Abandoned Bamboo Forests × Art

Bamboo shoots, bamboo crafts, such as syakuhachi(Japanese end-blown flute) and shinai (Japanese sword), and stories such as “The Tale of the Bamboo Cutter”all ensure that bamboo is very familiar to Japanese. Bamboo is used in various ways on almost daily basis by most people has. However, abandoned bamboo forests are a recently emerging problem due to the distribution of alternative materials and the lack of manpower to maintain satoyama. Furthermore, the deterioration of bamboo forests is also quite serious. As bamboo is highly fertile and grows rapidly, other tree species that are not as prolific and do not attain heights greater than that of bamboo struggle to grow when bamboo is luxuriant. As a result, the number of birds and insects living in these forests is decreasing as is forest biodiversity. In addition, water retention in these is lower compared to forests generally since bamboo has shallow roots. Therefore, several problems such as landslides have occurred so that from a disaster prevention perspective.

The abandoned bamboo forests are a problem. It is important to think about the role of bamboo in our life and culture from many perspectives.

Mr. Yuki Tsuji, Ikebana Artist and the Director of Tsuji Institute of Space, has addressed and brought attention to the issue of abandoned bamboo forests by conducting art projects and answering questions about them.

Questions answered by: Yuki Tsuji: Ikebana Artist, Director of Tsuji Institute of Space

How is bamboo used in Japanese lifestyles and culture?

In Japan, Mosochiku (Moso bamboo), Madake (Japanese Timber Bamboo) and Hachiku (Henon bamboo), are fertile bamboo species. Mosochiku is the most fertile and causes the serious problem of abandoned bamboo forests. Madake reminds us of the image of Princess Kaguya in The Tale of the Bamboo Cutter. Bamboo shoots of Hachiku are considered to be soft and tasty. As well as housewares and food, bamboo plays an important role in Japanese culture. In Noh performances, bamboo represents “eternal life.” For example, in the old literature of Fujiwara no Teika (1162-1241), a Japanese poet, it is told that “Noh was performed in the garden of Sentō Imperial Palace. The stage was built on a foundation of stones in the garden using bamboo trees for pillars and the roof was thatched with pine leaves.” Such structural creations using plants such as bamboo has been conducted in Japan since olden times.

Could you please tell us about the relationship between abandoned bamboo forests and your art work?

In 2013, Noh was performed at the Château de Fère in the Champagne Region of France. The Fondation SAKURA du Château de Fère offered me space for an artistic creation on that occasion. This offer provided me an opportunity to think about the abandoned bamboo forest problem. I think that bamboo is situated between architecture and ikebana as it is used both for architecture and ikebana as material. I had the idea to build a pavilion using Hachiku that enables one to make pliant and sinuous structures as an art object. When I was conducting the field work for procuring materials, I was aware of the abandoned bamboo forest problem of Shizuoka Prefecture where I am from. The abandoned bamboo forests and art bonded together when I thought about this problem from the viewpoint of a natural blessing. Then I considered a system that can change such bamboo trees into art by adding new value since they will be abandoned due to low economic value.

Do you think that art can contribute to a solution for the abandoned bamboo forest problem?

The “recycling art project” that I am involved with helps the growth of other tree species and grasses by cutting bamboo trees for my art work and allowing sunlight to penetrate to the forest floor. Also, bamboo trees used for Noh performance are crushed into small pieces by bamboo shredders, and are returned to nature through use as fertilizers. Bamboo is rich in carbon, so shredded bamboo can also be used as agricultural fertilizers (agricultural method to enhance carbon cycling) if they could be packed and easily distributed.
When living in cities, our awareness about abandoned bamboo forests tends to be decreased. Also, when I perform ikebana art in Tokyo, I buy flowers at the flower shop, create flower works, but finally I am obliged to abandon them. However, if I create art work using abandoned bamboo trees and recycle them as fertilizers, it would contribute to the betterment of people of the region. In addition, awareness about the abandoned bamboo forest problem can be shared and passed on to future generations through working together with the students of the region. The “recycling art project” that uses bamboo trees for art work and fertilizer afterwards was born from a sense of awe for nature.

I think that the role of art is to face nature and evoke its vitality. Art connects humans with nature, and the relationship is rediscovered. Art can also contribute to resolving environmental problems in this way.

How can we think about our attitude to nature from a perspective of Japanese culture and lifestyles?

In the world of Noh, musical instruments represent nature; wooden flutes = winds, kotsuzumi (Japanese small hand drum) = water, ohzutsumi (Japanese large hand drum) = fire, and taiko (Japanese large drum) = ground. Hayashikata (Noh musicians) create nature using sounds to visualize it. Tsuzumi is made of cherry wood and horse leather, and relates to nature both physically and sensuously. Moisture is necessary for kotsuzumi to make a water sound. It is necessary to hold ohzutsumi against the fire of a hibachi (Japanese charcoal brazier) in advance to create a fire sound. When Noh is performed in the open-air, deer sometimes answer the sound of tsuzumi. Similarly, the calling voices of Noh musicians seem to mimic nature. Both ikebana and Noh proximate to the generous and mellow world visually and fundamentally, and are inspired by nature and plants.
Intrinsically, “geinō (perfoming art)” is “life art” based on nature, and enjoyed by all people. We can be familiar with art more sensuously, and by doing so, we will be able to multiply feelings both nature and culture.

Thank you very much, Mr.Tsuji.

（Photographs by Yuki Tsuji）

Art Works by Yuki Tsuji (PDF)
About “Shakuji-noh” Project (PDF)
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