Japan has treated intangible heritage as an object in need of safeguarding and a precious treasure of the nation, based on the Law for the Protection of Cultural Property, established and enacted in 1950. The competent body is the Agency for Cultural Affairs, which operates under the Ministry of Education, Culture, Sports, Science and Technology. A Traditional Culture Division within the Agency is directly responsible for intangible cultural heritage.
As an institution for training in the safeguarding of intangible cultural heritage, the Department of Intangible Cultural Heritage is established in the National Research Institute for Cultural Properties, Tokyo, which belongs to the National Institutes for Cultural Heritage. The government also conducts training workshops at the Japan Arts Council (National Theatre) to train successors of traditional performing arts such as Noh, Kumiodori, Bunraku, Kabuki and traditional popular entertainment.
With regard to documentation, the Department of Intangible Cultural Heritage in the National Research Institute for Cultural Properties is also responsible for implementing such measures. In addition to audio-visual recordings of intangible cultural heritage, which are currently considered as the most important method for its safeguarding, it studies new methodologies for achieving better recordings and safeguarding results. The results of its research and studies are widely available to the people or institutions concerned. Furthermore, the Agency for Cultural Affairs operates a website that contains both tangible and intangible cultural heritage, and enables users to search for information about them. Each element of heritage has an explanation, images, movies, and links to other relevant websites.
Japan considers that its longstanding system of designating and selecting Cultural Properties, which makes provision for intangible properties, constitutes a national inventory. Specifically, this comprises three lists: ‘Important Intangible Cultural Properties’; ‘Important Intangible Folk Cultural Properties’; and ‘Conservation Techniques for Cultural Properties’. The three lists are maintained by the Agency for Cultural Affairs, and are revised whenever new additions or removals are made. Each list has its respective designation criteria, which are further distinguished by genre or domain. For instance, the criteria for performing arts to be designated as ‘Important Intangible Cultural Properties’ include that they possess (1) a particularly high artistic value; (2) a particularly important position in terms of art history; (3) particularly valuable features at the regional or school level, in addition to high artistic value or an important position in terms of art history; and (4) particularly important skills in relation to the structure and formation of performing arts mentioned in the previous clause. For craft techniques, the first three criteria are applied, with ‘art history’ being replaced by ‘the history of craft techniques’. By comparison, to be designated as ‘Important Intangible Folk Cultural Properties’, performing arts must constitute particularly important folk performing arts which correspond to any of the following criteria: (1) illustrate how the performances began and evolved; (2) represent a transition in performing arts; and (3) express regional characteristics and features. As far as the criteria for designated ‘Conservation Techniques for Cultural Properties’ are concerned, these techniques are themselves considered to be intangible cultural heritage, whether they relate to tangible or intangible cultural properties.
In all cases, designation covers both the element itself and the ‘holders and holding groups’ that constitute its bearers and practitioners. Designation or selection is carried out only after it has been determined whether such an element of intangible cultural property or selected safeguarding technique has been properly inherited by a holding body or a holder of it, and whether an element of intangible folk cultural property is being transmitted by a safeguarding body. Thus, designation under the Law for the Protection of Cultural Property requires the identification of a community that has inherited an element of intangible cultural heritage and transmits it to the next generation. The Agency for Cultural Affairs proceeds with surveys or designation in cooperation with such a community, typically with a safeguarding body for intangible cultural heritage or a relevant research institute.
As a general measure to promote the function of intangible cultural heritage in society and to integrate the safeguarding of it into planning programmes, the national government has embarked upon such projects as to: (i) utilize rich and various elements of intangible cultural heritage in local communities, since 2011; (ii) assist with comprehensive as well as distinctive local events, such as open performances in public of traditional rituals and traditional performing arts, the training of successors, open access to important cultural buildings and historic sites; and (iii) foster tourism and boost the local economy. A local government formulates its own plan and carries it out with a subsidy from the Agency for Cultural Affairs.
With regard to bilateral, sub-regional, regional and international cooperation, Japan has adopted a Law on the Promotion of International Cooperation for Protection of Cultural Heritage Abroad (2006). Such cooperation is ‘carried out on the principle of supporting the independent efforts of governments or related organizations in the foreign country where the cultural heritage is located, taking into account the importance of cultural diversity.’ The Law further provides that ‘In order that international cooperation on cultural heritage be promoted on the basis of international harmony in the spirit of the various conventions and other agreements related to the protection of cultural heritage, the State shall endeavour to exchange information with governments or related institutions of foreign countries, or international institutions, and take other appropriate measures as necessary.’ In addition, and in conformity with a decision of the 35th General Conference of UNESCO, Japan has established the Asia-Pacific Intangible Cultural Heritage Research Centre in Japan as a category 2 centre of UNESCO in 2011.
Japan reports here on 16 elements on the Representative List, three of which were incorporated in 2008 after having previously been proclaimed Masterpieces of the Oral and Intangible Cultural Heritage of Humanity and 13 of which were inscribed in 2009 (see the website and original report for the list). For instance, Kabuki’s proclamation in 2005 was widely covered by the media, generating huge interest not just in Kabuki but also in other forms of intangible cultural heritage and other elements from around the world that were proclaimed at the same time, encouraging respect for human creativity and cultural diversity. The same is reported for the Ningyo Johruri Bunraku puppet theatre, following its proclamation in 2003, and for the Nohgaku theatre, following its proclamation in 2001. Among the elements inscribed in 2009, for instance, news of the inscription of Akiu no Taue Odori raised the interest of local people, particularly in Miyagi Prefecture, and inquiries about the details and performance seasons of the ritual increased. In addition, there were also many inquiries about domestic and overseas intangible cultural heritage in general. Due to the increased interest in Chakkirako after its inscription, members of the safeguarding association and local people in Kanagawa prefecture and Miura city have re-acknowledged its importance. The inscription of Dainichido Bugaku was reported across the country in newspapers and on the television, particularly in Akita prefecture where the performance is transmitted. This lead to an increased interest in the performance among residents in the prefecture and in Kazuno City. The impact of inscription on other elements was similar. In each case, the report on the status of the element was prepared with input from the respective safeguarding association representing the community of bearers.