The YOSAKOI SORAN FESTIVAL is a new type of dance festival which originated in 1992 in Hokkaido. The 10th Annual YOSAKOI SORAN FESTIVAL in 2001 was held from June 6 to 10 in Sapporo and consisted of 408 groups involving about 41,000 participant dancers. All participant groups design their own costume and their original style of dance combined with originally arranged Soran-bushi in order to express their originality. One of them, 'Shinkotoni-Tenburyuujin' is a dancing group intimately based on a regional society and tries to express its cultural background through its performance. In this paper, I am going to analyze the creative process of culture and identity constituted by community life, by which Shinkotoni people intend to combine their present life with their historical origins and social background by their cultural activities and movement. This can said to be true creation and succession of culture.
In recent years, many performances at various festivals can be seen in local events or exhibitions in Japan which deviate from the original context. This phenomenon is considered as one kind of "folklorism" in which a "staging" can be recognized: original performances are arranged or choreographed specifically for exhibitions. While the research on "staging" has focused on folkloric performing arts (dances and music like Kagura, Ta-asobi, Ennen, etc.), there are very few studies about the other types of festival performances. These, however, have been actually represented in exhibitions. This article, based on my fieldwork, will examine the process of the "staging" of the float (Yatai) procession of Mori no Matsuri (Mori Festival) which participated in Sunpujo Natsu matsuri-Festa Shizuoka in 1999, and its subsequent influence on the original performance. I will propose an alternative perspective in the study of "staging" as a result of my examination.
In this paper, I intend to focus on an important topic in anthropology: the phenomena of witchcraft. Instead of using the traditional approach of explaining from a researcher's perspective, I will apply the general approach of Lifeology in order to present a clearer picture of the phenomena: that is, using the description from the perspective of the people who are involved in the matter. To do so, I will focus on a case of "aswang" or witch in the Philippines, and will observe the life of a woman who is called an aswang in L. village in Panay, Capiz and describe her business of catching and selling shrimps and crabs. The unexplainable practice surrounding aswang that is deeply rooted in the daily lives of the local people can be partially understood by tracing this woman's unusual business situation. The practice is an unspoken code in the area that does not allow "why" questions, and the only way to understand it is to meticulously describe the daily life of the people who practice the code. For this reason, I find it necessary to alter the mode of perspective, that is, "from explanation to description."