The Short Films of Shen Jie

October 31, 2015 2015年10月31日

Shen Jie is a Shanghai-based award-winning animator whose short films include RUN!  (2012 – 2013), HORSE (2013), STAMMER (2013), among others. His work is hand-drawn on the computer, often very rhythmic and experimental.

沈杰是上海的获奖动画师,他的短片作品有《RUN!》(2012 – 2013), 《HORSE》 (2013), 《STAMMER》 (2013) 等等。他的作品俱由电脑手绘完成,常常充满节奏感和试验性。

Shen started drawing in junior high school and went on to study multimedia in college, dabbling in design, illustration, photography, animation, film and video. He discovered that he took easily to animation, and continued pursuing it as his main creative medium. He often likes to search for interesting, bizarre, and less popular narratives, and Georges Schwizgebel is a major influence.

沈杰初中开始画画,随后于大学主修多媒体专业,学习涉及设计、插画、摄影、动画及影视。他发现,做动画于他而言非常顺手,便一直持续将动画作为他的主要创作媒介。他常搜寻观看有趣、离奇、略小众的叙事动画,期间Georges Schwizgebel对他产生了巨大影响。

From beginning to end, his process is all achieved on the computer, painted frame-by-frame in Photoshop and AfterEffects in a spontaneous style. Shen Jie says, “Sometimes I think that ‘time’ itself is a great subject matter. You can use time to express an event, or use the event to express time. The advantage of animation over a static image is that time provides more room for expression.”


Shen Jie previously worked in the advertising industry, but he recently quit to work on his animations full-time. “I used to run for ten years, running as far as possible every day. Now my heart beats very slowly,” Shen says. “My inspiration these days comes from everyday life, reading novels, and watching Ozu and Edward Yang films. I also like to look at pretty girls.”

沈杰最近刚辞去广告业的工作,转而全职创作动画。“我跑了10年步,尽可能每天都跑。现在心脏跳得非常慢。沈杰说: “现在,我的灵感来自: 日常生活、小说、小津安二郎和杨德昌的电影。我也喜欢看漂亮姑娘。”

At 24 frames per second, often repeating in short loops, yet changing with every iteration, Shen Jie likes to use time in this fashion to push his story forward. His shortest project, 牛YA, took two weeks to complete, while Monkey, a five minute piece, took one year. His next project is a film about swings.


Vimeo: ~/user16760143


Contributor: Jia Li

Vimeo: ~/user16760143


供稿人:Jia Li



October 30, 2015 2015年10月30日

What must it have been like to have lived elsewhere in a different time? People from long ago used to build their own houses and make their own furniture. If you didn’t make it yourself, you would find yourself a carpenter. But in today’s world of assembly lines, mass-produced goods, and living in modern cities – especially in a very big and populous Chinese city, it may be difficult to imagine such a thing. And so, many of us nowadays may start to yearn for the past and a more traditional way of life.


Such was the case with Zhu Li and Chen Lei-Yu, who had been friends since they were kids. When they grew up, one had opened a shop in Hangzhou, while the other one worked a conventional nine to five in Shanghai. One day, Li sent Lei-Yu some woodwork photos, and coincidentally this was something that his friend was also doing. Some time later, they teamed up and opened a carpentry workshop called Zowoo. During their normal hours of operation, Zowoo is Zhu Li and Chen Lei-Yu’s creative workspace; while on the weekends, Zowoo also offers woodwork classes to teach carpentry enthusiasts and hobbyists how to make some small things out of wood.


Zhu Li studied design at first, before opening a small business in Hangzhou that sold original works by young designers, trying to help them find more creative freedom in the commercial marketplace. But perhaps because he is an introvert by nature, Zhu Li soon realized that there was a gap between reality and his idealism for creative freedom. Soon after selling the shop, he went to the countryside to find a house in a village, bought some equipment, and started playing around at home with woodworking, simply because it was something that one person could accomplish, and it felt worthwhile just to be able to work with his own hands.


Chen Lei-Yu, on the other hand, seemed destined for white-collar management work. It was five or six years ago when he just wanted to buy a simple wood coffee table. When he looked online, he started to become interested in woodworking and carpentry, and later continued studying how to make things by hand. Moving away from his management job to become an art director of woodworking at Shanghai Disneyland, he later eventually founded Zowoo with his friend. Lei-Yu believes that compared to the past when one had to spend three to five years to learn the whole craft, modern woodworking is much more simplified because it is already mostly mechanized. Just about anyone and everyone could take part now, even people in big cities.


Zowoo, for Zhu Li and Chen Lei-Yu, is about having a balance of practical living and pursuing one’s own personal goals. “At the beginning when we started this space, our first hope was that this was a place where everyone was willing to stay for a while. Secondly it needed to be a thing of beauty. We wanted others to see that it wasn’t a rigid or austere way of living – and perhaps it could inspire others, to pursue the kind of lives that they wanted to lead.”


Zowoo believe that woodworking and making things by hand can give people a certain kind of pleasure. For them, they do not think of what they do as an act of “creation”, but rather more simply as “playing”. The ideal scenario for them is a group of like-minded people coming together at the workshop, making things, chatting and conversing.  In addition to the sense of accomplishment that one may get from woodworking, it is more important that in that very moment of creating something by hand, one’s heart is set wholly in this act. “The whole process and act (of woodworking) may help you to relax, and it can also allow you to use your imagination, like a child making clay figures all afternoon. It’s that simple.”


Two good friends, one carpentry workshop. There really is no better kind of life.


258 West Songxing Road, Building No. 9, 2nd Floor
1919 Creative Park
Baoshan District, Shanghai
People’s Republic of China

WeChat: Zowoolife


Contributor & Photographer: Banny Wang




供稿人与摄影师:Banny Wang

In the Studio with aaajiao

October 29, 2015 2015年10月29日

aaajiao is a Shanghai-based new media artist known for his avant-garde mixture of computer science and art. His multidisciplinary approach uses data, algorithms, vectors, and coding to visualize and produce tangible objects out of highly abstract relationships.


Born in 1984 in Xi’an, China, aaajiao’s trajectory from computer scientist to new media artist sees him constantly pushing into previously unexplored territories. From founding China’s very first co-working space Xindanwei to also starting the comprehensive Chinese new media blog in 2006, aaajiao’s involvement in digital arts and culture in China has been very prolific.

1984年出生于中国西安的aaajiao,其从计算机科学家转变为新媒体艺术家的人生轨迹,见证了他对未探索领域不间断的挺进。 从创建中国首个联合办公空间——“新单位,到2006年开办综合性的中国新媒体博客,他在中国数码艺术和文化领域一直非常多产。

This year, aaajiao has moved to a new studio on the outskirts of Shanghai in an old abandoned woodworking factory. Taking over an entire floor which overlooks the Huangpu River, aaajiao and his collaborators now have their own dedicated space to experiment, create, and put the finishing touches on artwork.


Coming from a production process that relied solely on a factory’s manufacturing time, aaajiao says, “My work process is different from other artists because they tend to wait for the factories to make their ideas actualize in the very final step. I use the factory as a tool, and control the process every step of the way.”

从生产过程完全依靠于工厂加工的时代过来,aaajiao: “我的工作过程不同于其他的艺术家。他们倾向于,在最后一步等待工厂来将他们的创意实现。我则当工厂是工具,我会控制生产过程的每一个步骤。

Working with jewellery designer Shen Lei and longtime collaborator Xu Cong, aaajiao created a series of wearable interactive art pieces, called Ornaments. Edible, magnetic, transformative, and also functional, this work raises questions about how technology can integrate with everyday objects.


Although his work starts on the computer using programming languages such as Processing, in his new studio it is translated into the physical realm using cotton, copper, LED displays, 3D printing, concrete, and even sugar.


Currently, aaajiao is working on a clothing series with a fashion designer which will also merge workwear uniforms with uniquely generated pattern designs. He says, “Working with different mediums and production methods is an amazing way to learn new things.”

最近,aaajiao正和一个时装设计师,在做一个在工作制服中融入特殊生成图纹的服装系列。他说: “用不同的媒介和生产方式工作是一个学习的绝佳方式。”

“A lot of people are now also doing new media, but what’s really important is how you use your medium and process to solve interesting problems.”  In addition to fashion, aaajiao also plans to experiment with furniture design in the future.

“很多人在做新媒体,但是现在真正重要的是,如何使用你的媒介和工序去解决有意思的问题。” 除了时装方面,aaajiao也打算在未来体验一下家具设计。

Instagram: @aaajiao


Contributor & Photographer: Jia Li

Instagram: @aaajiao


供稿人&摄影师:Jia Li

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Blackbridge Motorcycles

October 28, 2015 2015年10月28日



Blackbridge Motorcycles is the custom motorcycle workshop of Adrien Macera which focuses on racing and building bespoke motorcycles for China’s budding scene. Named after the artist colony of Blackbridge on the outskirts of Beijing, the shop is a real wonderland for motorcycle aficionados. Every detail is a reflection of Adrien’s passions and interests.

黑桥摩托车是Adrien Macera的定制摩托车工作室,它专注于赛车和为中国正在萌芽的摩托车界打造定制车。这个以北京郊区黑桥这块艺术家聚居地命名的店,是摩托车死忠粉们的仙境。这里的每个细节都是Adrien的激情与爱好的映射。

Born in Egypt and raised in Italy and France, Adrien considers Beijing his home of the past 20 years. After art school in Beijing, Adrien had a number of office jobs before his interest in motorcycles took over. Four years ago he started his private workshop in the Blackbridge area, a self-sufficient creative community where spaces like the shop can exist.


His dogs and pet pig roam the grounds where racing bikes, vintage bikes, and custom builds are worked on by his three-person team. Besides crafting custom builds, Adrien also leads track races in Ordos, Inner Mongolia, and in Zhuhai, Guangdong for his friends and customers.


“If you really like motorcycles and it is going to be your form of transportation, you’re going to want to have more than one,” Adrien says, “which is OK, because they don’t get jealous of each other. You can have different motorcycles for different purposes.”

“如果你喜欢摩托车,并且它会成为你的交通工具的话,你将想拥有不仅一辆的车。” 他说,“也没事就是,因为它们之间不会互相妒忌。你可以为不同的用途配置不同的车辆。”

China is quickly catching up to the global trend of more and more custom shops. “In Beijing, I know 200, maybe 300, people who spend a lot of time customizing and building their motorcycles,” he says.

中国正在快速赶上全球的定制大潮。他说: “在北京,我就认识了两三百个这样的人,他们花大量的时间个性化和铸造自己的摩托车。”

These days, motorcycles are still considered dangerous and somewhat unsavory in public opinion, but that is an attitude which is shifting as more and more people are influenced by BMW and Harley culture seeing it as a sign of wealth. While custom builds can take years and become very expensive, Adrien says some of his favorite bikes are passion projects that are more about taste and self-expression than luxury.




供稿人、视频与照片摄影师:Jia Li



Contributor, Videographer & Photographer: Jia Li

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Clothing Project by Shi Jin-Hua

October 27, 2015 2015年10月27日

“Clothing Project”, exhibited in September at this year’s Photo Shanghai, is a work created by one of Taiwan’s very few conceptual performance artists, Shi Jin-Hua. This project was originally conceived when he was an artist in residence at MoMA PS1 in New York, to measure the perimeter of the art institute’s building.

《穿量計劃》是今年9月于上海藝術影像展上展出的作品,由台灣極少數的觀念行爲藝術創作者之一——石晉華創作。這件作品是他在紐約MoMA PS1當代藝術中心駐村期間,以身上穿著的衣服測量PS1當代藝術中心的周長。

During the first phase of the project, he collected clothes donated from some of PS1’s staff and other visiting artists. He then numbered and tagged each article of clothing and put everything on one article at a time, photographing every step of the whole process: 77 photos for 77 pieces of clothing. In the second stage, he cut the cloth from all the clothing into strips, and stitched together a very long “cloth tape measure”. In the third stage, he used this fabric “tape measure” to measure the perimeter of PS1, which turned out to be 21 pieces of clothing.


Clearly, for Shi Jin-Hua, the importance of this measurement isn’t in an abstract mathematical figure or hasn’t any kind of academic purpose. Jin-Hua has instead transformed the act of measuring into a corporeal sensation and an expressive, artistic act. His rather unique methodology isn’t limited only to “Clothing Project”, but often recurs in a lot of his other works, such as “Hugging Project”, “Pencil Walking”, “Searching Center and Boundary”, and so on.


Born in 1964, Shi Jin-Hua now lives and works as an artist in Kaohsiung, Taiwan. When he was 17 years old, he started taking insulin injections to control his blood glucose level. Usually when one is first introduced to an artist’s work, his or her medical condition isn’t usually discussed. But when it comes to Shi Jin-Hua, one cannot fail to mention his diabetic condition. Because his life has been inseparable from the “body”, and the daily acts of “documenting” and “measuring”, much of the work he has made as an artist has centered around these three key words.


As a diabetic who regularly needs to keep a log of his body’s glucose levels every day, Shi Jin-Hua has also applied the idea of measuring data to try to interpret some of the other things he encounters in life. Through a medical condition, which also gave birth to his art, he has found an opportunity to share something of great personal value and meaning from his own life into his work.




Contributor: Banny Wang
Images Courtesy of Mind Set Art Center



拱稿人: Banny Wang

Through Tatsuo Suzuki’s Lens

October 26, 2015 2015年10月26日

Tatsuo Suzuki takes black and white photographs that document the fast pace of urban life in Shibuya, Tokyo. Tatsuo first started shooting in 2008, after getting a Nikon D70. After initially finding the art of photography to be very interesting, he soon became increasingly addicted to the medium. At the beginning he shot mainly in color, but over the years he shot more and more in black and white, as he felt that it captured the passion and emotions of his subjects more effectively.

鈴木達朗氏は白黒写真を撮影し、東京渋谷の都会の生活を記録しています。鈴木氏はNikon D70を手に入れた後、2008年に撮影を始めました。写真撮影に初めて強い関心を持った後、写真という媒体にますます夢中になってゆきました。最初の頃は、カラー写真を主に撮影していましたが、数年後、被写体の情熱と感情をより効果的に捉えると感じた白黒写真を撮影することが多くなってゆきました。

When asked about his background, he says that it is actually in music – and that punk rock, in particular, has left a very deep impression on him. Previously in high school and up until college, Tatsuo was in a punk band. Those days are now over, but one can still get a sense of his punk music past in his gritty black and white street photography.


Tatsuo admits the underlying impulse of punk has probably always existed in his photography. The uplifting energy, the irritability of punk, and frenetic rhythm are all in a way visually represented in his work. In his long exposure photography, for example, there is an expressiveness that seems almost musical.


He shoots primarily on weekends when he is not working. Typically he would walk around the city and ask subjects if he can take their photo. Sometimes he doesn’t ask at all and just takes a spontaneous shot of a passerby. His interest is mostly in capturing people in their regular daily lives, and not so much about cool and perfect compositions.


Tatsuo describes his photographic style as being emotional, impulsive and more documentary in nature. His favorite photographers include Robert Frank, William Klein, and Daido Moriyama. With Moriyama in particular, he shares a lot of stylistic similarities. Often described as being dark, gritty, rough, provocative and blurry, the same could be said of Suzuki’s work.


His inspiration, he says, comes mainly from within. He believes photographs can be a reflection of what goes on in a photographer’s mind, so if there is a perceived dark side in his work, he admits it probably also represents his inner state. He is not so interested in capturing humorous or comical street scenes, but is drawn more towards scenarios that have a high degree of tension and complexity.


Like many other street photographers, Tatsuo is inspired by his chance encounters when out shooting, that sudden flash of a moment when first meeting someone. But at the same time, he admits that over the years there haven’t been that many especially memorable or monumental moments that he can recall while shooting. For Tatsuo, every day is a new day and one must always look to the future. He doesn’t typically like to look at past work, except mainly to learn from it and to try to improve on it. In his words, the photo he takes today he hopes will be better than the one that he took yesterday.


Shalanaya Festival Shanghai

October 25, 2015 2015年10月25日



Shalanaya Festival is an annual psytrance and electronic music event held near Shanghai in Zhujiajiao ancient town. Organized by Blaine and creative partners Lulu and Pablo, the festival brings together people from around the world for a celebration of music, art, culture and life.


Psytrance is a genre of electronic music that originated in Goa, India in the late 1980s, and has since become a global sound. In the early 2000s, psytrance also emerged in China with underground events organized by music collectives Magic Garden and Goa Productions. Shiva Lounge, formerly an after-hours club that was opened by Blaine in Shanghai, further played a role in bringing the sound to a Chinese audience.

Psytrance是电子音乐的一个流派,发源于上个世纪80年代后期的印度果阿,之后逐步风靡全球。在中国,psytrance最早出现在两千年初音乐团体Magic Garden和Goa Productions举办的地下活动中。由Blaine开设于上海,前身为夜店的Shiva Lounge,也在psytrance在中国的传播中扮演了举足轻重的角色。

In 2015, Shalanaya Festival is in its third year, continuing to share the psytrance sound with those who are both familiar with and new to the experience. According to the organizers, the music festival “is about expressing yourself through dance, of opening your heart to others, exchanging positive vibes and being your true self. People should expect an interesting day and night – a journey of music and dancing, exploration, odd coincidences, synchronicities, meeting and making new friends, re-connecting with old ones and connecting with our friends on a deep and satisfying level.”

Shalanaya音乐节一直将psytrance之音分享给体验过和没体验过的人们,到今年已是第三届了。组织者说: “Shalanaya音乐节在于通过舞蹈表达自我,在于敞开心扉、交流正能量,在于做真正的自己。它是一场这样的一天一夜的旅程: 音乐,舞蹈,探索,奇遇,同欢,结识新友,重聚故交,在一个更深更充实的层面发展友情。”



Contributor & Videographer: George Zhi Zhao
Music courtesy of



供稿与视频制作人:George Zhi Zhao

LOST Magazine

October 23, 2015 2015年10月23日

LOST is a magazine founded by Nelson Ng, a Singaporean art director who is currently based in Shanghai. Featuring personal stories and photo essays from contributors traveling the world over, the thick bilingual magazine is both stunning and meditative. The stories draw from a talented community of writers, designers, photographers, and artists whose travel experiences are not typically covered by the glossy editorial spreads of other travel magazines. Instead, Nelson curates the stories to be more about travel as a state of mind.

LOST》是一本由定居上海的新加坡籍艺术总监Nelson Ng创立的独立杂志,它主要刊载一些周游各地的旅行爱好者所投稿的个人和照片故事,厚厚一本双语杂志,内容精彩,让人回味无穷。杂志中会有来自作家、设计师、摄影师和艺术家们的旅途故事,而这些并非我们在传统旅行杂志上所看到由编辑撰写的文章,相反的,Nelson挑选这些投稿时都会尽量让这些故事以旅行心情的角度去呈现。

Travel can be inspiring, foreign, fun, extremely uncomfortable or ugly. “I called it LOST after a trip where I took a ship from China to Japan all alone and realized that travel could be an entirely different experience. I realized that travel wasn’t really about sightseeing at all, but about what goes on in your mind when you’re traveling,” Nelson says, “It was actually quite an uncomfortable trip, because I didn’t know the place and didn’t know the language. But after I came back from the trip I felt that I had learned and grown so much, and I realized this is the true value of travel, and it was a great feeling,”


The first issue of LOST came about as the result of an experiment when Nelson tapped into his network of friends in the creative industry for interesting stories about their trips around the world. “Each person came back with a very different interpretation of travel. One person wrote about the language barriers when traveling in a foreign land such as Japan, another person wrote only about the people she met during her trip in Yunnan, and someone else merged his writing with his photography to create a visual poetry of his feelings when he climbed mountains. It was all very personal and just people sharing what they saw and felt during their trip.”

《LOST》 创刊号是Nelson的首次尝试,他在自己的创意友人圈中征集大家在世界各地的旅途故事。“每个人回来后都会有各自对旅行截然不同的诠释。有人会在行至异国比如日本时遭遇语言障碍问题,也有人只是单纯分享她在云南旅行时遇见的人,还有人结合自己的文字与图片给大家呈现一场视觉诗篇来表达自己的登山体验。都是些非常个人的东西,就真的是与大家分享自己的旅途见闻。”

As one of the only few bilingual magazines coming out of China, LOST has rapidly picked up distribution outside of Shanghai and Singapore to Taiwan, London, Berlin, Amsterdam and New York. Mainly carried in small independent cafés and lifestyle shops, it remains at heart a self-published magazine that connects both Asian and Western audiences.


“The reception has surpassed my expectations,” Nelson says, “submissions are already in up to the fourth issue, and I think the stories will only get better and better.” Apart from LOST, he’s also working on another small zine focusing on stories about farmers and craftsmen.

Nelson说,“它受欢迎的程度远远超过我的预期” ,“目前已经增订到第四期,并且我相信我们将给读者带来越来越好的故事。”除了《LOST》,他同时还在筹备一个关于农民和手艺人的小型电子杂志。
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Contributor: Jia Li

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供稿人:Jia Li

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Seung Yul Oh

October 22, 2015 2015年10月22日

Seung Yul Oh is a Korean artist based in Auckland who creates life-like, hyperreal sculptures of Korean noodle dishes out of resin. Using epoxy resin, silicone, steel, and aluminium, his strands of noodles can stretch up to 12 feet above their bowls, dangling from chopsticks.

성열 접착제를 이용하여 한국의 국수요리 조각상등을 극사실주의로 살아있는 듯하게 창안해 오클랜드에 기반을 두고 있는 예술가입니다에폭시 접착제, 씰리콘, 강철과 알류미늄을 이용한 그의 국수가닥들은 접시 위에 365cm 높이로 젓가락 끝에 매달린 채로 흔들리고 있습니다.

Experimenting with materials and appearances, Seung Yul Oh defies gravity with his work. The noodle dishes featured are traditional Korean Ramyun, Naeng Myun, Jab Chae, Jja Jang, and others, floating out of perfectly sculpted soup broth, eggs, vegetables, and beef. His idea is to show the food in action but without having the person present.

물질과 현상을 실험하면서 성열은 그의 작품에서 중력을 무시하고 있습니다 국수 요리들은 흐르는 국물, 알류, 채소류, 쇠고기등과 함께 완벽하게 조각된 한국의 전통적인 라면, 냉면, 잡채, 자장면과 같은 것들입니다그의 아이디어는 사람의 간섭 없이 음식들이 움직이는 것을 보여 줍니다.

Seung Yul Oh’s work often redefines and challenges ordinary objects and spaces in a whimsical way. Working across painting, installation art, sculpture, video, and performance art, he likens his creative process to cooking, even when it comes to deep-frying his paintings. His autobiographical approach is inspired by moving from Korea to New Zealand as a teenager and being thrust into a completely new environment and culture.

성열의 작품은 가끔 기발하고 종잡을 없는 방식으로 평범한 사물과 공간을 도전적으로 재해석 합니다그는 회화, 설치, 조각, 영상, 행위예술을 종합한 작품활동으로 그의 회화에서 튀김에 이르기까지 요리를 창조적 과정으로 비유하고 있습니다그의 접근방식은 그가 십대 때에 한국에서 질랜드라는 완전히 낯선 환경과 문화에 던져짐으로써 영감을 받은 것입니다.

Seung Yul Oh has exhibited at Art Basel HK, Auckland Art Gallery, The Museum of New Zealand, The National Gallery of Victoria, among others.

성열은 Art Basel HK(아트 바젤 HK), Auckland Art Gallery(오클랜드 아트 겔러리), The Museum of New Zealand( 질랜드 박물관), The National Gallery of Victoria(빅토리아 국제 겔러리) 밖의 여러 곳에서 전시회를 가졌습니다.


Contributor: Jia Li



글쓴이: Jia Li

Koenji Awa Odori

October 21, 2015 2015年10月21日

At the end of every summer, Kōenji plays host to Tokyo’s largest Awa Odori. This Japanese traditional dance festival originally started in Tokushima and was later adopted in Kōenji post-war by urban migrants from Tokushima Prefecture. Every year it attracts as many as 12,000 dancers and 1.2 million visitors over the course of just two days.


Known to many as being the birthplace of Japanese punk music, Kōenji is a trendy neighbourhood in Tokyo, just west of Shinjuku. It is home to many boutique shops, live houses, and small restaurants. During the Awa Odori, its streets are lined with happy spectators, festival revellers, and thousands of dancers parading in colorful Japanese traditional costumes.


The procession is made up of around 200 local dance troupes weaving their way through the shopping streets on the north and south side of Kōenji, accompanied by shamisen lute, traditional drums, shinobue flutes and cymbals. The rhythm of the procession builds up to a dramatic and exciting conclusion at the event’s finishing line.


The 59th Kōenji Awa Odori held this year in late August was organized under the theme of “Spreading Smiles” with the hope that the infectious smiles of the many thousands of participating dancers would lift the spirits of all the visitors and the local community of Kōenji.


Historically, the Awa Odori festival probably originated and evolved from the Obon festivals in Tokushima, which have existed since the 16th century. It is said to have started more specifically in 1586 when the Lord Hachisuka Iemasa of Awa Province organized a celebration for the opening of Tokushima Castle.


Fueled by great amounts of sake, the drunken revellers on that night started to sing and dance. Some of the locals picked up some musical instruments and improvised music for the festivities. From then on, every year in Tokushima it became a popular major event that would last often for more than three days at a time. It wasn’t until the early 20th century, however, that the festival was officially coined Awa Odori.


These days the Kōenji Awa Odori is a major event in Tokyo that is popular with both locals and tourists alike. Typically held in late August of every year, the festival’s exuberant energy, costumes, dancing, and music are all bound to delight and bring smiles to the faces of the millions of spectators and participants involved. To find out more about next year’s festival, be sure to check out the event’s website.



Contributor & Photographer: Leon Yan



投稿者&カメラマン:Leon Yan