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2 episodes with Kodomo
2 episodes with Kodomo
3 episodes with Kodomo
3 episodes with Kodomo
2 episodes with Kodomo
2 episodes with Kodomo
2 episodes with Kodomo
5 episodes with Kodomo
3 episodes with Kodomo
記者は出張が多く、一週間近く家にいない時もあります。でも一人だと寂しい。そんな時に仲間入りしたのが、AIペット・モフリンのちーちゃんでした。寝たり起きたり、機嫌もコロコロ変わります。電気で動く以外は生き物と同じように感じるといいます。※2026年6月25日に収録しました ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2 【関連記事】（サザエさんをさがして）「生き物」への愛 AIペットであっても https://www.asahi.com/articles/DA3S16259574.html?iref=omny 息子ではなく、今はペットロボットと AIの発展がもたらす愛らしさhttps://www.asahi.com/articles/ASV4N1V7HV4NPQIP00MM.html?iref=omny 漫画家中川いさみさんと猫3匹に通う愛 「ネコメンタリー」に登場https://www.asahi.com/articles/ASTB71JCDTB7UCVL049M.htmll?iref=omny 【出演・スタッフ】西本ゆか（文化部）https://buff.ly/xgwNOjr おちび（ちーちゃん） MC・音源編集 杢田光 https://buff.ly/u9JyLwM 【おねがい】朝日新聞ポッドキャストは、みなさまからの購読料で配信しています。番組継続のため、会員登録をお願いします！ http://t.asahi.com/womz 【朝ポキ情報】アプリで記者と対話 http://t.asahi.com/won1 交流はdiscord https://bit.ly/asapoki_discord おたよりフォーム https://bit.ly/asapoki_otayori朝ポキTV https://www.youtube.com/@asapoki_officialメルマガ https://bit.ly/asapoki_newsletter 広告ご検討の企業様は http://t.asahi.com/asapokiguide番組検索ツール https://bit.ly/asapoki_cast 最新情報はX https://bit.ly/asapoki_twitter 番組カレンダー https://bit.ly/asapki_calendar 全話あります公式サイト https://bit.ly/asapoki_lp See omnystudio.com/listener for privacy information.
「リスはおててでごはんをたべるよね。なんで？」。ちゃみこさん（2歳）から、ふしぎのタネが届いたよ。AIペットの「おちび」と、ゆかお姉さんとおはなししました。※2026年6月25日に収録しました ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2【出演・スタッフ】西本ゆか（文化部）https://buff.ly/xgwNOjr おちび（ちーちゃん） MC・音源編集 杢田光 https://buff.ly/u9JyLwM ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2★ご感想はこちら https://bit.ly/asapoki_otayori ★ほかにも番組を配信中！ http://t.asahi.com/womy See omnystudio.com/listener for privacy information.
「おこづかい」のテーマに答えた伊藤裕香子さんは、ふだんは社説を書く仕事をしています。30人ほどで議論を重ねて、3分くらいで読める記事にまとめあげています。 ※2026年7月8日に収録しました。 ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2 【関連記事】 連載「社説PLUS」 https://www.asahi.com/rensai/list.html?id=927 社説はこちら https://www.asahi.com/rensai/list.html?id=16 阿部監督の辞任、SNSで広がった批判 どうしても伝えたかったこと https://www.asahi.com/articles/ASV6J3R0YV6JUSPT00QM.html?iref=omny 【出演・スタッフ】伊藤裕香子（論説副主幹） https://buff.ly/RVd97jP MC・音源編集 杢田光 https://buff.ly/u9JyLwM 【おねがい】朝日新聞ポッドキャストは、みなさまからの購読料で配信しています。番組継続のため、会員登録をお願いします！ http://t.asahi.com/womz 【朝ポキ情報】アプリで記者と対話 http://t.asahi.com/won1 交流はdiscord https://bit.ly/asapoki_discord おたよりフォーム https://bit.ly/asapoki_otayori 朝ポキTV https://www.youtube.com/@asapoki_officialメルマガ https://bit.ly/asapoki_newsletter 広告ご検討の企業様は http://t.asahi.com/asapokiguide 番組検索ツール https://bit.ly/asapoki_cast 最新情報はX https://bit.ly/asapoki_twitter 番組カレンダー https://bit.ly/asapki_calendar 全話あります公式サイト https://bit.ly/asapoki_lp See omnystudio.com/listener for privacy information.
おこづかいをふやすには、どうすればいいですか？やっさんから、ふしぎのタネがとどいたよ。「おこづかいちょう」をめくりながら、ゆかこっちといっしょに考えました。 ※2026年7月8日に収録しました。続編の「もっと話そう」は金曜日に配信予定です。 【出演・スタッフ】伊藤裕香子（論説副主幹） https://buff.ly/RVd97jP MC・音源編集 杢田光 https://buff.ly/u9JyLwM ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2★ご感想はこちら https://bit.ly/asapoki_otayori ★ほかにも番組を配信中！ http://t.asahi.com/womy See omnystudio.com/listener for privacy information.
「きょう」「あす」「みらい」を考えることは、年金などの社会保障への理解を深めるうえでも大事なことです。大人が生きている時間の感覚と、子どもたちの時間は、ちょっと違うんじゃないか。そんなことにも思いを巡らせました。 ※2026年7月2日に収録しました。 ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2 【関連記事】つなぐ2026 「不安の川」に橋をかける 連帯感こそ社会保障の礎https://www.asahi.com/articles/ASV1232K9V12USPT001M.html?iref=omny 「お金がなくなったら死を選ぶ」からの軌跡 この勇気ある証言を聴け https://www.asahi.com/articles/ASV2S6R07V2SUSPT00GM.html?iref=omny 若い世代「どうせ将来の恩恵ない」 広がる悲観論、止める手立ては https://www.asahi.com/articles/AST6W2HYXT6WUSPT001M.html?iref=omny 【出演・スタッフ】浜田陽太郎（論説委員）https://buff.ly/s2eI7m9 MC 杢田光 https://buff.ly/u9JyLwM 【おねがい】朝日新聞ポッドキャストは、みなさまからの購読料で配信しています。番組継続のため、会員登録をお願いします！ http://t.asahi.com/womz 【朝ポキ情報】アプリで記者と対話 http://t.asahi.com/won1 交流はdiscord https://bit.ly/asapoki_discord おたよりフォーム https://bit.ly/asapoki_otayori 朝ポキTV https://www.youtube.com/@asapoki_officialメルマガ https://bit.ly/asapoki_newsletter 広告ご検討の企業様は http://t.asahi.com/asapokiguide 番組検索ツール https://bit.ly/asapoki_cast 最新情報はX https://bit.ly/asapoki_twitter 番組カレンダー https://bit.ly/asapki_calendar 全話あります公式サイト https://bit.ly/asapoki_lp See omnystudio.com/listener for privacy information.
どうしてあしたはくるの？きらきらぼしさん（2歳）から、ふしぎのタネがとどいたよ。あしたがくるって、すてきなことだね。ようたくんといっしょに考えました。 ※2026年7月2日に収録しました。続編の「もっと話そう」は金曜日に配信予定です。 【出演・スタッフ】浜田陽太郎（論説委員）https://buff.ly/s2eI7m9 MC 杢田光 ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2★ご感想はこちら https://bit.ly/asapoki_otayori ★ほかにも番組を配信中！ http://t.asahi.com/womy See omnystudio.com/listener for privacy information.
3.11の被災地には、幽霊をのせたタクシー運転手たちの体験談があります。その奥にある「死者への思い」に考えをめぐらせました。そして、こどもにむけて何をどう伝えるか考えることは、コラム「天声人語」を書くときと通じるものがあったといいます。 ※2026年7月1日に収録しました。 【関連記事】「幽霊タクシー」が見せた新しいつながり 3.11後の心象世界とはhttps://www.asahi.com/articles/ASV3B33NYV3BUPQJ00BM.html?iref=omny 「ばけばけ」ひ孫が語る 苦しい人生に笑える場面「かえって真実味」 https://www.asahi.com/articles/ASTD05FDQTD0UNBS00BM.html?iref=omny 「女の幽霊が出る」 ネットで伝染する現代の怪談 現場は「境界」に https://www.asahi.com/articles/AST620HY7T62UCVL04YM.html?iref=omny 【出演・スタッフ】石田博士（論説委員） https://buff.ly/cFrGfvtMC 安田桂子 https://buff.ly/3yD5gmf 【おねがい】朝日新聞ポッドキャストは、みなさまからの購読料で配信しています。番組継続のため、会員登録をお願いします！ http://t.asahi.com/womz 【朝ポキ情報】アプリで記者と対話 http://t.asahi.com/won1 交流はdiscord https://bit.ly/asapoki_discord おたよりフォーム https://bit.ly/asapoki_otayori朝ポキTV https://www.youtube.com/@asapoki_officialメルマガ https://bit.ly/asapoki_newsletter 広告ご検討の企業様は http://t.asahi.com/asapokiguide番組検索ツール https://bit.ly/asapoki_cast 最新情報はX https://bit.ly/asapoki_twitter 番組カレンダー https://bit.ly/asapki_calendar 全話あります公式サイト https://bit.ly/asapoki_lp See omnystudio.com/listener for privacy information.
おんせんはなぜ、きもちいいの？ぴーすぬさん（2歳）から、ふしぎのタネがとどいたよ。おんせんがだいすきな、ゆかおねえさんが答えます。 ※2026年6月25日に収録しました。 【出演・スタッフ】西本ゆか（文化部）MC・音源編集 杢田光 https://buff.ly/u9JyLwM ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2★ご感想はこちら https://bit.ly/asapoki_otayori ★ほかにも番組を配信中！ http://t.asahi.com/womySee omnystudio.com/listener for privacy information.
大分県の別府や湯布院、群馬県の草津－－。各地の名湯を巡りながら、心と体を癒やしてきた記者がいます。湯治と家族湯の魅力を取材し、朝日新聞の連載「はじまりを歩く」に、あふれる温泉愛をつめこみました。 ※2026年6月25日に収録しました。 ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2 【関連記事】（はじまりを歩く）湯治 群馬県草津町、大分県竹田市 独博士が絶賛、「無比の温泉」 https://www.asahi.com/articles/DA3S16314789.html?iref=omny （はじまりを歩く）貸し切り温泉 鹿児島県 発端は馬の市、愛咲く美肌湯 https://www.asahi.com/articles/DA3S14804114.html?iref=omny 地獄蒸し・湯の花… 別府大が温泉効能を研究、敷地内には源泉四つ https://www.asahi.com/articles/ASV721RY7V72TIPE00TM.html?iref=omny 【出演・スタッフ】西本ゆか（文化部）MC・音源編集 杢田光 https://buff.ly/u9JyLwM 【おねがい】朝日新聞ポッドキャストは、みなさまからの購読料で配信しています。番組継続のため、会員登録をお願いします！ http://t.asahi.com/womz 【朝ポキ情報】アプリで記者と対話 http://t.asahi.com/won1 交流はdiscord https://bit.ly/asapoki_discord おたよりフォーム https://bit.ly/asapoki_otayori朝ポキTV https://www.youtube.com/@asapoki_officialメルマガ https://bit.ly/asapoki_newsletter 広告ご検討の企業様は http://t.asahi.com/asapokiguide番組検索ツール https://bit.ly/asapoki_cast 最新情報はX https://bit.ly/asapoki_twitter 番組カレンダー https://bit.ly/asapki_calendar 全話あります公式サイト https://bit.ly/asapoki_lp See omnystudio.com/listener for privacy information.
ゆうれいは、ほんとうにいるの？おだんごさん（7歳）から、ふしぎのタネがとどいたよ。ゆうれい話をきいたことがあるハカセといっしょに、「ゆうれいのきもち」を考えました。 ※7月1日に収録しました。 【出演・スタッフ】石田博士（論説委員） https://buff.ly/cFrGfvtMC 安田桂子 https://buff.ly/3yD5gmf ★幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、お寄せください。https://t.asahi.com/wqm2★ご感想はこちら https://bit.ly/asapoki_otayori ★ほかにも番組を配信中！ http://t.asahi.com/womySee omnystudio.com/listener for privacy information.
「こどもそうだんしつ」は、こどもの素朴な「なぜ？」を、大人も一緒に考える番組です。番組キャラクターは「ナンディー」。なぞが解けると「？」から「！」の形になって喜びます。 ★番組では、幼児から小学生くらいのお子さんの質問を募集します。なんでかな？ふしぎだな、と思ったことを、ぜひお寄せください。https://t.asahi.com/wqm2 ※「SDGsを話そう」は「こどもそうだんしつ」にリニューアルしました。SDGsのテーマは、引き続き「ニュースの現場から」「MEDIA TALK」でお届けします。See omnystudio.com/listener for privacy information.
Wir sind Weltmeister im Verdrängen – vor allem was die immer sichtbarer werdende Klimakatastrophe betrifft. Im bewegenden Film HOW DARE YOU entdecken drei Kinder das Thema und entscheiden sich zu handeln. Interessant ist dabei nicht nur das Engagement und der Einfallsreichtum der Kinder sondern auch auch die Reaktionen der Eltern: Sie sind schnell überfordert und wollen den „Elefant im Raum“ lieber weiter ignorieren, statt gegen die Klimakatastrophe aktiv zu werden. Der ebenso komische wie ernste Film von Regisseurin Mipo O tritt uns untätigen Erwachsenen gewaltig in den Hintern und wirkt besonders intensiv, weil weitgehend die Perspektive der Kinder eingenommen wird – auch dadurch, dass die Kamera auf Augenhöhe der Kinder ist. Im Podcast diskutieren wir auch darüber, was wir selbst tun können und Helena erklärt den „ökologischen Handabdruck“. Den Podcast haben wir direkt nach dem Film auf Nippon Connection 2026 aufgenommen. Am Mikrofon: Malte und Helena von Sneaky Monday, Markus von translate or die, Karoline, Andras, André und Thomas.
Fluent Fiction - Japanese: Finding Belonging: A Springtime Journey Through Yutopia Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2026-06-02-07-38-20-ja Story Transcript:Ja: 春の日差しが心地よく降り注ぐ中、緑豊かな庭園と美しい建築で有名なユートピア社会への旅が始まりました。En: As the gentle spring sunlight poured down, the journey to the Yutopia society, famous for its lush gardens and beautiful architecture, began.Ja: 行き先は、文化交流プログラムのために訪れる場所です。En: The destination was a place to visit for a cultural exchange program.Ja: ゆっくりと桜の花が咲き始め、大地全体が優しく息づいているようでした。En: Slowly, the sakura flowers began to bloom, and the whole earth seemed to breathe gently.Ja: 静かで内向的な青年、ユキオは不安と期待と共に、新しい文化にふれることを楽しみにしています。En: The quiet and introverted young man, Yukio, awaited the chance to experience a new culture with both anxiety and anticipation.Ja: 彼はいつも自分の文化につながりを感じられず、どこか心の中で居場所を探していました。En: He had always felt disconnected from his own culture and was searching for a place where he belonged, somewhere deep within his heart.Ja: 一方、陽気で冒険心にあふれたアイコは、新しい経験を求めて心躍らせています。En: On the other hand, Aiko, who was cheerful and full of a spirit for adventure, was excitedly seeking new experiences.Ja: 彼女は、人生のすべての機会を逃したくないという強い思いを持っていました。En: She had a strong desire not to miss any opportunity life had to offer.Ja: 二人は、それぞれ違う目標を胸に抱きながら、列車に揺られています。En: The two of them were swayed by the train while holding different goals close to their hearts.Ja: 彼らが到着したユートピア社会は、まるで別世界のようでした。En: The Yutopia society they arrived at seemed like another world.Ja: 色とりどりの花が咲く庭園、静かに流れる小川、上品な木造の建物が連なっていて、どこか懐かしさを感じさせる場所でした。En: A garden full of colorful flowers, a quietly flowing stream, and rows of elegant wooden buildings created a place that evoked a sense of nostalgia.Ja: この春、ちょうどこどもの日が近づいていました。En: This spring, Kodomo no Hi was approaching.Ja: こどもの日は、健やかな成長を祝う日です。En: Kodomo no Hi is a day to celebrate healthy growth.Ja: ユキオは、この日を通じて自分と文化とのつながりを見つけたいと思っていました。En: Yukio hoped to find a connection with culture through this day.Ja: 彼は伝統的な工芸品に興味を持ち、心を込めて学び始めました。En: He became interested in traditional crafts and began to learn about them wholeheartedly.Ja: 一方で、アイコはこの美しい場所でできるだけ多くのことを体験したいと願っていましたが、深く関わることの大切さに気づき始めました。En: Meanwhile, Aiko wished to experience as much as possible in this beautiful place, but she began to realize the importance of deeper involvement.Ja: そんな中、二人に文化祭での伝統的な演技に参加する機会が訪れました。En: Amidst this, they were given the opportunity to participate in a traditional performance at a cultural festival.Ja: それは理解力と即興性が求められるものでした。En: It was a challenge that required understanding and improvisation.Ja: お互いの助けがなければ、成功は難しい挑戦です。En: Without each other's help, success would be difficult.Ja: ユキオは、自分の内なる壁を超え、自信を持って表現することが求められました。En: Yukio needed to overcome his inner barriers and express himself with confidence.Ja: アイコは、彼女の好奇心を深い絆へと変え、演技を成功させるために心をひとつにしました。En: Aiko transformed her curiosity into deep bonds, uniting her heart to make the performance a success.Ja: 演技が無事終わり、大きな拍手が響きました。その時、ユキオは想像もしなかった充実感とつながりを感じ、ここに居場所があると思いました。En: When the performance ended safely, and the sound of loud applause echoed, Yukio felt a sense of fulfillment and connection he had never imagined and thought he had found a place where he belonged.Ja: そして、アイコは豊かで本質的な経験が、彼女に真の満足をもたらすことを実感しました。En: And Aiko realized that a rich and essential experience had brought her true satisfaction.Ja: 帰りの列車の中、ユキオは少し自信をもって自分の文化を語り始めました。En: On the train home, Yukio began to talk about his culture with a bit more confidence.Ja: アイコは、彼女が作り出した友達との強い絆を思い返しながら、心穏やかに座っていました。En: Aiko sat calmly, reflecting on the strong bonds she had created with new friends.Ja: 彼らの心には、薄紅色の桜が舞う風景と、そこでの経験がこの上ない豊かさをもたらしていました。En: In their hearts, the sight of pale pink sakura petals dancing in the wind and the experiences they had there brought unparalleled richness. Vocabulary Words:gentle: 心地よくlush: 緑豊かなdestination: 行き先bloom: 咲き始めintroverted: 内向的なanticipation: 期待disconnected: つながりを感じられずseeking: 求めてswayed: 揺られていますnostalgia: 懐かしさapproaching: 近づいてwholeheartedly: 心を込めてinvolvement: 関わることamidst: そんな中performance: 演技improvisation: 即興性confidence: 自信transformed: 変えapplause: 拍手fulfillment: 充実感reflection: 思い返しpale: 薄紅色petals: 桜unparalleled: この上ないrichness: 豊かさarchitecture: 建築cultural exchange: 文化交流stream: 小川elegant: 上品なcrafted: 工芸品
The number of "kodomo shokudo" community cafeterias that provide free or low-cost meals mainly to needy children in Japan has reached a record 12,601 this fiscal year, according to a survey by a nonprofit organization.
Ōama, aka Temmu Tennō, ascended the throne in the Kiyomihara Palace--a rennovated version of his mother's Later Okamoto Palace. Here he ruled with a tremendous amount of authority, continuing the leverage the Ritsuryo system to centralize power in the throne. We'll look at the layout of the palace, and also talk a little bit about what life was like for the members of the court who were serving Oama, and the state at large. For photos, diagrams, and more, see our blog at: https://sengokudaimyo.com/episode-134 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua and this is episode 134: An Image of the Court at Kiyomihara Maro sat under the eaves of the hall to which he was assigned. The journey from Mino hadn't been so hard, but he was still far from his family, back home. He knew as much as they did that serving at the court of the Great Lord was a tremendous opportunity. He would be at the heart of the court, in the presence of those running the country, and he could learn a lot from them. After passing his internship, he would have a chance to prove himself. If he worked hard, he could look forward to continued promotion, with the greater stipend and influence that came with it. Maro had no illusions that he would someday be at the top of the court hierarchy, but perhaps he could make some modest improvements in his station. His elder brother was expected to inherit their father's position back in Mino, but the court provided a different opportunity. Maro had always been a quick learner, and had learned to read and write at an early age, devouring whatever knowledge he could get his hands on – and that had helped make him that much more desirable to the court. Now he was learning the ins and outs of how it worked, mostly by doing odd jobs while observing the various interactions, the politics, and the rhythm of it all. Life at the Court really was something. And yet he still felt homesick. And so here Maro sat, looking out at the full moon in the sky, its light so bright that he barely needed any other illumination. Maro wondered at the idea that his family might be looking up at the same moon at the very same time. As that image took hold, he could feel in the experience a poetic verse. He took out one of the wooden slips used for labels and notes, scraped off the previous writing, and began jotting down his composition. He only got through a couple of lines before he heard his name being called, and since he was on night duty he put down the brush and the wooden slip. Poetry would have to wait. With everything put back away, he rushed off to find out what new task awaited him. So here we are, the year is 673 and we are at the start of a new era. Ohoama, aka Temmu Tennou, had defeated his enemies and was now in the process of taking the reins of power and officially ascending the throne. In so doing he was moving the capital from Ohotsu, on the shores of Lake Biwa, back to Asuka. Arriving back, he took up residence in what is called the Shima palace for a few days, presumably as they prepared the Okamoto Palace for him. At the same time, we are told that a “palace” was erected for Ohoama south of the Okamoto Palace, and this was called the Kiyomihara Palace. I'd like to spend this episode talking about this Kiyomihara Palace, and what life was like there, not just for Ohoama but for his new court. While we talked about some of the other palaces, this is perhaps one of the better known from the archaeological record, and it is the backdrop for so much that happens. Ohoama is even known as the Sovereign from Kiyomihara. So let's talk about what the palace consisted of, and what it was, and a little bit about what life was like there. In addition to that, we've discussed in previous episodes how Ohoama's ascension to the throne kicked off a whole new era in the evolution of the Yamato state, with numerous innovations and new paradigms in the idea of the ruler and the court and their relationship – so it's worth taking a closer look at the setting where all of that was happening, so we can try and put ourselves in the shoes of those doing the work, and understand their daily grind, as it were. There is unfortunately plenty about the Kiyomihara Palace that we don't know - it isn't like there is a detailed account of the palace in the records - but its ruins are probably the most complete of all those found in Asuka. This makes sense, given that it would have been built over the earlier palace sites. In fact, for the most part, the Kiyomihara Palace is just the Later Okamoto Palace, in other words where Takara Hime, aka Saimei Tennou, ruled, but updated and expanded to fit Ohoama's and his court's needs. Archeological work in Asuka has done some tremendous work to help us understand the Asuka Palace Site. By studying the various post holes, ditches, and other evidence, along with occasionally discarded items, we have a general idea of the palace's shape, and when we combine this with what we know from other sites—the Naniwa Palace ruins in Ohosaka, the Fujiwara palace ruins in Kashihara, and the Heijo-kyo ruins in Nara, among others—along with an understanding of how palaces were being built on the continent, we are able to piece together what we think was going on. Of course these interpretations aren't unanimous, and there are parts that scholars will no doubt quibble over—such as the use of the Ebinoko compound, which I'll talk about in a bit—but in general we have a picture of what things probably looked like, at least from a layout perspective, and how the site may have been used. To start, let's go back for a moment to the Toyosaki Palace in Naniwa, the first palace purpose built for the new governmental system being brought over from the continent. This was the palace of Karu Ohokimi, aka Koutoku Tennou, uncle to Naka no Ohoye. It was built in the aftermath of the Isshin Incident of 645, an architectural centerpiece of the Taika reforms. As you may recall, this was a massive undertaking. This palace was largely rectangular, and consisted of three compounds from south to north, ranging from most to least public. Most people would enter from the south gate, later known as the Suzaku-mon, the gate of the crimson bird of the south, a pattern that would generally hold true for other palaces. Entering the compound, you would find yourself in the Choshuden, a space holding two pavilions with several rooms where officials could change into or out of their official robes. The gates to the Choshuden would open at sunrise for the clerks and functionaries would enter. At the northern end of the Choshuden was the Southern gate of the Chodoin, the main working area of the court. There were 14 halls, or Chodo, each one dedicated to a different ministry. The size of these halls varied, likely based on importance or at least the size of their government portfolio. Most of the middle area of the Chodoin was open, but at the northern end was the gate to the Dairi, the inner palace. This gate was flanked by two octagonal buildings, and it led to an area between the Chodoin and the Dairi where there sat the building that would become the Daigokuden. This was the main audience chamber for meetings with the sovereign, who would preside and make pronouncements in the early morning hours, at the start of the day. To the north of the Daigokuden was the rest of the Dairi, where the sovereign's personal quarters lay, including the quarters for his consorts and children, maintained by his personal servants.And there were other gates into and out of the Dairi—after all, the palace was so large you didn't want to have to go through the Choushuden and Choudouin just to get to the sovereign's quarters. Those who lived in the Dairi and those who worked there would be able to have their own entrances and exits. Let's contrast all of this with the Okamoto Palace in Asuka. More precisely the Later Okamoto Palace. This was the successor palace to the Itabuki palace, both of which were built for Takara Hime, aka Kougyouku—and by this point Saimei—Tennou. In fact, Itabuki palace burned down at the end of 654, just as Takara Hime came to the throne a second time. This palace was, in total, maybe the size of the Chodoin of the Toyosaki Palace, if that. For one thing, there wasn't as much flat land easily available in the valley, but for another, the builders maybe didn't think they needed quite that much space and that many buildings. You see, while the Toyosaki palace in Naniwa was likely meant to model the kind of infrastructure necessary for the Tang court, in Chang'an, Yamato was still building up its fledgling bureaucracy. It wasn't like there were a flood of reports and correspondences coming in from all over the archipelago that had to be handled by an army of clerks. At least not yet. The Okamoto palace, from what we can tell, was also a rectangle, once again facing south , on the east side of the Asuka river. This palace did not necessarily have the same kinds of dedicated spaces as the Toyosaki Palace. The main gate that we know of was in the south, leading to a courtyard with another building—possibly the Ohoandono, alternatively the Ohoyasumidono or the Daianden. This may have been an audience hall for meeting with public officials. The ground here was covered in gravel, a fairly common thing for palace compounds. Though we don't know exactly what the buildings looked like, we have some idea based on the size and number of post-holes. We also haven't found any ceramic tiles in or around the ruins so far, which suggests that Okamoto Palace did not have ceramic tile roofs as were common on temple architecture, but instead were likely covered with wooden shingles, like the Itabuki Palace that used to be in relatively the same spot. From an archeological perspective, any tiled building of this size leaves a lot of indications behind: over the years tiles fall off, break, get buried, etc. Even if, as was common, the court meticulously dismantled the buildings down and reused as much as they could, we would still expect to see some tiles or tile fragments in the ground where the pillars are found, and yet we find nothing of the sort. To the east and west of the Ohoandono were long, narrow structures, oriented north to south rather than east to west. These are thought to have been the offices where government officials could do their work. Moving into the northern section of the palace, the ground was paved with river stones. There were two large buildings with small wings, running east to west, lengthwise, and situated on the same line as the Ohoandono. These may have been what have been called the To no Andono, or outer Hall, and the Uchi no Andono, the inner hall, and they would have been used for ceremonies for those of the appropriate rank. The middle hall it seems was modified from its original form. While it was similar in size and footprint to the hall north of it, the western wing of the southern hall at some point was destroyed—whether on purpose or accidentally—and it was replaced with what appears to have been a pond. On each side of this central area we see more space for buildings, but only some of the post holes have so far been uncovered. There were other buildings further in the northernmost third of the compound that were likely for the sovereign's private usage, as well as a well, and what may have been a building for some kind of semi-private religious ceremony. This palace, the Okamoto Palace, was essentially what Ohoama started from when he relocated the capital back to Asuka – but when he ascended to the throne, he did make a few changes. Most notable was the creation of something called the ebinoko-kuruwa, the Ebinoko enclosure. This was to the southeast of the main palace, and had a rectangular wall surrounding one large building and two smaller ones. Interestingly, the buildings would appear to be oriented in a symmetrical shape that would suggest a southern entrance, like the other palace compounds we've been discussing, and yet the gate was to the west, opening to the area between the Ebinoko enclosure and the main palace. And based on postholes and other evidence, there appear to have been at least four other rectangular buildings stretching out to the south, outside of the walls. Some have theorized that the large building in the Ebinoko was an early form of the Daigokuden, a ceremonial hall where Ohoama held court, rather than reusing the facilities of the old Okamoto palace. Alternately, perhaps it was actually more like the buildings of the Chodoin in Naniwa, where the different departments of the court actually did business, but here with all of the officials working in one, single building. A third idea that others have suggested that this was actually Ohoama's private residence—again, somewhat odd given the size and shape and the fact that there were the seemingly larger facilities of the Okamoto palace already right there for the taking. So which is it? We do have a clue in the record of the 15th day of the 9th month of 672, and the lines following it. According to the Aston translation of the Nihon shoki: He removed his residence from the Palace of Shima to the Palace of Okamoto. In this year a Palace was erected south of the Palace of Okamoto, and the Emperor removed his residence thither that same winter. This was called the Palace of Kiyomibara in Asuka. So it does seem like something was built south of Okamoto and that is where Ohoama resided. It is somewhat uncommon for a sovereign to reuse an old palace like this. Traditionally, sovereigns had regularly moved to new palaces, seemingly because of the attempts to avoid ritual pollution associated with death. Of course, it had been a while since Takara hime had passed away, and Naka no Ohoye had moved everything to Ohotsu, but nonetheless, is it possible that the Ebinoko kuruwa was built to, in some way, give Ohoama new quarters? We may never know for sure. There are plenty of inconsistencies. For one, if it was meant as a residence, I would expect more buildings for his consorts and others. There are also some things to note about the account in the Nihon Shoki. For one thing, although the initial account calls this the Kiyomihara Palace, the Chronicles also suggest that it wouldn't actually get that name until the 20th day of the 7th month of 686, about 14 years later. That record describes how a new era name was also announced: the Akamitori, or red bird, era. I don't want to get too much into it right now, but suffice it to say that a red, three legged crow is often depicted as the symbol of the sun; and the important south gate of the palace, the Suzaku-mon, is named for the vermillion bird of the south, one of the four guardian animals. When this era name—more commonly read as “Shucho”, today, since era names are commonly red in on'yomi reading rather than kun'yomi—well, when it was declared, we are told that the palace was titled the Palace of Kiyomihara of Asuka. What are we to make of this? Well, today, it is assumed that the Kiyomihara palace refers to the Okamoto Palace starting from the creation of the Ebinoko-kuruwa and its occupation during what is assumed to be Ohoama's rule. Earlier in the Nihon Shoki we are told that Ohoama was known as the Kiyomihara sovereign, and so even though that name technically wasn't applied to the palace until later, it makes some sense just to assume it applied from the start of Ohoama's renovations. One more thing that I would point out. While we talked about the original Okamoto Palace and the newly built Ebinoko enclosure, they were arranged as though around a large open area, like a courtyard. The original palace stood at the north, where one could enter the south gate of the palace, and then the Ebinoko enclosure sat on the east side of the courtyard, with its western gate between the two. The southern and western sides of the courtyard, on the other hand, followed the snaking flow of the Asuka River. From about 675 to 681, on or about the 17th day of the first month of the year, it's recorded that the court held an annual archery shoot in the court of either the West or South Gate—which would seem to refer to this large area. This makes sense, as the space is large enough to accommodate plenty of room for the range and for others to watch The archery exhibition was held here, in the space between the two compounds, like clockwork until 681, when we are just told that it was held in the “Courtyard”, which feels like it is referring to an area inside the main compound of Kiyomihara. There are no more mentions of the tradition after 681, though there is an archery shoot in front of the South Gate on the 5th day of the 5th month of 685, but that was probably done as part of the regular 5/5 celebrations—a holiday today known as Kodomo no Hi, or Children's Day, but more traditionally known as Tango no Sekku, the Iris festival. Some form of celebration on this date seems to have occurred throughout East Asia up until the modern day. Whether the archery stopped or just became such a standard thing that it was no longer noteworthy in the record, I can't really say. However, one can possibly imagine what it was like, with all of the courtiers out there watching as the arrows shot down the field. The occasional twang of bows and the faint whistle as it sped towards its target, hitting the target with a sharp thwack. Murmurs from the crowd regarding how well—or how poorly—any given person was doing. Beyond the courtyard and what we know of the two compounds—the Kiyomihara palace and the Ebinoko Enclosure—there is plenty still to discover. There were likely other compounds around the palace, possibly as an extension of the palace. And then there were the temples: west, across the river, was Kawaradera, and north of the palace and surrounding compounds was Houkouji, or Asukadera. There is even some evidence on the northwest edge of the compounds, southwest from Asukadera, of an ancient garden surrounding several manmade ponds. And so, the entire valley appears to have been filled with buildings and official spaces , running up against and being constrained by the natural features of the valley itself. As I mentioned above, there just isn't that much buildable space in the Asuka valley, compared to other places like Naniwa. And this contributed to one of the other problems that the court would have experienced: according to tradition, the front of the palace and other buildings were all oriented south, but for this location, this meant that they didn't face the expansive fields of the Nara basin, but instead they faced the mountains themselves. All in all, there was not much room here to grow, and yet the government and the court had grown, at least by all accounts. Though, how much had the court grown? Maybe not as much as we might expect, despite Ohoama's ambitions. First of all there had been the purge of the powerful ministers at the head of the Afumi court, but there are some startling omissions in the records from the beginning of Ohoama's reign. There is no mention of the Daijin, or Great Minister. There is no Minister of the Right or Minister of the Left. There is no Inner Minister, and there is no Great Minister of State. There are mentions of the “kugyou”, or “Ministers of State”, which traditionally includes the Daijin, but there is no mention of the Daijin, suggesting that the “kugyou” of this time may have only referenced the heads of the 8 ministries of the Dajokan, the Council of State. What does this mean? Many scholars interpret this period as a time of extremely centralized power. Coming off of his military victory, Ohoama seems to have ridden a wave of support and control. Combine that with the continued absorption of Tang dynasty propaganda-slash-government theory that saw the sovereign—the emperor—as the central authority, and one can see how Ohoama may have been able to do something that few sovereigns in Japanese history were able to actually do, which is to wield real power. This may seem odd for a position translated into English most commonly as “Emperor,” but as we've seen, in glimpses through the way they are depicted in the Chronicles, or through the archaeological record, which shows different loci of power and authority across the archipelago in ancient times, the Ohokimi, later dubbed the Tennou or Sumera no Mikoto, was not necessarily all powerful. Not only did they have to contend with rivals to the throne, but even various court nobles who made their way into the centers of power. From figures like Takeuchi no Sukune, to the Ohotomo, the Mononobe, and more recently the Soga—in all of these cases various nobles often held considerable power, though often in tension with one another. Sources of authority also varied. There were the individual religious centers through which families exercised some ritual authority, while there was also more secular authority in the various court positions. The Ohokimi certainly were respected, from what we can tell, and had a powerful source of authority going back to at least the holy kami of Mt. Miwa. They even spread that authority through their kannushi, their priests, which they sent out as an extension of the state. But they weren't entirely independent, either. But Ohoama seems to have reached a point where he did hold a tremendous amount of authority. Because there is another telling omission from the chronciles: we don't see any more Soga members. With the death of Soga no Akaye, the Soga family's influence seems to have disappeared this reign. We also don't see that much about other prominent families compared to earlier: we see the Mononobe as ambassadors, and we see the Nakatomi are still conducting rituals. But we don't see any of them rising to the same positions as their forebears. Instead, we see a lot of focus on the Princely class—those members who claim some descent from a previous sovereign, or even the current sovereign, and how they, themselves, are divided up with their own system of ranks that are outside the civil service ranking system. Speaking of civil service, it does always strike me that the ranking systems of various east Asian courts very much resemble the way that, even today, many modern bureaucracies create wage scales for their civil servants. In the US the most common such scale is the GS or “General Schedule” pay system. In that system, positions are associated with a particular grade, between 1 and 15, and federal employees are also referred to in terms of those grades. Grade typically reflects some level of seniority and pay. It isn't a one-for-one analogy, of course: the court ranks in Yamato were handed out by the sovereign, or at least through their authority, as were the various court positions, though I doubt that Ohoama was spending much personal time approving promotions for a low level clerk writing down inventories and suchlike—but who knows. But it does emphasize that this system is built to be a centralized bureaucratic monarchy, based on the continental model, and it now seems to have come into its own. The court seems to have bought into the idea, and now, intentionally or not, much of their own position in society was directly tied to the autocratic whims of the monarch, or Ohoama himself. Indeed, some of the first records from the year 673 are focused on the court and court system. The very first thing this entailed: a banquet on the 7th day of the first month of the new year. We are told that it was a “drinking party” or “shuen”, and boy does that draw some parallels with modern Japanese companies. We aren't exactly given the form of this party, but we do have later examples. There was likely a formal start, with various nobles set out at assigned seats based on their rank. It was an official event, so officials would have been expected to wear the appropriate clothing, including their caps of rank, letting everyone know exactly who's who, and reinforcing the social hierarchy imposed by the rank system in the first place. I suspect that it started with ritual and formality. Later, you would have the after party, where people might more freely mingle and drink and recite poetry. This was both an official and social occasion, because there really wasn't much of a line drawn between the two. As a ritual, it displayed Ohoama's power over the state through his ability to host them all. As a social function it was an important time in the political life of the court, where everyone was together, and you could find your cliques and supporters. Drinking alcohol, while being something that many enjoy for its own sake, was also a kind of religious observance. Sake was made to be offered to the kami, as well as to be used at parties. It was made from rice, the staple on which the agricultural success of the archipelago was based, and which held a particularly sacred place in other rituals and ceremonies. And then there was the poetry. As would be true for much of Japanese history, poetry infused all aspects of life at the court, and being able to compose good poetry was just as important to one's social standing as reading, writing, and other such skills. There were generally two kinds of poetry practiced at the court. There was the traditional Japanese poetry, or waka, with alternating verses of 5 or 7 syllables—more properly morae, but no need to get into that. Then there was poetry composed in the Sinitic style. Known as “Kanshi”, which translates directly as “Han Poetry”, this mimics the poetic forms brought over in literature from the continent. It required a certain amount of education to be able to compose and was based on the characters, or kanji, used. Kanshi can generally be divided into at least two categories. There is the Kotaishi, or the Old Style Poetry, which consists of poetic form used prior to the Tang dynasty. Then there is Kintaishi, or Modern Style Poetry, which is based on the forms from the Tang dynasty and later. Kintaishi is usually recognized for adhering to more rules of structure and composition, usually using lines of 5 or 7 characters, while Kotaishi is more fluid and less concerned with specific rules and rhythms. Poetry was also not necessarily a solo activity. It was common in later eras to arrange poetry competition, where the court would divide itself, much like the bureaucracy, between the Left and the Right. Each group would compose poetry, often on a set theme, and then put up the poems they felt were the best against those of the other side and then the entire court would listen and judge. The only tangible reward, assuming the sovereign was not so moved as to do something extraordinary, was bragging rights. And yet, that social capital was important among the nobles of the court. Image was extremely important to individuals, and embarrassment could be a political death sentence. And so many would work hard at these poems to make sure that they were the best they could be. At this point, though, we are still in the early years of many of these traditions. The poetry that we have appears to be less formulaic than we see in later eras, when there were so many precedents to which one was expected to adhere. Poems could be about feeling and were not required to hearken back to previous poems and poetic allusions. By the way, official events like this are also one of the ways that we get compilations of poems, later on. These events would get transcribed and then later those poems would be referenced, particularly if they were noteworthy or by noteworthy individuals. This kind of event may have been where a lot of the poems from works like the Man'yoshu and the Kaifusou, the earliest compilations of Waka and Kanshi, respectively. At some point I”d love to dig into the poetry more in depth, but for the moment, I think it is best to leave it there. Now besides one's skills at poetry there were other skills that the court was interested in. The court system that they had lifted from the continent was based, at least theoretically, on the idea of a meritocracy. The monarch, of course, was judged to be worthy to rule through the mandate of Heaven, which often demonstrated itself early in the regime through the Emperor's forces defeating their enemies, much as Ohoama had defeated his rivals in the Afumi court. However, for the rest of the government, the sovereign needed to make sure that he had qualified individuals. From an early point in history, people recognized that not everyone born into power and wealth was necessarily the best person to help run things. If you could only find those of the greatest intellect, discernment, and moral compass, then those are the ones you would want to have running things, right? And this is fine in theory. However, determining who has those qualifications can be a bit tricky. We talked about this back in episodes 71 and 72 when we talked about the Han dynasty more generally. In that case, while the civil service exam was open to any person, the reality was that only those with enough wealth and leisure time could afford to study to take the test. And so while it did open up opportunities for some, it did not truly apply equally across all classes of people. And this was likely fine with most of the ruling class at the time, since there were also still theories that there were different classes of people, and it simply reinforced their ideas that those in the lower classes just didn't have the same capabilities that they had. In the Yamato court early in Ohoama's reign it isn't clear to me exactly how individuals were being chosen for service. We know that rank was handed out as a reward for service, varying with the individual. Ohoama handed out rank at the end of 672 to those who had helped him to come to power, and then, on the 29th day of the 2nd month of 673, just two days after he formally ascended the throne, we are told that he conferred cap-rank on those who had performed good service, each according to their situation. Of course, that is about how promotions were rewarded. But what about how people entered into service in the first place? How did you get introduced to a job in the bureaucracy in the first place? Well for that we have Ohoama's pronouncement on the first day of the fifth month. He addressed the court and set it up as follows: First, anyone who would take a government position would begin their career as an “ohotoneri”. These were low level functionaries who supported the various bureaus as guards, messengers, and whatever else was needed. Previously, this all would have fallen under the general term of “toneri”, who were those members of the nobility who had been sent to serve in the royal palace. Aston translates this as a “chamberlain”, and thus equates oho-toneri—literally “great toneri”—as “high chamberlain”, though I'm not sure if that was actually the distinction or not. It looks like the term “toneri” itself may pre-date the Ritsuryo system, but now was being more standardized, with expanded categories of “toneri” within the system itself. Interestingly, there is only one other example I could find of Ohotoneri before the reign of Ohoama and that was in the account of Waketakeru no Ohokimi, aka Yuryaku Tennou, which makes me think that might be an anachronism. We definitely see “toneri” used since just before that reign and continuously onward, and we see them in regards to not just the royal house, but as the functionaries and servants in various places and for other aristocratic families, but the “ohotoneri” seem to have been specifically connected to the royal family… and thus the state. Ohotoneri, despite being quote-unquote “great” toneri, were at the relative bottom of the hierarchy. They were the night shift, the guards, the messengers, and the general go-fers. They were essentially paid interns. As they did their tasks, they were learning about how the various offices and ministries worked, and they were demonstrating their own aptitude. Based on how they did, they would then be assigned to various offices as seemed most suitable. There were also offices that were staffed by women. Though separate and distinct, women also had a role in the palace and thus the maintenance of the court and the state. They were to be selected for service regardless of their age or even whether they were married or not, but they fell under a separate set of rules from the men, because, well, patriarchy. So that's what happened when people were selected to serve, but who was selected? The chronicles don't say explicitly until a decree about three years later in the 4th month of 676, when it was decreed that all those from provinces outside of the Home Provinces could enter the service of the sovereign, no matter their family's rank, whether Omi, Muraji, Tomo no Miyatsuko, or Kuni no Miyatsuko. They would also allow men of quote-unquote “distinguished ability” enter service, even though they were commoners. From that we can surmise that when they are talking about “all” people really they are talking about “all” the nobility—the only people for whom the Nihon Shoki was really intended, if you think about it. Thus, logically it would seem that prior to this only members of the nobility were allowed to enter government service—but there is even more. Because before this pronouncement in 676, only people in the Home Provinces were theoretically allowed to enter government service. The Home Provinces, or Kinai, are traditionally the five provinces of Yamato, Kawachi, Izumi, Yamashiro, and Settsu. At this point, though, Izumi was still a part of Kawachi, so it would have just been the four. These provinces were likely the first lands to really come under Yamato's direct control, and as such they all held a certain pride of place. This is also where we assume that the powerful families of Yamato had their strongholds. Certainly the Soga, the Mononobe, and the Ohotomo all had claim to traditional land in and around this region. When the court had moved to Ohotsu it would have been the first time in many years that the capital was moved out of the Home Provinces, which was probably a large part of the dissent expressed at the time. How would you like it if your job up and moved two states away and forced you to relocate with them, likely at your own expense? In 676, though, the court decreed that it would no longer restrict itself to noble families of the Home Provinces, but instead would open up service, and the lucrative stipends that came with it, to members of the nobility in the rest of the archipelago. This seems particularly intriguing given the two swords we have from the time of Waketakeru no Ohokimi, aka Yuryua Tennou, in the 5th century, where elites had served—or at least claimed to serve—at his court. It is possible that during his day the influence of Yamato was more expansive, and that influence contracted after him. Or it could be that it was a different type of service that they had provided. And then there is the comment in Ohoama's decree that the court would also allow men of “distinguished ability” to also enter service, even if they were commoners. How very progressive. This seems clearly designed to suggest the meritocratic system that was the ideal, even if it was only truly observed in the breach. I can't help but think about how this symbolizes the court's expanded control across the archipelago, and the idea that all of the archipelago was truly under their control. It also meant that they had opened up the candidate pool to a wider audience. Does that mean that they were growing the size of the government, too? I also can't help but wonder how the old guard took this—the traditional families from the Home Provinces who suddenly found themselves competing with people from the periphery. Did they see them as equals, or the equivalent of upstart country bumpkins? And let's not even get started on anyone who joined government service as a Commoner. On the other hand, I suspect these new functionaries would have owed their position even more directly to the sovereign and the court, and they might not have strong familial ties to the local area. This is all just theory, but seems to follow with Ohoama's general efforts at centralization and accretion of power and authority to himself whilst further building out the structure that his brother, Naka no Ohoye, had set up. Along those lines, at the same time that the sovereign opened up membership in the court to those outside of the Kinai region, he also meddled with the incomes of the various Princes and Ministers. He insisted that those Princes and Ministers who were receiving taxes from fiefs in the West—by which I assume is meant western Honshu, Shikoku, and Kyushu—they should instead get their income from fiefs in the East. So he was taking away the western fiefs and instead swapping them with eastern fiefs. Those western taxes could then, presumably, come straight into the government coffers, and the princes and ministers would be connected with land in the east, which I suspect meant they would be expected to invest in those fiefs and encourage them to produce. This feels like it goes along with something from two years earlier, in 675, the third year of Ohoama's reign. In the second month of that year he abolished the serfs granted to the various Uji back in 664, and he abolished any claims by Princes—Royal or otherwise—as well as Ministers and Temples to any mountains, marshes, islands, bays, woods, plains, and artificial ponds. It seems clear that he claimed the right of eminent domain to himself and the state. By extension, all land effectively belonged to Ohoama, and everyone else became, de facto, his tenants. They paid taxes up to him, and he had the right to grant or take away the land as he saw fit. I can't imagine that went over well with those who had lost their rights to those lands, but either he compensated in them in some other way or his power had grown such that they didn't dare to oppose him. Certainly not everyone was happy. In 677, Saita no Fubito no Nagura was banished to the island of Izu for apparently scoffing—or otherwise disrespecting—Ohoama. Well, it says his vehicle, but Aston notes that this is probably just a polite euphemism for the sovereign himself. But that rebuke seems to have been pretty light compared to two years earlier when a man—we aren't even given his name, assuming it was known, hiked up the hill east of the palace, cursed Ohoama, and then cut his own throat. How it was known that he had been cursing anyone isn't explained—though perhaps he had written it down or otherwise communicated his intentions. Either way, it was certainly a rebuke. But if it phased Ohoama, we can't tell. He did give those on duty that night a step in rank, presumably for the trauma they had experienced in dealing with everything. Possibly related—we are told that same month there was a great earthquake. So was that thought to be the curse being fulfilled? There is nothing to connect them except that the one immediately follows the other. And yet, Ohoama would continue to rule as he saw fit. In fact, he would rule roughly 14 years, in total, right up to his death in 686. A rather substantial reign compared to so many other sovereigns. And he would continue to make his mark. Next episode we will continue our journey through the reign of Ohoama, aka Temmu Tenno. Until then, if you like what we are doing, please tell your friends and feel free to rate us wherever you listen to podcasts. If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to reach out to our Sengoku Daimyo Facebook page. You can also email us at the.sengoku.daimyo@gmail.com. Thank you, also, to Ellen for their work editing the podcast. And that's all for now. Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.
Olá pessoas do UNITEDcast, no episódio dessa semana nossos casters trouxeram uma lista de animes que foram feitos pros nossos pequenos otakinhos. Vem conferir! Participantes: Ds, Ana, Vitor, Éric, Wagner. Edição: Ana Paula Recrutamento da United: Aqui! – Mande seu Email: Email: podcast@animeunited.com.br Grupo Whatsapp: Aqui! – CANAL TELEGRAM: https://t.me/animeunitedbr – Apoie o UNITEDcast: Apoie pelo PIX: contato@animeunited.com.br Ou pelo Apoia-se: https://apoia.se/unitedcast Compre na AMAZON pelo Nosso Link: https://amzn.to/2WjH5kM – Assine o UNITEDcast: Spotify: Segue a gente por lá! iTunes: Adiciona a gente lá! Google Podcasts: Assine Agora! – Links do Episódio: Twitch do DS: https://twitch.tv/dsunited Canal da Ana: https://www.youtube.com/c/CulturaAnime Grupo do Kurt https://www.facebook.com/groups/actionsecomics2 – Nos Siga: Twitter do DS: https://twitter.com/odaltonsilveira Instagram do DS: https://www.instagram.com/odaltonsilveira/ Fabebook da United: https://www.facebook.com/animeunitedoficial Twitter da United: https://twitter.com/animeunitedBR Instagram da United: https://www.instagram.com/animeunitedbr/
Existen en Japón 5 festividades estacionales que reciben el nombre conjunto de sekku. Explicamos cuáles son, sus orígenes en la cultura china y cómo se han adaptado hoy en día al Japón moderno. Sólo una de ellas, el Kodomo no Hi, es festivo nacional, aunque alguna más de las otras cuatro también es muy interesante. Sus fechas coinciden, además, con los días impares de los meses impares de dígito único, aunque con ciertos cambios (1/1, 3/3, 5/5, 7/7 y 9/9). Dale al play y así lo entiendes todo. ¡Mata ne! ¿Quieres colaborar con el programa? - Colabora en Patreon - Únete a la Comunidad Japonismo - Reserva hoteles en Japón (y en todo el mundo) - Consigue seguro de viajes (¡no sólo para Japón!) - Busca los mejores vuelos - Lleva Internet (pocket wifi o SIM) - JR Pass para viajes ilimitados en tren ---- Continúa la conversación en: - Web: https://japonismo.com - Discord: https://discord.gg/hZrSa57 - Facebook: https://facebook.com/japonismo - Twitter: https://twitter.com/japonismo - Instagram: https://instagram.com/japonismo - Pinterest: https://pinterest.com/japonismo - Newsletter semanal: http://eepurl.com/di60Xn
Vi fortsätter med temat från förra avsnittet då vi sammanstrålade med den svenske temästaren Per Oscar Brekell i Tokyo. Idag får vi bland annat en förklaring till varför det gröna teet - det som kallas för matcha - blivit så populärt. Ja faktiskt så mycket så att man från fabrikanternas sida varnar för att det är på väg att bli en bristvara i världen.Podden vill också passa på att önska särskilt våra lyssnare i Japan en glad Golden Week.Flera nationella helgdagar infaller i tät följd mellan slutet av april och början av maj. Under denna tid tar många ledigt för att resa, vara med på festivaler eller helt enkelt umgås med familj och vänner.Årets Golden Week startade den 29 april och pågår till den 6 maj. Helgdagarna är dom här:29 april – Shōwa-dagen (Shōwa no Hi): Till minne av kejsar Shōwas födelsedag. Känd som Hirohito under sin regentperiod som varade fram till 1989.3 maj – Konstitutionsdagen (Kenpō Kinenbi): Firas till minne av den japanska konstitutionen från 1947.4 maj – Grönskans dag (Midori no Hi): En dag för att uppskatta naturen.5 maj – Barnens dag (Kodomo no Hi): En högtid för att fira barns hälsa och lycka. Familjer hissar karpformade vimplar (koinobori) för att symbolisera styrka och framgång för sina barn.6 maj – Ersättningshelgdag för Grönskans dag: Eftersom 4 maj 2025 infaller på en söndag, flyttas helgdagen till måndag 6 maj. Det ska tilläggas att dom som kan också tar ledigt den 30 april till 2 maj och då får man en sammanhängande ledighet på upp till åtta dagar. NYHETERDen japanska centralbanken Bank of Japan (BOJ) mer än halverar sin prognos över den ekonomiska tillväxten för budgetåret. Centralbankschefen Kazuo Ueda pekar ut USA:s hot om kraftigt höjda importtullar som den enskilt viktigaste orsaken till de pessimistiska tongångarna. Från tidigare aviserade 1,1 procents tillväxt talar banken nu om 0,5 procent.Från och med den 3 april införde Trumpadministrationen en tull på 25 % på alla importerade fordon, inklusive personbilar från Japan. Till det ska läggas den 10 %-iga generella importtull som trädde ikraft för alla varor från länder utanför Nordamerika den 5 april. Totalt alltså 35 %-iga importtullar som japanska biltillverkare nu måste förhålla sig till. Det ska tilläggas att personbilar är Japans överlägset största exportvara.Bank of Japan tillkännagav även att man i nuläget väljer att hålla styrräntan oförändrad eftersom inflationstakten mattats av betänkligt den senaste månaden.Den japanska valutan yen tappade ytterligare mark efter beskeden från centralbanken, vilket måhända är bra för besökare, men sämre för de japanska hushållen som får betala mer för importerade varor.En 28-årig man har gripits i Osaka efter han kört in i en grupp skolelever som var på väg hem från skolan.Sju av barnen skadades så pass allvarligt att de fick föras till sjukhus, samtliga ska dock vara vid medvetande enligt uppgifter från polisen.Den misstänkte som är hemmahörande i Tokyo har i förhör sagt att han var ute efter att döda barnen. Motivet ska ha varit att han mått psykiskt dåligt.Ett japanskt företag har börjat leverera inhemskt producerat hållbart flygbränsle till bland andra Japan Airlines som blandar upp det med vanlig flygfotogen. Bränslet tillverkas av begagnad matolja som samlas in från restauranger i Japan.Företaget planerar att producera upp till 30 000 ton matoljebaserat flygbränsle per år. blandar det med vanligt flygbränsle.Enligt den japanska regeringen samlas det årligen in ungefär 400 000 ton begagnad matolja. Den största delen - 90 procent används till djurfoder och kemiska produkter.Japan Airlines uppger för dagstidningen Japan Times att man planerar att år 2030 låta matoljebaserat bränsle stå för 10% av den totala bränsleanvändningen.Enligt en undersökning från jobbmatchningsföretaget MyNavi säger sig nära hälften, eller 45% av alla heltidsanställda i Japan nu vara så kallade “silent quitters” och bara göra det absolut minsta som krävs av dem på jobbet.Beteendet är vanligast bland yngre, där många i åldern 20 till 30 år uppger att de prioriterar sin fritid mer än arbetet.De fyra viktigaste orsakerna till att workaholic Japan nu alltså tycks genomgå en förändring i det tysta är de yngre känner sig missnöjda med arbetsplatsen, upplever att deras insatser inte värderas, och att de är ointresserade av att göra karriär.Basebollstjärnan Shohei Ohtani fortsätter att toppa tidningarnas förstasidor i Japan, men den här gången handlar det inte om sport. Utan om att Ohtani som spelar för Los Angeles Dodgers, nyligen blivit pappa och valt att ta pappaledigt.Trots att japanska män har rätt till 52 veckors pappaledighet med lön är det bara en tredjedel som tar ut någon ledighet överhuvudtaget.Ohtanis beslut att ta pappaledighet när hans dotter föddes väckte stor uppmärksamhet, och han har nu fått smeknamnet "Papa-tani."Ohtanis val att ta ledigt har fått både andra idrottsmän och företag att fundera på att införa liknande policies i Japan. Flera japanska idrottsförbund och företag, som Toyota, har nu börjat erbjuda pappaledighet för sina anställda.Innan vi slår på stora trumman och basunerar ut att en pappaledighetsrevolution är nära förestående i Japan, ska vi kanske tillägga att Ohtani och hans klubb Dodgers enades om att tre dagars pappaledighet kunde vara tillräckligt. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit japanpodden.substack.com
The number of "kodomo shokudo" cafeterias providing meals mainly to needy children for free or at low prices in Japan surpassed 10,000 for the first time, a survey by a nonprofit organization has shown.
みなさん、こんにちは！En este vídeo os hemos preparado un pequeño cuento en japonés de nivel básico, donde podréis practicar de forma sencilla el vocabulario y la gramática. - ¿Te gustaría aprender japonés desde cero? Pásate por nuestro curso de japonés inicial y empieza a aprender japonés cuanto antes: https://bit.ly/3Gp8w5f - Puedes descargar el cuento desde aquí: https://drive.google.com/file/d/1P-b41eqObJBfpKsUf2K1Gid0D0Kv3SJp/view?usp=sharing
It's Easter weekend, so we threw some egg puns into this week's show in an attempt to make it topical. Chapters: 00:00:00 - Year 14 - The Best Gets Better 00:01:23 - Sonic Heroes - What I'm Made Of... 00:05:03 - Skies of Arcadia - Let's Go! 00:06:32 - This is Saturday Night SEGA 1 00:21:00 - Sonic the Hedgehog 2 [8-bit] - Scrambled Egg Zone 00:23:04 - GlacialSpoon - Egg Death Machine 00:27:28 - NiGHTS into dreams... - Rolling Eggman 00:29:28 - This is Saturday Night SEGA 2 00:42:36 - Moonlight -Mitsuyoshi Takenobu Cover Song Album- - Moonlight Legend 00:44:38 - Bayonetta 3 - GH()ST 00:47:42 - Daffy Duck in Hollywood [Mega Drive] - Stage 4: Assault and Prepared 00:50:45 - This is Saturday Night SEGA 3 00:57:17 - 13 Sentinels: Aegis Rim - Fancy Some Tea? 01:01:34 - Conception PLUS: Maidens of the Twelve Stars (CONCEPTION PLUS: Ore no Kodomo wo Undekure!) - Exchanging Drinks 01:03:41 - Alice Gear Aegis CS: Concerto of Simulatrix - Break through 01:07:21 - This is Saturday Night SEGA 4 01:20:34 - Virtua Tennis 2 (Tennis 2K2; Power Smash 2) - Grace & Glory ~ Tennis 2K2 Version 01:23:05 - Judgment (Judge Eyes) - ARPEGGIO 01:26:55 - Sonic the Hedgehog 2 [8-bit] - Crystal Egg Zone 01:29:08 - This is Saturday Night SEGA 5 01:39:03 - A Certain Magical Virtual-On - Pandemic Nostalgia 01:42:42 - CHUNITHM - The Wheel to the Right 01:45:06 - Sky Target - City (Mission 3b, 6a) - After Burner 01:48:33 - This is Saturday Night SEGA 6 01:55:21 - Phantasy Star Online - Easter 01:57:58 - TheBitterRoost - Triumph in Failure
It's the last episode of 2023, and our 100th episode! But despite that, we keep on moving through the period, hitting a bunch of smaller stories from the Nihon Shoki about this period. We talk about Zentoku no Omi, the temple commissioner of Hokoji, as well as the trouble they went through to get the Asukadera Daibutsu in place to begin with. We have the first instance of the Dazai--as in the Dazaifu of Kyushu--as well as the first instance of the holiday that would eventually become Children's Day, Kodomo no Hi. There are various immigrants, bringing painting, handmills, and even a new kind of musical dance theater known as gigaku. And that's just some of what we'll cover. For more, check out our website at https://sengokudaimyo.com/podcast/episode-100 Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan. My name is Joshua, and this is episode 100: Sacred Tetris and Other Tidbits First off: woohoo! One hundred episodes! Thank you to everyone who has been listening and following along on this journey so far. When I started this I had no idea how long I would be able to keep up with it, but I appreciate everyone who has encouraged me along the way. This all started in September of 2019, and we are now four years in and we have a ways to go. While I'm thanking people, I'd also like to give a big thank you to my wife, Ellen, who has been helping me behind the scenes. She's the one who typically helps read through what I'm going to say and helps edit out a lot of things, and provides reminders of things that I sometimes forget. She really helps to keep me on track, and I always appreciate the time she puts into helping to edit the scripts and the questions she asks. Now, we are still talking about the 6th and early 7th centuries during the reign of Kashikiya Hime, aka Suiko Tenno. We've talked about a lot of different aspects of this period—about the conflicts over Nimna on the peninsula, about the rise of the Sui dynasty on the continent, and the importation of various continental goods, including animals, immigrants, and knowledge. That knowledge included new ideas about governance as well as religious practices such as Buddhism—and possibly other religious practices as well, as many of the stories that we saw in the Age of the Gods may have analogs on the continent and may just as easily have been coming over with the current crop of immigrants, though it is hard to say for certain. At the heart of these changes are three individuals. Obviously there is Kashikiya Hime, on the throne through a rather intricate and bloody series of events. Then there is Soga no Umako, her maternal uncle, who has been helping to keep the Soga family on top. And of course, the subject of our last couple episodes, Prince Umayado, aka Shotoku Taishi. He, of course, is credited with the very founding of the Japanese state through the 17 article constitution and the promulgation of Buddhism. This episode, I'd like to tackle some of the little things. Some of the stories that maybe didn't make it into other episodes up to this point. For this, we'll mostly look at it in a chronological fashion, more or less. As you may recall, Kashikiya Hime came to the throne in about 593, ruling in the palace of Toyoura. This was around the time that the pagoda was erected at Houkouji temple—and about the time that we are told that Shitennouji temple was erected as well. Kashikiya Home made Umayado the Crown Prince, despite having a son of her own, as we'd mentioned previously, and then, in 594, she told Umayado and Umako to start to promulgate Buddhism, kicking off a temple building craze that would sweep the nation—or at least the areas ruled by the elites of Yamato. By 596, Houkouji was finished and, in a detail I don't think we touched on when talking about Asukadera back in episode 97, they appointed as commissioner one Zentoku no Omi—or possibly Zentoko, in one reading I found. This is a curious name, since “Zentoku” comes across as a decidedly Buddhist name, and they really liked to use the character “Zen”, it feels like, at this time. In fact, it is the same name that the nun, the daughter of Ohotomo no Sadehiko no Muraji, took, though the narrative is very clear about gender in both instances, despite them having the exact same Buddhist names. This name isn't exactly unique, however, and it is also the name recorded for the Silla ruler, Queen Seondeok, whose name uses the same two characters, so it is possible that at this time it was a popular name—or perhaps people just weren't in the mood to get too creative, yet. However, what is particularly interesting to me, is that the name “Zentoku” is then followed by the kabane of “Omi”. As you may recall from Episode XX, a kabane is a level of rank, but associated with an entire family or lineage group rather than an individual. So while there are times where we have seen “personal name” + “kabane” in the past, there is usually a surname somewhere in there. In this case, we aren't told the surname, but we know it because we are given the name of Zentoku's father: we are told that he was the son of none other than the “Oho-omi”, the Great Omi, aka Soga no Umako. So, in summary, one of Soga no Umako's sons took the tonsure and became a monk. I bring this little tidbit up because there is something that seems very odd to me and, at the same time, very aristocratic, about taking vows, retiring from the world, and yet still being known by your family's title of rank. Often monks are depicted as outside of the civil rank and status system—though there were certainly ranks and titles within the priesthood. I wonder if it read as strange to the 8th century readers, looking back on this period. It certainly seems to illustrate quite clearly how Buddhism at this point was a tool of the elite families, and not a grass-roots movements among the common people. This also further strengthens the idea that Houkouji was the temple of the Soga—and specifically Soga no Umako. Sure, as a Soga descendant, Prince Umayado may have had some hand in it, but in the end it was the head of the Soga family who was running the show, and so he appoints one of his own sons as the chief commissioner of the temple. They aren't even trying to hide the connection. In fact, having one of his sons “retire” and start making merit through Buddhist practice was probably a great PR move, overall. We don't hear much more from Zentoku after this point, and we really know very little about him. We do know something about the Soga family, and we know that Soga no Umako has at least one other son. While we've yet to see him in the narrative—children in the Nihon Shoki are often meant to be neither seen nor heard, it would seem—Umako's other son is known to us as Soga no Emishi. Based on when we believe Soga no Emishi was born, however, he would have been a child, still, when all this was happening, and so Zentoku may have actually been his father's eldest son, taking the reins at Houkouji temple, likely setting him up to claim a role of spiritual leadership in the new religion of Buddhism. Compare this to what we see later, and also in other places, such as Europe, where it is often the second son that is sent into religious life, while the eldest son—the heir—is kept at hand to succeed the father in case anything happens. On the other hand, I am unsure if the monks of this time had any sort of celibacy that was expected of them, and I suspect that even as the temple commissioner, the tera no Tsukasa, Zentoku was keeping his hand in. After all, the Soga family head appears to have been staying near the temple as well, so it isn't like they were packing him off to the high mountains. Moving on, in 601 we are told that Kashikiya Hime was in a temporary palace at a place called Miminashi, when heavy rains came and flooded the palace site. This seems to be referring to flooding of Toyoura palace, which was, we believe, next to the Asuka river. I wonder, then, if that wasn't the impetus for, two years later, in 603, moving the palace to Woharida, and leaving the old palace buildings to become a nunnery. That Woharida palace is not thought to have been very far away—traditionally just a little ways north or possibly across the river. In 604, with the court operating out of the new Woharida palace, we see the institution of more continental style traditions. It includes the idea of bowing when you entered or left the palace grounds—going so far as to get on your hands and knees for the bow. Even today, it is customary to bow when entering a room—particularly a traditional room like in a dojo or similar—and it is also customary to bow when passing through a torii gate, entering into a sacred space. Of course, that is often just a standing bow from the waist, and not a full bow from a seated position. In 605, with more continental culture being imported, we see it affecting fashion. In fact, in this year we are told that Prince Umayado commanded all the ministers to wear the “hirami”. The kanji simply translates to “pleats”, but in clothing terms this refers to a pleated skirt or apron. We see examples of this in courtly clothing going back to at least the Han dynasty, if not earlier, typically tied high above the waist and falling all the way down so that only the tips of the shoes are poking out from underneath. We have a bit more on this in the historical clothing section of the Sengoku Daimyo website, sengokudaimyo.com. I wonder if these wrapped skirts aren't some of what we see in the embroidered Tenjukoku mandala of Chuuguuji. Court women would continue to wear some kind of pleated skirt-like garment, which would become the mo, though for men they would largely abandon the fashion, except for some very specific ritual outfits. That said, there is still an outfit used for some imperial ceremonies. It is red, with many continental and what some might consider Taoist symbols, such as dragons, the sun and moon, etc.. That continuation of tradition gives us some idea of what this was and what it may have looked like back in the day. It is also very neat that we are starting to get specific pieces of potentially identifiable clothing information, even if it is only for the court nobles. The year following that, 606, we get the giant Buddha image being installed at Houkouji, aka Asukadera. Or at least, we think that is the one they are talking about, as we can't be one hundred percent certain. However, it is traditionally thought to be one and the same. The copper and gold image was commissioned a year prior, along with an embroidered image as well, but when they went to install it they ran into a slight problem: The statue was too large to fit through the doors of the kondo, the golden image hall. No doubt that caused some embarrassment—it is like ordering furniture that won't fit through the doorway, no matter how you and your friends try to maneuver it around. They were thinking they would have to cut through the doors of the kondo to create more room, and then fix it afterwards. Nobody really wanted to do that thought—whether because they thought it would damage the structural integrity of the building or they just didn't want to have to put up with an unsightly scar, it isn't clear. Finally, before they took such extreme measures, they called on the original artist, Kuratsukuri no Tori. He is said to be the son of the famous Shiba Tattou, and so his family was quite close with the Soga, and he seems to have had quite the eye for geometry as we are told that he, “by way of skill”, was able to get it through the doors and into the hall. I don't know if that meant he had to some how turn it on its side and walk it through, or something else, but whatever it was, it worked. Tori's mad Tetris skills worked, and they were able to install the giant Buddha in the hall without cutting through the doorways. For his efforts, Tori was rewarded, and he was raised up to the rank of Dainin, one of the 12 new ranks of the court. He was also given 20 cho worth of “water fields”—likely meaning rice paddies. With the income from those fields, we are told that he invested in a temple of his own: Kongoji, later known as the nunnery of Sakata in Minabuchi. For all that Buddhism was on the rise, the worship of the kami was still going strong as well. In 607 we are told that there was an edict that everyone should worship the kami of heaven and earth, and we are told that all of the noble families complied. I would note that Aston wonders about this entry, as the phrasing looks like something you could have taken right out of continental records, but at the same time, it likely reflects reality to some extent. It is hard to see the court just completely giving up on the traditional kami worship, which would continue to be an important part of court ritual. In fact, it is still unclear just how the new religion of Buddhism was viewed, and how much people understood the Buddha to be anything more than just another type of kami. Later in that same year was the mission to the Sui court, which we discussed in Episode 96. The year after, the mission returned to Yamato with Sui ambassadors, and then, in 609, those ambassadors returned to the Sui court. These were the missions of that infamous letter, where the Yamato court addressed the Sui Emperor as an equal. “From the child of heaven in the land where the sun rises to the child of heaven in the land where the sun sets.” It is still one of my favorite little pieces of history, and I constantly wonder if Yamato didn't understand the difference in scale or if they just didn't care. Either way, some really powerful vibes coming off that whole thing. That same year that the Sui ambassadors were going back to their court there was another engagement with foreigners. In this case the official on the island of Tsukushi, aka Kyuushuu, reported to the Yamato court that 2 priests from Baekje, along with 10 other priests and 75 laypersons had anchored in the harbor of Ashigita, in the land of Higo, which is to say the land of Hi that was farther from Yamato, on the western side of Kyuushuu. Ashigita, you may recall, came up in Episode 89 in reference to the Baekje monk—and I use that term loosely—Nichira, aka Illa. There, Nichira was said to descend from the lord of Ashigita, who was said to be Arisateung, a name which appears to be a Korean—possibly Baekje—title. So now we have a Baekje ship harboring in a land that once was ruled by a family identified, at least in their names or titles, as having come from or at least having ties with Baekje. This isn't entirely surprising, as it wouldn't have taken all that much effort for people to cross from one side to the other, and particularly during the period before there was a truly strong central government it is easy to see that there may have been lands in the archipelago that had ties to Baekje, just as we believe there were some lands on the peninsula that had ties to Yamato. One more note before get to the heart of the matter is the title of the person who reported all these Baekje goings-on. Aston translates the title as the Viceroy of Tsukushi, and the kanji read “Dazai”, as in the “Dazaifu”, or government of the “Dazai”. There is kana that translates the title as Oho-mikoto-Mochi—the Great August Thing Holder, per Aston, who takes this as a translation, rather than a strict transliteration. This is the first time that this term, “Dazai” has popped up in the history, and it will appear more and more in the future. We know that, at least later, the Dazaifu was the Yamato court's representative government in Kyuushuu. The position wasn't new - it goes back to the various military governors sent there in previous reigns - but this is the first time that specific phrasing is used—and unfortunately we don't even know much about who it was referring to. The position, however, would become an important part of the Yamato governing apparatus, as it provided an extension of the court's power over Kyuushuu, which could otherwise have easily fallen under the sway of others, much as Iwai tried to do when he tried to ally with Silla and take Tsukushi by force. Given the importance of Kyuushuu as the entrypoint to the archipelago, it was in the Court's best interest to keep it under their control. Getting back to the ship with the Baekje priests on it: the passengers claimed they were on their way to Wu, or Kure—presumably headed to the Yangzi river region. Given the number of Buddhist monasteries in the hills around the Yangzi river, it is quite believable, though of course by this time the Wu dynasty was long gone. What they had not prepared for was the new Sui dynasty, as they said there was a civil war of some kind going on, and so they couldn't land and were subsequently blown off course in a storm, eventually limping along to Ashigita harbor, where they presumably undertook rest and a chance to repair their vessels. It is unclear to me exactly what civil war they were referring to, and it may have just been a local conflict. There would be rebellions south of the Yangzi river a few years later, but no indication that it was this, just a bit out of context. We know that the Sui dynasty suffered—it wouldn't last another decade before being dismantled and replaced by the Tang dynasty in about 618. There were also ongoing conflicts with Goguryeo and even the area of modern Vietnam, which were draining the Sui's resources and could be related to all of these issues. If so, though, it is hard to see an exact correlation to the “civil war” mentioned in the text. Given all this, two court nobles: Naniwa no Kishi no Tokomaro and Fumibito no Tatsu were sent to Kyuushuu to see what had happened, and, once they learned the truth, help send the visitors on their way. However, ten of the priests asked to stay in Yamato, and they were sent to be housed at the Soga family temple of Houkouji. As you may recall, 10 monks was the necessary number to hold a proper ordination ceremony, funnily enough. In 610, another couple of monks showed up—this time from Goguryeo. They were actually sent, we are told, as “tribute”. We are told that one of them was well read—specifically that he knew the Five Classics—but also that he understood how to prepare various paints and pigments. A lot of paint and pigments were based on available materials as well as what was known at the time, and so it is understandable, to me, why you might have that as a noted and remarkable skill. We are also told that he made mills—likely a type of handmill. These can be easily used for helping to crush and blend medicines, but I suspect it could just as easily be used to crush the various ingredients for different pigments. A type of handmill, where you roll a wheel in a narrow channel, forward and back, is still in use today throughout Asia. In 611, on the 5th day of the 5th month, the court went out to gather herbs. They assembled at the pond of Fujiwara—the pond of the wisteria field—and set out at sunrise. We are told that their clothing matched their official cap colors, which was based on their rank, so that would seem to indicate that they were dressed in their court outfits. In this case, though, they also had hair ornaments mad of gold, leopard's tails, or birds. That leopard's tail, assuming the description is accurate, is particularly interesting, as it would have had to have come from the continent. This ritual gathering of herbs would be repeated on the 5th day of the 5th month of both 612 and 614. If that date seems familiar, you might be thinking of the modern holiday of Tango no Sekku, aka Kodomo no Hi. That is to say: Boy's Day or the more gender neutral “Children's Day”. It is part of a series of celebrations in Japan known today as “Golden Week”, when there are so many holidays crammed together that people get roughly a week off of work, meaning that a lot of travel tends to happen in that period. While the idea of “Boy's Day” probably doesn't come about until the Kamakura period, Tango no Sekku has long been one of the five seasonal festivals of the court, the Gosekku. These included New Year's day; the third day of the third month, later to become the Doll Festival, or Girl's Day; the seventh day of the seventh month, during Tanabata; and the 9th day of the 9th month. As you can see, that is 1/1, 3/3, 5/5, 7/7, and 9/9. Interestingly, they skipped over 11/11, possibly because that was in the winter time, based on the old calendar, and people were just trying to stay warm. Early traditions of Tango no Sekku include women gathering irises to protect the home. That could connect to the practice, here, of “picking herbs” by the court, and indeed, many people connect the origins of Tango no Sekku back to this reign specifically because of these references, though there is very little said about what they were doing, other than picking herbs in their fancy outfits. We are given a few more glimpses into the lives of the court in a few other entries. In 612, for instance, we have a banquet thrown for the high functionaries. This may have been a semi-regular occasion, but this particular incident was memorable for a couple of poems that were bandied back and forth between Soga no Umako and Kashikiya Hime. He toasted her, and she responded with a toast to the sons of Soga. Later that year, they held a more somber event, as Kitashi Hime was re-interred. She was the sister to Soga no Umako, consort of Nunakura Futodamashiki no Ohokimi, aka Kimmei Tenno, and mother to both Tachibana no Toyohi, aka Youmei Tennou, and Kashikiya Hime, Suiko Tennou. She was re-buried with her husband at his tomb in Hinokuma. During this period, various nobles made speeches. Kicking the event off was Abe no Uchi no Omi no Tori, who made offerings to her spirit, including around 15,000 utensils and garments. Then the royal princes spoke, each according to rank, but we aren't given just what they said. After that, Nakatomi no Miyatokoro no Muraji no Womaro gave the eulogy of the Oho-omi, presumably speaking on Umako's behalf, though it isn't exactly clear why, though Umako was certainly getting on in years. Then, Sakahibe no Omi no Marise delivered the written eulogies of the other families. And here we get an interesting glimpse into court life as we see a report that both Nakatomi no Womaro and Sakahibe no Marise apparently delivered their speeches with great aplomb, and the people listening were quite appreciative. However, they did not look quite so fondly on the speechifying of Abe no Tori, and they said that he was less than skillful. And consider that—if you find public speaking to be something you dread, imagine if your entire reputation hung on ensuring that every word was executed properly. A single misstep or a bad day and suddenly you are recorded in the national history as having been just the worst. In fact, his political career seems to have tanked, as we don't hear much more about him after that. 612 also saw more immigrants bringing more art and culture. The first was a man from Baekje. He did not look well—he had white circles under his eyes, we are told, possibly indicating ringworm or some other infection. It was so bad that the people on the ship with him were thinking about putting him off on an island to fend for himself. He protested that his looks were not contagious, and no different that the white patches of color you might see on horses or cattle. Moreover, he had a talent for painting figures and mountains. He drew figures of the legendary Mt. Sumeru, and of the Bridge of Wu, during the period of the Southern Courts, and the people were so taken by it that they forestalled tossing him overboard. He was eventually known as Michiko no Takumi, though more colloquially he was known as Shikomaro, which basically was a nickname calling him ugly, because judging people based on appearance was still totally a thing. The other notable immigrant that year was also a man of Baekje, known to us as Mimachi, or perhaps Mimashi or Mimaji. He claimed to know the music and dancing of the Wu court—or at least some continental dynasty. He settled in Sakurawi and took on students who were basically forced to learn from him. As if a piano teacher appeared and all the children went to learn, but now it isn't just your parents and their high expectations, but the very state telling you to do it. So… no pressure, I'm sure. Eventually, Manu no Obito no Deshi—whose name literally means “student” or “disciple”—and Imaki no Ayabito no Seibun learned the teachings and passed them down to others. This would appear to be the masked dances known as Gigaku. If you know about early Japanese music and dance you may have heard of Gagaku, Bugaku, and Noh theater. Gagaku is the courtly music, with roots in apparently indigenous Japanese music as well as various continental sources, from the Korean peninsula all the way down to Southeast Asia. Indeed, the musical records we have in Japan are often the only remaining records of what some of the continental music of this time might have sounded like, even though the playing style and flourishes have changed over the centuries, and many scholars have used the repertoire of the Japanese court to help work backwards to try and recreate some of the continental music. The dances that you often see with Gagaku musical accompaniment are known as Bugaku, and most of that was codified in the latter years of the Heian era—about the 12th century. Then there is the famous masked theater known as Noh, which has its origins in a variety of traditions, going back to at least the 8th century and really brought together around the 14th century. All of these traditions, however, are preceded by Gigaku, this form of masked dance that came over in the 7th century, and claims its roots in the area of “Wu” rather than “Tang”, implying that it goes back to traditions of the southern courts of the Yangzi river region. Gigaku spread along with the rest of continental culture, along with the spread of Buddhism and other such ideas. From what we can tell, it was a dominant form of music and dance for the court, and many of the masks that were used are preserved in temple storehouses such as the famous Shosoin at the Todaiji in Nara. However, as the centuries rolled by, Gigaku was eventually replaced at court by Bugaku style dances, though it continued to be practiced up through at least the 14th century. Unfortunately, I know of no Gigaku dances that survived into the modern day, and we are left with the elaborate masks, some illustrations of dancers, and a few descriptions of what it was like, but that seems to be it. From what we can tell, Gigaku—also known as Kure-gaku, or Kure-no-utamai, meaning Music or Music and Dances of Wu—is first noted back in the reign of Nunakura Futodamashiki, aka Kimmei Tennou, but it wasn't until the reign of Kashikiya Hime that we actually see someone coming over and clearly imparting knowledge of the dances and music—Mimashi, mentioned above. We then see the dances mentioned at various temples, including Houryuuji, Toudaiji, and others. Of course, as with many such things, Shotoku Taishi is given credit for spreading Gigaku through the Buddhist temples, and the two do seem to have gone hand in hand. We know a little bit about the dances from the masks and various writings. The masks are not random, and a collection of Gigaku masks will have generally the same set of characters. These characters appear to have been organized in a traditional order. A performance would start with a parade and a sutra reading—which I wonder if that was original or if it was added as they grew more connected to the Buddhist temple establishment. And then there was a lion dance, where a young cub would pacify an adult lion. Lion dances, in various forms, continue to be found throughout East Asia. Then the characters come into play and there are various stories about, for example, the Duke of Wu, and people from the “Hu” Western Regions—that is to say the non-Han people in the Western part of what is now China and central Eurasia. Some of these performances appear to be serious, while others may have been humorous interludes, like when a demon assaults the character Rikishi using a man's genitals while calling for the “Woman of Wu”. That brings to mind the later tradition of ai-kyougen; similarly humorous or lighthearted episodes acted out during Noh plays to help break up the dramatic tension. Many of aspects of Gigaku would go on to influence the later styles of court music and dance. Bugaku is thought to have some of its origins in masked Gigaku dancers performing to the various styles of what became known as Gagaku music. There are also examples of some of the characters making their way into other theatrical traditions, such as Sarugaku and, eventually, Noh and even folk theater. These hints have been used to help artists reconstruct what Gigagku might have been like. One of the key aspects of Gigaku is that for all they were telling stories, other than things like the recitation of the sutras, the action of the story appears to have been told strictly through pantomime in the dances. This was accompanied by the musicians, who played a variety of instruments during the performance that would provide the musical queues for the dancers-slash-actors. There was no dialogue, however, but the names of the various characters appear to have been well known, and based on the specifics of the masks one could tell who was who and what was going on. This is similar to how, in the west, there were often stock characters in things like the English Mummers plays or the Comedia dell'arte of the Italian city-states, though in Gigaku those characters would not speak at all, and their story would be conveyed simply through pantomime, music, and masks. There have been attempts to reconstruct Gigaku. Notably there was an attempt in the 1980s, in coordination with a celebration of the anniversary of Todaiji, in Nara, and it appears that Tenri University may continue that tradition. There was also another revival by famed Kyougen actor Nomura Mannojo, uncle to another famous Kyougen actor turned movie star, Nomura Mansai. Mannojo called his style “Shingigaku”, which seems to be translated as either “True Gigaku” or “New Gigagku”, and he took that on tour to various countries. You can find an example of his performance from the Silk Road Theater at the Smithsonian Folklife Festival in Washington, DC back in 2002, as well as elsewhere. It does appear that he's changed things up just a little bit, however, based on his layout of the dances, but it is an interesting interpretation, nonetheless. We may never truly know what Gigaku looked and sounded like, but it certainly had an impact on theatrical and musical traditions of Japan, and for that alone it perhaps deserves to be mentioned. And I think we'll stop right there, for now. There is more to get through, so we'll certainly have a part two as we continue to look at events of this rein. There are stories of gods and omens. There is contact with an island off the southern coast of Kyuushuu. There are more trips to the Sui court. Much of that is coming. Until then, I'd like to thank you once again. I can hardly believe we reached one hundred episodes! And it comes just as we are about to close out the year. As usual, I'll plan for a recap episode over New Year's, and then I'll plan to get back into everything the episode after that, but this closes out the year. I hope everyone has a wonderful new year, however you celebrate and, as always, thank you for listening and for all of your support. If you like what we are doing, tell your friends and feel free to rate us wherever you listen to podcasts. If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to Tweet at us at @SengokuPodcast, or reach out to our Sengoku Daimyo Facebook page. You can also email us at the.sengoku.daimyo@gmail.com. And that's all for now. Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.
It's time for RadioSEGA's Summer Soundtrack! This year we've focused on more recent additions to the RS Playlist and have delivered one of the best Soundtracks we've ever done! Chapters: (00:00:00) - Welcome to SNS! (00:02:31) - CHUNITHM AIR - We Gonna Party -Feline Groove Mix- (00:04:46) - 3P0P - Supersonic (00:07:55) - The Murder of Sonic the Hedgehog - Road to Conductor Car Minigame (00:10:48) - Alice Gear Aegis CS: Concerto of Simulatrix - Carmine Entanglement (00:14:08) - Sonic Frontiers - Cyber Space 4-9: Signs (00:20:16) - CHUNITHM AMAZON - Life(Extended Mix) (00:23:17) - AshZone - Metal Sonic Theme (00:26:39) - Persona 3: Dancing in Moonlight (Persona 3: Dancing Moon Night) - Want To Be Close (ATOLS Remix) -Long Mix- (00:29:54) - Amphibious - Streets of Rave (00:33:16) - 404 GAME RE:SET -ERROR GAME RE:SET- - Outrun Boss (00:37:36) - Uncle from Another World (Isekai Ojisan) - story (00:41:15) - maimai DX Splash PLUS - VIIIbit Explorer (00:43:26) - banvox - Green Hill Zone (Banvox Version) (00:46:30) - Sonic Frontiers - Cyber Space 4-1: Exceed Mach (00:51:38) - CHUNITHM CRYSTAL PLUS - MARENOL (00:54:00) - CHUNITHM AMAZON PLUS - CO5M1C R4ILR0AD (00:56:13) - ALESTE COLLECTION - Music Album - - GGA ROUND 1 -FULL ARMORED REMIX- (01:01:06) - Flash Beats - Interferon (01:06:18) - maimai MiLK PLUS - ENERGY SYNERGY MATRIX (Extended) (01:10:13) - Persona 5: The Animation Original Arrange CD - Dark Sun... (Spanish Electro Arrange) (01:14:10) - Ys VIII: Lacrimosa of Dana - SUNSHINE COASTLINE (01:17:15) - CHUNITHM STAR PLUS - The wheel to the Night ~Indojin ga yume ni!?~ (01:20:37) - Persona 5: The Phantom X - Lust (01:24:30) - BLACKJACK Nailed Ace - Opa-Opa! BLACKJACK Nailed Ace Version (01:27:52) - SOUL HACKERS 25th ANNIVERSARY MUSIC ALBUM - Boss Battle 2 - Jazz Arrangement - (01:30:50) - Bayonetta 3 - GH()ST (01:33:55) - SEGA NET MAHJONG MJ Arcade - MJArcade Default BGM [South Round 1] (01:36:08) - CODE OF JOKER - Electronic brain (Tutorial Battle BGM) (01:39:34) - Little Dragons Café - Headbanging Haunt (01:40:20) - Conception PLUS: Maidens of the Twelve Stars (CONCEPTION PLUS: Ore no Kodomo wo Undekure!) - Chaos (01:42:29) - SEGA Network Taisen Mahjong MJ4 Evolution - Bullet from Dimension (01:46:31) - Persona 3 the Movie: #3 Falling Down - Unavoidable Battle -power mix- (01:51:23) - Persona 5 Strikers (Persona 5 Scramble: The Phantom Strikers) - Rivers in the Desert -Scramble instrumental version- (01:56:34) - Like a Dragon: Ishin! (Ryu ga Gotoku Ishin! Kiwami) - Soar (02:01:03) - CHUNITHM STAR - -OutsideR:RequieM- (02:04:31) - Sonic Frontiers - Titan: SUPREME - I'm Here [Re-Edit] (02:09:30) - Sonic Frontiers - Undefeatable (02:13:50) - Satoshi Miyashita - Game Over
¡”Ookami Kodomo no Ame to Yuki” no es una película de furros! Tienen que darle una oportunidad a la película animada de Mamoru Hosoda.
Come ormai saprai - se hai ascoltato i nostri podcast precedenti - la fioritura dei ciliegi non è l'unica cosa bella che si può fare in questo periodo!? Parleremo degli eventi da non perdere ed ovviamente di cosa mangiare in questo periodo. Ci sono molti ingredienti che si possono trovare solo in primavera e che dovete assolutamente provare! Se dovessi ricordare una sola cosa fra tutte quelle discusse nel podcast, sicuramente dovrebbe essere... di evitare la Golden Week! Nel 2024 va dal 29/04 al 05/05. Eventi 03/03 - Hinamatsuri Festa delle Ragazze (o Bambole) Una giornata dedicata al benessere delle ragazze (nubili). Luoghi famosi per l'Hinamatsuri:- Inatori Onsen (Shizuoka): località termale costiera nella penisola di Izu. Da metà gennaio a fine marzo ospita il suo annuale "Hina-no-tsurushikazari Matsuri". Il festival si concentra su una combinazione di bambole hina ed ornamenti pendenti - fatti a mano chiamati - Tsurushi Hina. Inatori Onsen è raggiungibile da Tokyo con il treno di lusso Odoriko Saphir. - Yanagawa (Fukuoka): l'intera città si dedica a questa celebrazione. Particolarmente noto per la sua sfilata sull'acqua, con le ragazze che cavalcano le gondole in abiti tradizionali e con decorazioni di bambole appese - dette Sagemon - realizzate con tessuti usati. Dalla stazione di Fukuoka Tenjin si deve prendere la linea Tenjin - Ōmuta fino a Fukagawa. Un viaggio di 50 minuti. - Seto Yashiki (Kanagawa): in questa piccola "villa" nella città di Kaisei si organizza ogni anno - da metà febbraio al 3 marzo - una mostra dedicata al Hinamatsuri. Vale la pena visitare la villa per la sua bellezza indipendentemente dall'Hinamatsuri. Dalla stazione di Odawara si deve prendere la linea Odakyu per Kaisei. Da lì ci sono bus navetta gratuiti per la villa (solo il fine settimana). 14,15 Aprile - Takaya Spring Festival (detto anche Sanno Matsuri, Gifu): uno dei tre festival di carri più importanti del Giappone. I partecipanti indossano costumi tradizionali ed il 14 c'è un festival serale. Il modo più semplice per raggiungere Takayama è in autobus o in treno da Nagoya. Sempre a 40 km da Takayama si trova il famoso Gero Onsen, una delle tre sorgenti termali più famose del Giappone. 05/05 - Kodomo no Hi (Festa dei Bambini): una giornata dedicata alla salute e alla felicità dei ragazzi (al giorno d'oggi è una festa per i bambini in generale), che coincide con l'ultimo giorno della Golden Week... Su dei pali all'esterno degli edifici pubblici e delle case private vengono issate e fatti volare i Koinobori - decorazioni di carta/ stoffa a forma di carpa - in segno di buona fortuna per i bambini. Dove vedere i Koinobori - Tokyo Tower - Tatebayashi, Tsuruuda River (Gunma): tra la fine di marzo e l'inizio di maggio più di 4.000 koinobori colorati vengono fatti svolazzare sopra il fiume. Se sei nel periodo giusto puoi anche goderti i fiori di ciliegio. 3° fine settimana di maggio Asakusa Sanja Matsuri (Tokyo): uno dei più grandi festival shintoisti di Tokyo. È considerato uno dei più “wild" e più grandi del Giappone. Cosa mangiare Sakura Ebi: piccoli gamberetti di colore rosa ottimi da mangiare come Kakiage. Vengono pescati soprattutto nella prefettura di Shizuoka. Hamaguri: grandi vongole ottime da mangiare come barbecue. Sono famose soprattutto quelle di Kuwana nella prefettura di Mie Katsuo: la primavera è la prima stagione per il tonnetto striato. In questo periodo i katsuo sono più magri e la prefettura di Kochi è particolarmente rinomata. Takenoko: bamboo shoots freschi Varie verdure di montagna (Yama no sachi in giapponese) come: fuki no to o tara no me. Ottime da mangiare come Tempura. Nanohana: fiore giallo commestibile, ottimo da consumare semplicemente bollito con un po' di senape oppure come condimento per la pasta.
Guests Robin Vincent - Molten Music Tech Paulee Bow Magical Synth Adventurer For preshow and Ad free version and much more: Patreon.com/sonicstate Youtube video version: https://youtu.be/iU8Ww8l9pt4 The Future of Mastering is Ozone 10 - Master Assistant - match your mix to a reference file, Stabilizer - clarity with intelligent adaptive mastering EQ, Impact Module - micro dynamics adjustments to enhance the rhythmic content Head over to iZotope.com now to get a 7-day free trial and save with the code SONIC10 Babyaudio.com - save 15% on any purchases of their range of creative effect plugins, designed to add color and depth to your mixes. When checking out, use the code ST15 00:00:14 SHOW START 00:10:43 Reverb 2022 best selling Gear 00:17:04 AD: Baby Audio - Save 15% With ST15 Code 00:18:42 Teenage Engineering Beer and Dolls 00:24:39 Orchestral Tools Drones 00:29:59 Anyma Omega 00:38:31 AD: iZotope OZone 10 00:38:52 Kodamo Mask 1 00:46:19 New Sounds for Proteus Engine 00:53:11 Nick Howes asks via - [youtube] - QQ Should synth companies be allowed to "tease" a year ahead of release - cough Behringer 00:58:43 Steve Boyle asks via - [youtube] - QQ How do you battle or overcome optional paralysis ? Where to Watch/Listen - We now stream the live show to Youtube Live, Facebook Live as well as at Sonicstate.com/live every Weds at 4pm UK time- please do join in. Preshow available on Twitch. You can also download the audio version from RSS FEED
Välkommen till "Film till fikat"! Där vi varje vecka diskuterar en ny film vi sett, på ett lättsamt sätt till en fika i glada vänners lag. Säsong 3, avsnitt 18: Dagens film blir Vargbarnen (Ôkami kodomo no Ame to Yuki) 2012 från år 2012... Director: Mamoru Hosoda Stars: Colleen Clinkenbeard, Aoi Miyazaki, Takao Osawa Handling: Historien handlar om Hana som blir förälskad i en vargman. Efter att denne plötsligt försvunnit, bestämmer sig Hana för att flytta ut på landet för att lättare kunna ta hand de två barn hon fått med Vargmannen – de något ovanliga Ame och Yuki. Vi finns på Facebook, instagram och twitter Mail: Filmtillfikat@gmail.com
¡Toma tomaaaaa! Hoy vuelven las aventuras del Kodomo y el Yokai, y en ésta ocasión el Samurái intentará enseñar a cazar al Kodomo, para poder alimentarse durante sus largas caminatas por las montañas de Japón. ¿Aprenderá el Kodomo? ¿La liará como siempre? Atentos! Esperamos que os guste, la idea es, simplemente, haceros soltar unas risas. Ja ne!
"Kodomo shokudo," or cafeterias offering meals to children for free or at low prices, have been spreading in Japan since the first such place was created in the country 10 years ago.
Muy buenas Tomodachis! Volvemos un mes más con un nuevo Japonizados Podcast. Hoy hablamos de la gran noticia, la apertura de Japón sin visado y por libre. Os contaremos esa y alguna noticia más, pero además volverá Marta para seguir hablando de Seúl, donde se centrará en alojamientos y en lugares a visitar. Por otro lado volverá el Kodomo y el Samurái con un nuevo capítulo de sus aventuras, y en ésta ocasión, algo no saldrá del todo bien jeje. Otakunizados sigue teniendo protagonismo en el podcast y hoy Bros y Brody hablarán de las experiencias que crean, principalmente los japoneses, en los videojuegos. Esperamos vuestros comentarios ^^ Ko-Fi para apoyar al podcast: https://ko-fi.com/japonizados PorJapón: https://porjapon.com Directo a Japón: https://www.directoajapon.com Link para comprobar los requisitos de vacunación de tu país: https://www.hco.mhlw.go.jp/en/
¡Bienvenid@s a ésta gran aventura Tomodachis! Si habéis escuchado el primer podcast de la temporada, ya conoceréis su historia, pero si no, vamos a ir subiéndola por separado tras cada podcast mensual, para que llegue a a todo el mundo de la forma más sencilla posible. Cómo muchos sabéis, el Kodomo Yokai y el Samurái Errante fueron un par de personajes del podcast que fueron creciendo y evolucionando a lo largo de la 4ª Temporada. Nos gustó tanto que hemos pensado hacer una historia de unos 10 capítulos, contando varias aventuras. Esperamos que os guste, la idea es, simplemente, haceros soltar unas risas. Ja ne!
¡Bienvenid@s a una nueva temporada del proyecto de Japonizados! Hoy comienza la 5ª Temporada de nuestros podcast, y lo hace con "Japonizados Podcast" y con muchos cambios y evoluciones. Atentos a TODO el podcast que hay sorpresas. Tendremos anuncio de nueva colaboradora con su propia sección, nuevo patrocinador, la vuelta del Kodomo y el Samurái, cine, noticias y una curiosidad que nos trae Roberto Nippón. Esperamos vuestros comentarios ^^.
その女(おんな)の子(こ)は、子(こ)どもの頃(ころ)、とてもかわいかったです。 sono onna no ko wa, kodomo no koro, totemo kawaikatta desu. that | girl | as for | as a child | very | was cute That girl was very cute when she was a child. View this episode here: https://thejapanesepage.com/jphrases-ep-91 View all episodes here: https://thejapanesepage.com/beginning-japanese-phrases-podcast-and-videos/ -- Become a Makoto+ member and get show notes with complete vocabulary and grammar breakdowns as well as sound files of just the Japanese to download. www.MakotoPlus.com
Muy buenas Tomodachis! Hoy hablamos del "Koinobori", esas carpas de papel "voladoras" que seguro que habéis visto en más de una ocasión. Hablaremos junto con Brody, Bros y Redick, de su origen y de algún que otro dato interesante. No os perdáis las aventuras del Kodomo y el Samurái jeje. Ja ne! Recuerda que tienes un 15% de descuento si compras en Cookiru con el código "Japonizados": https://cookiru.com/ Esperamos vuestros comentarios y recordad que nos podéis apoyar con vuestros Ko-Fi en: https://ko-fi.com/japonizados Redes sociales: Twitter: @docujaponizados Instagram: https://www.instagram.com/japonizados/ Web: Directo a Japón: https://www.directoajapon.com/
El 5 de mayo es el Día de los niños o Kodomo no hi y, también, el último día festivo de la Golden Week. Te explicamos todo sobre estos conceptos y acabamos con canción sorpresa... El 5 de mayo se celebra en Japón el Kodomo no Hi o día de los niños, una festividad que marca el final de la Golden Week, el periodo vacacional más largo de Japón. Por eso, en este episodio te contamos muchas cosas sobre estas dos efemérides (madre mía, hoy hemos desayunado un diccionario :D). Entre otras cosas, cuando lo escuches, sabrás sobre: Los orígenes del Kodomo no hi como festividad estacional, cuando era únicamente el día de los niños varones. El Kodomo no hi moderno y su conversión a día de todos los niños. Las decoraciones típicas de esta festividad y una mención a una cancioncilla popular típica... La gastronomía típica en este día (no seríamos nosotros sin hablar de comida, entiéndenos). Los mejores sitios para ver decoraciones koinobori. Orígenes históricos de la Golden Week y cuándo recibió este nombre (que no fue justo al principio, y tiene una historia curiosa). Qué fiestas forman parte de la Golden Week. 2019, la Golden Week más larga de la historia (spoiler alert: tiene que ver con el nuevo emperador). Viajar durante este semana y no morir en el intento. Festivales y celebraciones interesantes que tienen lugar aprovechando estos días en varios sitios de Japón. Cómo ha afectado la pandemia a la Golden Week. Y finalmente hablamos de la enfermedad del mes de mayo, una especie de depresión colectiva tras la semana de vacaciones y al poco tiempo de comenzar año fiscal, clases y trabajos. Y si te quedas hasta el final, ¡podrás escuchar la canción tradicional Sei Kurabe de la que hablamos en el episodio! ¿Quieres colaborar con el programa? Colabora en Patreon Únete a la Comunidad Japonismo Reserva hoteles en Japón (y en todo el mundo) Consigue seguro de viajes (¡no sólo para Japón!) Busca los mejores vuelos Lleva Internet (pocket wifi o SIM) JR Pass para viajes ilimitados en tren ---- Continúa la conversación en: Web: https://japonismo.com Discord: https://discord.gg/hZrSa57 Facebook: https://facebook.com/japonismo Twitter: https://twitter.com/japonismo Instagram: https://instagram.com/japonismo Pinterest: https://pinterest.com/japonismo Newsletter semanal: http://eepurl.com/di60Xn
Children's Day vs Boys' Day Which do you think would be suitable for the English translation of Kodomo no Hi? Do you know what that day is for? Check it out! Website: https://www.sunshinejapanese.com.au/ Yasashii Nihon-go radio group: https://www.sunshinejapanese.com.au/group/sunshine-mates-from-yasashii-nihon-go-radio-podcast/discussion Instagram: https://www.instagram.com/sunshine_japanese/ Twitter: https://twitter.com/SunshineJapane1 Facebook: https://www.facebook.com/Sunshine-Japanese-in-Cairns-499492903574651 Survey result: Survey results | sunshinejapanese Japanese script: 世界中(せかいじゅう)の メイトの皆(みな)さん、こんにちは！ サンシャインジャパニーズの 陽子(ようこ)です。 今日(きょう)は、2022年(ねん) 5月(がつ)5日(いつか)です。 日本(にほん)は ゴールデンウィーク後半(こうはん)に 入(はい)っています。 今日(きょう)は、子(こ)どもの日(ひ)という 祝日(しゅくじつ) なので、 英語(えいご)でと言(い)いますが、 Boys' Dayだと思(おも)います。 子ども(こども)の日(ひ)は、 侍(さむらい)のヘルメットの飾(かざ)りや、 鯉(こい)のぼりという鯉(こい)の飾(かざ)りが ありますが、 私(わたし)は姉(あね)と 二人(ふたり)姉妹(しまい)でしたので、 家(うち)には 子(こ)どもの日(ひ)の飾(かざ)りは ありませんでした。 だから、5月(がつ)5日(いつか)は 男(おとこ)の子(こ)の日(ひ)という イメージがあって、 Children's Dayより Boys' Dayの方(ほう)がいいと 思(おも)いました。 当(あ)たり前(まえ)のように、 子(こ)どもの日(ひ)の飾(かざ)りを デパートなどで見(み)ていましたが、 今(いま)となっては、 子(こ)どもたちが元気(げんき)に 成長(せいちょう)してくれるように 祈(いの)るのはいいなと思(おも)います。 私(わたし)の親(おや)も 私(わたし)が元気(げんき)に 成長(せいちょう)するように 祈(いの)ってくれたんだなぁと思(おも)うと、 ありがたいです。 もうすぐ母(はは)の日(ひ)もやってきます。 感謝(かんしゃ)の気持(きも)ちを伝(つた)える いいチャンスですね。 母(はは)が元気(げんき)に 長(なが)生(い)きしてくれるように 祈(いの)りたいと思(おも)います。 Now, let's review today's vocab. 後半(こうはん) the 2nd half ヘルメット helmet 飾(かざ)りornament; decoration 鯉(こい) carp 二人(ふたり)姉妹(しまい) two sisters 当(あ)たり前(まえ)のように as an usual thing; as it is nothing special 今(いま)となっては Now that I think about it 成長(せいちょう)する to grow 親(おや) parent(s) ありがたいです。I'm grateful. 母(はは)の日(ひ) Mother's Day 感謝(かんしゃ)の気持(きも)ち gratitude 伝(つた)える to convey 長(なが)生(い)きする to live a long live 今日(きょう)もお疲(つか)れ様(さま)でした。それではまた来週(らいしゅう)！
Three teenage man friends gather around to discover the racist among them Discord server - https://discord.gg/X94h4XWKMQ Timestamps 00:00:00 Intro 00:00:20 Snickers aren't hot anymore 00:05:10 Student-teacher relationships 00:47:20 Manush keno bachelor vara debar chai na 00:55:00 Boomer probashi family members 01:03:10 Elon Musk trying buy Twitter 01:09:10 Outro Things mentioned- The Hunt (Film) - https://en.m.wikipedia.org/wiki/The_Hunt_(2012_film) Death Stranding (Video game) - https://en.m.wikipedia.org/wiki/Death_Stranding Casino Royale (Film) - https://en.m.wikipedia.org/wiki/Casino_Royale_(2006_film) Mads Mikkelsen (Actor) - https://en.m.wikipedia.org/wiki/Mads_Mikkelsen Fantastic Beasts The Secrets of Dumbledore (Film) - https://en.m.wikipedia.org/wiki/Fantastic_Beasts:_The_Secrets_of_Dumbledore Doctor Strange (Film) - https://en.m.wikipedia.org/wiki/Doctor_Strange_(2016_film) The Rising of the Shield Hero (Anime) - https://myanimelist.net/anime/35790/Tate_no_Yuusha_no_Nariagari The anime Ishmum mentioned - https://myanimelist.net/anime/2403/Kodomo_no_Jikan_TV Psychology and Mind (Facebook group) - https://www.facebook.com/groups/341224302886407/?ref=share Ayman Sadiq (YouTube channel) - https://youtube.com/c/AymanSadiq Listening to the show on iTunes/Spotify/Google Podcasts/YouTube really helps the podcast gain exposure iTunes - http://bit.ly/DUHonApplePodcasts Spotify - http://bit.ly/DUHonSpotify Google Podcasts - http://bit.ly/DUHonGooglePodcasts Saavn - https://bit.ly/DUHonSaavn YouTube - http://bit.ly/DUHonYouTube 2nd channel - http://bit.ly/DUHBoysOnYouTube Support the podcast through Patreon - https://www.patreon.com/duhabp Send in a voice message - https://anchor.fm/duhabp/message DUH on social medias: Facebook page - https://bit.ly/DUHonFacebook Instagram - https://bit.ly/DUHonInstagram Twitter - https://bit.ly/DUHonTwitter TikTok - http://bit.ly/DUHonTikTok Apurbo YouTube - http://bit.ly/ApurbosYouTube Facebook profile - http://bit.ly/ApurbosFBprofile Instagram - http://bit.ly/ApurbosInstagram Twitter - http://bit.ly/ApurbosTwitter Rishat YouTube - https://www.youtube.com/channel/UCFwHfBWsOZEW3cKFh_BWZaw Ishmum Youtube - https://www.youtube.com/channel/UCssbWLyz9JYIbGGGxxknnOg Bangladesh, Bangladeshi, Bangladeshi podcasts, Podcasts in Bangladesh, Bangla podcast, Bengali podcast, Podcast Bangla, Podcast, Bengal podcast, What is podcast Bangla, DUHABP, Ashrafuzzaman Apurbo, eatabrick, Some retard, duhabp #DUHABP #BengaliPodcast #BangladeshiPodcast #BanglaPodcast --- Send in a voice message: https://anchor.fm/duhabp/message
Daikito Daily Nihongo | Listen and learn Japanese - Escucha y aprende japonés
Come ci si orienta nel mondo dei manga?
How a successor decides on delivering the delights for Gathering of God while believing in meeting her late mother... --- Send in a voice message: https://anchor.fm/rajiv-varma/message
Chris Child is an electronic music composer and music producer, best known by his moniker/alias Kodomo. He's also an Emmy award winning TV composer, and has contributed music to games like Amplitude and Rock Band. We talk about his path in music, mindsets, philosophies, practical approaches to creativity, some synth nerd stuff, music tech, and mixing.
Children's Manga, or Kodomo-muke, are Japanese graphic novels targeted at children roughly from the age of learning to read up to and including tweens. Teen manga and up are then further broken down by gender. Children's manga are often distinguished by simpler stories and art, but many of the titles we discuss can be enjoyed by a wider variety of ages. We will focus on Chi's Sweet Home, Yotsuba&!, and Little Witch Academia. We will also give a brief over of three other titles: The Legend of Zelda, Splatoon, and Fluffy Fluffy Cinnamoroll.
Es ist wieder soweit - die gruselige Zeit des Jahre hält Einzug. Passend dazu lernst du alle Vokabeln rund um das Thema Halloween und wie in Japan Halloween gefeiert wird, samt Redewendungen und Namen der Süßigkeiten. Übrigens hast du noch bis zum 07.11. die Möglichkeit, dir eines meiner Sparpakete zu holen. Du erhältst dabei zeitlich unbegrenzten Zugriff zu meinen erfolgreichsten Videoselbstlernkursen. Hier sind die Links: Das 16-teilige All-in-One Paket (alles, was das Japanischlernherz von Anfängern bis hin zum B1 Niveau begehrt) für nur 690€ statt 1830,8€: https://japanischlernen.lpages.co/japanischlern-paket/ Oder eines der Teilpakete - Der 6-teilige Grammatik und Lesen Kurs beinhaltet spannende Themen der Grammatik, in denen doch viele auch nach Jahren des Lernens noch Fehlerchen machen. Hier wird der Unterschied zwischen ha und ga, shiru und wakaru und die allseits beliebte te/ta Form erklärt. Zur Festigung deiner Japanisch Fertigkeiten erhältst du zudem unsere Lesegeschichten: Tanabata (GANZ NEU), 2 Geistergeschichten, 3 Mondscheingeschichten. Das 6-teilige Grammatik und Lesen Paket für nur 249,5€ statt 498,9€: https://japanischlernen.lpages.co/japanischlern-bundle-grammatik-und-lesen/ - Der 5-teilige Kanji und Spezial Kurs hilft dir mit den drei unterschiedlich schweren Kanji Kursen dabei zum Meister der Schriftzeichen zu werden. Lerne mit jeweils 30 Videos (30 x Anfänger, 30x Mittelstufe, 30x Fortgeschrittene. Das 5-teilige Kanji und Spezial Paket für nur 495€ statt 990€: https://japanischlernen.lpages.co/japanischlern-bundle-kanji-und-spezialkurs/ - Das 4-teilige Essen und Kultur Paket für nur 151€ statt 302€: Du lernst damit das japanische Neujahr, Kodomo no hi, Herbstköstlichkeiten kennen UND erhältst einen 13tätigen Reisevorbereitungskurs für Japan(isch) https://japanischlernen.lpages.co/japanischlern-bundle-essen-und-kultur/ Die Mitschrift bekommst du als Newsletterabonnent kostenlos in deinen Emailpostkasten geschickt: www.japanischlernen.at/newsletter
Iluminados, neste episódio, vocês ouvirão o conto: Kodomo (O Fim de Stella). *** Ilustração por Maykon Douglas (@maykonrochadesign) *** Considere tornar-se um apoiador mais que iluminado do Siga a Luz. Link: apoia.se/sigaaluzpodcast (Seja um apoiador contínuo). PIX: sigaaluzpodcast@gmail.com (Apoie com o que quiser e quando quiser). *** Música: Private Hell Produtions - Love After Death *** Mandem relatos para: sigaaluzpodcast@gmail.com
¿Qué tienen en común los anime para mujeres adultas con los que ven los cabros chicos? No mucho, pero en este último capítulo de nuestro mini arco de demografías, los mezclamos para conversar sobre el Josei y el Kodomo, por qué existen, ejemplos de obras conocidas, e intentamos entender por qué tienen tan poco impacto actualmente.
Película maravillosa recomendada para verla con sus mamis :3
¡Segundo Episodio! Bienvenidos devuelta a Animenkai Podcast, en este episodio hablamos sobre las noticias destacadas de la semana: La salida de Kiryu coco de Hololive, Jujutsu kaisen entra en Hiatus, y el pequeño especial de Shingeki no Kyojin. Además, traemos la primera parte una serie de episodios en las que hablaremos de la clasificación por géneros del manga/anime, junto con nuestras recomendaciones personales de cada uno.
Mini-podcast #8 (hachi-ban) de KISSATEN, bocanadas de KISSA. "Kodomo no Hi" es una celebración para los niños. "Hinamatsuri" celebra la felicidad y crecimiento en las niñas. ♪CANDY CANDY (Kyary Pamyu Pamyu)
Der zweite Podcast zur Frühlingsseason 1996 Animes in dieser Folge: Cinderella Monogatari / Mahou Tsukai Tai! / Kodomo no Omocha (Kodocha) / B’t X / Sore Yuke! Uchuu Senkan Yamamoto Youko (Starship Girl Yamamoto Yohko)
Gracias por su apoyo y por seguir escuchando este su espacio de lo absurdo! Patrocíname en Patreon! Hay podcast con edición especial y pack didáctico para quienes apoyan el proyecto. https://patreon.com/EngelStudio/ En esta ocasión: Del Toro el ídolo de todos los niños. Relatos de la estupidez humana. Pornstar de la semana: Emma Butt y Carmella Bing Películas de la semana: Kodomo no Tsukai y Mi Amigo Enzo Serie de la semana: Demon Slayer: Kimetsu no Yaiba
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