Latest news with #Westernization
Japan Forward
a day ago
- General
- Japan Forward
Explore Meiji-Era Elegance at Osaka's Former Public Hall
このページを 日本語 で読む Meiji-era Japan (1868–1912) was a time of rapid Westernization. This influence reached even architecture. A perfect example is the main entrance of the Old Sakuranomiya Public Hall in Osaka's Kita Ward. Today, it's a popular wedding venue and a symbol of early Meiji design. Until June 30, 2025, visitors can also enjoy dishes recreated from Meiji-era menus at the hall's retro and elegant restaurant. I visited in early May. From Minami-Morimachi Station on the Osaka Metro Tanimachi Line, it's just a short walk to the building, nestled among lush greenery. Its impressive main entrance is recognized as an Important Cultural Property and features six Tatsuyama stone pillars and grand doors. Across the street stands Senpukan, another Important Cultural Property. It once served as a guest house for the Japanese Mint Bureau. Together, these buildings create a charming atmosphere that feels like stepping back into the Meiji era. Inside the public hall, a lavish restaurant illuminated by sparkling chandeliers awaits visitors. The staircase handrail is said to be the original from when the building was constructed. Built in 1935 as the Meiji Emperor Memorial Hall, the Old Sakuranomiya Public Hall incorporates the main entrance from the early Meiji period Mint Foundry (now the Mint Bureau). This entrance was preserved and relocated here when the foundry was demolished. The large doors and lighting remain intact, just as they were originally installed. Today, the building is designated as a National Important Cultural Property. The hall, where Helen Keller once spoke, closed in 2007 and remained unused for many years. Osaka City, the owner, eventually sought a company to manage the site. Novarese took on the challenge, renovating and reopening the hall in 2013 as a wedding venue and restaurant. The main entrance of the Old Sakuranomiya Public Hall, featuring six impressive pillars, is designated as an Important Cultural Property. Because only old blueprints remained, there was little information about the original interiors or usage. Restoration was difficult. Still, preserved ceiling decorations and careful design brought the era's atmosphere back to life beautifully. "Welcome," said Tetsuya Ozaki, General Manager of Novarese's Osaka and Ashiya districts. The featured menu, called the "Meiji Feast," recreates dishes from the Meiji era based on historical records. It is available from April through June. I had the chance to enjoy a seven-course meal. A course meal inspired by a Meiji-era menu. The appetizer was steamed salmon chaudfroid — salmon gently cooked and topped with a mayonnaise-based sauce, resting on consommé jelly. Its charming retro presentation matched the harmonious flavors: rich salmon, tangy mayonnaise, and light consommé. For the fish course, I had sea bream stuffed inside red eggplant. The tender fish and potatoes were baked inside a tomato, balancing sweetness and acidity. Interestingly, during the Meiji period, vegetables were served before dessert to close the meal. The menu honors this tradition with asparagus, offering an experience of the dining culture of that time. Ozaki proudly noted, "This is the only place where you can enjoy Meiji-era cuisine in a building connected to Emperor Meiji [Mutsuhito]." Immersed in this historic atmosphere, I savored the luxurious, carefully recreated dishes. Author: Saki Maehara, The Sankei Shimbun このページを 日本語 で読む
Japan Today
6 days ago
- General
- Japan Today
Japan leads world in a number of ways ... but not all good
By Michael Hoffman 'Japan as number one' – you'd think we were back in the 1980s. Japan entered that decade the world's third largest economy; by 1988 it was second largest; would it supplant the U.S. and be first? A matter of time, thought many Japanese and more than a few Americans – Japanese with pride, Americans with varying degrees and combinations of fear, mistrust, envy, admiration and occasional spasms of outright loathing. A generation earlier Japan had been rubble; now the nation that had defeated it was itself facing defeat. It was a challenging and tense moment. It passed. Japan's bubble burst, America's fortunes revived, and 40 years later Japan finds itself an aging, sagging, it's not too much to say doddering, has-been. Number one? Number four, economically speaking, and if a second economic miracle is on the horizon, it needs a visionary to see it. But there's more to a nation's life than its economy, and Shukan Gendai (June 23) boldly declares, 'The Japanese are number one in the world' – in a number of ways, not all of them good but that's not the point; distinctiveness is, and give Japan its due: after a century and a half of 'modernization,' 'Westernization' and various other forms of trashing its own past and large swaths of its native culture, Japan remains Japan – which is to say distinctive, which is to say unique – number one, if you choose to put it that way. To start, as Shukan Gendai does, with the obvious: it's the world's longest-living nation, one of the safest, arguably one of the cleanest, and possibly the trimmest, only 25 percent of its population being overweight as against 70 percent of Americans and just over half of Europeans. Thank rice for that, says the magazine – a point to which we'll return in a moment. Another 'number one' leaps off the page at us: Japan is the nation most protective of nature. Really? That too invites a pause for reflection. Let's consider sex in the meantime. Japanese couples are 'the world's most sexless.' Marital sex, broadly viewed, is tepid, occurring on average 45 times a year, according to a global survey by the condom-maker Durex. What would Greeks think of that? They're the world leaders at 164 times a year, roughly as far above the world average (103 times) as the Japanese are below it. Not surprisingly, Japanese seem to be the world's least satisfied with their marriages and their romantic lives in general, 24 percent declaring themselves satisfied versus the world average of 44 percent. But then there's this, proof if any were needed of the old silver-lining-behind-every-cloud adage. Unerotic and unsatisfactory Japanese marriages may be once the novelty wears off, but there are grounds – at least Shukan Gendai finds some – for declaring them possibly the world's most harmonious. The evidence? Marriage counselors claim more than half their clients – 53 percent – consult them as couples rather than as individuals. Husband and wife visit the marriage counselor together, and togetherness… well, is its own reward. Japan is said to be the least religious of nations. Not so, says Shukan Gendai. On the contrary, it leads the world in belief in 'spiritual entities' – not God in the monotheistic sense, or gods in the classical Greek or Roman mode, but real nonetheless, to believers, (or better to say, if 'belief' is too forceful a word for what is going on here, to those breathing the air that nurtures those spirits who are no less real and possibly more so for being, most of them, nameless, formless, undefinable; impossible, in short, to pin down in the way the West likes to pin down its existent beings and things.) Japan is different, roots of the difference going back to ancient Shinto and its 'myriad gods' – kami in Japanese, a word which 'God' or 'gods' translates most inadequately; 'spirit' or 'spirits' conveys their amorphousness better. Ambiguity, a Western vice, is a Japanese virtue; Japan may be the world's most ambiguous nation. So much the better if it is, and better off it may well be for rejecting 'the West's tendency to call everything either black or white.' In philosophy it's known as the Law of the Excluded Middle: either a proposition is true, or its negation is true. A statement is either true or false, a being either existent or non. Why impoverish life by rejecting contradiction? Japan embraces it and is the richer thereby. Kami were (still are, if Shukan Gendai sees true) everywhere; they did everything; not by accident was this 'the land of the gods.' Kami were 'birds, beasts, trees, plants, seas, mountains and so forth,' wrote the early-modern Shintoist Motoori Norinaga (1730-1801); human too, sometimes. They came and they went; here today, they might be gone tomorrow; amorphous yes, but 'all things in this world, such as the changing of the seasons, the falling of the rain and the gusting of the wind, as well as the various good and bad things that happen to countries and people, all are entirely the august works of the gods,' wrote Norinaga; there were some 'that shone with the luster of fireflies and evil kami that buzzed like flies,' says the 8th-century chronicle 'Nihon Shoki.' That's part of the heritage Japan rejected as it modernized – maybe not completely. Shukan Gendai at any rate finds traces of it in the Japanese character even today. And on that note we can return to rice and nature. Rice traditionally was sacred; so was nature. The one was more than food, the other more than natural. It was (they were) supernatural, alive in ways lost to us. What we gained in mastery and abundance we lost in sacredness. The gods fled – or perhaps didn't, not all of them, not entirely; they drop by from time to time to see how we're doing, sometimes declaring themselves, more often not. Individuals never fully escape their childhood, nor nations their past. The facts remain: rice consumption has declined steadily since the 1960s, lagging now behind bread as a breakfast choice, and as for nature, the Japanese can respond as they like to surveys measuring their reverence for it, the visual evidence is plain: they reverence concrete more. © Japan Today
05-06-2025
- Entertainment
Japan's National Theater at the Crossroads: Stalled Redevelopment Leaves Performers, Fans in Limbo
The National Theater has been the home of traditional Japanese performing arts since its opening in 1966. Now the aging complex has closed its doors, and a controversial redevelopment plan has stalled, raising questions about cultural policy and the future of the performing arts in Japan. The iconic stage at Japan's National Theater, renowned for its Japanese cypress boards and elaborate stage machinery, has fallen dark. Performances at the aging theatrical complex in the heart of Tokyo came to a halt in October 2023, and plans to redevelop the site in collaboration with the private sector have stalled, leaving practitioners and fans of Japan's traditional performing arts in limbo. Origin and Mission of the National Theater The National Theater, located just opposite the Imperial Palace in central Tokyo, was established in 1966 for the purpose of 'preserving and promoting Japan's ancient traditional performing arts' by 'presenting performances, training successors, and conducting research.' The proposal for a national theater in Japan has been through various iterations since the early years of the Meiji era (1868–1912), each reflecting the national aspirations of the time. In the Meiji, such a theater was promoted in the context of the government's Westernization drive. After World War II, it was re-imagined as a symbol of Japan's rebirth as a 'cultural state.' But the groundwork for such a program was not laid until 1954, with the revision of the Law for the Protection of Cultural Properties. The revised law instituted a system for the preservation of 'intangible cultural properties,' including traditional crafts and performing arts. This paved the way for the establishment of a central institution tasked with advancing a comprehensive national policy for the performing arts. At the National Theater, established professionals in the traditional Japanese performing arts have had the opportunity to explore and study artworks in depth and produce polished performances that captivate audiences. At the same time, the National Theater has provided broad-based support for the growth of the performing arts at the amateur and semi-professional levels by opening up its theatrical facilities to a wide variety of independent performers. Among the National Theater's core functions is the training of young performers to carry on Japan's performing-arts traditions. Kabuki has traditionally been dominated by established families, in which skills are passed down lineally, from generation to generation. Yet today, graduates of the National Theater's training program account for about 30% of all active kabuki actors and almost 90% of the art's narrators and musicians. In 2019, Takemoto Aoidayū, a product of that training program, was designated a living national treasure. The National Theater's raison d'être lies in its steady support for critical aspects of cultural preservation that cannot be left to the private sector because they cannot be relied on to generate short-term profits: the presentation of authentic classical works in their original form and the cultivation of young practitioners to carry on the traditions of Japan's performing arts. That said, there is no denying the fact that the National Theater's devoted audiences, much like its performers, are showing their age. Hobbled by its 'highbrow' image, the theater has failed to attract younger patrons in significant numbers. With this in mind, government policy makers hammered out a new vision for the National Theater of tomorrow. While built on the same site and reaffirming the institution's core commitment to the traditional performing arts, the new National Theater would be an open, accessible, and lively hub that would also function as an international center of cultural tourism. It was to open by the autumn of 2029. But two successive invitations to tender (ITTs), in 2022 and 2023, failed to yield a qualified bidder. As a result, the aging National Theater closed its doors in October 2023 with no clear prospects for reopening. Hurdles to Private Investment The redevelopment of the National Theater complex has been presented as a major state initiative involving multiple agencies, including the Ministry of Education, Culture, Sports, Science, and Technology (MEXT), the Agency for Cultural Affairs, and the Ministry of Land, Infrastructure, Transport, and Tourism. Responding to questioning in the House of Councillors Budget Committee in March this year, Prime Minister Ishiba Shigeru called the National Theater 'the face of the arts in Japan' and made it clear that he considered the current impasse unacceptable. Yet the project remains stalled. Several factors have contributed to the failure of the government's ITTs. Foremost among these are the labor shortage attending the sudden resumption of construction projects after the COVID-19 epidemic and the rising cost of materials resulting from the weak yen and the war in Ukraine. These problems are not unique to the National Theater project; indeed, the media have been rife with reports of failed ITTs for new hospitals, schools, and construction in disaster-hit communities. But there are additional factors that have soured private developers on the National Theater project. To begin with, the architectural and engineering demands are daunting. Japan's traditional performing arts have unique staging requirements that must be built into the theater. Kabuki stages, for example, typically feature a hanamichi, a raised runway by which characters enter and exit through the audience, and many plays require a revolving stage, elevators, and other complex machinery. The National Theater at the time of its completion with a view of the stage from the audience (top). The 20-meter revolving stage has 16 movable platforms (bottom) allowing for a range of complex effects. Photographs taken in October 1966. (© Jiji) The National Theater was equipped with the largest revolving stage in Japan, with a diameter of 20 meters. The kabuki stage also has 16 platforms that can be raised and lowered individually. The machinery that controls these effects extends roughly five stories below ground level and weighs about 300 tons. There are no engineers or artisans living today who can share the lessons learned from the National Theater's construction six decades ago. It will take considerable time and expertise for designers to work out the best approach, keeping in mind the Metropolitan Expressway that runs beneath the site. Moreover, in earthquake-prone Japan, public buildings must comply with strict safety standards that have grown tougher and tougher over the years. (One reason the decision was made to demolish and rebuild the National Theater, instead of renovating the existing complex, is the extent of structural changes required to bring the buildings up to code.) Limits of the PFI Model Also at issue is the private finance initiative method that the government has chosen to implement this ambitious project. In a PFI, the government enters into a long-term contract with a private company to build and operate a public facility. The terms of the contract are meant to prevent the cost to the government from ballooning by ensuring that considerations of cost-efficiency and profitability are incorporated into the process at each stage, including post-construction maintenance and management. Since the early 2000s, PFIs have accounted for a growing share of public infrastructure projects. It is easy to understand why the Japanese government would embrace this model for the new National Theater. Demographic aging and population decline are causing Japan's social security expenditures to balloon even while the tax base shrinks, putting the government in a fiscal bind. However important the center's role as 'the face of the arts in Japan,' it is hard to justify using taxpayer money to build an expensive facility that critics may say will only benefit a very privileged portion of the population. With this in mind, the government opted for a PFI project aimed at developing a multipurpose complex that included such privately-owned, revenue-generating facilities as hotels, restaurants, and cafes, alongside the theaters themselves. The idea was to create a public space used and loved by a broader cross-section of the population, even while maintaining the National Theater's core functions, and at the same time minimize the impact on public finances. But prospective bidders were deterred by the risks of the scheme, which called on the winner to manage and maintain the facility for 20 years after completion while paying the state for use of the land (with rent initially calculated at ¥965 million annually). If revenues fell even slightly short of projections, the company would be saddled with long-term losses. Last February, policy makers announced plans to make the project more palatable to private developers, including lowering the rent and dropping some of the initial requirements, such as the inclusion of a hotel in the complex. The government has now allocated about ¥102 billion for construction, including supplementary funds to cover rising costs. Yet there is still no word on the timetable for a third ITT. Dwindling Spaces, Endangered Traditions Despite the closure of its performance spaces, the National Theater has not shut down its operations entirely. Some of the teaching and practice facilities within the complex are still usable, and training for young artists continues there and at the National Olympics Memorial Youth Center in Shibuya. But as professionals will tell you, 'one performance is worth a hundred rehearsals.' The loss of opportunities to perform in front of a live audience for a period of five years or more could stunt or even end budding careers. Aware of this danger, the National Theater has made efforts to secure alternative venues. But according to a survey by Geidankyō (Japan Council of Performers Rights & Performing Arts Organizations), the number of kabuki and bunraku performances scheduled by the National Theater in 2024 was down 42% and 5% respectively from 2019. A decline of this magnitude jeopardizes the very survival of kabuki as a living art form. A big part of the problem is the shortage of theaters in Tokyo. Even before the National Theater closed, the closure of theaters for renovations or financial reasons had created fierce competition for the remaining spaces. The public halls run by local governments operate on the principle of equal access for all members of the community, with little or no regard for whether artists rely on public performance to earn a living. But another issue is the relationship of the performers to the National Theater. Most European national theaters have their own resident companies and employ the performers and directors as part of their regular staff. If such a theater were to cut back on performances, leading to lower compensation, it could be subject to union action or administrative lawsuits. For this reason, when a European national theater is scheduled to close for renovation, the managing entity works proactively to secure alternative performance opportunities, as by arranging world tours. Japan's National Theater does not employ performers or directors on an ongoing basis. When opportunities to perform in National Theater productions dwindle, the onus is on the performers to compensate for the loss of income by raising funds and creating their own performance opportunities. For this reason, National Theater performers have banded together to apply for grants, organize fundraising events, plan programs, and arrange independent performance opportunities, including domestic and international tours. But it has been an uphill battle owing to the intense competition for funds and performance space. Clarifying the Mission The plan to redevelop the National Theater has provoked a good deal of debate over such nuts and bolts as the location of the complex and the method of financing. But the key issue is the fundamental question of what the public and the performers expect from Japan's National Theater. National theaters first appeared in Europe, where their emergence coincided with the rise of civic life in modern nation-states. Japan's historical background was quite different, as was the cultural milieu into which this foreign model was transplanted. Japan already had its own system with separate theatrical and dance troupes—each with its own established traditions, methods, and performance styles. Grafting a European-style national theater onto this smoothly functioning system inevitably raised problems. It is all the more important, therefore, that we begin this historic redevelopment project by clarifying the purpose of the National Theater and its place in the lives of the Japanese people. Does anyone really believe that the deliberations and discourse carried out to date have been sufficient to accomplish that? This unanticipated hiatus in the National Theater's operations is an unlooked-for opportunity to formulate a blueprint for the next 100 years, and it would be a shame to waste it. We should also seize the occasion to reassess Japan's cultural policy vis-a-vis the performing arts. This country lacks a stable cultural infrastructure where professional performers can securely train, explore their art, and earn a living. This requires the construction of multiple public theaters tailored to specific uses but available for sharing when one or another facility closes for renovations. The government needs to start looking at the performing arts as an industry, not a hobby, and implement policies that provide a sustainable working environment for the individuals and groups who rely on public performance to make a living. The search for optimal design solutions should proceed with this premise in mind. (Originally published in Japanese on May 15. Banner photo: The National Theater in Tokyo. © Jiji.)
Kyodo News
04-05-2025
- Kyodo News
FEATURE: 'Spirited Away' hot spot limits crowds to protect retro charm
By Kai Shimada, KYODO NEWS - 13 hours ago - 11:36 | Feature, All, Japan, Travel/Tourism People seeking to melt away their stress at one of Japan's famous hot springs are instead finding themselves immersed in throngs of tourists and cars jamming the streets. Ginzan Onsen has become such a hotspot that it has begun restricting visitors amid concerns about overtourism. Once a busy silver mine, and later acclaimed for its Western-style wooden inns, Ginzan Onsen in northeastern Japan's Yamagata Prefecture is now struggling with being too popular. The influx of selfie-seeking tourists has led to serious overcrowding. The community wants to protect its cultural heritage and architecture from the Taisho period (1912-1926), when nostalgia for Japanese tradition grew amid rapid societal change and Westernization. Fans liken the quaint, snow-covered townscape to the hidden "swordsmith village" in the popular manga "Demon Slayer: Kimetsu no Yaiba," which debuted in 2016. It's also known as a filming location for the 1980s NHK television drama series "Oshin," and it may have inspired scenes in the 2001 hit animated fantasy film "Spirited Away." Ginzan Onsen, which literally means "silver mine hot spring," grew due to the mining and production of silver, primarily in the Edo Period (1603-1868). After mining declined in the Meiji era (1868-1912), the town transitioned to hot spring tourism by building several resorts and ryokan along the river in the early 20th century. According to the city of Obanazawa, some 334,000 tourists visited the 13 ryokan and restaurants in Ginzan Onsen in fiscal 2023 -- about 25 times its population of approximately 13,000. Foreign tourists accounted for some 20,000 of these visitors, and the number is expected to increase. Challenges such as congestion, in particular, have caused headaches for locals. On the one road leading into the resort, cars are often caught in traffic jams, sometimes blocking the passage of emergency vehicles. Visitors flood the narrow alleyways, and crowds gather at photo spots. Locals complain of having to clean up after foreign tourists who leave a mess. For the first time ever, the city and the hot springs association collaborated to implement admission restrictions for day-trippers from December 2024 to February of this year. Visitors were required to leave their vehicles at the tourist information center, about 1 kilometer from the resort, and ride a paid shuttle bus the rest of the way. Tickets to the onsen district had to be purchased in advance, and the number of visitors at the resort was limited to about 100 per hour from early evening to night. On one day in February, tourists were soaking in footbaths and munching on Ginzan's famous curry buns. As the sun set, gaslights lit up the boulevard, creating a magical atmosphere. "I have come here many times to see the snowy scenery," said a 53-year-old man visiting from Taiwan. Many welcome the limits on tourism. Mitsutoshi Terauchi, 75, from the central Japan city of Hamamatsu, said he was glad he and his wife could take their time sightseeing without massive crowds. With a record number of foreign tourists visiting Japan last year and overtourism countermeasures under consideration at popular tourist spots nationwide, Ginzan's conservationists are watching closely to see whether the new measures will preserve the serenity of the cherished hot spring resort. They have improved congestion, officials say. Based on a survey of visitors for about two weeks through January, road congestion dropped compared to previous years. Only 43 percent of day-trippers felt that the hot spring resort was crowded. Moreover, 95 percent of respondents supported the admission restrictions, saying they were "acceptable" or "unavoidable." However, there was an unexpected loophole. Just before early evening, when paid admissions to the hot spring area began, many tourists gathered in advance to slip in before being charged, in effect causing the area to become even more crowded. "We have found some new issues to deal with," said Eiji Wakimoto, 46, head of the hot spring association. "We will continue to make corrections and aim for an improved format." Officials are considering implementing the visitor limits throughout the year. "The main purpose is to control congestion and prevent accidents and trouble," said Kentaro Koseki, 41, who runs a long-established ryokan. He also believes it is important to preserve the town's atmosphere. "I want people to spend a quiet time in Ginzan Onsen, where you can even hear the snow falling," he said. Related coverage: Japanese-style inn operator eyes U.S. expansion after N.Y. listing Hoshino Resorts to open Japanese-style hot spring inn in New York state FEATURE: Condemned manor house gets reprieve as important cultural property
Kyodo News
04-05-2025
- Kyodo News
FEATURE: 'Spirited Away' hot spot limits crowds to protect retro charm
By Kai Shimada, KYODO NEWS - 10 minutes ago - 11:36 | Feature, All, Japan, Travel/Tourism People seeking to melt away their stress at one of Japan's famous hot springs are instead finding themselves immersed in throngs of tourists and cars jamming the streets. Ginzan Onsen has become such a hotspot that it has begun restricting visitors amid concerns about overtourism. Once a busy silver mine, and later acclaimed for its Western-style wooden inns, Ginzan Onsen in northeastern Japan's Yamagata Prefecture is now struggling with being too popular. The influx of selfie-seeking tourists has led to serious overcrowding. The community wants to protect its cultural heritage and architecture from the Taisho period (1912-1926), when nostalgia for Japanese tradition grew amid rapid societal change and Westernization. Fans liken the quaint, snow-covered townscape to the hidden "swordsmith village" in the popular manga "Demon Slayer: Kimetsu no Yaiba," which debuted in 2016. It's also known as a filming location for the 1980s NHK television drama series "Oshin," and it may have inspired scenes in the 2001 hit animated fantasy film "Spirited Away." Ginzan Onsen, which literally means "silver mine hot spring," grew due to the mining and production of silver, primarily in the Edo Period (1603-1868). After mining declined in the Meiji era (1868-1912), the town transitioned to hot spring tourism by building several resorts and ryokan along the river in the early 20th century. According to the city of Obanazawa, some 334,000 tourists visited the 13 ryokan and restaurants in Ginzan Onsen in fiscal 2023 -- about 25 times its population of approximately 13,000. Foreign tourists accounted for some 20,000 of these visitors, and the number is expected to increase. Challenges such as congestion, in particular, have caused headaches for locals. On the one road leading into the resort, cars are often caught in traffic jams, sometimes blocking the passage of emergency vehicles. Visitors flood the narrow alleyways, and crowds gather at photo spots. Locals complain of having to clean up after foreign tourists who leave a mess. For the first time ever, the city and the hot springs association collaborated to implement admission restrictions for day-trippers from December 2024 to February of this year. Visitors were required to leave their vehicles at the tourist information center, about 1 kilometer from the resort, and ride a paid shuttle bus the rest of the way. Tickets to the onsen district had to be purchased in advance, and the number of visitors at the resort was limited to about 100 per hour from early evening to night. On one day in February, tourists were soaking in footbaths and munching on Ginzan's famous curry buns. As the sun set, gaslights lit up the boulevard, creating a magical atmosphere. "I have come here many times to see the snowy scenery," said a 53-year-old man visiting from Taiwan. Many welcome the limits on tourism. Mitsutoshi Terauchi, 75, from the central Japan city of Hamamatsu, said he was glad he and his wife could take their time sightseeing without massive crowds. With a record number of foreign tourists visiting Japan last year and overtourism countermeasures under consideration at popular tourist spots nationwide, Ginzan's conservationists are watching closely to see whether the new measures will preserve the serenity of the cherished hot spring resort. They have improved congestion, officials say. Based on a survey of visitors for about two weeks through January, road congestion dropped compared to previous years. Only 43 percent of day-trippers felt that the hot spring resort was crowded. Moreover, 95 percent of respondents supported the admission restrictions, saying they were "acceptable" or "unavoidable." However, there was an unexpected loophole. Just before early evening, when paid admissions to the hot spring area began, many tourists gathered in advance to slip in before being charged, in effect causing the area to become even more crowded. "We have found some new issues to deal with," said Eiji Wakimoto, 46, head of the hot spring association. "We will continue to make corrections and aim for an improved format." Officials are considering implementing the visitor limits throughout the year. "The main purpose is to control congestion and prevent accidents and trouble," said Kentaro Koseki, 41, who runs a long-established ryokan. He also believes it is important to preserve the town's atmosphere. "I want people to spend a quiet time in Ginzan Onsen, where you can even hear the snow falling," he said. Related coverage: Japanese-style inn operator eyes U.S. expansion after N.Y. listing Hoshino Resorts to open Japanese-style hot spring inn in New York state FEATURE: Condemned manor house gets reprieve as important cultural property
