Ainu folk music

Ainu people have no indigenous system of writing, and so have traditionally inherited the folklore and the laws of their culture orally, often through music.

[1] The oral Ainu culture includes various genres, including upopo , lighthearted ballads on daily affairs and rituals often accompanied by traditional Ainu instrumentation, and yukar (mimicry), a form of rhythmic epic poetry often supported by light percussion.

They were often accompanied by the two most prevalent Ainu musical instruments: the tonkori, a plucked zither, and the mukkuri, a jaw harp played by women.

The singer performs the song entirely from memory, and, traditionally, in a "non-formal" setting such as a friend's house or before the hearth at a gathering.

Certain paintings also show these epics being performed lying down, with the singer beating time on his or her abdomen with the hands, but this practice has faded into obscurity.

Heroic narratives feature one of several major culture heroes, or recurring protagonists of mythical origins, such as Kotan-Kor-Kamui, or the Owl God.

This epic relates the story of the bear god, who, in saving his young son, is killed by human hunters.

The song both presents the situation from the god's point of view – he is confused when he is killed, and doesn't recognize his own dead body for what it is – and prescribes the methods for the bear-sending ceremony.

The song describes the inau, or carved sticks that are used as holy objects by the Ainu, as well as the prayers and ceremonies that are used to send the bear home.

At the start of each game, players take opposite places and form with their hands a closed tube between each other's mouths.

One of the characteristics of these lullabies, is the mother's production of meaningless sounds such as "Ohho Lulu Rurururu" on the rhythm of lulling baby's cradle, typically done by rolling the tip of the tongue.

As a result of the geographical dispersion of the Ainu people over various neighboring islands, some of these native instruments strongly differ in usage and construction.

Historically this instrument did not retain a large importance in Ainu communities and was commonly seen as a children's toy rather than a tool for supporting songs or rituals.

The tonkori is played by both men and women and commonly serves as musical accompaniment to yukar or dances and rituals, although solo-performances have been noted as well.

For example, when the Ainu were first conquered, in the period of decline after the 16th century, the culture heroes featured in the heroic types of epics were said to have "departed in indignation,".

[12] The pressure on Ainu music throughout their history as a people under the rule of a dominant majority has come largely from the Japanese government.

In addition to this, through pressure and in governmental institutions such as schools,[13] "on every possible occasion the Bakufu persuaded the natives to follow the Japanese way,".

A railway tourism manual published in 1941 reflects not only this attitude, but also the idea that the Ainu were happy to have their culture suppressed in this way.

They have abandoned their native customs and manners, forgotten the Ainu tongue and effected a complete change in their daily life."

[15] While these excerpts are indicative of the attitude of the government that the Ainu should conform to the rest of Japanese society, the pamphlet's very existence counters the idea that they fit in.

This kind of contradiction is actually characteristic of the way the Japanese government has treated the Ainu, especially in the early 20th century.

"It is beyond words for me to explain to others how miserable it made us feel to sing and dance – albeit for money – in front of curious tourists from throughout Japan when we weren't even happy or excited.

Ceremonial songs and dances became both a viable means of making a living and a shameful badge of dishonor.