Why Okinawan traditional performing art Kumi odori was adopt this system. First, I wrote that “Kumi odori which created by Tamagusuku Chokun, takes in the style of Japanese traditional performing arts which is Noh and Kabuki, when he appreciate the performing these in Edo and Satsuma” in before paragraph. As you can see it, I guess Tamagusuku Chokun used the direction of Japanese traditional arts such as Noh and Kabuki for Kumi odori too. As another way of thinking is that a woman in the high position than a man, and a woman is a holy person. In fact, Okinawa has the place where is closed to men exists, for example, Sefha utaki.
It is worn by Quechua women of the Andes region in Bolivia and Peru. Traditionally it is fastened at the front using a decorated pin called tupu. In the Quechua-speaking community of Chinchero, men and women wear distinctive garments that identify them by gender and their community. These garments are woven in two parts—symmetrical opposites that are sewn together. Wide blue bands called pampakuna, or fields, are set apart by multi-striped panels filled with colorful geometric designs.
As the series’ only character who wore “modern-day, Western attire”, Ginko appears to represent a post-Meiji Restoration Japanese (Okuyama 2015, 169). Yet, Ginko’s profound understanding of mushi suggests in-depth knowledge of traditions. While Ginko’s response is directed towards the mushi, it can also be directed towards the mainly-Japanese audience. The use of close-up during that moment gives the impression that he is also directly confronting the audience, reminding them that they are part of
The lower classes were prohibited from wearing the adorned kimonos; restricting them to only be worn by royalty and the prestigious elitist classes. As a fundamental part of their culture, the lower classes were outraged, and rebelled by adopting tattoo body suits. The illustrations which began at the neck and extended to the elbow and knee contained all the kimonos lavish designs, but was permanently worn in secret under clothes. This technique was seen as subversive to the law and the government banned the art in 1870. Similar to the occurrences of the late 19th century in Europe, the suggestion of tattoos and criminals was prominent in Japan.
It is generally accepted that sushi is symbol of Japanese eating style that is known worldwide. It is the popular dishes not only in Japan but also outside of Japan as, Thailand. The history of sushi is interesting. Even if Sushi is one of the representative foods of Japan today, but its origin is found in China around the 4th century. Originally, sushi referred to fermenting fish with salt and rice which was influenced from Thai and Loa farmers.
Japanese theater is divided into four different types: noh, kyogen, kabuki, and bunraku, and each of them is exclusive. Kabuki is the most known of the styles of Japanese theater. It is a combination of drama, dance and music. It is very animated style with live Swordfights and interesting costumes that are a kind of rules, norms. Until around 1680, the plays utilized genuine swords.
This is because the families hoped they would receive good luck. As In the Edo period Toyotomi Hideyoshi used it, he was a poor peasant who then became a super ruler of Japan. Therefore people used it because they wished that the Kamon would bless then into because a super ruler and go from being a poor to a super ruler. Similarities of two specific Kamon designs: There are many similarities between the Fuji and Kiri Kamon. Firstly, both of them have the main idea of the Kamon is about a plant.
People in Gorontalo rarely used the word since they usually address the Karawo products with “Karawo embroidery”. However, the word Karawo became widely used again in 2011 in which the first Karawo Festival was held. Karawo refers to a technique in creating ornaments on a fabric by cutting, removing, and embroidering it; this requires a skilful hand skill (Sudana, 2014, p.89). Sudana and Hasdiana, (2009, p.51) argue that the uniqueness of Karawo lies on the techniques, which are quite different than other embroideries, instead of the motif of the ornaments of a Karawo. In other words, it is possible to develop the motif of Karawo ornaments.
Kitagawa successfully incorporated the popular fashions that were common during the Edo period, such as the chinon-like shimada hairstyle, the tiny lip, straight eyebrows and elaborate kimono (“Hairstyles”). Unlike Liu’s sad depiction of a Chinese courtesan, Kitagawa’s geisha exudes confidence and coyness. This is because they were highly regarded in the society and weren’t frowned upon. Overall, the concept is light with a touch of