Sports Festival at Ena High

恵那高校の運動会　(^-^)/

Presenting the Red Tigers: Kougun: 紅軍


Fellow ALT J-Blo invited me to Ena High School's Sports Festival, which the students have been busy coordinating and practicing for all summer 'vacation'. An academic high school (as opposed to an agricultural, commercial, or trade school), Ena high is famous for the hard work, dedication, and creativity its students contribute to making Sports Festival an unforgettable, awe-inspiring spectacle not soon to be forgotten.

The White Devils:　Hakugun: 白軍

At the begining of summer vacation, the school was split into 3 teams, or 'armies' (as the word translates from Japanese): Reb, Blue, and White. The students were then assigned to an 'army' based on their hometown region. Like an infantry, this division fosters a sense of solidarity, encouraging the soldiers, I mean, students, to fight for the honor of their homeland-- I mean, town. With no army, the residue of Japan's rampant militaristic fervor, left over from WWII, was channeled into outlets such as these. In my experience, high school Sports Festivals are much less militaristic than those at the junior high school level. At Ena High there was no playing of the Kimigayo, the national anthem, which many Japanese consider too nationalistic, no flag ceremony, and no Hitleresque hailing to the Principal, all of which suprised and shocked me last year when I was introduced to this tradition at Ena East Junior High.

The Blue Dragons: Seigun：青軍

Throughout the summer the students work together to create a cheer show, which can only be described as a Japanese Half-Time extravaganza. The Cheering Competition is judged seperately from the sporting events and awarded its own trophy, as is the team mural competition. These larger-than-life frescos are designed by members of the art club and sketched onto oversized tiles, which are then layed out around the base of the school. Because of the great size of the 'canvas', team members shout directions down to the painters from the third floor, telling them what color should be applied where.

Sports Day consists of a number of competitions, like team tug-of-war, 3-legged races with entire classes (more like hundred-legged races), and a variety of relays.

The cheering competition is the most exciting and anticipated event of the festival. Sporting traditional costumes with a trendy, modern edge, a select few students perform a combination of dance and marital arts to the sound of a traditional Japanese drum, or taiko, while their teammates in the stands, beneath the banner of their team mural, chant, clap, cheer, and use colorful props to create visual effects in the background. In these pictures, the cheering section was covered by a orange wave as the flag bearer ran across the field, leading the charge for his cheering soldiers.

White was the team to beat, and dominated the scene for the third year in a row, with an amazingly high-paced　martial arts routine, a sword-weilding samurai devil, strategically popped balloons and the release of at least a dozen white doves!

Seigun (the blue team) finished strong with this Blue Dragon display, depicting the red and white teams powerless before their mighty blue behemoth, but it wasn't enough to overcome the great White Hype of hakugun.

I'm working on a highlight video of the Cheer Competition: It must be seen to be truely appreciated!

Camping with the Tono Crew

The crystal clear waters of a river running thru the foothills of the
Southern Japan Alps, in a tiny mountain cleft called Sakashita.


The men of Tono lounging along the river (from left): Andrew from Alaska, Jason (Ohio!), Scottish, AKA David (sporting the Union Jack), Phil, and George.


Kanpai! 乾杯！


Andrew, Crab Walking World Champion (in both forward and reverse divisions), and Anthony.


Not to be outdone, Leslie was quick to stake her claim as Piggy Backer Extraordinare.


The lovely ladies of Tono, Leslie and Megan (East side Ohio, represent!)

The lovely men?

Our wonderful RPAs, the Canadian Martha Stewart, Alyson, and Phil.

竜神滝 : Dragon God Falls

Perched upon the rocky outcrop of Dragon God Falls, the bright blue swim shorts of a Tono Crew member prepare to take the plunge .

Summer in Gion Kobu

A young maiko in her summer yukata, strolling the Hanamikoji, the most famous road in Gion, with her friends and family.


Her hair is dressed in the traditional wareshinobu style, which is said to accentuate the "loveliness" of the Maiko. This hairstyle is easily recognizable due to the two strips of red silk ribbon that has been woven through the mage (the mass of hair, or "bun" on the crown) visible from the front and the back. For three years after her debut, a maiko will wear this hairstyle.

A Geiko of Gion, on her way to the Ichirikiya (Japan's most famous teahouse), talking to a high ranking maiko in casual kimono. Geiko wear an elaborate wig known as a katusra, while maiko have their own hair styled once a week.

Pausing to chat with a patron of the Gion's expensive entertainment. Notice the elaborate top knot of the Geiko's wing, as well as her wooden clogs, which, unlike the okobo that maiko wear, are cut out in the center.

Red lanterns dangle from the lattice windows and walls of Tea houses. These lanterns display the outline of an array of six circles, skewered by a line. This is the famous tsunagi-dango (literally, 'linked dumplings'), and the crest of the Gion Kobu district. This design reputedly originated in an attempt to build solidarity among the six Gion areas during the Edo Period, when permission was granted to open entertainment establishments. Each area is represented by one dango (dumpling).

Kyoto's town houses have many distinctive features, such as red-ochre lattice windows, vertical-slit windows and spikes. One of the more peculiar is the inu-yarai that skirts many a house. Inu-yarai, or dog repellers, first appeared in the 17th-18th century. Their purpose was to protect houses from mud spattering up from the road, among other things (like dogs peeing on them)! They are usually made of bamboo or curved sticks, assembled in a frame that slopes out from the wall at an angle, a few feet above the ground, down toward the road. Scenes of slender strips of bamboo leading out in elegant curves from clean walls can be seen outside restaurants in Gion and on town houses in Nakagyo Ward.

A Summer Stroll in Ponto Cho

Hisano, a beautiful young maiko from Ponto-cho in her casual daytime yukata, sheilded from the scolding summer sun by a Japanese paper umbrella.


Hisano strolls along the narrow alley known as Pontocho, the second largest traditional entertainment district in Kyoto, after Gion. Running 500 meters (0.3 miles), it is bordered on the east by the Kamo river and the Takase-gawa canal to the west.


A clear sign the summer has come. More than 80 of Pontocho's restaurants, bars, and other establishments set up wooden balconies on stilts over the canal on the west bank of the Kamo River, between Nijo Street and Gojo Street.


The famous Kamo River has been the backdrop of the Geisha and Maiko of Kyoto since the mid 17th century, when the first tea houses of Gion and Pontocho sprang up. Summer is the perfect chance to enjoy dinner by the cool, clear waters of the Kamagawa.


The mountains fade into blue as your eye follows the path of the river downstream, until its hard tell where the mountains end and the clouds begin


Pontocho's mon (crest) adorns the bright red lanterns that line the narrow alleyway, bringing a soft glow to magical evenings among the old buildings, illuminating ephemeral glimpses of geiko and maiko as they disappear into the night. The chidori is a small bird known as a plover, often spotted along the banks of the Kamogawa.

Halleluia! I Can Drive - Legally!

Japanese people across Japan celebrate with fireworks as Melissa, Ena City's best ALT ever, recieves her Japanese Driver's License.

For the city-slickers in Japan, with easy access to fun, food and public transportation, and everyone else who has no idea what an ordeal securing a Japanese driver's license can be, I say to you, be thankful, and beware! The Japanese government seems to frown upon gaijin getting their driver's license without paying a hefty fee. How much, ye ask?

First, you must have your national driver's license translated by JAF, which costs about 3900 Yen ($39). Foreign residents of Gifu must take the test at Gifu City's infamous DMV: Mitabora. Train and bus fare alone is 4200 Yen ($42) roundtrip. The actual cost of taking the test is 3600 Yen ($36), not to mention the fact that the test can only be taken during the week, between 8 AM and 3 PM (thats how long the process takes), therefore requiring most people to take a day of vacation as well. Thats already $147...and we haven't even started yet!

For a foreigner to be granted a Japanese License on their first attempt is extremely rare. I know of only one person who was able to pass the test his first time, and even then it was because another JET took him on private lessons, teaching him the esoteric knowledge necessary to succeed. At the urging of one of my JTEs (Japanese English Teachers), I took 2 completely useless lessons that lasted about 10 minutes each, costing me a ridiculous 8,000 yen ($80). Despite the fact that I was one of only two people (out of 8) to finish the course (the other 6 people were not allowed to finish because the instructor felt he was in danger), I did not pass.

Initially my instructor told me I had done a good job, and many of the other testees were also sure that I would pass. When the last test-taker, who had been practicing at the DMV school, finished the course, he was told that he would pass, and I was informed that I would not. "Your driver said that you turned left too slowly," the Brazilian interpreter told me in Japanese, after all the other drivers had finished. He had told everyone else immediately after their test what their weaknesses were, and seemed to be searching way to explain my failure. "Oh, yeah, I failed for that reason, 3 times!" and Indian man waiting for his wife chimed in. "Plus, only one gaijin can pass at a time, and this is your first time. There's no way you can pass!"

At my adult conversation class later that night, my students asked if I had passed. When I wimpered that I had "fallen" (as it translates in Japanese), they were not suprised. "Well ofcourse! You're American," they informed me, "so you will have to take it at least twice. The French have to try 3 times...Just be glad you're not Phillipino. They fail like 6 times!"

After a month of being confined to my apartment, apart from my illegal missions into the neighboring town so that I could acquire edibles under the cloak of anonomity, I was desperate and determined to pass my second time around. Another 10,000 Yen ($100) was invested into a 2 hour driving lesson, the first half of which consisted of my driving in circles around the course as my Japanese instructor thrilled me with his incredible conversational skill (in Japanese):

"So you're American? Wow, Marilyn Monroe, she was something, wasn't she? What do you think about Marilyn Monroe? Do you think she was killed? Who do you think killed her? Maybe Jackie was jealous. And what about Princess Diana? Do you think it was an accident? Maybe she was killed. Oh look! A rainbow! Do you have rainbows in America? My daughter went to America, you know. She can speak English. She wants to go back yet, but she's not married and she's 31! I hope she can get married. Are you married? Do you like Japanese guys? What kind of guy do you want to marry? Are all the women in America beautiful, like you? OK! Times up. Number 2 (the place where I should stop the car)."

So that was helpful.

My instructor for the second hour was not interested in Marylin or rainbows. He guided me through the course along the same path I would take for the Gifu test, correcting minor problems and building up my confidence. "Don't worry. If you drive like this during the test, you will definately pass. You're one of the best students I've ever had!" I wanted to tell him "Well I should be... I've been driving since I was 15!" But I just smiled and said "Ganbarimasu!" (I will try my best!)

The point is I have finally passed, and I sincerely hope and pray that none of you will ever have to experience the pain and confusion of this process...I can only imagine how much worse it must be for people who don't speak or understand Japanese.

After paying another 2600 yen ($26) I recieved my serious-faced Japanese license. ("Smile-No!" The photo man told me. "In Japan, picture, smile, NO!") Walking back to the bus stop as I embarked on my long journey home, a young mother drove past me with her infant child in her lap as she chatted on her cell phone.
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Grand total of money wasted on a Japanese license: $359

Time wasted: 3 precious days of my life (2 test days and a practice day).

Ability to escape inaka (the confines of the country) to see friends, speak English, find food and have fun: Priceless!

Gatherings

A PowWow is an American Indian gathering focusing on dance, song and family celebration. Traditionally, it is a celebration presented by one tribe or band to welcome and honor others. PowWows are usually three day weekend events, and people may travel great distances to attend. The main PowWow season is summer, and thanks to a resurgence of PowWows in the last decade, it is possible to Powwow every weekend, year round, in North America. All people (including non-Indian people) are welcome and are encouraged to attend. Experiencing a PowWow can be a valuable and fascinating cultural experience for those unfamiliar with our native peoples.

THE DANCES

MEN'S GRASS DANCE

There are maby stories about the beginnings of the grass. One tells traces the roots of the grass dance back to the movements early scouts, secretly searching thru tall grass, yet untrodden by any moccasin. Dancing to flatten the grass and make it acceptable for a new camp or meeting site, their movements were immortalized in the grass dance.



The movements also reflect those of a warrior stalking game or fighting an enemy (including a movement representing one of the warrior's legs being staked by his opponent, unable to move, yet continuing to battle with this leg held in position).



This dance reflects the need for balance in life; each movement danced on one side must be repeated on the other side. Some people talk of the grass dance as a gift from the Creator to celebrate joy. There is rich lore surrounding this dance. The regalia for the dance is comprised of long strands of yarn, ribbon or fabric attached to a base outfit to represent grass or in some theories the scalps of enemies. A headdress called a roach is worn with two feathers attached so that they rock or twirl as the dancer moves. As in all the dances, the dancer must move with the beats of the drum ending with both feet on the ground on the final beat.



MEN'S TRADITIONAL DANCE

The oldest form of dance in the Indian culture, traditional regalia is often thought to represent the animals that the Creator put on the earth. The movements recall the warrior hunting, stalking his game, and battling an enemy.



The regalia is a very per onal expression of creativity and artistry. Several elements might reflect items worn by early warriors: a breast plate made of animal bones or shell for protection against arrows; a neck choker for protection against knives; ankle bells or jingling hooves; or a shield made of hide and decorated with important tribal symbols.







Often a traditional dancer will wear a single bustle containing eagle feathers, which are considered sacred to the Indian people. The eagle flies the highest and carries the prayers of the people to the Creator. Eagle feathers are traditionally awarded for feats of bravery or accomplishment.







WOMEN'S TRADITIONAL DANCE

Woman's traditional dance requires enormous stamina, concentration and grace. The movements are very focused. Women move their feet in time with the drum keeping them close to the ground. As the drum plays "honor beats," women raise their fans to honor th e drum and their male relatives. An important element of women's traditional dance is the regalia. Women's traditional regalia will usually include a fringed shawl held gracefully folded over one arm, an awl and knife case on the belt and a feather (often eagle ) fan.



Southern or Oklahoma style women's traditional often feature buckskin or cloth outfits to go with their more overt rhythmic dance movement. The regalia will feature beautiful beadwork (usually created by the woman dancer) in patterns and colors that reflect tribal and family affiliation. Dakota patterns, for instance, often are in rainbow colors and geometric in shape, representing the colors and patterns of their homeland on the plains. The Ojibwe or Winnebago ragalia often reflect floral patterns and woodland colors showing the woodland Indian influence.


WOMEN'S JINGLE DRESS

This dance has its origins in northern Minnesota and was introduced to the Pan-Indian community by the Ojibwe people. As the story goes, a medicine man's granddaughter was very ill. He had a dream in which a spirit wearing the jingle dress came to him and told him to make one of these dresses and put it on his daughter to cure her. When he awoke, he and his wife proceeded to assemble the dress as described by the spirit of his dream. When finished, they and others brought his granddaughter to the dance ha ll and she put on the dress. During the first circle around the room, she needed to be carried. During the second circle around the room, she could barely walk and needed the assistance of several women. The third circle around the room she found she coul d walk without assistance and during the fourth circle around the room, she danced.



The jingle dress is made of a cloth, velvet or leather base adorned with jingles made out of a shiny metal. Traditionally and still common today, the jingles are made from the lids of snuff cans. These are bent and molded into triangular bell shapes and attached to the dress with ribbon or fabric in a pattern designed by the dancer. It takes between 400 and 700 jingles to make an adult jingle dress. The dance itself is designed to incorporate the sound of the jingles by allowing them to move, jingle, or be made "happy." The steps are controlled and do not invlove high kicking or twirls. Often the steps are in a zigzag pattern t o reflect the zigzagging involved in the journey of life. Similar to Men's Grass dancing, the feet often do parallel movements.



Similar to a Women's Traditional dancer, the Jingle Dress dancer also raises her fan when the "honor beats" are played on the d rum. As in all dances, the Jingle Dress dancer must stay in time with the drum beat and stop with both feet on the ground on the final beat.

MEN'S FANCY DANCE

One of the more modern dances in the PowWow, Men's Fancy dance is the most strenuous and athletic. To be good at this dance, the dancer must train for stamina and agility.



The dance is fast and features jumps and twirling. The regalia is said to represent the rainbow spirits in its bright colors and flying feathers and ribbons. The Men's Fancy dancer typically wears two bustles of bright colored feathers with added ribbon, feather or horse hair hackles and bright arm and head bands repeating the colors and patterns. The dancer also wears a headdress roach trimmed in colored horsehair and featuring two eagle feathers.



The roach is designed to keep the feathers either spinning or rocking in movement. It is part of the dance to keep the feathers moving constantly throughout the song. Dancers also carry coup sticks which are highly decorated with ribbons or feathers. The coup stick was originally a small stick carried into battle by a warrior. It was considered a great sign of bravery if you were able to touch your enemy with your coup stick (much more brave than killing your enemy).



WOMEN'S FANCY SHAWL DANCE

This is the most modern of the women's dances. Some say it was originally called the blanket dance and women danced with a blanket or shawl covering their heads. It was called Graceful Shawl dance in the '60s and the dance steps were closer to the ground and smaller than what is performed today.



This is an extremely athletic and strenuous dance involving kicks and twirls and fast movement. It parallels the Men's Fancy Bustle dance in speed and style. Women dance with beautifully decorated shawls often with long ribbon or fabric fringe. The regalia of this dance also includes beaded high moccasins. The symbols and colors beaded on the moccasins have tribal and or personal significance to the dancer.

Most importantly, PowWows are keeping the old ways alive, preserving and passing them on to future generations.


A father and his son.


An elder and a teenager share the bond of their native cultures.