WEBVTT - Dreamfall into the Dark, Part 4

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Stuff to Blow Your Mind. My name

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<v Speaker 2>is Robert.

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<v Speaker 3>Lamb and I am Joe McCormick.

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<v Speaker 2>And we're jumping right into our fourth and final episode

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<v Speaker 2>in the dream Fall into the Dark series here about

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<v Speaker 2>the mystique of dreaming, particular times and places where dream

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<v Speaker 2>culture was especially pronounced. This, of course, won't be our

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<v Speaker 2>final episode on dreaming, will inevitably come back to dreaming.

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<v Speaker 2>Dreaming is always something that's going to come up one

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<v Speaker 2>way or another in the topics we cover on Stuff

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<v Speaker 2>to Blow Your Mind.

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<v Speaker 3>But now, Rob, didn't we begin this whole investigation because

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<v Speaker 3>you got interested in a dream related monster from Japanese folklore.

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<v Speaker 2>That's right, a particular monster that we will be covering

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<v Speaker 2>in this episode, but it kind of served as the

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<v Speaker 2>white Rabbit that we pursued and ended up doing three

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<v Speaker 2>additional episodes, not directly related to it or even its

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<v Speaker 2>direct dream culture. It is the creature we're going to

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<v Speaker 2>be talking about, a largely a creature of Japanese dream culture,

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<v Speaker 2>and so you know, I think it was necessary to

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<v Speaker 2>talk about much of what we talked about in the

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<v Speaker 2>previous three episodes to fully appreciate it. But we are

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<v Speaker 2>going to have to also discuss Japanese dream culture itself

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<v Speaker 2>before discussing this curious creature.

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<v Speaker 3>Right. So, as background, I was looking for a paper

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<v Speaker 3>on how dreams have been viewed in Japanese culture across history,

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<v Speaker 3>and I came across one published in the Journal of

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<v Speaker 3>Psychiatry and Clinical Neurosciences in nineteen ninety five by Shoozo

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<v Speaker 3>Koyama called Japanese Dreams, Culture and Cosmology. So this is

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<v Speaker 3>a short article by a researcher named Shooso Koyama, who

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<v Speaker 3>at the time of the publication worked at the Japanese

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<v Speaker 3>National Museum of Ethnology in Osaka. Now, of course, the

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<v Speaker 3>way dreams are perceived in Japan across times seems in

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<v Speaker 3>broad regard to mirror patterns we've seen in other cultures,

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<v Speaker 3>where there are some people sometimes who regard them more

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<v Speaker 3>as private internal phenomena with no informational relevance to the

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<v Speaker 3>external world or no special power. It's not like a

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<v Speaker 3>place you go, whereas others see them as having a

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<v Speaker 3>kind of magic or predictive power, or involving genuine interactions

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<v Speaker 3>with spiritual beings. Both good and bad. But what this

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<v Speaker 3>paper does is look at a series of historical periods

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<v Speaker 3>in Japan and try to make a few generalizations about

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<v Speaker 3>trends in how dreams were perceived and written about in

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<v Speaker 3>those periods relative to the other periods. So the author

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<v Speaker 3>begins by looking at the Joman period, which is about

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<v Speaker 3>ten thousand BCE until about five hundred BCE. This is

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<v Speaker 3>a time when Japan was occupied by hunter gatherers who

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<v Speaker 3>lived in small societies. We've talked about the German culture before,

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<v Speaker 3>especially with regards to their fabrication of clay pots. I

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<v Speaker 3>think we talked about this in our episode on the Cauldron,

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<v Speaker 3>and some evidence in early German culture of transitioning from

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<v Speaker 3>a hunter gatherer lifestyle to a more settled lifestyle, staying

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<v Speaker 3>in one place. More so, in this period, there are

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<v Speaker 3>no written records, so it is difficult to have much

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<v Speaker 3>certainty about the beliefs and psychology of people at the time. However,

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<v Speaker 3>we can make some guesses based on iconography preserved in

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<v Speaker 3>artifacts of this culture. So the German people did make

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<v Speaker 3>figurines out of clay and stone, representing both human and

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<v Speaker 3>animal forms. The human forms are very often female, often

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<v Speaker 3>depicted with exaggerated breasts, stomachs, and buttocks, with their faces

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<v Speaker 3>hidden behind masks. These are sometimes interpreted as goddesses or

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<v Speaker 3>figures of fertility, or as substitute human beings who are

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<v Speaker 3>given up as offerings to the gods, and you'll find

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<v Speaker 3>them in different kinds of archaeological settings, may be left

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<v Speaker 3>alone in an abandoned dwelling or deposited in a hole

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<v Speaker 3>in the ground. As for animal forms, one of the

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<v Speaker 3>most common is apparently the snake. Snake designs are found

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<v Speaker 3>on many German vessels, and early snake motifs seem to

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<v Speaker 3>transition into more abstract forms like spirals or waves in

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<v Speaker 3>later designs. Late German figurines also depict bears and wild boars,

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<v Speaker 3>but humans and snakes are especially common. This, according to

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<v Speaker 3>the author, connects to the role of snakes in Japanese mythology.

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<v Speaker 3>There is a very prominent story where a prince kills

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<v Speaker 3>or subdues a snake spirit and this act leads to

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<v Speaker 3>the creation of Japan, and there are also folk tales

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<v Speaker 3>of snakes that transform into or appear as people. For example,

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<v Speaker 3>a snake that transforms into a man in order to

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<v Speaker 3>father children with a human woman, or a man that

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<v Speaker 3>visits a beautiful woman only to discover that she is

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<v Speaker 3>actually a snake in disguise, or has a snake spirit

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<v Speaker 3>revealed and he runs away in terror. Now, to be

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<v Speaker 3>very clear, there is no proof that any of this

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<v Speaker 3>imagery comes from dreams, but in this period, because there

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<v Speaker 3>are no written records of dreams, all you can really

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<v Speaker 3>do is look at the imagery to try to get

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<v Speaker 3>a best guess about what kinds of non realistic subject

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<v Speaker 3>matter preoccupied the early inhabitants of the Japanese archipelago now Koyaman.

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<v Speaker 3>This article uses the stories of humans with underlying snake

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<v Speaker 3>spirits to argue that early Japanese culture is infused with animism.

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<v Speaker 3>Though here I think the author defines animism maybe a

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<v Speaker 3>little bit differently than I'm used to or than I've

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<v Speaker 3>seen in some other scholarships. So in this paper, animism

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<v Speaker 3>is defined as the belief that living beings are composed

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<v Speaker 3>of two substances, spirit and body, that spirit is intangible

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<v Speaker 3>and eternal, and that body is visible and tangible but temporal.

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<v Speaker 3>And of course I'm no expert on the study of religions,

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<v Speaker 3>but I think think usually or at least more often

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<v Speaker 3>animism is taken to me in a belief system that

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<v Speaker 3>you find all around the world, which assumes that not

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<v Speaker 3>only people, but potentially all things have a sort of

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<v Speaker 3>soul or spirit or agency. And this can include animals,

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<v Speaker 3>of course, but also plants, geological features like mountains and rivers,

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<v Speaker 3>just generally places, weather patterns, even human artifacts or abstract concepts,

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<v Speaker 3>and in a sense these all can have a spirit,

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<v Speaker 3>a soul, or a life force with agency, desires, and

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<v Speaker 3>other qualities of mind. One particular thing that's different here

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<v Speaker 3>is that I understand animism to notably make little or

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<v Speaker 3>no distinction between spiritual causes and material causes, whereas this

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<v Speaker 3>definition of animism, I think, would emphasize exactly that difference.

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<v Speaker 3>But I don't want to get two sidetracked here. Koyama

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<v Speaker 3>basically is asserting that that ancient Japanese art and stories

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<v Speaker 3>point toward a belief dividing the world into a material

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<v Speaker 3>reality and a spiritual reality that are separate. Now here

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<v Speaker 3>you go to phase two. This period begins five hundred

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<v Speaker 3>BCE and goes until roughly the fifth century CE. The

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<v Speaker 3>historical context is that Koyama says this is when Paddy

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<v Speaker 3>Ricefield cultivation begins in Japan, probably introduced from practices in

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<v Speaker 3>China through Korea. Some Chinese documents from this time imply

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<v Speaker 3>that Japan was probably a large and complex enough society

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<v Speaker 3>that there were different tribal territories. This is indicated by

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<v Speaker 3>references to conflicts between them, and during this time there

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<v Speaker 3>was an influx of new peoples moving in from outside Japan,

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<v Speaker 3>introducing new cultural elements. There was still plenty of figurative

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<v Speaker 3>art from this period. Some German conventions continued, and you

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<v Speaker 3>had depictions of human figures and daily activities. You would

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<v Speaker 3>find figures depicted hunting, harvesting crops, or seafaring. A lot

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<v Speaker 3>of animal representations as well, including figurines of birds and dragons,

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<v Speaker 3>which are not really present in Phase one. Koyama says,

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<v Speaker 3>it's notable that both of these creatures that show up

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<v Speaker 3>here can fly, and then writes quote. This coincides with

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<v Speaker 3>the fact that newcomers believed they were the descendants of

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<v Speaker 3>celestial gods, while indigenous groups were called offspring of gods

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<v Speaker 3>of the land in mythology. As a symbol of the sun,

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<v Speaker 3>mirrors were used by newcomers. A quantity of Chinese bronze

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<v Speaker 3>mirrors have been excavated from large scale tombs, apparently very

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<v Speaker 3>important artifacts. Decoration on the backs of some mirrors depict

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<v Speaker 3>a Taoist cosmology, and it's in this period that we

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<v Speaker 3>have the first references to dreaming in Japanese culture in

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<v Speaker 3>written records. There's a collection of Chinese historical texts known

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<v Speaker 3>as the Way Dynasty Chronicle, which these texts claim that

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<v Speaker 3>the Queen of Japan, in Coyama's words quote, governed her

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<v Speaker 3>nation by shamanism, though I'm not quite sure what that means.

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<v Speaker 3>So there is a collection of Chinese historical texts known

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<v Speaker 3>as the Way Dynasty chron and these texts make reference

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<v Speaker 3>to the Queen of Japan, and Koyama says that they

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<v Speaker 3>claimed that she governed her nation by shamanism. During this time,

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<v Speaker 3>there was use of oracle bones to tell the future

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<v Speaker 3>in Japan. Excavated artifacts demonstrate this, so there was a

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<v Speaker 3>form of There were forms of divination in practice, and dreams,

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<v Speaker 3>as we know, are very often in basically all cultures,

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<v Speaker 3>at some points used for divination to try to get

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<v Speaker 3>access to future information or secret information. There is an

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<v Speaker 3>eighth century Japanese text tradition known as the Kojiki, which

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<v Speaker 3>contains a bunch of myths, legends, and alleged historical accounts

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<v Speaker 3>of Japan up to the seventh century, and it claims

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<v Speaker 3>that during this period, dreaming was used to decide important

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<v Speaker 3>matters of state. And so I'm going to read a

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<v Speaker 3>quote from Koyami here, but it makes reference to an

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<v Speaker 3>emperor Sujin. Sujin was a Japanese emperor, often known as

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<v Speaker 3>one of these so called legends and dairy emperors. Though

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<v Speaker 3>I've read that some think he maybe or probably did

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<v Speaker 3>exist in history, maybe reigning during the first century BCE

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<v Speaker 3>or sometime around then. But what we know about him

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<v Speaker 3>is enmeshed in a lot of legends, so I think

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<v Speaker 3>it's hard to say a lot for certain if he

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<v Speaker 3>did exist. But anyway, the chronicle says Emperor Seugen quote

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<v Speaker 3>had a sacred bed made so that he could dream

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<v Speaker 3>in order to make a decision in a crisis, for example,

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<v Speaker 3>to stamp out epidemics or to nominate the heir to

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<v Speaker 3>the throne. He often listened to the dreams of his

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<v Speaker 3>subjects in order to make national policy. It is clear

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<v Speaker 3>that during this phase people still believed in the supernatural

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<v Speaker 3>world and dreaming was considered a domain where qualified persons

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<v Speaker 3>communicated with powerful spirits. So this mimics beliefs about dreams.

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<v Speaker 3>We've seen from elsewhere that dreams could be used for divination,

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<v Speaker 3>that they could help you predict the future, or they

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<v Speaker 3>could give you advice. Maybe you would be getting advice

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<v Speaker 3>directly from some kind of spiritual entities who had privileged knowledge,

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<v Speaker 3>and that in some cases there were specially qualified people

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<v Speaker 3>who could communicate with these entities in dreams.

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<v Speaker 2>I love this detail that the emperor had a sacred

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<v Speaker 2>dreaming bed. That's that's that's wonderful. This idea that a

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<v Speaker 2>night's sleep needs to be special. Tonight's sleep is just

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<v Speaker 2>about a vital dream that will help lead the way.

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<v Speaker 3>I think you could consider this a form of intentional

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<v Speaker 3>dream incubation. That you know that we see this in

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<v Speaker 3>other cultures, like in ancient Greco Roman culture, there would

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<v Speaker 3>be temples where you could go and sleep in the

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<v Speaker 3>temple in like a special place in order to receive

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<v Speaker 3>a dream from the god. I guess after you made

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<v Speaker 3>an offering to the god because you slept in the temple,

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<v Speaker 3>the dream would be from that God giving you advice

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<v Speaker 3>about what to do in order to solve your problem.

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<v Speaker 2>Yeah.

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<v Speaker 3>After this, Koyama goes to Phase three, which is beginning

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<v Speaker 3>in the fifth century and going into the ninth. This

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<v Speaker 3>was a time when Japan was established as a state

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<v Speaker 3>and interacted politically with other states in East Asia koamas As.

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<v Speaker 3>There were strong Chinese influences in Japan at this time,

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<v Speaker 3>including Chinese law codes, as well as the spread of

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<v Speaker 3>philosophies and religions that were either Chinese in origin or

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<v Speaker 3>popular in China already, such as Confucianism, Buddhism, and Taoism. Now,

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<v Speaker 3>as we've discussed before, I think this came up in

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<v Speaker 3>talking about that book by Lynn Struve. Confucianism sometimes is

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<v Speaker 3>taken to militate against supernatural or so called irrational interpretations

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<v Speaker 3>of dreams. I've read elsewhere. I think that that Confucian

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<v Speaker 3>thinkers were sort of often not on board with the

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<v Speaker 3>idea of dream divination, while Taoism, on the other hand,

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<v Speaker 3>does sort of allow for fortune telling and omens.

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<v Speaker 2>Yeah, that's my understanding that sort of three different schools

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<v Speaker 2>here are in play, but those are sort of the

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<v Speaker 2>the major like push and pull between Confusism and Dallism

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<v Speaker 2>concerning dreams.

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<v Speaker 3>From this period, Koyama mentions a Buddhist temple coming back

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<v Speaker 3>to the special dream bed, mentions a Buddhist temple called

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<v Speaker 3>the Horyuji, which was built in the early seventh century

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<v Speaker 3>by a prince named Shotoku, and allegedly the prince would

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<v Speaker 3>lock himself inside this temple for days at a time

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<v Speaker 3>to receive inspiration, and one of the names of this

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<v Speaker 3>building translates to dream hall. However, Koyama says that during

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<v Speaker 3>this period, the primary thing about dreams is that they

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<v Speaker 3>seem mostly kept private, maybe whether one believed in dreams

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<v Speaker 3>as divination or not.

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<v Speaker 2>Okay, so there wasn't as much in the way of

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<v Speaker 2>dream literature at the time.

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<v Speaker 3>But then we reach phase four, and it's when we

0:13:48.559 --> 0:13:51.760
<v Speaker 3>realize we are all just the dream of a giant

0:13:51.760 --> 0:13:56.240
<v Speaker 3>ant mound no sorry movie reference. Beginning in the ninth

0:13:56.240 --> 0:14:00.520
<v Speaker 3>century going on until the thirteenth there is this period

0:14:00.880 --> 0:14:05.120
<v Speaker 3>Koyama characterizes as the maturation of the political and economic

0:14:05.160 --> 0:14:09.280
<v Speaker 3>structure of Japan and the establishment of a court culture

0:14:09.400 --> 0:14:14.440
<v Speaker 3>that includes literature and other elite products. During this period,

0:14:14.480 --> 0:14:17.680
<v Speaker 3>there is a resurgence of interest in dreams as a

0:14:17.720 --> 0:14:20.960
<v Speaker 3>tool for seeing into the future. During this period, there

0:14:21.040 --> 0:14:24.120
<v Speaker 3>is a resurgence of interest in dreams as a tool

0:14:24.200 --> 0:14:27.760
<v Speaker 3>for seeing into the future. This comes in concert with

0:14:27.800 --> 0:14:30.560
<v Speaker 3>what seems to be a general resurgence of belief in,

0:14:30.760 --> 0:14:36.880
<v Speaker 3>or at least interest in supernatural beings and mechanisms like ghosts, demons, wraiths, omens,

0:14:36.920 --> 0:14:41.760
<v Speaker 3>and curses. And during this period Japanese Buddhism Koamas has

0:14:41.800 --> 0:14:45.640
<v Speaker 3>incorporated some Shinto elements, Shinto being sort of the native

0:14:45.640 --> 0:14:49.320
<v Speaker 3>belief system of Japan. Again to the special dream facilities

0:14:49.320 --> 0:14:52.880
<v Speaker 3>and dream beds, Quoyama writes, quote, some temples and shrines

0:14:53.320 --> 0:14:57.200
<v Speaker 3>had special compounds for dreaming. People rushed to such places

0:14:57.320 --> 0:14:59.800
<v Speaker 3>en mass and stayed until they had a good dream.

0:15:00.360 --> 0:15:05.360
<v Speaker 3>There were professional dream interpreters and dreamers by profession. Nightmares

0:15:05.360 --> 0:15:09.240
<v Speaker 3>and sleep disorders were commonplace during this period. However, it's

0:15:09.280 --> 0:15:12.800
<v Speaker 3>important to consider none of these generalizations totalizing, because there

0:15:12.800 --> 0:15:17.320
<v Speaker 3>are some counterexamples, like Koyama mentions a tenth century poetic

0:15:17.360 --> 0:15:21.400
<v Speaker 3>diary known as the Kageroniki, sometimes called The Gossamer Years

0:15:21.400 --> 0:15:24.800
<v Speaker 3>in English, in which the author at one point gets

0:15:24.840 --> 0:15:29.240
<v Speaker 3>a supernatural interpretation of a dream from a priest, and

0:15:29.400 --> 0:15:32.920
<v Speaker 3>she calls the priest's interpretation of the dream a stupid lie,

0:15:34.320 --> 0:15:36.880
<v Speaker 3>but the priest did try to give her the interpretation,

0:15:37.120 --> 0:15:40.640
<v Speaker 3>so it seems maybe that's normal for this period, but

0:15:40.960 --> 0:15:44.720
<v Speaker 3>the author's reaction suggests diversity of opinion on the power

0:15:44.760 --> 0:15:48.520
<v Speaker 3>of dreams among the elite. But overall, if Koyama is correct,

0:15:48.680 --> 0:15:51.720
<v Speaker 3>this is a period where belief in the power of

0:15:51.800 --> 0:15:57.480
<v Speaker 3>dreams flowers. Then there's phase five beginning in the thirteenth century,

0:15:57.600 --> 0:16:00.440
<v Speaker 3>the rise of the samurai class, and it's a sonociated

0:16:00.520 --> 0:16:04.360
<v Speaker 3>power system. Koyama describes them as, for the most part,

0:16:04.760 --> 0:16:09.560
<v Speaker 3>realistic and practical entrepreneurs coyamas as literature of this time

0:16:09.600 --> 0:16:13.320
<v Speaker 3>period shows on average a sort of turning away from

0:16:13.320 --> 0:16:17.960
<v Speaker 3>belief in the power of dreams as supernatural portents or realities,

0:16:18.120 --> 0:16:19.800
<v Speaker 3>at least certainly not as much as there was in

0:16:19.800 --> 0:16:23.640
<v Speaker 3>the phase before. And one example Koyama gives is a

0:16:23.760 --> 0:16:27.200
<v Speaker 3>Japanese epic known as the tai Haiki, or the Chronicle

0:16:27.240 --> 0:16:29.920
<v Speaker 3>of Great Peace. This is written sometime in the late

0:16:30.000 --> 0:16:33.560
<v Speaker 3>fourteenth century, and in part of this text there is

0:16:33.600 --> 0:16:38.080
<v Speaker 3>a warrior named Ayoto who quote refused to receive an

0:16:38.120 --> 0:16:40.880
<v Speaker 3>award after being told that his lord wanted to give

0:16:40.920 --> 0:16:46.000
<v Speaker 3>it because he dreamt of Aoto's distinguished service. He said,

0:16:46.080 --> 0:16:49.440
<v Speaker 3>I can't receive such an irrational award. I did nothing.

0:16:49.560 --> 0:16:53.160
<v Speaker 3>What will happen if he dreams another way? And then

0:16:53.240 --> 0:16:56.120
<v Speaker 3>Coyamas as quote for such people, the difference between dream

0:16:56.160 --> 0:17:00.920
<v Speaker 3>and reality was clearly distinct. And then finally Phase six

0:17:01.040 --> 0:17:04.359
<v Speaker 3>coam this is the nineteenth century onward. One of the

0:17:04.400 --> 0:17:09.320
<v Speaker 3>main changes is the influence of Euro American culture, and

0:17:09.720 --> 0:17:13.560
<v Speaker 3>Coyama says that on one hand, modern Japanese culture has

0:17:13.600 --> 0:17:18.240
<v Speaker 3>a predominantly rationalist and materialist view of nature, which relegates

0:17:18.240 --> 0:17:22.520
<v Speaker 3>streams to natural psychological phenomena with no predictive power or

0:17:22.600 --> 0:17:25.960
<v Speaker 3>reality of their own. On the other hand, he says,

0:17:26.000 --> 0:17:29.399
<v Speaker 3>millions still visit Shinto shrines and keep good luck charms

0:17:29.400 --> 0:17:32.119
<v Speaker 3>in their cars and so forth, and so in some ways,

0:17:32.200 --> 0:17:35.520
<v Speaker 3>elements of what the author refers to as animistic thinking,

0:17:35.520 --> 0:17:38.760
<v Speaker 3>which again seems to mean in this paper, the belief

0:17:38.760 --> 0:17:42.280
<v Speaker 3>in a spiritual dimension of reality that operates outside of

0:17:42.320 --> 0:17:46.400
<v Speaker 3>strict physical causality, can still be found peaking out through

0:17:46.440 --> 0:17:49.840
<v Speaker 3>the top layer of rationalism. Maybe people kind of shift

0:17:49.920 --> 0:17:52.160
<v Speaker 3>back and forth between these ways of seeing the world

0:17:52.200 --> 0:17:54.960
<v Speaker 3>depending on how they feel, though I would say I

0:17:55.000 --> 0:17:57.000
<v Speaker 3>don't think this would be at all unique to Japan.

0:17:57.080 --> 0:17:58.600
<v Speaker 3>It just seems to me this is sort of what

0:17:58.680 --> 0:18:00.800
<v Speaker 3>most people in all societies do.

0:18:01.240 --> 0:18:03.320
<v Speaker 2>Oh absolutely, I feel like this comes up time and

0:18:03.359 --> 0:18:07.440
<v Speaker 2>time again, whether we're talking about say, you know, varying

0:18:07.680 --> 0:18:11.679
<v Speaker 2>at times contradictory beliefs about the afterlife and how you know,

0:18:11.720 --> 0:18:14.200
<v Speaker 2>you may think one way in the morning, one way

0:18:14.240 --> 0:18:17.160
<v Speaker 2>in the afternoon, or kind of two ways at once

0:18:17.240 --> 0:18:20.520
<v Speaker 2>without really putting a fine line on it. Likewise, I

0:18:20.520 --> 0:18:24.720
<v Speaker 2>remember when we looked at some research concerning belief in

0:18:24.760 --> 0:18:29.160
<v Speaker 2>modern China in the power of the zodiac concerning when

0:18:29.200 --> 0:18:33.560
<v Speaker 2>a child is born, and you know, as I remember,

0:18:33.960 --> 0:18:36.280
<v Speaker 2>part of that was it was not that you had

0:18:36.840 --> 0:18:41.080
<v Speaker 2>a large number of contemporary people who were super invested

0:18:41.520 --> 0:18:45.680
<v Speaker 2>in this, like the zodiac system and that belief system,

0:18:46.000 --> 0:18:48.359
<v Speaker 2>but they were just a little bit aware of it.

0:18:48.359 --> 0:18:52.840
<v Speaker 2>It's kind of like background superstitious belief that you may

0:18:52.880 --> 0:18:56.040
<v Speaker 2>dip into at times when it seems useful.

0:18:55.960 --> 0:18:58.639
<v Speaker 3>When it feels right, suddenly you'll play on that board.

0:18:58.840 --> 0:19:01.399
<v Speaker 3>But right maybe most the time you're not looking at it,

0:19:01.640 --> 0:19:02.360
<v Speaker 3>yeah yeah.

0:19:02.240 --> 0:19:04.359
<v Speaker 2>Or you have a decision to make and you know,

0:19:04.440 --> 0:19:06.240
<v Speaker 2>you don't have any other factors to go on but

0:19:06.280 --> 0:19:09.720
<v Speaker 2>you do have this bit of you know, traditional lore

0:19:10.160 --> 0:19:12.280
<v Speaker 2>that is a steeped in superstition. You might turn to

0:19:12.320 --> 0:19:15.240
<v Speaker 2>that in those circumstances. And I think this also extends

0:19:15.240 --> 0:19:18.280
<v Speaker 2>to the use of amulets and you know, good luck

0:19:19.080 --> 0:19:21.560
<v Speaker 2>tokens and so forth, you know, because it's like, you

0:19:21.600 --> 0:19:23.680
<v Speaker 2>may not believe it completely, but hey, it doesn't take

0:19:23.680 --> 0:19:26.359
<v Speaker 2>a much room in the pocket or on the dash

0:19:26.400 --> 0:19:28.520
<v Speaker 2>of the car or what have you.

0:19:28.560 --> 0:19:30.919
<v Speaker 3>A person might say, I don't really believe it, but

0:19:30.960 --> 0:19:33.560
<v Speaker 3>it's kind of fun. But then once you have it,

0:19:33.640 --> 0:19:35.840
<v Speaker 3>you can kind of, I don't know, find yourself in

0:19:35.880 --> 0:19:48.400
<v Speaker 3>moments clutching at it. Yes, But you know, an interesting

0:19:48.400 --> 0:19:50.399
<v Speaker 3>thing that I think came up in part three of

0:19:50.440 --> 0:19:54.720
<v Speaker 3>the series is that whether you have a totally rationalistic

0:19:54.760 --> 0:19:57.919
<v Speaker 3>approach to dreams, you don't really, you know, give them

0:19:57.960 --> 0:20:00.359
<v Speaker 3>any any special power. You don't think they were reflect

0:20:00.400 --> 0:20:04.280
<v Speaker 3>a secret reality of spiritual entities interacting or giving you

0:20:04.320 --> 0:20:08.320
<v Speaker 3>information about the future how to live your life. Even then,

0:20:08.440 --> 0:20:11.000
<v Speaker 3>you still don't want to have nightmares. So people are

0:20:11.040 --> 0:20:14.040
<v Speaker 3>looking for ways to have good dreams, whether they think

0:20:14.119 --> 0:20:16.560
<v Speaker 3>dreams are supernatural experiences or not.

0:20:17.240 --> 0:20:19.280
<v Speaker 2>Yeah, it's kind of like, all right, I wasn't listening

0:20:19.320 --> 0:20:21.439
<v Speaker 2>when you were talking about what this dream and what

0:20:21.480 --> 0:20:24.320
<v Speaker 2>this dream meant. But but you said something about stopping nightmares.

0:20:24.720 --> 0:20:28.200
<v Speaker 2>So let's get back to that, and that's ultimately where

0:20:28.200 --> 0:20:31.119
<v Speaker 2>we come to in discussing the monster. At long last,

0:20:31.160 --> 0:20:35.000
<v Speaker 2>we're going to be talking about the Baku. Now. I

0:20:35.080 --> 0:20:38.880
<v Speaker 2>encourage everyone to look up some illustrations of the Baku,

0:20:39.000 --> 0:20:42.159
<v Speaker 2>certainly the historical illustrations, but I also ran across a

0:20:42.240 --> 0:20:46.640
<v Speaker 2>number of like contemporary, you know, fan illustrations and so forth,

0:20:46.720 --> 0:20:50.399
<v Speaker 2>online illustrations, and many of those are also very impressive.

0:20:51.119 --> 0:20:53.840
<v Speaker 2>I found two major trends in the way that this

0:20:53.960 --> 0:20:58.000
<v Speaker 2>creature is depicted. One is kind of like the frightening

0:20:58.080 --> 0:21:01.560
<v Speaker 2>Avenger of Nightmares version of the Baku, and the other

0:21:01.680 --> 0:21:03.679
<v Speaker 2>is kind of like the I guess, the awe buddy

0:21:04.000 --> 0:21:06.560
<v Speaker 2>version of the Baku, where he just looks looks snugly.

0:21:07.320 --> 0:21:10.280
<v Speaker 3>The funny thing about the I totally agree, yeah you

0:21:10.320 --> 0:21:13.720
<v Speaker 3>have the scary Baku or the snugly Baku, is that

0:21:13.840 --> 0:21:17.120
<v Speaker 3>they both look very huggable, and somehow the scary Baku

0:21:17.240 --> 0:21:18.760
<v Speaker 3>is even more huggable than.

0:21:18.680 --> 0:21:23.240
<v Speaker 2>The two one. Yeah, yeah, I agree, yeah, I mean,

0:21:23.320 --> 0:21:26.280
<v Speaker 2>and yeah, no matter what, there may be some some

0:21:26.320 --> 0:21:30.400
<v Speaker 2>snuggling involved at the end of it. So the Baku,

0:21:31.200 --> 0:21:33.040
<v Speaker 2>I guess just a good place to start is with

0:21:33.160 --> 0:21:38.600
<v Speaker 2>sort of like general descriptions. I always go to Carol

0:21:38.680 --> 0:21:43.919
<v Speaker 2>Roses encyclopedias of monsters and fairies and so forth is

0:21:43.920 --> 0:21:46.439
<v Speaker 2>a good like sort of starting place. And in that

0:21:46.520 --> 0:21:50.240
<v Speaker 2>Rose describes the Baku as a benevolent, semi supernatural monster

0:21:51.040 --> 0:21:54.880
<v Speaker 2>with an appearance that is basically that of a giant taper,

0:21:55.160 --> 0:21:57.199
<v Speaker 2>but a creature that is also described as having the

0:21:57.200 --> 0:21:59.320
<v Speaker 2>body of a horse, the head of a lion, and

0:21:59.320 --> 0:22:02.120
<v Speaker 2>the legs and of a tiger. Note if you haven't

0:22:02.119 --> 0:22:04.280
<v Speaker 2>seen an actual taper, a taper is of course a

0:22:04.359 --> 0:22:08.200
<v Speaker 2>natural world organism. It does not look quite like this,

0:22:08.680 --> 0:22:11.560
<v Speaker 2>though it does look very unique. It is a notable creature.

0:22:12.359 --> 0:22:15.159
<v Speaker 2>I find that when I see one in a movie

0:22:15.320 --> 0:22:19.520
<v Speaker 2>or at a zoo or illustrations online, I can't help

0:22:19.560 --> 0:22:23.480
<v Speaker 2>but feel elated from having seen it.

0:22:23.520 --> 0:22:26.600
<v Speaker 3>To me, a taper or tapier, however, you say it

0:22:26.680 --> 0:22:31.760
<v Speaker 3>is the three way cross between a pig, a panda, bear,

0:22:31.840 --> 0:22:32.639
<v Speaker 3>and an elephant.

0:22:34.400 --> 0:22:36.560
<v Speaker 2>Yeah, I guess it depends where your starting point is,

0:22:36.600 --> 0:22:41.119
<v Speaker 2>but yeah, taper definitely feels more pig like, yeah, pig

0:22:41.200 --> 0:22:44.840
<v Speaker 2>and rhino based than anything more in the taper here

0:22:44.840 --> 0:22:47.399
<v Speaker 2>in a bit, but the baccu. The idea is that

0:22:47.480 --> 0:22:50.400
<v Speaker 2>humans may call on it in the early morning hours

0:22:50.440 --> 0:22:53.880
<v Speaker 2>to devour a bad dream or nightmare that has plagued

0:22:53.920 --> 0:22:57.159
<v Speaker 2>their dream space, allowing them to forget and carry on

0:22:57.359 --> 0:23:00.919
<v Speaker 2>their day in peace, which is a worthy duty. And

0:23:00.960 --> 0:23:02.760
<v Speaker 2>I also find it interesting that, you know, this kind

0:23:02.760 --> 0:23:06.639
<v Speaker 2>of lines up with the way that that dreams and

0:23:06.720 --> 0:23:08.600
<v Speaker 2>especially bad dreams and nightmares kind of hit it. So

0:23:08.600 --> 0:23:11.560
<v Speaker 2>there's kind of like that period where we can easily

0:23:11.600 --> 0:23:14.560
<v Speaker 2>forget or easily remember. Like part of the principle of

0:23:14.640 --> 0:23:16.680
<v Speaker 2>dream journaling is, oh, you've got to write it down

0:23:16.680 --> 0:23:20.320
<v Speaker 2>before you forget it, And with nightmare sometimes that the

0:23:20.480 --> 0:23:22.959
<v Speaker 2>challenge is reversed. You've got to you've got to not

0:23:23.000 --> 0:23:25.560
<v Speaker 2>think about it before you remember it. You've got to

0:23:25.600 --> 0:23:27.840
<v Speaker 2>forget it before it sticks with you too long.

0:23:28.080 --> 0:23:30.560
<v Speaker 3>That's a good point. Yes, if it was really scary,

0:23:30.640 --> 0:23:33.560
<v Speaker 3>you'll be thinking about it continuously after you wake up,

0:23:33.560 --> 0:23:35.600
<v Speaker 3>which actually cements it in memory.

0:23:35.920 --> 0:23:38.760
<v Speaker 2>Yeah, and then there's something about writing it down or

0:23:38.800 --> 0:23:42.760
<v Speaker 2>telling somebody about the dream that certainly brings out the details.

0:23:42.760 --> 0:23:45.000
<v Speaker 2>Sometimes those details that aren't sticking with you, and then

0:23:45.040 --> 0:23:47.439
<v Speaker 2>you start telling someone about the dream or nightmare and

0:23:47.560 --> 0:23:50.840
<v Speaker 2>more that comes to you. Now as a side here

0:23:51.200 --> 0:23:53.440
<v Speaker 2>I was. I found it more than a little shocking

0:23:53.520 --> 0:23:56.520
<v Speaker 2>that the Baku is not listed in Borges The Book

0:23:56.560 --> 0:23:59.040
<v Speaker 2>of Imaginary Beings, which is another book I like to

0:23:59.080 --> 0:24:02.800
<v Speaker 2>refer to time and time again on the show, especially

0:24:02.840 --> 0:24:06.960
<v Speaker 2>given the author's interest in dreams and his reference to

0:24:07.040 --> 0:24:09.240
<v Speaker 2>various dream creatures in the book, like there are entries

0:24:09.240 --> 0:24:11.640
<v Speaker 2>for like here's a creature that C. S. Lewis once

0:24:11.680 --> 0:24:14.560
<v Speaker 2>dreamed about, that sort of thing. I suppose he just

0:24:14.560 --> 0:24:18.000
<v Speaker 2>simply hadn't cross paths with mention of the Baku, otherwise

0:24:18.040 --> 0:24:20.160
<v Speaker 2>he would have been all over it. Or perhaps he's

0:24:20.240 --> 0:24:22.720
<v Speaker 2>just not included there, and he's there's some poem or

0:24:22.760 --> 0:24:26.159
<v Speaker 2>short story I haven't read by by Borges that refers

0:24:26.200 --> 0:24:26.800
<v Speaker 2>to the Baku.

0:24:27.320 --> 0:24:30.360
<v Speaker 3>So I was reading about the Baku in an excellent

0:24:30.400 --> 0:24:33.440
<v Speaker 3>book on my shelf on Japanese monsters called The Book

0:24:33.440 --> 0:24:37.439
<v Speaker 3>of Yokai, which is by an Indiana University folklore scholar

0:24:37.560 --> 0:24:40.399
<v Speaker 3>named Michael Dylan Foster. I've mentioned this book on the

0:24:40.440 --> 0:24:44.320
<v Speaker 3>show before. So according to Foster, the baku is a

0:24:44.640 --> 0:24:48.840
<v Speaker 3>is a friendly yokaia a benevolent yokai. Many yokaia are

0:24:48.880 --> 0:24:51.760
<v Speaker 3>not so friendly, but this one is thought to have

0:24:51.880 --> 0:24:55.840
<v Speaker 3>the power to eat nightmares, but it was not always

0:24:55.920 --> 0:24:59.960
<v Speaker 3>understood this way. Stories of this creature originated in China,

0:25:00.280 --> 0:25:03.680
<v Speaker 3>going at least as far back as a poetry collection

0:25:03.760 --> 0:25:06.960
<v Speaker 3>from the year eight thirty four by the Tang dynasty

0:25:07.080 --> 0:25:10.880
<v Speaker 3>poet by Juye, who lived seven seventy two to eight

0:25:10.960 --> 0:25:15.800
<v Speaker 3>forty six. And according to this text, the baku has

0:25:16.200 --> 0:25:20.560
<v Speaker 3>nose of an elephant, eyes of a rhinoceros, tail of

0:25:20.600 --> 0:25:22.879
<v Speaker 3>an ox, and legs of a tiger.

0:25:23.359 --> 0:25:25.919
<v Speaker 2>It would not be incorrect to say that this monster

0:25:26.080 --> 0:25:30.080
<v Speaker 2>kind of looks like Snuffleopagus, the imaginary friend of Big

0:25:30.080 --> 0:25:31.280
<v Speaker 2>Bird from Sesame Street.

0:25:31.600 --> 0:25:34.200
<v Speaker 3>That's right. But Rob, if you were having nightmares, would

0:25:34.240 --> 0:25:38.320
<v Speaker 3>you consider a possible remedy of this being to skin

0:25:38.520 --> 0:25:43.840
<v Speaker 3>snuffle Upagus. This text says, if you lay out the

0:25:43.920 --> 0:25:47.840
<v Speaker 3>skin when you sleep, you can avoid epidemics, and by

0:25:47.920 --> 0:25:50.920
<v Speaker 3>drawing an image of the baku you can avoid misfortune.

0:25:51.320 --> 0:25:54.440
<v Speaker 3>People with chronic headaches can protect their heads by using

0:25:54.480 --> 0:25:57.200
<v Speaker 3>a screen with an image of the baku when they

0:25:57.240 --> 0:26:00.879
<v Speaker 3>go to sleep. So in this ninth century Chinese text,

0:26:01.000 --> 0:26:03.920
<v Speaker 3>the baku is not yet an eater of bad dreams,

0:26:04.040 --> 0:26:05.560
<v Speaker 3>but I think you can kind of see how you

0:26:05.600 --> 0:26:09.399
<v Speaker 3>would get there. So its skin or its image offers

0:26:09.520 --> 0:26:14.080
<v Speaker 3>general protection from sickness, from bad fortune, and from headaches

0:26:14.119 --> 0:26:18.919
<v Speaker 3>or chronic pain. However, the protection is enacted by placing

0:26:19.000 --> 0:26:22.200
<v Speaker 3>either a piece of or an image of the baku

0:26:22.359 --> 0:26:25.840
<v Speaker 3>around you while you sleep, So sleep is originally part

0:26:25.920 --> 0:26:30.600
<v Speaker 3>of the protective mechanism, not the thing that is being protected,

0:26:30.800 --> 0:26:33.960
<v Speaker 3>though again you can imagine how that transition would occur.

0:26:35.320 --> 0:26:38.360
<v Speaker 3>By the Edo period in the beginning of the seventeenth century,

0:26:38.480 --> 0:26:41.360
<v Speaker 3>the baku had come to be seen in Japan as

0:26:41.400 --> 0:26:44.560
<v Speaker 3>an eater of nightmares, protecting the week when they were

0:26:44.560 --> 0:26:48.440
<v Speaker 3>in the vulnerable position of sleep, and this usually worked

0:26:48.480 --> 0:26:51.560
<v Speaker 3>by placing a picture of the baku near the pillow,

0:26:52.000 --> 0:26:55.440
<v Speaker 3>or sometimes people just had a baku shaped pillow. Now

0:26:55.440 --> 0:26:57.320
<v Speaker 3>you're talking, Do you have a baku pillow?

0:26:57.760 --> 0:26:59.119
<v Speaker 2>No? But I love the idea of it.

0:26:59.440 --> 0:27:02.440
<v Speaker 3>Yeah, get one. This would allow you to literally hug

0:27:02.480 --> 0:27:07.639
<v Speaker 3>the baku, Foster says. In a text called the Three Realms,

0:27:07.680 --> 0:27:10.919
<v Speaker 3>there is reference to the baku which includes the details

0:27:10.960 --> 0:27:15.400
<v Speaker 3>that the baku has really strong bones and teeth and

0:27:15.680 --> 0:27:19.760
<v Speaker 3>it's quote it's urine can melt iron and turn it

0:27:19.800 --> 0:27:24.800
<v Speaker 3>into water. What what is that used for? Enemy of magneto?

0:27:26.320 --> 0:27:27.879
<v Speaker 2>I mean, I guess a lot of this comes down to,

0:27:28.080 --> 0:27:30.439
<v Speaker 2>like the fact that we'll come back to it later on,

0:27:30.560 --> 0:27:34.080
<v Speaker 2>is that you know, there is a tradition in multiple cultures.

0:27:34.080 --> 0:27:36.679
<v Speaker 2>Really that's it's not only what the animal is, but

0:27:36.720 --> 0:27:39.199
<v Speaker 2>what can the animal be used for? What are it's

0:27:39.240 --> 0:27:44.040
<v Speaker 2>various medicinal properties, et cetera. And sometimes this can skew,

0:27:44.119 --> 0:27:46.120
<v Speaker 2>This can skew into areas that are maybe a little

0:27:46.200 --> 0:27:49.360
<v Speaker 2>less realistic and more based in magic or some sort

0:27:49.359 --> 0:27:52.399
<v Speaker 2>of or maybe something that doesn't translate as well across

0:27:52.440 --> 0:27:53.320
<v Speaker 2>the centuries.

0:27:53.680 --> 0:27:56.280
<v Speaker 3>Yeah, now there are I know you're going to get

0:27:56.280 --> 0:27:57.960
<v Speaker 3>into this in a minute, so I guess we mostly

0:27:57.960 --> 0:28:01.080
<v Speaker 3>save it for there. But Foster raises the question about

0:28:01.080 --> 0:28:04.199
<v Speaker 3>whether the Baku of folklore is based on the taper

0:28:04.359 --> 0:28:08.119
<v Speaker 3>or not. Basically, there is some question about whether it

0:28:08.160 --> 0:28:11.240
<v Speaker 3>is or not. Some scholars say yes, some say no. Yeah.

0:28:11.280 --> 0:28:13.800
<v Speaker 2>The thing that that's notable about the taper is, of

0:28:13.840 --> 0:28:16.840
<v Speaker 2>course that there are are four species of taper in

0:28:16.880 --> 0:28:17.600
<v Speaker 2>the world today.

0:28:18.000 --> 0:28:18.119
<v Speaker 1>Uh.

0:28:18.400 --> 0:28:20.840
<v Speaker 2>Three of them are native to Central and South America,

0:28:21.200 --> 0:28:23.760
<v Speaker 2>and then you have the Malayan taper, which is found

0:28:24.000 --> 0:28:28.120
<v Speaker 2>in Indonesia, Malaysia, Myanmar, and Thailand.

0:28:28.320 --> 0:28:31.840
<v Speaker 3>Notably none of those places are Japan, right, so.

0:28:31.760 --> 0:28:34.640
<v Speaker 2>There would there would have to be some degree of

0:28:34.680 --> 0:28:39.600
<v Speaker 2>this game of telephone concerning the form, function, and likeness

0:28:39.600 --> 0:28:42.920
<v Speaker 2>of of the particular animal in question, as you see

0:28:42.920 --> 0:28:46.480
<v Speaker 2>with other animals where we've we've talked about in the

0:28:46.520 --> 0:28:48.760
<v Speaker 2>show plenty of times before and we will continue to

0:28:48.760 --> 0:28:50.280
<v Speaker 2>do so. I mean, it's one of the most fascinating

0:28:50.320 --> 0:28:55.120
<v Speaker 2>things in the history of naturalistic art and imaginative art,

0:28:55.200 --> 0:28:57.840
<v Speaker 2>you know, taking this form and then seeing what happens

0:28:57.880 --> 0:28:59.640
<v Speaker 2>to it when you start talking about it and then

0:28:59.680 --> 0:29:03.040
<v Speaker 2>depict it, you know, not even halfway around the world,

0:29:03.120 --> 0:29:05.040
<v Speaker 2>but just you know, a good distance away from it.

0:29:05.400 --> 0:29:08.320
<v Speaker 3>Yes, and this feeds into one of the final observations

0:29:08.320 --> 0:29:10.960
<v Speaker 3>that Foster makes, which I think is very interesting. So

0:29:11.280 --> 0:29:14.840
<v Speaker 3>Foster again makes reference to the fact that the baku

0:29:14.920 --> 0:29:17.040
<v Speaker 3>is described as having like, you know, legs of a

0:29:17.040 --> 0:29:21.160
<v Speaker 3>tiger tail of an ox, so it is a hybrid

0:29:21.240 --> 0:29:24.720
<v Speaker 3>of many different animal parts, and Foster says this is

0:29:24.760 --> 0:29:28.400
<v Speaker 3>typical of how lots of yokai are described, and in

0:29:28.440 --> 0:29:31.320
<v Speaker 3>a way This allows them to exist in between the

0:29:31.360 --> 0:29:34.880
<v Speaker 3>realms of real and imaginary, because all of the parts

0:29:34.920 --> 0:29:39.680
<v Speaker 3>are real, but their combination is imaginary. But there's another

0:29:39.800 --> 0:29:42.479
<v Speaker 3>interesting wrinkle here when it comes to pre modern Japan.

0:29:43.000 --> 0:29:45.960
<v Speaker 3>Foster writes quote to people living in Japan during the

0:29:46.120 --> 0:29:49.240
<v Speaker 3>Edo period or earlier, the very parts from which the

0:29:49.280 --> 0:29:53.360
<v Speaker 3>creature was constructed were as strange and foreign as their

0:29:53.440 --> 0:29:59.320
<v Speaker 3>unnatural combination. Elephants, rhinoceroses, and tigers were not native to Japan.

0:30:00.000 --> 0:30:03.760
<v Speaker 3>Average Japanese person during this time would have seen one

0:30:03.880 --> 0:30:07.680
<v Speaker 3>only in illustrations and books, if at all, the same

0:30:07.760 --> 0:30:11.920
<v Speaker 3>places that might also have images of the baku. That is,

0:30:12.000 --> 0:30:15.800
<v Speaker 3>a baku was presumably no more mysterious and also no

0:30:16.040 --> 0:30:20.680
<v Speaker 3>less real than a rhinoceros. So it's an unreal combination

0:30:20.840 --> 0:30:24.000
<v Speaker 3>of real animal parts. But most of those real animal

0:30:24.040 --> 0:30:26.640
<v Speaker 3>parts are from animals that you never would have seen

0:30:26.680 --> 0:30:27.200
<v Speaker 3>in person.

0:30:27.600 --> 0:30:33.320
<v Speaker 2>Wow Wow, interesting. Now I found an interesting paper about

0:30:33.320 --> 0:30:37.200
<v Speaker 2>the baku or concerns the Baku that I'm going to

0:30:37.720 --> 0:30:41.640
<v Speaker 2>draw some info here from. A titled Cultural Note on

0:30:41.760 --> 0:30:45.760
<v Speaker 2>Dreaming and dream Study in the future. Release from Nightmare

0:30:45.880 --> 0:30:51.000
<v Speaker 2>and Development of Dream Control Technique by Today Ohri published

0:30:51.040 --> 0:30:55.680
<v Speaker 2>in Sleep and biological rhythms in two thousand and five. Now,

0:30:57.880 --> 0:31:01.400
<v Speaker 2>the author here points out something that they're pretty standar

0:31:01.400 --> 0:31:04.480
<v Speaker 2>we've already touched on this already, that you know, nightmares

0:31:04.520 --> 0:31:08.000
<v Speaker 2>can be quite unpleasant. Obviously, they can disrupt your sleep,

0:31:08.200 --> 0:31:10.480
<v Speaker 2>and since they disrupted your sleep, they can disrupt your

0:31:10.480 --> 0:31:14.160
<v Speaker 2>waking life as well, both as a result of lost

0:31:14.200 --> 0:31:17.520
<v Speaker 2>sleep and the emotional and cognitive after effects of the

0:31:17.600 --> 0:31:20.000
<v Speaker 2>nature of nightmares, without even getting into again the more

0:31:20.000 --> 0:31:25.680
<v Speaker 2>extreme cases of parasomnia and night terrors and so forth. Additionally,

0:31:25.760 --> 0:31:28.720
<v Speaker 2>as Horry points out here, stress and trauma in the

0:31:28.760 --> 0:31:32.720
<v Speaker 2>waking world can only intensify bad dreams and nightmares. So

0:31:33.640 --> 0:31:35.920
<v Speaker 2>you know, there are a lot of reasons for the

0:31:36.200 --> 0:31:38.760
<v Speaker 2>content of your dreams, the contents of your nightmares, and

0:31:38.800 --> 0:31:41.160
<v Speaker 2>just nightmares in general to be just this added thing

0:31:41.200 --> 0:31:44.840
<v Speaker 2>that you would like very much to have removed. And

0:31:44.880 --> 0:31:47.480
<v Speaker 2>if given the choice, obviously, if we were to choose

0:31:47.520 --> 0:31:50.880
<v Speaker 2>between good dreams and bad dreams each night, we would

0:31:50.960 --> 0:31:54.719
<v Speaker 2>choose the good dreams. But Horry writes that in the

0:31:54.760 --> 0:31:58.840
<v Speaker 2>ethnic groups and cultures examined in their research anyway, there

0:31:58.840 --> 0:32:01.960
<v Speaker 2>aren't really any person gribed methods to have a good dream.

0:32:02.280 --> 0:32:05.920
<v Speaker 2>Rather there are various rights in formulas to eliminate nightmares

0:32:06.200 --> 0:32:09.880
<v Speaker 2>or minimize their impact. I found that an interesting idea,

0:32:10.000 --> 0:32:14.040
<v Speaker 2>like it did remind me of something from my own childhood,

0:32:14.040 --> 0:32:15.720
<v Speaker 2>but I don't remember if it was something that I

0:32:15.760 --> 0:32:18.400
<v Speaker 2>saw on a TV show. I think it might have been,

0:32:19.120 --> 0:32:21.400
<v Speaker 2>or to what degree it was something that one of

0:32:21.400 --> 0:32:24.120
<v Speaker 2>my parents introduced to me. But there was this idea

0:32:24.160 --> 0:32:27.800
<v Speaker 2>of an imaginary dream machine that before you go to bed,

0:32:27.880 --> 0:32:29.920
<v Speaker 2>you like, you know, you think about this dream helmet

0:32:30.040 --> 0:32:31.840
<v Speaker 2>or whatever that you're putting on or some sort of

0:32:31.840 --> 0:32:34.040
<v Speaker 2>machine you're augmenting, and you tell it what you want

0:32:34.080 --> 0:32:36.360
<v Speaker 2>to dream that night, like you put in your order.

0:32:37.200 --> 0:32:40.320
<v Speaker 2>Which is a great idea, and you know, to some

0:32:40.360 --> 0:32:44.280
<v Speaker 2>degree if it actually worked to any degree, And I remember,

0:32:44.280 --> 0:32:45.720
<v Speaker 2>even as a kid, I found that it did not.

0:32:46.120 --> 0:32:48.120
<v Speaker 2>It had no impact on what I was going to dream,

0:32:48.400 --> 0:32:51.600
<v Speaker 2>and therefore I didn't stick with it because it obviously

0:32:51.680 --> 0:32:57.560
<v Speaker 2>didn't work. Like it you learn really quickly that dreams

0:32:57.560 --> 0:33:00.200
<v Speaker 2>are just going to do their own thing. And for

0:33:00.240 --> 0:33:02.520
<v Speaker 2>that reason, I don't think I ever really introduced it

0:33:02.560 --> 0:33:04.120
<v Speaker 2>to my own son, because I'm like, I'm not going

0:33:04.200 --> 0:33:06.040
<v Speaker 2>to tell you this. This doesn't work at.

0:33:05.920 --> 0:33:09.200
<v Speaker 3>All, I wonder if the effectiveness of it would be

0:33:09.920 --> 0:33:12.680
<v Speaker 3>kind of similar to what people do when they're trying

0:33:12.720 --> 0:33:16.080
<v Speaker 3>to practice lucid dreaming, where, for example, one thing people

0:33:16.120 --> 0:33:20.120
<v Speaker 3>do is like constantly making a habit of asking yourself

0:33:20.160 --> 0:33:22.840
<v Speaker 3>if you're dreaming right now, so that the habit will

0:33:22.880 --> 0:33:27.480
<v Speaker 3>resurface when you are dreaming. I wonder if that kind

0:33:27.520 --> 0:33:29.800
<v Speaker 3>of thing, Like, so, if you do the dream machine

0:33:29.920 --> 0:33:33.920
<v Speaker 3>often enough, it will maybe cause it to buy habit

0:33:34.040 --> 0:33:36.640
<v Speaker 3>come to mind during a dream and then you can remember, hey,

0:33:36.680 --> 0:33:38.960
<v Speaker 3>wait a minute, I was supposed to be programming this.

0:33:39.760 --> 0:33:42.520
<v Speaker 2>Yeah, so I guess it could work if you were

0:33:42.560 --> 0:33:44.440
<v Speaker 2>the sort of kid that really stuck with it, you know.

0:33:45.000 --> 0:33:46.960
<v Speaker 2>But I guess I was the kind where there were

0:33:46.960 --> 0:33:49.200
<v Speaker 2>no immediate results and therefore I abandon it.

0:33:49.560 --> 0:33:52.280
<v Speaker 3>Good job quitting, I want.

0:33:52.360 --> 0:33:55.200
<v Speaker 2>Like I say, I feel that same way with lucid dreaming.

0:33:55.280 --> 0:33:56.680
<v Speaker 2>Like at times like this, I'm like, why haven't I

0:33:56.680 --> 0:34:00.320
<v Speaker 2>applied myself to lucid dreaming? Why am I dreams so

0:34:00.320 --> 0:34:03.760
<v Speaker 2>so so non lucid? But I don't know. There's just

0:34:03.840 --> 0:34:06.440
<v Speaker 2>there's enough to worry about without without really getting in

0:34:06.480 --> 0:34:07.080
<v Speaker 2>on the dreams.

0:34:07.280 --> 0:34:18.520
<v Speaker 3>You've got a waking life to live, so.

0:34:18.640 --> 0:34:24.240
<v Speaker 2>Hoy divides this sort of nightmare inhibition into in technique

0:34:24.239 --> 0:34:28.920
<v Speaker 2>into two categories. Amulets are charms to eliminate nightmares, and

0:34:28.960 --> 0:34:31.880
<v Speaker 2>then development of techniques to take control of a dream

0:34:31.960 --> 0:34:34.880
<v Speaker 2>and push it in a positive direction. So a lucid

0:34:34.960 --> 0:34:37.919
<v Speaker 2>dreaming approach to nightmares. And maybe that's the thing too,

0:34:37.960 --> 0:34:40.320
<v Speaker 2>Like maybe if I, if I on the whole suffered

0:34:40.360 --> 0:34:42.920
<v Speaker 2>from more nightmares or stress dreams or what have you,

0:34:43.200 --> 0:34:45.839
<v Speaker 2>I would be more inclined to pursue lucid dreaming as

0:34:45.840 --> 0:34:49.400
<v Speaker 2>an escape m okay so. On the first note amulets,

0:34:50.120 --> 0:34:55.920
<v Speaker 2>Hori discusses two main varieties that are popular in contemporary Japan,

0:34:56.560 --> 0:35:00.080
<v Speaker 2>and that is the baku, but then also the dream catcher.

0:35:00.840 --> 0:35:04.320
<v Speaker 2>This I was not expecting. The DreamCatcher is of course

0:35:04.520 --> 0:35:09.080
<v Speaker 2>not a Japanese cultural creation, but rather one that originates

0:35:09.120 --> 0:35:12.839
<v Speaker 2>with the indigenous First Nations people of North America, particularly

0:35:12.880 --> 0:35:16.520
<v Speaker 2>parts of what is now Canada. The Ojibwa people are

0:35:16.520 --> 0:35:20.000
<v Speaker 2>often cited, though I think usage in production spreads with

0:35:20.120 --> 0:35:22.560
<v Speaker 2>sort of the Pan Indian movement of the sixties and seventies.

0:35:23.440 --> 0:35:26.759
<v Speaker 2>The basic principle of the DreamCatcher is that the night

0:35:26.800 --> 0:35:29.880
<v Speaker 2>air brings both good and bad dreams, and the DreamCatcher,

0:35:29.920 --> 0:35:32.239
<v Speaker 2>like a spider's web, catches the bad and allows the

0:35:32.280 --> 0:35:35.560
<v Speaker 2>good to prosper in the sleeper's mind. Now, I believe

0:35:35.560 --> 0:35:40.439
<v Speaker 2>that the main usage was intended for infants. But now

0:35:40.480 --> 0:35:43.960
<v Speaker 2>in America dreamcatchers, you know, they're quite popular as a

0:35:44.040 --> 0:35:46.480
<v Speaker 2>native craft item. This happened, I think, originally in the

0:35:46.520 --> 0:35:49.279
<v Speaker 2>nineteen eighties and spread from there, but Hore writes that

0:35:49.719 --> 0:35:54.480
<v Speaker 2>they became exceedingly popular in Japan following a popular year

0:35:54.520 --> 0:35:57.279
<v Speaker 2>two thousand TV mini series. I believe it's kind of

0:35:57.280 --> 0:36:03.560
<v Speaker 2>like a melodrama or romance sort of thing, Beautiful Life. Now,

0:36:03.600 --> 0:36:06.080
<v Speaker 2>I was not familiar with this of This is not

0:36:06.360 --> 0:36:10.160
<v Speaker 2>like a genre of Japanese pop culture that I generally

0:36:10.239 --> 0:36:12.759
<v Speaker 2>have any exposure to. You know, this is not a

0:36:12.800 --> 0:36:15.440
<v Speaker 2>monster movie or horror movie, sci fi, et cetera. This

0:36:15.560 --> 0:36:19.600
<v Speaker 2>is a broad appeal like big you know, TV production.

0:36:20.360 --> 0:36:21.880
<v Speaker 2>I looked it up though, and I saw that it

0:36:22.000 --> 0:36:26.920
<v Speaker 2>starred Takua Kimura. He's the actor who voiced Howel in

0:36:26.960 --> 0:36:31.160
<v Speaker 2>the original Japanese language version of Howe's Moving Castle. I

0:36:31.200 --> 0:36:32.959
<v Speaker 2>looked at like some write ups of what the plot

0:36:33.000 --> 0:36:36.160
<v Speaker 2>is about, I saw nobody mentioned exactly where these dream

0:36:36.200 --> 0:36:38.719
<v Speaker 2>Catchers are used if they factor into the plot at all,

0:36:38.840 --> 0:36:41.240
<v Speaker 2>or if they're just you know, in the background. But whatever,

0:36:41.280 --> 0:36:44.920
<v Speaker 2>it was really popular show and people saw it and

0:36:44.960 --> 0:36:48.200
<v Speaker 2>they're like, we want in on that, and dream catchers

0:36:48.239 --> 0:36:51.920
<v Speaker 2>became popular, though according to Hordri, it ended up focusing

0:36:51.920 --> 0:36:55.640
<v Speaker 2>more on young people rather than babies. Now, the baku,

0:36:55.680 --> 0:36:57.920
<v Speaker 2>on the other hand, as we've been discussing, is largely

0:36:58.000 --> 0:37:01.440
<v Speaker 2>rooted in Japanese traditions, and I guess to a certain extent,

0:37:01.480 --> 0:37:04.120
<v Speaker 2>kind of paves the way for this fascination with dream catchers.

0:37:04.160 --> 0:37:07.680
<v Speaker 2>Like there's already a you know, an appeal for some

0:37:07.719 --> 0:37:12.080
<v Speaker 2>sort of an amulet too to discourage nightmares and therefore

0:37:12.239 --> 0:37:16.879
<v Speaker 2>encourage positive dreams, and so when one is introduced from

0:37:16.880 --> 0:37:20.640
<v Speaker 2>another culture, you can see why people might gravitate towards it. Now,

0:37:20.960 --> 0:37:25.239
<v Speaker 2>as we've been discussing, primarily it's impossible to escape the

0:37:25.280 --> 0:37:29.160
<v Speaker 2>taper when it comes to understanding what the baku is like.

0:37:29.320 --> 0:37:32.600
<v Speaker 2>By most accounts, like this sounds like a taper. We

0:37:32.640 --> 0:37:36.040
<v Speaker 2>see depictions of it. It looks mostly like some you know,

0:37:36.080 --> 0:37:40.000
<v Speaker 2>exaggeration or telephone game of the taper. But you also

0:37:40.160 --> 0:37:45.160
<v Speaker 2>find discussions on the possibility that it might have originally,

0:37:45.200 --> 0:37:48.000
<v Speaker 2>and it's Chinese origins, which you already alluded to here,

0:37:48.440 --> 0:37:51.120
<v Speaker 2>it might have originally been something like a giant panda.

0:37:52.760 --> 0:37:55.120
<v Speaker 2>Now Hori does not himself, does not really go into this,

0:37:55.160 --> 0:37:57.560
<v Speaker 2>but but notes that the baku was of course a

0:37:57.760 --> 0:38:00.960
<v Speaker 2>charm animal in China, going back to you know, seventeenth

0:38:01.000 --> 0:38:05.400
<v Speaker 2>century writings, and perhaps it is already sometimes depicted as

0:38:05.440 --> 0:38:07.920
<v Speaker 2>a paper here, though it may not have actually been

0:38:07.960 --> 0:38:10.560
<v Speaker 2>associated with dream eating. Like we said, you get back

0:38:10.560 --> 0:38:12.440
<v Speaker 2>into the origins of the baku and you get further

0:38:12.480 --> 0:38:15.600
<v Speaker 2>away from the idea of consuming nightmares.

0:38:16.040 --> 0:38:17.760
<v Speaker 3>Yeah, that seems to be a later development.

0:38:18.239 --> 0:38:21.239
<v Speaker 2>Now, an interesting note though about the panda here. At

0:38:21.239 --> 0:38:24.680
<v Speaker 2>this point I looked at a book by Burned Brunner

0:38:25.040 --> 0:38:28.240
<v Speaker 2>titled Bears a Brief History, and the author here points

0:38:28.280 --> 0:38:31.400
<v Speaker 2>out that despite the fact that the panda now stands

0:38:31.440 --> 0:38:34.560
<v Speaker 2>as kind of a quintessential Shinese animal, you know, we

0:38:34.560 --> 0:38:36.920
<v Speaker 2>think about it as such in modern times, there are

0:38:37.000 --> 0:38:41.040
<v Speaker 2>few ancient writings about them, and the writings that may

0:38:41.080 --> 0:38:43.680
<v Speaker 2>be about them are difficult to nail down because of

0:38:43.719 --> 0:38:47.759
<v Speaker 2>just how vague they are. An early possible account from

0:38:47.840 --> 0:38:51.680
<v Speaker 2>the Chin Dynasty third century BCE might be about a

0:38:51.680 --> 0:38:54.920
<v Speaker 2>white fox, or some people think, well, maybe it's a panda.

0:38:55.120 --> 0:38:58.320
<v Speaker 2>There's an even older mention that could allude to a panda,

0:38:58.360 --> 0:39:01.120
<v Speaker 2>but also could be a leopard or a so it

0:39:01.120 --> 0:39:05.160
<v Speaker 2>gets again exceptionally vague and therefore difficult to say whether

0:39:05.239 --> 0:39:09.720
<v Speaker 2>we're actually talking about a panda or not. For instance,

0:39:10.080 --> 0:39:16.120
<v Speaker 2>there are discussions later on in Chinese writings about white bears,

0:39:16.640 --> 0:39:20.200
<v Speaker 2>but it seems as likely, if not more likely, that

0:39:20.200 --> 0:39:24.360
<v Speaker 2>they're actually talking about polar bears encountered by northern travelers

0:39:24.400 --> 0:39:27.400
<v Speaker 2>and word having spread about them. And then there are

0:39:27.560 --> 0:39:31.520
<v Speaker 2>additional possibilities that there are other bears, like from India

0:39:31.520 --> 0:39:34.480
<v Speaker 2>that are being written about. So it's interesting to consider

0:39:34.480 --> 0:39:38.240
<v Speaker 2>that the panda is also underrepresented in traditional Chinese medicine

0:39:38.239 --> 0:39:40.840
<v Speaker 2>compared to other animals, again getting back to like, okay,

0:39:40.880 --> 0:39:42.840
<v Speaker 2>what is the animal and then what can be broken

0:39:42.920 --> 0:39:48.600
<v Speaker 2>down about it to benefit humans. Some have interpreted this

0:39:48.760 --> 0:39:51.920
<v Speaker 2>fact as being due to the animal having a sacred status,

0:39:52.560 --> 0:39:56.359
<v Speaker 2>but the author in this case questions that, pointing out

0:39:56.360 --> 0:39:58.120
<v Speaker 2>that well, you know, it really did not have a

0:39:58.239 --> 0:40:02.799
<v Speaker 2>role in Chinese lore to suggest sacred production, like it's

0:40:02.840 --> 0:40:04.920
<v Speaker 2>you know, it seems to be barely mentioned and if

0:40:04.960 --> 0:40:08.960
<v Speaker 2>it is mentioned, it's mentioned only vaguely, So that's interesting.

0:40:09.160 --> 0:40:10.640
<v Speaker 2>I feel like I need to look into that more

0:40:10.640 --> 0:40:14.239
<v Speaker 2>in the future. So it seems like, based on what

0:40:14.320 --> 0:40:17.839
<v Speaker 2>I've been reading that the idea that the baku might

0:40:17.840 --> 0:40:21.600
<v Speaker 2>have originally been a panda possible, But it doesn't seem

0:40:21.640 --> 0:40:23.719
<v Speaker 2>extremely like. It doesn't seem like there's a lot of

0:40:23.840 --> 0:40:27.359
<v Speaker 2>like firm evidence for that. Okay, but according I believe

0:40:27.360 --> 0:40:30.600
<v Speaker 2>according to horri here though, there you know, as it

0:40:31.200 --> 0:40:35.600
<v Speaker 2>undergoes exaggeration and transfer into Japanese usage, the proper baku,

0:40:36.000 --> 0:40:38.200
<v Speaker 2>you know that the nose of the what is probably

0:40:38.200 --> 0:40:40.719
<v Speaker 2>a taper becomes an elephant, the eyes become those of

0:40:40.719 --> 0:40:43.400
<v Speaker 2>a rhino, the tail of a cow, legs of a tiger,

0:40:43.480 --> 0:40:47.080
<v Speaker 2>hair of a lion. It gets spots whereas it didn't

0:40:47.080 --> 0:40:50.719
<v Speaker 2>have spots before. And the creature's diet is said to

0:40:50.840 --> 0:40:55.160
<v Speaker 2>consist of strange things like iron and copper and sometimes bamboo,

0:40:55.600 --> 0:40:58.480
<v Speaker 2>which certainly, you know, made me think again about the panda.

0:40:58.560 --> 0:41:01.120
<v Speaker 2>But I don't know, it does seem like strong enough

0:41:01.160 --> 0:41:04.520
<v Speaker 2>evidence to really start forcing the panda into the conversation

0:41:04.640 --> 0:41:05.759
<v Speaker 2>more than's necessary.

0:41:06.239 --> 0:41:09.120
<v Speaker 3>This doesn't really have any relation to the baku. But

0:41:09.160 --> 0:41:10.920
<v Speaker 3>I just have to say, on a recent trip to

0:41:11.520 --> 0:41:13.960
<v Speaker 3>the zoo where we were watching the Atlanta Zoo, where

0:41:13.960 --> 0:41:18.040
<v Speaker 3>we were watching the panda enclosure, we saw the feeding

0:41:18.080 --> 0:41:20.799
<v Speaker 3>happen where they were throwing new branches of bamboo down

0:41:20.840 --> 0:41:23.359
<v Speaker 3>to the pandas so they could eat them, and one

0:41:23.360 --> 0:41:26.560
<v Speaker 3>of the pandas literally just collapsed into a pile of

0:41:26.600 --> 0:41:30.640
<v Speaker 3>bamboo branches or unleashing a mighty crashing sound. If it's

0:41:30.680 --> 0:41:34.440
<v Speaker 3>literally just like rolling in its food, very fun. They

0:41:34.480 --> 0:41:34.839
<v Speaker 3>love it.

0:41:35.520 --> 0:41:37.600
<v Speaker 2>I guess one of the reasons I keep wanting to

0:41:38.000 --> 0:41:40.440
<v Speaker 2>think about the panda in this role is that you

0:41:40.480 --> 0:41:45.840
<v Speaker 2>can imagine the image, especially our modern understanding of the panda,

0:41:46.080 --> 0:41:48.320
<v Speaker 2>lines up with the way we may think about the taper,

0:41:48.719 --> 0:41:51.360
<v Speaker 2>and you can imagine a panda having this kind of

0:41:52.600 --> 0:41:58.400
<v Speaker 2>status and roll in one superstitious understanding of dreams. But

0:41:59.320 --> 0:42:02.680
<v Speaker 2>I don't know how that really would rack up and

0:42:02.719 --> 0:42:08.960
<v Speaker 2>compare with historic understandings of pandas in China, especially considering

0:42:09.000 --> 0:42:12.560
<v Speaker 2>wild pandas, But hard to say for sure. So Horri

0:42:12.680 --> 0:42:14.880
<v Speaker 2>writes that we don't know when the baku ultimately crosses

0:42:14.920 --> 0:42:17.719
<v Speaker 2>the sea into Japanese traditions, but that screen illustrations from

0:42:17.719 --> 0:42:20.960
<v Speaker 2>the fourteenth and fifteenth centuries depict the creature. It becomes

0:42:21.040 --> 0:42:24.600
<v Speaker 2>very popular with the common people during the Edope era,

0:42:24.880 --> 0:42:27.919
<v Speaker 2>I believe, as you alluded to earlier. Horry points out

0:42:27.920 --> 0:42:30.680
<v Speaker 2>that during the seventh through eighth centuries, a sacred animal

0:42:30.800 --> 0:42:36.520
<v Speaker 2>called the hockey was associated with nightmare consumption, and that

0:42:36.840 --> 0:42:40.680
<v Speaker 2>you still see some of this reflected. This was originally

0:42:40.680 --> 0:42:42.680
<v Speaker 2>an imperial court practice, but you see some of it

0:42:43.120 --> 0:42:47.239
<v Speaker 2>reflected in the setsubun ceremony that still practice today. We

0:42:47.320 --> 0:42:50.240
<v Speaker 2>discussed this in our bean episode about like pelting one

0:42:50.320 --> 0:42:53.239
<v Speaker 2>or demons with beans in order to drive them out

0:42:53.239 --> 0:42:56.480
<v Speaker 2>of say a school or what have you. The baku, however,

0:42:56.480 --> 0:42:58.640
<v Speaker 2>seems to sort of take on this sacred role and

0:42:58.680 --> 0:43:02.000
<v Speaker 2>replaces the hockey when it enters Japanese traditions. So this

0:43:02.040 --> 0:43:05.360
<v Speaker 2>seems like a possible way of looking at the evolution

0:43:05.680 --> 0:43:09.600
<v Speaker 2>of this monster. Like you already have perhaps a role

0:43:09.680 --> 0:43:12.160
<v Speaker 2>for some sort of dream eating creature, even if it's

0:43:12.160 --> 0:43:15.319
<v Speaker 2>not fully developed, and then here comes this new sort

0:43:15.320 --> 0:43:19.640
<v Speaker 2>of sacred creature that is associated with protective qualities, and

0:43:19.680 --> 0:43:22.600
<v Speaker 2>maybe these two kind of get wrapped into one. You know,

0:43:22.640 --> 0:43:24.920
<v Speaker 2>this is a common thing you see with traditions of

0:43:25.520 --> 0:43:28.320
<v Speaker 2>magical creatures, you know, they don't they're morphous. Over time,

0:43:28.960 --> 0:43:32.600
<v Speaker 2>they change shapes, they converge with other creatures, and sometimes

0:43:32.640 --> 0:43:33.640
<v Speaker 2>they separate as well.

0:43:34.200 --> 0:43:38.840
<v Speaker 3>At the danger of steamrolling over nuance and how folklore evolves,

0:43:38.880 --> 0:43:41.520
<v Speaker 3>I really do wonder if the fact that the baku

0:43:41.640 --> 0:43:45.680
<v Speaker 3>is cute played a role in it's uh in a

0:43:45.760 --> 0:43:48.120
<v Speaker 3>role and it's evolving to fill this niche of protecting

0:43:48.200 --> 0:43:49.160
<v Speaker 3>children's dreams.

0:43:49.640 --> 0:43:52.000
<v Speaker 2>Yeah, I mean, there's a there's certainly a larger discussion

0:43:52.040 --> 0:43:55.200
<v Speaker 2>to be had there concerning not only the universal appeal

0:43:55.520 --> 0:43:59.600
<v Speaker 2>of cute, but also obviously cute has a tremendous history

0:43:59.840 --> 0:44:04.359
<v Speaker 2>in Japanese culture as well. So already shares that old

0:44:04.400 --> 0:44:07.800
<v Speaker 2>baku amulets show things like a ship filled with rice

0:44:08.640 --> 0:44:12.359
<v Speaker 2>or just characters representing baku. And this was from when

0:44:12.360 --> 0:44:14.480
<v Speaker 2>it was a higher class affair for the emperor in

0:44:14.520 --> 0:44:17.520
<v Speaker 2>his circle, and a ritual of sleeping with it on

0:44:17.719 --> 0:44:20.359
<v Speaker 2>or under your pillow, and this was something that would

0:44:20.400 --> 0:44:22.640
<v Speaker 2>be carried out once a year to clear out the

0:44:22.680 --> 0:44:25.480
<v Speaker 2>past year's bad dreams, which I thought was interesting. It

0:44:25.480 --> 0:44:28.480
<v Speaker 2>wasn't necessarily a situation of like I had a bad dream,

0:44:29.160 --> 0:44:30.600
<v Speaker 2>I need to fix this, or I might have a

0:44:30.600 --> 0:44:32.480
<v Speaker 2>bad dream tonight I need to fix it. It's more

0:44:32.560 --> 0:44:35.480
<v Speaker 2>like market on the calendar. It's time to clear out

0:44:35.520 --> 0:44:38.880
<v Speaker 2>all those bad dreams. All the past year's bad dreams

0:44:38.880 --> 0:44:39.400
<v Speaker 2>are gone.

0:44:39.560 --> 0:44:42.640
<v Speaker 3>It's like a nightmare leaves a stench that's sort of

0:44:42.680 --> 0:44:45.280
<v Speaker 3>hanging in the air, and you bring in the Baku

0:44:45.360 --> 0:44:47.560
<v Speaker 3>to like waft it all out.

0:44:47.719 --> 0:44:52.920
<v Speaker 2>Yeah, the boat that is depicted on these ambulance apparently

0:44:52.960 --> 0:44:56.440
<v Speaker 2>the ideas the boat becomes loaded with these bad dreams

0:44:57.080 --> 0:44:59.239
<v Speaker 2>again that have been accumulated over the course of a

0:44:59.320 --> 0:45:03.640
<v Speaker 2>year whole you know, boatload of them literally or symbolically.

0:45:04.280 --> 0:45:06.520
<v Speaker 2>It tends how you look at it. I guess anyway,

0:45:06.560 --> 0:45:08.400
<v Speaker 2>they're loaded up on this boat, and then the boat

0:45:08.440 --> 0:45:12.719
<v Speaker 2>goes out, sails out into the waters of purification. That's

0:45:12.800 --> 0:45:13.680
<v Speaker 2>essentially dumping them.

0:45:13.719 --> 0:45:14.000
<v Speaker 3>I guess.

0:45:14.040 --> 0:45:17.759
<v Speaker 2>You know. As time goes by, these depictions show more

0:45:17.800 --> 0:45:21.640
<v Speaker 2>treasure aboard the Baku ship, and in time, you know,

0:45:21.680 --> 0:45:24.880
<v Speaker 2>the common people adopted ritual as well. Hoy writes that

0:45:24.920 --> 0:45:28.680
<v Speaker 2>it eventually loses the association with nightmare purification to a

0:45:28.760 --> 0:45:30.920
<v Speaker 2>large degree and becomes kind of more of a mascot

0:45:30.920 --> 0:45:33.680
<v Speaker 2>of happiness and kind of a good luck token as well.

0:45:33.760 --> 0:45:37.040
<v Speaker 2>So it's interesting how you know, we see the just

0:45:37.040 --> 0:45:39.520
<v Speaker 2>as we see the rise and fall of dream emphasis

0:45:39.600 --> 0:45:42.520
<v Speaker 2>within a given culture, you could also see that associated

0:45:42.600 --> 0:45:47.759
<v Speaker 2>with particular practices, amulets and mythical creatures. By the way,

0:45:47.880 --> 0:45:51.120
<v Speaker 2>in this paper there there's at least one really interesting

0:45:51.120 --> 0:45:54.960
<v Speaker 2>thing that Horry brings up that's not Baku related at all,

0:45:55.200 --> 0:45:59.799
<v Speaker 2>concerning dreaming manipulation superstitions in Japan. But they do mention

0:45:59.880 --> 0:46:03.080
<v Speaker 2>that there is this pre modern practice where it is

0:46:03.160 --> 0:46:06.120
<v Speaker 2>said that if you want to see your loved ones

0:46:06.160 --> 0:46:09.839
<v Speaker 2>in your dreams, and I think this may relate more

0:46:09.880 --> 0:46:13.399
<v Speaker 2>to loved ones who are deceased, you could wear your

0:46:13.440 --> 0:46:16.480
<v Speaker 2>clothing inside out when you go to sleep, and that

0:46:16.520 --> 0:46:19.680
<v Speaker 2>would help manipulate the nature of your dreams.

0:46:20.200 --> 0:46:23.279
<v Speaker 3>Any insight into the magical logic there.

0:46:23.680 --> 0:46:26.160
<v Speaker 2>It reminds me of things in general that we've touched on.

0:46:26.239 --> 0:46:29.759
<v Speaker 2>It reminds me of things in Russian folklore that we've

0:46:29.800 --> 0:46:33.440
<v Speaker 2>talked about before, you know, the idea of wearing clothes

0:46:33.520 --> 0:46:36.919
<v Speaker 2>backwards or doing something interesting with the buttons, Like there's

0:46:36.920 --> 0:46:40.360
<v Speaker 2>something about manipulating the order of things in the waking

0:46:40.480 --> 0:46:44.520
<v Speaker 2>world that can then have some sort of a relationship

0:46:44.560 --> 0:46:48.000
<v Speaker 2>on the supernatural world or in this case dreams.

0:46:48.480 --> 0:46:52.320
<v Speaker 3>Wasn't it that by wearing clothes backward in the Russian

0:46:52.320 --> 0:46:55.960
<v Speaker 3>folklore you would like defend yourself against ghosts or monsters

0:46:56.040 --> 0:46:56.560
<v Speaker 3>or something.

0:46:56.920 --> 0:47:00.040
<v Speaker 2>Yeah, or it concerned what was their name, the wild one,

0:47:00.200 --> 0:47:01.600
<v Speaker 2>the man in the woods?

0:47:01.960 --> 0:47:03.920
<v Speaker 3>Oh, the leshie.

0:47:04.200 --> 0:47:06.839
<v Speaker 2>Yeah, I believe it came up in the leshie.

0:47:06.360 --> 0:47:07.920
<v Speaker 3>That would lower people off the path.

0:47:08.040 --> 0:47:12.440
<v Speaker 2>Yeah, yeah, I think it's come up elsewhere as well,

0:47:12.600 --> 0:47:17.560
<v Speaker 2>maybe in I want to say, Irish folklore and superstition.

0:47:17.960 --> 0:47:20.560
<v Speaker 2>You know, I think it's a motif you see pop

0:47:20.640 --> 0:47:22.439
<v Speaker 2>up here and there, you know, this idea that there

0:47:22.760 --> 0:47:25.839
<v Speaker 2>if something's out of line with your clothing, there's some

0:47:25.920 --> 0:47:27.960
<v Speaker 2>potential slip into the other world.

0:47:29.000 --> 0:47:29.279
<v Speaker 3>I guess.

0:47:29.320 --> 0:47:31.080
<v Speaker 2>One of the interesting things about this to me is

0:47:31.120 --> 0:47:34.600
<v Speaker 2>that it's not just necessarily about good versus bad dreams.

0:47:34.640 --> 0:47:36.440
<v Speaker 2>But in this we're getting in the depiction into the

0:47:36.480 --> 0:47:41.080
<v Speaker 2>distinction between dreams that are just you know, clutter, you

0:47:41.080 --> 0:47:44.640
<v Speaker 2>know that that you don't want, and having a dream

0:47:44.680 --> 0:47:48.720
<v Speaker 2>that has some connection to a realm beyond the waking

0:47:48.760 --> 0:47:50.719
<v Speaker 2>world in this case, like the realm of the dead,

0:47:50.800 --> 0:47:53.000
<v Speaker 2>the realm of past lives, and so forth.

0:47:53.440 --> 0:47:55.799
<v Speaker 3>Yeah, that's interesting. So I could see like wearing your

0:47:55.840 --> 0:47:59.520
<v Speaker 3>clothes inside out might somehow grant you access, but that

0:47:59.800 --> 0:48:03.000
<v Speaker 3>does seems somehow different because again, if well maybe I'm

0:48:03.000 --> 0:48:05.080
<v Speaker 3>not even remembering this right, but if I am remembering

0:48:05.160 --> 0:48:06.799
<v Speaker 3>it right, with the Russian thing, it was like that

0:48:07.320 --> 0:48:10.600
<v Speaker 3>wearing the closed backwards would somehow protect you. That's almost

0:48:10.600 --> 0:48:13.680
<v Speaker 3>like that would keep you more grounded to reality or

0:48:14.000 --> 0:48:17.800
<v Speaker 3>maybe prevent these creatures from recognizing you or something. I

0:48:17.840 --> 0:48:18.160
<v Speaker 3>don't know.

0:48:18.280 --> 0:48:23.160
<v Speaker 2>Yeah, yeah, like somehow messes with how this world interacts

0:48:23.239 --> 0:48:25.520
<v Speaker 2>or touches with the other world or creatures of that

0:48:25.600 --> 0:48:29.640
<v Speaker 2>other world. So we've covered some key dream cultures here

0:48:29.680 --> 0:48:33.359
<v Speaker 2>from particular periods in these episodes, but there's so much

0:48:33.360 --> 0:48:37.160
<v Speaker 2>we didn't get into. Like you just in passing horror

0:48:37.239 --> 0:48:40.200
<v Speaker 2>mentions that there's a strong Malaysian tradition of dream control,

0:48:40.680 --> 0:48:43.040
<v Speaker 2>and I didn't have time to follow up on that

0:48:43.120 --> 0:48:46.279
<v Speaker 2>and see what that might consist of. But it would

0:48:46.280 --> 0:48:48.799
<v Speaker 2>be interesting to hear from listeners out there if you

0:48:48.920 --> 0:48:51.360
<v Speaker 2>know of any other great examples of some sort of

0:48:51.920 --> 0:48:56.760
<v Speaker 2>robust or even just very slight seeming method of changing

0:48:57.160 --> 0:49:00.360
<v Speaker 2>or altering or controlling the flow of dream, be it

0:49:00.440 --> 0:49:03.440
<v Speaker 2>related to an amulet or a childhood you know, nursery,

0:49:03.520 --> 0:49:06.600
<v Speaker 2>rhyme or story. We'd be very interested to hear about

0:49:06.600 --> 0:49:07.560
<v Speaker 2>that totally.

0:49:07.600 --> 0:49:09.960
<v Speaker 3>Does your culture have something like a baku you want

0:49:10.000 --> 0:49:10.920
<v Speaker 3>to tell us about.

0:49:11.239 --> 0:49:13.200
<v Speaker 2>Or do you have just additional tales of the baku?

0:49:13.600 --> 0:49:14.920
<v Speaker 3>Did you have a baku pillow?

0:49:15.360 --> 0:49:17.200
<v Speaker 2>I did a quick search for baku pillows and I

0:49:17.200 --> 0:49:19.560
<v Speaker 2>could not find one that is shaped like a baku.

0:49:20.280 --> 0:49:23.600
<v Speaker 2>But I did see one on a popular online retailer

0:49:23.680 --> 0:49:26.319
<v Speaker 2>that it does have a depiction of a baku on it,

0:49:26.960 --> 0:49:29.680
<v Speaker 2>and it looks very nice. But of course we know that.

0:49:29.760 --> 0:49:31.759
<v Speaker 2>You know, I feel like you would also have to

0:49:31.760 --> 0:49:34.000
<v Speaker 2>be really comfortable for my purposes, like I need a

0:49:34.080 --> 0:49:37.319
<v Speaker 2>very specific pillow if I'm going to have if I'm

0:49:37.440 --> 0:49:38.960
<v Speaker 2>hoping to have decent dreams.

0:49:39.600 --> 0:49:41.839
<v Speaker 3>I don't think I ever had a pillow with representative

0:49:41.960 --> 0:49:44.400
<v Speaker 3>art on it. I think I've had boring pillows my

0:49:44.400 --> 0:49:47.000
<v Speaker 3>whole life. Never had like a spider Man pillow or anything.

0:49:47.480 --> 0:49:50.440
<v Speaker 2>I never did. But my son has gone to I

0:49:50.480 --> 0:49:54.000
<v Speaker 2>don't know, at school or camps, they sometimes make pillow cases.

0:49:54.040 --> 0:49:57.080
<v Speaker 2>So he had one that was decorated with with pokemon

0:49:57.320 --> 0:50:00.680
<v Speaker 2>not too long ago that he'd made himself, so you know,

0:50:01.000 --> 0:50:03.240
<v Speaker 2>you can always make your own baku pillow for sure.

0:50:03.760 --> 0:50:05.840
<v Speaker 3>Do the Pokemon protect him from bad dreams?

0:50:06.760 --> 0:50:09.719
<v Speaker 2>I don't know. Maybe, I mean one does wonder at

0:50:09.760 --> 0:50:12.920
<v Speaker 2>times if you're if you're obsessing about something and you

0:50:12.960 --> 0:50:15.279
<v Speaker 2>have that kind of like childhood obsession level for it,

0:50:15.840 --> 0:50:18.680
<v Speaker 2>if you can control the nature of your dreams in

0:50:18.719 --> 0:50:21.359
<v Speaker 2>that way. Because my son is always talking about how

0:50:21.480 --> 0:50:24.600
<v Speaker 2>like he's obsessed with them with Zelda right now, and

0:50:24.680 --> 0:50:27.480
<v Speaker 2>so he'll he'll have dreams about playing Zelda and about

0:50:27.560 --> 0:50:30.200
<v Speaker 2>or about the world of Zelda, which is great. And

0:50:30.320 --> 0:50:32.799
<v Speaker 2>at times I'm like, I was, like, I wonder, like

0:50:32.840 --> 0:50:36.680
<v Speaker 2>what some of the differences are between the adult mind

0:50:36.719 --> 0:50:39.560
<v Speaker 2>and the childhood mind, because there are plenty of things

0:50:39.560 --> 0:50:41.799
<v Speaker 2>that I get obsessed about that are, you know, a

0:50:41.840 --> 0:50:44.880
<v Speaker 2>wonderful distraction from the real world, but I end up

0:50:44.880 --> 0:50:47.200
<v Speaker 2>not dreaming about them, or at least I don't remember

0:50:47.200 --> 0:50:50.880
<v Speaker 2>those dreams. I have dreams about other things that don't

0:50:50.920 --> 0:50:55.600
<v Speaker 2>make any sense, or things that aren't like key to

0:50:55.400 --> 0:50:58.400
<v Speaker 2>to you know, central to my interests or even my

0:50:58.120 --> 0:51:00.960
<v Speaker 2>my anxieties, at least not on a you know, on

0:51:01.000 --> 0:51:02.200
<v Speaker 2>a really obvious level.

0:51:02.600 --> 0:51:05.200
<v Speaker 3>Ye know, I'm gonna say, my gut instinct about this.

0:51:05.280 --> 0:51:08.080
<v Speaker 3>So I'm not speaking for any science I've read or anything,

0:51:08.120 --> 0:51:11.680
<v Speaker 3>but my suspicion is that you are much more likely

0:51:11.760 --> 0:51:16.520
<v Speaker 3>to dream about an obsession if that obsession has a

0:51:16.800 --> 0:51:20.560
<v Speaker 3>spatial component. So video games are very much something you

0:51:20.560 --> 0:51:23.120
<v Speaker 3>could dream about because they, I mean typically they have

0:51:23.280 --> 0:51:29.279
<v Speaker 3>a simulated environment with spatial dimensions that you explore. Similarly,

0:51:29.320 --> 0:51:31.759
<v Speaker 3>I think people have a lot of dreams when they're

0:51:31.800 --> 0:51:36.239
<v Speaker 3>obsessed with, like houses or something like that. That kind

0:51:36.280 --> 0:51:38.880
<v Speaker 3>of content seems especially prone to turning up in the

0:51:38.960 --> 0:51:39.560
<v Speaker 3>dream world.

0:51:41.000 --> 0:51:44.320
<v Speaker 2>But then like movies we watch for the podcast, subjects

0:51:44.320 --> 0:51:46.239
<v Speaker 2>we research for the podcast nothing.

0:51:46.239 --> 0:51:47.640
<v Speaker 3>Yeah, I don't know if those have as much of

0:51:47.640 --> 0:51:50.520
<v Speaker 3>a spatial component. I mean, like a movie is shot

0:51:50.600 --> 0:51:53.880
<v Speaker 3>within spaces, but you don't really imagine inhabiting those spaces

0:51:54.040 --> 0:51:55.279
<v Speaker 3>moving through them.

0:51:56.360 --> 0:51:58.600
<v Speaker 2>Interesting. Well, you know, I'd love to hear what everyone

0:51:58.600 --> 0:52:01.040
<v Speaker 2>else has to say about this. You know, we all

0:52:01.040 --> 0:52:03.239
<v Speaker 2>have different sorts of dreams. Are they're different? It's kind

0:52:03.280 --> 0:52:06.280
<v Speaker 2>of a question, b is you know, are there particular

0:52:06.760 --> 0:52:08.960
<v Speaker 2>things you do in the real world or obsess about

0:52:08.960 --> 0:52:11.600
<v Speaker 2>in the real world that seem to have more of

0:52:11.600 --> 0:52:15.160
<v Speaker 2>a guaranteed connection to the subject matter of your dreams?

0:52:15.440 --> 0:52:19.880
<v Speaker 3>Yeah, how's my spatial hypothesis? Hold up? Blasted out of

0:52:19.920 --> 0:52:20.239
<v Speaker 3>the water.

0:52:20.320 --> 0:52:24.080
<v Speaker 2>Come on, all right, we're going to go and close

0:52:24.120 --> 0:52:25.800
<v Speaker 2>it out there, but we'd love to hear from everyone

0:52:25.840 --> 0:52:28.239
<v Speaker 2>out there. Our core episodes of Stuff to Blow Your

0:52:28.280 --> 0:52:30.600
<v Speaker 2>Mind publish in the Stuff to Blow Your Mind podcast

0:52:30.640 --> 0:52:34.120
<v Speaker 2>feed on Tuesdays and Thursdays, but we also do a

0:52:34.120 --> 0:52:37.000
<v Speaker 2>listener mail episode on Mondays, so write in. That's where

0:52:37.040 --> 0:52:39.759
<v Speaker 2>we'll discuss those messages. On Wednesdays we do a short

0:52:39.800 --> 0:52:43.239
<v Speaker 2>form monster fact or artifact episode, and on Fridays we

0:52:43.280 --> 0:52:45.399
<v Speaker 2>set aside most serious concerns just talk about a weird

0:52:45.400 --> 0:52:47.400
<v Speaker 2>film on Weird House Cinema.

0:52:47.600 --> 0:52:51.319
<v Speaker 3>Huge thanks to our excellent audio producer JJ Posway. If

0:52:51.320 --> 0:52:52.840
<v Speaker 3>you would like to get in touch with us with

0:52:52.920 --> 0:52:55.320
<v Speaker 3>feedback on this episode or any other, to suggest a

0:52:55.400 --> 0:52:57.480
<v Speaker 3>topic for the future, or just to say hello, you

0:52:57.520 --> 0:53:00.520
<v Speaker 3>can email us at contact Stuff to Blow your Mind

0:53:00.600 --> 0:53:08.480
<v Speaker 3>dot com.

0:53:08.600 --> 0:53:11.520
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

0:53:11.640 --> 0:53:15.480
<v Speaker 1>more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

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