Revolutionary Industries Kyoto
Japan Storage Battery Co. Ltd.

　　The letters GS which appear in the trademark of this company (see photo) are familiar to many citizens of Kyoto as the initials of Genzo Shimadzu II, the founder of Japan Storage Battery Co. Ltd. (日本電池株式会社). They are also familiar with the name "GS Battery", the most popular car battery in Japan for many years. In addition, many of the senior generation may remember seeing a peculiar-looking electric car (see photo) which Mr. Shimadzu owned and cruised around the streets of Kyoto in during the early Showa era (1920's-1930's)
　　In 1895, Shimadzu completed a test model of the Plante type lead-acid storage battery, becoming the first person to successfully produce a storage battery in Japan. Twenty-two years later, he established Japan Storage Battery Co. in Kyoto, and soon started to produce car batteries on a large scale. Since then, this company has continued to develop and produce more efficient storage batteries, from heavy lead batteries to lighter nickel-cadmium (Ni-Cd), and more recently lithium ion batteries. Since its establishment the company has managed to maintain its position as the top maker of storage batteries in Japan. At present, it has capital of 14.4 billion yen and annual sales of about 84 billion yen, with a total workforce of 2,300 employees in its Kyoto headquarters, 12 branches and 5 factories.
Lead batteries for cars and industry are still the company's principal products.
　　However, because of the recent popularity of mobile phones and portable computers the demand for small light and highly efficient batteries has increased rapidly. To meet this demand the Japan Battery Storage Co established a new company GS Melcotec jointly with Mitsubishi Electric and SAFT SA (the biggest European battery maker). GS-Melcotec produces Ni-Cd, Ni-metal hydride and lithium ion batteries for portable devices and now has the lion's share of this market in Japan claiming over 40%. Last financial year its annual sales were approximately 50 billion yen.
　　Although these small batteries look like ordinary disposable dry-cells batteries they are actually very different. They are rechargeable and can be used for very long periods by repeated charging. In fact, they are one of the key components of many portable electronic products today. The innovative technology to develop and produce these batteries came from the accumulated technical achievement and conscientious R & D efforts of the Japan Storage Battery Co.
　　In addition to a variety of storage batteries, this company also produces electric power supply systems, such as those used when the commercial electricity supply is cut off. It also makes many kinds of lighting equipment, including ultra-high-pressure mercury and sodium lamps and laser generators. Furthermore, the company is a pioneer in the development of electric vehicles, not only by developing the necessary batteries but also by making service systems in the form of fast charging stations for electric cars. Thus, as a supplier of clean energy, the contribution of this company is making toward a "clean environment" is quite significant.
　　In spite of the age of this company with a famous and powerful founder, there has been no tendency of management heritage in this company: Of the eight presidents in for the past 75 years, only the first one, the founder, is from the Shimadzu Family. Such a characteristic with constant competition and democracy among management staff has probably contributed much to the steady and great development of this company.

T. Fujii and I. Hashimoto

Japanese Footwear Series
Finding your feet in traditional shoes

　　While we consider ourselves to be among the more intelligent of the animal species, the human is undoubtedly the "tenderfoot" of the jungle. Nature does not protect our feet from burning sands and stony ground with soft cushions like those of the cat or with horny hoofs like those of the horse. To overcome this, the human has adapted and utilized all kinds of natural materials and otherwise to cover the feet. Initially the result of practical necessity, footwear has gradually evolved into specialty areas from work and sports to fashion. The following is a brief historical overview of footwear in Japan, which interestingly reflects the various transitions in the country's history itself.
　　In ancient Japan during the Jyomon period (BC 7C. - 3C.), a time of hunting (fishing) and gathering plant foods, people usually wore nothing on the feet. When the most primitive footwear appeared, it was naturally made with the closest available materials - woven grass, leaves or animal skin. Crude coverings using the latter material and woven rope were most common and called kanjiki. These were used for walking on snow, ice or mud. With the introduction of rice planting from South China in the Yayoi period (BC 3C. - 3C.), tageta - rectangular wooden planks fastened to the feet with woven rope (resembling snowshoes) were used in muddy rice paddies. In the Kofun period (4C. - 7C.), the custom of constructing large tombs for deceased royalty and wealthy nobles was adopted from the Korean Peninsula and China. Gold and copper shoes and miniature clogs made out of bone and stone were discovered in these ancient tombs as burial accessories.
　　During the Nara Period (7C. - 794), trade with China began and its impact was widespread, from the adoption of the Chinese writing system to the method of city construction. It is therefore no surprise then that the shoes and boots worn by Japanese aristocracy were also influenced by Chinese style footwear. However, when ties with China were severed during the Heian period (794-1192), unique Japanese style sandals with toe straps (hanao) were developed. There were two types; zori, flat thonged sandals made of straw or leather, and geta, wooden clogs. As the climate in Japan is very humid and shoes become rather stuffy during the summer season, zori and geta were considered the most practical type of footwear. Nonetheless, they tended to be worn only by privileged upper classes, with peasants wearing waraji (rough straw sandals - see below) or no shoes at all.
　　During the Kamakura period (1192-1334) powerful samurai (warriors) clans began to govern the country's political affairs. Ashinaka (half size waraji) were developed for practical purposes on the battlefield when it was discovered that they were easy to run in and therefore ideal for soldiers. When making long journeys on foot, waraji and takageta (geta with tall supports) were commonly used, particularly the latter by travelling monks. In the Muromachi period (1334-1603) skilled craftsmen began specializing in zori and geta for the wealthy. As geta had high supports they were mainly worn when fetching water or washing clothes in the river.
　　Due to the "closed country" (sakoku) policy adopted by Japan during the Edo period (1603-1867), Japanese culture and footwear flourished. Zori and geta became especially popular among city dwellers and many new styles of both types were developed. Zori were made with padding on the inside, others with linen lining and some with thin bamboo lining with a cut out section. Tabi - cotton socks were also introduced and worn with zori. Some laborers also wore tabi under waraji sandals to reduce slipping. The number of shops selling geta increased significantly, with geta made from lightweight paulownia wood with different shape and length supports.
　　With the Meiji period (1868-1911) came a totally new era as Japan was forced to reopen its doors to the West. Along with western influence, came fashion and footwear, which gained initial acceptance during this period. Consequently Japanese style footwear began to lose its dominant position.
　　Jika-tabi appeared in the Taisho period (1912-1926) and replaced the waraji with tabi socks previously worn by laborers. Rubber soles were attached to the bottom of a light but strong cotton padded shoe providing comfort, flexibility and good grip. These shoes became standard for laborers and are still used today.
　　After World War II western shoes became the norm for most people. Japanese zori were packed away or put to the back of the geta-bako (shoebox), only worn on special occasions as part of a formal kimono ensemble. Similarly geta were only worn with traditional casual clothing such as the yukata to summer festivals.
　　These days there are only a limited number of specialty zori and geta shops remaining in Japan. To maintain peoples' interest, some shops endeavor to come up with new variations and styles using their own imagination or current fashion trends. A few years back when Paris and Milan fashion houses put out footwear similar in style to the strap used for geta and zori, both geta and zori suddenly became all the rage again. While the boom is now over, they are still appreciated for both their coolness in summer, and for the fact that they stimulate the feet and improve blood circulation. While the weather is still warm I suggest you experience wearing yukata wtih zori or geta. Particularly geta, as the distinctive karan-koron (clip-clop) sound made as you walk along will surely draw peoples' attention.

A. Tara

Japanese Footwear Series
Recent Trends in Footwear

　　Fashion and trends change in Japan far more frequently than probably any other country. Japanese youth tend to be hyper sensitive to changes in fashion projected through the media, particularly the hundreds of flashy fashion magazines that come out weekly and monthly. The Japanese consumer market creates the leading number of trends among cheap as well as expensive items. And of course the current or upcoming season has a large bearing on present and emerging trends.
　　Since Japan's weather has extremes of hot and cold, summer, invariably means sandals, and winter, boots. Furthermore, the air is generally moist which makes ventilation an important factor to consider when designing shoes for people living in Japan. For instance, shoes made out of light cloth and canvas are usually more popular than leather. Another point to keep in mind is that shoes are generally taken off before entering the home, and therefore easy to remove shoes are most preferred.
　　Literally meaning "thick bottomed", atsuzoko (厚底) sandals and boots are the huge soled platform footwear you may have seen young Japanese women tottering around in until last year. This style of footwear was popular in Kyoto from 1998-2000, but has since gone out of fashion, much like the ganguro, the dark tanned white make-up clad ladies who were most often found wearing them.
　　The soles of atsuzoko shoes usually varied between 10-20cm in thickness, which was thought to give the wearer a stylish and slender appearance. This may have contributed to their popularity with women who were a little sensitive about their height or lack thereof. Today, however, atsuzoko boots and sandals are rarely spotted in stores. You could possibly say it was an ironic case of a fashion trend destined to live fast and die young. People were simply forced to stop wearing atsuzoko due to the many accidents and even deaths they caused. While it is seemingly bizarre to think of shoes as a health risk, that is just how they came to be viewed by the law. They were considered such a danger that people caught wearing atsuzoko while riding a bicycle or driving a car could be arrested for a traffic violation!
　　With this atsuzoko gradually drifted from the limelight and in recent times there has been a trend toward strapless-heeled woman's shoes called mules. This type of footwear became popular with the change to classical fashions in clothing. However, it may be questionable whether these shoes are that much safer. On the other hand, sports shoes, especially those with an air cushion, are also gaining attention of late. Not just popular for sports, they are ideal casual wear, both comfortable and safe for walking.
　　Turning to the footwear market in general. Not surprisingly, imports of foreign shoes account for about 60 percent of the Japanese footwear market according to a recent survey. For elegance and style in footwear, its usually Italian and French designs, while for casual wear, Japanese people are typically drawn to American and UK styles. Increasingly, overseas shoe manufacturers are targeting Japan at a key market and even more variety in footwear will continue to emerge along with new trends in the future.

A. Shimada

The Noh Files
History of Noh II

　　Noh was nurtured by the ruling samurai class from the Muromachi period to the Meiji Restoration (14th C. - mid 19th C.). Through the patronage of ASHIKAGA (足利) shoguns, Noh was first developed and refined during the Muromachi period (1338-1573). Enjoying favor and support from Ashikaga, Noh actors reached new levels of social eminence. This love of Noh was passed down through the Ashikaga family from generation to generation.
　　*However, as the Ashikaga Shogunate weakened, the Onin War (1467-1477) broke out in and around the capital, Kyoto, then spread to the provinces. From here Japan plunged into a long period of civil warring between the various samurai warlords, which became known as the Sengoku Jidai or Warring State Period (1477-1573). It finally came to a head after ODA Nobunaga (織田信長) and allies took control of the capital. But ODA'S reign was cut short after he was betrayed and killed by his vassal AKECHI Mitsuhide (明智光秀) in 1582. For his treachery AKECHI was immediately attacked and defeated by ODA's other vassal, TOYOTOMI Hideyoshi (豊臣秀吉), who then succeeded ODA as leader.
　　While ODA had been a great admirer of Noh, perhaps its most ardent supporter was TOYOTOMI, who commissioned many Noh plays written about himself. He played the lead in them, and his performances reputedly enhanced his political stature. One of the most notable was "Akechi-uchi" - an adaptation of his attack and final revenge on AKECHI for ODA's death.
　　In the Edo Period (1603-1868) the TOKUGAWA (徳川) shoguns made Noh "Shikigaku" (式楽), the music and plays for official ceremonies. That is to say, Noh was performed at state functions like the celebration of New Year, the wedding of a shogun or daimyo (feudal lord), and the completion of a new castle. Furthermore, the Tokugawa Shogunate hired many Noh players and gave them samurai status and a stipend (禄: roku). Many were also hired by daimyo, and before long Noh plays were being performed all around Japan. The life of skilled Noh players was greatly enriched and became relatively secure.
　　Under this period of stability, Noh was formalized and fixed in terms of style. Firstly, the stage used in Noh was standardized, and essentially the same design is used today (see right). The "Kitabutai" stage in Nishihonganji (西本願寺) temple in Kyoto is said to be the oldest Noh stage of this type still in existence, having been built in the 1580's. Secondly, the repertoire was rearranged and about 200 pieces were selected. New plays were not produced and so the selected plays were constantly repeated. This honed players' technique and performances subsequently improved. Thirdly, costumes became more and more elaborate and theatrical thanks to sponsorship by the shogun and daimyo - previously players had simply worn their everyday clothes. Also contributing to this was the refining of textile making techniques by Nishijin-ori textiles through the increased demand for fine quality Noh costumes.
　　Turning to audiences, did the samurai class alone appreciate Noh? No, ordinary people enjoyed it too. However, as most people could not view an actual performance, a popular way to enjoy Noh was through Utai (謡) or the lyrics of Noh songs/chants. This is why Utaibon (謡本) or Noh scripts became best-sellers. Interestingly, until recently Utai was also used as a shared method of communication among Japanese. Before the times of radio and television Japanese people spoke various dialects and often could not communicate with each other. So lines and words taken from Utai became very useful as a common language.
　　When the Shogunate fell in 1867 and government subsidy was stopped, Noh was faced with the first of two major crises it would have to overcome. With the collapse of financial support Noh players were forced into a struggle against poverty, as there was little public support. Noh was only kept alive through the efforts of the different schools in securing assistance from a few wealthy citizens. World War II, however, marked the beginning of the second crisis.
　　The war destroyed most of the country's infrastructure, housing and food supplies, not to mention the lives of many people. Japan thus had to begin rebuilding the country from scratch. This meant nobody could pay attention to amusement and cultural activities like Noh. Nevertheless, Noh players somehow surpassed these hurdles and were able to carry on performing Noh for our pleasure.
　　This year the United Nations Educational, Scientific and Cultural Organization (UNESCO) nominated Noh for world heritage status. However, Noh should not yet be classed as a heritage, but rather a living, growing aspect of Japanese culture. To pass it down to the next generation is our mission, and I believe the nomination only further inspires this resolution.

H. Tamoi, Professional Noh Actor, Kanze School of Noh
(Translation and (*) section by M. Amanuma)