#eisaa

[babymonstiez]

　　　　　　　 　Heaven 　　on　　 Earth　　　✿

𓈒 ˙ 🧘🏼‍♀️ ּ 🩷⠀ . ࣪ ݁

[withinthecode]

A list of all the Droid-raised kids

Full names in parentheses, age when adopted, age at erasure, and pronouns

First Gen

Sahra(Sahra Tolev) 13 AA, 32 AE. Xe/xer/xers

Arsaa(Arsaana Tyim) 14 AA, 31 AE. She/her

Asa(Asaan Myer) 10 AA, 29 AE. He/him

Triv'vi(Utrivæ-Viit Enrza) 12 AA, 29 AE. Va/vas/vas, Ze/zim/zis

Jax(Jaxar-Amka Mosad) 12 AA, 28 AE. He/him, Dae/daer

Jaz(Javier-Amka Mosad) 12 AA, 28 AE. Ci/cir/cirs, E/er/ers

Lani(Belania Ozofa) 8 AA, 27 AE. She/her

Encra(Encra Isar) 16 AA, 25 AE. She/her, Dey/dem

Anipr'a(Canipr-Arre Adair) 7 AA, 24 AE. They/them, Fir/firs

Carwyn(Carwyn Prichard) 9 AA, 24 AE. They/he

Seren(Seren Prichard) 9 AA, 24 AE. Ze/zem

Ami'va(Amira-Vaar Urebe) 7 AA, 24 AE. Ae/aer

Fari(Infari Eduze) 5 AA, 23 AE. He/him, Ve/ver/vers

Aniv'a(Anivir-Arre Ombisa) 6 AA, 22 AE. Te/ter/ters, ve/vem

Mau(Mauta Ayad) 8 AA, 21 AE. They/she/he

Obirah'a(Obirah-Arre Eisaa) 11 AA, 21 AE. Xie/hir

Demea(Demeate-Viit Kaslov) 11 AA, 20 AE. Dir/dirs, She/her

Gandr(Gandr-Arre Banco) 7 AA, 18 AE. He/she

Gears(N/A) 0 AA, 17 AE. They/them

Aanx(Aanx Chambi) 4 AA, 17 AE. Li/lir/lirs, Tey/tem

Second Gen

Elena(Elena Maai) 2 AA, 14 AE. She/her

Yor(Yor Baru) 4 AA, 13 AE. He/they, Xe/xet/xets

Ian(Ian Becker) 2 AA, 13 AE [13 at death]. He/him

Tara(N/A) 0 AA, 9 AE. Per/pers

Molly(Molly Weist) 3 AA, 9 AE. Tey/tem

Trace(Trace Scoel) 2 AA, 4 AE. She/it

Liv(N/A) 1 AA, 4 AE. They/them, Xe/xem

Sali'a(Salina-Arre[later -Viit] Byrne) 3 AA, 3 AE. Fae/faer

Leo(N/A) 0 AA, 3 AE. He/they/it

Cors(Cors Ito) 0 AA, 2 AE. Ce/cer

Naas(N/A) 0 AA, 0 AE. He/him

[summary-trivia-jp]

日本のトリビアまとめ #0001

[trivia-jp]

エイサー 沖縄の踊り

エイサー（Eisaa）は、沖縄独自の伝統舞踊であり、祭りやイベントなどで披露される踊りの一つです。 エイサーは太鼓や三線（さんしん 沖縄の民謡楽器）、笛などの音楽に合わせて行われ、地域ごとに独自のスタイルや振り付けがあります。以下にエイサーに関する詳細をお伝えします。 歴史： エイサーの起源は古く、中国や東南アジアの舞踊文化が影響を与えたとされています。元々は夏至祭や収穫祭など、豊作や災いを払うための祭りで演じられていました。 その後、琉球王国時代にも多くの祭りで舞踊として継承され、さまざまなスタイルが形成されてきました。 - 楽器: 主に使用されるのは三線や太鼓、笛などの伝統的な楽器です。リズミカルな音楽に合わせて踊ります。 - 衣装: 色鮮やかな衣装を着用し、鮮やかな飾りや帽子を身につけたり、龍や獅子の面をつけたりします。 - 振り付け: エネルギッシュでパワフルな動きが特徴で、スピーディーで派手な足さばきや手の振りが特徴的です。また、円舞や線舞など、さまざまな振り付けが存在します。

♪♫♬🎤🎹🎶♪♫♬🎤🎹🎶♪♫♬🎤🎹🎶♪♫♬🎤🎹🎶

Eisaa Japanese Trivia

Eisaa is a traditional dance unique to Okinawa, and is one of the dances performed at festivals and events. Eisa is performed to music such as drums, sanshin (an Okinawan folk instrument), and flutes, and each region has its own unique style and choreography. Below you will find more information about Acer. History: Eisa has ancient origins and is said to have been influenced by the dance cultures of China and Southeast Asia. It was originally performed at festivals such as the Midsummer Festival and the Harvest Festival to ensure a good harvest or ward off misfortune. After that, it was inherited as a dance at many festivals during the Ryukyu Kingdom period, and various styles were formed. - Musical instruments: The main instruments used are traditional instruments such as sanshin, drums, and flutes. Dance to rhythmic music. - Costume: Wear brightly colored costumes, bright decorations, hats, and dragon or lion masks. - Choreography: It is characterized by energetic and powerful movements, and is characterized by speedy and flashy footwork and hand movements. There are also various choreographies such as circle dance and line dance.

[hoeforhao]

OMG YOU ARE SUCH A SWEETHEART BELIEVE ME TOO WHEN I SAY I WOULD HAVE SENT HAO AND WONWOO TO YOU IF I COULD ❤️❤️❤️🥺🥺🥺🥺❤️‍🩹❤️‍🩹❤️‍🩹

-😺

STOP AM DRUNK AND I'LL NOW CRY😭😭 I SO BADLY NEED TO HUG WONU AND MY BABY EISAA🥺😭😭😭🥺😭🥺LIKE SO SO BAD AAAAA

[kataibusaibiin]

Offering our voices to honor our ancestors

Protecting What is Sacred: Our land, Our water, Our hope for a better future 

 I preface this with an apology because these thoughts were scribbled in the wee hours of the morning when I couldn’t sleep and thus this lacks the clarity I’d hoped for in sharing some of what’s been weighing so heavily on my heart. That said, some folks have nudged me to share some of these reflections and it felt important to start somewhere in voicing how my heart connects these dots. So, below are some meandering thoughts as I reflect on Obon and how it threads us together with our past, present, and future... and ultimately each other...

In less than a month, I will be returning again to my place of birth - my maternal ancestral homeland in Okinawa - to visit with family and friends and to pay my respects to those who came before us.  It’s been 2 years since my last visit and it will be the first time I am able to speak to my beloved grandmother in Uchinaaguchi -  one of Ryukyu/Okinawa’s indigenous languages which I’ve been studying - to thank her and share with her my ongoing studies here in Hawai’i as I continue working to record our family’s stories, deepen my appreciation and understanding of our indigenous Ryukyuan history and culture, and create resources to share with fellow Uchinaanchu/Okinawans living in the diaspora across the globe. My grandmother is 96 now and has been my trusty compass since as far back as I can remember - back to my earliest childhood memories in Okinawa. Her visits to see us once we moved to North Carolina are highlights of my youth. Even when we moved to the states and we were thousands of miles apart, I could still always feel her love and would sometimes look out across the ocean in the direction of Okinawa, trying to picture her and the rest of the family there, hoping that I too could cultivate the kind of love she shares which could be felt across time and space.

It is not coincidental that my upcoming trip to Okinawa next month was planned to coincide with Obon and, as such, will involve returning to my grandmother’s village in Kijoka, Ogimi where some of our family tombs (ohaka) are located. I have yet to find the words to express what it means to me to be able to revisit the same land where generations of my family have lived and where we continue to return, year after year, to offer prayers and gratitude for our village, our ancestors, and all the sacrifices they have made for us. It is something to treasure all the more since there are many who are unable to do so, especially since I know many in Okinawa whose family tombs were destroyed during WWII or were paved over for US military bases under US occupation in the aftermath of the war.

I remember before taking that trip back to Okinawa two years ago, my mom had told me on a number of occasions that visiting our family tombs to pay respects was something she had always wanted us to be able to do together. I was never able to line up the time and resources to return for Shimi but she’d made clear that the timing wasn’t even what was important - just that we made the time.  And I vividly remember when I finally had the opportunity to join my family to do so as an adult during that trip, time seemed to collapse onto itself. I could feel an overwhelming connection to the past, present, and future as a continuum extending well beyond the 5 generations of our family represented in the gathering that day.

One of my young nieces and I tidied up the area and altar together as other family prepared the offerings we brought.  As we did so, I recall my grandmother commenting how happy the rest of the family (meaning our ancestors) must be to see my niece Sawana and I there together, putting such love and attention to detail in cleaning and helping with preparations. Hearing this as a gentle breeze passed, it certainly didn’t feel like we were alone. After our prayers and offerings, we found a nearby spot to enjoy our family picnic. Sitting in a circle, I looked around at my family with the sweeping views of the ocean behind them and my eyes welled up with tears of joy as I laughed and we talked story, savoring the beauty of that moment and seeing it similarly reflected on their faces. As I think back on such moments, my hope is that each day, I find a way through actions to express how much I cherish these gifts of love, tradition, and hope for a better future that have been and continue to be passed forward through my family and communities.

As many of you know, my return to Okinawa two years ago was something I was apprehensive about in many ways - despite longing to return since I was little - and I am beyond grateful that it was ultimately a deeply healing and transformational experience. During this trip in August, I plan to return to Shuri were my grandfather’s family is from and offer prayers and gratitude for my grandfather’s family at their hakas too, in hopes of contributing towards intergenerational healing within my family. After all, the history and stories of my grandfather’s family are part of what motivates me to do some small part to preserve Uchinaaguchi and not only Ryukyu/Okinawa’s history and culture but also our family’s legacy as part of that living history.  (Some of you already know why I’ve not grown up close to that branch of our family but for others, suffice to say my grandmother is a strong, fiercely loving woman who would always stand up for what is best for her children...no matter the self-sacrifice involved.) I mention this because history is never clean - often filled with pain, conflict, and contradictions - but we shouldn’t shy away from certain parts of our past because of that; those parts shape(d) us too and can be part of how we learn, heal, and ultimately reclaim our futures.  This is true even of my father’s side of the family - direct descendants of both Reverend John Robinson “Pastor of the Pilgrims” who sent his congregation over on the Mayflower as well as the Mississippi band of Choctaw who were nearly wiped out by the arrival of these European immigrants. I often think about how to hold these complicated truths and seeming contradictions of our past and/or different perspectives and the importance of doing so even as we face such situations in the present...

To Honor My Ancestors Is to Honor All Our Ancestors

Here in Hawai’i, Obon festivities have already begun as there are literally bon dances held every weekend from mid June through August. To write about some of my experiences and reflections thus far (including the way Obon is celebrated here versus back in Okinawa) is a topic for another time. I share this as context though because as a member of the Young Okinawans of Hawai’i (YOH), we share our song, drumming, and dance as offerings to our ancestors and to communicate with them, just as Okinawan eisaa was traditionally intended for. It is not entertainment for the crowd that gathers but, if anything, an invitation for the community to join us in this collective offering for all our ancestors. Whether it’s the little ones that find their way towards the inner circle around the yagura to dance by our side during our bon dances or the young ones in my family and communities, I hope that any child I ever interact with can feel and cherish the gifts of our uyafaafuji (ancestors) and learn to manifest that gratitude with their voices and in their actions, guided by what’s in their hearts. I do not take lightly the moments like this weekend when a group of little kids surrounded me and looked up wided-eyed and open-hearted, eager to watch and follow in my footsteps as we sang and danced around the yagura together. When I heard one of the littlest ones next to me begin to join me as we called out with our heishi, I’m not ashamed to admit I got a little something in my eyes.

In sharing the history and meaning of Okinawan eisaa and inviting friends to join us for Bon dancing, I have found myself often clarifying for folks that when I say I dance and sing for “our ancestors” I am referring collectively to the people we are tied to through our connection to place as well as our families of origin which we are connected to through blood and other familial connections. So, when I sing and dance here in Hawai’i, I too sing for the kanaka maoli - the indigenous Hawai’ians and the Kingdom of Hawai’i. I am aware that in moving here to study and build community with the Asian plurality and fellow Uchinaanchu here, I am also a settler. So, I strive to listen and learn from not only the elders I meet but also to their ancestors who sought to protect this land and its precious resources.  That comes with inherent responsibilities to listen, learn, and take heart when I am asked to speak out as someone whose ancestral homelands were similarly colonized, whose people also endured physical and cultural genocide, and whose democratic voice and right to self-determination is still being ignored. As shimanchu whose past have so many parallels, I believe our hopes for a better future and collective liberation are also bound together. So too, I feel a deep responsibility as someone raised in the US and with the relative privilege that comes with that, even when so many Americans have made it clear that they will always see me as an outsider. It is all too clear to me how these things are all interconnected.

So, this weekend, I danced not only for my ancestors back in Kijoko but also for those in Henoko, Okinawa where my parents met and for the community there who have been dedicated to protecting our one ocean in the face of joint US-Japanese military construction in Oura Bay. My heart also joined the protectors here in Hawai’i who have been gathering at Mauna kea to prevent the desecration of that sacred land. I lit candles and held in my heart the memory of my paternal grandparents and their families. My heart too, also sang out for the children who are locked up in cages across the US for the crime of having a family who dreams of a better future for them but come from another side of an imaginary line.  I carried in my heart - the heart of a first-generation immigrant to the US - all the families of refugees, asylum seekers, and immigrants who are dreaming for a brighter future.

I might not have all the answers for how to re-envision the future to be a better one for all, but I’ve seen enough to know one thing we have to do is speak out to say that this current path we’re on sure isn’t the way. 

To honor my ancestors is to honor the preciousness of all life. Nuchi du takara. So, to honor all my ancestors, I offer my voice to honor the ancestors of all of us - to acknowledge our interconnectedness - and to share our ancestors hopes of a better future for us all. In sharing my voice as an offering, I also extend an invitation: Let us never give up the hopes and dreams of our ancestors. Instead, let that be what unites us as we protect what is sacred. 

Rise for Henoko! Aole TMT! Protect Our One Ocean! Kū Kia`i Mauna!  Never Again is Now!  Together, We Rise!

p.s. I recently shared this music video but felt it was apropos to share this song again here with a gentle request to take the few minutes to watch and reflect:

[shimaplaylist]

🔃 SHUFFLE PLAY 🔃 Weekly random selection of one traditional song and one modern song

Yaima (Yaeyama) spotlight featuring a traditional song/dance about the heart-shaped Kuro Island and a traditional-modern fusion band led by Ishigaki-born Yukito Ara! 🎶 "Kurushima Kuduchi" (traditional) 🎶 Rendition by Yasukatsu Oshima (Song translations below) 🎶 "Gokokuhōjō" 🎶 Parsha Club (Often performed by the eisaa-inspired Ryūkyūkoku Matsuri Daiko drum-dance groups)

---

🎶 KURUSHIMA KUDUCHI 🎶

Translation from "Nufani: English Translation of Kumiodori and Okinawan Poetry," Naganori Komine: 1. "The island of Kurushima is an ideal place, with old traditions and prosperity. Perennial beauty reigns throughout the island." Dancers: "It would be wonderful to have rain every ten days and a breeze over the abundant harvest. All the villages, Nakamutu, Alishiji, Yiku, Huri, Huki, and Miyazatu, at the quarters of the royal envoys, celebrate by playing the sanshin and sounding Ten Tun Ten." 2. “The shape of the island looks like a drop of rain, and the people enjoy dancing and feasting.” Dancers: “Last night the chiefs of the east and the west and many others gathered. Everyone participated in a tug of war. The two sides pulled as if their arms were made of iron, and stood strong as if their feet were made of sturdy pine. They cried: ‘Heave ho! Heave ho!’ One side eventually lost and hung up a white flag. This song celebrates this event.” 3. “Let’s all celebrate, both young and old, for the timely rain that falls from heaven every season.” Dancers: “This would be wonderful: ‘I am a mouse living in an office. We stole a dried octopus and showed it off on Meenu Nakamui Hill. The moon watched us run away from a cat.’ Let’s celebrate this event with this song.” 4. “I am attracted to the smell of plums and cherries. Let me enjoy them everyday with nubile young girls.” Dancers: “The month of June comes again. The feast for the god of grain has brought together young and old in the village. The young pushed the old people to the beach where they all saw the boat race. The beach looked like a colored painting with fragrant and colored clouds up above. ‘Heave ho!’ I was the judging official. The crew of the ship jumped up to the boat quickly, and trumpeted with a shell. Then, the race started. What a pleasure it was to see the boat race. Let’s sing about the race with this song.” 5. “What a wonderful life to be able to see a waning moon shining down on a moonlit beach.” Dancers: “It’s so funny that a big crab in the bushes bit the girls in Kurushima while they were sneaking around to catch it."

[ferrariwrites]

fs character intros | supporting characters

image text below the cut!

mattias proulx: driver, quantum gbl

victoire moulin: royal guard

pietra luz: team principal, proteus

hazal kutlu: driver, soral gp

gio eisaa: fashion designer

monte-carlo: a sunny place for shady business

[kristian-do]

[min9yu_k]: 감사합니다 에이사씨 📷 📷

(trans.) Thank you eisaa-ssi 📷 📷

[leoinjapan]

~25th march / ～３月２５日

after ollie went home, i didnt do much for a few days apart from go to harajuku and shinjuku again to run some errands. while i was in harajuku, i queued up at 8am to the LINE store where bts were selling their plushies for a few days only. the line had about 6000 people, spilling onto the roads, probably the most unruly gathering of people i have seen yet in japan. when the location of the queue was announced online (to avoid creating a large queue in front of the store) the whole crowd started running! i think some people were injured. i managed to get a spot in the line, but we were all given lottery tickets and only those who drew a winning ticket got to go into the store, which i didn’t. bts’ popularity is truly scary.

on the 21st, me and two friends flew to okinawa, an island 2 hours south of japan by plane, near taiwan. it’s usually very hot, but this time of year it was a pleasant temperature with a cool breeze. because people usually visit in the summer, it was also not too crowded.

if you don’t know about the history of okinawa, it was once the main island of the ryukyu kingdom, composed of the collection of islands in the area, until it was annexed by japan in 1879. during this time, ryukyu culture was slowly whittled away at by the japanese rule. during world war 2, okinawa was used as a large battleground between the US and japan, in which huge numbers of okinawans were forced into battle and killed, with many sacred and cultural sites destroyed by bombing. now, it contains the highest amount of US military bases on japanese ground despite being so much smaller than the mainland.

i wanted to come to okinawa because i am deeply interested by this history and wanted to experience the place that i have been learning about firsthand, and i was not disappointed.

on the first day we headed to the peace memorial park, where the okinawan victims of the war are memorialized. we quickly learned that the bus system is not great, and always a lot later than advertised, so we didn’t have as much time to look around here than i’d liked, especially after we had accidentally gotten a 6 course lunch there that sucked up time (though it was delicious!)

i learned a lot from the museum, which did not shy away from placing blame on the west and japan. it details japan’s stripping of okinawan culture, and goes on to detail the horrors of the battle of okinawa. pictured above are history textbooks from different countries that mention okinawa, which were very telling.

in one of the later rooms, many testimonials from survivors of the wars were on display. there was an eerie silence as we read them. it’s quite hard to even imagine the horror that the testimonials describe.

afterwards, the museum encourages us to fight for okinawan rights in the present. at the end, the exhibition opens to a beautiful view of the cliffs, where less than a century ago a battle took place.

afterwards, we headed to meet our other friend at the american village, a very tourist-y area with american restaurants and shops. it was extremely ironic to go from the peace memorial to an american village. at the village, there is a beach called sunset beach, because you can watch the sunset from it. to our pleasant surprise, there were also dozens of friendly stray cats that wanted to play with us. for dinner we went to an okinawan restaurant and i had gyouza and a chicken steak.

the next day we had arranged to go on a bus tour; it was a really good deal for what it included. first, we drove for an hour or so to nago pineapple park, where we got to try the local pineapple and walk around a pineapple garden.

next we went to ryugujo, a butterfly paradise, where lots of butterflies are kept. speaks for itself really. we also got free okinawa soba

for the main event, we went to churaumi aquarium, which boasts the most whale sharks and most manta rays kept in captivity in the world. since whale sharks are local to okinawa, these whale sharks were caught locally. there are three at the aquarium in total. they were absolutely huge and mesmerizing to watch. the aquarium promotes a love of sharks and proving their innocence, which is really valuable.

the aquarium is in an expo that has a lot of attractions, including a dolphin show theatre, manatees and sea turtle exhibits, and okinawan culture centres. we walked for a few minutes and came to emerald beach which, like most okinawan beaches, had white sand, blue water and coral.

finally, we went to a sweet shop called okashi goten, and got to try lots of the local delicacies. okinawa is famous for its purple sweet potatoes, purple yams and its salt. my favourite is the salt cookie (chinsukou).

overall the tour was really great. the tour guide was really nice and also sang some okinawan traditional songs. i didn’t understand a lot of what she said because it was in quite complicated japanese, though.

on the third day we went to ryukyu mura, a village based on a traditional ryukyu village. we got to see an eisaa performance, a traditional ryukyu dance with drums, singing and whistling. the village consists of lots of old houses, reconstructions from ones that have been torn down or destroyed during okinawa’s history. they sell things exclusive to okinawa, like tea, habu sake (sake made with deadly habu snakes), coral accessories and indigo dyed cloth.

since there was another beach nearby - moon beach - we headed to that and relaxed for a little while. i didn’t really feel like dipping my feet in, though, so i just napped.

after that, we didn’t have a lot of time, but we attempted to get to shuri castle. destroyed in the battle of okinawa, the castle and many things around it are reconstructions. it was once the centre of politics for the ryukyu kingdom.

once we got there it was only open for another 2 minutes. we ran inside to get a picture and then ran straight back out, so we weren’t able to see the actual castle. just another reason to come back!

in the evening we went to kokusai doori (international street) which mainly has restaurants and souvenir shops. we went to an okinawan restaurant and i had purple yam croquettes which were delicious, plus okinawan salt yakisoba and okinawan pancake.

this morning we took the plane back home. i think three days were definitely not enough. i would love to come back when my japanese is much better so that i can engage more fully with the history and talk with the locals.

[withinthecode]

Obirah

Xie chased after hir sister, begging for her to come with hir. To be free.

“Please Osama. You can come with me. You don’t have to stay.”

Osama turned a corner, trying to ignore hir every word. Her footsteps quickened, almost sprinting away now. Their room was almost in sight, almost in reach. Just a few more steps. There.

“Osama please. It doesn't have to end like this. Ze will take us both.”

She whipped around, staring Obirah down.

“I will stay here. You can go with Vtet, but I will stay here.”

“But-”

“No buts. Go. Obirah. Just leave.”

“Ama please, I don’t want to go alone. I want you with me.”

She took a deep breath, choking back emotion, determined to not let a single thing show in front of her little sibling before crouching to meet hir eyes.

“Obi, I need you to listen to me. Ok? You have to go. I know you don’t wanna go alone, but you have to. Can you be brave for me? Just one last time?”

She quickly kissed hir brow before shoving hir out of the doorway, shutting the door in front of hir.

Obirah stared at the closed door, eyes filling with tears. Xie wanted to bang on the door, to demand that hir sister comes with hir. But xie knew it was futile. When Osama made up her mind, that was it.

So instead, xie turned and ran as fast and as quiet as xie could back to Vtet. Back to Ives.

She stared at the closed door and finally let the tears slip. She knew she would never see hir again. But she could only mourn for a moment. If xie was going to get away safely, the masters needed to be distracted. And distracted they will be.

She wiped her eyes, let down her hair, and made her way through the tunnel that led to the master’s rooms.

[mrdoveking]

A flag bearer in Asakusa area of Tokyo. There was an Okinawan dance/parade in a part of the main road. The Okinawan eisa dance was being played, it has a lovely beat and in Okinawa everyone is encouraged to join in when it starts dance. Even this man was singing along with a few moves holding this seemingly heavy flag. I liked his focus. 🗾 🏙 Eisa (Okinawan: #エイサー Eisaa) is a form of folk dance originating from the Okinawa Islands, Japan. In origin, it is a Bon dance that is performed by young people of each community during the Bon festival to honor the spirits of their ancestors 🏙 🗾 #okinawa #okinawajapan #okinawalife . . . . . #HypeBeast #vscoportrait #ig_mood #discoverportrait #portraitphotography #profile_vision #bleachmyfilm #postmoreportraits #portraitpage #dancer #sportsphotography #danceshoes #mondaymotivation #dancelife #dancestudio #choreography #instagramjapan #japanfocus #japantrip #cooljapan #igersjapan #unlimitedjapan #canonphotos #canoneos #canonrebel #canonphotographer (at Asakusa, Tokyo) https://www.instagram.com/p/B5f2oDvjmXz/?igshid=1xieozj9hur0

[stardust-story]

エイサー (Eisaa)

Eisa is a folk dance originating from the island of Okinawa, Japan.  This folk dance is performed by the young to honor their ancestral spirits during the Bon festival.

[zargulblog]

Meer Taqi Meer

Aake Sajjaada Nashin Qais Hua Mere Baad Na Rahi Dasht Mein Khaali Koi Jaa Mere Baad Chaak Karna Hai Isi Gham Se Girebaan-E-Kafan Kaun Kholega Tere Band-E-Qabaa Mere Baad Wo Hawa-Khaah-E-Chaman Hoon Ki Chaman Mein Har Subah Pehle Main Jaata Tha Aur Baad-E-Sabaa Mere Baad Tez Rakhna Sar-E-Har Khaar Ko Aiy Dasht-E-Junoon Shaayad Aa Jaaye Koi Aabla-Paa Mere Baad Muhn Pe Rakh Daaman-E-Gul Royenge Murghaan-E-Chaman Har Ravish Khaak Udaayegi Saba Mere Baad Baad Marne Ke Meri Qabr Pe Aaya Woh ‘Meer’ Yaad Aayi Mere Eisaa Ko Dawaa Mere Baad

[fujiwara57]

Photographies des habitants de l’île d'Okinawa (Okinawa-hontō 沖縄本島).

Les autochtones d'Okinawa revendiquent leurs différences culturelles avec le Japon : la culture d’Okinawa est en fait un mélange de cultures chinoise et japonaise, avec de nombreuses spécificités, notamment au niveau de la musique et de la nourriture.

On y parle l'okinawaien (okinawa-hōgen 沖縄方言（おきなわほうげん), qui fait partie des langues Ryūkyū-go 琉球語.

Okinawa-eisaa 沖縄エイ サー ou Shichi-gatsu-eisaa  (danses du mois de juillet). Les danses se déroulent lors du festival de l'O-bon お盆.

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I was tagged by @ghost-town-story in a WIP file name game - thank you!

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