nntsuzu/KFTT huggingface dataset:
English: Nerikiri (literally, made by kneading) is a Japanese type of unbaked cake that is made by mixing and kneading its ingredients, which are white bean jam, gyuhi (a kind of rice cake made from refined rice flour or glutinous rice flour with sugar and starch syrup) and Chinese yam.
Japanese: 練り切り（ねりきり）は、白餡に求肥（ぎゅうひ：蒸すかゆでた白玉粉や餅米の粉に、砂糖や水飴を加えて練ったもの）やツクネイモを混ぜて練った生菓子の和菓子である。
English: Nerikiri with the appropriate degree of softness and viscosity is made by forcing the mixture into a wooden mold with various carved patterns, elaborating it by hand or with spatulas, and tinting it with food dyes such as artificial colors and gardenias.
Japanese: 適度なやわらかさと粘度があり、これを様々な形を彫刻した木型に押し付けたり、手やへらで整形して細工を施し、着色料やクチナシなどの食用色素で彩色して仕上げる。
English: While oil painting, which was introduced to Japan in the Meiji period, is called Yo-ga (foreign style painting), Nihon-ga refers to paintings which utilize traditional Japanese techniques and styles and rather than being reliant on oil paint.
Japanese: 明治時代に日本に導入された油絵を「洋画」と呼ぶのに対して、油彩に依らず、それまでの日本の伝統的な技法や様式の上に育てられた絵画を指す。
English: Nihon-ga is narrowly defined as those paintings created after the Meiji period but it sometimes also refers those before that period.
Japanese: 狭義には明治以降のものであるが、それ以前のものにも拡張して呼ぶことがある。
English: In that case, the term 'Nihon-ga' is used loosely and it is unclear whether it refers to those drawings having origins in China or the Korean peninsula but with themes and styles that have Japanese characteristics, or those drawings in general which originated in Japan before the arrival of the oil painting technique.
Japanese: その場合、中国や朝鮮半島に由来しながらも主題や様式において日本的特徴を持つものを意味するのか、あるいは油彩技法が到来する以前に日本で制作された図画一般まで指すのか、定義があいまいなまま使われることも多い。
English: From the Nara period through to the Heian period, drawings using the technique and style derived from China or the Korean peninsula, or those imitating them and painted in Japan were called 'Kara-e' (Chinese Paintings).
Japanese: 奈良時代から平安時代にかけて、中国や朝鮮半島などから渡来した技法や様式、あるいはそれに倣い日本で描かれた図画が「唐絵」と呼ばれた。
English: Subsequently, the terms used, such as 'Kanga' (Chinese painting) compared with 'Waga' (Japanese painting), or 'Kara-e' compared with 'Waga,' varied according to the era, however the trend to consider those paintings and techniques from the past as traditional Japanese in comparison with the new styles imported from overseas has continued.
Japanese: その後「漢画」に対する「和画」や、「唐画」に対する「和画」などと、呼び方やその区分は時代によって異るが、海外から新しく流入した画風に対し、旧来のものを日本の伝統的なものと考えるパターンは繰り返されていた。
English: The term 'Nihon-ga' came into use in the beginning of the Meiji period to distinguish drawing styles which had already existed from Western style oil painting (or Yo-ga) imported from Europe at that time.
Japanese: 「日本画」は明治初期にヨーロッパからもたらされた油彩画すなわち西洋画（または「洋画」）に対して、それまでの日本にあった図画に対して用いられた用語である。
English: In 1876, at the beginning of the Meiji period, in order to promote the study of Western Art, the Meiji government established an art school and invited Antonio Fontanesi from Italy.
Japanese: 明治初期の1876年、明治政府は西洋画法を学ぶためイタリアからアントニオ・フォンタネージを招き、工部美術学校を創立した。
English: Meanwhile, Ernest Fenollosa came to Japan and taught philosophy and other subjects at Tokyo University.
Japanese: いっぽうアメリカ合衆国からアーネスト・フェノロサが来日し、東京大学で哲学などを教えた。
English: The word 'Nihon-ga' was adopted from the translation of the term 'Japanese painting' for the first time when Fenollosa gave his lecture on "The New Theory of Art" at the Dragon Pond Society (Ryuchikai) in 1882.
Japanese: フェノロサが1882年に龍池会で行った講演『美術真説』で使ったJapanesepaintingの翻訳が「日本画」という言葉の初出である。
English: In the lecture Fenollosa pointed out the following as characteristics of Nihon-ga and evaluated its excellence.
Japanese: この講演でフェノロサは次のような点を日本画の特徴として挙げ、優れたところと評価している。
English: Kakusan (later called Tenshin) OKAKURA, who worked as a interpreter and assistant for Fenollosa, was much encouraged by this experience and established The Tokyo Art School (later Tokyo Art University) in 1889 which did not teach western painting but had only a Nihon-ga faculty with teachers including Gaho HASHIMOTO.
Japanese: フェノロサの通訳を勤めており助手であった岡倉覚三（のちの天心）らはこれに大きく力づけられ、1889年に東京美術学校（後の東京藝術大学）を開くと、西洋画の教育を排し、絵画としては橋本雅邦らを教師として日本画科をのみ設けた。
English: By this time, the art school (Kobu Bijutsu Gakko), which taught western painting, had been closed in 1883.
Japanese: 西洋画を教えていた工部美術学校は、これに先立ち1883年に閉鎖されている。
English: Okakura was inaugurated as the Head of Tokyo Art School in 1890 but was forced out of the school in 1898, then established The Japan Art Academy with Yokoyama.
Japanese: 岡倉は1890年には東京美術学校の校長にもなるが、1898年に職を追われ、横山らと日本美術院を作った。
English: The Nihon-ga which Okakura intended to foster was not just preserving traditional Japanese technique and style, but also brought in some necessary western techniques aiming to create Japanese drawings which could hold their own against western paintings.
Japanese: 岡倉らが東京美術学校、日本美術院で育てようとした日本画は旧来の技法や様式を守るだけのものではなく、西洋画から採り入れるものを採り、それと対抗できるような日本の絵画であった。
English: Gaho HASHIMOTO, while being from the Kano School with Hogai KANO as his senior pupil, was a painter who sought to develop his own style; similarly, Yokoyama also developed new techniques.
Japanese: 橋本雅邦は兄弟子狩野芳崖とともに狩野派の出身でありながら、独自の画風を拓こうとした画家であったし、横山も新しい技法を開発している。
English: It is thought that the term 'Nihon-ga' used by Fenollosa for the first time did not simply refer to all drawings existing in Japan prior to the arrival of western oil painting, but more specifically to the style which had roots in China and the Korean Peninsula but was developed independently and matured in Japan.
Japanese: フェノロサが最初に使った「日本画」という言葉は、西洋から渡来した油彩画に対して、それまでに日本にあった図画全般を単に指すものではなく、中国や朝鮮半島に由来しながらも、日本の中で熟成、独自に発展した様式について言っているものであろう。
English: However, the Nihon-ga established then and fostered by Okakura and others up until the present has continued to develop as a rival force to Yo-ga.
Japanese: しかし、これに発して岡倉らが育てて現在に至る日本画はそれとも異り、洋画の対抗勢力としてその後に発達したものである。
English: In that sense, Nihon-ga is defined as those created after the Meiji period, which means that Taikan YOKOYAMA of Meiji was classified as a painter of Nihon-ga but the Edo period painter Eitoku KANO was not.
Japanese: その意味では日本画は明治以降のものであり、明治の横山大観が日本画家であっても、江戸時代の狩野永徳は日本画家ではない。
English: Nihon-ga may have been a product of a nationalistic feeling of crisis due to the rapid influx of western culture under the Meiji government's westernization policy combined with an affinity felt in the encounter with Fenollosa who sought to create a foothold in America to counter the dominance of European culture.
Japanese: 日本画の誕生は、明治政府の欧化政策のもとでの西洋文化の急速な流入に対する国粋主義的な危機感と、当時のアメリカ合衆国でヨーロッパ由来の文化との対抗軸を模索していたフェノロサとの出会いと共感が造り出したものかもしれない。
English: The Boston Museum of Fine Arts was established in 1876, at a time when United States had gained independence from England and was becoming more stable after the Civil War.
Japanese: イギリスから独立を果たし、南北戦争を経て安定したアメリカ合衆国では、1876年にボストン美術館が設立された。
English: In 1890, Fenollosa, after returning to United States from Japan, was installed as the first head of the Japanese Art Division of the Boston Museum of Fine Arts, and in 1910 Okakura succeeded him as head of the Oriental Division.
Japanese: フェノロサは1890年に帰国後その初代日本部長となり、岡倉はその後を引き継いで1910年、ボストン美術館中国・日本美術部長となる。
English: Since then Yo-ga and Nihon-ga have continued to their symbiotic relationship, coexisting and developing as rival forces in Japan.
Japanese: 日本における洋画と日本画はその後、互いに影響を与えながらも対抗的に併存、発展してきた。
English: However these days it is difficult to delineate the boundary in themes and styles between them, and it is said that the only difference is in painting tools.
Japanese: しかし今日では、主題や様式において、その境界を定めることは難しく、違いは画材にしか求められない状況とも言える。
English: Nihon-ga is rarely taught in the ordinary art classes up to high school level, apart from in specialized art schools.
Japanese: 日本の、芸術系学科以外の高等学校までの美術(教科)では日本画を教えることはまずない。
English: This is because the painting tools are expensive and it is difficult to employ specialized teachers.
Japanese: 画材が高価であること、専門の教員の確保が難しいことも理由のひとつであろう。
English: Furthermore, the entrance examinations for Nihon-ga departments in the art universities include coloring with water paints, and also very rarely pencil drawing.
Japanese: また美術大学の日本画科の入学試験は水彩絵具による着彩、または、まれに鉛筆によるデッサンのみで行われる。
English: Nihon-ga are created mainly with a variety of mineral colors and a small amount of organic colors.
Japanese: 日本画の制作には様々な種類の岩絵具を主として若干の有機色料を併せ用いる
English: Pigments such as shell lime as well as glue, ink slabs, ink sticks, silk, Japanese paper, paint brushes, tsuketate-fude (paint brushes), coloring brushes and ceramic brush washers and other items are needed.
Japanese: 胡粉などの顔料、膠、硯、墨、絹、和紙、刷毛、付立筆や彩色筆等の筆、陶磁器の筆洗（ひっせん）などが必要である。
English: One characteristic of Nihon-ga is that the many layers of paint can be applied due to the property of the paint which does not dissolve compared with water painting.
Japanese: 水彩よりも溶解しない性質があり、何度も絵具を薄く重ねて制作することが可能であるという特徴を持つ。
English: In recent years, with the influence of oil painting, we have seen the development of abstract drawings or artworks using thickly daubed paint and other such methods of expression which are not bound by traditional techniques.
Japanese: 近年では、油彩画の影響を受け、絵具を厚く塗り重ねた表現や抽象的描画など、いわゆる伝統的な技法にとらわれない表現技法もみられる。
English: Among mineral colors, malachite No.1 to 3, or those having same coarseness and called sandcolor such as dark blue and pulverized lapis lasuli should be dissolved in a bowl with just the glue solution, using an amount greater than the mineral color; and using a soft brush skim the paint onto the brush and paint.
Japanese: 岩絵具のなかで緑青は青一番から青三番くらいまで、紺青、群青のようなその他これに類する粗さの、俗に砂絵具というほどのものは、ほとんど膠水だけで溶かし、深皿に絵具よりも多い膠水を入れ、羊毛のようなやわらかい筆で絵具をすくうようにして画面に塗る。
English: With mineral colors the color is often repelled on the second coat and does not settle on the paper, however in this case adding a drop of mint oil or sesame oil to the dissolved color may be helpful, but this requires great skill.
Japanese: 岩絵具は、2回目ははじいてうまくつかないことが多いが、そのような場合は溶いた絵具にハッカ油かゴマ油を一滴落とすという手法が存在するが、熟練の技術を要する。
English: Mix the powdery mineral color such as pulverized azurite, byakugun (a light blue pigment) or malchite (white No.1 to byakuroku (a pale green pigment)) on a pallet with a small amount of glue solution and mash it well with the middle finger until it reaches the required viscosity.
Japanese: 岩絵具で群青の薄群、白群、緑青の白一番から白緑までの粉状のものは、皿の絵具に膠水をまぜて、中指で十分磨り、何回か水を少量加えて適当な粘稠度にして使う。
English: Regardless of the color, the paint should be well diluted and painted a few times rather than applying a thick color because this will mottle or smudge the drawing.
Japanese: どのような色であっても、一度に濃い色を塗るとまだらになって、画面を汚すから、うすめて二度三度と塗り重ねてようにする。
English: In the case of shell lime, if it is not dissolved correctly, it may peel off and a rich luster will not be obtained.
Japanese: 胡粉は、溶き方が不用意であると、塗ってから剥落したり、鮮やかな色沢を出すことなどできなかったりする。
English: If the shell lime has adequate fineness in water spray, there will be no problems if using the best grade or No.1 shell lime and kneading it carefully.
Japanese: 水飛が十分に細密な胡粉であれば、最上か一番胡粉で丁寧な錬磨をすれば心配ない。
English: If using a substantial amount, knead the shell lime well in a mortar then add small amount of glue solution and knead it again, and after repeating this process three to four times the shell lime and glue solution will be well mixed and the viscosity such that the pestle is no longer easy to move.
Japanese: たくさん使う時は、乳鉢で胡粉をよくすり、まずごく少量の膠液を加えよくすり、また膠液を入れてすり、と、これを三、四回くりかえせば、胡粉と膠液がよく融和し粘りが出てもう乳棒が動かないほどになる。
English: The glue solution should be made by boiling four grams of hide glue in 30 cc of water until well dissolved and filtering it through cloth.
Japanese: 膠液は、膠4gにたいして水30ccくらいで煮沸し、よく溶けるのを待ち、用布で濾す。
English: Water paint should be dissolved by kneading it in a plate, without adding any glue solution, and adding water a drop at a time while kneading with a finger.
Japanese: 水絵具は、膠液をいれず皿ですり、指ですって水を滴下してうすめてつかう。
English: Indigo should be used by putting a few drops of glue solution into a plate, kneading it, drying it by heating and dissolving it by adding a few drops of water and kneading with a finger.
Japanese: 藍は、膠液を数滴、皿に注ぎ、これを磨り、火でかわかし、水に滴して指で溶く。
English: Red ocher should be used by placing some glue solution in a plate, kneading it, drying it by heat, and dissolving it by adding a few drops of water and kneading with a finger.
Japanese: 代赭は、膠液を皿にそそぎ、磨り、火であぶってかわかし、水をすこしずつ加えて指で溶く。
English: Gamboge should be used by placing some water into a plate and kneading it until it turns a vivid yellow, and it is good to add some glue solution when using; while dark red pigment has usually already been soaked into a cotton cloth so cut the necessary amount of cloth when needed and put it on a plate, then add a small amount of boiling water and squeeze it hard with Japanese cedar chop sticks which do not contain oil, to release the dark red pigment.
Japanese: 藤黄は、水を数滴皿にそそぎ、すれば鮮黄色になるが、使用時に膠液をくわえればなおよい、臙脂は、綿にひたしてあるから、綿を使用分切り取り、皿に入れ、熱湯を少し加え、あぶら分の無い杉箸などで強く搾れば、濃赤色の液汁が出る。
English: To use the colors on the bowl used in double boiling, put water on the brush and dissolve the minimum amount necessary in the bowl; and sometimes a little glue is added in this case.
Japanese: 湯煎にした皿の絵具を使うのは、筆に水をふくませ、必要分だけを皿で溶き、この場合、膠を少量加えることもある。
English: If a small amount of shell lime (preferably one properly dissolved with glue solution) is added to the dark red color it will retain its luster.
Japanese: 臙脂は胡粉（膠液で正式に溶いたものがよい）をごく少量加えれば、色沢を失わない。
English: Geta (Japanese wooden sandals) is Japanese traditional footwear, and is put on by putting feet on wooden boards and fixing toes with a strap which is called O (or Hanao).
Japanese: 下駄（げた）は、日本の伝統的な履物で、木製の板に足をのせ、緒（鼻緒）で固定するものである。
English: The manufacturing processes of geta are to attach protruding portions for touching the ground which are called "Ha" (teeth) to the wooden board, drill three holes called "Me" (eyes), and put Hanao through these three holes.
Japanese: 板の台に、歯という接地用の突起部を付け、眼という穴を3つ穿ち、鼻緒を通す。
English: Japan has the following three kinds of footwear using O: Geta using a wooden base board as a part to put the feet on, Zori (Japanese footwear sandals) using soft materials such as grass, and Waraji (straw sandals) worn by covering the undersides of feet to the extent of heel, and tying the feet with O so as to prevent Waraji from separating from the feet.
Japanese: 日本には緒を用いる履物として、足を乗せる部分に木の台を用いる下駄、草などの柔らかい材料を用いる草履（ぞうり）、踵まで覆い足から離れないように緒で結ぶ草鞋（わらじ）の3つがある。
English: China also has Geta, but, does not have a word applicable to Geta, and Geta are called wooden footwear, including sabo.
Japanese: 下駄は中国にもあるが、日本語の下駄にあたる言葉はなく、木靴まで含めて木履という。
English: The paulownia in the Tohoku district ranks high because it has narrower spaces between the annual rings than from those from warmer districts.
Japanese: 暖かい地方と比べると年輪のより細かくなる、東北地方の桐材は高級とされる。
English: A portion attached to the underside of the base board is called Ha (teeth), and two teeth are usually attached ahead and in the rear, but one tooth or three teeth are attached in some cases.
Japanese: 台の下に付けるのが歯で、通常は前後2個だが、1個のもの、3個のものもある。
English: Geta made by carving the base board and teeth from one piece of wood are called renshi-geta, and the ones made by attaching teeth separately made to the base board are called sashiba-geta.
Japanese: 一つの木から台と歯を作るものを、連歯下駄、別に作った歯を台に取り付けるのを差し歯下駄という。
English: It is said that 'Ipponba-geta' (one-tooth geta) (Takageta, tall wooden clogs) with one tooth were worn by Tengu (long-nosed goblin) and were used for ascetic practice in the mountains.
Japanese: 歯が一本の「一本歯下駄（高下駄）」は、天狗が履くもの、山での修行に使うとも言われる。
English: Hanao used to indicate a top of O which was pinched by toes, but came to indicate the entire of O.
Japanese: 鼻緒はもと、緒の先端部で足指がかかるところであったが、緒の全体を指すようになった。
English: Hemp, palm, rice straw, bamboo sheath, vine, or leather were used as materials in ancient times, and O was finished by often wrapping such materials in a cloth.
Japanese: 古くは麻、棕櫚、稲藁、竹の皮、蔓、革などを用い、多くの場合これを布で覆って仕上げた。
English: Geta are basically put on when wearing traditional Japanese clothes, but, are often put on in combination with traditional Japanese clothes for informal wear, not for formal wear.
Japanese: 基本的に和服で履くが、正装ではなく、普段着の和服と組み合わせることが多い。
English: An appearance where male students put on Geta in combination with a loose outfit (school uniform) as fashion is called Bankara (rough and uncouth style).
Japanese: 男子学生がファッションとして崩れた洋服（学生服）などに下駄を履いていることをバンカラと呼ぶ。
English: As in the case that people do not wear traditional Japanese clothes often, people do not put on Geta generally in present-day Japan.
Japanese: 現代の日本では、和服が着られる機会が少ないのと同様に、一般的には履かれることは少なくなった。
English: This may be because gravel municipal roads which made up more than 90% were rapidly asphalted taking advantage of the Tokyo Olympic Games.
Japanese: これは、東京オリンピックを契機に、それまで9割以上が砂利道であった市町村道にも急激にアスファルトによる舗装が広まっていったこととも関係していると思われる。
English: In and after around 1995, the number of young ladies who put on Geta as informal footwear increased because they felt that 'Geta are cute, and make a good sound.'
Japanese: 1995年頃以降、若い女性が「かわいいし、音がいい」と下駄を普段履きとして履く若年女性が増えた。
English: Geta used to be avoided because Hanao gave pain to the toes, or Geta created difficulties in walking.
Japanese: 下駄は鼻緒で足が痛くなるもの、歩きにくいものといわれて敬遠されていた。
English: However, as a result of improvement of Geta by yukata manufacturers and footwear companies so as not to cause pain, and of by introducing workmen who adjust Hanao to fit the toes in many places, easy-to-walk Geta are increasing.
Japanese: しかし、浴衣メーカーや履物屋が痛くないように下駄を改良したり、足にあわせて鼻緒を調整する職人が各地で紹介された結果、歩きやすいものが増えている。
English: Since the number of adults who let children wear Geta so as to train their legs increases, children get familiar with Geta from a very young age, and it is often seen that elderly ladies wear Geta as sandals.
Japanese: 足を鍛えるため子供に下駄を履かせるようにする大人が増えて、子供が小さなころから下駄に親しむようになったり、年配の女性がサンダルとして下駄を履く姿も見かける。
English: Japanese-style hotels in hot spring resorts are equipped with yukata and Geta, and when guests visit sotoyu (any and all public baths in the town outside), Japanese-style hotels lend Geta, and guests go out wearing them.
Japanese: 温泉の旅館では浴衣と下駄が備え付けてあり、外湯に行く場合は旅館は下駄を貸し、それを履いて出かける。
English: There are some hot spring resorts which have developed a town on the premise of wearing Geta, such as Kinosaki Hot Spring, Naruko Hot Spring, etc., and Geta are lent in some regions.
Japanese: 城崎温泉、鳴子温泉など、下駄履きを前提としたまちづくりをした温泉街もあり、下駄のレンタルがある地域もある。
English: This was used during a period from the late Heian period to the Edo period, and was only used as footwear on rainy days during the Edo period.
Japanese: 平安時代後期から江戸時代ごろまで用いられ、江戸期にはもっぱら雨天の履物であった。
English: What was worn by old-education system high school students was this kind of Geta (Hoba no Takaeta (high clogs with teeth made of Japanese white-barked magnolia)).
Japanese: また、旧制高等学校生徒が履いていたのもこの種の下駄である（朴歯の高下駄）。
English: During a period from the early to mid Edo period, this was lent to visitors to Yoshiwara (Tokyo) by Machiai-jaya (tea house to lend seats and tables, or rooms) when they were caught in the rain.
Japanese: 江戸初期から中期ごろ、吉原(東京都)の遊び客が雨に降られたときに待合茶屋が貸した。
English: It is said that the trapezoidal shape hollowed out in the underside of the base board made a sound of hoofs while walking.
Japanese: 台の下をひし形に刳りぬいてあるために歩くと馬の蹄のような音がしたという。
English: This was Geta further developed from Uma-geta, and was categorized as Hiyori-geta available on fine days as well as on rainy days.
Japanese: 馬下駄をさらに進化させたもので、雨天だけではなく晴天にも履ける日和下駄である。
English: Its benefit was that teeth were replaceable when they were worn out because this geta was made by using a dovetail joint, and the roots of teeth did not appear on the base board.
Japanese: 蟻さし歯を用いて歯の根が台にあらわれず、歯がすり減れば入れなおすことができるという点が利点。
English: Its characteristic was that leather was used for Hanao, and this Geta was finished in a delicate manner in whole.
Japanese: また鼻緒に革を用いたところに特色があり、全体的に上品な仕上げであった。
English: There are several definitions depending on the season; however, this Geta for men was rectangular, was made of paulownia (Geta with fine straight grain was regarded as a luxury article), and was approx. 21.8cm to 22.1cm tall (this Geta for women was shorter by approx. 1.5cm.
Japanese: 時期によって定義はいろいろとあるが、男物の場合は角形で台は桐（糸柾目が高級品）、長さ七寸二～三分（女物は五分ほど短い）。
English: The usual height of teeth is approx. 6.67cm (this height is called Taisa), and when this height is changed to approx. 10cm (this changed height is called Kyosa), Geta is called Ashida (Taka-ashida) (taller Ashida).
Japanese: 歯は二寸二分程度がふつうで（大差という）、これを三寸三～四分にすると（京差という）、足駄（高足駄）というようになる。
English: Takageta with thick teeth were preferentially used especially by students called Bankara.
Japanese: 高下駄で厚歯のものあり、特にこればバンカラと呼ばれた学生に愛用された。
English: This is used for walking along the mountain path, and was mainly used by priests doing ascetic practice in the mountains, and by ascetic Buddhist monks including yamabushi (a mountain priest).
Japanese: 山道を歩くための下駄であり、山の中で修行する僧侶や山伏などの修験者が主に用いた。
English: In the olden days, people who performed public entertainments including Echigojishi, or performed acrobatics put on this Geta to show their capacity of balance.
Japanese: 昔は越後獅子など芸能や曲芸をする者がバランス能力を見せるために履いた。
English: However, in these years, this Geta regain a reputation and many people from children to adults put them on because it is considered to lead to development of a sense of physical balance and the muscles of the lower body, and to be good for chiropractic and rehabilitation.
Japanese: しかし、近年改めて体のバランス感覚（平衡感覚）を養う、足腰を鍛える、整体やリハビリなどに良いとして子供から大人まで履かれることもある。
English: The Japan Geta-Tobashi Association (JGTA) in Fukuyama City developed the above method of forecast to the competition.
Japanese: -福山市にある日本ゲタ飛ばし協会が、上記の占いを発展させて競技化している。
English: This is a festival held in Tanabe City, Wakayama Prefecture, which is regarded as the birthplace of Musashibo Benkei, and an event of competing dances by attaching a bell to Geta is held.
Japanese: -武蔵坊弁慶の出生地とする和歌山県田辺市の祭りで、下駄に鈴を付け踊り競うイベント。
English: A festival of dancing for three days and three nights used to be held in Niigata about 300 years ago when Niigata was still called 'Funae no sato.'
Japanese: -新潟がまだ、「船江の里」と呼ばれていた約300年昔、三日三晩踊り明かす祭があった。
English: A geta dance in which people put on their own original costumes and Koashida (small Ashida) used to be performed in the above festival.
Japanese: 老若男女が思い思いの仮装と小足駄を履いて踊られた下駄の踊りがあった。
English: This dance was produced based on existing picture scrolls and materials, aiming at reviving passions of people in Niigata toward festival and dance.
Japanese: 現存する絵巻物や資料を基に、新潟人が持つ、祭や踊りに傾ける情熱を復活させようと、制作された踊り。
English: Haiku written by Densutejo (present-day Tanba City; one of the female Rokkasen (female six famous poets) in the Edo period) at the age of six was 'Yuki no asa, Ni-no-ji Ni-no-ji no, Geta no ato (which means that in the morning of snowy day, a trace of Geta remains in the shape of figure 2 (2 is described as 二 in Japanese character)).
Japanese: -歌人、田捨女（今の丹波市、江戸時代の女六歌仙の一人）が6歳で「雪の朝二の字二の字の下駄のあと」と詠む。
English: Assign the right to make a decision (concerning own matter) and leave (such matter) to someone else totally (because of being unable to do on my own).
Japanese: -（自分に関する問題などに関して）決定権を譲り全面的に相手に任せる（自分では動けなくなることから）。
English: This phrase has an image of pushing up from below (because people become taller when putting on Geta).
Japanese: 下から押し上げるイメージの言葉（下駄を履くと背が高くなることから）。
English: Have no idea of result until everything (about a game, etc.) is over (putting on Geta to go home).
Japanese: -（勝負などに関して）全て終わる（帰るために下駄を履く）まで結果はわからない。
English: Although Geta became unpopular, the term remains even today (like 'fudebako' (pen case, literary writing brush case)).
Japanese: 下駄が一般的でなくなっても言葉だけは現在に至るまで残っている（「筆箱」などと同類）。
English: Therefore, this sound is often regarded as noise in a present-day city even if it generates an atmosphere when people stroll in yukata on the day of festival or fireworks, or stroll in hot spring resorts, and not a few places say 'No Geta' (including the reason that Geta damages a floor).
Japanese: そのため、祭りや花火の日に浴衣姿で歩く場合や、温泉街の街歩きなどでは雰囲気を出す音であっても、現代の町中では騒音と受け取られることも多く、（床が傷むことも含め）「下駄お断り」の場所も少なからずある。
English: This work shows that footprints are also decorated by designing bottoms of the teeth of Geta in the shape of animal footprints although Hanao and the shape of Geta were decorated.
Japanese: 下駄は鼻緒と外形で装飾されていたが、下駄の歯を動物の足型にデザインすることで足跡も装飾される、という作品。
English: In the era when types were used in printing, there was a custom of using an upside-down type as a substitute for necessary types which were unavailable.
Japanese: 印刷に活字を使っていた時代、必要な活字がない場合、活字を逆さまにして代わりに入れる習慣があった。