Masked Nation- The History of the Wearing of Medical Masks (by the general public) in Japan
Westerners have long associated Japan with masks. In particular, the masks of the Classical Noh Theater, which have become, along with Mt Fuji and the Great Buddha of Kamakura, one of the iconic images of The Land of The Rising Sun. This came about not only because these masks are sublime artistic achievements representative of Japan’s rich and unique cultural heritage, but also because they came to symbolize, for various foreign observers, what was taken to be (mistakenly, of course) the INSCRUTABILITY of the Japanese people. Numerous books related to Japan, whether scholarly, literary, or commercial have their covers adorned with these instantly recognizable Nohmen (Noh masks), and the same images can be found on travel posters, brochures, etc.
First time visitors to Japan, especially those who are here during winter or spring, cannot help but be greatly surprised, when they actually DO look around and find… a NATION MASKED! This is because no matter where one goes (in winter and spring), there are large numbers of masked people: masked men, masked women, masked children, masked families on outings, masked couples out for romantic strolls, people doing all sorts of jobs you would never imagine doing… while masked!!
These are not Noh or festival masks, of course. I suppose that they can most accurately be described as being surgical masks, like those worn by doctors during operations. The whole face, beneath the eyes, is covered by a piece of material which is kept in place by loops which fit around the ears. This can make people virtually unrecognizable. How many times has it happened to me, that someone, obviously an acquaintance who has recognized me, waves and rushes over for some small talk, forgetting however, to take off the mask and reveal his/her identity! I always have to feverishly scour the regions of my brain which deal with voice and eye-brow recognition (these people are also usually wearing hats!), and hopefully I can have a flash realization of just who it is I am talking to. More often then not, after parting, all I can do is mutter the old adage, “Who was that masked man anyway?”
As you can imagine from the above, one of the most frequently asked questions I get from newcomers to Japan and tourists is, “Why do Japanese people wear these masks?”
Well, the answer is… for all sorts of reasons. In spring, when masks are most common, they are used to protect the allergic minions from pollen, especially cedar pollen (after the deforestation which occurred doing the war, mountains were reforested almost exclusively with the fast growing cedar, which has become the bane of the hay fever suffering millions). Besides keeping out plant based allergens they can also be protection from yellow dust (kosa) which blows over from China, creating haze and irritating our noses and throats.
Masks for kids
Masks are still of course worn for the same reason they were when they were first sold to the Japanese public, way back in 1919: preventing the spread of colds, especially influenza. With the spread of the Spanish Flu and the deaths of tens of millions around the world, any rumor of oncoming influenza epidemics after that sent people to the store for a supply of masks. It was after the flu of 1934 that masks really became a standard feature of Japanese winters, as mask makers introduced a variety of cheap, comfortable and effective products (they had previously been cumbersome and had wires in them which would rust after being breathed on for a while).
Masks are worn today by those who don’t want to catch a cold (students preparing for entrance exams, pregnant mothers, etc.) and in accordance with simple common sense and consideration in Japan, by those who have a cold, so that they don’t give it to others.
Some just use the masks to keep their faces warm on cold and windy days (it works better than a scarf), or to keep their throats moist during Japan’s dry winters.
There are now many types of specialized masks available on the market: those which keep out pollen or yellow dust, those effective for the flu, etc.
And let’s not forget one more important use they can be put to: helping one stay anonymous and inscrutable!
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Face to Face with the Noguchi Family Masks (野口家の能面)
The Noguchi Family Masks Revealed
Shortly after leaving Mrs. Noguchi`s 300-year old thatched roof country manor house in the Bo-uchi neighorhood of Kukizaki in Tsukuba City, it began to rain. Rick Weisburd and I acknowledged the eerie coincidence with bemused grins. However, as the first trickles built up into a feverish downpour which carried on into the next day, I started to compulsively check the weather from my window, sweating and fidgeting with anxiety.
What had we done? We imagined Mrs. Noguchi, 86, sitting home all alone, listening to the rain relentlessly pounding the thatch, watching the waters rise, and deeply regretting her special kindness and hospitality towards us. She probably feared it was happening all over again, because of what she did. You see, she had broken an age-old taboo at at my behest. On Sunday July 29th, 2007 she let us open a box which it had been said should not be opened, and in fact had NOT been for many, many years. The box contained the fabled Noguchi Family Noh Masks, which according to legend are magical, possessing the power of bringing on rain. The last time they had been removed from their confinement, it is said that it rained torrentially for days, causing a disastrous flood. The masks had been boxed up and shut away in the Noguchi`s attic ever since.
Much to our relief, the rain eventually spent itself, leaving behind no serious damage (except to my stubborn skepticism!). Now with a guilt-free conscience, I can share with you what we found out about the masks and show you some of the rare photos that Rick took during our visit. What we found on that Sunday, just before the rains, was very different from what we had expected. This we quickly realized was due to the very old and misleading pictures of the masks which had been available in books and online. I hope to set the record straight by presenting a clear picture and explanation of what these masks are, based on a look at Japanese traditions of amagoi (雨乞い, rain supplication ceremonies) and their basis in Shinto and Buddhist lore.
First,however, let me tell you how it all began.
Coincidence and inter-connection are what led us to our special encounter with the masks. I had been perusing an obscure volume on local history and I stumbled upon a curious black and white photo that caught my eye. Three masks which appeared to be the faces of birds or monkeys were printed above the heading of a five-sentence entry entitled "The Noguchi Family`s Masks".
The text read "Three masks which have been in the Noguchi Family for generations. It is said that they were made by Hidari Jingoro. They used to be lent out to local farmers to be used in rain supplication ceremonies during dry spells and it is believed that they have rain bringing powers. Lord Hosokawa of the Yatabe Clan heard of the masks and used them to call for rain. Their power, however, turned out to be too great as the rains continued for 3 nights and 3 days with ensuing floods. They have not been shown to anyone since." (Kukizaki History)
Though I had been preoccupied with writing about other topics at that time, I made a mental note that someday in the near future I should try to learn more about these odd-looking, little known, local treasures with such an intriguing story attached to them.
As fate would have it, the next day I had an appointment with Misao Ito, whose mother is an important source of information for me on local folk customs. As we were talking, it came back to me that Misao and her mother lived in Kukizaki and I thought about the masks. I asked if Misao knew about them and the Noguchis. She answered that she certainly did and that Mrs. Noguchi, who lived alone, was her neighbor across the street!
Revved up by the coincidence, I asked Misao if she could introduce me sometime, so that I could do an interview about the masks. She told me that she would. About a week later I got an email. "Mrs Noguchi will be glad to see you and show you the masks ! Lets set a date." I was walking on air!
Noguchi Family Masks
Now I had to begin with some preliminary research which in this day and age usually begins with a Google search. Google Japan showed me that the masks were featured on the Tsukuba City website, in the Cultural Heritage Section. The site has a very similar photo and text, though there were a few key differences. The website`s photo showed two additional stick-like objects which were not shown in the book. The website left out any suggestion that the masks were carved by Hidari Jingoro, but said there is possibly a South-East Asian or Southern Island connection to the masks. Google Japan also showed me that the masks were mentioned in a few chat group discussions in Japanese on the origins of Japanese culture. Some participants had seen the old photo online and suggested that the masks showed a connection between Japan and South China or India etc. Nothing turned up in an English search and visits to several libraries led me to nothing new.
Taken aback by this near total lack of information regarding these important pieces of Tsukuba`s heritage, I came to recognize the significance of the upcoming appointment to see the masks and talk to Mrs Noguchi. The night before our meeting I hardly slept.
Rick and I had arranged to meet Misao at a roadside convenience store, and she proceeded to lead us along agricultural roads hardly wider than our vehicles, through rice fields glistening with green, and tall, shady woods. We were entering the Bo-uchi district of Tsukuba and it was as if we had experienced a time slip. Misao stopped her car and pointed out a rare, free standing cluster of zakumata (easy-childbirth supplication sticks) at a fork in the road, and dirt paths framed by weather-worn torii gates led off into darkened sacred groves which concealed small shrines, fox gods and votive stones.
Zakumata
Even in this setting the Noguchi`s house stood out, with its grand thatched roof and 300 year old posts set in front of the family`s wooded hill which was bursting with rainy season shades of green. Mrs. Noguchi was waiting for us with cans of tea. Though she needed a walker to help her get around, she appeared vigorous and even youthful when she took a seat and smiled as her guests admired the interior of her home with mouths agape. Being a residence of former samurai, the walls were adorned with traditional weapons, a large Shinto altar hung high on the wall and in another room we could glimpse a photo of Mrs. Noguchi`s husband, propped up in the Buddhist altar, showing a handsome, bright-eyed, naval officer as he looked just before being killed in the war at the battle of Leyte in the Philippines.
Noguchi Family Masks
Without wasting much time, Mrs Noguchi asked for the box containing the masks to be brought into the living room, where it was placed on the coffee table. With bated breath and a bit of reverence, I lifted the top off. The room seemed to fill with the musty smell of history. The contents of the box were wrapped in extremely browned newspaper, which to my astonishment were from the Meiji Period (1868-1912)! We gently peeled them away. What we found was quite surprising, though logical. I had seen the old photos of the masks (Mrs. Noguchi did not know when they were taken), and was under the impression that the masks resembled South-east Asian bird or frog masks, and I had wondered about the connection between such masks and Japanese rain supplication ceremonies. The Noguchi Masks, however, were not anything like what the old photos had shown, since those photos had obviously been shot from above, at a very misleading angle. We found what were clearly dragon masks, as the pictures Rick has taken reveal. When taken out of the box, each mask had two main sections, an upper face and a lower jaw. The stick like attachments appeared as if they could be fitted into the masks as horns and whiskers, part of the traditional dragon iconography.
I realized that this fit in perfectly with Japanese rain supplication customs, which often feature dragon-gods or Ryujin, as they are called. This is especially true within the Shingon Sect of Buddhism, which happens to be the sect which most residents of Bo-uchi are affiliated with. According to Shingon legend, a rival sect captured the dragon-god (Ryujin)and held him captive in a jar, which resulted in a severe drought. The great priest Kukai, however, using powerful incantations was able to free the Ryujin and bring back the rain. Thus, many rain supplication ceremonies include a Ryujin or dragon (see http://www.houbien.jp/amagoi/, as an example).
Also, quite fittingly, Mrs. Noguchi told me that her titular shrine (ujigami), was a Suijin (water-god) shrine. This connection to the Suijin is probably the reason that the masks were entrusted to the care of the Noguchi family. It seems natural that the masks used by local farmers for rain supplication would be Ryujin, as this is the god of rain, and that they would be housed in a family whose personal shrine was the water god.
And, by the way, as you can see, the masks were probably not carved by the great Hidari Jingoro, and this type of attribution of local artifacts to legendary artists is not uncommon in Japan, as it lends prestige to ceremonies. The masks appear to have been whittled by local farmers, as they do not show a high degree of artistic merit. The locals, though, revered the masks, using them whenever rain was needed, probably at the Inaoka Kaminari Shrine, which was famous for such ceremonies.
I have checked the records and found that there were terrible floods in this area 1723 and 1848. It was probably after the latter deluge that the masks were shut away.
Well, the rains have cleared up, and I hope that the `MYSTERY' of the masks has also been.
Special thanks to Misao and her family, and of course to Mrs. Noguchi, who was such a gracious hostess. We enjoyed talking with her and hearing her life story -- the most dramatic tale being when sword bearing robbers entered her home and stabbed her in the thigh! I hope to go back and try to get some more information about the masks and promise to keep everyone informed
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A late winter walk leads to the UBAYURI (姥ユリ) a type of wild lily, which is more beautiful AFTER its flower has fallen off- AND was an important food source for Japan`s early inhabitants
On an uncomfortably cold day like today, you might not believe me when I tell you that spring IS just around the corner. Sure, plenty of very cold ( and even snowy) days probably still lay ahead, and the March winds which blow off Mt Tsukuba ( the Tsukuba Oroshi) can be frosty and brutal ( for cyclists especially). But I`m not talking about the temperature. When I speak of spring I am thinking of all the VEGETATION, all the GREENERY which in the coming weeks will start emerging from the soil. Already this week I can sense all of that LIFE, chomping at the bit, getting ready to burst forth. You can almost hear it.
Knowing that there is is little time left to savor Tsukuba`s distinctive wild winterscapes, I took a long walk through the fields and woods near my house in Konda. It was not all just dried out reeds and branches
A new goshawks nest in the Konda Woods (Tsukuba)
I decided to start out by heading to the area above which I have often seen, in recent weeks, one of our neighborhood goshawks ( O-Taka) perched high up on some sort of communications tower. I thought that perhaps it was around there that the majestic birds will be nesting this year.
Stepping into the woods in my neighborhood can sometimes be creepy. With all the owls, and the goshawks, there are often plenty of small animal and bird remains, the feather, fur and bones, which the birds of prey ( and later the scavengers) leave behind. Right away, I knew that the goshawks were active in that area. The route I had chosen was littered here and there by blotches of such leftovers. There were also plenty of hawk droppings.
Getting deeper into the forest, I often stopped to scan the canopy ( still thick in winter because of all the evergreens), in the hope of spotting a nest. Just at the point which was probably furthest from any road ( in any direction), I found it, letting out a big WOW! Very impressive- amazing, even suddenly coming across it.
I then resumed my ground search in the general area around the nest.
Another view of the nest
About 20 meters east of the grand tree high atop which the goshawks had chosen to make their home, was a little slope- the remains of an ancient burial mound (kofun, 古墳). Still scouring the ground, I slowly proceded up it. What I found on top almost made me forget all about the nest- in fact it brought me back the original purpose of this hike- marvelling at the interesting withered vegetation of winter.
I found myself suddenly walking among what at first seemed to be the commonest of dried out reeds- but raising my eye-level to what would be my chest height, I found that the little ridge I was on was covered with one of the most beautiful features of the Japanese woods in winter- the dried out UBAYURI (姥ユリ), a type of wild lily ( with the scientific name Cardiocrinum cordatum )
Of course, by this time of year these plant`s flowers had long disappeared. So what, you may ask, makes them so special.
Well, after their blossoms have fallen away, the fruit of this lily appears. Eventually, this dries, too, and opens up into three petal-like parts- which are connnected by what look like fine filaments. Really something special to look at. And how strange I thought that, though many types of lily flowers are spectacular, the UBAYURI`s blossoms are rather dull and plain ( though they ARE large!). That means in winter, without their white cone-like flowers, they are probably more attractive than they are in summer!
In fact, they are often added to winter flower arrangements, as symbols of the season.
Looking closely I could still find some of the lily seeds with had been blown out of their casing. These, too are remarkable to examine, as they look like very finely sliced flower bulbs. Since lilies are famous BULBS, some are surprised to hear that they also have seeds. Well, they do, and they are worth a close look.
The Ubayuri as it looks in winter after having released its seeds ( Tsukuba, Konda 2011)
Japan is considered to be something of a TREASURE HOUSE of lillies, with more than 10 indigenous species ( some of which were introduced to Europe in 1829 by the German physician Von Siebolt, who was at the Dutch trading post of Dejima, Nagasaki).
And though the Europeans and others took up these flowers with great enthusiasm for decorative purposes, in Japan ( and the rest of North-East Asia) lilies have not only been admired for their beauty and scent- they have also been EATEN.
The bulbs of various types of lily were an important source of starch for the ancient Japanese andYuri Ne ( lily bulbs) are still an important feature of Japanese special O-Sechi dishes eaten over the New Year holiday.
The dried out fruit of the UBAYURI- in Tsukuba (2011)
Besides the holiday season Lily bulbs are available at supermarkets and food cooperatives and can be prepared in a variety of ways. One variety in particular, the Ko Oniyuri, is cultivated for its bulb ( though some other varieties can also be eaten)
When cooked these bulbs look like pieces of GARLIC (also bulbs) when served, and their texture is also quite similar to the STINKY ROSE. Their flavor , however, is very subtle and starchy, and is influenced by the seasoning used ( as opposed to influencing the taste of everything else, as garlic does).
The ubayuri stand tall in one area of the woods
One very interesting thing that I learned after I got back from my walk and started doing a little research on the UBAYURI was that a larger type of the same lily, called the O-Ubayuri (Cardiocrinum cordatum var. glehnii) is one of the most important food sources for the Ainu people.
The O-Ubayuri grows mostly in Hokkaido and in the colder, snowier, Japan Sea side of Northern Honshu.
Two UBAYURI seeds stuck on a nearby leaf
For anyone interesting in the process used to make TUREP, which is the dish that the Ainu make of of the starch of the O-Ubayuri, have a look at this page:
http://www.frpac.or.jp/kodomo/html/bunka/tabemono2/tabemono_01_ooubayuri2.html
A staple food of the Ainu- TUREP- made from the O-Ubayuri
In a couple of weeks I plan on going back to that same spot and dig up a few of the bulbs and try to make some Japanese dishes with them.
I think I will give TUREP a try , too, using the smaller type of UBAYURI.
I will tell you how it goes!
Ubayuri as they look when blooming in summer
And I hope that before the bulbs are ready for the taking, I will be able to get back a coupek of more times to enjoy Tsukuba`s wonderful winter wilds.
For some pictures of Japan`s lillies IN SUMMER see:
http://www.bekkoame.ne.jp/~seiji-t/liliy.htm
Ainu with traditional facial tatoos digging up O- Ubayuri
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The Evolution of Japan`s Hina Dolls (雛人形)- a deeper look
If you are interested in Japanese culture, February is a good time to be invited into Japanese homes. Hotel lobbies, community centers and department stores can also be interesting at the same time of year. This is because, traditionally, from early to mid-February through March 3rd, Japanese people take their HINA DOLLS, in all their variety, out of storage, and put them on display. These past few weeks I have seen and photographed a wide spectrum of these popular festive decorations, from enormous and elaborate ( and extremely expensive!) multi-level sets, to tiny, hand-made origami ( folded paper) dolls. Many families have put out more than one set, and then, other Hina Doll decorations, for example hanging scrolls or paintings, as well.
To simply explain what this custom is all about, Japanese friends will tell you that these dolls are meant to celebrate daughters- and represent a prayer for their healthy growth and a happy marriage in the future. They will also probably tell you that these dolls should be PUT AWAY right after the Hina Festival, which is on March 3rd. The reason for this is that there has long been the belief that if a family does not put the dolls away promptly, their daughters will not be able to find a husband.
The fact is, however, that now, customs are changing. Even families without daughters might display dolls. In families with only sons ( or no children at all ), these are often the mother`s own Hina Dolls brought from her parents home. Then there are those without family who simply like to decorate their apartments with Hina Doll motifs just to get into the spirit of the season.
There are also many families with daughters these days who do NOT follow the custom of promptly putting the dolls away. Either they are too busy to do so, or they just like to keep them out on display. Anyway, they are not worried about the old superstition. Thus, you might find dolls still on display at people homes throughout march. For more on this read my past post: http://blog.alientimes.org/2008/03/tsukubans-in-no-rush-to-pack-up-hina-dolls/ .
What Japanese friends will probably not tell you ( because they might not know!), is about the amazing evolution of this beautiful custom and about how dolls, or figurines have been so important in Japan for millenia as SCAPEGOATS used for taking on the impurities and bad energies of humans.
First lets look at why there is a festival held on March 3rd.
In ancient China, the first DAY OF THE SNAKE of the 3rd month ( in the Chinese calendar there is a 12 day cycle with each day representing an animal of the zodiac) was a day for ritual purification known in Japanese as JOSHI NO SEKKU 上巳の節句 （which is still an alternate name for the Hina Doll festival in Japan).
These symbolic ablutions were performed by a pond or a river, with water and rice wine being used to cleanse the mouth hands and feet.
The day for performing these rituals eventually changed to the 3rd day of the 3rd month according to the Chinese calendar. This is because for the Chinese, ODD NUMBERS were considered lucky, thus making 3/3 an auspicious day. The 3rd day of the 3rd month became one of the five seasonal change days, called SEKKU ( all on odd numbered days of odd months), which were celebrated ( in China , and later in Japan) with special rituals and foods. These days are the seventh day of the first month ( 1/7), the third day of the third month ( 3/3), the fifth day of the fifth month ( 5/5), the seventh day of the seventh month ( 7/7), and the ninth day of the ninth month ( 9/9)
It became customary on this day ( 3/3) for Chinese aristocrats to hold poetry parties by artificial streams. A bowl would be floated down the stream with a cup of wine . Participants sitting at various points downstream, would have to compose and recite a poem before the bowl reached them. This was an elegant and cultured festival game, played under the peach blossoms which bloomed in April( the month on the Gregorian Calendar which usually corresponds to the 3rd Chinese month).
This is significant because the Japanese Doll Festival is still strongly associated with PEACH BLOSSOMS ( another alternate name for the festival in Japan is the Peach Festival and little peach trees are part of the full doll sets). Strangely, however, since 1873, when the Japanese changed their calendar, the Peach Festival has been celebrated in March ( the new 3rd month), making it fall about one month before the arrival of the actual peach blossoms- see my article:http://blog.alientimes.org/2009/03/where-are-the-real-blossoms-at-peach-festival-time/
These Chinese customs were adopted by the aristocracts and noblity of Japan , probably in the Nara Period ( 710-794), when everything Chinese was the rage, and certainly by sometime in the Heian Period ( 794-1185). Thus, each of the seasonal change days ( SEKKU) was recognized and celebrated by the Japanese court.
However, as with so much else which came from China, customs evolved and blended with native Japanese traditions.
In Japan, the ritual cleansings for the 3rd day of the 3rd month were performed in a typical and very ancient Japanese way- by rubbing the body with human shaped figurines made of paper, straw, clay or wood. These were called KATASHIRO or HITOGATA, and were believed to have the power to absorb all spiritual impurites and bad energies.
The Japanese have used figurines in this way for thousands of years. The clay figurines called DOGU, commonly found at JOMON period ( 10,000 BC-300 BC) archaeological sites, are believed to have been used for similar ritual purposes, as surrogates to take on sickness or bad luck before being smashed, to rid the individual or community of these evils.
For the purification on the 3rd day of the 3rd month ( the Peach Festival) , however, under the influence of the Chinese poetry recitings by the stream, the KATASHIRO figures were cast off onto rivers or ponds, sending away impurites and bad luck.
From the literature of the Heian Perod, we also know that there were dolls for play ( not for ritual use), which were called HIINA ( at that time meaning little things), and were a male- female pair. It is possible that these were based on, or derived from the HITOGATA used for ritual purposes. It is the name of these play dolls, in shortened form HINA, which came to be used for the Peach Festival dolls. ( and thus we can see a blending of the two streams- the ritual dolls and the play dolls).
(It is very important to keep in mind that at this early stage, the Peach Festival, the day for ritual cleansings with the HITOGATA was NOT yet thought of as GIRLS DAY, and the ceremony was carried out for both sexes.
No one is exactly sure when, but probably in the Edo Period, the seasonal change day on the 3rd day of the third month became associated with girls, while that of the 5th day of the fifth month became so for boys.
The rationalization for doing this can be seen in GORO AWASE ( association by similarity in shape or sound) which is so important in Japanese culture.
Simply stated the JOーSHI of JOーSHI NO SEKKU( First Day of the Snake, the original name of thr festival) was similar in sound to the word JOSHI 女子, which means female, while the SHOBU of SHOBU NO SEKKU ( which is a plant,calamis, used for ritual ablutions on the 5th day of the fifth month) is a homophone for sho-bu 勝負, which means TO BATTLE, which was associated with boys of the samurai class.)
The ritual dolls themselves then came to be more decorative, dressed in kimono etc., and children would sleep with them the night before they were cast off ( letting impurities be drawn out overnight!).
By the Muromachi Period ( 1336-1573) beautiful Hina Dolls were being made for the aristocracy using new techniques imported from China. They were posed in a standing position ( Tachi-Bina)
It was only later, in the Edo Period ( 1600-1868), that Japan`s craftmen created the elaborate Hina Dolls, which we know today, for a growing merchant class which could afford them, as well as for the warrior class and the aristocracy. There were special doll markets held in Edo, at tfor restraint and modesty during the festival.
Still throughut the Edo Peiod Hina Dolls were mostly sold and displayed in Edo (Tokyo), and other major cultual and commercial centers.
It was not until the Meiji Period ( beginning in 1868) that the custom of displaying Hina Dolls became universal throughout Japan.
Even with the creation of the elaborate sets, which represented an Imperial wedding procession, the Japanese believed that each years impurities were absorbed by the dolls.
Interestingly, the custom of putting away the dolls right after the festival, is probably a replacement for the casting dolls off into the rivers. Naturally, the expensive sets could not be thrown away each year.
Hina dolls being cast off in a ship- at the National History Museum in Sakura, Chiba Prefecture
Through the 3rd of March you will be able to have a look at the various types of Hina Dolls at several locations near Tsukuba- most famously in Makabe ( Sakuragawa City) which holds what is something like a town-wide open house for doll viewing.Some of the dolls are more than 150 years old.
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What to do if you find a sick or injured raptor ( or other wild bird )- for those of you who GIVE A HOOT
A sick owl sitting on a rock in Tsukuba
Sometimes when you gaze at something long enough, you continue to see the same image before your eyes, no matter where you look. I thought that this perhaps was what was happening to me, a few weeks ago, as I was strolling through Tsukuba’s Botanical Garden. For several previous days, I had been doing research for a Tsukublog posting about owls in Japanese culture, after having seen a large owl which had died in the perilous nets around Lake Kasumigaura. My back-pack still contained a few books about owls and my cell phone was full of pictures of owl-motifed goods.
That is why I thought that I must just be SEEING THINGS when I looked to my right, as I was walking down a path, and saw what appeared to be a big owl, perched on a little rock at the edge of a tiny pond (see picture above). Stopping in my tracks, I strained my neck forward, and squinted, trying to better my focus. I couldn’t believe it. It WAS an owl, and by the slight blinking of its eyelids I realized that it was not a stone ornament, but REAL!
Another thing that was certain was that that particular bird was not in very good shape. It made no attempt to fly away even as I, and then others, gathered to watch it from a few meters away. My guess was that it was sick, starving, or too old.
When the botanical garden attendants got wind of what was going on, they came rushing to the scene. One young woman who had donned knit work-gloves (gun-te) came carrying a paper shopping bag. She said she was going to try and put the owl in the bag in order to help it.
Surprised at her naivete, I warned her that birds of prey have sharp and powerful beaks and talons which could seriously injure her, and that the bird might intentionally go for her eyes.
This dimmed her enthusiasm a bit, and before she ran off to get thicker gardening gloves and the box which I said would be necessary, I told her that I didn’t think anyone but an expert should try to handle the bird.
I had been trying to call the Ibaraki branch of the Wild Bird Society (yacho no kai), but as it was Sunday, I couldn’t get through. A member of the society who often helps birds in this area, wasn’t answering his phone either.
What were we to do? It was almost closing time at the gardens, and we couldn’t contact any expert bird handlers. I thought the best thing to do was just LEAVE THE OWL THERE, as it was not in any imminent danger from traffic or dogs, etc.
Catching raptors for rescue is not only dangerous — it’s difficult! Once, years ago, near Hilo on the Big Island of Hawaii, my uncle (who lived there) and I were driving through a forested area. Suddenly, we saw a grey-whitish object in the middle of the road. We stopped the car. To our amazement, right before our very eyes, lay an io, an endangered bird, endemic to Hawaii, which lives only on the Big Island. My uncle, in his enthusiasm to help the rare hawk, rushed toward it. Though it could not fly, the io COULD run! In a flash it had disappeared into the thick brush, where it probably perished.
From that experience, which has long haunted me, I knew that without EXPERIENCE, and two or three people with sheets or blankets to cover the bird with, we would not be able to catch the owl, unless it were really at death’s door.
I was right. The garden staff member reappeared with a box and stronger gloves and approached the bird. Though extremely weak, it could still fly, a bit, and soared about 30 meters away into a low tree. The gung ho crowd pursued it and it then flew to another nearby tree.
The stress caused by the presence of humans must have severely compounded whatever was wrong with the owl in the first place. I finally got through on the phone to a bird rescuer, who said he would be able to come the next morning. We left the bird where it was. The next morning it was dead.
For the past 2 weeks I have been looking into what should be done in case one finds a sick or injured raptor in Tsukuba. To tell the truth, I have found that there are not many options. Unlike many European countries, the US or Canada, there is no network of trained volunteer rescue and care workers.
If you find a raptor or bird in trouble, you should call the Regional Environmental Protection Office at 0298-67-8511, and then, if you can get through, and explain to them where you are. You can keep an eye on the bird until they arrive. You can also call the Ibaraki office of the Wild Bird Society of Japan at 0292-24-6216. Here you will get an answering machine, but they will listen to your message sometime that day. If it is a weekend, or if you cannot speak Japanese, please call me (Avi) at 090-4221-4194 and I will try to get someone over there to help.
If a raptor needs immediate rescue (for example from a busy road), you shoud put on leather gloves (and maybe even goggles), and try to approach carefully. Try tossing a light blanket or sheet over the bird. It is better to have people approach from all sides, as the bird might be able to run or walk away, and evade a single rescuer.
Be careful not to break the bird’s wings, and gently lift it and put it into a box (larger than the bird of course!), preferably with a towel or piece of carpeting on the bottom. Then you can slip off the blanket as you close the lid (make sure air can get in).
DO NOT FEED THE BIRD and LEAVE IT IN PEACE, as a human presence is extremely stressful.
Take it to a vet. There are many in Tsukuba, but some do not treat birds. Here is a place in Hojo that does treat wild birds:
Sawara Veterenary Clinic 0298-67-2224
With the fast paced environmental destruction Tsukuba has and will be experiencing, we will probably be coming across more and more weak, starving or injured birds of prey.
A Ural owl- one of the thousands of birds STILL get caught each year in the nets around Lake Kasumigaura each year. Though through the efforts of many ( including tsukublog`s kasumigaura Bird Rescue) the funding for these nets has been STOPPED, the remaining nets continue to take their terrible toll
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