ベトナム国家大学ハノイ校日越大学 地域研究プログラム日本研究専攻 修士学位論文 1990 年代ベトナムにおける紙芝居 ―日越文化交流の事例としてー 主指導教員 PHAN HAI LINH 准教授 副指導教員 斎藤希史教授 学位申請者 NGUYEN THI QUE HUONG （学生番号：18110016） ハノイ、2020 年 論文要旨 紙芝居は日本独自の文化的装置であり、現在多くの教育の場で使用されている。しかし、 戦争時代には紙芝居が戦意高揚のため軍部に利用され、国策によって大量の戦争紙芝居が作 i られたという悲しい歴史を背負ったため、今でもこのことで紙芝居[.]
先行研究
When studying the relationship between Vietnam and Japan, the research by Motoharu Furuta (2013) titled "Activities of the Japan-Vietnam Friendship Association Over 58 Years" stands out This study analyzes cultural exchanges between the two nations through the activities of the Japan-Vietnam Friendship Association Furuta divides the relationship into three distinct periods, examining significant events in each phase to highlight the characteristics of their interactions Notably, he addresses the era of stagnation in bilateral relations.
Following the period from 1975 to 1990, the relationship between Japan and Vietnam entered a phase of significant development in the early 1990s, largely due to Vietnam's Doi Moi reforms and the end of the Cold War This new era, referred to as the Japan-Vietnam New Era, is exemplified by three key initiatives highlighted by Furuta: the preservation of the historic town of Hoi An, student exchanges to Vietnam, and research into the 1945 Great Famine in Vietnam These efforts mark the beginning of a transformative period in Japan-Vietnam relations.
Trong bài viết của Guta Motofu (2013) mang tiêu đề "Hoạt động của Hiệp hội Hữu nghị Nhật Bản - Việt Nam trong 58 năm qua", được xuất bản trong cuốn "Lịch sử giao lưu Việt - Nhật" bởi Nhà xuất bản Thế giới, trang 108, tác giả đã trình bày những đóng góp quan trọng của hiệp hội trong việc tăng cường mối quan hệ hữu nghị giữa hai quốc gia.
Through the analysis of three case studies of "attempts," Furuta highlights the "crossroads" in the relationship between Japan and Vietnam, clarifying the context of his research, particularly regarding the dissemination of Japanese Kamishibai in Vietnam However, the examples presented by Furuta do not address cases related to children's culture and fail to discuss the mutual influences in the Japan-Vietnam relationship.
ゴ・フォン・ラン氏 (Ngô Hương Lan) の『1993 年から現在における日越文化関係』
（“Quan hệ văn hoá Việt Nam – Nhật Bản giai đoạn 1993 đến nay”）という研究では
Từ đầu những năm 1990, sự phát triển của giao lưu văn hóa giữa Nhật Bản và Việt Nam đã được thể hiện qua nhiều hoạt động cụ thể trong lĩnh vực văn hóa và nghệ thuật Nhật Bản đã giới thiệu cho Việt Nam các hoạt động như trà đạo, nghệ thuật cắm hoa, thả diều, truyện tranh (như Doraemon) và giấy kể chuyện Ngược lại, Việt Nam đã mang đến các hình thức nghệ thuật như múa rối nước và chèo Tuy nhiên, theo nhận định của một chuyên gia, mặc dù hoạt động giao lưu văn hóa và nghệ thuật diễn ra sôi nổi trong những năm đầu thập niên 1990, nhưng chủ yếu vẫn mang tính một chiều, với phần lớn là nghệ thuật và văn hóa Nhật Bản được giới thiệu cho người Việt Nam.
The study highlighted the importance of mutual participation in cultural exchange between Japan and Vietnam, noting that most activities were funded by Japanese support It outlined the general characteristics of cultural and artistic exchanges between the two countries, emphasizing the one-sided nature of these interactions driven by Japanese financial aid However, it did not delve into specific cultural or artistic genres for detailed analysis.
In the 1990s, a study by Naoyuki Yamamoto highlighted the promotion of Kamishibai, a traditional Japanese storytelling art, in Vietnam This research explores the cultural significance and the impact of Kamishibai's dissemination during that decade Yamamoto's findings illustrate how this art form contributed to the preservation of storytelling traditions and engaged communities in Vietnam.
A study titled "Cultural Exchange between Japan and Vietnam through Kamishibai" outlines activities conducted in Vietnam until 1996 It concludes that the Kamishibai, which has flourished in Japan, is now beginning to blossom in Vietnam, inspiring Japanese Kamishibai practitioners to anticipate new developments in this art form The research primarily focuses on Kamishibai training courses and examines the dissemination of this art from Japan to Vietnam, highlighting the stimulating influence Vietnam has had on Japan However, the study is limited to the year 1996 and does not provide a detailed examination of the mutual relationship between the two countries.
Building on previous research, this study explores the dissemination of Kamishibai (paper theater) in Vietnam during the 1990s, highlighting the unique characteristics that emerged in Vietnamese Kamishibai Additionally, it examines the influence of Vietnamese Kamishibai on Japanese practices The study aims to underscore that cultural exchange between Japan and Vietnam is not merely one-sided but involves a reciprocal relationship, thus shedding light on the distinctive features of the interactions between the two countries.
論文構成
The article by Go Phong Lan (2012) titled "Vietnam-Japan Cultural Relations from 1993 to Present" provides an in-depth analysis of the evolving cultural ties between Vietnam and Japan over the years It explores significant milestones and developments in their bilateral relations, highlighting the impact of cultural exchange on both nations The research underscores the importance of understanding these interactions in the context of globalization and mutual cooperation For more details, visit the Japan Research Institute's website at http://cjs.inas.gov.vn/index.php?newsidb3.
9山本尚由（1996）「紙芝居を通じた日越交流」地域開発 P.68。
序論と結論の他、本論文は次の 3 つの 章で構成される。
第一章：1990 年代日本における紙芝居と海外への普及活動
Chapter One focuses on the analysis of Japanese kamishibai, particularly examining its evolution before and after the 1990s This exploration reveals how the changes in society influenced the transformation of kamishibai and clarifies the motivations and processes behind its spread abroad The author emphasizes the perception of kamishibai as a unique aspect of Japanese culture and investigates how it has expanded internationally In summary, this chapter evaluates the status of kamishibai within Japan and its dissemination efforts, shedding light on the background of its introduction to Vietnam.
第二章： 1990 年代におけるベトナム・日本間の紙芝居普及・交流活動
Chapter Two primarily examines the paper theater training courses and exchange meetings held in Vietnam during the 1990s, along with their outcomes It highlights the publishing activities of paper theater in both Vietnam and Japan, focusing on the efforts of the "Association to Support the Dissemination of Vietnamese Paper Theater." The chapter also illustrates how these activities influenced Japanese paper theater Furthermore, it introduces the contributions of activists who actively participated in these initiatives and the roles of related organizations Chapter Three will compare Vietnamese paper theater with its Japanese counterpart.
In Chapter Three, two works of paper theater created by Vietnamese artists in the 1990s are analyzed to highlight the distinctive features of Vietnamese paper theater Additionally, a Japanese paper theater piece is selected for comparison, revealing the cultural exchange between the two countries and the uniqueness of each nation's paper theater Vietnamese paper theater not only draws inspiration from Japanese works but also showcases originality and creativity This distinctiveness garnered attention and high praise when Vietnamese paper theater was published in Japan, emphasizing the reverse influence on Japanese paper theater.
第一章：1990 年代日本における紙芝居と海外への普及活動
1.1．1990 年代以前の状況
Kamishibai, a unique form of children's cultural heritage in Japan, has evolved over time Its origins can be traced back to the Heian period's "Tale of Genji Emaki," where stories were narrated alongside visual illustrations, resembling the structure of kamishibai Additionally, temple murals and "e-dukai," which involved explaining illustrations, are considered early influences During the Edo to Taisho periods, various forms like "nozoki karakuri," "utsushie," and shadow puppetry also contributed to the development of kamishibai Following World War II, kamishibai became an educational tool, emerging as a livelihood for many unemployed individuals during the economic downturn of early Showa Japan, leading to the rise of "street kamishibai." The popularity of kamishibai during the pre-war and wartime periods heightened societal interest, prompting its use in children's literature, religious instruction, and extracurricular education Before the 1990s, kamishibai could be categorized into street and printed forms, with further subdivisions including missionary, educational, and national policy kamishibai Research on pre-1990s kamishibai highlights three key focal points.
Street paper theater, which emerged around 1929 in Tokyo's downtown, has often faced criticism for its sensational and absurd content, with some viewing all paper theater through a biased lens Notably, works like "Golden Bat" by Goto Tokizo and illustrated by Nagamatsu Takeo gained immense popularity in 1930 As unemployment surged during economic downturns, performers adapted by taking their shows on bicycles to parks and temples, with selling snacks like water candy and rice crackers becoming a crucial aspect of their performances To maintain children's interest, vibrant colors and engaging stimuli were essential in their presentations.
10鬢櫛久美子 (2015) 「紙芝居研究の現状と課題」 子ども社会研究 21 号。
In his 2000 article, Jiang Jun explores the evolution of street storytelling and educational picture shows in Japan during the pre-war and wartime periods He examines the cultural significance and educational impact of these forms of entertainment, highlighting their role in shaping public consciousness and preserving oral traditions The study provides insights into the historical context of picture shows, emphasizing their relevance in both entertainment and education.
23 号、日本口承文藝学会。
Street paper theater gained popularity despite criticism from educators who deemed its content unsuitable for children's education, citing bizarre stories and horror themes as harmful This led to increased police scrutiny and censorship, as the mission of teachers and law enforcement was to nurture children as future workers and soldiers Many criticized the absurd adventures and themes of cruelty and obscenity in paper theater, particularly among teachers and urban middle-class parents The rapid rise in popularity resulted in a decline in content quality, prompting demands for improvement from various social classes Additionally, concerns about hygiene arose, with adults viewing street performances as the domain of unemployed individuals and associating them with unsanitary practices, leading to derogatory terms like "penny theater" and "beggar theater."
Imai Yone (1897–1968) recognized the promotional power of kamishibai, noting its simplicity in preparation and its ability to reach a large audience, creating a deep connection between the storyteller and the listeners Following this realization, kamishibai was utilized for religious outreach and educational purposes During World War II, Japan saw the emergence of state-sponsored kamishibai aimed at "national policy propaganda" and boosting morale, serving as a one-way media tool from leaders to the public The Japanese government, through organizations like the Japan Educational Kamishibai Association established in 1938, extensively employed kamishibai as a propaganda medium This shift transformed kamishibai from a children's entertainment form into an educational tool for ideological indoctrination, focusing on themes such as wartime narratives, moral improvement, and anti-spy measures Notably, the state-sanctioned kamishibai for children aimed to instill the belief that they would grow up to become honorable soldiers contributing to the nation, promoting the notion of Japan's "justice" among the youth.
The website of Nagoya Ryukyo Junior College's Early Childhood Education Research Institute indicates that the requested page could not be found Visitors are encouraged to return to the homepage for further exploration.
15 鈴木常勝（2005）『メディアとしての紙芝居』P.25。
19 上地ちづ子（1997）『紙芝居の歴史』P.70。
During wartime, kamishibai, a traditional Japanese storytelling medium, was utilized to boost morale and support the war effort, similar to other forms of media After Japan's defeat, the government ceased the publication of state-sponsored kamishibai, leading to the disposal of most materials However, due to its role in promoting war cooperation, kamishibai was scrutinized at the Tokyo Trials for its wartime responsibilities Even after its revival post-war, street performances of kamishibai faced censorship from the GHQ, marking a "negative history" that has led to persistent prejudices against the medium As a result, many people continue to deny its value, burdened by this "sad history."
The differences between educational kamishibai and street kamishibai are noteworthy Street kamishibai serves as a form of entertainment for children, designed to amuse and encourage their active participation In contrast, when used as an educational tool, kamishibai incorporates the teacher's lessons into its narrative, compelling children to engage more forcefully Criticism of street kamishibai, particularly regarding its perceived vulgarity, has been articulated by Suzuki, highlighting the need for a more constructive approach to this traditional storytelling medium.
Children selected kamishibai based on their interests and needs The street performances of kamishibai captivate audiences with engaging storytelling and vibrant illustrations.
The concept of "freedom to choose not to watch" plays a significant role in the appeal of Kamishibai, a traditional Japanese storytelling medium Children are drawn to it despite adults' criticisms of its perceived vulgarity The allure of Kamishibai lies in its "vulgar subject matter," the "accessible nature of the medium," and the "freedom to engage or disengage." "Engagement" refers to the ability of individuals to reinterpret and recreate stories based on their personal needs and preferences.
According to Suzuki, the allure of street kamishibai lies in its freedom of audience participation and its ability to cater to the audience's needs The impact on children depends on the performer's interpretation, suggesting that even the same content can provide valuable lessons based on how it is presented Suzuki emphasizes the unique characteristics of street kamishibai, distinguishing it from educational kamishibai Specifically, street kamishibai serves as an entertainment medium for children, allowing them to enjoy performances after purchasing treats with their pocket money, making it a non-commercial experience In contrast, educational kamishibai is treated as a product, printed and distributed as teaching materials, primarily purchased by adults Consequently, educational kamishibai is viewed as a commodity, leading to its multifaceted use, including national policy and missionary purposes.
1990 年代日本における紙芝居と海外への普及活動
日本国内における 実践活動と理論研究の強化
From the late 1980s to the 1990s, practical activities and theoretical research in the field saw a surge in events such as kamishibai festivals, competitions, and summits Notably, the first Minoh Kamishibai Festival was held in May 1989, organized by the Minoh Kamishibai Festival Executive Committee, featuring exhibitions and lectures titled "Kamishibai Then and Now" and "Introduction to Kamishibai by Ichibusa." This festival became an annual event, and the same year also marked the launch of the Minoh Handmade Kamishibai Competition Additionally, efforts expanded beyond local levels to establish a national kamishibai competition, fostering greater community engagement and appreciation for this traditional art form.
28石山幸弘（2008）『紙芝居文化史・資料で読み解く紙芝居の歴史』P.173。
Takahashi Yutaka (2015) trong tác phẩm "Nhật Bản hiện đại hóa: Hành trình của ngoại giao văn hóa từ thoát Á vào Âu đến Cool Japan" đã nêu bật những yếu tố quan trọng trong quá trình hiện đại hóa của Nhật Bản, nhấn mạnh vai trò của ngoại giao văn hóa trong việc xây dựng hình ảnh quốc gia và kết nối với thế giới.
The "Kamikakushi Paper Theater Festival" attracted over 3,500 participants, showcasing the vibrant community engagement and cultural significance of the event.
The handmade kamishibai movement has fostered a network between creators and performers, enhancing the methods of creating kamishibai Through the performance of award-winning pieces at kamishibai competitions, participants have improved their production and presentation skills A pivotal moment in promoting theoretical research on kamishibai was the first Kamishibai Summit held in September 1993, chaired by Junko Nakahira This event laid the groundwork for annual summits from 1995 to 2001, which included performances and lectures discussing kamishibai Additionally, various festivals, summits, competitions, and workshops held from 1989 to 2001 are summarized in Table 1-1.
31石山幸弘（2008）『紙芝居文化史・資料で読み解く紙芝居の歴史』P.190。
表 1－1：1989 年から 2001 年にかけての紙芝居の日本国内活動 32
The 1989 Minoh Kamishibai Festival, organized by the Minoh Kamishibai Festival Executive Committee, marked the inaugural event celebrating the traditional Japanese art of kamishibai storytelling.
居今昔」、「一房さんの紙芝居入門」などが展示。
In 1990, the 5th Minoh Kamishibai Festival was co-hosted by the Minoh Kamishibai Festival Executive Committee and the Minoh City Board of Education, marking the celebration of the 2nd Minoh Kamishibai Festival.
The event featured a lecture titled "Street Paper Theater Talk" by Keiichi Hatanaka, serving as a pre-festival celebration, alongside a live paper theater performance and an introductory session on paper theater by Tokijiro Komori.
The "Handmade Kamishibai Festival," organized by the Children's Cultural Research Institute's Kamishibai Research Group, showcases the art of traditional Japanese storytelling through illustrated paper plays.
「第1回全国紙芝居まつり」が実施。
1991 7 「第3回箕面紙芝居まつり」（箕面紙芝居まつり実行委員会・同市教委共催）
The first Minoh Handmade Kamishibai Competition, chaired by Masafumi Nakagawa, has been launched and continues to be held annually as an ongoing initiative.
The 2nd National Handmade Kamishibai Festival, organized by the Children's Cultural Research Institute, was held at the Tokyo Metropolitan Hibiya Library.
The Children's Cultural Research Institute hosted a lecture titled "Horio Seishi Kamishibai Creator Training Course."
In 1992, the 5th Minoh Kamishibai Festival was co-hosted by the Minoh Kamishibai Festival Executive Committee and the Minoh City Board of Education, marking the successful celebration of the 4th annual event.
行で「第2回箕面手づくり紙芝居コンクール」が実施。
1993 6 延べ3,500人余が参加した「第5回箕面紙芝居まつり」及び「第3回箕面手づく
り紙芝居コンクール」が同時に開催。
8 神奈川県平塚市美術館にて「第3回全国手づくり紙芝居まつり」が開催。
The "First Kamishibai Summit," hosted by the Chuo Community Center in Warabi City, Saitama Prefecture, and chaired by Junko Nakahira, successfully brought together over 50 participants for experience sharing and public Kamishibai performances.
On November 11, the Kansai Kamishibai Culture Research Association hosted a handmade Kamishibai exchange event at the Minoh City Central Library, featuring speaker Noriko Matsui.
In 1994, the "Kamishibai Storytelling Enjoyment Meeting" took place at the Nagano Zero Momiji Mountain Cultural Center.
海外への普及活動の開始
In the context of cultural exchange, efforts have begun to promote Kamishibai, a unique Japanese art form, internationally This initiative aims not only to enhance understanding of Japanese culture but also to elevate the status of Kamishibai within Japan by gaining recognition abroad In other words, the promotion of Kamishibai overseas serves as a means to encourage a reevaluation of its significance domestically.
In 1991, the UNESCO Asia Culture Center initiated outreach activities in Vietnam and Laos, led by Noriko Matsui in Vietnam and Mitsunori Yabe in Laos The same year, the "Kamishibai for Kids" organization was founded in the United States by Margaret Eisenstadt, a teacher at a U.S military base school, to promote kamishibai storytelling The first overseas kamishibai training course took place in November 1991, paving the way for further dissemination in Laos (1994), China (1998), Italy (1998), and the Netherlands (2000) As a result of these efforts, the value of kamishibai has been increasingly recognized internationally.
As a well-established medium of Japan's traditional culture, it captivates me not as a mere picture show, but as a communicative medium co-created by both the reader and the performer This form of expression is urgently needed in Vietnam today, according to Nguyen Tan Boo, the president of Kim Dong Publishing, the largest publisher in Vietnam.
The article highlights the significance of kamishibai, a traditional storytelling art form, as a remarkable cultural treasure It emphasizes the ambition of Vietnamese authors to produce and disseminate kamishibai throughout Vietnam, aiming for children across the nation to enjoy this art by the year 2000 Inspired by Japanese techniques, the goal is to create kamishibai that resonates with Vietnamese culture, ensuring its relevance and appeal to local audiences.
In a 1995 interview with 33 Asia-Pacific specialists, the focus was on the impact of paper theater on Vietnamese children, highlighting how this traditional art form can inspire dreams and creativity among the youth in Vietnam.
34 本論の筆者による注。
35 赤旗新聞（1995）「紙芝居で交流」。
The encounter with kamishibai represents a meeting with a culture that values peace Thanks to IKAJA 36, we have become aware of the lesser-known aspects of kamishibai, including its philosophical and spiritual dimensions, as well as its accessibility to all people This insight was shared by Geneviève Pat, the honorary director of a small circular library in France and president of the reading promotion organization, Les Relais de Lire.
In today's world, where we face threats from war and terrorism, it is more crucial than ever to impart the values of peace and friendship to children globally Amidst these challenging times, kamishibai emerges as one of the most beautiful and powerful tools we possess for this purpose.
Using picture books can significantly support children's language development by enhancing their focus on illustrations, which in turn aids their understanding of corresponding scripts This method is particularly effective for teaching children, such as those who do not speak Dutch at home, the Dutch language in an enjoyable way Additionally, a key goal is to convey to educators how to foster empathy through storytelling The empathy generated by well-crafted picture books is essential for mutual understanding and care, making it a valuable asset in an increasingly culturally divided international society.
The overseas outreach efforts by activists can be deemed effective, as the unique Japanese art of Kamishibai has been recognized in many countries as a modern media form It serves as an educational tool for children and a means to foster empathy The success achieved abroad has likely had a stimulating effect on the positioning of Kamishibai within Japan.
In the 1990s, significant movements surrounding kamishibai (paper theater) emerged, focusing on deepening domestic theoretical research while also promoting its global outreach These two activities are interconnected and aimed at enhancing the status of kamishibai within society The development of theory plays a crucial role in ensuring consistency in the creation, performance, and evaluation of kamishibai Simultaneously, the promotion of kamishibai abroad facilitates the process of theoretical formation based on practical activities Furthermore, the acceptance of kamishibai in other countries, akin to other aspects of Japanese culture, is believed to have a promotional effect As a result, during the 1990s, organizations such as the "Children's Cultural Research Institute," "Dohinsha," and cultural activists effectively advanced both domestic and international initiatives for kamishibai, solidifying its cultural significance.
The "Kamishibai Culture Association" aims to research, learn, and promote the art of Kamishibai, fostering its growth and appreciation worldwide.
36 「紙芝居文化の会」の略すこと。
37 紙芝居百科（2017）P.45。
IKAJA được thành lập vào tháng 12 năm 2001, với vai trò trung tâm trong việc phát triển văn hóa và hoạt động phổ biến ra nước ngoài Tổ chức này tập trung vào việc trình diễn các tác phẩm giấy kỳ xuất sắc bởi những nghệ sĩ tài năng, nhằm mở rộng vòng tay cảm thông không chỉ trong Nhật Bản mà còn trên toàn thế giới.
Before and after the war, paper theater was referred to as "one-sen theater" and "beggar theater," facing police suppression in urban areas Over time, it evolved from these forms into educational tools, highlighting differences between street performances and educational or handmade paper theater versus printed versions The 1990s marked a significant turning point as activities expanded internationally, leading to a reevaluation and recognition of paper theater, and fostering cultural exchange between Japan and foreign nations This exchange notably included interactions with Vietnam, where paper theater facilitated Japan-Vietnam international relations The outreach efforts began in Vietnam and contributed significantly to the development of paper theater theory in Japan, emphasizing the importance of understanding these activities within the historical context of paper theater The recognition of paper theater as a form of children's culture in the 1990s was greatly influenced by the outreach in Vietnam, raising questions about the impact of these activities on domestic paper theater and the characteristics of cultural exchange emerging from them.
39 紙芝居文化の会のウェブサイトによる。 https://www.kamishibai-ikaja.com/about.html
第二章： 1990年代におけるベトナム・日本間の紙芝居普及・交流活動
ベトナムにおける紙芝居研修講座と交流活動
2.1.1．紙芝居研修講座と交流活動の総括
The introduction of Kamishibai to Vietnam began in 1991 during a children's publishing training course organized by the UNESCO Asia Culture Center and Kim Dong Publishing House Renowned picture book author Noriko Matsui showcased her work "Ooki ni Ooki ni Ooki ni Nare," which received high praise from Nguyen Thanh Vu, the president of Kim Dong, along with Vietnamese editors and artists This event marked the inception of Kamishibai in Vietnam In September of the same year, the first Kamishibai training workshop was held in Hanoi, establishing it as a unique aspect of Japanese children's culture Subsequently, collaborative efforts between Kim Dong and Japan's Doshinsha led to the continued development of Kamishibai in Vietnam.
版活動も 1993 年から始まった。出版し
た作品を幼稚園や保育園に無料で配布、
あるいは低価格で発売したことを通じ
て、短い期間の間にベトナムに紙芝居
が 広 ま っ て い っ た 。 日 本 に お い て も
「ベトナムの紙芝居普及を支援する会」
ができ、日本全国からカンパを呼びか
けることを始め、ベトナム全土に紙芝
居を普及するのに大きな役割を果たし
Between 1991 and 2003, a significant cultural exchange occurred between Vietnam and Japan, specifically in the realm of Kamishibai, a traditional form of storytelling This exchange is summarized in Table 2-1, highlighting the key interactions and developments during this period.
Table 2-1 presents a timeline of storytelling activities in Vietnam from 1991 to 2003, highlighting the development and cultural significance of traditional paper theater during this period.
40本論の筆者が作成した表である。
年度 月 場所 活動
図版2－1：1991年第一回紙芝居研修講座
41 山本尚由（1996）『紙芝居を通じた日越交流』。
42 https://www.hakuhodofoundation.or.jp/prize/recipient/1994/0710.html
1991 10 ハノイ ◉ユネスコ・アジア文化センター（ ACCU）及びキムドン出版
社共催「児童出版研修コース」が開催。
Nguyen Tan Bu, the president of Kim Dong Publishing, delivered a lecture on the unique cultural significance of kamishibai in Japan and outlined plans for promoting works created by Vietnamese authors throughout the country.
In the first Paper Storytelling Training Course, Noriko Matsui delivered her debut performance of Kamishibai.
The first paper theater training course produced the work "Nonbiri Boy" by Vu Doc Lien, marking it as the first production of its kind in Vietnam.
1992 4 ハノイ ◉「第 2 回紙芝居研修講座」が開催。
Participants from Japan included Noriko Matsui, a picture book and kamishibai creator and instructor, along with Kanji Muramatsu and Kyoko Sakai, the president and editor of the Children's Heart Society, respectively.
ベトナム側：21 名：全土から選択された作家、編集者など。
11 東京 「ベトナムの紙芝居普及を支援する会」が結成。
1993 ◉ベトナムの作家による紙芝居がキムドン社により出版開始。
Kim Dong Company has distributed seven published works for free to kindergartens and elementary schools, or offered them at half price.
1994 8 ニャチャン ◉紙芝居フェスティバルが開催。
◉ファム・トウイン氏が『 KAMISHIBAI の歌』を創作。
◉８月まで合計 18 作品が出版 41 。
11 東京都 「ベトナムの紙芝居普及を支援する会」が国際理解教育部門
の博報賞を受賞 42
1995 7 日本 ◉ベトナムの作家の４名を日本に招待。東京、大阪、京都で紙
芝居の交流が実施。
1996 3 ハノイ ◉「第 3 回紙芝居研修講座」が開催。
◉13 作品が創作。
9 日本 「第 3 回紙芝居研修講座」で制作された作品の中から、チュ
ウン・ヒェウ作『太陽はどこからでるの』と、ター・チョ
Between 1991 and 2003, a series of six training courses, including the "Demae Kamishibai University in Vietnam" held in northern Vietnam's Sapa, facilitated significant cultural exchanges between Japan and Vietnam These initiatives successfully trained over 30 creators of kamishibai in Vietnam, enhancing their fundamental knowledge of the art form Led by Japanese instructors, including Noriko Matsui, the courses provided valuable insights into the creation and performance of kamishibai, fostering a deeper appreciation for this traditional storytelling method in Vietnam.
ン・チィ作『ぼく、スイカだいすき』が発刊。
10 日本 松井のりこ氏と「ベトナムの紙芝居普及を支援する会」がベ
The Vietnamese government awarded the "Cultural Merit Award" at a ceremony held at the Vietnamese Embassy in Japan.
1997 5 日本 ◉チュウン・ヒェウ作『太陽はどこからでるの』が第 35 回高
橋五山賞奨励賞を受賞。
◉グエン・タン・ブー氏が「子どもの文化国際賞」を受賞。
9 ハノイ ◉「第四回紙芝居研修講座」が開催。
◉「ベトナム紙芝居協会」が誕生。
1998 3 東京 「ベトナムの紙芝居普及を支援する会」を「日本・ベトナム
紙芝居交流の会」に改称。
11 ハノイ ◉「第五回紙芝居研修講座」が開催。
◉マイチャオという尐数民族の村にて紙芝居の交流が実施。
◉14 作品が創作された
◉家庭版紙芝居が制作。
◉1995 年末まで合計 25 作品が三千部ずつ出版
1999 5 日本 「日本・ベトナム紙芝居交流の会」よりベトナムの家庭版紙
芝居が３点発刊。
2000 5 ベトナム北
「出前紙芝居大学 in ベトナム」が開催。
7 日本 童心社によりベトナム紙芝居『しあわせの花』が発刊。
2001 7 東京 「ベトナムの紙芝居を楽しむ会」が開催。
10 日本 ベトナム訪日団 11 名が来日。
2002 3 日本 「日本・ベトナム紙芝居交流の会」が解散。両国間の窓口と
して「日本・ベトナム紙芝居交流のセンター」が創設。
2003 6 日本 「日本・ベトナム紙芝居交流の会」の会費の残金で『象牙の
櫛』が出版、会員と資金提供者に配布。
The author of Nam has drawn inspiration from their own culture and life experiences, which has contributed to the promotion of Kamishibai This is because cultural acceptance involves not just embracing a culture as it is, but also adapting it to fit one's own traditions and practices By showcasing the unique characteristics of Japanese Kamishibai, the author has successfully transformed it into a Vietnamese form of storytelling, facilitating its spread and popularity.
In Japan, despite existing biases against kamishibai, individuals who recognized its creative and educational value sought to promote this unique cultural medium in Vietnam Nguyen Tan Boo, the president of Kim Dong Publishing, emphasized that kamishibai is a well-established form of traditional Japanese media Rather than merely a picture show, it is viewed as a communication medium that fosters interaction between readers and performers, aimed at enhancing educational experiences in settings like kindergartens The goal was to cultivate emotional exchanges between teachers and children, as well as parents and their offspring As kamishibai spread to Vietnam, its perception shifted from a mere entertainment tool to an educational cultural artifact, strengthening its role as a unique Japanese medium Following several years of outreach and exchange activities in Vietnam, advocates for "authentic kamishibai" sought a renewed understanding of its significance, culminating in the publication of "Kamishibai: The Joy of Empathy" in 1998 This book, which discusses the theory of kamishibai, emerged from the realization during the 1990s that foundational knowledge was essential for promoting this art form internationally Ultimately, the words from Vietnam affirming kamishibai's educational and creative qualities encouraged Japanese practitioners, reinforcing their belief in its universal value Thus, the creation of "Kamishibai: The Joy of Empathy" illustrates the influence of kamishibai's dissemination in Vietnam on Japan's own kamishibai movement.
Tổ chức và hoạt động xuất bản của các nhóm nghệ thuật giấy ở Việt Nam, đặc biệt là Hội Giấy Sự Việt Nam, đã đóng vai trò quan trọng trong việc phát triển nghệ thuật truyền thống này Hội không chỉ bảo tồn các giá trị văn hóa mà còn thúc đẩy sự sáng tạo và đổi mới trong việc sản xuất các tác phẩm giấy Các hoạt động của hội góp phần nâng cao nhận thức cộng đồng về nghệ thuật giấy, đồng thời tạo ra cơ hội giao lưu và hợp tác giữa các nghệ sĩ và người yêu thích nghệ thuật trên toàn quốc.
In 1992, the "Vietnam Paper Theater Promotion Association" was established in Japan, leading to the formation of the "Vietnam Paper Theater Association" in Vietnam in 1997, which had originally been founded in 1995.
The "Kamishibai Club" has evolved significantly, with Mr Boo, the president of Kim Dong Publishing, becoming an executive committee member of the association The association comprises various professionals, including Kamishibai creators, editors from publishing houses, artists, and interpreters/translators.
日越紙芝居交流活動に関する個人・団体の役割
2.2.1．「ベトナムの紙芝居普及を支援する会」の成立と支援活動
In 1991, a children's publishing training course and the first Kamishibai workshop were held in Hanoi, co-organized by the UNESCO Asia Culture Center and Kim Dong Publishing House, leading to a commitment to promote Kamishibai Six months later, in April 1992, the second Kamishibai workshop took place in Hanoi Although Vietnamese authors created Kamishibai works following the workshop, the economic conditions in Vietnam at the time made publication difficult Japanese participants of the workshop believed that without publishing these creations, it would hinder the ability to perform for many children across the country This concern led to the establishment of the "Support Association for the Promotion of Kamishibai in Vietnam."
（英訳名： Supporting Association of Promoting KAMISHIBAI in Vietnam) （会長：村松
53 「ベトナムの紙芝居普及を支援する会」のニュース、1996 年号による。
The Kinji Association was established, focusing on two main areas of operation: support services and non-aid initiatives Specifically, these initiatives encompass various activities designed to promote community welfare and development.
The aid initiative comprises five key projects primarily focused on activities centered in Vietnam.
紙芝居発行、普及のための支援援助
紙芝居制作のための研究会主催
紙芝居の演じ方のための研修会主催
紙芝居の質の向上のためのコンペティションを主催し、賞金を援与
幼稚園などの施設訪問
The organization is engaged in various fundraising activities, including soliciting donations from the public, releasing picture storybooks to raise funds, and increasing membership They also invite authors to promote and exchange ideas related to picture storybooks To support these initiatives, the organization has called for contributions from across Japan, aiming to allocate the donations to assist Vietnamese picture storybooks In response, many enthusiasts of Japanese picture storybooks have generously contributed to the campaign.
Table 2-4 illustrates the financial contributions and merchandise sales reported by the "Vietnam Paper Theatre Promotion Association" from 1992 to 2003, highlighting the total amounts in yen.
期間 カンパの金額 物品発売の金額
Bảng 2-4 cho thấy tổng số tiền và giá trị hàng hóa được quyên góp cho "Hội hỗ trợ phát triển tranh giấy Việt Nam" từ năm 1992 đến 2003 Những người tham gia quyên góp bao gồm các thành viên, biên tập viên và nhà sản xuất tranh giấy, tất cả đều là những người yêu thích loại hình nghệ thuật này trên toàn quốc Hàng hóa được bán bao gồm băng cassette tranh giấy, áo phông, khăn quàng, sách, tranh giấy và thẻ, tất cả đều là những món quà từ Việt Nam Doanh thu từ việc bán hàng hóa cũng bao gồm doanh thu từ việc phát hành tranh giấy tại Việt Nam Tổng số tiền quyên góp và doanh thu hàng hóa được sử dụng để tổ chức các khóa học tại Việt Nam và chi phí xuất bản tác phẩm của các tác giả Việt Nam tại cả Việt Nam và Nhật Bản Nhờ vào nguồn quỹ này, vào năm 1993, ngay sau khi hội được thành lập, việc xuất bản tranh giấy của các tác giả Việt Nam đã được bắt đầu bởi Nhà xuất bản Kim Đồng Quỹ hỗ trợ từ "Hội hỗ trợ phát triển tranh giấy Việt Nam" đã giúp khởi động và thúc đẩy các hoạt động tranh giấy tại Kim Đồng Có thể nói rằng hội đã thực hiện các hoạt động tương xứng với mục đích thành lập, đóng góp lớn vào việc phổ biến tranh giấy tại Việt Nam Khác với các nền văn hóa khác, những người mang tranh giấy đến Việt Nam không chỉ giới thiệu văn hóa tranh giấy mà còn cố gắng mở rộng nó thông qua hoạt động xuất bản.
The first Kamishibai training course in Vietnam commenced in 1991, as indicated in the data presented in Table 2-1.
The training sessions continued with the second and third installments, resulting in the creation of numerous works throughout the course.
The author of this article has created a table based on information published by the "Association for Supporting the Dissemination of Kamishibai in Vietnam" and the "Japan-Vietnam Kamishibai Exchange Association."
56年次ベトナムの紙芝居普及を支援するニュースによる。
Many works were published with the support of the "Support Association." With their cooperation, seven picture books were published in 1993 and fourteen in 1994 Subsequently, the publication of picture books in Vietnam became more active, leading to the distribution of these books to kindergartens across the country This effort contributed to the burgeoning unique picture book culture in Vietnam at that time.
To promote kamishibai in Vietnam, initial support activities were essential; however, the true effectiveness of these efforts can only be measured if kamishibai activities in Vietnam become independent after the support ends This suggests that establishing independent production and publication of kamishibai in Vietnam was also a necessary goal for the organization In 1998, the "Support Association" was renamed the "Japan-Vietnam Kamishibai Exchange Association," with the purpose of fostering mutual development through kamishibai exchange This name change signifies a fundamental shift in the organization's mission, transitioning from a support-based relationship to one of equality, as Japan and Vietnam began to engage as equals rather than one being the supporter and the other the recipient Suzuki noted that this transformation was due to the growth of Vietnamese kamishibai, which reached a level capable of engaging with Japan Sakai Takako, representing Dōshinsha, remarked that the evolution from a support association to an exchange association reflects a new stage of interaction through kamishibai The April 1998 newsletter of the Exchange Association emphasized this significant development.
Over six years of support and activities have fostered a relationship akin to that of a parent and child Moving forward, it is essential to build on this foundation and aim for a sibling-like relationship that encourages mutual inspiration and growth, while deepening interactions and collaboration in the development of Kamishibai (Japanese paper theater).
To understand the growth trajectory of Vietnamese Kamishibai, let's examine the following graph, which illustrates its development in detail.
57 「ベトナム紙芝居交流の会」のニュース 1996 年号による。
Kyoko Sakai participated in workshops as an editor at Doshinsha during the 1990s and is currently the president of the company.
59 「日本・ベトナム紙芝居交流の会」のニュース 2000 年７月号による。
Figure 2-1 illustrates the financial contributions and the revenue generated from the sale of goods by the "Association Supporting the Promotion of Kamishibai in Vietnam."