In the world of making Japanese instruments, animals have been a rich source of materials for centuries. These instruments, with their organic components, still bear witness to Japanese artistic ingenuity and an enduring commitment to preserving the harmonious relationship between the human and animal worlds through the transcendent medium of music.
The world of Japanese traditional music is undoubtedly fascinating, but it is also associated with a controversial practice that raises ethical concerns – the use of animal materials to make musical instruments. This ancient tradition, valued for its cultural significance, has over time sparked debates about its impact on the environment.
The continued use of animal materials in traditional Japanese instruments has been criticised by environmentalists and animal rights advocates, who argue that such practices are not in line with modern ethical standards. As society grapples with evolving attitudes towards animal welfare and environmental sustainability, the practice of using animal materials in musical instruments raises complex questions about the intersection of tradition and ethics. Although these instruments have a precious place in Japanese cultural heritage, the costs in terms of animal conservation and environmental impact are an issue that requires thoughtful and critical consideration.
CAT, DOG AND SNAKE
Shamisen 三味線, Sanshin 三線
In the past shamisen were made using cat and dog skin for the diaphragm. Nowadays this skin can still be found, but synthetic skin is more common, as it is more durable. Sanshin, on the other hand, traditionally used snakeskin, and today this is a key element in distinguishing between two very similar instruments.
A brief history of the instrument
The shamisen is known by two names: shamisen 三味線 and sangen 三弦 or 三絃. The latter is the Japanese articulation of the characters of the Chinese name that were imported into Japan. In the jiuta genre, the name sangen is commonly used. Shamisen is said to have found its way from ancient China all the way to Okinawa in Japan (Ryūkyū/琉球諸島), and is now considered a traditional Japanese musical instrument, despite its roots across the sea.
The instrument was mainly used to accompany singing and was not often played on its own. At the end of the 14th century, it was brought by trade to the Ryūkyū kingdom, where it developed uniquely, largely retaining its original form, which is still well known today as sanshin – the name of the instrument. From the 15th century to the present day, the sanshin has been enjoyed mainly by the people of Okinawa. The shamisen was brought to Japan in the 16th century through trade between Japan and the Ryūkyū Kingdom, and was refined and developed in the second half of the century. With a history of about 500 years, the shamisen is one of the newest of the traditional Japanese musical instruments.
Unlike sangen and sanshin instruments, which were made using snake skin, the membrane of shamisen was often made from dog or cat skin. This was because dog and cat skins were the most readily available in Japan at the time. Snakeskin was also substituted because it was easily torn by the bachi (plectrum).
The oldest surviving shamisen is called the Yodo, commissioned by Toyotomi Hideyoshi around 1596, with a shape that is almost identical to that of today’s shamisen.
The design of the shamisen was completed in the Edo period in the 17th century, and has remained unchanged to this day. The shamisen spread rapidly in the Edo period and was initially used among the upper classes in the cities. It then eventually spread to the common people and even to the countryside, where it developed in its own unique way (Shamiko).
The main difference between the histories of the shamisen and sanshin is that the sanshin originated in the Ryūkyū Islands and was transformed into shamisen on contact with central Japan. The main difference in terms of design is the size and material of the body of the instrument (snake or cat/dog skin).
Use of cat, dog and snake skin
When making a shamisen, it is customary to use the skin from the belly of a cat and the back of a dog. For sanshin, snake skin is used instead of cat or dog skin. The skin is used for a part called the dōgawa 胴皮 – two sheets of membrane covering the body on either side. Skin is also used for the bachigawa 撥皮 – a piece of skin glued to the top of the dōgawa to protect this part from the scratches made by the drum (Eishi, 1958).
Why is cat and dog skin used?
One of the main reasons is the “tone” of the shamisen. For a good shamisen sound, the skins must be of a suitable thickness and size for the diaphragm. After much trial and error, in the Edo period dog and cat skins, which were more readily available in those days, began to be used for shamisen. In fact, dog skins were used more often than cat skins, as cat skins were more expensive.
Which cat skins are suitable for shamisen?
Cats that had not yet mated were the most suitable, as cats often injure themselves with their claws during mating. Of course, the younger the cat, the thinner its skin and the more delicate its tone, so kittens were preferred. The skins of black cats were of lower quality because they were difficult to work, but tabby cats were more suitable for shamisen skin than white cats.
How did people buy cat and dog skins for shamisen?
In the Edo period, cat skins for shamisen were very popular and there was even a profession called “cat hunter/猫捕り” to serve this market.
A “Nekotori/猫捕り” was a person who hunted cats for craftsmen and merchants who made shamisen. This profession is said to have existed until the Showa period (1926-1989). The prevalence of cat catchers is evidenced by the saying “When the wind blows, the barrel makers profit/風が吹けば桶屋が儲かる/Kaze ga fukeba, okeya ga moukaru”. The saying means that as the demand for shamisen increases, so does the demand for cat skins. However, as the cat population declined, the mouse population increased proportionately, and without cats to keep them in check they started destroying the barrels where the food was kept. This in turn created a growing demand for barrel makers to produce new barrels, and thus a windfall profit (Iki).
Today, most of the skins are imported, but animal protection laws make it increasingly difficult to obtain such materials. Domestic skins are also sometimes provided to shamisen makers by owners of dead pets who want their animals to live on as part of an instrument.
Most of today’s shamisen are made of synthetic leather, which is cheaper and more popular because, unlike animal skins, synthetic leather is more resistant to moisture and tears, does not require special care and is easy to use. However, the sound quality is considered by professional players to be slightly inferior.
KANGAROO
Kangaroo leather is another type of leather that has gained a lot of attention in recent years and is used for shamisen, as it is said to be very tough and durable. Kangaroo leather has emerged as a potential alternative to cat skin for the membrane of shamisen due to the increasing number of kangaroos in Australia and their status as a pest (The Mainichi 2023).
GOAT
Goat skin can also be used for shamisen and has become a favoured alternative as it is more readily available due to the large number of animals that are kept (Abbott 2016).
ELEPHANT
The biggest problem with the use of animal materials is ivory. It is a highly valued material, in high demand, but the collection and use of ivory is ethically controversial.
Shamisen 三味線
The parts where ivory is used in shamisen are the koma 駒 or bridge, which can be made of ivory, buffalo horn or wood, and this is the bridge between the dōgawa and the strings. Ivory is used in the making of bachi 撥 (plectrum), too, although these can also be made from buffalo horn or tortoiseshell (Eishi 1958).
Koto 箏
The koto is a musical instrument that resembles a zither, which came to Japan via China in the 8th century. It is a very distinctive Japanese instrument, which is nowadays very recognisable.
A brief history of the instrument
The koto, originally known as the gakusō, was first used in the Japanese imperial court in the 8th century. In the 16th century, specialised schools for the middle class were established. Among these institutions, Ikuta, founded in the 17th century, and Yamada, founded in the 18th century, have survived over the centuries. In the 21st century the koto continues its traditional musical heritage by accompanying singers, while also functioning as a versatile instrument that can be found in genres such as rock, jazz and pop (Britannica 2020).
Components of animal origin
The koto, a traditional Japanese instrument, has 13 strings of equal size and tension, which are arranged longitudinally and attached at each end of the body. Under each string is an adjustable bridge, usually about 5 cm high, which lifts the string away from the body. The tuning of the angle is done by changing the position of these bridges, which can be moved during the performance to create different tunings. In modern times, traditional silk strings have been replaced by nylon or Teflon strings, and rosewood and ivory bridges have been replaced by hard plastic bridges, which give a louder and brighter sound (Japanese Traditional Music).
Tackling the issue of ivory
The use of animal materials in traditional Japanese musical instruments such as the koto and shamisen has been the subject of controversy. Traditionally, these instruments required ivory components, in particular the 13 solid bridges for the koto and the bridge and bachi (plectrum) for the shamisen. Musicians have often favoured ivory because of its better sound quality and its role in preserving the traditional, authentic nature of the instruments.
However, international concern about the illegal ivory trade and its devastating impact on elephant populations led to a worldwide ban on this market in 1989. Over the past decade, African elephant populations have declined drastically due to the demand for ivory, particularly in countries such as Japan. Despite initial successes in curbing the illegal trade, the underground ivory market has boomed again in the last two decades. Between 2007 and 2014, the population of savannah elephants declined by 30%, while the population of forest elephants, whose ivory is highly prized in Japan, declined by 62% between 2002 and 2013.
China has also played an important role in this, and so imposed its own ban on the domestic ivory trade in January 2018 in an effort to combat elephant poaching. This has left Japan as the largest legal ivory market in the world. However, mounting evidence of illegal ivory trade in Japan has increased pressure on the country to follow China’s example and close its domestic market.
For proponents of traditional Japanese music, the use of animal parts is non-negotiable. Musicians argue that ivory produces a better sound compared to other materials such as plastic, wood or ceramics, and is gentler on the body during prolonged playing. They believe that without ivory, Japanese music would suffer.
With the development of synthetic ivory, the result of years of research to keep elephants alive, hope is on the horizon. In the past, animal materials were not always an integral part of instruments such as the shamisen and koto, and musicians originally used materials such as tortoiseshell, wood or buffalo horn for the parts now made of ivory. The transformation of these instruments over time reflects their adaptation to Japanese culture.
Although Japan still allows domestic trade in ivory, the international ban, introduced in 1989, poses many challenges for musicians. Those wishing to travel with their shamisen or koto face customs barriers and even confiscation of their instruments. Regardless of whether or not an ivory bachi was made centuries ago or last week, it can still be seized by foreign governments.
Materials such as cat and dog skin, which were traditionally used for shamisen, are being replaced by kangaroo skin and synthetic materials, in line with modern views on animal rights. Many scientists are also continuing to develop synthetic ivory for use in the future, in order to both preserve tradition and protect elephants (Nuwer 2022).
DRAGON
Koto 箏
The shape of the angle is said to resemble a dragon, and the names of the different parts of the angle correspond to the parts of the dragon.
COW, BUFFALO AND HORSE
Taiko 太鼓
Japanese drums are characterised by the use of cowhide, which is very thick and hard. This strength is ideal for something as durable as taiko drums. There are two types of cowhide: ordinary cowhide and buffalo hide.
Horsehide is also used for Japanese drums such as okedo drums. This is lighter than cowhide and gives a taut, dry sound. Being thinner, it is less tough than cowhide, but still quite durable.
Pigskin can also be used for such drums.
Manmade synthetic skins are already used for shamisen and taiko. Synthetic leather is more commonly used for shamisen, but the use of synthetic leather for taiko drums has gradually increased in recent years. Depending on the type of synthetic leather, some have a fibrous surface, others have a smooth, paper-like surface. Although such skins are very durable and are not affected by moisture, they also have disadvantages, such as sensitivity to heat (The Mainichi 2023).
Nagado daiko 長胴太鼓
Cowhide is often used for the drum head. The best material is considered to be the cowhide of a three-year-old Japanese cow. Horsehide is often used for katsugi okedaiko drums. The skin of the water buffalo is used for the head of the larger taiko.
Shimedaiko 締太鼓 or tsuke shimedaiko 附締太鼓
The skin for the shimedaiko drum is made of cowhide.
Katsugi okedaiko かつぎ桶太鼓
There are two types of skin for katsugi okedaiko. Horse and cowhide, where the difference in sound is most obvious. The horsehide membrane is generally considered to produce a brighter sound than cowhide. Cowhide is more durable than horsehide, but both are widely used.
Paranku (drums) パーランク
Pig skin is sometimes used for Okinawan paranku drums, but they are mostly made from buffalo skin (Taiko Center Online Shop).
Text: Gaia Kristina Gregorič (in the course Practice, supervised by Nagisa Moritoki Škof, PhD, and Klara Hrvatin, PhD, Department of Asian Studies, Faculty of Arts, University of Ljubljana)
Text and video: Nagisa Moritoki Škof, PhD, (performer on the koto, shamisen and sanshin) and Klara Hrvatin, PhD
SOURCES AND LITERATURE
- Abbott, Kyle (2016): Vintage Tone (Natural Skin). In: Bachido Community, https://community.bachido.com/t/vintage-tone-natural-skin/2549 (cited 17 Sep. 2023).
- Britannica, T. Editors of Encyclopaedia (2020): koto, Encyclopaedia Britannica, https://www.britannica.com/art/koto (cited 17 Sep. 2023).
- Kikkawa, Eishi (1958): An Introductory Guidance to The Research of the Shamisen. In: Toyo ongaku kenkyu: the journal of the Society for the Research of Asiatic Music.
- https://www.jstage.jst.go.jp/article/toyoongakukenkyu1936/1958/14-15/1958_14-15_en52/_pdf/-char/ja (cited 17 Sep. 2023).
- Masukawa, Ryohei (2023): Shamisen Industry in a Pinch to Protect Unique Sound Integral to Japanese Theater. In: The Mainich, https://mainichi.jp/english/articles/20221220/p2a/00m/0et/050000c (cited 17 Sep. 2023).
- Nuwer, Rachel (2022): The Survival of Japan’s Music Rests on Artificial Ivory. https://www.bbc.com/future/article/20190403-the-survival-of-japans-music-rests-on-artificial-ivory (cited 17 Sep. 2023).
- Nuwer, Rachel Love (2018): Poached: Inside the dark world of wildlife trafficking. Melbourne; London: Scribe Publications.
- Shamisen – Google Arts & Culture. Google, https://artsandculture.google.com/story/YwXRt8QGJH90JA (cited 17 Sep. 2023).
- About Koto. Japanese Traditional Music, https://japanese-music.com/about-koto/ (cited 17 Sep. 2023).
- 和楽器に使われている『皮』まとめ。あんな素材からこんな素材まで！ (Kazu gakki ni tsukawareteiru “kawa” matome. An’na sozai kara kon’na sozai made!. “) 和楽器メディア (Kazu gakki media), https://wagakkimedia.com/media/2019/03/wagakki-skin/ (cited 17 Sep. 2023).
- 【特集】三味線の歴史.( [Tokushū] shamisen no rekishi) Shamiko, https://shamiko.jp/shamisen-history/ (cited 17. 9. 2023). Material of Taiko. Taiko Center Online Shop. https://taiko-shop.com/blogs/learn/material-of-taiko (cited 17 Sep. 2023).
- 三味線に猫皮・犬皮を使う理由｜動物愛護の問題・仕入れ方法. (Shamisen ni nekogawa kenbi o tsukau riyū | dōbutsu aigo no mondai shiire hōhō) 粋-iki-, https://i-k-i.jp/19744 (cited 17 Sep. 2023).