sketches done in Italy, the second from France, and the third an imaginary composition on his own. The paint was laid on so thickly, or so it seemed, and there was a lot of texture to the images. The color was somewhat muted, earthen and neutrals, but there was an under layering of brighter colors. The paintings were not seamless, you could see the obvious joining of two panels, but because of the quality of image, it barely registered. I wish I had taken photos, but did not want to cheapen the experience.
After looking at the art, I sat with Sawano sensei over coffee. We talked about a few things, I remember asking about how his paintings were of cities, man-made objects, when so many of the Japanese paintings I've been looking at involve nature and trees and mountains, etc etc. I could guess the answer, that of an artist following their bliss, making the very best art when they are interesting in what they are doing, but it was good to hear directly. Sawano sensei has traveled a few times in Europe, and we talked about that, how the foreign cities inspired him to make those paintings. This led to my learning something of his influences, and how he had studied under the Japanese artist Insho Domoto, which I then found out had also created a number of abstract paintings using nihonga materials and methods. This was something of a revelation to me, and Sawano sensei told me of an exhibition at a Kyoto museum showing his work.
I left sometime after, conversations like these are somewhat tiring, and I wanted to get back to Nagaokakyo. I wandered a little along Teramachi street and Nishiki food market, found a quick bite to eat, then the train home. Visiting museums, seeing "famous" art is very useful, and eye opening, but in some ways it can lead to tunnel vision. By seeing Sawano senseis' art, along with the other paintings on display, I sampled something more contemporary. I saw Japanese artists dealing with the issues of today, instead of ideas from ages past. It was very interesting and very enjoyable.
I had known we were going into Kyoto from last week, but had forgotten and ended up being late to class and everyone had left. I had a card announcing the show, but it was all in Japanese. There was a map showing me it was by the river in Kyoto, so after some comparison to other maps, I figured out the cross street and off I went. The cost of trains in Kyoto really add up and if I had more time I would have taken a different route, but after the Hankyu train, a switch to the subway, and a fast paced walk, I was there.
The building was a performance center of some kind, and when I walked in I surprised my classmates who probably did not expect to see me. Sensei seemed very happy to see me, and I was very glad to make it. The exhibition included three of his own works, and maybe 9 other pieces. The first thing I noticed was the size, everything in the room was big, and Sawano senseis' paintings were all 6ft square. The paintings were all cityscapes, he told me the first was from sketches done in Italy, the second from France, and the third an imaginary composition on his own. The paint was laid on so thickly, or so it seemed, and there was a lot of texture to the images. The color was somewhat muted, earthen and neutrals, but there was an under layering of brighter colors. The paintings were not seamless, you could see the obvious joining of two panels, but because of the quality of image, it barely registered. I wish I had taken photos, but did not want to cheapen the experience.
After looking at the art, I sat with Sawano sensei over coffee. We talked about a few things, I remember asking about how his paintings were of cities, man-made objects, when so many of the Japanese paintings I've been looking at involve nature and trees and mountains, etc etc. I could guess the answer, that of an artist following their bliss, making the very best art when they are interesting in what they are doing, but it was good to hear directly. Sawano sensei has traveled a few times in Europe, and we talked about that, how the foreign cities inspired him to make those paintings. This led to my learning something of his influences, and how he had studied under the Japanese artist Insho Domoto, which I then found out had also created a number of abstract paintings using nihonga materials and methods. This was something of a revelation to me, and Sawano sensei told me of an exhibition at a Kyoto museum showing his work.
I left sometime after, conversations like these are somewhat tiring, and I wanted to get back to Nagaokakyo. I wandered a little along Teramachi street and Nishiki food market, found a quick bite to eat, then the train home. Visiting museums, seeing "famous" art is very useful, and eye opening, but in some ways it can lead to tunnel vision. By seeing Sawano senseis' art, along with the other paintings on display, I sampled something more contemporary. I saw Japanese artists dealing with the issues of today, instead of ideas from ages past. It was very interesting and very enjoyable.
15.6.08
Rambo
Today I went to the movies with a Japanese friend, Nishiokaくん. When I first arrived, that was an easy way to communicate, throwing movies back and forth. He's a big fan of action movies, and Sylvester Stallone in particular, so Rambo was the perfect choice.
After some small confusion via phone-email about us going to the same place at the same time (broken English, broken Japanese), we both made it to JR Ibaraki station in Osaka, then a short walk to the Warner Mycal Theater. It was connected with a shopping area, which was nothing unusual. We enter the lobby, and again, all glitter and lights like any mainstream theater. The first real difference came when we purchased tickets and I find out that it's reserved seating, and like a Broadway play, different sections are different prices. We got our tickets, $15 US (expensive, but about the same as a movie at Boston-Copley theater), then I made the mistake of purchasing a coke, where I ended up with a large, over-priced souvenir cup. Some things are the same everywhere. In the lobby there was also a large gift shop of movie memorabilia, they had everything, key chains, towels, posters, books, trinkets, whatever you would want to spend your money on. Except dvds of the movies themselves.
Inside the theater, we got to watch a Looney Tunes service announcement, turn off phones, don't talk, etc. etc, or at least that's what I guessed they were saying. I do think it's funny how many Looney Tunes and Disney characters I see in Japan, and even moreso after asking the Japanese wearing a character shirt and they tell me they have never seen the cartoon. After the cartoons came the trailers, and the majority were American movies, still in English with Japanese subtitles. I saw previews for Indiana Jones, the new Batman, Sex in the City, a Star Wars cartoon, and a single, short 'teaser' for a Japanese film as the only thing not in english.
Eventually the movie started, English with subtitles. It was about what I expected from a Rambo movie, high body counts and the good guys win in the end. But it was enjoyable. I had not gone for the movie, more to hang out with my Japanese friend and to experience the movies in Japan. Afterwards we met up with another friend and went to a noodle place for lunch before I went back home.
After some small confusion via phone-email about us going to the same place at the same time (broken English, broken Japanese), we both made it to JR Ibaraki station in Osaka, then a short walk to the Warner Mycal Theater. It was connected with a shopping area, which was nothing unusual. We enter the lobby, and again, all glitter and lights like any mainstream theater. The first real difference came when we purchased tickets and I find out that it's reserved seating, and like a Broadway play, different sections are different prices. We got our tickets, $15 US (expensive, but about the same as a movie at Boston-Copley theater), then I made the mistake of purchasing a coke, where I ended up with a large, over-priced souvenir cup. Some things are the same everywhere. In the lobby there was also a large gift shop of movie memorabilia, they had everything, key chains, towels, posters, books, trinkets, whatever you would want to spend your money on. Except dvds of the movies themselves.
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Inside the theater, we got to watch a Looney Tunes service announcement, turn off phones, don't talk, etc. etc, or at least that's what I guessed they were saying. I do think it's funny how many Looney Tunes and Disney characters I see in Japan, and even moreso after asking the Japanese wearing a character shirt and they tell me they have never seen the cartoon. After the cartoons came the trailers, and the majority were American movies, still in English with Japanese subtitles. I saw previews for Indiana Jones, the new Batman, Sex in the City, a Star Wars cartoon, and a single, short 'teaser' for a Japanese film as the only thing not in english.
Eventually the movie started, English with subtitles. It was about what I expected from a Rambo movie, high body counts and the good guys win in the end. But it was enjoyable. I had not gone for the movie, more to hang out with my Japanese friend and to experience the movies in Japan. Afterwards we met up with another friend and went to a noodle place for lunch before I went back home.
12.6.08
いいてんきですね
Really nice day out today. Not too hot, not too cold.
Went to morning lecture, I feel like my Japanese Art history classes are helping my imagination more than my knowledge. I get to see art, see the slides the professor chooses to present, but I understand little of what he says about them. I have some printed handouts, which I'm sure would be useful when I translate them, but it's a very time-consuming process to do so. It's not like translating a European language, direct word for word, just look it up and viola! No. It requires looking up Kanji, which two Kanji separately have different meaning than together. Dissecting sentences, and by that I mean determining where the words separate so you can look up their meaning. Deciding which characters are particles, the connecting elements, isn't too hard, but it's not a direct formula, and particles can mean different things depending on context of the rest of the sentence.
I'm understanding more of the spoken Japanese around me, but if I ever want to be able to read and write Japanese, it's a long road ahead.
Went to morning lecture, I feel like my Japanese Art history classes are helping my imagination more than my knowledge. I get to see art, see the slides the professor chooses to present, but I understand little of what he says about them. I have some printed handouts, which I'm sure would be useful when I translate them, but it's a very time-consuming process to do so. It's not like translating a European language, direct word for word, just look it up and viola! No. It requires looking up Kanji, which two Kanji separately have different meaning than together. Dissecting sentences, and by that I mean determining where the words separate so you can look up their meaning. Deciding which characters are particles, the connecting elements, isn't too hard, but it's not a direct formula, and particles can mean different things depending on context of the rest of the sentence.
I'm understanding more of the spoken Japanese around me, but if I ever want to be able to read and write Japanese, it's a long road ahead.
11.6.08
Outdoors club
Today was somewhat eventful. Not because things happened, but because I found out about things that will be happening.
For instance, had the first meeting of the Outdoor club at school. Back in mid-April I had given my email address to a fellow student for this club, which was really very small, I hoped something would come of it, the club might plan an event together, but until now nothing had happened. Today we met during lunch, where we looked at a few different possibilities the leader had printed out from the internet. A few were just things like go to make noodles, or Japanese candy, but something more adventurous for July is a river race north of Kyoto, in Shiga. From what I understand, you make a raft from foam and PET bottles, then race against other teams. Last year there were 47 rafts together on the river, sounds like fun, so I'll keep you posted.
Next, during painting class, we started on a flower preliminary drawing, but I didn't understand why we then painted on our pencil drawings. Turns out it was to get a rough recording of the colors before our flower wilts away and fades. Then I found out next weeks class will become a field trip into Kyoto, specifically to see a show of nihonga, and more specifically, paintings and work by Sawano-sensei himself. Sugoi! I always enjoy seeing a teachers art, it's an important part of learning, being able to see where they come from, to know them as a creator along with an educator.
Lastly, finalized plans with a classmate to go see the most recent Rambo movie as it's soon to be release here in Japan. Neither of us can speak the others language particularly well, but throwing movie titles back is always something. Foreign movies released in Japan almost always retain the original voice track and are then subtitled in Japanese, so it won't be any problem to understand. Yet another example of the pervasiveness of English here, even though few Japanese have any conversation skills because it's mostly grammar being taught in schools.
For instance, had the first meeting of the Outdoor club at school. Back in mid-April I had given my email address to a fellow student for this club, which was really very small, I hoped something would come of it, the club might plan an event together, but until now nothing had happened. Today we met during lunch, where we looked at a few different possibilities the leader had printed out from the internet. A few were just things like go to make noodles, or Japanese candy, but something more adventurous for July is a river race north of Kyoto, in Shiga. From what I understand, you make a raft from foam and PET bottles, then race against other teams. Last year there were 47 rafts together on the river, sounds like fun, so I'll keep you posted.
Next, during painting class, we started on a flower preliminary drawing, but I didn't understand why we then painted on our pencil drawings. Turns out it was to get a rough recording of the colors before our flower wilts away and fades. Then I found out next weeks class will become a field trip into Kyoto, specifically to see a show of nihonga, and more specifically, paintings and work by Sawano-sensei himself. Sugoi! I always enjoy seeing a teachers art, it's an important part of learning, being able to see where they come from, to know them as a creator along with an educator.
Lastly, finalized plans with a classmate to go see the most recent Rambo movie as it's soon to be release here in Japan. Neither of us can speak the others language particularly well, but throwing movie titles back is always something. Foreign movies released in Japan almost always retain the original voice track and are then subtitled in Japanese, so it won't be any problem to understand. Yet another example of the pervasiveness of English here, even though few Japanese have any conversation skills because it's mostly grammar being taught in schools.
10.6.08
Nasic Welcome Party
Today I went into my painting studio, but could not find my professor. A classmate told me that everyone had went out into the nice weather to sketch, so that's what I did.
For a month now, there has been a poster by the entrance of my building, advertising a Nasic Welcome Party. Nasic is the building management company, and supposedly, this was a chance to wine and dine on their bill! Friends from the building had talked about it, but unfortunately it turns out only people who moved in the beginning of April were eligible. As Kristine was busy, that meant I was flying solo. Also, unfortunately for me, the others didn't really miss much.
I rode the JR train to Kyoto station, then walked into the lobby of the fancy hotel right above. I saw signs for Nasic, and following them, went up a long escalator to check-in. I did not have a name-tag prepared, maybe because I didn't RSVP (or know how), but they let me in no problem. I was given a table number, and a raffle ticket. Walking into the large banquet hall, I could feel eyes on me, but I went over and sat down at my table. Others seated in my area were mostly college students, while the tables near the stage had business types wearing suits and exchanging cards. I tried to order a beer, but my section was not allowed drinks beyond OJ, water, and tea. Food was served, and it was ok, random dishes of rice, chicken, and vegetables. Nothing stood out. There was an interesting performance by a squad of Japanese cheerleaders as they formed pyramids three girls high and threw each other around, then the raffle. Some good prizes were offered, food certificates, a mountain bike, and finally a vacation somewhere, I didn't win anything, but I did get a free pen!
After another presentation, by men in suits, where gifts were exchanged and a few short speeches were given, it was over. The staff lined up along the edges of the hall, then filed out, followed by the first-class guests. Then finally the students. All the staff were lined up outside bowing and thanking us in typical fashion. The escalator I had used to come up had been put in reverse, to help clear everyone out quickly, and I thought that was pretty neat.
For a month now, there has been a poster by the entrance of my building, advertising a Nasic Welcome Party. Nasic is the building management company, and supposedly, this was a chance to wine and dine on their bill! Friends from the building had talked about it, but unfortunately it turns out only people who moved in the beginning of April were eligible. As Kristine was busy, that meant I was flying solo. Also, unfortunately for me, the others didn't really miss much.
I rode the JR train to Kyoto station, then walked into the lobby of the fancy hotel right above. I saw signs for Nasic, and following them, went up a long escalator to check-in. I did not have a name-tag prepared, maybe because I didn't RSVP (or know how), but they let me in no problem. I was given a table number, and a raffle ticket. Walking into the large banquet hall, I could feel eyes on me, but I went over and sat down at my table. Others seated in my area were mostly college students, while the tables near the stage had business types wearing suits and exchanging cards. I tried to order a beer, but my section was not allowed drinks beyond OJ, water, and tea. Food was served, and it was ok, random dishes of rice, chicken, and vegetables. Nothing stood out. There was an interesting performance by a squad of Japanese cheerleaders as they formed pyramids three girls high and threw each other around, then the raffle. Some good prizes were offered, food certificates, a mountain bike, and finally a vacation somewhere, I didn't win anything, but I did get a free pen!
After another presentation, by men in suits, where gifts were exchanged and a few short speeches were given, it was over. The staff lined up along the edges of the hall, then filed out, followed by the first-class guests. Then finally the students. All the staff were lined up outside bowing and thanking us in typical fashion. The escalator I had used to come up had been put in reverse, to help clear everyone out quickly, and I thought that was pretty neat.
9.6.08
Water bottle mystery
A while back I made a post about seeing water bottles set around the perimeter of houses and parking lots and all over the place. That mystery is now solved.
The water bottles are to keep away stray cats. According to the Japanese, the cats own reflection in the water scares them away. There is probably some connected myth, but thats how I understand it. I could never have guessed that.
The water bottles are to keep away stray cats. According to the Japanese, the cats own reflection in the water scares them away. There is probably some connected myth, but thats how I understand it. I could never have guessed that.
7.6.08
Peace Osaka
Looking at the time, I knew if I tried to go to a major Osaka art museum I wouldn't have a whole lot of time, so instead I looked in my book and realized Peace Osaka was nearby, aka Osaka International Peace Center. Having a free ticket, I went for a look. Exactly like it sounds, it was a museum with exhibits based around WWII. Everything from Japan invasion of China, to US firebombing was explained in detail. There was a lot of information, and I found it interesting, but I will say this, for an 'International' peace center, with a stated goal of presenting clear and precise information about the war, to promote peace, it was very Japan oriented. Certainly, this is to be expected, being in Japan, but there was almost no information about the European conflict, or Germany, and only a single wall about the Holocaust.
Leaving the peace museum, I walked around the park a bit until I got hungry. Rode the subway to the Umeda JR station, then went looking for food. Went past many possibles, but it wasn't until I was in yet another underground shopping district that I stopped at a nice looking Indian restaurant. I was in the mood for spice, and they delivered. Full and refreshed, I looked at my map, then started walking towards the Umeda Sky Building.
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Leaving the peace museum, I walked around the park a bit until I got hungry. Rode the subway to the Umeda JR station, then went looking for food. Went past many possibles, but it wasn't until I was in yet another underground shopping district that I stopped at a nice looking Indian restaurant. I was in the mood for spice, and they delivered. Full and refreshed, I looked at my map, then started walking towards the Umeda Sky Building.
Osaka-jo
There's a lot to see in Osaka (it's the second biggest city in Japan behind Tokyo), so with that in mind I thought to rent a bike. I hadn't looked any up, so I went to one of the many Tourist Information centers. This was near a subway station, and attached to one of the many underground/covered shopping districts littering Japan. It's the rain, and the heat which drives shoppers underground. People think the streets of Japan are crowded, you should see one of these places on a busy Saturday afternoon, also it's a maze with multiple complexes connected.
The information center was able to point out a bike rental place nearby, along with sell me Museums Grutto Pass KANSAI 2008, a great deal I had not known about for museum admission in the Kansai area. I stopped at a bakery cafe for breakfast, there's a lot of these in Japan too, you walk in, get a tray and you own tongs, then select from bins of baked goods that all seem to be fresh from that same day. Lots of variety.
I tried finding the bike place, but couldn't and ended up wandering for a bit. I stopped at Hōzen-ji, a tiny little temple with a moss-covered statue. Wait your turn, then throw water at the statue and onto the plants to either side. The ripples and waves of plant matter inspired me. This is supposedly a shrine popular with sea-faring tradesmen. Continued walking, I saw a gallery advertising an 'Art as Line' exhibition, but after I went in I was a little disappointed. Not a very large collection, the most interesting pieces were sketches and gesture drawings, which wasn't saying much.
I continued heading north and went through a few more covered shopping areas. I passed a bike shop that offered rental, but he was closing early that day and I didn't think it'd be worth it. It was a hot day, tall buildings to either side until I came out into the open area surround Osaka-jo (castle). I approached the moat, and just blown away by the scale! I've seen a few castles in Europe, but this was different, and I could just picture a massive army trying to get across that moat and up the wall. While I was admiring the view, a pair of Japanese student, perhaps high-school age, came up to me all friendly and excited. They were less interested in conversation, but really wanted to have their picture taken with me. I guess I'm funny looking, but I agreed, we said hello, then said goodbye and went our separate ways. They didn't even ask me my name.
Approaching the castle, I went through a series of gates and bridges. Over a secondary moat, overgrown with weeds, I came to the main gate. I read a few signs talking about the massive size of individual stones used along the inner wall, but it was all a wind up as the next sign told me that after recent excavation, it was discovered to something of a cover-stone, tall, wide, but only 6" thick.
Up through a couple more gates, past a few little shops, then I had a good view of the actual castle, Osaka-jo. It was actually a somewhat recent reproduction, being destroyed by lightning and rebuilt in 1931, but it looked impressive to me. Examined an international time capsule from 2007 in the courtyard, then paid for my ticket and went in. There were two lines, one for the elevator, another for the stairs. I took the stairs and went all the way up as instructed, the exhibits are designed to be viewed on the way down.
From the top, I had great views of the surrounding area. A park surrounded the castle, but everything beyond was city and tall buildings. I looked around in the little gift shop, then started my way down. There was a lot of history of the castle, names and dates, clans and factions battling over control. Mixed in were artifacts and art, reproductions of a portable tea room transported around by the controlling warlord, swords, armor, a few screen paintings, and I was happy to find a lot of english language text that I could read. On one floor they had a bunch of dioramas, with actor recordings over laid on glass, almost like watching ghosts perform a play. Altogether, it was a pretty good museum, though very site specific. I enjoyed it.
I went out a different gate than I came in, heading generally east, I followed the road and eventually found myself on a nice wooded path. I started to hear drums in the distance, and as I got closer, I came to a big open-air performance area with a festival of some sort. I took a seat and watched the next performance. I wouldn't call it an iconic Japanese performance, though the performers were Japanese, it was more african beats, for lack of a better word, something of a hippie festival, with beads, drum circles, free-form dancing, it was fun, then I continued walking.
The information center was able to point out a bike rental place nearby, along with sell me Museums Grutto Pass KANSAI 2008, a great deal I had not known about for museum admission in the Kansai area. I stopped at a bakery cafe for breakfast, there's a lot of these in Japan too, you walk in, get a tray and you own tongs, then select from bins of baked goods that all seem to be fresh from that same day. Lots of variety.
I tried finding the bike place, but couldn't and ended up wandering for a bit. I stopped at Hōzen-ji, a tiny little temple with a moss-covered statue. Wait your turn, then throw water at the statue and onto the plants to either side. The ripples and waves of plant matter inspired me. This is supposedly a shrine popular with sea-faring tradesmen. Continued walking, I saw a gallery advertising an 'Art as Line' exhibition, but after I went in I was a little disappointed. Not a very large collection, the most interesting pieces were sketches and gesture drawings, which wasn't saying much.
 |  |  |
 |  |  |
I continued heading north and went through a few more covered shopping areas. I passed a bike shop that offered rental, but he was closing early that day and I didn't think it'd be worth it. It was a hot day, tall buildings to either side until I came out into the open area surround Osaka-jo (castle). I approached the moat, and just blown away by the scale! I've seen a few castles in Europe, but this was different, and I could just picture a massive army trying to get across that moat and up the wall. While I was admiring the view, a pair of Japanese student, perhaps high-school age, came up to me all friendly and excited. They were less interested in conversation, but really wanted to have their picture taken with me. I guess I'm funny looking, but I agreed, we said hello, then said goodbye and went our separate ways. They didn't even ask me my name.
 |  |  |
 |  |  |
Approaching the castle, I went through a series of gates and bridges. Over a secondary moat, overgrown with weeds, I came to the main gate. I read a few signs talking about the massive size of individual stones used along the inner wall, but it was all a wind up as the next sign told me that after recent excavation, it was discovered to something of a cover-stone, tall, wide, but only 6" thick.
Up through a couple more gates, past a few little shops, then I had a good view of the actual castle, Osaka-jo. It was actually a somewhat recent reproduction, being destroyed by lightning and rebuilt in 1931, but it looked impressive to me. Examined an international time capsule from 2007 in the courtyard, then paid for my ticket and went in. There were two lines, one for the elevator, another for the stairs. I took the stairs and went all the way up as instructed, the exhibits are designed to be viewed on the way down.
 |  |  |
 |  |  |
From the top, I had great views of the surrounding area. A park surrounded the castle, but everything beyond was city and tall buildings. I looked around in the little gift shop, then started my way down. There was a lot of history of the castle, names and dates, clans and factions battling over control. Mixed in were artifacts and art, reproductions of a portable tea room transported around by the controlling warlord, swords, armor, a few screen paintings, and I was happy to find a lot of english language text that I could read. On one floor they had a bunch of dioramas, with actor recordings over laid on glass, almost like watching ghosts perform a play. Altogether, it was a pretty good museum, though very site specific. I enjoyed it.
 |  |  |
I went out a different gate than I came in, heading generally east, I followed the road and eventually found myself on a nice wooded path. I started to hear drums in the distance, and as I got closer, I came to a big open-air performance area with a festival of some sort. I took a seat and watched the next performance. I wouldn't call it an iconic Japanese performance, though the performers were Japanese, it was more african beats, for lack of a better word, something of a hippie festival, with beads, drum circles, free-form dancing, it was fun, then I continued walking.
6.6.08
Osaka capsule hotel
It was late in the day by the time I planned my weekend. I hadn't been to Osaka yet (which is really close, but I've been busy elsewhere), and to add an experience and get an early start, I decided to spend the night there. Specifically, in one of the notorious Japanese capsule hotels.
I packed a small bag and boarded the JR train into Osaka. Missed the express, so I had to take a local that stopped at every stop, then transfer onto the JR Circle line, which is just like it sounds, a big circle around the city. My first destination for the evening was SpaWorld which is a 24-hour onsen in the heart of Osaka. The pool and gym did not appear to be open, and that really disappointed me, but I had a good time exploring the different baths and saunas on the European floor. There is also an Asian-themed floor, but the two areas are switched each month between men and women. I left a little sooner than I would have liked to avoid paying the additional after-hours fee.
From the southern area I was in, I walked north towards the Minami night-time district. I was reminded of NYC with the tall buildings around me, especially walking through Den-Den Town, the electronics district (though everything was closed by then). And the homeless, unlike Kyoto, I saw a lot of them here. At first the streets were empty, but as I got closer to Dōtombori Arcade it was more lively. Tall, brightly lit signs, electrical wires everywhere, bikes, hawkers, the nighttime crowd was everywhere. I wandered around a bit, along the Dōtombori-gawa (canal), criss-crossing different streets, went into a music store and listened to demo cds for awhile. I must look like a mark, because I was offered a 'massage' at three different corners (Osaka is infamous for it's sex industry, for instance No-pan kissa and various other affairs). It was getting late, then just by chance, I passed Sauna and Capsule AMZA, one of the hotels I looked up and had planned to find if I was nearby!
The hotel itself was on the top floors of the the building, so I rode an elevator up to the 7th (open glass elevators are very popular here, and this was one). Immediately upon entering the lobby you remove your shoes and place them in a locker. The key for your shoes is with your bill, you're not really expected to go in and out of a capsule hotel, just check-in, then check-out. I paid for my stay, and was given a locker key on a band that went around my wrist. Going to my locker, I removed my contacts and put away all my clothes and belongings, changing into the cotton robe and crisp blue boxers made available to me. From there, I went downstairs to the sauna and bath, also used the barcode on my key to purchase some milk from a vending machine. The sentō was really very nice, with powered massage jets and an open air area. There were some female attendants (yes, all the men were naked), offering salt scrubs and massages, so I spree'd and had one (very affordable, $35 for 30-minutes). The woman went at me with scrub-gloves and salt, then oils and lotion, she was very thorough, my skin has never been so soft! She told me at the end to go into the sauna for 3-minutes, then a quick rinse and bed. So thats what I did.
Upstairs there are sinks and toiletries, including shaving gear and a tooth brush, so you really don't need to bring anything. The capsules themselves, you climb in, there is a pillow and a blanket for you, also controls for a tv, radio, alarm, and adjustable light. There's no door, but a retractable bamboo shade you pull down for privacy. Flat on my back, I had maybe an inch of extra space between my head and headboard, but lots of room above and too the sides. I slept very comfortably.
I packed a small bag and boarded the JR train into Osaka. Missed the express, so I had to take a local that stopped at every stop, then transfer onto the JR Circle line, which is just like it sounds, a big circle around the city. My first destination for the evening was SpaWorld which is a 24-hour onsen in the heart of Osaka. The pool and gym did not appear to be open, and that really disappointed me, but I had a good time exploring the different baths and saunas on the European floor. There is also an Asian-themed floor, but the two areas are switched each month between men and women. I left a little sooner than I would have liked to avoid paying the additional after-hours fee.
 |  |  |
From the southern area I was in, I walked north towards the Minami night-time district. I was reminded of NYC with the tall buildings around me, especially walking through Den-Den Town, the electronics district (though everything was closed by then). And the homeless, unlike Kyoto, I saw a lot of them here. At first the streets were empty, but as I got closer to Dōtombori Arcade it was more lively. Tall, brightly lit signs, electrical wires everywhere, bikes, hawkers, the nighttime crowd was everywhere. I wandered around a bit, along the Dōtombori-gawa (canal), criss-crossing different streets, went into a music store and listened to demo cds for awhile. I must look like a mark, because I was offered a 'massage' at three different corners (Osaka is infamous for it's sex industry, for instance No-pan kissa and various other affairs). It was getting late, then just by chance, I passed Sauna and Capsule AMZA, one of the hotels I looked up and had planned to find if I was nearby!
 |  |  |
The hotel itself was on the top floors of the the building, so I rode an elevator up to the 7th (open glass elevators are very popular here, and this was one). Immediately upon entering the lobby you remove your shoes and place them in a locker. The key for your shoes is with your bill, you're not really expected to go in and out of a capsule hotel, just check-in, then check-out. I paid for my stay, and was given a locker key on a band that went around my wrist. Going to my locker, I removed my contacts and put away all my clothes and belongings, changing into the cotton robe and crisp blue boxers made available to me. From there, I went downstairs to the sauna and bath, also used the barcode on my key to purchase some milk from a vending machine. The sentō was really very nice, with powered massage jets and an open air area. There were some female attendants (yes, all the men were naked), offering salt scrubs and massages, so I spree'd and had one (very affordable, $35 for 30-minutes). The woman went at me with scrub-gloves and salt, then oils and lotion, she was very thorough, my skin has never been so soft! She told me at the end to go into the sauna for 3-minutes, then a quick rinse and bed. So thats what I did.
Upstairs there are sinks and toiletries, including shaving gear and a tooth brush, so you really don't need to bring anything. The capsules themselves, you climb in, there is a pillow and a blanket for you, also controls for a tv, radio, alarm, and adjustable light. There's no door, but a retractable bamboo shade you pull down for privacy. Flat on my back, I had maybe an inch of extra space between my head and headboard, but lots of room above and too the sides. I slept very comfortably.
5.6.08
Scale
Scale is important in art. A large painting has a different impression than a small painting. An artist works in minute details, or with broad strokes. Personally, I have always been more enthralled by large scale works. I'd rather look at huge painting on the wall then have to examine the tiny etchings of a jewelry box. Doris Salcedo’s Shibboleth is a piece that really impressed me in scale and conception.
In Japanese painting, I feel scale plays a very important role as both a physical object and within the image itself. Images like this render from a birds-eye view, the scale is not in the figures, but the amount of activity within the image. Theres a lot to look at. Other images, like this one, use scale as a contrasting element. We see the traces of man, set against the overwhelming presence of nature. As a physical object, there are large-scale folding screens, wall hangings, smaller works, and all sizes in between. At school, most students work at a fairly large scale. Obviously it's up to the artist, but 1) large-scale action, 2) large-scale physicality, and 3) scale-within image contrast, are all patterns I continue to recognize when I look at Japanese art.
In Japanese painting, I feel scale plays a very important role as both a physical object and within the image itself. Images like this render from a birds-eye view, the scale is not in the figures, but the amount of activity within the image. Theres a lot to look at. Other images, like this one, use scale as a contrasting element. We see the traces of man, set against the overwhelming presence of nature. As a physical object, there are large-scale folding screens, wall hangings, smaller works, and all sizes in between. At school, most students work at a fairly large scale. Obviously it's up to the artist, but 1) large-scale action, 2) large-scale physicality, and 3) scale-within image contrast, are all patterns I continue to recognize when I look at Japanese art.
4.6.08
Don't touch that!
I had a Japanese lesson in the morning, then off to school. I've been bad with Japanese and not studying enough, I can understand the grammar, but don't remember the vocabulary!
Today was sumie of our shells and apples. The difference from last time and today is we were not given a reference sheet. For the pepper/onion, we were given a sheet showing simple brush direction and technique to render those objects, much like this page for a rose. Today we were left on our own except when sensei came around and gave pointers. It was hard, especially because we were supposed to render both objects on the same sheet, so if I did really good on the shell, odds are I didn't like the apple, and vice versa.
After working at it for a few hours and making many versions, I finished something I was somewhat proud of. The shell looked like my shell, the apple looked like my apple. Then something happened that I didn't really like. Sensei came around with a tray of colors, grabbed a brush and went right over top my sumie. Bright colors, no subtlety, and too much water for the paper type so the colors bleed outside my object. My apple turned into tie-dye, and my shell was turned blue, though in reality it was mostly white with hints of yellow. He went around and colored everyones work, adding a layer of his own hand on top of our sumie. He has done something like this before, with better results when demonstrating a technique or putting on the finishing touches, not only for me but the whole class. It's useful, it has a purpose, and it very minor, but in this situation it was too heavy handed. Sumie is different, it's not layering, and if we were going to add a highlight of color onto our sumie, it would have made just as much sense for us to do it as for him.
Today was sumie of our shells and apples. The difference from last time and today is we were not given a reference sheet. For the pepper/onion, we were given a sheet showing simple brush direction and technique to render those objects, much like this page for a rose. Today we were left on our own except when sensei came around and gave pointers. It was hard, especially because we were supposed to render both objects on the same sheet, so if I did really good on the shell, odds are I didn't like the apple, and vice versa.
After working at it for a few hours and making many versions, I finished something I was somewhat proud of. The shell looked like my shell, the apple looked like my apple. Then something happened that I didn't really like. Sensei came around with a tray of colors, grabbed a brush and went right over top my sumie. Bright colors, no subtlety, and too much water for the paper type so the colors bleed outside my object. My apple turned into tie-dye, and my shell was turned blue, though in reality it was mostly white with hints of yellow. He went around and colored everyones work, adding a layer of his own hand on top of our sumie. He has done something like this before, with better results when demonstrating a technique or putting on the finishing touches, not only for me but the whole class. It's useful, it has a purpose, and it very minor, but in this situation it was too heavy handed. Sumie is different, it's not layering, and if we were going to add a highlight of color onto our sumie, it would have made just as much sense for us to do it as for him.
3.6.08
Cold
I was sick today with a cold and sore throat. A few people I know have been sick recently, so a bug has definitely been going around. I took some medicine but it didn't help. I could barely talk and I didn't go to class, that was the worst part, because I knew Muraoka-sensei would want to talk to me and wonder where I was.
I did my best to study and be productive, but in the end I really wasn't. But things happen, and I did listen to a whole lot of Japanese audio lessons and do some reading. Oh, and I found this which is pretty funny, Harry you sexy beast you.
I did my best to study and be productive, but in the end I really wasn't. But things happen, and I did listen to a whole lot of Japanese audio lessons and do some reading. Oh, and I found this which is pretty funny, Harry you sexy beast you.
2.6.08
Singing in the office
Monday language lesson with Yamada-sensei as happens every week. I'll make excuses again and say I haven't been studying Japanese like I should be. Language was one of my goals for being here, but I haven't been very focused with it, more like sporadic. A quote by Barry Fisher in his book "How to Learn Any Language", I've taken it in heart, but not in hand.
On my way out, I heard my name called and Kawakatsuさん had something for me in the office. It was just my receipt for rent paid last month, but I chatted with her and another woman in the office for a bit. They both examined my collapsible umbrella and complimented me on how light it was, I had brought it with me and it's good for travel, fits in a bag. It's kinda small though, if it's raining too hard my shins still get wet, so I also have a bigger Gene Kelly/Singin' in the Rain-style umbrella, like everyone else here has, for the downpour days. This lead to talking about the rain, and they told me about a Japanese rain song that school children sing. They teased each other about it, but neither would sing for me. We also talked about the past weekend, and when they found out I had gone clubbing in Japanese style, let me tell you, the whole office laughed and was thoroughly amused by the idea.
A language has a lot in common with a military foe. Don’t let it rest. Don’t let it regroup and devise fresh ways to foil your attack. Keep up the rhythm of your offensive. Keep your momentum going.I was not asked about the 'big' news stories in the US today, which is just as well because I would only have mentioned the DNC primaries and the ruling about delegates from Michigan and Florida. But I did have a phrase all prepared to say 'It's complicated to explain.' which I didn't get a chance to use.
On my way out, I heard my name called and Kawakatsuさん had something for me in the office. It was just my receipt for rent paid last month, but I chatted with her and another woman in the office for a bit. They both examined my collapsible umbrella and complimented me on how light it was, I had brought it with me and it's good for travel, fits in a bag. It's kinda small though, if it's raining too hard my shins still get wet, so I also have a bigger Gene Kelly/Singin' in the Rain-style umbrella, like everyone else here has, for the downpour days. This lead to talking about the rain, and they told me about a Japanese rain song that school children sing. They teased each other about it, but neither would sing for me. We also talked about the past weekend, and when they found out I had gone clubbing in Japanese style, let me tell you, the whole office laughed and was thoroughly amused by the idea.
1.6.08
Billiards at MK Taxi
After the market I walked north to a Umekoji Park. I see this park everytime I ride the JR train into Kyoto station, so a closer look was in order. It was a busy day, lots of children and family out, wading in a little stream, having picnics, running around on the field. There was a bell choir, and other out musicians practicing. I stopped here for a short nap in the shade, then some food on my way to the train.
My destination was north, some building called MK Taxi where I was meeting a guy to play pool. It was a bit of a hike after getting off the train, but it was a nice day going along the river side. Again, there were a lot of people out enjoying the day, biking, walking, playing in the sun. I eventually saw the building with the big logo and went up to the 4th floor. There was an arcade, various other games (a lot of those claw-games), a little seating area, an indoor soccer area, ping-pong, bowling on the 3rd floor, and pool tables. I greeted Joe and used his membership to get a table, it was very cheap, you can play all day until 6pm for about ¥600/person (not by table) and bring drinks in with you. This was the first time I met Joe, who has been a teacher in Japan for almost 20 years now and decided to put up a post looking for new people to play pool with. I responded and we had a good time playing and talking about Japan and such. We played for a few hours, and while I don't play often, I did have a table growing up, and it showed, I was dominating. Joe is very fluent in spoken Japanese, obviously after 20 years, but at some point had given up on the Kanji and does not read much. I don't intend to do that.
On the way back, I stopped by the river and listened to the water a bit. This is a fast river coming down from the mountains, but it's been tamed for ages and has little waterfalls at set distances. Most rivers in Japan have been tamed, I've heard there are only about 4 or 5 natural rivers remaining without dams, shored up banks, or elevation control. Sad in many ways, but at the same time, nature takes over, even a cement barrier overgrown with moss and vines has beauty.
Back on the Hankyu, I was listening to music and not paying attention when I got off at the wrong stop. I was on a Limited Express train, meaning I thought it was skipping every stop until mine, but I guess not that one. Hungry, I looked around and gave into temptation by going to KFC for some extra spicy chicken. Japan is really missing out as far as spices are concerned, they have things that may be 'hot' like wasabi, and a few indian restaurants here and there, but nowhere have I see anything even remotely mexican. Anna's Taqueria would make a killing here, give me that burrito with jalepaneos and extra hot sauce, mmmm...
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My destination was north, some building called MK Taxi where I was meeting a guy to play pool. It was a bit of a hike after getting off the train, but it was a nice day going along the river side. Again, there were a lot of people out enjoying the day, biking, walking, playing in the sun. I eventually saw the building with the big logo and went up to the 4th floor. There was an arcade, various other games (a lot of those claw-games), a little seating area, an indoor soccer area, ping-pong, bowling on the 3rd floor, and pool tables. I greeted Joe and used his membership to get a table, it was very cheap, you can play all day until 6pm for about ¥600/person (not by table) and bring drinks in with you. This was the first time I met Joe, who has been a teacher in Japan for almost 20 years now and decided to put up a post looking for new people to play pool with. I responded and we had a good time playing and talking about Japan and such. We played for a few hours, and while I don't play often, I did have a table growing up, and it showed, I was dominating. Joe is very fluent in spoken Japanese, obviously after 20 years, but at some point had given up on the Kanji and does not read much. I don't intend to do that.
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On the way back, I stopped by the river and listened to the water a bit. This is a fast river coming down from the mountains, but it's been tamed for ages and has little waterfalls at set distances. Most rivers in Japan have been tamed, I've heard there are only about 4 or 5 natural rivers remaining without dams, shored up banks, or elevation control. Sad in many ways, but at the same time, nature takes over, even a cement barrier overgrown with moss and vines has beauty.
 |  |  |
Back on the Hankyu, I was listening to music and not paying attention when I got off at the wrong stop. I was on a Limited Express train, meaning I thought it was skipping every stop until mine, but I guess not that one. Hungry, I looked around and gave into temptation by going to KFC for some extra spicy chicken. Japan is really missing out as far as spices are concerned, they have things that may be 'hot' like wasabi, and a few indian restaurants here and there, but nowhere have I see anything even remotely mexican. Anna's Taqueria would make a killing here, give me that burrito with jalepaneos and extra hot sauce, mmmm...
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