{"id":62,"date":"2015-04-10T16:02:29","date_gmt":"2015-04-10T07:02:29","guid":{"rendered":"https:\/\/www.akarenga-h.jp\/en\/?page_id=62"},"modified":"2015-04-28T22:17:21","modified_gmt":"2015-04-28T13:17:21","slug":"a-02","status":"publish","type":"page","link":"https:\/\/www.akarenga-h.jp\/en\/hokkaido\/ainu\/a-02\/","title":{"rendered":"Literature Orally Passed from Person to Person"},"content":{"rendered":"

The cultural assets that the Ainu people have created and passed on include the tradition of oral literature that was developed in various forms and styles.\u00a0Compared to the reading of written literature texts, such oral literature has a richness of artistry and entertainment for the audience who then transmits the traditions to the following generations.<\/p>\n

In contrast to written literature, even performances of the same tales characteristically vary greatly depending on the reciter, the occasion, the timing of the performance, the specific recitation technique as well as the expressions generated ad lib during the recitation and performance.<\/p>\n

Various oral literature<\/h2>\n

Ainu oral literature is performed using different styles of recitation. Some tales are sung to melodies while others are recited in a relative monotone voice similar to ordinary speech, and the content of the folklore tales varies greatly.
\nAinu oral literature in which stories are related is broadly divided into three general categories, namely \u201cheroic epics\u201d, \u201cmythic epics\u201d and \u201cprose tales.\u201d<\/p>\n

Heroic epics<\/h2>\n
\"Mr.

Mr. Kuro Yae reciting yukar<\/i>
(Photo courtesy of Sapporo Television Broadcasting Co., Ltd. (STV))<\/p><\/div>\n

Heroic epics, yukar<\/i> are also called sakorbe<\/i> in one region and hawki<\/i> in another region.The main text is sung to a short repetitive melody.<\/p>\n

Each reciter has his or her own melody. Even though the reciters have memorized the tale by listening to others, they may perform using their own personal melodies, and the melody might shift to another melody in the middle of the recitation.<\/p>\n

The reciter and the listeners tap out the time by beating blocks of hand-held wood while seated. The listeners, and occasionally the reciter as well, interject short, rhythmical exclamations at certain points of story development in the song.
\nThe heroic epics are usually long, lasting a few hours or even longer, although some are as short as several minutes.<\/p>\n

Well-known epics include tales concerning a young boy with the superhuman ability of flying in the sky, diving into the sea and cleaving his way under the earth. His life, adventures, courtships and battles are narrated in the first person. In such stories as these, vignettes of heroes’ everyday lives are also presented. These include, for instance, a battle scene depicted over and over in fiery and passionate language, which can cause the hands to sweat. The heroic epics are characterized by many spectacular, stirring and thrilling stories.<\/p>\n

However, not all of these tales fall into the category of heroic stories from the viewpoint of content. Some are about a married couple who led a discontented life while they were young, but who eventually learned to live happily together.<\/p>\n

Mythic epics<\/h2>\n

Mythic epics are called kamuy yukar<\/i> and oyna<\/i>, and the main text is sung to a short, roughly defined, repetitive melody for each story.<\/p>\n

The mythic epics are characterized by persistently repeated refrains that are uttered between the lines. Choruses are specifically connected with each tale, as shown in the story of the white-bellied green-pigeon kamuy<\/i> in which the refrain, waori<\/i>, appears, and the story of the Blakiston\u2019s fish owl kamuy<\/i> in which the refrain, fum fum kat<\/i> is used. The refrains that are inserted may differ even in tales with more or less the same content if they are narrated by different reciters who live in different regions.<\/p>\n

One may speculate that these refrains, in many cases, are onomatopoeic, featuring the sound of the cry of the kamuy<\/i>, the leading character of some stories, and the meanings of these refrains are often not understood.<\/p>\n

To recite the tales takes from as short as a few minutes to more than an hour depending on the individual tale.<\/p>\n

Concerning the content, the mythic epics mostly depict kamuy<\/i> of all sorts including kamuy<\/i> of fauna and flora, and thunder or illness. They appear as speakers using first person narration, introducing vignettes of their experiences in the world of kamuy<\/i> as well as in the world of human beings. These tales teach people the proper mindset and attitude with which they should be prepared to handle animals, plants and natural phenomena.<\/p>\n

Kamuy<\/i><\/h3>\n
\"Ainu

Ainu Shinyoshu <\/i> by Yukie Chiri, published in 1923 (Kyodo Bunkasha)
A book that contains 13 mythic epics with the romanized Ainu language original text and the Japanese translation
(Photo courtesy of Intelligent Link Inc.)<\/p><\/div>\n

According to Ainu belief, a spirit is believed to dwell within every single being. Ainu people have faithfully worshiped kamuy<\/i> in reference to most things that are deeply involved in their daily lives. This includes fauna, flora, fire, water and utensils for daily use, as well as natural phenomena and other forces that are beyond human control.<\/p>\n

The term kamuy<\/i> is often translated into Kami<\/i> (God) or Hotoke<\/i> (Buddha) in Japanese, yet the Ainu word for god is not necessarily identical to the Japanese counterpart in its semantic context.<\/p>\n

\n
Immerse yourself in the world of beautiful words created by Yukie Chiri<\/div>\n

Chiri Yukie Gin-no-Shizuku Memorial Museum<\/h4>\n

Yukie Chiri (1903 \u2013 1922), known as an author of Ainu Shinyosyu<\/i> (collection of mythic epics in the Ainu language), was the first Ainu to express Ainu tales in written form. She was highly regarded for that, and many people were impressed by the preface of the book, beginning \u201cIn the old days, this vast Hokkaido used to be a land of freedom of our ancestors,\u201d followed by \u201cThe day will come when the Ainu will be able to live in harmony with the changing world.\u201d<\/p>\n

In 2010, Chiri Yukie Gin-no-Shizuku Memorial Museum was established at the place where she was born and spent her childhood with contributions of more than 2,500 people. Gin-no-Shizuku (silver drops) derives from a passage of the owl kamuy<\/i> story included in Ainu Shinyoshu<\/i>\u2013silver drops fall around, golden drops fall around. Concerts are annually held on her birthday in June, and Ainu culture seminars and other activities are also held.<\/p>\n