1. Title of the Project:

Awaji Puppet Association

2. Name of the Performing Art Concerned in the Project

Awaji Ningyo Joruri

3. Geographic location of the Community

Awaji City, Sumoto City and Minaiawaji City, Hyogo Prefecture, Japan

4. Introduction of the Performing Art

Awaji Ningyo Joruri has a 500-year tradition and is one of Japan's important national folk-cultural assets. It is believed that it was started in Osaka by performers of religious rites such as Bugaku (court dance and music). In Awaji Island, the technique of puppetry was then adopted. The shamisen (the Japanese three-stringed lute), accompanying the Ningyo Joruri puppet theatre refined the performing art.

In the 18th century, 44 za theatre companies competed with each other and toured all over Japan, where they left Awaji puppets, resulting in over 100 puppet theatre traditions being handed down around the nation. Awaji Ningyo Joruri was held in the open air, therefore the puppets and their movements were made larger. The theatre featured unique performances and actions. In short, Awaji Ningyo Joruri is a world-class stage art as well as a traditional folk performing art.

5. Problems the community faced before the launch of the project, and the factors which caused the decline of and threatened the performing art

Awaji Ningyo Joruri was very popular as a seasonal ceremony to praise and pray to the gods. Some za, the puppet theatre companies, consisted of nearly 100 members and, under the protection and patronages of the Imperial household, the Lords of Tokushima Domain and rich merchants, and za companies, made tours to other domains and places.

In the Meiji Period, feudal domain patronage ended and traditional industries declined, and za lost patrons. Introduction of movies and radio also caused diversification of enterprises and thus the number of theatre companies fell sharply to only seven in 1926. In order to protect Awaji Ningyo Joruri, volunteers soon established the Association of Awaji Ningyo Joruri Conservation and the Awaji Puppet Art Revival Association.

In the confusion during World War II, many valuable artifacts such as puppets were lost and za puppet companies in Awaji were either dismantled or stopped their activities. People who had made their living in the puppet theatres looked for new ways of living. Some professionals had to transfer to Bunraku, and Awaji Ningyo Joruri nearly fell into extinction.

6. Details of the project for solving problems of the performing art, especially who and how it started, finance, and involvement of younger generation

In 1976, the theatre was designated as an important national intangible folk-cultural asset and the Awaji Puppet Association and Awaji Ningyo-za were incorporated into a semi governmental foundation.

The Awaji Puppet Association implemented the following projects.

• Successor training for puppeteers, Tayu to recite Gidayu and shamisen accompanists,
• Collection and preservation of the puppets, costumes, props, etc. used for Awaji Ningyo Joruri,
• Research and study on Awaji Ningyo Joruri puppet theatre,
• Lobbying activities to the national governments for its development,
• Guarantee of the status of the Ningyo-za staff
• Organisation of the National Puppet Summit & Festival
• Organisation of overseas performances

Through the performance made by Awaji Ningyo-za at the National Theatre of Japan in 1970 and a major success in America in 1974, the Awaji Ningyo Joruri puppet theatre came to be highly regarded by the islanders. In 1985 Awaji Ningyo-za moved to a new office, and the status of young professionals of Awaji Ningyo-za was guaranteed as public servants managed by local authorities, for the purpose of establishing a system that allows them to be involved in the performing arts without excessive worrying about their livelihood.

Club activities in high schools and children's groups were founded, and also successor training systems were introduced in local schools. A large number of students get opportunities to see performances by visiting theatres and taking introductory Ningyo Joruri performance training at school.

7. Project's Outcomes Including Success Stories and Difficulties

(1) Successful Outcomes

• Creation of professional status as public servants which may encourage young people to choose the art as their future occupation
• Hopes and motivation by prospect of overseas performances to the youths of the island
• Solid results achieved by the successor training projects of the association
• Contribution in generating great educational effects on youth development, such as cooperation/communication ability by operation of one puppet by several people and endurance required in long period of training
• Realisation of love of local performing arts for the local students
• Great success of the "National Puppet Summit & Festival" which encouraged puppet groups across the nation and restored Ningyo Joruri
• Encouragement to the young people of the island to be proud of their hometown and restore the declining Awaji Ningyo Joruri
• Solidarity of the islanders through cooperation of Awaji Ningyo-za, the association, local officials, instructors, local supporters, family members
• Secured cooperation from external groups
• Establishment of cooperative framework of cultural volunteers by the association

(2) Issues

• Lack of supportive organisations for further understanding and to increase the number of supporters
• Limited personnel in the programme due to the island's small population
• Declining number of tourists to Awaji Island
• Lack of audience for Awaji Ningyo-za, the centre of Awaji Ningyo Joruri
• Lack of plans for developing new forms of economic assistance from governments and cooperation/support by the islanders
• New construction of a hall designated for Awaji Ningyo Joruri