Tinsagu nu Hana (てぃんさぐぬ花), also erroneously called Chinsagu nu Hana, is an Okinawan song about traditional Ryukyuan values such as filial piety and other Confucian teachings in the Okinawan language.
The title of the song can be translated as "The Balsam Flowers".The song is an Okinawan children's song; Okinawan children would squeeze the sap from balsam flowers to stain their fingernails as a way to ward off evil. The lyrics of the song are Confucian teachings. Of the first six verses, the first three relate to filial piety, while the latter three refer to respecting one's body and one's goals. Each verse has exactly the same number of notes using language and meter devices that are uniquely Okinawan, called Ryūka.
The last four of the ten verses are missing.
Shoukichi Kina, is a Japanese rock musician and politician. He, along with his band Champloose, played a large role in the Okinawan home-grown "folk rock" scene in the 1970s and 1980s. His first big hit was "Haisai Ojisan" in 1972, which he wrote when he was in high school. Songs from the 1980 album Blood Lines, like "Hana" and "Subete no Hito no Kokoro ni Hana o", are frequently heard in international markets.
Okinawan music is the music associated with the Okinawa Islands of southwestern Japan. In modern Japan, it may also refer to the musical traditions of Okinawa Prefecture, which covers the Miyako and Yaeyama Islands in addition to the Okinawa Islands. It has its roots in the larger musical traditions of the Southern Islands.
The Ryukyuan languages, also Lewchewan or Luchuan, are the indigenous languages of the Ryukyu Islands, the southernmost part of the Japanese archipelago. Along with the Japanese language and the Hachijō language, they make up the Japonic language family.
In Confucianism, Chinese Buddhism, and Daoist ethics, filial piety is a virtue of respect for one's parents, elders, and ancestors. The Confucian Classic of Filial Piety, thought to be written around the late Warring States-Qin-Han period, has historically been the authoritative source on the Confucian tenet of filial piety. The book—a purported dialogue between Confucius and his student Zengzi—is about how to set up a good society using the principle of filial piety. Filial piety is central to Confucian role ethics.
Begin is a Japanese pop rock group from Ishigaki Island in the Yaeyama Islands of Okinawa Prefecture, Japan. Their sound contains many elements of traditional Okinawan music, and prominently features the sanshin.
Eisa is a form of folk dance originating from the Okinawa Islands, Japan. In origin, it is a Bon dance that is performed by young people of each community during the Bon festival to honor the spirits of their ancestors. It underwent drastic changes in the 20th century and is today seen as a vital part of Okinawan culture.
The Classic of Filial Piety, also known by its Chinese name as the Xiaojing, is a Confucian classic treatise giving advice on filial piety: that is, how to behave towards a senior such as a father, an elder brother, or a ruler.
Kumi odori is a form of narrative traditional Ryūkyūan dance. Kumi odori or Kumi wudui means "combination dance" or "ensemble dance".
Shima-uta is a genre of songs originating from the Amami Islands, Kagoshima Prefecture of southwestern Japan. It became known nationwide in the 2000s with the success of young pop singers from Amami Ōshima such as Hajime Chitose and Atari Kōsuke.
"Nada Sōsō" is a song written by Japanese band Begin and singer Ryoko Moriyama. It was first released by Moriyama in 1998, but achieved popularity through the cover version by Rimi Natsukawa in 2001.
Tida: Tida Kaji nu Umui is Rimi Natsukawa's debut album, released on September 21, 2002. The title of the album is in Okinawan (Uchinaaguchi).
Smallpox demon or smallpox devil is a demon which was believed to be responsible for causing smallpox in medieval Japan. In those days, people tried to appease the smallpox demon by assuaging his anger, or they tried to attack the demon since they had no other effective treatment for smallpox.
The Mouzi Lihuolun is a classic Chinese Buddhist text. It comprises a purportedly autobiographical preface by Master Mou, a late 2nd-century Confucian scholar-official who converted to Buddhism, and an imaginary dialogue of questions and answers about Buddhist practices.
Ryūka is a genre of songs and poetry originating from the Okinawa Islands, Okinawa Prefecture of southwestern Japan. Most ryūka are featured by the 8-8-8-6 syllable structure.
Ryukyuan music, also called Nanto music, is an umbrella term that encompasses diverse musical traditions of the Amami, Okinawa, Miyako and Yaeyama Islands of southwestern Japan. The term of "Southern Islands" is preferred by scholars in this field. The word "Ryūkyū" originally referred to Okinawa Island and has a strong association with the highly centralized Ryukyu Kingdom based on Okinawa Island and its high culture practiced by the samurai class in its capital Shuri. By contrast, scholars who cover a much broader region lay emphasis on folk culture.
Filial piety has been an important aspect of Buddhist ethics since early Buddhism, and was essential in the apologetics and texts of Chinese Buddhism. In the Early Buddhist Texts such as the Nikāyas and Āgamas, filial piety is prescribed and practiced in three ways: to repay the gratitude toward one's parents; as a good karma or merit; and as a way to contribute to and sustain the social order. In Buddhist scriptures, narratives are given of the Buddha and his disciples practicing filial piety toward their parents, based on the qualities of gratitude and reciprocity. Initially, scholars of Buddhism like Kenneth Ch'en saw Buddhist teachings on filial piety as a distinct feature of Chinese Buddhism. Later scholarship, led by people such as John Strong and Gregory Schopen, has come to believe that filial piety was part of Buddhist doctrine since early times. Strong and Schopen have provided epigraphical and textual evidence to show that early Buddhist laypeople, monks and nuns often displayed strong devotion to their parents, concluding that filial piety was already an important part of the devotional life of early Buddhists.
Confucian coin charms are a category of Chinese and Vietnamese numismatic charms that incorporate messages from Confucian philosophy into their inscriptions. Generally these amulets resemble Chinese cash coins but contain messages of the traditions, rituals, and moral code of Confucianism, such as the idea of "filial piety" (孝) and the Confucian ideals of "righteousness" (義). During the 19th century these Confucian messages were also featured on a number of 1 mạch Vietnamese cash coins during the Nguyễn dynasty.
The Ryukyu Kingdom (1372–1879) on Okinawa Island used various writing conventions, all of which were markedly different from spoken registers. A unique feature of Ryūkyū's writing conventions is that in the Old Ryūkyū period (?–1609), it developed a predominantly kana writing convention that was based on sōrō-style Written Japanese but exhibited heavy Okinawan influence. After the conquest by Satsuma Domain in 1609, however, this style of writing was replaced by standard sōrō-style Japanese that was written predominantly with kanji. Other than that, Okinawan features were confined to the recordings of songs to sing, poems to read aloud, and plays to perform verbally, and did not have an autonomous status as literary writing. Instead, the samurai class of the kingdom was aligned with the literary tradition of mainland Japan that was established during the Heian period.
Ryukyuan culture are the cultural elements of the indigenous Ryukyuan people, an ethnic group native to Okinawa Prefecture and parts of Kagoshima Prefecture in southwestern Japan.
China Sadao (1945–) is a Japanese musician active in the Okinawan music and shima-uta scene, as a performer on the sanshin, min'yō folk singer, song-writer, and producer, having been responsible in 1990 for the formation of the Nēnēs.
For Tatsuo, the importance of the music lies partly in educating future generations in these Okinawan values. This perhaps explains the popularity of the song Tinsagu nu Hana (The Balsam Flower) among Okinawan community members, which was a recording on Ton Ton Mi's first album and is a favorite at Okinawan Brazilian community events: "Just as my fingernails are painted with the pigment from the balsam flowers, my heart is painted with the teachings of my parents."
Tinsagu nu Hana is one of Okinawa's most popular children's songs, describing the duties of children to their parents, "We paint our nails with balsam flowers, the words of our parents dye our minds"
I know because my mother told me every time we misbehaved. Or played us that song Tinsagu Nu Hana. (What does that song mean, mama? It means obey your mama! Like all Okinawan kids do.)...