“But Sir, it’s Only a Model”

Posted on 30/09/2014 by Luke

Today is the third and final day of a street performing arts festival in Asakusa. Outside, it’s a clear day and a wonderful 28°C. I spend the best part of the morning wandering between the many different stages. I see a magician, a group of jugglers, a yo-yo master, people dressed in Halloween costumes, and a guy who specialises in tricks using crystal balls. Every performer seems to draw a strong but silent crowd.

At lunch, I head back to Koto, to Tokyo Big Sight. Today, the venue hosts The 54th All Japan Model and Hobby Show. Alongside this event, there are many other exhibitions at Tokyo Big Sight, including the Trend Fashion EXPO and a free show about female auto racing drivers. I head to West Hall Two where the entrance fee is ¥1000.

The event today is organised by the Japan Radio-Controlled Model Manufacturers Association and the Japan Plastic Model Manufacturers Association. Inside, there are almost ninety different stalls representing various branches of the hobby and model industry. Upon entering, I’m greeted by a display of scaled-down model warships.

All the major model companies are present. Kyosho proudly claims to produce ‘The Finest Remote Control Models.’ Nippon Remote Control showcases their latest flying helicopters, while Tamiya demonstrates their new remote control car. Besides remote control products, the exhibition features model trains, warships, cars, toys, hobby crafts, painting supplies, and character figures.

A woman in cosplay is signing various publications, while other individuals in cosplay attire are attempting to attract visitors to their stalls; women pose for photographs and entice men to buy tanks. Thousands of items are on display, including models of famous historic sites in Japan. Among them is a to-scale model of Kaminarimon Gate at Senso-ji Temple, priced at ¥38,000. Additionally, various figurines featuring characters from famous Japanese anime make an appearance

As I mentioned, there’s a substantial section dedicated to remote control flying machines. While some machines are more impressive than others, the skill level of the operators varies. I observed a guy attempting to elegantly guide a helicopter through a hoop, but instead, he spectacularly crashed it, causing one of the wings to snap off. This unfortunate incident promptly led to the closure of the exhibition. However, amidst these mishaps, some machines stand out for their superior performance. I watched another person skilfully manoeuvre a large drone vertically, achieving somewhat impressive speeds.

I visit a shooting range where individuals are aiming at targets with fake plastic guns. Several talks are ongoing throughout the venue. A woman delivers a speech on a large stage, captivating the attention of many eager attendees. However, as is customary in Japan, I notice the restriction against taking photographs of people on stages, a common practice here.

Bandai’s presence here is immense. A massive crowd gathers to watch a special viewing of a new episode of Gundam or something similar. They’ve set up a stall showcasing figurines aligned with the upcoming release of their new film, Space Battleship Yamato 2199. Additionally, serving as the representative for Star Wars in Japan, Bandai offers an extensive array of merchandise. A giant screen plays footage from one of the Star Wars movies, drawing people to photograph models of Darth Vader and the Millennium Falcon. It’s a bit overwhelming with the sheer volume of offerings.

I decide to leave and head to the train station, taking the Yurikamome Line to Shinbashi before transferring to the Ginza Line. However, I get distracted and end up missing the Tawaramachi stop. Instead, I disembark one stop later at Asakusa Station, which happens to be the last stop.

I decide to stroll through Senso-ji on my way home while the sun is still shining. Amidst my walk, I come across a shrine I’ve never seen before—Hikan Inari Shrine. It’s notably small but carries a profound symbolism of recovery. What strikes me as unusual, though, is the presence of over three hundred small statues of foxes inside the shrine. I notice an important-looking sign in Japanese and decide to photograph it.

Back at the hostel, I ask my friend Hiro to translate the sign. It reads, ‘Please don’t ring the bell at night, as our neighbours in the area are trying to sleep. Be careful not to wander around too much in the evening because you might be possessed by a fox.’ The concept of being possessed by a fox is quite intriguing. Apparently, there’s a traditional folktale in Japan about a condition called ‘Kitsunetsuki,’ which refers to a form of madness caused by fox possession.

I decide to explore this superstition further. I spend the evening wandering around the temples and shrines of Asakusa, until I turn into a fox.

Tourism is a Dancer

Posted on 29/09/2014 by Luke

Today I wake up to find that the hostel has been decorated with ‘Happy Halloween’ signs, spooky spiders, and multicoloured pumpkins and bats. Thinking the staff might have got the date wrong, I ask, “You do realise that Halloween isn’t for another month?”
The reply from the receptionists, “We know, but it looks so cute!” Fair enough.

I take two different trains to Koto, to the Tokyo International Exhibition Centre, nicknamed ‘Tokyo Big Sight.’ Today is an event oddly called ‘Japan Travel and Tourism Association Tourism EXPO Japan.’ The annual event is to increase awareness of tourism in Japan and to promote different countries and cultures from around the world. The exhibition centre is massive, looks like a spaceship, and is about to take off.

Tokyo Big Sight opened up in 1996, and will be the main broadcasting centre for the Tokyo 2020 Summer Olympics. The area outside is flourishing with well kept plants, perfectly cut lawns, benches, art pieces, and sculptures. The area inside contains an eight-storey conference tower, the East Exhibition Halls, and the West Exhibition Halls.

Today I head to the East Halls, six in total but merged to form two massive halls for the event today. Inside I am greeted by megaphones and mega queues. I arrive just after 1 p.m., queue for half an hour, before paying ¥1300 entry fee. I begin my tourism journey in East Hall One.

The exhibition includes booths from 150 nations and regions, all here to promote tourism in their respective countries. Additionally, booths from the 47 prefectures of Japan aim to raise awareness of local culture. Everywhere I go, I’m handed bags of souvenirs, each emphasising a specific country or prefecture. Mock passports are available, encouraging visitors to collect fake air travel stamps from the various countries represented here.

As I wander around, I spot two Japanese geisha. I haven’t previously seen a geisha in Japan, so this is a nice bonus. They even smile and let me take a photograph.

The geisha are here to promote the area of Nihonbashi. I am handed an envelope containing a fake boarding pass and loads of smaller flyers advertising their area. One of the flyers describes Nihonbashi as ‘The crossroad of past and present – diving into an array of unique Edo experiences.’ It also features advertisements for local food outlets in the area, coupons for tea ceremonies, and adverts for shops that sell traditional crafts and gifts.

East Hall Six contains a massive RV show, which is of no interest to me. East Hall Five is littered with stands from outside of Asia. East Hall four contains stands for the many Japanese airlines and corporate companies. I continue my wandering around, getting more and more free flyers and bags of promotional material. It seems every stand here has some form of entertainment or a weird mascot. The Okaniwa stand even has an aquarium showcasing many of their tropical fish.

There is a section promoting Japanese Traditional Crafts, along with another section commemorating the 400th anniversary of Tokugawa Ieyasu’s death. The Robot Restaurant even has a stand here, featuring robots and scantily clad women to attract business. Pocari Sweat is hosting a talk about their plans to land on the moon. Drums can be heard in the distance everywhere I walk.

In addition to the aquarium, Okinawa is hosting a live dance and drum show. Men from Kanazawa Prefecture are balancing on dangerous-looking ladders while wearing traditional robes. A renowned female vocalist is performing on stage, but photography is not permitted. The people of Switzerland are dancing, and a sign inviting to ‘Meet South Africa’ hosts a live percussion show.

Egyptians dance too. The Taiwanese perform a circus act. China showcases a folk dance. South Korea presents a performance from an all-female K-pop band, followed by a live talk show where, again, no photography is allowed. Many more stands are hosting talks. I have a nice chat with the people of Bhutan, a country I’ve been interested in visiting for quite some time. I also discuss Climate Change and their government’s decision to go carbon neutral with representatives from the Maldives. Additionally, I have a random chat with Brianna Acosta, better known as Miss Hawaii 2013.

I wander around a bit longer, enjoying the diverse dances, playful mascots, and individuals dressed as samurai. Overall, the exhibition is quite enjoyable; it provides an excellent opportunity for the people of Japan to engage firsthand with other cultures. Simultaneously, there is also plenty to discover and learn about Japan here.

Eventually, I tire and take the two trains back to Asakusa. Here, I dine at an Italian restaurant. The Japanese owner comes to talk to me after my meal, asking loads of questions. Apparently, he sees me almost every day and wants to know where I am from and what I am doing in Asakusa; he’s just curious, I suppose. When I go to pay, he randomly gives me a ten percent discount. “Grazie!” I say to him, but ironically, he doesn’t speak any Italian. Unbelievable.

Inoue Sake Brewery

Posted on 27/09/2014 by Luke

Today I meet with Naoto, the English speaking organiser of the sake tour. I am the only person to sign up. Not wanting to waste his whole day, I ask whether we should still go on the tour. It turns out Naoto is still quite eager to visit the brewery. Naoto is passionate about sake, and wants to spread the word about this traditional Japanese drink, which dates back to two thousand years ago. So off we go.

We head to Tokyo Station, before taking the the Tokaido Line to Kozu Station. The journey takes about ninety minutes. We have to wait at Kozu for a while; the trains here appear just twice an hour. Eventually a train comes, and we take the Gotemba Line to our destination, Kami-Oi Station. From the train I can see the sea.

Kami-Oi Station is deserted, it is so quiet that there is no ticket gate. “What, so we just walk out without paying?” I ask.
“This is the countryside,” is the explanation Naoto gives. I am still confused. The area is definitely the countryside, mountains and the sea. Rice growing everywhere. The air is clean. We leave the station and head to the Inoue Sake Brewery.

The cedar globe outside serves as a symbol for the current year’s sake production. When the new batch is made in late October, the globe will be replaced. Its changing colour from green to brown as the sake matures is a visual representation of the sake’s aging process. It’s a lovely tradition that mirrors the transformation of the drink itself.

Inoue Sake Brewery’s rich history since its establishment in 1789 during the Edo period is remarkable. Mister Inoue’s humility and passion shine through as he shares insights into the sake-making process, its history, and the diverse range of sake types. The tour of the brewery kicks off promptly, and Mister Inoue highlights how the cold Hakone air plays a crucial role in sake production. He emphasises the use of locally sourced rice and pristine water from a depth of 150 metres underground. Tasting the water confirms its anticipated qualities: cleanliness, freshness, and clarity.

Sake production resembles wine production, yet it involves an additional step before fermentation. Starch from the rice is combined with Koji, a diastatic enzyme that aids in breaking down the rice and converting its starch into sugar through a process called saccharification. Following this, sugar and yeast are added to commence fermentation. In contrast, grapes used in winemaking naturally contain sugars, so only yeast is added to initiate fermentation. Despite this difference, the subsequent processes in both sake and wine production follow a similar path.

We visit the room where the Koji is added to the rice and see the large tanks used for steaming, storage, and the mashing process. I’m surprised to learn that all these procedures are performed manually. For instance, the mashing process occurs in enormous 8,000-litre tanks. The masher stands atop a precarious-looking wooden platform above the tank, vigorously pounding a massive stick into the rice for four days.

The outcome is a liquid derived from starch. Subsequently, multiple parallel fermentations occur. The mixture rests for up to 32 days, enabling simultaneous saccharification and fermentation. Afterward, the sake undergoes pressing through cloth, filtration, and enters a pasteurisation phase. Finally, the sake ages for up to six months, is bottled, and eventually reaches the consumer for sale.

The sake is sold in 1.8 litre bottles, or 720 ml bottles. A much smaller bottle is also sold, however, the other two sizes are the most common. After the tour we sit down and try a few varieties of sake. My favourite is the gold-medal winning Hakone-yama Junmai. Junmaishu is a traditional style of sake, and often has a mellow bouquet with a rich, smooth flavour.

Hakone-yama Junmai offers three different serving options: room temperature, cold, or hot. Initially, we try it at room temperature, finding it good with a subtle flavour. When served cold, it becomes much nicer, boasting a smoother texture. Lastly, the hot variety also impresses; the flavour expands, and the scent intensifies, offering a delightful experience.

After the tasting, I am given a masu as a souvenir, a small wooden box which was originally used to measure rice, but these days it is used as a container for drinking sake. Impressed with what I have seen and tasted today, I decide to buy a bottle of sake for ¥1200. After that we say goodbye to the owner and return to Kami-Oi Station.

From the train station I can see the base of Mount Fuji.

A Tale of Sorrow and Sadness

Posted on 25/09/2014 by Luke

I spend my morning shaking off a karaoke gin hangover, arguably the worst kind. At 1 p.m., Dagmar and I take the train to Ginza to meet our friend Aram. The plan is a visit to the Vanilla Gallery; the number one gallery in Tokyo for eroticism, fetishism, and sadism.

Despite having visited the Vanilla Gallery before, it remains difficult to locate. We get a little lost but eventually find it hidden away on an inconspicuous street. This month, the theme showcases artwork that tells the tale of time and sorrow—’An exhibit of illustrated stories and dolls pertaining to madness and sadness.’ The entry fee is a pleasing ¥500.

The exhibition is called Der Tilgung. Dagmar tells me that this is German for ‘The Repayment.’ Nowhere else in Tokyo can you experience such a vortex of phenomenal imagination.

Room-A features a collection of artwork and imagery from MoriKaoru. I’m surprised to find that most of the paintings have sold out. The work focuses on desolate women surrounded by monsters depicted as men. There’s an uneasy emphasis on slavery and torture. One exhibit displays iron shackles laid to rest on a leather sofa. Another portrays a drawing of a young woman bound at the wrists, sitting in a cell surrounded by decapitated limbs, while a male figure with a menacing grin watches her through the bars.

Room-B is slightly less horrific but disturbing in other ways. Suna-mura Hiroaki is the artist. The display features half-naked corpses of women—dolls. A child lies still in a coffin, and two dolls hang from chains with beautiful flowers blossoming from their dead faces. A doll resembling a nurse has her chest cut open, held by wire, and inside reside many small, menacing demons. Trees grow from faces, and dolls scream in anguish. Some dolls are made from the skulls of unnamed animals. Despite the theme, the craftsmanship here is incredible. My favourite piece is a naked woman, half her body covered by flesh, the other completely skeletal; half her face a picture of harrowing decay.

Most of the exhibits are for sale, with prices ranging from ¥50,000 to ¥300,000 per piece. Haunting music floods the gallery. Sadly, the Vanilla Gallery forbids photography, so my only photographs are from the entrance and the flyer. I’ll probably have nightmares for a week thanks to what I’ve seen here. We stay for maybe twenty minutes before heading to the station.

Back at the hostel, there’s yet another party. Tonight’s theme is a ‘Sake Fair.’ Here, we can witness the process of making Japanese sake, sample ‘free’ sake, and indulge in the many complimentary snacks available. A PowerPoint presentation is set up on a projector—classic. The concept behind the free sake is to promote a brewery tour scheduled for tomorrow. For tonight, there are five different bottles of sake for hostel guests to try.

Suginishiki Yamahai Junmai is my favourite; it takes twice as long to make as your regular sake and is full-bodied with plenty of flavour. Shosetsu Daiginjo is also very nice—light, mild, and clear, with a banana scent and a subtle hint of fruit. I don’t usually like sake, but the drinks on offer here are actually very nice, perhaps a bit more expensive than I’m used to.

I decide to sign up for the tour tomorrow. It will be interesting to learn about the process, and I’m pleased to find out that the tour takes place at a brewery at the base of Mount Hakone. The tour costs ¥8500, including transportation, and it’s a great opportunity for me to discover more about this traditional Japanese drink.

Last Day of Summer

Posted on 24/09/2014 by Luke

Today is the Autumn Equinox; officially the day that summer ends and autumn begins. The weather seems to have forgotten about the shift in seasons, and has kindly gifted us with a clear sunny day and 27°C temperatures; the perfect day for say, a boat trip. Once a month, throughout summer, the people of Asakusa have a boat party. Fortunately for us, Dagmar and I have been given an invite.

The boat wasn’t cheap; we each paid ¥8640 in advance. This price includes ‘nomihodai’ and ‘tabehodai,’ which means ‘all-you-can-drink’ and ‘all-you-can-eat’. At half-past twelve, we meet up and head to Umayabashi Bridge, where our eagerly-awaited boat awaits us eagerly.

The Japanese boat is referred to as ‘Yakatabune’, a traditional wooden boat with tatami flooring, primarily used for entertaining guests. The forty of us pile in and take a seat on the floor at a huge table where a banquet is already laid out. The boat gets moving along the Sumida River in the direction of Odaiba. Shuhei, the organiser, makes a speech, we toast, then start to eat. The meal initially consists of sliced raw fish, salad, edamame, rice, pickles, and prawn tempura.

Beer is passed around in huge bottles to fill small glasses. My glass is always kept topped up by someone else when it gets low; in turn I return the favour when I see someone else with a glass running absent of alcohol. The food is delicious, the beer ever flowing; a great start to the afternoon.

We cruise along to excellent views of Tokyo, and I take photographs, eventually coining the word ‘boatographs’. As we head towards Tokyo Bay, more food is served: white fish tempura, eel tempura, sweet potato tempura, and finally, my favourite, mushroom tempura.

A few of the Japanese guys gather at the bow of the boat, cheering each other on to drink massive glasses of Japanese sake. I head over to take a photograph and am dragged into the madness. I’m handed a glass of sake, everyone cheers, and I drink. “No good, one more time,” they say. Great. After a second chant, I drink a second glass of strong sake.

After about forty minutes, people seem quite drunk. We anchor in the middle of Tokyo Bay, opposite the Fuji TV Building.

Another speech is given, an endless supply of food continues to flow from the small kitchen. The beer just about stops, and people begin to take advantage of the all-you-can-drink spirits. There is a huge selection of shochu, wine, sake, and whisky. After a while, we all head to the upper deck for a group photograph, before heading back below for more food and drink.

Karaoke begins, bringing with it a drinking game. A microphone is passed around and everyone sings one line of the song. Whoever sings the last line of the verse has to drink. When the microphone lands in my hand, I improvise something in English to the same tune. People applaud, and somehow, I escape the fate of trying to sing broken Japanese lyrics.

We sing many songs and drink many drinks. I make some new friends and talk to the people I already know. The boat tilts from side to side, the party in full swing. Shuhei goes around pouring drinks into glasses, urging everyone to down them. It seems that everyone is determined to empty every bottle on the boat, and we indeed do just that.

The boat starts up again and cruises back toward Asakusa. More speeches are delivered, followed by more karaoke. We’re treated to a black bean dessert before finally docking back at the Umayabashi Bridge. A traditional clapping ritual signals the end of the festival, and we all disembark for one last group photograph. It’s only 4 p.m., but I’m already feeling a little drunk.

A few of us share a taxi. The doors to the taxi magically open and close by themselves. Five minutes and ¥700 later, we arrive back at the hostel. One of the staff members hands me a piece of paper that says, ‘Last Summer Party.’ It turns out tonight, the hostel is hosting a Bon dance party—a traditional folk dance to commemorate the lives of loved ones who have passed away. Free food and drink are also available. Excellent.

I drink plenty of water and sober up ready for my second party of the day.

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Monthly Archives: September 2014