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Public relations / information paper

Ota Ward Cultural Arts Information Paper "ART bee HIVE" vol.9 + bee!


Issued April 2022, 1

vol.9 winter issuePDF

The Ota Ward Cultural Arts Information Paper "ART bee HIVE" is a quarterly information paper that contains information on local culture and arts, newly published by the Ota Ward Cultural Promotion Association from the fall of 2019.
"BEE HIVE" means a beehive.
Together with the ward reporter "Mitsubachi Corps" gathered by open recruitment, we will collect artistic information and deliver it to everyone!
In "+ bee!", We will post information that could not be introduced on paper.

Feature article: Japanese town, Daejeon + bee!

Art person: Kabuki Gidayubushi "Takemoto" Tayu Aoi Tayu Takemoto + bee!

Future attention EVENT + bee!

Feature article: Japanese town, Daejeon + bee!

I want to connect children's interests to the future
"Chairman of the Japan Dance Federation of Ota Ward, Seiju Fujikage III, Seiju Fujikage, Vice Chairman, Seiju Fujikage"
"Mr. Yoshiko Yamakawa, Chairman of the Ota Ward Sankyoku Association (Professor Koto, Sankyoku, Kokyu)"
"Mr. Tsurujuro Fukuhara, Chairman of the Ota Ward Japanese Music Federation (Japanese Music Music)"

Ota Ward has its own traditional culture, and many inheritors of traditional culture that represent Japan live in it.Various preservation societies and groups are energetically active, and three living national treasures live here.Furthermore, in order to pass on traditional culture to children, guidance is being actively provided in the community and schools.Ota Ward is truly a "Japanese town" full of traditional culture.

Therefore, this time, we would like to invite all the members of the Ota Ward Japanese Music Federation, the Ota Ward Japan Dance Federation, and the Ota Ward Sankyoku Association to talk about traditional culture in Ota Ward, especially Kabuki songs.


From the left, Mr. Fukuhara, Mr. Fujima, Mr. Yamakawa, Mr. Fujikage
© KAZNIKI

Female children are well-behavedDisciplineDisciplineFor the sake of meaning, most of the people were doing some lessons.

First of all, please tell us your profile.

Fujikage "My name is Seiju Fujikage, who is the chairman of the Ota Ward Japan Dance Federation. Originally, I was active in the Fujima style under the name of Fujima Monruri. I participated under the name ofIn 9, we inherited the name of Seiju Fujikage, the head of the third generation Seiju Fujikage.The first generation, Seiju Fujikage *, is a person who always appears in the history of Japanese dance, so I am struggling to inherit a difficult name. "


Seiju Fujikage (Chairman of the Japan Dance Federation, Ota Ward)
Nagauta "Toba no Koizuka" (National Theater of Japan)

Yamakawa "My name is Yoshiko Yamakawa, and I am the chairman of the Ota Ward Sankyoku Association. I was originally in Kyoto, Kyoto.TodokaiHow is it? I have been practicing since I became a teacher at the age of 16.I came to Tokyo with my wife in 46, and my wife was the Yamada-style Iemoto's house.The Kyoto Todokai is the Ikuta style.Since then, I have been studying Yamada style and Ikuta style. "

Fujima "My name is Hoho Fujima, who is the vice chairman of the Japan Dance Federation in Ota Ward. There used to be Kirisato Town in Ota Ward, and I was born there. My mother is also a master. I was doing this, so when I realized it, I was in this position. "

Fukuhara "I am Tsurujuro Fukuhara, the chairman of the Ota Ward Japanese Music Federation. My house is said to be a musical accompaniment for my grandfather, father, and my third generation.drumContinued And drums are played.For me personally, I appear in Kabuki performances, Japanese dance parties, and concerts. "

Please tell us about your encounter with traditional performing arts.

Fujikage: "When I was a kid, most of the girls were doing some lessons, even if they were ordinary girls and all the girls in the neighborhood. It was said that it would be better to start from June 6th, and I also started by choosing a dance from various lessons from June 6th, when I was 6 years old. "

Fujima: "My friend goes to a dance lesson, so I followed him to see it, and I started it when I was 4 years old. I got a teacher from the Fujima Kanemon school. It was close to my house. So, I used to go flutteringly (laughs). In the past, I used to practice a lot, every other day. I felt like that girl was going to hang a furoshiki everywhere in the town. "

Yamakawa: "When I was about 6 years old, I started learning koto with the introduction of an acquaintance. The teacher at that time was Masa Nakazawa, and I continued to practice there. When I was in my second year of high school, I got a qualification and immediately opened a classroom. When I entered the university, there were students, and the first concert was held at the same time as I graduated from the university. After that, I passed the examination of the NHK Japanese Music Skills Training Association in Tokyo, and once a week for a year. I went from Kyoto to Tokyo, where I had a connection with Yamakawa Sonomatsu, and I continue to do so. "


Yoshiko Yamakawa (Chairman of Ota Ward Sankyoku Association)
Yoshiko Yamakawa Koto / Sanxian Recital (Kioi Hall)

Fukuhara: "My father was a master of Japanese music, and my mother's parents' house was an Okiya *, so I grew up in a daily environment with shamisen and taiko drums. When I was a child, everyone played Japanese music. However, when I entered school, I knew that not all of my friends were doing it, so I stopped practicing once. I left it to me because I had an older sister and an older brother. However, in the end, I will succeed the third generation, and I am still up to the present. "

I want more children to be told that "Japanese people are Japanese, aren't they?"

Please tell us about the charm of each of you.

Fujikage "The appeal of Japanese dance is that when you go abroad and talk to dancers from all over the world, you all say," Dance like Japanese dance cannot be seen in other countries. " You say that the reason is first of all literary. It expresses the superficial and internal aspects of the literature together. And it is theatrical, musical and even more artistic. I am reaffirming its appeal by saying that there is no other country that has all the elements of a dance like Japanese dance. "

Fujima: "I like dancing and I've continued to this point, but I'm wondering if I should connect one side of Yamato Nadeshiko to the children as a Japanese woman. It's not a steady grassroots movement, such as "I'm going to bow like this" and "I'm not going to sit in the tatami room", but I'm telling you that kind of thing every day. I want the number of children who are said to be Japanese, to increase as much as possible. I want young Japanese women to send out to the world, "What are Japanese women?" It's a Japanese dance. "


Mr. Shoho Fujima (Vice Chairman of the Japan Dance Federation, Ota Ward)
Kiyomoto "Festival" (National Theater of Japan)

Yamakawa: "Now, listening to the stories of the two teachers, I'm really impressed. I didn't think about it and just liked it. Looking back, I joined the training group and went to Tokyo once a week. When I was there, if I was looking at the score on the Shinkansen, the gentleman next door would talk to me, and I was so young that I told him my thoughts on the koto. There is, in a word, the sound and sound, such as the taste and the swaying of the trees.It's a lingering sound, what I like.I just remember saying, "I want to let everyone know such a beautiful thing that sounds different from Western music."I would like to continue to visit without forgetting my original intentions. "

Fukuhara: I started thinking that Japanese music would be more popular, and started the company in 2018. Most of the customers who come to our concerts are basic lovers = learning Japanese music and dancing. However, it is difficult for general customers to come. In the case of Japanese music, it is often difficult to know what you are playing, what you are singing, or what you are dancing, so it is a panel or a photo. We have a concert where we perform while explaining using a slapstick. We invite people from other genres such as long songs, samisen, sushi, and biwa, as well as musicians. With the participation of geisha, I also try to play with everyone on the stage of the Hanayagi world. Recently, I am also doing such activities. "

Please tell us about each group.

Fujima "The beginning of the Ota Ward Japan Dance Federation is actress Sumiko Kurishima * and Mizuki-style Kosen Mizuki. It is an actress who represents Matsutake Kamata before the war. I do not know the exact thing because there is no material at that time. However, I think that Professor Kurishima was probably created in the 30's. We had 3 meetings in the 37rd year of Reiwa, and then we are absent due to Corona. "

Yamakawa "The Sankyoku Kyokai started in 5. At first, we started with about 6 or 100 people including myself. Everyone has qualifications, and now we have about XNUMX people."

Fukuhara "The Ota Ward Japanese Music Federation has about 50 members. It is composed of teachers who play various Japanese music such as Nagauta, Kiyomoto, Koto, Ichigenkoto, and Biwa. I think it was around 31, a year ago. My father was the chairman, and after my father died, I was the chairman. "

Fujima: "Currently, I only have the Dance Federation. I can't use two-legged straw shoes, so the Japanese Music Federation washed my feet (laughs). Currently, my son is participating in the Japanese Music Federation.KiyomotoKiyomotoMisaburoYoshisaburois. "

Older children didn't do as much as they do now.Lessons were normal.

Is Ota Ward more interested in traditional performing arts than other wards?I don't think every ward has such a federation.

Yamakawa: "I think the mayor of Ota Ward is putting effort into harmony."

Fukuhara "Mayor Ota has taken over as Honorary Chairman. I haven't heard about it recently, but when I was little, the sound of the shamisen was flowing naturally in the town. There are many Nagauta teachers in the neighborhood. I'm here. I think there were many people who were learning in the past. There was always a teacher in each town. "

Fujima: "Old children didn't do much like they do now. If there was a drum teacher, I would go to a drum lesson, if there was a shamisen teacher, I would do a shamisen, or I would do a koto. The lessons were normal. "

Please tell us about your activities at school such as workshops.

Fujikage "There is an elementary school where I visit and practice twice a month. After that, when the sixth grader graduates, I want him to give a lecture on Japanese culture, so I talked about it and did some practical skills. I have had time to listen to the performance at the end. Although the form is slightly different depending on the school, I go to some schools. "

Yamakawa: There are some members who go to junior high school and high school to teach in the form of club activities. The students of that school also participate in the concerts of the association. I am going to teach in junior high school with the intention of getting the first and second graders familiar with the koto. This year is the third year. "

Fukuhara: "I visit Yaguchi Junior High School every month. I always participate in the federation's recital once a year. Recently, the Ministry of Education, Culture, Sports, Science and Technology has talked about Japanese music in school education, but the teacher. I hear that I often skip pages because I can't teach about Japanese music. So I made a DVD of Japanese music at my company. I made a set of 2 DVDs at 1 elementary schools and junior high schools in Ota Ward. I distributed it free of charge to 60 schools asking if I could use it as a teaching material. Then, I made a story of "Momotaro" with a DVD and a song based on an old story. I would like the children to listen to the live performance. "


Tsurujuro Fukuhara (Chairman of the Ota Ward Japanese Music Federation)
Wagoto Japanese Music Live (Nihonbashi Social Education Center)

The Otawa Festival will be held face-to-face for the first time in two years. Please tell us your thoughts and enthusiasm about it.

Fujikage "There is also a plan for parents and children to participate this time, so I think parents and children can communicate with their children, or maybe they have fun doing that."

Fujima: "Of course, it's a dance, but I hope that your child and parents can learn how to wear and fold a kimono together."

Yamakawa: "I participated several times, but the children are very interested in it. The same children come to the lessons many times in line. I told these children," A koto teacher somewhere nearby. Please find and go to practice. ”But I would like to connect that interest to the future.”

Fukuhara "The Otawa Festival is a very valuable place, so I would like you to continue it."

 

* First generation, Seiju Fujikage: At the age of eight, he was taught to dance, and in 8, he performed for the first time in a play by Otojiro Kawakami and Sada Yacco. He married Kafu Nagai in 1903, but divorced the following year. In 1914, he founded the Fujikagekai, staged new works one after another, and sent a new style to the dance world. In 1917, he performed in Paris and introduced Nihon-buyo to Europe for the first time. 1929 Founded the new dance Toin High School. 1931 Purple Ribbon Medal, 1960 Person of Cultural Merit, 1964 Order of the Precious Crown.

* Yamakawa Sonomatsu (1909-1984): Yamada style sokyoku and composer. Graduated from Tokyo Blind School in 1930.Learned sokyoku from the first Hagioka Matsurin, Sanxian from Chifu Toyose, composition method from Nao Tanabe, and harmony from Tatsumi Fukuya.In the year of graduation, he named himself Sonomatsu and founded the Koto Shunwakai. In 1950, he won the first prize in the composition section of the 1959st Japanese Music Competition and the Minister of Education Award. Received the 1965rd Miyagi Award in 68. Awarded in the Music Division of the Agency for Cultural Affairs Arts Festival in 1981 and XNUMX. XNUMX Order of the Rising Sun, Order of the Rising Sun.

* Okiya: A house with geisha and maiko.We send geisha and geisha at the request of customers such as restaurants, waiting areas, and teahouses.Some forms and names differ depending on the region.

* Sumiko Kurishima: Learned dance from an early age. Joined Shochiku Kamata in 1921. Debuted in the lead role of "Consort Yu", and became a star with this tragic heroine. In 1935, he announced his retirement at the end of "Eternal Love" and left the company the following year.After that, he devoted himself to Nihon-buyo as a Soke of the Kurishima school Mizuki style.

Biography

Shizue Fujikage, Chairman of the Japan Dance Federation of Ota Ward (Seiju Fujikage III)


Nagauta "Yang Guifei" (Japan-China competition performance)

Born in Tokyo in 1940. Introduced to Sakae Ichiyama in 1946. 1953 Studied under the first Midori Nishizaki (Midori Nishizaki). Studied under Monjuro Fujima in 1959. 1962 Received Fujima style Natori and Fujima Monruri. 1997 Inheritance of Toin High School III. 2019 Agency for Cultural Affairs Commissioner's Commendation.

Ota Ward Japan Dance Federation Vice Chairman, Houma Fujima (Chairman of the Honokai)


Description of the fan

Born in Ota Ward in 1947. 1951 Fujima Kanemon School Introduction to Fujima Hakuogi. Acquired the master's name in 1964. Transferred to the purple school Fujima style in 1983.

Yoshiko Yamakawa, Chairman of the Ota Ward Sankyoku Association (Professor Koto, Sankyoku, Kokyu)


Yoshiko Yamakawa Koto / Sanxian Recital (Kioi Hall)

Born in 1946. 1952 Learned Jiuta, Koto, and Kokyu from Makoto Nakazawa (Masa). 1963 Promoted to Kyoto Todokai Shihan. 1965 Presided over by Wakagikai. Graduated from the 1969th term of the NHK Japanese Music Skills Training Association in 15.Passed the NHK audition in the same year. In 1972, he studied under his father-in-law, Ensho Yamakawa, and became a master of Yamada style koto music. A total of 1988 recitals were held from 2013 to 22. In 2001, he became the chairman of the Ota Ward Sankyoku Association.

Tsurujuro Fukuhara, Chairman of the Ota Ward Japanese Music Federation (Japanese Music Music)


Japanese music DVD shooting (Kawasaki Noh theater)

Born in 1965.From an early age, he was taught Japanese music by his father, Tsurujiro Fukuhara. Appeared in Kabukiza Theater and National Theater from the age of 18. 1988 Opened a rehearsal hall in Ota Ward. 1990 Named the first Tsurujuro Fukuhara. Established Wagoto Co., Ltd. in 2018.

Otawa Festival 2022 Connecting Japanese-Warm and Peaceful Learning Building
Achievement presentation + encounter between Japanese music and Japanese dance

Date and Time 3 month 19 day (Saturday)
16: 00 curtain
Place Online delivery
* Details will be announced around the beginning of February.
Viewing fee Free
Organizer / Inquiry (Public interest incorporated foundation) Ota Ward Cultural Promotion Association
‭03-3750-1555

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Art person + bee!

Thanks to guidance, patronage, and support
"Kabuki Gidayubushi" Takemoto "Tayu Aoi Tayu"

Takemoto *, which is indispensable for Kabuki's Gidayu Kyogen *, and Tayu Aoi Takemoto, who is the tayu.After many years of study, in 2019, it was certified as a Living National Treasure, a holder of important intangible cultural properties.

I watched the Kabuki stage broadcast on TV and was fascinated by it all at once.

Congratulations on being certified as an important intangible cultural property holder (living national treasure) two years ago.

"Thank you. When it comes to Living National Treasure, we need to encourage not only the demonstrations but also the techniques we have cultivated to the younger generation.'

Can you tell us what Takemoto is in the first place?In the Edo period, the narrative art of Joruri prospered, and a genius named Gidayu Takemoto appeared there, and his way of speaking became a style, and Gidayubushi was born.Many excellent plays were written there, and many of them were introduced into Kabuki as Gidayu Kyogen.Is it okay that Takemoto was born at that time?

"That's right. In Kabuki, there are actors, so the lines are played by the actors. The biggest difference is that Gidayubushi can be played only by the tayu and the shamisen. However, Takemoto is a Kabuki actor. I think that is the biggest difference. A while ago, the word "Gidayu" became popular, but I knew the word "Gidayu". Was a junior high school student. In a theater magazine, Gidayu Takemoto wrote "Diamond".I used the word.Before being told by the actor, I had to guess, that is, sontaku. "

When I was in junior high school, I was already aspiring to Takemoto.

"I was born and raised in Izu Oshima, but since I was a kid I loved sword fighting and historical drama. I think it was an extension of that at first. I watched the Kabuki stage broadcast on TV. I was fascinated at once. That's why my relatives in Tokyo took me to Kabukiza. That was when I was in the second year of junior high school. "

At that time, I was already attracted to Takemoto.

"Later, Gidayu's master said,'If you like Joruri, you should have come to Bunraku.' The Kabuki actor said,'If you like Kabuki, you should have been an actor.' But I'm glad Takemoto's Tayu. From the first time I was taken to Kabuki-za, I was good at the stage (right from the audience).bedYukaMy eyes were nailed to the fixed position of Gidayu called.It's the same for Joruri and Kabuki, but Tayu plays very enthusiastically.That is very dramatic and the production is also interesting.There are some things that aren't logical, but I was attracted to them anyway.'

I think I was very fortunate to be a leader

I heard that you were born in a very ordinary household.Did you have any anxiety or hesitation in entering the world of classical entertainment from there?

"That's also my luck, but it's time to start a training system to train Takemoto's human resources at the National Theater. I saw the recruitment advertisement in the newspaper. Kabuki actors first. It started in, but I was about to have to raise Takemoto as well. Actually, I wanted to go to Tokyo immediately and become a trainee, but I want my parents to go to high school. I spent my time in Oshima until I was in high school. After graduating, I transferred to the third year of training. Since it is a school-style training center, I feel that it is hard to enter the world of classical performing arts from ordinary households. I didn't. At that time, the teachers born in the Meiji and Taisho eras were still alive, so I think I was very fortunate to be a leader. "

In fact, Tayu Aoi was far away from him.

"I was born in 35, but my senior was born in 13. It happened that I was the same age as my mother. Takemoto was in the order of entering this world, and that was all the time. It doesn't change. Of course, which work you can perform is different, but there is no class like the undercard, the second, and the true hit like rakugo, for example.'

Even if you are certified as a Living National Treasure, that does not change.

"Yes. For example, the order of sitting in the dressing room hasn't changed. It's peaceful.'


Ⓒ KAZNIKI

I have the impression that Tayu Aoi was active from an early stage.

"I think that's where I'm lucky. First of all, Mr. Ichikawa Ennosuke made a lot of revival Kyogen during the XNUMXrd generation Ichikawa Ennosuke era. He appointed me to the XNUMXth generation. When Mr. Utaemon Nakamura plays a masterpiece of Gidayu Kyogen, he sometimes nominates me, and now Mr. Yoshiemon Nakamura, who is the current generation, often speaks to me.'

Speaking of the third generation Ichikawa Ennosuke, he was said to be the revolutionary child of Kabuki who created Super Kabuki, and Kabuki-san was a woman who represented the mainstream of Kabuki maintenance during the postwar era.I think it's amazing that the actors at the two extremes of conservative mainstream and innovation have trusted us.Also, I've heard that Mr. Kichiemon of the present generation said to the producer, "Check Aoi's schedule" when selecting a program.

"There is a common phrase in Kabuki greetings that says,'With the gift of guidance, patronage, and support,' and I think I was blessed with all of them. The wonderful guidance of my predecessors. I was able to receive it, and gave the leading actor a place to show off, that is, to announce it. As a result, I was able to receive the support of everyone. I am really grateful. Without it, I feel that nothing can be done.'

Isn't it always possible for someone like Tayu Aoi to do what he wants to do?

"Of course. For example, there is a scene called" Okazaki "in the Gidayu Kyogen called" Igagoe Dochu Soroku. " It doesn't happen at all. The scene "Numazu" is often performed, but "Okazaki" doesn't happen. It was finally realized seven years ago, when Mr. Kichiemon was to perform it in 7. It was the first performance in 2014 years. I was happy when I was able to talk about it there.'

Move forward with backward movement.I would like to work hard with that feeling

As a living national treasure, nurturing younger generations will be a major issue, but how about this?

"I will continue to improve as a performer. Then I will guide the younger generation. I am looking forward to the fact that promising young people have become trainees. I have to train them. I think that all of them are necessary. It's not easy, but a Japanese dance master said this. When I go to Europe, ballet Dancers, coaches, and choreographers are independent of each other. However, Japanese performing arts have to do it all by themselves. Demonstration, instruction, and creation are all required by one person, but they are suitable for all. It's rare to find someone with a sword. I'll leave the creation to the right person, and I'd like to improve my skills as a coach and performer for other younger generations. Moving forward. I would like to work hard with that feeling.'

Your eldest son has become Kiyomoto's tayu.

"I think my wife often listened to various Japanese music because she was learning Japanese dance. That's why I chose Kiyomoto. I didn't think of Takemoto. It's a world that you can't continue if you don't like it. Anyway, I'm glad that you found your favorite world. And I'm happy that there is a topic common to all three family members.'

Ota Ward runs through the Tokaido, so there are many historically interesting places.

I would like to ask about Ota Ward. I heard that you have lived since you were in your twenties.

"When I got married at the age of 22, I applied for a new property of the Tokyo Metropolitan Housing Supply Corporation and won a prize. That's why I started living in Omorihigashi. After living there for 25 years, I bought an apartment in the ward. I'm there now. My wife's dance master is nearby, so I've been a resident of Ota for a long time thinking that I shouldn't leave here.'

Do you have a favorite place?

"When I continued to live in a nest, I started walking around in the early morning, even if I could take a walk. There are many historically interesting places in Ota Ward because the Tokaido runs through it. There is a difference in elevation. It's fun to walk. I've walked to Kawasaki on the way. I came back on the Keikyu train (laughs). I often visit Iwai Shrine. It is near my home and I will visit you on the XNUMXth with my friends.'

I've seen it since I was in my thirties, but it hasn't changed at all.Much younger.

"Thankfully, the test gave me a good number of only about 100 out of 3 people. I have reached the 20th birthday, but I was told that I was in my XNUMXs numerically. My parents gave me a healthy body. Since it is a thing, I would like to be careful not to make a rough phase and fall.'

Finally, could you give a message to the residents of Ota Ward?

"I don't know what kind of world it will be in the future, but I think that cherishing the area where I live leads to cherishing the country and eventually the earth, and I want to live politely every day. increase.'

--thank you.

Sentence: Yukiko Yaguchi

 

* Gidayu Kyogen: A work originally written for Ningyo Joruri and later converted into Kabuki.The lines of the characters are spoken by the actor himself, and most of the other part of the situation explanation is handled by Takemoto.

* Takemoto: Talks about the narration of Gidayu Kyogen's performance.On the floor above the stage, Tayu, who is in charge of the story, and the shamisen player play side by side.

Biography

Ⓒ KAZNIKI

Born in 1960. In 1976, he was introduced to Takemoto Koshimichi, the tayu of the female Gidayu. In 1979, the first Takemoto Ogitayu allowed Tayu Aoi Takemoto, the former name of Ogitayu, as the second generation, and the first stage was performed at the fifth stage of the National Theater "Kanadehon Chushokuzo". Completed the third Takemoto training at the National Theater of Japan in 1980.Became a member of Takemoto.Since then, he has studied under the first Takemoto Ogitayu, the first Takemoto Fujitayu, the first Toyosawa Ayumi, the first Tsuruzawa Eiji, the first Toyosawa Shigematsu, and the 2019th Takemoto Gendayu of Bunraku. In XNUMX, it will be certified as an important intangible cultural property holder (individual designation).

Recruitment of trainees

The Japan Arts Council (National Theater of Japan) is looking for trainees for Kabuki actors, Takemoto, Narumono, Nagauta, and Daikagura.For details, please check the website of the Japan Arts Council.

<< Official Homepage >> Japan Arts Councilother window

Future attention EVENT + bee!

Future attention EVENT CALENDAR March-April 2022

Attention EVENT information may be canceled or postponed in the future to prevent the spread of new coronavirus infections.
Please check each contact for the latest information.

Special exhibition "Kiyomei Bunko-Things that are inherited over time"

Work image
From "Katsu Iyoko's own roasted specimen" (Ota Ward Katsu Kaishu Memorial Museum collection)

Date and Time December 12th (Friday) -March 17th (Sunday) 2022
10: 00-18: 00 (until 17:30 admission)
Regular holiday: Monday (or the next day if it is a national holiday)
Place Ota Ward Katsu Kaishu Memorial Hall
(2-3-1 Minamisenzoku, Ota-ku, Tokyo)
Prices Adults 300 yen, children 100 yen, 65 years old and over 240 yen, etc.
Organizer / Inquiry Ota Ward Katsu Kaishu Memorial Hall

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OTA Art Project "Machinie Wokaku" XNUMXrd

Work image
Tomohiro Kato << Iron Tea Room Tetsutei >> 2013
Ⓒ Taro Okamoto Museum of Art, Kawasaki

Date and Time June 2st (Sat) -August 26st (Sat)
11:00-16:30
Wednesday, Thursday, Friday, Saturday, Sunday (priority for reservations)
Place HUNCH
(7-61-13 Nishikamata, Ota-ku, Tokyo 1F)
Prices Free * Paid only for tea events.Detailed information will be released in early February
Organizer / Inquiry (Public interest incorporated foundation) Ota Ward Cultural Promotion Association Cultural Arts Promotion Division TEL: 03-3750-1611

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Contact

Public Relations and Public Hearing Section, Culture and Arts Promotion Division, Ota Ward Cultural Promotion Association
146-0092-3 Shimomaruko, Ota-ku, Tokyo 1-3 Ota-kumin Plaza
TEL: 03-3750-1611 / FAX: 03-3750-1150