Japanese Language Quirks:

Logographic and Phonetic Characters

Let's delve into the essence of the uniqueness of the Japanese people through the perspective of written language. In most parts of the world, languages are represented by a single set of characters. However, Japanese people uniquely utilize three types of characters: hiragana, katakana, and kanji. Some might argue for the inclusion of romaji and numbers, making it five!

Yet, the significance lies not merely in the number of characters used. Japanese people simultaneously employ two distinct types of characters: hiragana representing phonetics and kanji representing meanings. Kanji characters encapsulate imagery and meaning within each symbol. For example, the character "我" (ware) seemingly denotes oneself, but its true meaning runs deeper. Comprising a serrated blade reminiscent of a saw and a spear, it signifies both a powerful weapon and a dangerous entity. Thus, using "我を出す" (bring out oneself) implies self-assertion, while "我を捨てる" (discard oneself) conveys the inherent danger of "我" (ware).

In contrast, phonetic characters represent sounds without intrinsic meanings. They serve as a straightforward way to convey pronunciation. The flexibility and adaptability of the Japanese language stem from the simultaneous use of these two character types. While some argue that ideographic characters may hinder computational imaginative thinking in scientific contexts, the Japanese people exhibit a flexible and adaptable mindset in utilizing both types of characters. This linguistic versatility might provide additional evidence for the adaptability of the Japanese people on a broader scale.

Let's return to the spirit of "Mottainai"!

In recent years, one of the Japanese words that has gained widespread recognition worldwide is "Mottainai." While most Japanese people have heard this word many times, it is actually considered a concept unique to Japan. The birth of the word "Mottainai" in the West can be traced back to the absence of such a concept.

In ancient times, there was a surname in Japan, "Motai," which originally meant a vessel for holding sake. Over time, those who specialized in making these vessels came to be called "Motai." Sake, then and now, is a precious offering to the gods, and the vessels used for sake are indispensable. The shortage of sake vessels was considered disrespectful and improper toward the gods, giving rise to the idea that "having no sake vessel (Motainai) is disrespectful to the gods."

While the authenticity of this origin is uncertain, Shinto, the indigenous spirituality of Japan, held the belief in reverence for divine spirits in all things (the concept of Yorishiro). In ancient times, many Japanese felt a sense of awe for all aspects of the natural world. This underlying philosophy has had a significant influence on the concept of "Mottainai."

Though it is sometimes written as "勿体ない," using the Japanese kanji characters, the exact meaning of "勿体" conveys a sense of weightiness or dignity, indicating something inappropriate for oneself. While this use slightly deviates from the original meaning of "Mottainai," it reflects the Japanese inclination to respect others and be aware of one's own position. Japanese people, through expressions like "Mottainai," convey a unique perspective that respects others and their surroundings on a global scale.

（Shrine Person Operator, Representative of Culture J, Ltd., Hidetoshi Tojo）

Hidetoshi Tojo was born in 1972 in Saitama Prefecture and is the representative director of Culture J, Ltd. He is the direct descendant of Hideki Tojo and the 18th head of the family. Exploring a unique social welfare model in Japan, he turned his attention to the presence of shrines and Shinto. Advocating for cultural tourism through shrines, he aims to revitalize new local communities and cultural entertainment.

1:　"What is True Culture? Understanding Japan"

2:　Real Meaning of Foundation Day of Japan as a Nation

3: There is a great leap forward after overcoming a crisis.

4: Let's return to the spirit of "Mottainai"!

5: "Understanding Japan's Obon Festival"

6: "The Pink Book for Fulfilling the Whims of Adult Women"

7: "The cultural roots of Japanese New Year

8:Rekindling the Spirit of Herbivore Men Through Taiko Drumming?

9:　"Publishing 'Proof of Japanese Identity' - Column by Hidetoshi Tojo, No. 10"

10: "Publishing 'Proof of the Japanese' - Part 2 - Hidetoshi Tojo's Serial Column No. 11"

11: "For the Japanese, What Does 'Work' Mean? - Hidetoshi Tojo's Serial Column No. 12"

12: Learn from the keen insights of our predecessors – Hidetoshi Tojo's Column No.13

13: Japanese Language Quirks: Logographic and Phonetic Characters

14: "What Does 'Shikinen Sengu' Mean to the Japanese? - Hidetoshi Tōjō's Column No. 15"

15: Cultivation Required in a Global Society? - Column by Hidetoshi Tojo, No.16"

16:　"Publication of 'Shrine Tourism'!! Hidetoshi Tojo's Serial Column No. 17"

 "What Does 'Shikinen Sengu' Mean to the Japanese?

　- Hidetoshi Tōjō's Column No. 15"

"Significance of Shikinen Sengu: Ise Grand Shrine and Izumo Grand Shrine"

This year holds special importance in the Shinto shrine industry as both the Ise Grand Shrine and Izumo Grand Shrine, considered particularly vital in the shrine community, are undergoing Shikinen Sengu, a periodic relocation and reconstruction of the main shrine.

In Ise, this is referred to as "Shikinen Sengu," meaning the "scheduled relocation" of the main shrine. This event occurs approximately every 20 years, symbolizing renewal and cyclical life patterns. Similarly, Izumo Grand Shrine is undergoing the "Honden Senza-sai" or the "Main Hall Relocation Ceremony," also known as the "Great Shikinen Sengu," after a hiatus of 60 years. Notably, both shrines are experiencing Shikinen Sengu in the same year, a historical first.

The reasons for conducting Shikinen Sengu are not entirely clear, but one common understanding is to preserve and pass down shrine construction techniques and traditions. With the diminishing demand for shrine carpenters, this practice helps ensure the continuity of these skills.

For the Ise Grand Shrine, there are various theories, including intentionally lowering the lifespan of the main shrine to maintain its freshness. The shrine's unique construction without using foundation stones for pillars is cited as a deliberate strategy to reduce its longevity.

Other explanations involve the influence of the "Sangen Kuyō" (Three Elements and Nine Divisions) calendar, which calculates energy flows. Some theories suggest that imposing the burden of Shikinen Sengu on devotees helps anchor their faith and elevates their consciousness. Despite the seemingly dubious psychological aspects, it is undeniable that Shikinen Sengu involves substantial financial investment. The budget for Ise Grand Shrine's Shikinen Sengu is estimated to exceed 55 billion yen, considering the entire shrine complex.

The Shikinen Sengu at Ise Grand Shrine is scheduled for October 2nd. If you have the opportunity, consider visiting both shrines this year. It might provide insights into something deeply valued by a Japanese individual.

"Understanding Japan's Obon Festival"

"Understanding Japan's Obon Festival"

Title: "Understanding the Bon Festival in August"

In August, many people in Japan take time off to return to their hometowns for what is commonly known as the Bon holiday. However, how well do we truly understand the significance of this Bon Festival? Most people might associate it with Buddhist practices, such as ancestral memorial services and visiting graves.

Surprisingly, the concept of ancestral memorial services is not originally related to Buddhism. Buddhism, centered around the teachings of Buddha, focuses on enlightenment and the liberation from the cycle of reincarnation, rather than the practice of memorializing ancestors. So, how did the Bon Festival become associated with Buddhism in Japan?

The idea of ancestral memorial services originated from Shinto rituals known as "sorei-sai," where ancestors are revered. Shinto, with its fundamental principle of "keishin suuso" (respecting both gods and ancestors), emphasizes the veneration of ancestors. While the term "Bon" is derived from the Buddhist "Ullambana" festival, initially, the focus was on Buddhist monks conducting rituals, not ancestral remembrance.

During the Edo period, the government implemented the danka system, requiring citizens to register with a temple to travel or secure employment. In this Buddhist-centric society, the government enforced the Buddhist-style practice of ancestral memorial services. Through this process, the Shinto practice of venerating ancestors and the Buddhist Ullambana festival merged, forming the present-day style of commemorating ancestors. Therefore, the concept of ancestral memorial services is a unique blend of Shinto and Buddhist elements that evolved independently in Japan. It's worth noting that this style of honoring ancestors is not universally practiced in all Buddhist countries.

"Publishing 'Proof of Japanese Identity'

　- Column by Hidetoshi Tojo, No. 10"

Title: "Cultural Inheritance and Succession Challenges - Column by Hidetoshi Tojo"

In his recent column, Hidetoshi Tojo reflects on the challenges of cultural inheritance and succession in Japan, particularly among young leaders, like third-generation business owners in rural areas. He notes that despite the positive responses to his book "Proof of Japanese Identity," it highlights a clear decline in the country's cultural transmission.

Tojo specifically mentions the interest shown by young leaders in his lectures, emphasizing their concern for the meaning and significance of education. Many of these individuals, positioned to inherit family businesses, lack a deep understanding of the essence and roles beyond the family name. This lack of understanding leads to uncertainty, especially when they assume parental roles, unsure of what values to pass on to the next generation.

He points out that third-generation leaders didn't directly witness the founder's work, making it challenging to grasp the original intentions and ideologies behind the business. Tojo draws a parallel with his own experience of inheriting the name "Tojo" without initially understanding its significance, which resulted in a vague sense of unease. However, his unique background and experiences, including overseas assignments, allowed him to find his identity and overcome this complex.

Tojo highlights the critical issue of the diminishing number of successors in family businesses, recognizing its potential to cause serious societal problems. He encourages readers to pay attention to their surroundings and consider the importance of cultural inheritance. The column prompts reflection on the value of cultural transmission and the potential consequences of its decline in modern society.

 "Cultivation Required in a Global Society?

　- Column by Hidetoshi Tojo, No.16"

Title: "Establishment of the International Liberal Arts Promotion Association - Column by Hidetoshi Tojo, No. XX"

In a recent development, I am pleased to announce the official establishment of the International Liberal Arts Promotion Association, a general incorporated association. This new venture aims to systematically engage in activities promoting liberal arts education, fostering individuals equipped with cultural knowledge to thrive in the global arena. The formation of this association comes after extensive consideration and planning, culminating in its formal inauguration in July.

The association's primary objective is to cultivate a broad understanding of liberal arts, empowering individuals to excel in the globalized world. Hidetoshi Tojo emphasizes that many people harbor misconceptions about going abroad, pointing out an example where the ability to wear traditional Japanese attire, the kimono, can serve as a simple and effective icebreaker, creating connections and opportunities.

Tojo recounts a conversation with a company president who asked, "What is the quickest way to make friends in the United States?" While many might think of language proficiency or knowledge about the other person's culture, Tojo suggests that wearing a kimono can be a surprisingly powerful means of connecting with people. The association's diverse membership includes former CEOs of major multinational companies and various experts who have excelled both domestically and internationally, all emphasizing the importance of liberal arts education.

The discussion extends to the significance of having a strong cultural foundation, identity, and understanding of one's home country before embarking on international experiences. Without these fundamentals, individuals may risk losing their cultural identity and even rewrite their ways of thinking and behavior to align with the host country's cultural norms. This could be detrimental, especially when planning to return and work in one's home country, where familiarity with local customs, values, and market demands is essential for success.

In conclusion, the International Liberal Arts Promotion Association seeks to address these challenges, promoting the importance of cultivating a strong educational foundation and cultural understanding for individuals navigating the complexities of a globalized world.

"The Pink Book for Fulfilling the Whims of Adult Women"

Supervision: Mr.  Tojo | Published by: Magazine House

"We live in Tokyo, and do you have any idea how many shrines are here? The database of shrines in Tokyo, managed by 'Jinjajin,' which I plan and operate, is complete, totaling around 2,317 shrines. Even within the 23 wards, there are approximately 1,309 shrines, surprisingly more than you might think. However, many people aren't aware of this, right? So, on September 13th, a shrine guidebook I supervised was released by Magazine House. Its title is 'Shrines for Fulfilling the Whims of Adult Women' (laughs), with a flashy pink cover.

This time, focusing on the Tokyo metropolitan area, we featured around 100 shrines from Tokyo and surrounding areas. Interestingly, there are surprisingly few shrine guidebooks that cover this many shrines. Despite the recent trend of Power Spot's popularity contributing to more shrine-related magazines and books, many of them feature well-known shrines, sometimes even including temples. So, there aren't many guidebooks that exclusively cover individual shrines. However, as I mentioned earlier, there are quite a number of shrines even within Tokyo alone. Of course, many of them are small with just a shrine building, but still, there are numerous shrines scattered throughout Japan. That's why I wanted to expose as many people as possible to a greater variety of shrines. Thus, I joined the planning of this book with that goal in mind.

Talking about the blessings one can receive at shrines, even from just this perspective, there are reasons behind each of those claims. Although the setup this time was quite detailed and somewhat challenging, just introducing cultural spots like this that are surprisingly close to us is quite meaningful. I believe it's a chance for everyone to touch upon an aspect of Japan they might not be familiar with. There may be a side of Japan you don't know about, and it could be found right here."

"Publishing 'Proof of the Japanese' - Part 2 -

Hidetoshi Tojo's Serial Column No. 11"

Recently, in line with the release of my book "Proof of the Japanese," I have been actively engaged in lecture activities. This effort stems from the sincere desire to enhance the foundational cultural literacy of as many people as possible about being Japanese. Thanks to the positive responses from various regions, my lecture activities in local areas have steadily increased.

During these activities, there was a somewhat different lecture last month. It was a seminar on Japanese culture targeting short-term exchange students learning Japanese who came from Hong Kong for a limited period of three weeks.

While I've spoken about Japan's cultural background to foreigners before, it was usually in the context of a minority among a larger audience of Japanese people. It was rare for all attendees to be foreigners, making it a unique experience for me. The language barrier and the uncertainty of how well foreigners would understand the emotionally charged image of the Japanese people were also factors I couldn't predict. However, when I actually conducted the seminar, the response was not only positive but more proactive than with Japanese audiences.

For instance, during the Q&A session after the lecture, there were usually few questions in a typical Japanese setting. However, these students were eager to ask questions, and they were sharp inquiries. Questions like, "I heard you shouldn't walk in the middle of the approach to a shrine, why is that?" or "Is there a specific reason why torii gates are red?" were asked. It was surprising to see how much they knew, but these are things many Japanese take for granted. Yet, if asked whether many of us know the meanings behind these seemingly obvious things, there might be some uncertainty. Questioning the seemingly obvious is crucial, and when explaining to them, I always start by breaking away from these assumed norms.

In reality, everything has a meaning. However, merely taking things for granted without questioning doesn't lead to a genuine understanding of the essence. Cultural exchange with people from foreign countries begins with recognizing the lack of understanding of one's own culture. We should, once again, question what the meanings of the things we take for granted are.