Podcasts about tenjin

This episode we are taking a quick break from our overall story of Uno no Sarara (aka Jito Tenno) and we are focusing on Ise Shrine and Amaterasu, the Sun Goddess. There is a lot, for a bit more, check out our podcast blogpost at:  https://sengokudaimyo.com/podcast/episode-153   Rough Transcript Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is Episode 153:  Ise and the Sun Goddess.   In the newly built hall of the Fujiwara Palace, the nobles of the court were gathered for a grand banquet.  Snow-white walls were off-set by bright crimson pillars and trim, highlighted by bright green windows.   The nobles themselves were a rainbow of colors, arranged as they were by rank.   At the head of it all, on a dais, sat the Queen herself, Uno no Sarara.  However, the attention was no longer on her.  Instead, it was on another figure, standing in front of the assembled audience.  A quiet spread throughout the hall, the court listening as Hieda no Are began to tell the story of the Sun Goddess in the Plain of High Heaven.  They listened to the story of her and Susano'o, and of the backward flayed horse.  They heard the tale of the Heavenly Rock Cave, and of all that came after, including the sending of the August Grandchild, Ninigi.  They listened to the story—the story of Yamato.   Last episode, we talked in more detail about Uno No Sarara—starting from her early years as the daughter of Naka no Ohoe, granddaughter of Soga no Kurayamada, and child-bride to her uncle, Ohoama.  I'll admit we didn't look too hard at that last bit, and I don't have enough information to confirm what exactly "marriage" entailed in that context, but it is still something that I find tremendously creepy and, unfortunately, anything but unique.  So I'm not going to dive too much further into it right now but… ew. We talked about how she gave birth to her son, Kusakabe, in Kyushu, during the war on the continent, and how she eventually left for Yoshino with her husband when he retired from court, presumably to outsmart his court rivals, who were positioning him to be taken out.  She also is said to have played a part in the planning and execution of the resulting Jinshin no Ran, later helping her husband govern the realm.  And now, she was on the throne, overseeing the completion of many of the projects started in the reign of her husband.  This included the completion of the Kiyomihara code, the Fujiwara palace, and the support given to the institution of Ise Grand Shrine. This episode, I want to dive into that last topic: the emphasis in Uno no Sarara's reign on  Ise Shrine and its focus, the Great God, Amaterasu no Ohokami.  Although the Chronicles talk about Amaterasu as one of the founding deities of the Yamato royal line, there is plenty of evidence that this story was grafted into the tales at a later date, and that worship of Amaterasu, at least as anything more than a minor deity, likely also started relatively late.  Some have even suggested that Ise Shrine itself wasn't even built until the late 7th century.  So, all of this focus on Ise and Amaterasu appears to be part of the larger effort to structure the physical, cultural, and spiritual landscape of the new Yamato state. Last episode we mentioned how, according to the Nihon Shoki,   Ohoama turned to worship towards Ise.  Well, specifically, he worshipped Amaterasu Ohokami.  So let's take a moment and talk about what we know of the history of this Great God of Heavenly Brightness. Unfortunately, most of that history is based on what we know of the kami from works like the Nihon Shoki, the Kojiki, and the Sendai Kuji Hongi, all of which came out in the 8th century or so.  As such, it can be hard to know what things were actually like, earlier on, as opposed to what was added or removed later. Much of what I'm going to be talking about, today, I'm going to be pulling from a book written in 2017 by Mark Teeuvwen [Tayvin?] and John Breen titled "A Social History of the Ise Shrines", as well as Michael Como's work "Weaving and Binding: Immigrant Gods and Female Immortals in Ancient Japan", published in 2009, along with other sources.  In their book, Breen and Teeuwen point out that for those who do not take the events of the Nihon Shoki and Kojiki at face value, there are two primary theories for the origin of the worship of Amaterasu: an early theory and  a late theory.  The early theory places the development of the worship of Amaterasu in the 5th and 6th centuries, during the reigns of such figures as Wakatakeru no Ohokimi, aka Yuuryaku Tennou.  The Late Theory places the development in the 7th century, largely at the feet of such figures as Ohoama and Uno no Sarara herself.  We'll take a look at the evidence and see what it says. I would note that compared to the official history, both of these would be very late theories.  According to Ise Grand Shrine even today, Amaterasu arrived in Ise in the 26th year of Ikume Iribiko, aka Suinin Tennou, as stated in the Nihon Shoki, which corresponds to 4 BCE if you take the dating of the Nihon Shoki to be accurate. Of course, we've already spent plenty of time talking about the problems with the Nihon Shoki prior to the 6th century CE, as well as how the political nature of the text affected what it contained. So to kick things off, let's address the biggest question of all: why don't we believe that Amaterasu no Ohokami was always the primary deity of the pantheon of Yamato, at the very least, if not all of the Wa people of the archipelago?  After all, isn't she a sun goddess, and isn't sun worship fairly well documented among the ancient Japanese?  Just take a look at words like "Hiko" and "Hime", referring to rulers as sun man and sun woman.  Also note that early on, worship seems to have centered around places such as mountaintops, which focused worship towards the sky and the highest point.  In fact, as wet rice paddy agriculture became the dominant economic factor driving the engine of the archipelago in the Yayoi and early kofun period, early shrines were very likely about bringing the spirit of the mountain from the mountaintop and giving them a home amongst the rice fields.. And then we have the stories.  Don't the ancient stories all tell about Amaterasu as the ruler of Takama no Hara, the Heavenly Plain?  And isn't it her grandchild that then descends to the earth to pacify the Land of the Reed Plains—aka the Japanese archipelago? Well let's take a look at those same stories, which we've covered in earlier episodes of the podcast.  The first deities mentioned in the Chronicles are deities like Ama no Minaka Nushi, Lord of the August Middle of Heaven; Takami Musubi, High August Growth; and Kami Musubi, Divine August Growth.  There are other deities, like Kuni Toko Tachi, but they are barely mentioned again. Later we get Izanagi and Izanami, the masculine and feminine, who create the world and give birth to numerous deities from that point on.  Among the children of Izanagi are said to be Amaterasu, Tsukiyomi, and Susano'o.  Amaterasu, Heaven's Brightness, represents the sun while Tsukiyomi represents the dark of the moon.  Susano'o is then the god of the storms and seas, and was sent to the Nether Land, the Ne no Kuni. Right away we see that there are numerous different stories listed in the Nihon Shoki for just about everything.  Only the Kojiki gives everything as a single, coherent narrative, but surely the readers in the 8th century would have known some of these other stories, and thus the Nihon Shoki gives the alternates as well. Now the main narrative of the Kojiki and the Nihon Shoki tells us that Ama-terasu no Oho-kami was born to rule over everything.  In the Nihon Shoki, Izanagi and Izanami specifically mention that divine destiny in Amaterasu's creation—although actually, in that part of the text, the deity they are creating is named Oho-hiru-me no Muchi; the Great Sun Female Holder.  And in the next entry they call Amaterasu: Ama-terasu Oho-hiru-me.  Tsukiyomi, the deity of the moon, is made to be her consort, and they are supposedly sent to rule the plain of Heaven, Takama no Hara. The problem is that there are other entries that suggest that Takama no Hara already had a ruler:  Taka-mi-Musubi.  Reading the sections on Taka-mi-Musubi, we see a deity who is said to have produced 1500 children, himself—no mention of Izanagi and Izanami.  Some of his children are mentioned as Omohi-kane:  the Thought-Combining deity, and Sukuna-bikona: the Little-Prince-Named deity. Amatsu Hiko Hiko Ho Ninigi no Mikoto, the August Heavenly Prince, Prince Ho-ninigi, is not just a grandson of Amaterasu no Ohokami, but also a grandchild of Taka-mi Musubi.  In at least one story, Takami Musubi is the one who wants Ninigi no Mikoto to become the ruler of the Central Land of the Reed Plains.  Towards that end, he gathers the various kami and chooses someone to go down and prepare the way—Ama-ho-hi no Mikoto—who was to quote-unquote "expel and subdue" the evil gods of that land.  We covered this story in episode 21 and 22.  When that doesn't work, he gathers them again, sending others to try and do the same.  Eventually he sends Takemikazuchi and Futsunushi down.  All of this sounds like Taka-mi Musubi, whose name appears to refer to being the "high" deity, was the one in charge. In addition, we have the court ritual from sources like the Engi Shiki, which illustrates the deities that were invoked for the protection of the palace and the royal family.  These were:  Kami-musubi, Takami-musubi, Iku-musubi, Taru-musubi, Tamatsume-musubi, Oomiya-no-me, Oomiketsu-no-kami and Kotoshironushi.  One might notice a lot of the "musubi" names among the deities, and a distinct lack of appeal to Amaterasu.  If Amaterasu were the central deity and ancestral deity of the royal family, why is she not invoked in the rituals of the court itself? The thought, here, is that these rituals are likely much older than the worship of Amaterasu, and while Amaterasu would come to prominence in the stories that the court would tell, it was much more difficult for them to rearrange the traditional rituals to put her front and center.  Those rituals were maintained by ritualist families like the Nakatomi, and they weren't likely to change the rituals willy-nilly, even for a sovereign.  That was playing with supernatural fire, after all—if you changed the rituals, would they still even be effective?  Granted, rituals do change, so it isn't a perfect argument; perhaps it was just not considered to be important enough to make the change since it was not something that anyone except the court ritualists needed to worry themselves over.  Either way, it appears that we do have a list of deities that may have been the deities of the ruling elite prior to the rise of Amaterasu and Ise shrine more generally. We have a few other clues of what was going on in the narrative.  For instance, we see the story from the reign of Mimaki Iribiko, aka Sujin Tennou, also called the First Sovereign of Yamato, despite the legendary figures inserted prior to his reign.  It is in this chapter that we see a note that Ama-terasu no Oho-kami and Yamato no Oho-kuni-dama, which is to say the Spirit of the Country of Yamato, were both worshipped together in the hall—that is in the royal palace itself.  And yet apparently Mimaki Iribiko feared these deities residing with him in the palace, and he had their worship moved to locations outside of the palace.  Amaterasu's worship was given to Toyosuki-iri-bime, one of Mimaki Iribiko's daughters, and established in the district of Shiki, in Yamato.  Yamato no Ohokunidama, on the other hand, was given over to Nunaki-iri-bime no Mikoto, another daughter through a different wife. but we are told that she was lean, and her hair was falling out, and so she couldn't perform the rites.  Turning our attention back to Ama-terasu—in the reign of Ikume-Iribiko, aka Suinin Tennou, son and heir of Mimaki Iribiko, the worship of Ama-terasu would pass from Mimaki Iribiko's daughter, Nunaki Iri Bime to Ikume Iribiko's daughter, Yamato Hime.  She would move the worship site from Shiki to Uda, in the shadow of Mt. Miwa, and then proceed over to the upper banks, or Kawakami, of Isuzu, in the district of Watarai.  Here, in one of the alternate stories about this episode, we get the Great God of Yamato—Ohoyamato no Ohokami—speaking through a medium to warn the sovereign that he had better be careful.  Mimaki Iribiko had not been quite thorough enough in his worship, so he had not had a long life, and if Ikume Iribiko didn't do the same, he would suffer a similar fate. And so, in a record eerily similar to what we see in the previous reign, the worship of the "Great God of Yamato", the Oho-Yamato no Oho-kami, is given to Nunaki-waka-hime—as opposed to Nunaki-Iri-bime—who also fails in the task because of her emaciated body.  This also introduces Fukayu nushi, an ancestor of the Nakatomi, who was the one who divined what should be done. There is so much to unpack in these stories.  For one, the kami bring power, but also danger.  One can try to placate the kami, but it isn't like a ritual will always work, and the story is of the sovereign being actively afraid of what they might do, so they were removed from the palace.  Then there is the fact that we see two seemingly similar names—Ohoyamato no Ohokami and Yamato no Kunidama both seem like we are talking about the same spirit of Yamato, though some would point out that one is the spirit of the country and one is the great kami of the country, so, clearly different. Both are also being given to someone named "Nunaki—something-something—Hime", and in both cases Nunaki seems to fail in her task because she is apparently not hot enough for the kami.  She's described as too thin and emaciated or balding.  We aren't given the lineage of Nunaki Waka Hime, but Nunaki Iri Bime is connected with the land of Owari.  Nunaki Iri-bime is said to be the daughter of Mimaki Iribiko and Ohoama Hime, ancestor of the Owari no Muraji.  Owari was the land that supported Ohoama during the Jinshin no Ran. Finally, in both cases, we see the worship of the spirit of Yamato being given over to someone name "Nagochi", later identified as Nagochi no Sukune, ancestor of the Yamato no Atahe. One more note—closely on the heels of moving these two kami out of the palace, we see that the court brings in the worship of Oho-mono-nushi, the god of Mt. Miwa, under Ohotataneko, the ancestor of the Miwa clan. So the stories here account for Ama-terasu being moved to Watarai and why she isn't worshipped in the palace.  It also places Oho-mono-nushi at the center of worship in Yamato.  Oho-mono-nushi and Miwa continue to dominate the narrative from here on out, with a few notable exceptions, such as with Okinaga Tarashi Hime, aka Jingu Tennou and her mythical conquest of the Korean peninsula.  I'm sure that had no political implications at all given everything that had happened with Baekje, Silla, and the Tang dynasty in the latter half of the 7th century.  Other than scenes like that, however, the Miwa clan and worship of the Miwa deity appear frequently in the narrative.  It is clear that Mt. Miwa, and its deity, were important, and when Breen and Teeuwen hypothesize that when Naka no Ohoe, which is to say Tenji Tennou, took the drastic step of moving the capital up to Ohotsu, in the land of Afumi, he also brought the Miwa deity with him.  Those Afumi court rituals were conducted under the auspices of the Nakatomi, and particularly the auspices of Nakatomi no Kane, who would become one of the chief opponents of Ohoama during the Jinshin no Ran in 672.  After that conflict, Ohoama and his wife, Uno no Sarara, were building new traditions using Ise and constructing new legends.  Legends that would be under their control and influence and which would further bolster their rule from the city that they had designed to fit inside of this newly constructed cosmological framework. And yet this also brings up what seems like an obvious question.  If Ise Shrine and the worship of Amaterasu were so central to Ohoama and Uno's plans, then why would they put it so far away?  Proponents of the "early" theory of the development of Amaterasu and Ise Shrine suggest that the answer lies in the text of the Chronicles.  That there is some truth to the idea that there was worship in Yamato and that, for various reasons, it moved out to Watarai district early on and developed into Ise Shrine.  Those who hold to the "late" theory of development see all of those stories as later inserts meant to explain away why Ise Shrine was so far away—and perhaps why Amaterasu was not included in the cool-kami club of court ritual.   Teeuwen and Breen mention a few of the theories, from Naoki Koujiro stressing Ise as a strategic gateway between Yamato and Eastern Japan to Tanaka Takashi proposing that the movement of Amaterasu to Ise is actually a stand-in for one or more military campaigns to that area to bring it under Yamato control. And before we move too much further in the narrative, let's talk about how Ise is physically and geographically situated.  Ise is part of modern Mie prefecture, on the eastern edge of the Ki peninsula.  It is at the southern end of a series of adjoining alluvial plains that follow the coastline north to the modern prefectures of Aichi and Gifu—the ancient provinces of Owari and Mino.  The capital of Ise Province used to be in Suzuka, near the the two Tsubaki shrines which both lay claim to the title of Ise no Ichinomiya, the First shrine of the land of Ise, and the pass that served as one of three major routes from eastern Japan into the Home Provinces and beyond.  This puts Ise about as far away as you can get from the capital of the province without going over the mountains, themselves.  It also puts it a good deal south of most major travel routes.  If you are going to Ise shrine then it is pretty clear you were going to Ise shrine, as there isn't a lot of evidence for anything else in the area. The Shrine itself is actually made up of two primary shrine complexes.  There is the Naiku, the inner shrine, and the Geku, or outer shrine.  The Naiku, or inner shrine, is probably the area most people think about.  It is at the foot of the mountains where the Shimamichi River joins the Isuzu River and both flow out of the mountains.  The Naiku contains the shrine to Amaterasu no Ohokami, and is famous for its layout, where there are actually two shrine enclosures, one next to the other.  The main shrine is then rebuilt in the empty enclosure every 20 years, at which point the worship is moved to the new shrine, the old shrine is torn down, and the cycle is started once again. The Outer Shrine, or Geku, is further north, and probably not as well known to foreigners.  The Geku is said to enshrine the spirit of Toyouke-bime, a kami dedicated to food.  According to the traditions of the Geku itself, Toyouke-bime was enshrined in the Geku at the command of Wakatakiru no Ohokimi, aka Yuuryaku Tennou, based on a dream. Regarding the history of why the Shrines—both Inner and Outer—are located here, archaeological evidence doesn't give us a lot to suggest that these might be the case.  Despite the presence of the Miya River near Ise Shrine, we haven't found evidence of a large harbor or port, like we might expect if it was the jumping off point for crossing Ise Bay—or even the center of another large polity.  Instead, the areas to the north—around Fujikata and Matokata inlets, for instance—show much more evidence of occupation and, presumably, use.  Heck, the modern district of Fujikata is in the town of "Tsu", which literally means "port".  And the capital area of Suzuaka and the Ichinomiya of Tsubaki Grand Shrine is even farther north, still.  So who, if anybody, was living down in the area of Ise Shrine?  If we look at the progression of tomb mounds in the area in previous centuries, we see that they start in the Matokata region in the 5th century and work their way down towards the south, with late 5th century tombs found in the district of Taki, the district bordering on Watarai and modern Ise City to the northwest.  It is also where you can find the Saikuu, the site of the old purification palace for the Shrine Princesses.  Grave goods seem to show close ties with Yamato, in the Nara basin.  While the tombs expanded to the south through the 5th century, they appear to have stopped altogether in the 6th century—or at least we haven't found any.  This may indicate that the political situation had changed and there was no group in the area that could organize the labor for such an undertaking.  Whether that was because Yamato was taking it as corvee labor or just that population had dwindled due to war, famine, or something else, I don't know that we could say. Around the year 600, at the opening of the 7th century, we do see a large grave mound erected in the core area of what would later become Ise Shrine, on the east side of the Miya River, overlooking what would become the Geku, the Outer Shrine of the Ise complex.  For those who aren't aware, Ise Grand Shrine is a large complex of shrines, and it is divided into two main areas.  The "inner shrine", or Naiku, is where most people go, and it is the site of the famous shrine building that is supposed to be rebuilt every 20 years.  The Geku is the "outer shrine" complex, technically dedicated to Toyouke hime, a kami of agriculture.  The kofun overlooking the outer shrine is known as the Takakurayama kofun.  This is a round kofun, about 35 to 40 meters in diameter, with a horizontal stone chamber.  It is the largest in the Ise region.  It has been mentioned in records going back to at least the Kamakura era, and even though most of the grave goods are gone, there is evidence that it was richly appointed.  Given its shape and location, there were even those in later centuries who connected it with the Heavenly Rock Cave in which Amaterasu hid according to the ancient stories. The fact that there was nothing around this area and suddenly we see a giant tomb mound is pretty puzzling.  Why was it built here?  Is it connected to the founding of the Outer Shrine in some way, or is that just coincidental?  Teeuwen and Breen point out that it is pretty rare for a large tomb mound to be build in the precincts of an active shrine, which suggests that whatever was happening there, that area was not part of the shrine grounds.  That said, I have to wonder if the ritual worship at the kofun might not have later been transformed or coopted into something else.  There also is no other indication that the Outer Shrine area was used for ritual purposes any earlier than the kofun would have been built.  In contrast, around the Inner Shrine area, several kilometers away, there are caches of beads dated to the 5th, 6th, and 7th centuries in a small valley where a brook runs down from Mt. Asama, not too far from the current shrine complex.  Teeuwen and Breen suggest that this may relate to the "upper reaches of the Isuzu River", mentioned in the Chronicles, and that it may have had to do with rituals related to water supply—hence being found at the point where the water was coming down from the mountains.  And yet, despite these finds, there really aren't any large scale archaeological remains that have been discovered east of the Miya river, though there are modest signs of dwelling and habitation, and some minor burials mounds. Compare this to Tsubaki shrine, the home of Saruta Hiko no Kami, and the main shrine of Ise, situated in the ancient capital of Ise no Kuni.  Downstream from there are numerous tomb mounds and indications of habitation.  So this was probably the center for early sun worship in the region. Teeuwen and Breen conclude that all of this indicates that the region of Taki and areas east of the Miya river were probably more of an outpost—no major powerful chieftains or large polity had set up in the region.  In the late 6th century, some power had to move in to build Takakurayama kofun, but that was an outlier.  Maybe this area just largely fell under Yamato hegemony.  And perhaps that was the key.  Perhaps initially this wasn't a place to center power and authority, but rather it was more like a prison.  It was a place far away from the court, where a deity that was more of a threat could be kept away from the palace and the sovereign.  Perhaps Amaterasu, or whoever the kami was at the time, was placed out here because of the threat they posed, much as the Chronicle seems to suggest—just not necessarily at the time that is suggested. One of the aspects of the mythmaking that we see in the Chronicles appears to be the stress on the Amatsu kami and Kunitsu Kami—the Heavenly deities and the Earthly deities.  The Heavenly deities are those in Takama no Hara, and they are the progenitors of the royal line.  On the other hand are the earthly kami, the Kunitsu Kami, those dwelling on the earthly plane.  In the stories that were recorded in the Nihon Shoki, before the August Grandchild of Takami Musubi and Ama Terasu descended to take control of the Central Land of the Reed Plain, they sent down heavenly kami as warriors to subdue the earthly kami.  On the one hand, this may have been driven by some kind of deep memory of early conquests of the archipelago by various forces.  However, these legends also served another purpose, in that they set up the royal family's right to rule, and appear to establish a de facto hierarchy between those families descended from the Heavenly Kami and those descended from the earthly Kami. Another thing that Teeuwen and Breen point out and that is that Amaterasu is not necessarily a female deity, to start with.  In fact, Amaterasu was probably easily overlain atop the worship of Oho-mono-nushi of Mt. Miwa, at least early on.  To that point, they note stories where Oho-mono-nushi and other deities were commonly depicted as arrows, snakes, or similarly phallic imagery finding or even penetrating women who were thought to have a connection with them.   This suggests a context of these priestesses being married to the kami, and even fits in with early descriptions of individuals like the famous Queen Himiko being a spiritual leader as well as a political one.  If the original Amaterasu was conceived of as a male deity, then this could also explain the tradition of the Saigu, the consecrated shrine princess.  We only see a few royal princesses designated to the position up to this point in the narrative, and, beyond Tokosuki Iri bime and Yamato hime, we don't necessarily learn much more.  One wonders if there weren't other royal princesses likewise sent elsewhere to serve other deities.  We know about Nunaki Iri Hime, and presumably Nunaki Waka Hime.  There was also Yamato Totohi Momoso Hime, who was married to Oho-mono-nushi.  Presumably there were others who just never ended up in the stories that were passed down. The idea of a kami taking a "wife" and connecting that to the idea of women holding these priestly positions seems to fall in line with much of what we see, though, as I said, we only hear occasionally about the appointment of royal princesses to the position until the reign of Ohoama.  That's when we see specifics about appointments, the purification palace in Hase, and other arrangements.  It makes you wonder more than a little bit if Royal Princess Ohoku was, perhaps, the first royal princess to actually be appointed.  It would have been easy enough to add in previous "shrine princesses" into the lineage, especially far enough back that nobody could really fact check it.  We also see Royal Princess Taki journey to Ise with her companions, Princess Yamashiro no Hime and Lady Ishikawa. It is intriguing that this practice was temporarily interrupted during the reign of Uno no Sarara, as I mentioned last episode.  Could this have something to do with a female ruler on the throne and a corresponding lack of urgency about having a female representative at Ise? And in stories about Amaterasu, she is frequently shown with certain masculine qualities.  When she confronts her younger brother, Susano'wo, she is concerned that he might try to take her authority from her, so she meets him decked out in armor, her hair tied up in a typical male fashion, with a bow, ready for a fight.  It would be just as easy to imagine that Amaterasu and Susano'wo were brothers, contending over rulership.  Add to all of that the idea that kami were often personifications of various natural phenomena or ideas, and Japanese is not a naturally gendered language, and there are those that believe that the stories of Amaterasu were not necessarily about a female deity in the beginning, but a male deity, similar to Ohomono Nushi and others, who then took on a feminine persona.  On the other hand there are passages in the old stories recounted in the Chronicles that clearly make Amaterasu out to be a woman. To start with the activities she is associated with, such as weaving, are often associated with women as something they do in the home.  This is a tradition carried over from the continent, along with silk and the techniques to weave it.  In the lands where silk production started, there are silkworm goddesses and the gendered nature of silk production and weaving appears to have come over to Japan as well.  There is also the fact that Amaterasu is said to have another name:  Oho-hiru-me no muchi.  In this case, it would seem to mean something like Great Noontime Female Possessor.  And in the weaving hall it is sometimes Amaterasu that is weaving and sometimes Waka Hirume.  "Hirume" certainly feels like a feminine name. There is the distinct possibility that the stories of Amaterasu as recorded were actually about two or more different kami, so Amaterasu and Ohohirume could have been separate deities having to do with the sun that were rolled into a single kami.  As mentioned before, it is also possible that Amaterasu ended up with some stolen valor taken from the other Ise deity worshiped at Tsubaki, Saruta-hiko no Kami.   Teeuwen and Breen also note that the name "Amaterasu" is hardly unique, noting at least ten other shrines with a kami called "Amateru" or "Amaterasu", mostly in Yamato, but some as far away as Kyushu and Tsushima.  Nine of those shrines were dedicated to Ame no Hoakari, an ancestor deity of the Owari lineage who was also closely tied to metalworking.  It is worth remembering that it was Owari who helped support Ohoama during the Jinshin no Ran, and who may have even fostered Ohoama for a while when he was just a young prince.  All that to say there may have been several different traditions that were all contributing different elements to the story. And then there is the connection between Amaterasu and Uno no Sarara. Herman Ooms, in his book: "Imperial Politics and Sybmolics in Ancient Japan", notes the similarities between Amaterasu and Uno no Sarara, talking about the differences between the Kojiki and the Nihon Shoki, both of which had events that mirrored Uno no Sarara's own life.  According to Ooms, "The Kojiki's Amaterasu is a transparent double of the female tennou Jitou".  He points out that Uno no Sarara, besides her posthumous title of Jitou Tennou, also had a title making reference to Takamanohara:  Takama no Hara Hirono no Hime—the Princess High-Heaven-Plain.  But beyond that, we also see other linkages between the stories.  For instance, it isn't Amaterasu's son, Ame no Oshihomimi who is given the realm, but rather her grandchild, Ninigi.  This parallels the way that Uno no Sarara's son, Kusakabe, didn't ascend to the throne, but instead Uno no Sarara was holding the seat for his son, her grandson.  So one sees how Uno no Sarara could be seen as Amaterasu, and her grandson, Prince Karu, could be seen as Ninigi, the August grandchild.  Teeuwen and Breen also note that during this same time, we see the rise of a new institution: the Jingikan.  Again, we touched on this last episode, so just a quick recap:  The Jingikan was a government organization set up specifically to oversee the shrines, rituals, ceremonies, and other such things pertaining to the kami matters.  It does not appear in the initial stand-up of the new, bureaucratic government, wherein is created the bureaus, ministries, or departments, depending on your chosen vernacular, which make up the Dajokan, the Great Council of State.  Instead, the Jingikan is a separate organization, specifically organized around kami matters. The term "Jingi" is also a shorthand for "Ama-tsu-kami, Kuni-tsu-kami", or the kami of Heaven and the Kami of the earth.  "Ama-tsu-kami", meaning Kami of Heaven, was written with two characters meaning "Heaven" and "Kami", pronounced "Tenjin".  "Kuni-tsu-kami", or the Kami of the Earth, was written as "Earth" and "Earth Spirit", which was then pronounced "Chigi".  By taking the last character of each compound Tenjin-Chigi becomes just Jingi, for short.  Throughout the Chronicles, this term, "Jingi" is thrown around when they want to quickly note all the kami, together, though sometimes it is fully written out as "Tenjin Chigi", as well.  Interestingly, "Tenjin" or "Ama tsu Kami", sometimes appears alone, especially in the chapters on the Age of the Gods.  However, "Chigi" seems to only be used in the whole phrase.  There are a few instances, however, of "Chijin" being used, but they are few. That said, the term "Jingikan", also read as "Kami Tsukasa" or even "Kan Zukasa",  doesn't appear until 690, in the reign of Uno no Sarara.  This probably means that it was part of the reforms encompassed by the Kiyomihara codes.  The head of the Jingikan is known as the Jingihaku or "Kan-zukasa no Kami".  This term actually shows up well in advance of the Jingikan itself, initially referring to an unnamed official or officials in charge of kami worship at the court.  Nakatomi no Kamatari is said to have been offered the position in the first reign of Takara, aka Kougyoku Tennou, though the first confirmed individual appears to be Nakatomi no Ohoshima, during the reign of Uno no Sarara. This appears to be a distinctly Yamato invention in the bureaucratic system.  It leverages the language and structure of the Tang dynasty, but in its own way.  There was a Tang department of shrines, but it was described differently, as befits a different spiritual environment focused on ancestor worship and Confucian and Taoist ideas.  The Jingikan system  seems to have been a deliberate re-organization of the indigenous kami worship, incorporating what was probably traditional roles into the new bureaucratic system.  In so doing, however, it also gave the court greater control, and given that this was happening at the same time as the establishment of various stories and myths around Ise and the foundation more generally, it appears to be part of a concerted and deliberate effort to construct a new narrative. All of this points to them architecting much of what was going on, from the stories to the landscape.  Ohoama likely built the inner shrine as we know it.  If it really was an obscure, out-of-the-way shrine, perhaps that also meant that there weren't any other powerful court factions that were enhanced by it.  And then, over time, the Ise shrine and the deity there could be better incorporated into the overall myths and stories that surrounded the formation of Yamato.  A new Yamato, one that would soon enough be referring to itself as the origin of the Sun:  Nippon, a name often attributed to Ohoama and Uno no Sarara, though not found in the record of their reigns in the Chronicles. Another aspect to all of this, however, is what happened immediately after Uno no Sarara's reign, and into the 8th and early 9th centuries.  In the 8th century—the Nara period—Buddhism started to merge with a lot of the local practices.  This was not uncommon.  Buddhism had been born in a land with myriad deities and styles of worship, and it had the means to incorporate local deities into its cosmological worldview.  Kami were just other beings, stuck in the cycle of rebirth, who, as sentient beings, could equally benefit from the Buddha's teachings.  They became guardians of Buddhist institutions, and the lines between shrines and temples were often blurred.  At the same time, kami worship was also taking on various concepts from continental worship, such that even today we find a lot of what we might consider Taoist practices influencing Shinto worship. Had this continued, worship of the kami may have been completely subsumed into the Buddhist ritual practices, but there were areas where kami worship remained distinct.  One of these was at Ise. Early on, there was an attempt to build a temple at Ise, but it didn't last long.  The temple was eventually moved out of the shrine complex, and then eventually it was removed altogether.  Later writings from the Shrine would include certain Buddhist terms among the things that were taboo within the shrine grounds, considering Buddhism as something of a corrupting or polluting influence.  Shrine Princeses, during their tenure, had to devote themselves to the kami, and though they might retire as nuns, later in life, during their appointment they were to be free of any Buddhist influences.  In many ways this would make Ise a prime example of what would eventually be termed "Shinto", which gave it, and the worship of Amaterasu, a certain pride of place.  Of course, it didn't hurt that it was also intertwined with the State and the founding myths of the nation.  As such, Ise Shrine and its worship would become a template for many others to follow, helping to shape what we know as "Shinto" today. There are still a lot of questions.  We don't exactly know what Uno no Sarara did on her trip to Ise Shrine, and we don't know how things surrounding the worship at Ise and of Amaterasu herself changed in the intervening years between when these events happened and when, about two to three decades later, the Chronicles were finalized and published.  Certainly some of this seems tied to the Fujiwara capital, which was no longer populated at that point, the move to Heijo-kyo, in Nara, occurring between 708 and 710, two years before the Kojiki and a decade before the Nihon Shoki would come out.  And yet, the three sacred mountains that were incorporated into the plan of the Fujiwara Capital, Mt. Kagu, Mt. Miminashi, and Mt. Unebi, seem to continue to be important.  This is especially true of  Mt. Kagu, whose heavenly counterpart, Ame no Kaguyama—literally Heavenly Mt. Kagu— continues to play a major role in the stories surrounding Amaterasu and the Heavenly Rock Cave.  In addition,Mt. Unebi is closely tied to the story of Iware-biko, aka Jimmu, conquering and settling the land—perhaps to draw attention away from the stories about Mimaki and Ikume iribiko, aka Sujin and Suinin, who were both associated more with Mt. Mimoro, aka Mt. Miwa.  So even though the physical presence was moved, by that point we know that foundation of many of these stories were likely laid down around the time that the Fujiwara capital was in operation.  What does seem clear is that, just as there were clear efforts to set up the new State government, including the new capital, the court were also taking control of other levers of power and influence.  We previously talked about how they had created National Temples and included government positions to oversee Buddhist affairs more generally.  With Ise and the creation of the Jingikan, it appears as though that trend continued with the traditional kami worship. Many of the elite families still had connections to their own shrines, with their own kami.  Through the stories collected and written down—with a few editorial additions to help place them in an approved context—they were able to construct a narrative from separate or divergent traditions.  These traditions had already accreted to themselves various stories and culture-ways, some of them with clear links to the continent and others with overlapping portfolios.  The kami, and the ability to intercede with them for their blessings or to avert their wrath, were a form of power that was being structured for the purpose of supporting the new State.  A state now under the control of one Uno no Sarara. And we don't exactly have to wonder about this… the preface of the Kojiki all but says it.  They put the words in the mouth of Ohoama, or, as they call him, the Sovereign of the Kiyomihara Palace.  But the words are pretty clear: "I hear that the Imperial Records and Ancient Writing handed down by the various houses have come to differ from the truth and that many false hoods have been added to them. If these errors are not remedied at this time, their meaning will be lost before many years have passed. This is the framework of the state, the great foundation of the imperial influence. Therefore, recording the Imperial Records and examining the Old Writings, discarding the mistaken and establishing the true, I desire to hand them on to later generations." With that, 28 year old Hieda no Are was given the command to learn all the stories and presumably to recite them for the court.  And several decades later, Oho no Yasumaro was given the task to take Are's stories and write them down.  I imagine that Hieda no Are, or perhaps someone else who had learned the stories well enough, would be called into court or banquets to present some of the stories, or would be asked questions if there was any need for precedence.  Thus creating a single source for truth, according to the administration.  At the same time, the court had a problem.  They couldn't control all of the sources of written material, with all of the various contradictions, so we also would eventually get the more comprehensive—but also less narratively direct—Nihon Shoki as well.  After all, the game of propaganda was being played at many levels, and while the royal household had their motivations—primarily to support the legitimacy of their claim to power and the system within which that claim was validated— other families wanted to ensure that they were properly recorded as having connections to traditional nexuses of power—be that the ancient kami of Heaven or Earth, or their relationship to the royal family.  This is because precedence was important, even as new traditions were being created.  Like the way that the Mononobe and the Nakatomi played important roles in Uno no Sarara's ascension ceremony despite the actual individuals using new or different names, like Isonokami or Fujiwara.  See Episode 151 for the explanation, there.  And new traditions were much easier to justify if you could connect them with older traditions—whether those older traditions were truly ancient or newly made inventions. And all of this suggests that this was not an accident and it wasn't simply being imposed from the top down.  One could be charitable and suggest that those involved felt that this got them closest to what the truth actually was, given that they had now been inculcated in a new worldview and they were trying to view the ancient stories through the interpretive lens of that worldview.  On the other hand, they were ultimately doing it to structure power and authority that favored them and the government they had created.  A government that they hoped would outlast them, and be passed on to their descendants. Next episode, we will continue our discussion of Uno no Sarara's life and reign and the incredible steps she took to ensure that her line would continue to rule Yamato for decades. 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.

Step into the heart of Osaka's Umeda district and uncover the haunting legend of Tsuyu-no-Tenjinja Shrine, better known as Ohatsu Tenjin. In this Supernatural Japan episode, we explore the shrine's 1,300-year history, its ties to the scholar-deity Sugawara no Michizane, and the tragic 1703 love-suicide of Ohatsu and Tokubei—immortalized in the famous bunraku play Sonezaki Shinju. Blending folklore, history, and ghostly romance, this episode dives into why Ohatsu Tenjin remains one of Japan's most powerful spiritual sites for love, loss, and lingering spirits. Website: supernaturaljapan.com Supernatural Japan locations map: Google Map Get lots of Premium and Exclusive Content and Ad-free Episodes! Premium membership: @patreon  Support on: @BuyMeACoffee Connect with Supernatural Japan: Instagram: @supernaturaljapan Facebook: @SupernaturalJapan BlueSky: @MadForMaple X: @MadForMaple YouTube: @BusanKevin Email: supernaturaljapan@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

2025.08.08 OA Life in Fukuoka "Vietnamese" #280 LOVE FM 76.1MHz http://lovefm.co.jp/

2025.08.04 OA Life in Fukuoka "English" #279 LOVE FM 76.1MHz http://lovefm.co.jp/

TENJIN / KICKS BREAKS & VIBES SHOW ON TOXIC SICKNESS / JULY / 2025 by TOXIC SICKNESS OFFICIAL

In this episode of the TestGuild Automation Podcast, host Joe Colantonio delves into the challenges of test automation in enterprise environments, focusing on key issues like scalability, maintainability, and the complexity of modern applications. Joining Joe is special guest Srirang Srikantha from Tenjin, a cutting-edge platform leveraging AI-driven intelligence to revolutionize enterprise test automation. With over 25 years of expertise in technology innovation and a deep understanding of the banking and financial services sector, Srirang shares insights into how Tenjin addresses the specific needs of enterprise testers. Tune in to discover Tenjin's innovative solutions, like AI-assisted test design, self-healing automation, and other features to help enterprise software testers. Whether you're an enterprise tester or just curious about the future of test automation, this episode promises valuable information and practical advice. Plus, stick around for an exclusive demo of Tenjin's capabilities and learn how you can get hands-on experience with their platform.

2025.02.28 OA Life in Fukuoka "Vietnamese" #257 LOVE FM 76.1MHz http://lovefm.co.jp/

2025.02.27 OA Life in Fukuoka "Nepali" #257 LOVE FM 76.1MHz http://lovefm.co.jp/

2025.02.24 OA Life in Fukuoka "English" #256 LOVE FM 76.1MHz http://lovefm.co.jp/

Srirang Srikantha, Chief Executive Officer, Yethi ConsultingBy end-2028, it has been suggested that 80% of testing engagements will have quality engineering transformation as a core component. One recent survey has a similar percentage of banks (81%) warning of an imminent ‘automation Armageddon'. Against that background, Robin Amlôt of IBS Intelligence speaks to Srirang Srikantha, CEO of Yethi Consulting, a leading provider of payment solutions, quality assurance, and testing automation services tailored for the global banking and financial services sector. 

2024.09.27 OA Life in Fukuoka "Vietnamese" #235 LOVE FM 76.1MHz http://lovefm.co.jp/

2024.09.26 OA Life in Fukuoka "Nepali" #235 LOVE FM 76.1MHz http://lovefm.co.jp/

2024.09.25 OA Life in Fukuoka "Korean" #235 LOVE FM 76.1MHz http://lovefm.co.jp/

2024.09.24 OA Life in Fukuoka "Chinese" #234 LOVE FM 76.1MHz http://lovefm.co.jp/

2024.09.23 OA Life in Fukuoka "English" #234 LOVE FM 76.1MHz http://lovefm.co.jp/

In this interview, we will discuss advanced user acquisition (UA) analysis and its pivotal role in exponential mobile app growth. Joining us is Christopher Farm, Co-Founder and CEO of Tenjin, a platform renowned for its in-depth UA analytics for paid campaigns. Christopher will share insights into the latest monetization trends and the power of advanced UA analytics in helping developers achieve their Return on Ad Spend (ROAS) goals. We'll also explore common UA challenges and how data-driven decision-making can turn the tide. You will discover: -A deep dive into advanced UA analytics -Practical tips to optimize UA costs through data-driven insights -The significance of determining portfolio LTV and its impact on UA -How Tenjin empowers developers to reach their ROAS targets Learn More: Tenjin website: https://rebrand.ly/tenjinwebsite Youtube channel: https://rebrand.ly/tenjinyoutubechannel Chris linkedin: https://rebrand.ly/chrislinkedin App Audits: https://play.google.com/store/apps/details?id=com.glinttec.beautyscan.beautyscore.photoBeautyScan https://apps.apple.com/us/app/wise-budget-monthly-spending/id6444917344 You can also watch the video: https://youtube.com/live/Oi5yevmbOVk Work with us to grow your apps faster & cheaper: http://www.appmasters.com/ ********************************************* SPONSORS Are you aiming to make your messaging more unique? Elevate your communication with Phoji custom emojis. Designed from authentic content, our custom emojis convey genuine emotions and meanings. Whether it's for individual chats or mass communication, Phoji SaaS seamlessly integrates across all platforms. ********************************************* Follow us: YouTube: ⁠AppMasters.com/YouTube⁠ Instagram: ⁠@App Masters Twitter: ⁠@App Masters TikTok: ⁠@stevepyoung⁠ Facebook: ⁠App Masters⁠ *********************************************

2024.08.09 OA Life in Fukuoka "Vietnamese" #228 LOVE FM 76.1MHz http://lovefm.co.jp/

2024.08.05 OA Life in Fukuoka "English" #227 LOVE FM 76.1MHz http://lovefm.co.jp/

Short（短編） The sound of footsteps on the gravel in the shrine grounds, the sound of gagaku playing - the sound of fortune-telling fortunes, the sound of shaking boxes, the voices of worshipers - the sound of votive tablets touching, rattling. 境内玉砂利を踏む足音、雅楽が流れてる～おみくじ、箱をガチャガチャ振る音、参拝客の声～絵馬の触れる音、カタカタ ※ロングバージョンのある有料版「Sound in Nature」もあります。 There is also a paid version of "Sound in Nature" which is rich in episodes and has a long version.(Apple podcast only) https://podcasts.apple.com/us/podcast/sound-in-nature/id1569798616 WEB: https://soundinnature.com/

今年の高槻ジャズ (会場情報 https://www.0726.info/venue/) ➤5/3(金祝) ・15:00- JUGEN【JKカフェ】 ・19:00- JUGEN DX【MUSIC SQUARE 1624 TENJIN】 ➤5/4(土) ・14:00- アバンギャルド【アクトアモーレプロムナードステージ】 ﹍ ﹍ ﹍ ﹍ ﹍ ﹍ ﹍ ﹍ ﹍ ﹍ ﹍ ﹍ ﹍ ➤その他フミ子の情報 https://lit.link/fumikoviolin

Today on the Noize we got printmaker, Tenjin Ikeda! he has been making art as for over 30 years and its been a journey across all kinds of mediums. From painting, to dancing, to sculpting, to printmaking, Tenjin has been open to where his talents and opportunity take him. We learn about Tenjin and his philosophy on making work. We nerd out a little bit on carving and relief printmaking masters like Latoya Hobbs, Elizabeth Catlett and more. Tenjin talks about a turning point print for him, how his spirituality inspires his work and what he's learned by being in exhibitions over so many year. Listen, subscribe, and share!Episode 183 topics include:doing art for 30 plus yearsfinding printmakingcarving tips and secretsdeveloping compositionswhat piece was a turning point in his eyesthe differences between mediumsexperience gained from exhibitionsoffering critique to younger artistsTenjin Ikeda is an Afro-Puerto Rican artist born and raised in Brooklyn, New York on October 30, 1968. At a very young age learned the importance of tradition and heritage from his mother. He taught himself how to draw at an early age and he was hooked, he has been seriously making art for 30 plus years using the various mediums of painting, sculpture, and printmaking. He attended the School of Visual Arts in New York first focusing on graphic design and ultimately Fine Arts where he felt more freedom to express himself. It was at the Art Students League that he discovered printmaking, which has been his focus for the past 20 plus years. “It is my desire to continue to visibly show the richness of my ancestry to the world.” He has various works in private collections in the US, Canada, Mexico, Bahamas as well as acquisitions by The Schomburg Center for Research in Black Culture, The Print Club of Albany, and the Art Student's League. Tenjin's work has been featured as cover art and illustrations for various books. He has been included in “Modern Printmaking” an up coming book of 30 contemporary printmakers by Sylvie Covey.Tenjin, also worked for 6 years as an artist assistant to Richard Artschwager and with artist Keith Haring on a mural project Mr. Haring did at Woodhull Hospital in Brooklyn, NY. He has participated in-group shows in different parts of the United States, Ireland, Japan as well as Spain and Australia.See more: Tenjin Ikeda's website + Tenjin Ikeda's IG @ify.chi.chiejinaFollow us:StudioNoizePodcast.comIG: @studionoizepodcastJamaal Barber: @JBarberStudioSupport the podcast www.patreon.com/studionoizepodcast

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.

This episode provides an extensive look at Burke's recent family trip to Fukuoka (a large metropolitan city in Kyushu) and Beppu (a top hot spring destination in Japan), and Ben explains details about working at a male host club (bars and nightclubs that provide male companionship and entertainment to women in exchange for money.)Sponsors:Bearfoot BarLocated in downtown Sapporo, walking distance from the subway station. There are  variety of Japanese made craft bottled beers. A wide range of regular and unique spirits and basic cocktails also available. Burgers and pub style snacks. With friendly English and Japanese speaking staff.  https://www.facebook.com/bearfootbarThe Red House Located in the heart of Rusutsu Ski Resort, just cross the main road and it's behind the Seicomart Convenience store. The restaurant features a mix of Japanese, Asian fusion, and western Style dishes, including shabu-shabu with wagyu beef and Hokkaido wagyu beef steak. Open winter and summer, 12-3pm for lunch, 5-9pm for dinner, with prices ranging from under Yen 1000 to about Yen 5000. https://theredhouse.jp/ Rusutsu LodgesOpen all year round. Located 5 minutes walk to the main Rusutsu Ski Resort Gondola. There are Japanese, Western, and apartment style rooms with breakfast packages available. There's a Japanese sento (public bath), two convenience stores less than a minute walk, ski room and tune up tables, plenty of free parking space, and summer BBQ packages available. Check out the website for more information and availability. http://rusutsulodges.com Hokkaido GuideEstablished over 10 years ago, written by locals for locals and international tourists. The guide contains information on all types of businesses and locations around Hokkaido. There's information regarding all things Hokkaido such as sightseeing, nightlife, events, services, food and restaurants, entertainment, outdoor activities, and more. Currently offered in English and Thai, advertising space available. Check out website for everything you need to know about this beautiful prefecture. https://hokkaidoguide.comUse our Buzzsprout affiliate link to start your podcast today!Website:https://www.voicesinjapan.com/Follow us and check out our other content:https://youtube.com/@voicesinjapanpodcasthttps://twitter.com/voicesinjapanhttps://www.facebook.com/voicesinjapan/https://www.instagram.com/voicesinjapan/Get in touch:voicesinjapan@gmail.comHelp support us at:https://www.patreon.com/voicesinjapanhttps://www.buymeacoffee.com/voicesinjapanSupport the show

2023.04.21 OA Life in Fukuoka "Vietnamese" #160 LOVE FM 76.1MHz http://lovefm.co.jp/

2023.04.17 OA Life in Fukuoka "English" #159 LOVE FM 76.1MHz http://lovefm.co.jp/

Advertisers are waiting for SKAdNetwork 4.0 - but in the absence of documentation or timelines, the question on everyone's mind is - “when is it gonna drop?” In today's episode, Roman Garbar, Marketing Director at Tenjin reads the tea leaves of Apple's WWDC presentation to tell us when we might expect the change to hit. Check out this short but impactful episode to understand what we're looking at going forward.Check out the show notes here:https://mobileuseracquisitionshow.com/episode/skadnetwork4-0-roman-garbar-tenjin/**Note:Mobile Growth LabWe launched the Mobile Growth Lab this week - over 60 marketers, executives, product managers and developers signed up to break the shackles of ATT's performance and measurement losses. Our first session kicked off on Tuesday - and while the premium and executive editions are closed for registrations, you can get access to the recorded versions of these sessions through our self-serve plan.Check it out here: https://mobilegrowthlab.com/**Get more mobile user acquisition goodies here:http://RocketShipHQ.com

Hello. Welcome to Jenni's Pika Pika Japanese. Today's Japanese lesson is, "Shitemo Iidesuka?" . For example Tabetemo Iidesuka?" Please listen to the podcast to learn. The other day I introduced you to the Gion Festival in Kyoto, and today I would like to introduce you to the Tenjin Festival in Osaka. Osaka's "Tenjin Matsuri" is one of the three major summer festivals in Japan, along with Tokyo's Kanda Festival and Kyoto's Gion Festival, and is held at "Osaka Tenmangu Shrine" from late June auspicious day to July 25 every year. The history of this festival can be traced back to the "Hokonagashi Shinji" held in 951, the year after Osaka Tenmangu Shrine was founded. In the Hokonagashi Shinji, a sacred halberd is floated down from the beach in front of the shrine, and the place where the halberd washes ashore is designated as an o-tabisho, or "place of departure," to welcome the gods. During the current Tenjin Festival, many boats set sail and fireworks are displayed to celebrate the welcoming of the gods in a grand manner. 天神祭り Tenjin　Matsuri 天満宮　Tenmanguu 創祀　　Soushi 鉾流神事　Hokonagashi Shinji 御旅所　Otabisho Hola. Bienvenido a Jenni's Pika Pika Japanese. La lección de japonés de hoy es: "¿Puedo hacerlo?" . Por ejemplo. ¿Puedo comer?" Escuche el podcast para aprender. El otro día presentamos el Festival de Gion en Kioto, y hoy presentaremos el Festival de Tenjin en Osaka. El "Tenjin Matsuri" de Osaka es uno de los tres principales festivales de verano de Japón, junto con el Festival de Kanda de Tokio y el Festival de Gion de Kioto, y se celebra en el "Santuario Temmangu de Osaka" todos los años desde el día propicio de finales de junio hasta el 25 de julio. Se dice que la historia del festival se remonta al Hokonagashi Shinji celebrado en 951, el año siguiente a la fundación del santuario Tenmangu de Osaka. En el Shinji de Hokonagashi, una lanza sagrada desciende flotando desde la playa frente al santuario, y el lugar en el que llega a la orilla se designa como un o Tabisho (lugar de peregrinación), donde se da la bienvenida a las deidades. Durante el actual Festival Tenjin, muchos barcos zarpan y se realiza un gran espectáculo de fuegos artificiales para celebrar la bienvenida de los dioses a lo grande. 天神祭り Tenjin　Matsuri 天満宮　Tenmanguu 創祀　　Soushi 鉾流神事　Hokonagashi Shinji 御旅所　Otabisho こんにちは。 ジェニのピカピカ日本語へようこそ。 今日の日本語学習は、「～してもいいですか？」です。 たとえば、 食べて「もいいですか？」 ポッドキャストを聞いて学習してください。 さて、先日は京都の祇園祭をご紹介しましたが、今日は大阪の「天神祭」をご紹介します。 大阪の「天神祭」は東京・神田祭、京都・祇園祭とともに日本三大祭りの一つと言われる夏祭で、「大阪天満宮」で毎年6月下旬吉日～7月25日に開催される天神祭です。 その歴史は大阪天満宮が創祀（そうし）された翌々年の951（天歴5）年に行われた「鉾流神事（ほこながししんじ）」がはじまりとされています。 鉾流神事とは、神社の前の浜より神鉾を流し、その漂着した場所を御旅所と定めその地に神様をお迎えする神事です。 現在の天神祭では多くの船が出船し神様のお出ましのお迎えを盛大に祝おうと大きな花火が上がります。 天神祭り Tenjin　Matsuri 天満宮　Tenmanguu 創祀　　Soushi 鉾流神事　Hokonagashi Shinji 御旅所　Otabisho 　

This week, join the Krewe as they explore the summertime festival scene in Japan. What are some essentials to enjoy at any given summer festival? What is the Japanese government doing to help support the preservation of these cultural traditions? Find out this, along with a month-by-month breakdown of some of the top festivals to check out while in Japan. Who knows what's in store for international tourists in 2022, but it never hurts to be prepared for festival season, even if it's for summer 2023... BUT LET'S HOPE FOR SOONER!! ------ About the Krewe ------The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, & the Krewe of Japan Youtube Channel). Until next time, enjoy!------ Festivals ------June: Yosakoi Soran Festival (Sapporo, early June), Atsuta Festival (Nagoya, June 5), Sanno Matsuri (Tokyo, mid-June)July: Gion Matsuri (Kyoto, all throughout July), Tenjin Festival (Osaka, July 24-25), Shirakata Tenmangu Festival (Matsue, July 24-25), Sumidagawa Fireworks Festival (Tokyo, last Saturday in July), Soma Nomaoi (Soma, last week of July)August: Nebuta Matsuri (Aomori, August 2-7), Awa Odori (primarily Tokushima, mid-August), Bon Odori (nationwide, mid-August), Tanabata (Sendai, August 7; elsewhere, July 7)

Can attribution modelling dispel the darkness in a post-IDFA world? When we had IDFAs and deterministic attribution, this sort of estimation based modeling was not necessary. However, as it is curtains on IDFAs, attribution modelling could be a way to retain marketing metrics like LTV and ROAS. How is this possible? Will it be accurate?We find out in our conversation with Chris Farm today, co-founder and CEO of Tenjin, in which we talk about what data we do have at our disposal, and how to make the most of it to build attribution models - from simple spreadsheet ones to more sophisticated ones. KEY HIGHLIGHTS

Carole had an unusual path into data science. She's worked as a content project manager, in strategic planning and in sales before getting into data through Business Intelligence at Fyber where she eventually became their Head of Analytics. Today she is the Head of Data Science & Analytics at Tenjin. We speak about: * The strengths of being a generalist * Upskilling throughout your career * Focus on self service reporting * The skills needed in a BI team * Creating internal user groups to share knowledge * Convincing people to get training on the tools required to do their job better * The benefits of gaining a reputation internally * Setting a strategy for data teams * The importance of data modelling skills in data teams * Learning technology on the job when you're background is not technology * Monthly meeting with key departments to review all dashboards in the department * Working remotely in global companies * Metrics about user behaviour * Offering analytics for many customers with the same problem/need * How to develop consulting skills * The platinum rule - book on communication style * The leadership challenge - book recommendation * What it's like working in startups * How to recover from being a workaholic Show notes: www.datafuturology.com/podcast/32 Carole is based in Berlin Area, Germany And as always, we appreciate your Reviews, Follows, Likes, Shares and Ratings. It really helps new data scientists find us. Thank you so much, and enjoy the show! --- Send in a voice message: https://anchor.fm/datafuturology/message

Two months after the incident in Osaka, the Inukai clan waits out the last days of winter. With enemies perched quite literally on their doorstep, Lord Inukai's retainers busy themselves with festival preparations; despite the celebrations, they can't help but look forward to the coming battles that will arrive in Spring. When the samurai receive a coded message, they must work together to confront an evil spawned from the consequences of their actions.

From the paid marketing metrics you need to watch and measure in order to bid more aggressively, to the new ways you merge data sets to power UA and growth. These are some of the key questions our host and Chief Content Officer Peggy Anne Salz explores with Matthaüs Krzykowski, Director of Platform at Tenjin and all-around Data Jedi.

Bay Area Ventures presents this first of two special follow-up episodes where we check in with guests from the first three seasons of the show. First up, we’ll be speaking with Christopher Farm, Co-Founder and CEO of Tenjin, Inc. (www.tenjin.io) Christopher made his first appearance on Bay Area Ventures in April of 2016. Back then, Tenjin was a new startup fresh out of the Y-Combinator incubator. Chris will share with us how Tenjin has fared over the past year and talk about some of the biggest surprises and challenges he’s faced. Did his staff grow? Have sales grown? How difficult has it been to attract and retain technical talent in the San Francisco Bay Area in a period of extreme economic growth and competition. Christopher will tell us all about it.In the second half of the show we’ll follow-up with Dave McLean, Founder of Magnolia Brewing (http://magnoliabrewing.com). Dave was my first guest on Bay Area Ventures back in March of 2014. At the time, Magnolia Brewing was operating its flagship Magnolia Gastropub on the fabled Haight Street in San Francisco and was still building out a new restaurant and a new brewing facility. We’ll see how those facilities have done and also learn about their recent entry into retail sales with a new line of canned beers.Dave has been brewing beer since the 1990s and is one of the leaders of the modern San Francisco Bay Area craft brewing industry. Dave was the founder of the San Francisco Brewer’s Guild which now boasts a membership of hundreds of craft brewers and hosts dozens of major events in the Bay Area each year including San Francisco Beer Week and the annual Brews by the Bay festival.McLean is passionate about beer and business. He has built a thriving enterprise with thousands of devoted fans in a city whose roots as a brewer’s haven go back to the gold rush days of the 1800’s. That’s no small feat and Dave will tell you how he’s done it.This will be a jam-packed show with a lot of takeaways for your business.As always, I welcome your comments and feedback. If you have questions for Christopher, Dave or me please feel free to reach out and we’ll do our best to get back to you as quickly as possible.Recorded on April 24, 2017, on SiriusXM Channel 111, Business Radio Powered by the Wharton School. Bay Area Ventures airs live on Mondays at 4:00pm Pacific Time, 7:00pm Eastern Time. For a list of upcoming and past guest information visit www.donaldlandwirth.com and click on the Show link. #onlinemarketing #PPC #SEO #SEM #mobileadvertising #entrepreneurship #startup #SanFrancisco #beer #craftbrewing #marketing #restaurants

福岡市交通局 3000系電車の走行音です。七隈線で収録しました。区間は、橋本から天神南までです。It is a running sound of Fukuoka city subway 3000 series train.I recorded on the Nanakuma Line.The section is from Hashimoto to Tenjin-minami.福岡市交3000系 七隈線 橋本から天神南 128kbps.m4a

Making her first appearance on the podcast, ENR proudly welcomes Shima Rogowski, an instructor at IAC in Tenjin and holder of a perfect score (990) in TOEIC. Shima explains to Nick and Ray how she became interested studying English and describes some of her experiences living in Canada. She also shares a few tips on 'how to improve your English'. SHOW INFO HERE: www.theenrpodcast.com/2015/05/03/show-info-episode-13/  

In another PREVIOUSLY UNRELEASED EPISODE from July 2014, ENR welcomes two very special guests to the studio as Yuko Tsukamoto, owner of the very popular bar FACE in Tenjin, and her best friend Migiwa stop by. We also hear audio from Nick and Ray’s visit to bar FACE on Yuko’s birthday. SHOW INFO HERE: www.theenrpodcast.com/2014/12/11/episode-9-show-info/

http://www.decultureshock.com/wp-content/uploads/2016/04/MSP_EP18.mp3 Direct Download HERE (right click & save as) The SpeakerPODcast Crew are reunited and have a room full of Macross fans with an open bar. What can possibly go wrong?!? Being recorded literally in the middle of the MWC2014 afterparty, this episode is a little noisier than most but bear with us as you never know WHO will turn up next! Featuring the vocal talents of: Jet Spectacular, Tim, Kyle, Leo, Chris, Sirian, Tom, JasonC, Hisame, Hidetaka Tenjin, and the SpeakerPODcast Crew. TOM-AHAWK!!! A big shoutout to Kyle who helped us design these deculturific SpeakerPODcast hoodies just in time for MWC! Episode 18 00:01:25- Jet Spectacular is lurking! 00:06:01- Tim has to go. 00:07:18- Richard remembers the SDF-3. 00:18:52- Kyle’s sordid history. It’s just a cartoon. 00:34:04- Leo remembers love in a back room. 00:46:28- Renato shows off his quickdraw skills, while Kyle gets noticed by sempai. 00:52:00- Chris gets touched in all the right places. 00:56:16- Adrian gives his verdict. 00:57:23- Sirian crashes the party. Custom, Costume, it’s all the same. 01:08:00- Jason is BACK to LISTEN TO HISAME’S SONG! (Video available) 01:19:56- Tom needs to stop playing with his Tomahawk. (Video available) 01:23:36- Tenjin and Adrian remember the Metal Siren. (Video available) MOVIES! Oh, and Richard talks just a little bit about the SDF-3 (pictured above) VF-2SS! VF-2SS!