Responding to the first question about analogous shifts in other performance genres, I have no behind-the-scenes experience with either Noh or Kabuki, and so can do little more than speculate. Certainly from a historical perspective, both of these venerable forms have shown themselves more than capable of reinvention. At the moment however, I believe that the security of government subsidies sets them apart and alleviates any real pressure to adapt to contemporary audiences. On the contrary, there seems to be almost a pride in ossification that moderates the influence of master classes and other attempts at hybridisation.

In terms of the notion of web-culture as an instrument of dilution, there is no question that instant global access is having a leveling effect with respect to regional differences. In this particular case however, the sub-culture is entirely in Japanese, effectively shielding it from dialogue with most of the planet. And even within Japan, the topic is so localized and obscure that I doubt there is very much opportunity for dilution, except at a micro-level between villages in the area.

And does the web preserve culture through global dissemination? As you indicate, this forum is an excellent case in point.

Devil’s advocate…

Can ‘web culture’ contribute to a ‘dilution’ or ‘diminishing’ of a localised tradition?

And conversely.

Does the Internet help to sustain tradition through its ability to disseminate information globally?

(Indeed, were it not for the Internet we wouldn’t be having this discussion.)

Thoughts, ruminations, ideas?

This remains at the level of broad speculation until I find time to read more around it, I’d be interested to know whether the “loosening of ties with village shrines” or might I say modernisation of the Kagura tradition has similar ramifications in other traditional Japanese performing arts such as Noh and Kyogen.

While I’m aware that Noh developed from an agricultural tradition into a more formalistic and ‘noble’ art form tied to longstanding family traditions, it’s fair to say that similar to Kagura it has had to redefine the notion of its own tradition in the face of a rapidly changing society and demographic. For performance traditions to survive there must be an audience to keep them alive.

The issue some of the Noh schools have had to face is whether or not to allow for a diversification or ‘hybridisation’ of its form, this could mean anything from performing in new places to working in collaboration with artists from different disciplines and countries and even opening Noh training to people outside of the traditional lineage.

In some respects it seems to be a reflection of the general shift in Japan’s foreign policy; either you adapt and integrate in the global market or you suffer the consequences of going it alone.

I think that there are several reasons for the rise of a taikai-related web culture. One is the precariousness of the performance space: the loosening of ties with villages shrines has meant a new level of artistic freedom, but also forces troupes to make their own arrangements for venues. Blogs and so on help people cope with the task of coordinating which wedding hall or sports arena is available which weekend. This is particularly important given the distribution of the fan base, which is scattered across a wide area of rural mountain communities. In this context, the internet is simply the cheapest, fastest way of keeping everyone informed. Web culture also fits psychologically with the commitment to innovation that for better or worse distinguishes Hiroshima Kagura from other more traditional styles.

Incidentally, the role of the internet as a Kagura support structure sounds like an excellent topic for a thesis

David

I’ve read about Kagura before but only in connection with Shinto rites and Japanese cultural traditions, particularly linked with agriculture. I wasn’t aware of the kagura ‘taikai’ on the other hand and even less of the web following.

The latter interests me since only just recently I’ve started reading about the Eurovision song contest cult web following. This is a growing INternet subculture with growing ramifications worlwide. The Internet’s main asset is the ability to keep people connected, forums and blogs are created to discuss latest trends, styles and generally contribute to hte construction of the Eurovision fanbase. I wonder to what extent Internet sub culture is able to promote and sustain ‘tradition’?

In you experience of researching Kagura, how big an effect does the Internet following world have in determining the scope of the annual kagura Taikai? It may well be impossible to guage without setting up some sort of polling system…

Thanks very much for posting this article.

Best wishes,

Dave B.