Irankarapte, Japan! Dialogue of cultures

"Irancarapte!  Let me gently touch your soul!" is greetings in the Ainu language.
Dialogue of cultures of the ancient peoples

Interview with Zamudin Guchev

Zamudin Guchev is well-known master and researcher of the Circassian traditional art, honored artist of the Republic of Adyghea, teacher of the Folklore department at the Adyghean republican children's school of arts (ARCSA) K. H. Tletseruk, author of unique publications on Circassian culture: "The Art of the Adyghe Mat" (1990), ""Learning to play a shychepshyn"(2014), encyclopedic edition "The Atlas of the Circassian (Adyghe) shychepshyn" (2017), etc.

- The dialogue of cultures between the Circassians and the Ainu. How did it start?  How did begin your collaboration with the Center for Ainu and Indigenous Studies?

Z. G.:Really, all started with the fact that Professor of Hokkaido University, researcher of the Center for Ainu and Indigenous Studies, who was studying a musical instrument tonkori, Itsudzi Tangiku saw in the Internet my report about shychepshyns. It turned out tonkori was similar in appearance to shychepshyn, and this became the beginning point of his scientific interest. Then, in the spring of 2016, he and musicologist Chiko Tangiku visited our Republic to study culture and musical traditions of the Adyghes. So began their ethnographic studying, comparison of two instruments, folklore and culture of two ancient peoples.

- In January of this year, you participated in international projects of the Center for Ainu and Indigenous Studies "Promotion of cultures" and "Musical instruments of Eurasia" at Hokkaido State University in Sapporo. How were you welcomed there? How interesting is the Adyghe culture for the Japanese?

Z. G.: This interesting and informative visit was a result of my activity in the field of revitalization or revival to life of Adyghe musical traditional culture that has begun 30 years ago. The results of this activity were interested by the Center for Ainu and Indigenous Studies, and it invited me and doctor of Philology, Professor, head of the Center for Adyghe language of Adyghean State University Raisa Unarokova to present our lectures at Hokkaido University in Sapporo in January of this year in the framework of international programs "Promotion of cultures" and "Musical instruments of Eurasia". Our Adyghe culture found itself in the orbit of interests of this Center, and they financed our entire visit in Japan, from start to finish. And the attitude with which we were received was determined by their great interest to the Adyghe culture as a whole.
Chronologically, our trip to Japan began with Narita airport where we first came into contact with the Japanese culture and originality of this country situated far from our Adyghea. Of course, we immediately began to compare local people with us. And we have a lot to compare! In Japan all live externally with same manners. It doesn't look like the other country I've visited. Since the first minute we’ve observed cleanliness and neatness unusual for Russian inhabitant. It was surprising that it was a deep snow in Sapporo and in Tokyo the spring already began.
The Center itself is a part of Hokkaido University and located on its picturesque territory close to the Sapporo train station. It is a real University campus with more than 18,000 students and 2,000 teachers. We presented lectures there within the framework of the Center's international projects, each of us with the own theme. I prepared a report "The Circassian (Adyghe) musical instruments", and Raya Unarokova – "Folklore of the Ainu and the Circassians: typological parallels". Our main audience was presented by professors, linguists, anthropologists.
In my report, I presented Adyghe folk musical instruments and I focused on string-bow chordophones, as well as I made an excursion on similar with shychepshyn instruments of other peoples from South Korea, China, Mongolia, Tuva, Central Asia, India, moving closer to the Caucasus or to countries of the Southern Caucasus: Armenia and Azerbaijan, where it is the same bow instrument like in Central Asia – kemancha, to the North Caucasus peoples: Dagestan, Chechnya, Ingushetia and Ossetia, and to the Black sea coast, the Pontic Greeks and Shapsugs. It should be noted the Ainu’s tonkori is a plucked string instrument.
But before I told about Adyghe people, showing a detailed presentation with photos and videos, where I presented all that brighter and closer characterizes us for the Japanese, namely nature of the Caucasus, Circassian male and female costumes, horse breeding, arms, folk arts and crafts, sport. I focused attention on similarity in sport, namely in judo. At the international games, Adyghe and Japanese judoists met on tatami (Japanese mat). And the Circassians worthily compete. And it’s thanks to the founder of judo school in Adyghea, the great Adyghe judo trainer Yakub Koblev. There are 3 judo institutes in the world: in Japan, Adyghea and France. The second institute after Japan was created in Adyghea. In addition, I also presented the world-famous Circassian personalities: the famous musician Yuri Temirkanov, the outstanding physicist Muradin Kumakhov, I drew attention to the fact this was a result of powerful roots of the Adyghe ancestral tree of life, although our people are dispersed around the world.
I have to say in Japan I was everywhere in cherkeska, a Circassian male costume, emphasizing my national identity, and I gave my lecture in cherkeska. I thank very much Director of the Ensemble "Nalmes" Aslan Hadzhaev who gave it to me. Of course, it was interested by the audience, there were many questions. They asked questions about gazyrs and hat. So, I have decided it was time to have my own Circassian costume, as homage to our culture and our ancestors. The cherkeska creates a mass of events and receives much attention that was showed by my visit in the kimono country. To be in cherkeska, to wear a papakha (hat) obliges to many things!!! 
So, the Japanese interested very much in the report of Raya Unarokova that was devoted to comparison of Ainu folklore with Circassian folk culture. As an example, she took the Nart epic poetry and the Ainu epos "Yukar", as well as an instructive Adyghe folk tale about a hare slipping on ice, and it tries to find out who is the strongest, and the strongest is the cat. The Ainu have a similar tale, but its hero is a wolf, and the strongest among all is the human. This is one of the antiquity evidences of the origin of Circassian tale where the main winner is an animal, not a man, in comparison with the Ainu tale.

- Two cultures - Adyghe and Ainu, in your opinion, what are their similarities and differences? And how similar is the Code of the Japanese samurais with the Circassian honor code "Uork habze"?

Z. G. In a short time of our visit to Hokkaido Island, known in the past as Edzo, homeland of the Ainu, we had a chance to learn their history, life and culture in the first day of the stay in Sapporo, visiting the Hokkaido ethnographic museum. The whole museum’s first floor is dedicated to the Ainu. And there we saw familiar and even similar for the Adyghes cultural objects. Among them there were snowshoes, mats, household items, weapons. It is noteworthy the Ainu used their mat as a sail for boat for 8-10 persons. A significant event for us became our visit in the Museum complex "Porotokotan" in Shiraoi on the coast of the Pacific Ocean. Here we felt a fullness of Ainu culture: there were traditional architecture, clothes, choreography, singing, playing musical instruments, crafts and beliefs. And all these things were in natural environment.
At first glance, we observed similarities and differences between our cultures. I especially want to highlight the art to weave mats, called by the Ainu as chitarape.  Mats are made by the Ainu, like by the Circassians, with cattail, and the colors are not very different. Ornamental structure monumentally looks the same as at the Circassians. Their ornaments are similar with ours and they are geometric. Among the colors, they prefer as us a natural buff color of cattail, and with the dyeing - maroon and black. In addition, there is observed a similarity in the use of mats in Ainu and Adyghe traditions: they hung on walls, lying in cradle, on floor, they used it in rituals. The mat is an obligatory element for the celebration dedicated to the chief totem of the Ainu bear that was considered a "mountain man." In addition, the mat was a main subject of home and common altar where they put ritual objects, and like the Circassians, there were hung up on it weapon and musical instrument tonkori.
For differences, I note the Ainu like weaving mats more colorful than the Circassians, and their weaving method is different. So, the Circassians weave in vertical way and the Ainu - horizontally. The Circassians use in the process of mats weaving a sealed bar with holes, and the Ainu generally don’t use it.  This is not necessary, due to the fact they do not braid the cattail leafs on the base, and they tie up leaves throwing cords of the basics thrown over stones or sinkers, over the top bar of tool for weaving. This weaving method is the most archaic. Besides mats, we have a very similar method of manufacturing of homespun cloth. However, if in the past the Circassians used for that a sheep wool, the Ainu - wood or nettle bast.
Another example of similarity in the culture of two peoples is a cold arm. The Ainu sword is similar to the Japanese katana. It is similar with curve to our shashka, a special kind of sabre. The Ainu preferred to fight with bow and arrows, and they considered shameful to use edged weapons. However, at the time, the Circassians considered shameful to shoot a gun, and our people paid a high price for that, like the Ainu.
Today the Ainu sabre is a part of ritual dances. It is noteworthy in dance the performer directs blade of sword not off himself, but on himself, swings it forward as if he is warding off evil spirits. The Circassians didn’t have such ritual. However, it used a dagger during the wedding ceremony; they took off the veil of the bride with tip of dagger. During the rite of entry of the bride into house, they let her pass under two crossed daggers.
Two peoples also are connected by their folk musical instruments. The similarity of external signs is convincing and relates to some forms of Adyghe shychepshyns. They have a dagger-shaped form. However, tonkori is a plucked instrument, and shychepshyn applies to stringed kinds. They both are accompanying instruments. It is different the material with which strings were made: the Ainu use bast of nettle, and we take horse hair. It should be noted tonkori was preserved by Sakhalin Ainu, who moved to the Hokkaido Island at the end of the Second World War and after transferring of Sakhalin Island to the Soviet Union, and together with them the instrument moved. The Ainu tonkori was made only by men, like the Circassian shychepshyn. And they sang only their songs in family. While the Adyghes sang different songs of different folk authors and all songs were treasure of the whole nation.
In the museum, we learned the Ainu had a taboo to draw humans. And all those paintings with people we saw in the Hokkaido museum were performed by Japanese artists.
In fact, the Circassians have more similarities not with the Ainu, but with the Japanese people. These are etiquette rules, weapons (shashka and katana), Samurai code "Busido" and Honor Code of Circassian nobility "Uork habze", relationship between juniors and old persons. It’s observed a similarity in the women's national costumes: this is ashkhebelago, ashkhethampe - large decorative sleeves with Circassian national ornaments embroidered with gold, and the Japanese kimono of aristocratic style has furisode, long and wide rectangular sleeves decorated with floral ornaments. This was particularly noticeable in the theater “Kabuki”. This detail of women's clothing requires more consideration. I advise to Adyghe designers of national clothes to pay a special attention to this detail distinguishing Adyghe women's suit from national clothes of other peoples of the Caucasus. We must to preserve this unique creation of folk designers of the past with its mysterious meaning!
We also observe a similarity between our peoples in the fact that Japan, as recently Adyghea, celebrates the National costume Day. And this is a day of Sakura blossom when everyone wears their graceful and elegant kimono and wooden shoes geta, similar to Adyghe buskins (phetsuake) and goes on festive walk. It must be emphasized kimono in Japan is produced in factories; they are sold at affordable prices as a cloth and as a gift. It would be desirable we, Circassians, have this experience. I have to say the authentic kimonos made by famous designers are also available for sale, but they are not available to everyone.

- 2018 is the year of Japan in Russia and Russia in Japan. You had an opportunity to contribute to development of relations between our two countries and even to demonstrate peculiarities of one of the peoples of the Russian Federation. What kind of experience of the Japanese would you like to learn in relation to supporting of culture of these peoples like the Ainu living on the Japanese islands since ancient times?

Z. G.: Japan is an ultra-modern country which, however, draws attention to traditions of peoples living on its territory, seeks to preserve all with knowledge this is a life-giving source of its success in the global economy. All that they achieve concerns centuries-ancient traditions of peoples of Japan, their attitude to their ancestors, their culture and culture of other peoples. Of course, they have their black pages in history, especially during the period of Japanese Empire. But the Empire, reaching its heights and established it, was trying to correct its mistakes. So, in Japan it is not afraid to write the Ainu were victims of Japanese colonization. Not every great nation can do it. It’s not observed in Russia. And historically, the Japanese pushed the Ainu to the North, and today this ancient people is a minority living on Sakhalin Island, Hokkaido Island and partly on other islands. The study of the Ainu culture let the Japanese to pay attention to us, Circassians.
The Center for Ainu and Indigenous Studies of Hokkaido University exists for about 10 years and is actively engaged in the revitalization of culture of the Ainu that are about 25,000 people in Japan. The Ainu had any written language, in the second half of the XX-th century the Japanese elaborated Ainu alphabet. Most of the Ainu have been assimilated since a long time, with the exception of small quantity. The research work of the Center brings them back to their origins. In this regard, the Circassians were more fortunate. The process of fading of our language was slowed down and even stopped in Soviet times. Now we have our own written language, our own Republic, our own public, scientific and educational institutions. Although today they cease to have a significant impact on all aspects of preservation and further development of our people. We are seeing how disappears one of the ancient languages of the world - Circassian language, one of the most important indicators of national identity. The Japanese experience would be very wise, timely and useful for Russia and Republic of Adyghea. Today it is very important to change the attitude to traditional treasure of Adyghe culture, to introduce more actively it into our current life. Certainly, it’s impossible to create momentary a folk theater like the theater “Kabuki”, but nothing stops us to create “Khachesh”, theater of Adyghe traditional songs and instrumental music, fortunately we already have a decade of creative experience of the ensemble of authentic singing "Zhyu" in relation to organization such khacheshes.  Today, the Ainu is a kind of Hokkaido brand, although there live about 25 thousands of the Ainu with 6 million population of the island. The State is trying to do everything to attract different countries to this island, and now the Ainu culture has become his face. There are produced souvenir and promotion products with symbols of this ancient people. Even an elementary sticky tape is made decorating with Ainu ornaments. Although there are no many tourists; the promotion of this ancient people culture is carried out at the state expenses. Japan has created a special Fund to support the Ainu culture. And this experience would be useful for us.

- What did you impress the most during your stay in Japan? Did you visit the traditional Japanese theater “Kabuki”?

Z. G.: During our trip to Japan, we visited several museums that made indelible impressions on us. These are the Ainu Museum "Porotokotan" in Shiraoi on the Hokkaido island, where so-named "ethnic Ainu town" is situated, the Museum of Western art in Tokyo where we saw the great Katsushika Hokusai, the Museum of musical instruments of the world at the University of Arts and the Ethnographic Museum of the Koto district in Tokyo. In addition, we offered the unique encyclopedic edition "Atlas of Circassian (Adyghe) shychepshyn" to the National library of the Parliament of Japan and the Ethnographic museum in Osaka. We gave to same museum the Circassian folk instruments: kamyl, shychepshyn (master – Azamat Ashibokov) and phachich (master – Aydamir Patokov).
In the Ainu museum "Porotokotan", where "kotan "is a village, and "poroto "is a large lake, and it means in whole "a village near a large lake", there are 8 authentic houses made with reeds and one museum building built with modern materials, but in Ainu traditional style. Inside the houses, the walls are covered with mats. The first house, a kind of "Khachesh", is for tourists. It can place about 50 people and it has a platform raised above the floor on 20 cm. This is a place where one presenter and performers in national costumes play. At the beginning of performance, the presenter talks about the Ainu people, tattoos of women on face and hands in the past. Then women in national costumes perform folk dance with accompaniment on tonkori. One performer demonstrates on bamboo mukkuri or jaw harp, lamellophone musical instrument, a masterful playing. It is remarkable their male headwear is made in form of wreath woven with ritual prayerful shavings, in the frontal part of which it’s placed a small wooden bear head. The men in national costumes perform a dance with sabres. This concert takes 30 minutes and repeats during the day when the house for tourists is completed. I had great chance to take pictures with artists who showed a particular interest to my cherkeska. In another house, we talked with the artisans women weaving Ainu mats. As a gift to them, I brought our mats puables made by master Ruslan Mazloev and even a bundle of cattail from Adyghea to compare, and I also promised to send them my book on technology of weaving Adyghe mats.
In Tokyo, we were impressed by the Ethnographic museum of Koto district which recreated the Japanese town quarter of the XIX-th century based on authentic materials. There, performances of folk artists take place 2 times a month. At the same time, it’s forbidden to picture and to record concerts with video camera. The performance with singing takes place in the room of a medieval Japanese house, performers sit on small pillows lying on tatami, and listeners sit as if they are on the street behind sliding walls of house. The singing rules are the same as the Circassians. The lead singer first comments history of the song and then other artists sing. So, for one hour, they performed traditional Japanese songs that didn’t leave anyone indifferent, including us, few Europeans.
Our hospitable hosts Itsudzi and Chiko Tangiku gave us an opportunity to visit the world-famous National theater of Japan "Kabuki" where only women performed in ancient times, and now only men play all roles, including women. We can infinitely talk about this theater. This is a whole world!

- You said you visited the so-named "Ainu ethnic town" and you became there a spectator of performances of folk music artists. Are such performances similar with authentic performance of the Circassians which was represented in Khachesh in the past? Is it possible to recreate this kind of folk theater in Adyghea? What are conditions for its recreating?

Z. G.: Every nation has its own distinctive music, unique in its own way. I believe we can recreate in Adyghea such theatre of traditional songs and instrumental music so-named "Khachesh".  As you know, in past the Circassians had in each village their own musicians, accordion players, dzheguakos, khatyakos or organizers of folk festivals and games, and every homestead had kunatskaya, guest-house, where folk songs and music were performed. It is noteworthy the Ainu gathered in the house of their leader located in heart of settlement. Today in Adyghea such "Khachesh" is demanded for local inhabitants and tourists. But its creation requires, first of all, desire, financing, place for construction of such theater, funds to ensure its continued activity. Of course, we are wasting time, and those whom I have already prepared, because of cool attitude to folk performance and a low assessment of importance of such Khachesh for promotion of our culture, are forced to do something else. Meanwhile, we still have great authentic performers as Zaur Nagoyev, Kazbek Nagarokov, Ramazan Daurov, Marina Shkhabatzeva. I created the children's ensemble "Tyzhin" in Adyghean Republican Children’s School of Arts. I am sure this Khachesh would contribute to growth of interest in our traditions and to rise of prestige of the Republic of Adyghea.
For example, in Japan it’s prestigious to play traditional instruments, to wear a kimono and to do judo. And now, more than ever before, it’s necessary to revitalize more actively the traditional folk art. Therefore, I would like to wish the youth to take actively example of the Japanese. For example, the Maikopsky Kurgan is a whole direction of researching. And singing and performance of instrumental music of the Adyghes are unique as cherkeska or Adyghe shashka, it’s a real chronicle connected closely with language, history and folklore of our people. All this requires to be studied.

- Your visit to Japan gave you not only a lot of impressions. You have collected a lot of interesting educational material. Do you plan to present it, as well as your report for Hokkaido University and Tokyo to wide public?

Z. G.: During our visit to Japan, we collected a lot of photos, videos and other materials on culture of the Ainu and the Japanese. We addressed to Ministry of culture of the Republic of Adyghea with a proposal to organize a public report on our trip. In fact, I would like to make a photo exhibition with displaying of video materials. In near future, I plan to select the brightest pictures of our trip in the Land of the Rising Sun. But now Raya Unarokova and me, we widely are presenting the Ainu and the Japanese with local Medias, and meeting with the youth section of the Adyghe Khase.

- Have you an intention to continue your cooperation with the Center for Ainu and indigenous people of Hokkaido University? How do you imagine the further dialogue of two ancient cultures of the Circassians and the Ainu?

Z. G.: After mutual visits, despite the huge distance between our countries, we got very close and became friends. Certainly, we will continue our cooperation. Especially, because during our visit, we transferred to the President of Hokkaido University Mr. Nava Toehiro the welcome address of the head of the Republic of Adyghea Murat Kumpilov and the agreement on cooperation between two universities of the ASU rector Rashid Khunagov. So, the dialogue of our peoples’ cultures is continuing!

- We thank you very much!

Interview is prepared by Fatima Teuchezh with participation of Raisa Unarokova
Photo of the archive of Zamudin Guchev

Maykop, Adyghea, Februar 2018