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Myōkenji Temple in Chiba Village, Shimousa Province) Decorative Banner for the Large Festival Boat The old Myōken Festival seems really different from today. Aye. Back in the Edo period, two large boats joined the Myōken Festival procession-one in front and one behind the mikoshi-each adorned with magnificent decorative banners. Wow, Those banners are so beautiful! Indeed! They were beautifully embroidered and stretched as long as 15 meters.

can see the Chiba City emblem at the top of the arch. I didn’t know it had over a hundred years of history! I wonder why it’s shaped like that? 'Tis based on one of our family crestes ─ the tuskihoshi-mon (moon and star crest) ─ combined with the letter for "chi"(千), the first letter of “Chiba”(千葉). The sweeping strokes of the “chi” (千) also form the star, and the curved lines on either side represent a crescent moon.

Same Sugoroku Game All Across Japan!? Chibanosuke Guide They say the same illustration for the “Fukutoku Enman Sugoroku” game was used in various regions! But the shops shown on it were different in each town? Aye, it seems a publisher in Tokyo sold blank sugoroku boards—with only the pictures—to local newspapers across the country. The newspapers then sold the spaces as ad slots to local shops, matched them to the illustrations, printed the boards, and delivered them with the New Year’s edition. Quite the clever business model, indeed!

Knowledge Spots｜Chibanosuke Guide 40The Harsh Reality of Evacuation of School Children Chibanosuke Guide Did all the schoolchildren who were supposed to evacuate actually get to leave? Nay, the "enko sokai"(縁故疎 開) system ─ evacuating to stay with relatives in the countryside ─ was given priority over organized group evacuation through schools("shudan sokai", 集団 疎開). But around one-third of school children couldn’t evacuate at all, whether due to poor health, lack of resources, or needing to help with family work. It really makes you think… What was the purpose of evacuation of school children?

cannot create something from nothing. From the tradition that already exists as part of our lives, we can find brilliant things that can bring on the future. And we can polish these and reshape them into new forms. This is an advantage for us Japanese, who live in a country with a long history. It’s also our responsibility. The present, the past, and the future. We feel it is our job to provide the opportunity to realize what our city is about, and to take a new perspective. Our aim is for all our citizens to become unique,

ニクラ」「half awake and half asleep in the water」「Ever After」「ギプス」など。日本写真協会新人賞、東川賞国内作家賞、写真の会賞受賞。 BORN IN TOKYO. GRADUATED FROM WASEDA UNIVERSITY WITH A MAJOR IN ARTS OF THE FACULTY OF LITERATURE, AND STARTED PHOTOGRAPHY IN THE MID-1980S. LAUNCHING 03FOTOS IN ‘90. HAS HAD MANY SOLO AND GROUP EXHIBITIONS IN JAPAN AND ABROAD. PHOTO COLLECTIONS BOOKS ARE “NU・E”, “FUNICURI FUNICURA", "HALF AWAKE AND HALF ASLEEP IN THE WATER", AND "EVER AFTER”,

WORKS, ONE CAN FEEL THE SCENERY OF CHIBA: THE SCENT OF THE SEA AND THE LIVES OF THE LOCAL PEOPLE AT THE TIME, MORE THAN HALF A CENTURY AGO. IN THIS EXHIBITION, KITAI SHOWS THE VIEWER THE PROCESS LEADING UP TO A NEW WORK, STREET TREES, CHIBA, WHICH WAS TAKEN WITH A DIGITAL CAMERA IN THE CHIBA OF THE PRESENT AND IS DISPLAYED ALONGSIDE HIS PHOTOGRAPHS TAKEN IN THE CHIBA OF THE PAST, AS WELL AS OTHER DOCUMENTS. AMONG THESE ARE NOT ONLY PRECIOUS VINTAGE PRINTS PRODUCED DURING THE PHOTOGRAPHER’S MORE-THAN-HALF-A-CENTURY CAREER, BUT ALSO

衛稲毛別荘（2F）という元々プライベートのためにつくられた空間で展示される。 THIS IS AN EXHIBITION FEATURING WORKS BY KUMI YOKOYU, WHO HAS ARRIVED AT PHOTOGRAPHIC EXPRESSION WITH A PROFOUND KNOWLEDGE OF PAINTING AND SCULPTURE. SHE HAS CREATED A GROUP OF WORKS WHILE FACING THE LOSS OF THE PERSON CLOSEST TO HER, HER GRANDMOTHER, AND THE DEEP SORROW THAT ENSUED, UNTIL HER ACCEPTANCE OF THIS IN A VERY PERSONAL WAY. THESE WORKS ARE EXHIBITED ON THE SECOND FLOOR

から時代を表現する。 THIS EXHIBITION CENTERS ON PORTRAITURE SHOT IN THE CITY BY MASUMI KURA, WHOSE WORK OFTEN DEPICTS PEOPLE LIVING IN CITIES THROUGHOUT JAPAN, OR OVERSEAS, AND FROM THE PERSPECTIVE OF VISITORS. CHIBA IS AN UNFAMILIAR PLACE FOR KURA, BUT BY INTERACTING WITH PEOPLE THROUGH HER ART-MAKING, SHE DISCOVERED "A LAID-BACK ATMOSPHERE AND STABILITY AMONG PEOPLE WITH A UNIQUE LOCALITY." HER WORKS TAKEN IN THE CITY VISUALIZE THE EXISTENCE OF THOSE WITH DIVERSE CULTURAL BACKGROUNDS WHO LIVE THERE, AND THE IDENTITY OF THE CITY EMERGES THROUGH THESE PEOPLE. FURTHERMORE, THESE WORKS,

AS OF THE CITY’S BASEBALL STADIUM, AND PHOTOGRAPHED THE SCENERY OF THE ATHLETIC MEET HELD AT A PRIMARY SCHOOL IN THE CITY, FOR THE SERIES SMALL GARDEN, WHOSE SUBJECT IS “SCHOOL.” INDEED, SCHOOL IS A SYMBOLIC PLACE IN THIS EXHIBITION: HONJO’S UNUSUAL PORTRAITURE WAS PRODUCED FROM HIS INTERACTIONS WITH STUDENTS ATTENDING A SPECIAL NEEDS HIGH SCHOOL; VIDEO WORKS WERE COMPOSED USING FRAME-BY-FRAME RECORDING AT A PRIMARY SCHOOL. ©︎Naoki Honjo 協力: 千葉市立高等特別支援学校 ©︎Naoki Honjo 協力: 千葉市立平山