IN-PERSON: Prague – Section A

Abstract

This paper focuses on the dichotomy between high-class culture kabuki and local (“farmer”) kabuki, and its implications. While the first in Japan is designated as “important intangible cultural property”, performed by prestigious and traditional families, the latter is performed by villagers, and is considered to be “intangible folk cultural property.” The project considers the key role of Japan in the area of UNESCO World Heritage, in particular in discussing the Nara Document of Authenticity (1994) and in the establishment of the Intangible Cultural Heritage Convention (2003). Moreover, it looks at how Japan’s designation and conservation policies for Intangible Cultural Heritage have influenced the heritagisation and institutionalisation of kabuki theatre in Japan and internationally, and how this created a dichotomy between high-class kabuki and folkloristic kabuki. Making use of academic sources on kabuki and videos of performances, as well as literature on authenticity and intangible heritage in Japan, the paper analyses the implications of this dichotomy and explains why high-class kabuki is exhibited to foreigners to promote national culture and why, on the contrary, folkloristic kabuki targets domestic tourism. The study raises questions on the impact of Japan’s intangible cultural heritage legislations and conservation practices, finding that folkloristic kabuki needs proper financial support and documentation for testimony and transmission in order to be saved from its uncertain future.