WEBVTT - From the Vault: Dreamfall into the Dark, Part 4

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<v Speaker 1>Hello, and welcome to Stuff to Blow Your Mind. My

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<v Speaker 1>name is Joe McCormick, and today we are bringing you

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<v Speaker 1>an episode from the vault. This one originally published June

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<v Speaker 1>twenty seventh, twenty twenty three, and it is the fourth

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<v Speaker 1>and final part in our series dream Fall Into the Dark.

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<v Speaker 1>So let's get right into it.

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<v Speaker 2>Welcome to Stuff to Blow Your Mind, production of iHeartRadio.

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<v Speaker 3>Hey, welcome to Stuff to Blow your Mind. My name

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<v Speaker 3>is Robert.

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<v Speaker 1>Lamb and I am Joe McCormick.

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<v Speaker 3>And we're jumping right into our fourth and final episode

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<v Speaker 3>in the dream Fall into the Dark series. Here about

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<v Speaker 3>the mystique of dreaming, particular times and places where dream

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<v Speaker 3>culture was especially pronounced. This, of course, won't be our

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<v Speaker 3>final episode on dreaming. Will inevitably come back to dreaming.

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<v Speaker 3>Dreaming is always something that's going to come up one

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<v Speaker 3>way or another in the topics we cover on Stuff

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<v Speaker 3>to Blow Your Mind.

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<v Speaker 1>But now, Rob, didn't we begin this whole investigation because

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<v Speaker 1>you got interested in a dream related monster from Japanese folklore.

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<v Speaker 3>That's right, a particular monster that we will be covering

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<v Speaker 3>in this episode, but it kind of served as the

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<v Speaker 3>white rabbit that we pursued and ended up doing three

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<v Speaker 3>additional episodes not directly related to it or even its

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<v Speaker 3>direct dream culture. It is a creature we're going to

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<v Speaker 3>be talking about, a largely a creature of Japanese dream culture,

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<v Speaker 3>and so you know, we I think it was necessary

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<v Speaker 3>to talk about much of what we talked about in

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<v Speaker 3>the previous three episodes to fully appreciate it. But we

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<v Speaker 3>are going to have to also discuss Japanese dream culture

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<v Speaker 3>itself before discussing this curious.

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<v Speaker 1>Creature, right. So, as background, I was looking for a

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<v Speaker 1>paper on how how dreams have been viewed in Japanese

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<v Speaker 1>culture across history, and I came across one published in

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<v Speaker 1>the Journal of Psychiatry and Clinical Neurosciences in nineteen ninety

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<v Speaker 1>five by Shoozo Koyama called Japanese Dreams, Culture and Cosmology.

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<v Speaker 1>So this is a short article by a researcher named

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<v Speaker 1>Shoozo Koyama, who at the time of the publication worked

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<v Speaker 1>at the Japanese National Museum of Ethnology in Osaka. Now,

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<v Speaker 1>of course, the way dreams are perceived in Japan across

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<v Speaker 1>times seems in broad regard to mirror patterns we've seen

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<v Speaker 1>in other cultures where there are some people and sometimes

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<v Speaker 1>who regard them more as private internal phenomena with no

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<v Speaker 1>informational relevance to the external world or no special power.

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<v Speaker 1>It's not like a place you go whereas others see

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<v Speaker 1>them as having a kind of magic or predictive power,

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<v Speaker 1>or involving genuine interactions with spiritual beings, both good and bad.

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<v Speaker 1>But what this paper does is look at a series

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<v Speaker 1>of history periods in Japan and try to make a

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<v Speaker 1>few generalizations about trends in how dreams were perceived and

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<v Speaker 1>written about in those periods relative to the other periods.

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<v Speaker 1>So the author begins by looking at the Joman period,

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<v Speaker 1>which is about ten thousand BCE until about five hundred BCE.

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<v Speaker 1>This is a time when Japan was occupied by hunter

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<v Speaker 1>gatherers who lived in small societies. We've talked about the

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<v Speaker 1>German culture before, especially with regards to their fabrication of

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<v Speaker 1>clay potts. I think we talked about this in our

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<v Speaker 1>episode on the Cauldron, and some evidence in early German

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<v Speaker 1>culture of transitioning from a hunter gatherer lifestyle to a

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<v Speaker 1>more settled lifestyle staying in one place. More so in

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<v Speaker 1>this period, there are no written records so it is

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<v Speaker 1>difficult to have much certainty about the beliefs and psychology

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<v Speaker 1>of people at the time. However, we can make some

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<v Speaker 1>guesses based on iconography preserved in artifacts of this culture.

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<v Speaker 1>So the German people did make figuring out of clay

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<v Speaker 1>and stone, representing both human and animal forms. The human

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<v Speaker 1>forms are very often female, often depicted with exaggerated breasts, stomachs,

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<v Speaker 1>and buttocks, with their faces hidden behind masks. These are

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<v Speaker 1>sometimes interpreted as goddesses or figures of fertility, or as

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<v Speaker 1>substitute human beings who are given up as offerings to

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<v Speaker 1>the gods, and you'll find them in different kinds of

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<v Speaker 1>archaeological settings, may be left alone in an abandoned dwelling

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<v Speaker 1>or deposited in a hole in the ground. As for

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<v Speaker 1>animal forms, one of the most common is apparently the snake.

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<v Speaker 1>Snake designs are found on many German vessels, and early

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<v Speaker 1>snake motifs seem to transition into more abstract forms like

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<v Speaker 1>spirals or waves in later designs. Late German figurines also

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<v Speaker 1>depict bears and wild boares, but humans and snakes are

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<v Speaker 1>especially common. This, according to the author, connects to the

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<v Speaker 1>role of snakes in Japanese mythology. There is a very

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<v Speaker 1>prominent story where prince kills or subdues a snake spirit

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<v Speaker 1>and this act leads to the creation of Japan. And

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<v Speaker 1>there are also folk tales of snakes that transform into

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<v Speaker 1>or appear as people, for example, a snake that transforms

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<v Speaker 1>into a man in order to father children with a

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<v Speaker 1>human woman, or a man that visits a beautiful woman

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<v Speaker 1>only to discover that she is actually a snake in disguise,

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<v Speaker 1>or has a snake spirit that is revealed and he

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<v Speaker 1>runs away in terror. Now, to be very clear, there

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<v Speaker 1>is no proof that any of this imagery comes from dreams.

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<v Speaker 1>But in this period, because there are no written records

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<v Speaker 1>of dreams, all you can really do is look at

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<v Speaker 1>the imagery to try to get a best guess about

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<v Speaker 1>what kinds of non realistic subject matter preoccupied the early

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<v Speaker 1>inhabitants of the Japanese archipelago now koyaman. This article uses

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<v Speaker 1>the stories of humans with underlying snake spirits to argue

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<v Speaker 1>that early Japanese culture is infused with animism, though here

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<v Speaker 1>I think the author defines animism maybe a little bit

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<v Speaker 1>differently than I'm used to or than I've seen in

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<v Speaker 1>some other scholarships. So in this paper, animism is defined

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<v Speaker 1>as the belief that living beings are composed of two substances,

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<v Speaker 1>spirit and body, that spirit is intangible and eternal, and

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<v Speaker 1>that body is visible and tangible but temporal. And of

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<v Speaker 1>course I'm no expert on the study of religions, but

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<v Speaker 1>I think usually, or at least more often, animism is

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<v Speaker 1>taken to me in a belief system that you find

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<v Speaker 1>all around the world, which assumes that not only people,

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<v Speaker 1>but potentially all things have a sort of soul or

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<v Speaker 1>spirit or agency. And this can include animals, of course,

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<v Speaker 1>but also plants, geological features like mountains and rivers, just

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<v Speaker 1>generally places, weather patterns, even human artifacts or abstract concepts,

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<v Speaker 1>and in a sense these all can have a spirit,

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<v Speaker 1>a soul, or a life force with agency, desires, and

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<v Speaker 1>other quality of mind. One particular thing that's different here

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<v Speaker 1>is that I understand animism to notably make little or

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<v Speaker 1>no distinction between spiritual causes and material causes, whereas this

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<v Speaker 1>definition of animism, I think, would emphasize exactly that difference.

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<v Speaker 1>But I don't want to get two sidetracked here. Koyama

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<v Speaker 1>basically is asserting that that ancient Japanese art and stories

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<v Speaker 1>point toward a belief dividing the world into a material

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<v Speaker 1>reality and a spiritual reality that are separate. Now Here

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<v Speaker 1>you go to Phase two. This period begins five hundred

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<v Speaker 1>BCE and goes until roughly the fifth century CE. The

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<v Speaker 1>historical context is that Koyama says, this is when patti

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<v Speaker 1>ricefield cultivation begins in Japan, probably introduced from practices in

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<v Speaker 1>China through Korea. Some Chinese documents from this time imply

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<v Speaker 1>that Japan was probably a large and complex enough society

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<v Speaker 1>that there were different tribal territories. This is indicated by

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<v Speaker 1>references to conflicts between them, and during this time there

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<v Speaker 1>was an influx of new peoples moving in from outside Japan,

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<v Speaker 1>introducing new cultural elements. There was still plenty of figurative

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<v Speaker 1>art from this period. Some German conventions continued, and you

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<v Speaker 1>had depictions of human figures and daily activities. You would

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<v Speaker 1>find figures depicted hunting, harvesting crops, or seafaring. A lot

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<v Speaker 1>of animal representations as well, including figurines of birds and dragons,

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<v Speaker 1>which are not really present in Phase one. Koyama says,

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<v Speaker 1>it's notable that both of these creatures that show up

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<v Speaker 1>here can fly and then writes quote. This coincides with

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<v Speaker 1>the fact that newcomers believed they were the descendants of

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<v Speaker 1>celestial gods, while indigenous groups were called offspring of gods

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<v Speaker 1>of the land in mythology. As a symbol of the sun,

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<v Speaker 1>mirrors were used by newcomers. A quantity of Chinese bronze

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<v Speaker 1>mirrors have been excavated from large scale tombs, apparently very

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<v Speaker 1>important artifacts. Decoration on the backs of some mirrors depicted

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<v Speaker 1>Taoist cosmology, and it's in this period that we have

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<v Speaker 1>the first refa diferences to dreaming in Japanese culture in

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<v Speaker 1>written records. There's a collection of Chinese historical texts known

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<v Speaker 1>as the Way Dynasty Chronicle, which these texts claimed that

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<v Speaker 1>the Queen of Japan, in Koyama's words quote, governed her

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<v Speaker 1>nation by shamanism, though I'm not quite sure what that means.

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<v Speaker 1>So there is a collection of Chinese historical texts known

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<v Speaker 1>as the Way Dynasty Chronicle, and these texts make reference

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<v Speaker 1>to the Queen of Japan, and Koyama says that they

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<v Speaker 1>claim that she governed her nation by shamanism. During this time,

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<v Speaker 1>there was use of oracle bones to tell the future.

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<v Speaker 1>In Japan, excavated artifacts demonstrate this. So there was a

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<v Speaker 1>form of There were forms of divination in practice, and dreams,

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<v Speaker 1>as we know, are very often in basically all cultures

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<v Speaker 1>at some points used for divination to try to get

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<v Speaker 1>access to future information or secret information. There is an

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<v Speaker 1>eighth century Japanese text text tradition known as the Kojiki,

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<v Speaker 1>which contains a bunch of myths, legends, and alleged historical

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<v Speaker 1>accounts of Japan up to the seventh century, and it

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<v Speaker 1>claims that during this period, dreaming was used to decide

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<v Speaker 1>important matters of state. And so I'm going to read

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<v Speaker 1>a quote from Koyami here, but it makes reference to

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<v Speaker 1>an emperor Sujin. Sujin was a Japanese emperor, often known

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<v Speaker 1>as one of the so called legendary emperors. Though I've

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<v Speaker 1>read that something he maybe or probably did exist in history,

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<v Speaker 1>maybe reigning during the first century BCE or sometime around then.

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<v Speaker 1>But what we know about him is enmeshed in a

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<v Speaker 1>lot of legends, so I think it's hard to say

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<v Speaker 1>a lot for certain if he did exist. But anyway,

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<v Speaker 1>the chronicle says Emperor Sujin quote had a sacred bed

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<v Speaker 1>made so that he could dream in order to make

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<v Speaker 1>a decision in a crisis, for example, to stamp out

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<v Speaker 1>epidemics or to nominate the heir to the throne. He

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<v Speaker 1>often listened to the dreams of his subjects in order

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<v Speaker 1>to make national policy. It is clear that during this phase,

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<v Speaker 1>people still believed in the supernatural world, and dreaming was

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<v Speaker 1>considered a domain where qualified persons communicated with powerful spirits.

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<v Speaker 1>So this mimics beliefs about dreams. We've seen from elsewhere

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<v Speaker 1>that dreams could be used for divination, that they could

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<v Speaker 1>help you predict the future, or they could give you advice.

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<v Speaker 1>Maybe you would be getting advice directly from some kind

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<v Speaker 1>of spiritual entities who had privileged knowledge, and that in

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<v Speaker 1>some cases there were specially qualified people who could communicate

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<v Speaker 1>with these entities in dreams.

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<v Speaker 3>I love this detail that the emperor had a sacred

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<v Speaker 3>dreaming bed. That's that's wonderful. This idea that a night's

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<v Speaker 3>sleep needs to be special. Tonight's sleep is just about

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<v Speaker 3>a vital dream that will help lead the way.

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<v Speaker 1>I think you could consider this a form of intentional

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<v Speaker 1>dream incubation. That you know that we see this in

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<v Speaker 1>other cultures, like ancient Greco Roman culture. There would be

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<v Speaker 1>temples where you could go and sleep in the temple

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<v Speaker 1>in like a special place in order to receive a

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<v Speaker 1>dream from the God. I guess after you made an

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<v Speaker 1>offering to the god because you slept in the temple,

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<v Speaker 1>the dream would be from that God giving you advice

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<v Speaker 1>about what to do in order to solve your problem. Yeah.

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<v Speaker 1>After this, Koyama goes to Phase three, which is beginning

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<v Speaker 1>in the fifth century CE and going into the ninth

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<v Speaker 1>This was a time when Japan was established as a

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<v Speaker 1>state and interacted politically with other states in East Asia

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<v Speaker 1>koamas As. There were strong Chinese influences in Japan at

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<v Speaker 1>this time, including Chinese law codes, as well as the

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<v Speaker 1>spread of philosophies and religions that were either Chinese in

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<v Speaker 1>origin or popular in China already, such as Confucianism, Buddhism,

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<v Speaker 1>and Taoism. Now, as we've discussed before, I think this

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<v Speaker 1>came up in talking about that book by Lynn Struve.

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<v Speaker 1>Confucianism sometimes is taken to militate against supernatural or so

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<v Speaker 1>called irrational interpretations of dreams. I've read elsewhere. I think

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<v Speaker 1>that that Confucian thinkers were sort of often not on

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<v Speaker 1>board with the idea of dream divination, while Taoism, on

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<v Speaker 1>the other hand, does sort of allow for fortune telling

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<v Speaker 1>and omens.

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<v Speaker 3>Yeah, that's my understanding that sort of three different schools

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<v Speaker 3>here are in play, but those are sort of the

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<v Speaker 3>major push and pull between Confucism and Daoism concerning dreams.

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<v Speaker 1>From this period, Koyama mentions a Buddhist temple coming back

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<v Speaker 1>to the special dream bed, mentions a Buddhist temple called

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<v Speaker 1>the Horyuji, which was built in the early seventh century

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<v Speaker 1>by a prince named Shotoku, and allegedly the prince would

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<v Speaker 1>lock himself inside this temple for days at a time

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<v Speaker 1>to receive inspiration, and one of the names of this

0:13:52.920 --> 0:13:57.880
<v Speaker 1>building translates to dream hall. However, Koyama says that during

0:13:57.920 --> 0:14:00.600
<v Speaker 1>this period, the primary thing about dreams is that they

0:14:00.679 --> 0:14:04.080
<v Speaker 1>seem mostly kept private, maybe whether one believed in dreams

0:14:04.080 --> 0:14:05.040
<v Speaker 1>as divination or not.

0:14:05.920 --> 0:14:08.959
<v Speaker 3>Okay, so there wasn't as much in the way of

0:14:09.040 --> 0:14:11.040
<v Speaker 3>dream literature at the time.

0:14:11.400 --> 0:14:14.240
<v Speaker 1>But then we reach phase four, and it's when we

0:14:14.320 --> 0:14:17.480
<v Speaker 1>realize we are all just the dream of a giant

0:14:17.520 --> 0:14:22.440
<v Speaker 1>ant mound no sorry movie reference. Beginning in the ninth century,

0:14:22.480 --> 0:14:27.040
<v Speaker 1>going on until the thirteenth There is this period Koyama

0:14:27.160 --> 0:14:31.360
<v Speaker 1>characterizes as the maturation of the political and economic structure

0:14:31.360 --> 0:14:35.240
<v Speaker 1>of Japan and the establishment of a court culture that

0:14:35.320 --> 0:14:40.440
<v Speaker 1>includes literature and other elite products. During this period, there

0:14:40.560 --> 0:14:43.680
<v Speaker 1>is a resurgence of interest in dreams as a tool

0:14:43.760 --> 0:14:46.840
<v Speaker 1>for seeing into the future. During this period, there is

0:14:46.880 --> 0:14:50.040
<v Speaker 1>a resurgence of interest in dreams as a tool for

0:14:50.120 --> 0:14:53.640
<v Speaker 1>seeing into the future. This comes in concert with what

0:14:53.720 --> 0:14:56.560
<v Speaker 1>seems to be a general resurgence of belief in, or

0:14:56.600 --> 0:15:02.640
<v Speaker 1>at least interest in supernatural beings and mechanisms like ghosts, demons, wraiths, omens,

0:15:02.680 --> 0:15:07.520
<v Speaker 1>and curses. And during this period, Japanese Buddhism Kuiamas has

0:15:07.520 --> 0:15:11.360
<v Speaker 1>incorporated some Shinto elements, Shinto being sort of the native

0:15:11.400 --> 0:15:15.040
<v Speaker 1>belief system of Japan. Again to the special dream facilities

0:15:15.080 --> 0:15:18.640
<v Speaker 1>and dream beds, Kuyama writes, quote, some temples and shrines

0:15:19.040 --> 0:15:22.920
<v Speaker 1>had special compounds for dreaming. People rushed to such places

0:15:23.040 --> 0:15:25.560
<v Speaker 1>en mass and stayed until they had a good dream.

0:15:26.120 --> 0:15:31.080
<v Speaker 1>There were professional dream interpreters and dreamers by profession. Nightmares

0:15:31.120 --> 0:15:35.000
<v Speaker 1>and sleep disorders were commonplace during this period. However, it's

0:15:35.000 --> 0:15:38.520
<v Speaker 1>important to consider none of these generalizations totalizing because there

0:15:38.560 --> 0:15:42.560
<v Speaker 1>are some counter examples, like Koyama mentions a tenth century

0:15:42.600 --> 0:15:46.760
<v Speaker 1>poetic diary known as the Kagerooniki, sometimes called the Gossamer

0:15:46.840 --> 0:15:50.040
<v Speaker 1>Years in English, in which the author at one point

0:15:50.160 --> 0:15:54.240
<v Speaker 1>gets a supernatural interpretation of a dream from a priest,

0:15:54.800 --> 0:15:57.640
<v Speaker 1>and she calls the priest's interpretation of the dream a

0:15:57.760 --> 0:16:01.760
<v Speaker 1>stupid lie. But the priests did try to give her

0:16:01.800 --> 0:16:06.200
<v Speaker 1>the interpretation, so it seems maybe that's normal for this period,

0:16:06.320 --> 0:16:10.160
<v Speaker 1>but the author's reaction suggests diversity of opinion on the

0:16:10.200 --> 0:16:13.760
<v Speaker 1>power of dreams among the elite. But overall, if Koyama

0:16:13.800 --> 0:16:17.040
<v Speaker 1>is correct, this is a period where belief in the

0:16:17.080 --> 0:16:22.040
<v Speaker 1>power of dreams flowers. Then there's Phase five, beginning in

0:16:22.080 --> 0:16:25.320
<v Speaker 1>the thirteenth century, the rise of the samurai class and

0:16:25.400 --> 0:16:29.400
<v Speaker 1>its associated power system. Koyama describes them as, for the

0:16:29.440 --> 0:16:34.800
<v Speaker 1>most part, realistic and practical entrepreneurs. Koyama says literature of

0:16:34.840 --> 0:16:38.440
<v Speaker 1>this time period shows, on average a sort of turning

0:16:38.480 --> 0:16:41.800
<v Speaker 1>away from belief in the power of dreams as supernatural

0:16:41.880 --> 0:16:45.120
<v Speaker 1>portents or realities, at least certainly not as much as

0:16:45.120 --> 0:16:48.440
<v Speaker 1>there was in the phase before. And one example Koyama

0:16:48.480 --> 0:16:51.680
<v Speaker 1>gives is a Japanese epic known as the tai Haeiki

0:16:52.280 --> 0:16:55.000
<v Speaker 1>or the Chronicle of Great Peace. This is written sometime

0:16:55.080 --> 0:16:58.640
<v Speaker 1>in the late fourteenth century, and in part of this

0:16:58.720 --> 0:17:03.080
<v Speaker 1>text there is a warrior named Ayoto who quote refused

0:17:03.120 --> 0:17:05.879
<v Speaker 1>to receive an award after being told that his lord

0:17:06.000 --> 0:17:10.640
<v Speaker 1>wanted to give it because he dreamt of Aoto's distinguished service.

0:17:11.200 --> 0:17:14.520
<v Speaker 1>He said, I can't receive such an irrational award. I

0:17:14.600 --> 0:17:17.240
<v Speaker 1>did nothing. What will happen if he dreams another way?

0:17:18.680 --> 0:17:21.199
<v Speaker 1>And then Coyama says, quote, for such people, the difference

0:17:21.240 --> 0:17:25.640
<v Speaker 1>between dream and reality was clearly distinct. And then finally

0:17:26.040 --> 0:17:29.640
<v Speaker 1>phase six, Coyama says that this is the nineteenth century onward.

0:17:29.760 --> 0:17:33.440
<v Speaker 1>One of the main changes is the influence of Euro

0:17:33.560 --> 0:17:37.919
<v Speaker 1>American culture, and Coyama says that on one hand, modern

0:17:38.000 --> 0:17:42.720
<v Speaker 1>Japanese culture has a predominantly rationalist and materialist view of nature,

0:17:42.800 --> 0:17:47.680
<v Speaker 1>which relegates dreams to natural psychological phenomena with no predictive

0:17:47.720 --> 0:17:51.320
<v Speaker 1>power or reality of their own. On the other hand,

0:17:51.320 --> 0:17:54.520
<v Speaker 1>he says, millions still visit Shinto shrines and keep good

0:17:54.560 --> 0:17:57.000
<v Speaker 1>luck charms in their cars and so forth, and so

0:17:57.119 --> 0:17:59.600
<v Speaker 1>in some ways, elements of what the author refers to

0:17:59.760 --> 0:18:03.760
<v Speaker 1>as animistic thinking, which again seems to mean in this paper,

0:18:03.920 --> 0:18:07.280
<v Speaker 1>the belief in a spiritual dimension of reality that operates

0:18:07.280 --> 0:18:11.600
<v Speaker 1>outside of strict physical causality can still be found peeking

0:18:11.680 --> 0:18:15.080
<v Speaker 1>out through the top layer of rationalism. Maybe people kind

0:18:15.119 --> 0:18:17.520
<v Speaker 1>of shift back and forth between these ways of seeing

0:18:17.520 --> 0:18:20.360
<v Speaker 1>the world depending on how they feel. Though I would

0:18:20.400 --> 0:18:22.280
<v Speaker 1>say I don't think this would be at all unique

0:18:22.280 --> 0:18:24.080
<v Speaker 1>to Japan. It just seems to me this is sort

0:18:24.119 --> 0:18:26.640
<v Speaker 1>of what most people in all societies do.

0:18:27.000 --> 0:18:29.080
<v Speaker 3>Oh absolutely, I feel like this comes up time and

0:18:29.119 --> 0:18:33.160
<v Speaker 3>time again, whether we're talking about say, you know, varying

0:18:33.400 --> 0:18:37.399
<v Speaker 3>at times contradictory beliefs about the afterlife and how you know,

0:18:37.440 --> 0:18:39.960
<v Speaker 3>you may think one way in the morning, one way

0:18:39.960 --> 0:18:42.920
<v Speaker 3>in the afternoon, or kind of two ways at once

0:18:42.960 --> 0:18:46.280
<v Speaker 3>without really putting a fine line on it. Likewise, I

0:18:46.280 --> 0:18:50.480
<v Speaker 3>remember when we looked at some research concerning belief in

0:18:50.520 --> 0:18:54.920
<v Speaker 3>modern China in the power of the zodiac concerning when

0:18:54.920 --> 0:18:59.320
<v Speaker 3>a child is born, and you know, as I remember,

0:18:59.640 --> 0:19:02.639
<v Speaker 3>part of that was was not that you had a

0:19:02.760 --> 0:19:07.680
<v Speaker 3>large number of contemporary people who were super invested in this,

0:19:08.400 --> 0:19:12.440
<v Speaker 3>like the zodiac system and that belief system, but they

0:19:12.440 --> 0:19:14.439
<v Speaker 3>were just a little bit aware of it. It's kind

0:19:14.440 --> 0:19:19.080
<v Speaker 3>of like background superstitious belief that you may dip into

0:19:19.200 --> 0:19:22.040
<v Speaker 3>at times when it seems useful, when.

0:19:21.920 --> 0:19:24.639
<v Speaker 1>It feels right, suddenly you'll play on that board. But

0:19:24.960 --> 0:19:27.119
<v Speaker 1>right maybe most of the time you're not looking at it.

0:19:27.359 --> 0:19:29.560
<v Speaker 3>Yeah, yeah, Or you have a decision to make and

0:19:29.880 --> 0:19:31.800
<v Speaker 3>you know, you don't have any other factors to go on,

0:19:31.880 --> 0:19:35.119
<v Speaker 3>but you do have this bit of you know, traditional

0:19:35.200 --> 0:19:37.920
<v Speaker 3>lore that is a steeped in superstition. You might turn

0:19:37.960 --> 0:19:40.520
<v Speaker 3>to that in those circumstances. And I think this also

0:19:40.560 --> 0:19:43.640
<v Speaker 3>extends to the use of amulets and you know, good

0:19:43.760 --> 0:19:46.919
<v Speaker 3>luck tokens and so forth. You know, because it's like

0:19:47.200 --> 0:19:49.280
<v Speaker 3>you may not believe it completely, but hey, it doesn't

0:19:49.280 --> 0:19:51.560
<v Speaker 3>take a much room in the pocket or on the

0:19:51.800 --> 0:19:53.800
<v Speaker 3>dash of the car or what have you.

0:19:54.280 --> 0:19:56.679
<v Speaker 1>A person might say, I don't really believe it, but

0:19:56.720 --> 0:19:59.280
<v Speaker 1>it's kind of fun. But then once you have it,

0:19:59.359 --> 0:20:01.560
<v Speaker 1>you can kind of, I don't know, find yourself in

0:20:01.640 --> 0:20:14.120
<v Speaker 1>moments clutching at it. Yes, But you know, an interesting

0:20:14.160 --> 0:20:16.119
<v Speaker 1>thing that I think came up in part three of

0:20:16.160 --> 0:20:20.480
<v Speaker 1>the series is that whether you have a totally rationalistic

0:20:20.480 --> 0:20:23.680
<v Speaker 1>approach to dreams, you don't really you know, give them

0:20:23.680 --> 0:20:26.920
<v Speaker 1>any special power. You don't think they reflect a secret

0:20:26.960 --> 0:20:30.880
<v Speaker 1>reality of spiritual entities interacting or giving you information about

0:20:30.880 --> 0:20:34.240
<v Speaker 1>the future how to live your life. Even then, you

0:20:34.320 --> 0:20:37.119
<v Speaker 1>still don't want to have nightmares. So people are looking

0:20:37.160 --> 0:20:40.240
<v Speaker 1>for ways to have good dreams, whether they think dreams

0:20:40.280 --> 0:20:42.280
<v Speaker 1>are supernatural experiences or not.

0:20:42.960 --> 0:20:45.080
<v Speaker 3>Yeah, it's kind of like, all right, I wasn't listening

0:20:45.080 --> 0:20:47.199
<v Speaker 3>when you were talking about what this dream and what

0:20:47.200 --> 0:20:50.080
<v Speaker 3>this dream meant. But but you said something about stopping nightmares.

0:20:50.440 --> 0:20:53.920
<v Speaker 3>So let's get back to that. And that's ultimately where

0:20:53.960 --> 0:20:56.879
<v Speaker 3>we come to in discussing the monster. At long last,

0:20:56.880 --> 0:21:01.159
<v Speaker 3>we're going to be talking about the Baku. I encourage

0:21:01.160 --> 0:21:05.040
<v Speaker 3>everyone to look up some illustrations of the Baku, certainly

0:21:05.080 --> 0:21:08.240
<v Speaker 3>the historic illustrations, but I also ran across a number

0:21:08.240 --> 0:21:12.400
<v Speaker 3>of like contemporary, you know, fan illustrations and so forth,

0:21:12.440 --> 0:21:16.159
<v Speaker 3>online illustrations, and many of those are are also very impressive.

0:21:16.840 --> 0:21:19.600
<v Speaker 3>I found two major trends in the way that this

0:21:19.680 --> 0:21:23.760
<v Speaker 3>creature is depicted. One is kind of like the frightening

0:21:23.840 --> 0:21:27.320
<v Speaker 3>Avenger of Nightmares version of the Baku, and the other

0:21:27.440 --> 0:21:29.399
<v Speaker 3>is kind of like the I guess the Awe buddy

0:21:29.720 --> 0:21:32.320
<v Speaker 3>version of the Baku, where he just looks looks snugly.

0:21:33.040 --> 0:21:36.000
<v Speaker 1>The funny thing about the I totally agree, yeah you

0:21:36.080 --> 0:21:39.440
<v Speaker 1>have the scary Baku or the snugly Baku, is that

0:21:39.560 --> 0:21:42.880
<v Speaker 1>they both look very huggable, and somehow the scary Baku

0:21:43.000 --> 0:21:44.680
<v Speaker 1>is even more huggable.

0:21:44.280 --> 0:21:48.760
<v Speaker 3>Than the two one. Yeah, yeah, I agree, Yeah, I

0:21:48.840 --> 0:21:51.920
<v Speaker 3>mean and yeah, no matter what, there may be some

0:21:51.920 --> 0:21:56.160
<v Speaker 3>some snuggling involved at the end of it. So the Baku,

0:21:56.920 --> 0:21:58.800
<v Speaker 3>I guess just a good place to start is with

0:21:58.920 --> 0:22:04.320
<v Speaker 3>sort of like general descriptions. I always go to Carol

0:22:04.400 --> 0:22:09.639
<v Speaker 3>Roses encyclopedias of monsters and fairies and so forth, is

0:22:09.680 --> 0:22:12.159
<v Speaker 3>a good like sort of starting place. And in that

0:22:12.280 --> 0:22:16.000
<v Speaker 3>Rose describes the Baku as a benevolent, semi supernatural monster

0:22:16.760 --> 0:22:20.600
<v Speaker 3>with an appearance that is basically that of a giant taper,

0:22:20.920 --> 0:22:22.960
<v Speaker 3>but a creature that is also described as having the

0:22:22.960 --> 0:22:25.040
<v Speaker 3>body of a horse, the head of a lion, and

0:22:25.080 --> 0:22:27.639
<v Speaker 3>the legs and pods of a tiger. Note if you

0:22:27.640 --> 0:22:29.880
<v Speaker 3>haven't seen an actual taper, a taper is of course

0:22:29.920 --> 0:22:33.920
<v Speaker 3>a natural world organism. It does not look quite like this,

0:22:34.400 --> 0:22:37.320
<v Speaker 3>though it does look very unique. It is a notable creature.

0:22:38.320 --> 0:22:40.879
<v Speaker 3>I find that when I see one in a movie

0:22:41.080 --> 0:22:45.280
<v Speaker 3>or at a zoo or illustrations online. I can't help

0:22:45.320 --> 0:22:48.760
<v Speaker 3>but feel elated from having seen it.

0:22:49.240 --> 0:22:52.360
<v Speaker 1>To me a taper or tapier, however, you say it

0:22:52.400 --> 0:22:57.520
<v Speaker 1>is the three way cross between a pig, a panda, bear,

0:22:57.600 --> 0:22:58.359
<v Speaker 1>and an elephant.

0:23:00.160 --> 0:23:02.320
<v Speaker 3>Yeah, I guess it depends where your starting point is.

0:23:02.359 --> 0:23:06.840
<v Speaker 3>But yeah, taper definitely feels more pig like, Yeah, pig

0:23:07.240 --> 0:23:10.560
<v Speaker 3>and rhino based than anything more in the taper here

0:23:10.600 --> 0:23:13.159
<v Speaker 3>in a bit, but the Baku. The idea is that

0:23:13.240 --> 0:23:16.119
<v Speaker 3>humans may call on it in the early morning hours

0:23:16.160 --> 0:23:19.600
<v Speaker 3>to devour a bad dream or nightmare that has plagued

0:23:19.680 --> 0:23:22.920
<v Speaker 3>their dream space, allowing them to forget and carry on

0:23:23.119 --> 0:23:26.560
<v Speaker 3>their day in peace, which is a most worthy duty.

0:23:26.560 --> 0:23:28.280
<v Speaker 3>And I also find it interesting that, you know, this

0:23:28.359 --> 0:23:32.320
<v Speaker 3>kind of lines up with the way that the dreams

0:23:32.320 --> 0:23:34.359
<v Speaker 3>and especially bad dreams and nightmares kind of hit us.

0:23:34.359 --> 0:23:37.280
<v Speaker 3>There's kind of like that period where we can easily

0:23:37.320 --> 0:23:40.320
<v Speaker 3>forget or easily remember. Like part of the principle of

0:23:40.400 --> 0:23:42.400
<v Speaker 3>dream journaling is, oh, you got to write it down

0:23:42.400 --> 0:23:46.040
<v Speaker 3>before you forget it, And with nightmare sometimes that the

0:23:46.200 --> 0:23:49.560
<v Speaker 3>challenge is reversed. You've got to not think about it

0:23:49.640 --> 0:23:52.119
<v Speaker 3>before you remember it. You've got to forget it before

0:23:52.440 --> 0:23:53.560
<v Speaker 3>it sticks with you too long.

0:23:53.840 --> 0:23:56.320
<v Speaker 1>That's a good point. Yes, if it was really scary,

0:23:56.400 --> 0:23:59.280
<v Speaker 1>you'll be thinking about it continuously after you wake up,

0:23:59.280 --> 0:24:01.320
<v Speaker 1>which actually cements it in memory.

0:24:01.640 --> 0:24:04.520
<v Speaker 3>Yeah. And then there's something about writing it down or

0:24:04.560 --> 0:24:08.480
<v Speaker 3>telling somebody about the dream that certainly brings out the details,

0:24:08.520 --> 0:24:10.760
<v Speaker 3>sometimes those details that aren't sticking with you. And then

0:24:10.800 --> 0:24:13.159
<v Speaker 3>you start telling someone about the dream or nightmare and

0:24:13.280 --> 0:24:16.600
<v Speaker 3>more that comes to you now As a side here,

0:24:16.640 --> 0:24:19.160
<v Speaker 3>I was I found it more than a little shocking

0:24:19.240 --> 0:24:22.280
<v Speaker 3>that the Baku is not listed in Borges The Book

0:24:22.280 --> 0:24:24.800
<v Speaker 3>of Imaginary Beings, which is another book I like to

0:24:24.840 --> 0:24:28.520
<v Speaker 3>refer to time and time again on the show, especially

0:24:28.560 --> 0:24:32.720
<v Speaker 3>given the author's interest in dreams and his reference to

0:24:32.760 --> 0:24:34.960
<v Speaker 3>various dream creatures in the book, Like there are entries

0:24:34.960 --> 0:24:37.360
<v Speaker 3>for like, here's a creature that C. S. Lewis once

0:24:37.440 --> 0:24:40.320
<v Speaker 3>dreamed about, that sort of thing. I suppose he just

0:24:40.320 --> 0:24:43.720
<v Speaker 3>simply hadn't cross paths with mention of the Baku, otherwise

0:24:43.760 --> 0:24:44.400
<v Speaker 3>he would have been.

0:24:44.320 --> 0:24:44.800
<v Speaker 1>All over it.

0:24:45.119 --> 0:24:47.480
<v Speaker 3>Or perhaps it's just not included there, and he's there's

0:24:47.760 --> 0:24:50.800
<v Speaker 3>some poem or short story I haven't read by by

0:24:50.840 --> 0:24:52.560
<v Speaker 3>Borges that refers to the Baku.

0:24:53.040 --> 0:24:56.080
<v Speaker 1>So I was reading about the baku in an excellent

0:24:56.119 --> 0:24:59.160
<v Speaker 1>book on my shelf on Japanese monsters called The Book

0:24:59.160 --> 0:25:03.200
<v Speaker 1>of Yokai, which is by an Indiana University folklore scholar

0:25:03.280 --> 0:25:06.119
<v Speaker 1>named Michael Dylan Foster. I've mentioned this book on the

0:25:06.160 --> 0:25:10.200
<v Speaker 1>show before, so according to Foster, the baku is a

0:25:10.359 --> 0:25:14.560
<v Speaker 1>is a friendly yokaia, a benevolent yokai. Many yokaia are

0:25:14.640 --> 0:25:17.480
<v Speaker 1>not so friendly, but this one is thought to have

0:25:17.640 --> 0:25:21.560
<v Speaker 1>the power to eat nightmares. But it was not always

0:25:21.640 --> 0:25:25.920
<v Speaker 1>understood this way. Stories of this creature originated in China,

0:25:26.000 --> 0:25:29.399
<v Speaker 1>going at least as far back as a poetry collection

0:25:29.520 --> 0:25:32.680
<v Speaker 1>from the year eight thirty four by the Tang dynasty

0:25:32.800 --> 0:25:36.400
<v Speaker 1>poet by Ju Yi, who lived seven seventy two to

0:25:36.400 --> 0:25:41.160
<v Speaker 1>eight forty six, And according to this text, the Baku

0:25:41.320 --> 0:25:46.000
<v Speaker 1>has nose of an elephant, eyes of a rhinoceros, tale

0:25:46.240 --> 0:25:48.640
<v Speaker 1>of an ox, and legs of a tiger.

0:25:49.080 --> 0:25:51.679
<v Speaker 3>It would not be incorrect to say that this monster

0:25:51.800 --> 0:25:55.560
<v Speaker 3>kind of looks like snuffle Upagus, the imaginary friend of

0:25:55.600 --> 0:25:57.000
<v Speaker 3>Big Bird from Sesame Street.

0:25:57.359 --> 0:25:59.840
<v Speaker 1>That's right. But Rob, if you were having nightmares, would

0:25:59.880 --> 0:26:04.080
<v Speaker 1>you consider a possible remedy of this being to skin

0:26:04.240 --> 0:26:09.480
<v Speaker 1>snuffle up agains this text says if you lay out

0:26:09.520 --> 0:26:13.399
<v Speaker 1>the skin when you sleep, you can avoid epidemics, and

0:26:13.440 --> 0:26:16.640
<v Speaker 1>by drawing an image of the baku you can avoid misfortune.

0:26:17.080 --> 0:26:20.200
<v Speaker 1>People with chronic headaches can protect their heads by using

0:26:20.240 --> 0:26:22.960
<v Speaker 1>a screen with an image of the baku when they

0:26:22.960 --> 0:26:26.679
<v Speaker 1>go to sleep. So in this ninth century Chinese text,

0:26:26.720 --> 0:26:29.640
<v Speaker 1>the baku is not yet an eater of bad dreams,

0:26:29.760 --> 0:26:31.320
<v Speaker 1>but I think you can kind of see how you

0:26:31.320 --> 0:26:35.160
<v Speaker 1>would get there. So its skin or its image offers

0:26:35.240 --> 0:26:39.800
<v Speaker 1>general protection from sickness, from bad fortune, and from headaches

0:26:39.880 --> 0:26:44.679
<v Speaker 1>or chronic pain. However, the protection is enacted by placing

0:26:44.760 --> 0:26:47.919
<v Speaker 1>either a piece of or an image of the baku

0:26:48.119 --> 0:26:51.600
<v Speaker 1>around you while you sleep. So sleep is originally part

0:26:51.680 --> 0:26:56.360
<v Speaker 1>of the protective mechanism, not the thing that is being protected,

0:26:56.520 --> 0:26:59.679
<v Speaker 1>though again you can imagine how that transition would occur.

0:27:01.040 --> 0:27:04.080
<v Speaker 1>By the Edo period in the beginning of the seventeenth century,

0:27:04.200 --> 0:27:07.120
<v Speaker 1>the baku had come to be seen in Japan as

0:27:07.160 --> 0:27:10.280
<v Speaker 1>an eater of nightmares, protecting the week when they were

0:27:10.320 --> 0:27:14.200
<v Speaker 1>in the vulnerable position of sleep, and this usually worked

0:27:14.240 --> 0:27:17.320
<v Speaker 1>by placing a picture of the baku near the pillow,

0:27:17.720 --> 0:27:20.360
<v Speaker 1>or sometimes people just had a baku shaped pillow.

0:27:21.000 --> 0:27:21.679
<v Speaker 3>Now you're talking.

0:27:21.880 --> 0:27:23.040
<v Speaker 1>Do you have a baku pillow?

0:27:23.520 --> 0:27:24.879
<v Speaker 3>No, but I love the idea of it.

0:27:25.200 --> 0:27:27.320
<v Speaker 1>Yeah, I want to get one. This would allow you

0:27:27.359 --> 0:27:31.359
<v Speaker 1>to literally hug the baku, a Foster says. In a

0:27:31.440 --> 0:27:34.480
<v Speaker 1>text called The Three Realms, there is reference to the

0:27:34.520 --> 0:27:38.800
<v Speaker 1>baku which includes the details that the baku has really

0:27:38.840 --> 0:27:43.560
<v Speaker 1>strong bones and teeth, and it's quote it's urine can

0:27:43.640 --> 0:27:48.119
<v Speaker 1>melt iron and turn it into water. What what is

0:27:48.200 --> 0:27:50.560
<v Speaker 1>that used for? Enemy of magneto?

0:27:52.080 --> 0:27:53.639
<v Speaker 3>I mean, I guess a lot of this comes down to,

0:27:53.840 --> 0:27:56.159
<v Speaker 3>like the fact that we'll come back to it later on,

0:27:56.320 --> 0:27:59.399
<v Speaker 3>is that you know, there is a tradition in multiple

0:27:59.440 --> 0:28:02.280
<v Speaker 3>cultures really that it's it's not only what the animal is,

0:28:02.320 --> 0:28:04.800
<v Speaker 3>but what can the animal be used for? What are

0:28:04.800 --> 0:28:09.760
<v Speaker 3>it's various medicinal properties, et cetera. And sometimes this can skew,

0:28:09.840 --> 0:28:11.880
<v Speaker 3>this can skew into areas that are maybe a little

0:28:11.920 --> 0:28:15.080
<v Speaker 3>less realistic and more based in magic or some sort

0:28:15.119 --> 0:28:18.159
<v Speaker 3>of or maybe something that doesn't translate as well across

0:28:18.160 --> 0:28:19.080
<v Speaker 3>the centuries.

0:28:19.400 --> 0:28:21.800
<v Speaker 1>Yeah, uh, now there are I know you're going to

0:28:21.880 --> 0:28:23.280
<v Speaker 1>get into this in a minute, so I guess we

0:28:23.400 --> 0:28:26.399
<v Speaker 1>mostly save it for there. But Foster raises the question

0:28:26.520 --> 0:28:29.520
<v Speaker 1>about whether the Baku of folklore is based on the

0:28:29.600 --> 0:28:33.720
<v Speaker 1>taper or not. Basically, there is some question about whether

0:28:33.760 --> 0:28:37.000
<v Speaker 1>it is or not. Some scholars say yes, some say no. Yeah.

0:28:37.040 --> 0:28:39.560
<v Speaker 3>The thing that that's notable about the taper is of

0:28:39.560 --> 0:28:42.600
<v Speaker 3>course that there are are four species of taper in

0:28:42.600 --> 0:28:45.680
<v Speaker 3>the world today. Three of them are native to Central

0:28:45.720 --> 0:28:48.719
<v Speaker 3>and South America, and then you have the Malayan taper,

0:28:48.760 --> 0:28:53.880
<v Speaker 3>which is found in Indonesia, Malaysia, Myanmar, and Thailand.

0:28:54.080 --> 0:28:57.560
<v Speaker 1>Notably none of those places are Japan, right, so.

0:28:57.480 --> 0:29:00.360
<v Speaker 3>There would there would have to be some degree of

0:29:00.400 --> 0:29:05.320
<v Speaker 3>this game of telephone concerning the form, function, and likeness

0:29:05.360 --> 0:29:08.720
<v Speaker 3>of the particular animal in question, as you see with

0:29:08.840 --> 0:29:13.040
<v Speaker 3>other animals, where we've talked about in the show plenty

0:29:13.080 --> 0:29:14.720
<v Speaker 3>of times before and we will continue to do so.

0:29:14.760 --> 0:29:16.400
<v Speaker 3>I mean, it's one of the most fascinating things in

0:29:17.120 --> 0:29:21.160
<v Speaker 3>the history of naturalistic art and imaginative art, you know,

0:29:21.200 --> 0:29:23.800
<v Speaker 3>taking this form and then seeing what happens to it

0:29:23.840 --> 0:29:26.080
<v Speaker 3>when you start talking about it and then depicting it,

0:29:26.920 --> 0:29:29.120
<v Speaker 3>you know, not even halfway around the world, but just

0:29:29.280 --> 0:29:30.800
<v Speaker 3>you know, a good distance away from it.

0:29:31.160 --> 0:29:34.080
<v Speaker 1>Yes, and this feeds into one of the final observations

0:29:34.080 --> 0:29:36.680
<v Speaker 1>that Foster makes, which I think is very interesting. So

0:29:37.040 --> 0:29:40.560
<v Speaker 1>Foster again makes reference to the fact that the baku

0:29:40.680 --> 0:29:43.200
<v Speaker 1>is described as having like, you know, legs of a tiger,

0:29:43.600 --> 0:29:47.080
<v Speaker 1>tail of an ox, So it is a hybrid of

0:29:47.160 --> 0:29:50.920
<v Speaker 1>many different animal parts, and Foster says this is typical

0:29:51.000 --> 0:29:54.240
<v Speaker 1>of how lots of yokai are described, and in a

0:29:54.280 --> 0:29:57.480
<v Speaker 1>way this allows them to exist in between the realms

0:29:57.520 --> 0:30:01.120
<v Speaker 1>of real and imaginary, because all of the parts are real,

0:30:01.240 --> 0:30:06.280
<v Speaker 1>but their combination is imaginary. But there's another interesting wrinkle

0:30:06.320 --> 0:30:09.480
<v Speaker 1>here when it comes to pre modern Japan. Foster writes,

0:30:09.560 --> 0:30:12.440
<v Speaker 1>quote to people living in Japan during the Edo period

0:30:12.560 --> 0:30:15.640
<v Speaker 1>or earlier, the very parts from which the creature was

0:30:15.720 --> 0:30:22.520
<v Speaker 1>constructed were as strange and foreign as their unnatural combination. Elephants, rhinoceroses,

0:30:22.600 --> 0:30:26.560
<v Speaker 1>and tigers were not native to Japan. The average Japanese

0:30:26.600 --> 0:30:30.040
<v Speaker 1>person during this time would have seen one only in

0:30:30.120 --> 0:30:34.040
<v Speaker 1>illustrations and books, if at all, the same places that

0:30:34.160 --> 0:30:37.840
<v Speaker 1>might also have images of the baku. That is, a

0:30:37.920 --> 0:30:42.040
<v Speaker 1>baku was presumably no more mysterious and also no less

0:30:42.120 --> 0:30:46.680
<v Speaker 1>real than a rhinoceros. So it's an unreal combination of

0:30:46.760 --> 0:30:50.080
<v Speaker 1>real animal parts, but most of those real animal parts

0:30:50.120 --> 0:30:52.960
<v Speaker 1>are from animals that you never would have seen in person.

0:30:53.320 --> 0:30:59.000
<v Speaker 3>Wow. Wow, interesting. Now I found an interesting paper about

0:30:59.040 --> 0:31:03.720
<v Speaker 3>the baku or concerns tobacco that I'm going to trial.

0:31:03.760 --> 0:31:07.920
<v Speaker 3>Some info here from a titled Cultural note on Dreaming

0:31:08.000 --> 0:31:11.680
<v Speaker 3>and dream Study in the Future. Release from Nightmare and

0:31:11.760 --> 0:31:16.720
<v Speaker 3>Development of Dream Control Technique by today O. Hori, published

0:31:16.760 --> 0:31:21.400
<v Speaker 3>in Sleep and Biological Rhythms in two thousand and five. Now,

0:31:23.600 --> 0:31:25.880
<v Speaker 3>the author here, you know, points out some things that

0:31:25.920 --> 0:31:28.840
<v Speaker 3>are they're pretty standard. Weve already touched on this already.

0:31:28.960 --> 0:31:32.360
<v Speaker 3>That you know, nightmares can be quite unpleasant. Obviously, they

0:31:32.360 --> 0:31:35.520
<v Speaker 3>can disrupt your sleep, and since they disrupted your sleep,

0:31:35.560 --> 0:31:38.960
<v Speaker 3>they can disrupt your waking life as well, both as

0:31:39.000 --> 0:31:41.880
<v Speaker 3>a result of lost sleep and the emotional and cognitive

0:31:41.920 --> 0:31:45.000
<v Speaker 3>after effects of the nature of nightmare, without even getting

0:31:45.040 --> 0:31:48.720
<v Speaker 3>into again the more extreme cases of parasomnia and night

0:31:48.840 --> 0:31:52.960
<v Speaker 3>terrors and so forth. Additionally, as Horry points out here,

0:31:53.160 --> 0:31:56.680
<v Speaker 3>stress and trauma in the waking world can only intensify

0:31:56.840 --> 0:32:00.040
<v Speaker 3>bad dreams and nightmares. So you know, there are a

0:32:00.080 --> 0:32:03.120
<v Speaker 3>lot of reasons for the content of your dreams, the

0:32:03.160 --> 0:32:05.800
<v Speaker 3>contents of your nightmares, and just nightmares in general. To

0:32:05.840 --> 0:32:07.800
<v Speaker 3>be just this added thing that you would like very

0:32:07.920 --> 0:32:12.000
<v Speaker 3>much to have removed. And if given the choice, obviously,

0:32:12.440 --> 0:32:14.520
<v Speaker 3>if we were to choose between good dreams and bad

0:32:14.600 --> 0:32:18.080
<v Speaker 3>dreams each night, we would choose the good dreams. But

0:32:18.960 --> 0:32:21.800
<v Speaker 3>Horry writes that in the ethnic groups and culture is

0:32:21.840 --> 0:32:26.120
<v Speaker 3>examined in their research anyway, there aren't really any prescribed

0:32:26.200 --> 0:32:29.200
<v Speaker 3>methods to have a good dream. Rather, there are various

0:32:29.280 --> 0:32:33.800
<v Speaker 3>rights in formulas to eliminate nightmares or minimize their impact.

0:32:34.080 --> 0:32:36.920
<v Speaker 3>I found that an interesting idea, like it did remind

0:32:36.960 --> 0:32:40.160
<v Speaker 3>me of something from my own childhood, but I don't

0:32:40.200 --> 0:32:42.360
<v Speaker 3>remember if it was something that I saw on a

0:32:42.400 --> 0:32:45.200
<v Speaker 3>TV show. I think it might have been, or to

0:32:45.280 --> 0:32:47.600
<v Speaker 3>what degree it was something that one of my parents

0:32:47.640 --> 0:32:50.120
<v Speaker 3>introduced to me. But there was this idea of an

0:32:50.160 --> 0:32:53.920
<v Speaker 3>imaginary dream machine that before you go to bed, you like,

0:32:54.080 --> 0:32:56.200
<v Speaker 3>you know, you think about this dream helmet or whatever

0:32:56.280 --> 0:32:58.560
<v Speaker 3>that you're putting on or some sort of machine you're augmenting,

0:32:58.720 --> 0:33:00.720
<v Speaker 3>and you tell it what you want to that night,

0:33:01.000 --> 0:33:04.320
<v Speaker 3>like you put in your order. Which is a great idea,

0:33:04.560 --> 0:33:07.640
<v Speaker 3>and you know, to some degree, if it actually worked

0:33:07.880 --> 0:33:10.600
<v Speaker 3>to any degree, and I remember, even as a kid,

0:33:10.600 --> 0:33:12.680
<v Speaker 3>I found that it did not. It had no impact

0:33:12.680 --> 0:33:15.560
<v Speaker 3>on what I was going to dream, and therefore I

0:33:15.600 --> 0:33:18.040
<v Speaker 3>didn't stick with it because it obviously didn't work. Like

0:33:20.080 --> 0:33:23.800
<v Speaker 3>you learn really quickly that dreams are just going to

0:33:23.880 --> 0:33:27.040
<v Speaker 3>do their own thing. And for that reason, I don't

0:33:27.040 --> 0:33:28.960
<v Speaker 3>think I ever really introduced it to my own son,

0:33:29.040 --> 0:33:30.880
<v Speaker 3>because I'm like, I'm not going to tell you this.

0:33:30.600 --> 0:33:31.840
<v Speaker 3>This doesn't work at all.

0:33:32.120 --> 0:33:35.840
<v Speaker 1>I wonder if the effectiveness of it would be kind

0:33:35.880 --> 0:33:38.520
<v Speaker 1>of similar to what people do when they're trying to

0:33:38.560 --> 0:33:41.959
<v Speaker 1>practice lucid dreaming, where, for example, one thing people do

0:33:42.120 --> 0:33:46.000
<v Speaker 1>is like constantly making a habit of asking yourself if

0:33:46.040 --> 0:33:49.200
<v Speaker 1>you're dreaming right now, so that the habit will resurface

0:33:49.240 --> 0:33:54.160
<v Speaker 1>when you are dreaming. I wonder if that kind of thing, like, so,

0:33:54.200 --> 0:33:57.240
<v Speaker 1>if you do the dream machine often enough, it will

0:33:57.320 --> 0:34:00.760
<v Speaker 1>maybe cause it to buy habit come to mind during

0:34:00.800 --> 0:34:03.040
<v Speaker 1>a dream and then you can remember, hey, wait a minute,

0:34:03.120 --> 0:34:04.680
<v Speaker 1>I was supposed to be programming this.

0:34:05.520 --> 0:34:07.320
<v Speaker 3>Yeah. So I guess it could work if you were

0:34:08.280 --> 0:34:10.200
<v Speaker 3>the sort of kid that really stuck with it, you know,

0:34:10.719 --> 0:34:12.680
<v Speaker 3>But I guess I was the kind where there were

0:34:12.680 --> 0:34:16.200
<v Speaker 3>no immediate results and therefore I abandon it. Good job quitting,

0:34:17.600 --> 0:34:19.239
<v Speaker 3>I went, like, I say, I feel that same way

0:34:19.280 --> 0:34:22.000
<v Speaker 3>with with lucid dreaming. Like at times like this, I'm like,

0:34:22.000 --> 0:34:24.560
<v Speaker 3>why haven't I apply myself to lucid dreaming? Why are

0:34:24.560 --> 0:34:29.120
<v Speaker 3>my dreams so so non lucid? But I don't know.

0:34:29.160 --> 0:34:31.799
<v Speaker 3>There's just there's enough to worry about without without really

0:34:31.800 --> 0:34:33.200
<v Speaker 3>getting in on the dreams.

0:34:33.040 --> 0:34:34.359
<v Speaker 1>You got a waking life to live.

0:34:44.120 --> 0:34:49.440
<v Speaker 3>So Hoary divides this sort of nightmare inhibition into in

0:34:49.560 --> 0:34:54.160
<v Speaker 3>technique into two categories. Amulets are charms to eliminate nightmares,

0:34:54.560 --> 0:34:57.239
<v Speaker 3>and then development of techniques to take control of the

0:34:57.320 --> 0:35:00.640
<v Speaker 3>dream and push it in a positive direction, a lucid

0:35:00.680 --> 0:35:03.640
<v Speaker 3>dreaming approach to nightmares. And maybe that's the thing too.

0:35:03.840 --> 0:35:07.160
<v Speaker 3>Maybe if I on the whole suffered from more nightmares

0:35:07.280 --> 0:35:09.360
<v Speaker 3>or stress dreams or what have you, I would be

0:35:09.400 --> 0:35:13.400
<v Speaker 3>more inclined to pursue lucid dreaming as an escape. Okay.

0:35:13.440 --> 0:35:17.359
<v Speaker 3>So on the first note, amuletce Hore discusses two main

0:35:17.440 --> 0:35:22.799
<v Speaker 3>varieties that are popular in contemporary Japan, and that is

0:35:23.080 --> 0:35:27.120
<v Speaker 3>the baku, but then also the dream catcher. This I

0:35:27.160 --> 0:35:30.359
<v Speaker 3>was not expecting. The dream catcher is of course not

0:35:30.560 --> 0:35:34.960
<v Speaker 3>a Japanese cultural creation, but rather one that originates with

0:35:35.000 --> 0:35:38.920
<v Speaker 3>the indigenous First Nations people of North America, particularly parts

0:35:38.960 --> 0:35:43.120
<v Speaker 3>of what is now Canada. The Ojibwe people are often cited,

0:35:43.480 --> 0:35:46.120
<v Speaker 3>though I think usage in production spreads with sort of

0:35:46.160 --> 0:35:49.239
<v Speaker 3>the Pan Indian movement of the sixties and seventies. The

0:35:49.280 --> 0:35:52.520
<v Speaker 3>basic principle of the dream catcher is that the night

0:35:52.560 --> 0:35:55.600
<v Speaker 3>air brings both good and bad dreams, and the dream catcher,

0:35:55.640 --> 0:35:58.000
<v Speaker 3>like a spider's web, catches the bad and allows the

0:35:58.040 --> 0:35:59.920
<v Speaker 3>good to prosper in the sleepers.

0:36:00.800 --> 0:36:00.920
<v Speaker 2>Now.

0:36:00.920 --> 0:36:05.200
<v Speaker 3>I believe that the main usage was intended for infants,

0:36:05.400 --> 0:36:08.600
<v Speaker 3>But now in America dream catchers, you know, they're quite

0:36:08.719 --> 0:36:11.680
<v Speaker 3>popular as a native craft item. This happened I think,

0:36:11.719 --> 0:36:14.200
<v Speaker 3>originally in the nineteen eighties and spread from there. But

0:36:14.280 --> 0:36:18.920
<v Speaker 3>Horrey writes that they became exceedingly popular in Japan following

0:36:18.960 --> 0:36:22.640
<v Speaker 3>a popular year two thousand TV mini series. I believe

0:36:22.640 --> 0:36:25.080
<v Speaker 3>it's kind of like a melodrama or romance sort of

0:36:25.080 --> 0:36:30.400
<v Speaker 3>thing titled Beautiful Life. Now, I was not familiar with this.

0:36:31.360 --> 0:36:34.840
<v Speaker 3>This is not like a genre of Japanese pop culture

0:36:34.880 --> 0:36:38.160
<v Speaker 3>that I generally have any exposure to. You know, this

0:36:38.200 --> 0:36:40.279
<v Speaker 3>is not a monster movie or horror movie, sci fi,

0:36:40.480 --> 0:36:44.440
<v Speaker 3>et cetera. This is a broad appeal like big you know,

0:36:44.520 --> 0:36:47.359
<v Speaker 3>TV production I looked it up, though, and I saw

0:36:47.400 --> 0:36:51.960
<v Speaker 3>that it starred Takua Kimura. He's the actor who voiced

0:36:52.000 --> 0:36:55.600
<v Speaker 3>Howel in the original Japanese language version of Howe's Moving Castle.

0:36:56.719 --> 0:36:58.440
<v Speaker 3>I looked at like some write ups of what the

0:36:58.440 --> 0:37:01.879
<v Speaker 3>plot is about. I saw nobody exactly where these dream

0:37:01.920 --> 0:37:04.480
<v Speaker 3>catchers are used, if they factor into the plot at all,

0:37:04.560 --> 0:37:07.000
<v Speaker 3>or if they're just you know, in the background. But whatever,

0:37:07.040 --> 0:37:10.680
<v Speaker 3>it was really popular show, and people saw it and

0:37:10.719 --> 0:37:13.960
<v Speaker 3>they're like, we want in on that, and dream Catchers

0:37:13.960 --> 0:37:17.640
<v Speaker 3>became popular, though according to Horri, it ended up focusing

0:37:17.680 --> 0:37:19.560
<v Speaker 3>more on young people rather than babies.

0:37:20.680 --> 0:37:20.839
<v Speaker 1>Now.

0:37:20.880 --> 0:37:23.000
<v Speaker 3>The baku, on the other hand, as we've been discussing,

0:37:23.160 --> 0:37:26.560
<v Speaker 3>is largely rooted in Japanese traditions, and I guess to

0:37:26.600 --> 0:37:28.400
<v Speaker 3>a certain extent, kind of paves the way for this

0:37:28.480 --> 0:37:31.920
<v Speaker 3>fascination with dream catchers. Like there's already a you know,

0:37:31.960 --> 0:37:35.680
<v Speaker 3>an appeal for some sort of an amulet too to

0:37:35.800 --> 0:37:41.440
<v Speaker 3>discourage nightmares and therefore encourage positive dreams, And so when

0:37:41.480 --> 0:37:44.399
<v Speaker 3>one is introduced from another culture, you can see why

0:37:44.400 --> 0:37:47.799
<v Speaker 3>people might gravitate towards it. Now, as we've been discussing,

0:37:48.440 --> 0:37:52.360
<v Speaker 3>primarily it's impossible to escape the taper. When it comes

0:37:52.400 --> 0:37:55.880
<v Speaker 3>to understanding what the baku is like. By most accounts

0:37:55.920 --> 0:37:59.399
<v Speaker 3>like this sounds like a taper. We see depictions of it.

0:37:59.400 --> 0:38:03.399
<v Speaker 3>It looks most like some you know, exaggeration or telephone game,

0:38:03.480 --> 0:38:07.440
<v Speaker 3>all the taper. But you also find discussions on the

0:38:07.520 --> 0:38:12.240
<v Speaker 3>possibility that it might have originally and it's Chinese origins,

0:38:12.239 --> 0:38:15.160
<v Speaker 3>which you already alluded to here, it might have originally

0:38:15.160 --> 0:38:19.880
<v Speaker 3>been something like a giant panda. Now Hori does not himself,

0:38:19.880 --> 0:38:21.799
<v Speaker 3>does not really go into this, but notes that the

0:38:21.800 --> 0:38:25.319
<v Speaker 3>baku was of course a charm animal in China, going

0:38:25.320 --> 0:38:28.560
<v Speaker 3>back to you know, seventeenth century writings, and perhaps it

0:38:28.640 --> 0:38:32.480
<v Speaker 3>is already sometimes depicted as a taper here, though it

0:38:32.800 --> 0:38:35.400
<v Speaker 3>may not have actually been associated with dream eating. Like

0:38:35.440 --> 0:38:37.040
<v Speaker 3>we said, you get back into the origins of the

0:38:37.080 --> 0:38:40.040
<v Speaker 3>baku and you get further away from the idea of

0:38:40.160 --> 0:38:41.320
<v Speaker 3>consuming nightmares.

0:38:41.760 --> 0:38:43.520
<v Speaker 1>Yeah, that seems to be a later development.

0:38:44.000 --> 0:38:47.000
<v Speaker 3>Now, an interesting note though about the panda here. At

0:38:47.000 --> 0:38:50.400
<v Speaker 3>this point I looked at a book by Burned Brunner

0:38:50.800 --> 0:38:53.959
<v Speaker 3>titled Bears a Brief History, and the author here points

0:38:54.000 --> 0:38:57.160
<v Speaker 3>out that despite the fact that the panda now stands

0:38:57.160 --> 0:39:00.319
<v Speaker 3>as kind of a quintessential Chinese animal. You know, we

0:39:00.320 --> 0:39:02.640
<v Speaker 3>think about it as such. In modern times, there are

0:39:02.760 --> 0:39:06.799
<v Speaker 3>few ancient writings about them, and the writings that may

0:39:06.840 --> 0:39:09.440
<v Speaker 3>be about them are difficult to nail down because of

0:39:09.480 --> 0:39:13.479
<v Speaker 3>just how vague they are. An early possible account from

0:39:13.600 --> 0:39:17.400
<v Speaker 3>the Chin Dynasty third century BCE might be about a

0:39:17.440 --> 0:39:20.640
<v Speaker 3>white fox, or some people think, well, maybe it's a panda.

0:39:20.840 --> 0:39:24.040
<v Speaker 3>There's an even older mention that could allude to a panda,

0:39:24.080 --> 0:39:26.640
<v Speaker 3>but also could be a leopard or a tiger, So

0:39:26.719 --> 0:39:30.600
<v Speaker 3>it gets again exceptionally vague and therefore difficult to say

0:39:30.640 --> 0:39:35.440
<v Speaker 3>whether we're actually talking about a panda or not. For instance,

0:39:35.800 --> 0:39:41.840
<v Speaker 3>there are discussions later on in Chinese writings about white bears,

0:39:42.360 --> 0:39:45.920
<v Speaker 3>but it seems as likely, if not more likely, that

0:39:45.960 --> 0:39:50.080
<v Speaker 3>they're actually talking about polar bears encountered by northern travelers

0:39:50.120 --> 0:39:53.160
<v Speaker 3>and word having spread about them. And then there are

0:39:53.320 --> 0:39:57.240
<v Speaker 3>additional possibilities that there are other bears, like from India

0:39:57.280 --> 0:40:00.080
<v Speaker 3>that are being written about. So it's interesting to that

0:40:00.320 --> 0:40:04.320
<v Speaker 3>the panda is also underrepresented in traditional Chinese medicine compared

0:40:04.320 --> 0:40:06.680
<v Speaker 3>to other animals. Again getting back to like, okay, what

0:40:06.800 --> 0:40:08.839
<v Speaker 3>is the animal and then what can be broken down

0:40:08.880 --> 0:40:14.760
<v Speaker 3>about it to benefit humans. Some haven't interpreted this fact

0:40:14.760 --> 0:40:17.680
<v Speaker 3>as being due to the animal having a sacred status,

0:40:18.320 --> 0:40:22.040
<v Speaker 3>but the author in this case questions that, pointing out

0:40:22.120 --> 0:40:23.880
<v Speaker 3>that well, you know, it really did not have a

0:40:24.000 --> 0:40:28.520
<v Speaker 3>role in Chinese lore to suggest sacred production like it's

0:40:28.600 --> 0:40:30.680
<v Speaker 3>you know, it seems to be barely mentioned, and if

0:40:30.680 --> 0:40:34.680
<v Speaker 3>it is mentioned, it's mentioned only vaguely. So that's interesting.

0:40:34.880 --> 0:40:36.399
<v Speaker 3>I feel like I need to look into that more

0:40:36.400 --> 0:40:40.000
<v Speaker 3>in the future. So it seems like, based on what

0:40:40.040 --> 0:40:43.560
<v Speaker 3>I've been reading, that the idea that the baku might

0:40:43.600 --> 0:40:47.360
<v Speaker 3>have originally been a panda possible, but it doesn't seem

0:40:47.360 --> 0:40:49.480
<v Speaker 3>extremely like it doesn't seem like there's a lot of

0:40:49.560 --> 0:40:53.440
<v Speaker 3>like firm evidence for that, Okay, but I believe according

0:40:53.480 --> 0:40:57.480
<v Speaker 3>to Horri here though, there you know, as it undergoes

0:40:57.600 --> 0:41:01.799
<v Speaker 3>exaggeration and transfer into Japanese, you the proper baku. You

0:41:01.840 --> 0:41:04.000
<v Speaker 3>know that the nose of the what is probably a

0:41:04.040 --> 0:41:06.920
<v Speaker 3>taper becomes an elephant, the eyes become those of a rhino,

0:41:07.080 --> 0:41:09.399
<v Speaker 3>the tail of a cow, legs of a tiger, hair

0:41:09.440 --> 0:41:12.920
<v Speaker 3>of a lion. It gets spots whereas it didn't have

0:41:12.960 --> 0:41:16.960
<v Speaker 3>spots before. And the creature's diet is said to consist

0:41:17.000 --> 0:41:20.880
<v Speaker 3>of strange things like iron and copper and sometimes bamboo,

0:41:21.360 --> 0:41:24.200
<v Speaker 3>which certainly you know, made me think again about the panda,

0:41:24.280 --> 0:41:26.879
<v Speaker 3>But I don't know, it doesn't seem like strong enough

0:41:26.880 --> 0:41:30.239
<v Speaker 3>evidence to really start forcing the panda into the conversation

0:41:30.360 --> 0:41:31.560
<v Speaker 3>more than it's necessary.

0:41:31.960 --> 0:41:34.840
<v Speaker 1>This doesn't really have any relation to the baku. But

0:41:34.920 --> 0:41:37.080
<v Speaker 1>I just have to say, on a recent trip to

0:41:36.760 --> 0:41:39.480
<v Speaker 1>the to the zoo where we were watching the Atlanta Zoo,

0:41:39.520 --> 0:41:43.360
<v Speaker 1>where we were watching the panda enclosure, we saw the

0:41:43.360 --> 0:41:46.280
<v Speaker 1>feeding happen where they were throwing new branches of bamboo

0:41:46.320 --> 0:41:48.759
<v Speaker 1>down to the pandas so they could eat them, and

0:41:48.920 --> 0:41:52.120
<v Speaker 1>one of the pandas literally just collapsed into a pile

0:41:52.200 --> 0:41:56.160
<v Speaker 1>of bamboo branches or unleashing a mighty crashing sound. If

0:41:56.200 --> 0:42:00.080
<v Speaker 1>it's literally just like rolling in its food, very fun and.

0:42:00.120 --> 0:42:02.640
<v Speaker 3>They love it. I guess one of the reasons I

0:42:02.719 --> 0:42:05.680
<v Speaker 3>keep wanting to think about the panda in this role

0:42:05.840 --> 0:42:10.240
<v Speaker 3>is that you can imagine the image, especially our modern

0:42:10.320 --> 0:42:12.920
<v Speaker 3>understanding of the panda, lines up with the way we

0:42:13.000 --> 0:42:15.680
<v Speaker 3>may think about the taper, and you can imagine a

0:42:15.719 --> 0:42:20.399
<v Speaker 3>panda having this kind of status and role in one

0:42:20.480 --> 0:42:26.160
<v Speaker 3>superstitious understanding of dreams. But I don't know how that

0:42:26.239 --> 0:42:31.759
<v Speaker 3>really would rack up and compare with historic understandings of

0:42:31.800 --> 0:42:36.800
<v Speaker 3>pandas in China, especially considering wild pandas, but hard to

0:42:36.840 --> 0:42:39.160
<v Speaker 3>say for sure. So Horri writes that we don't know

0:42:39.200 --> 0:42:42.160
<v Speaker 3>when the baku ultimately crosses the sea into Japanese traditions,

0:42:42.200 --> 0:42:44.760
<v Speaker 3>but that screen illustrations from the fourteenth and fifteenth centuries

0:42:44.760 --> 0:42:48.040
<v Speaker 3>depict the creature. It becomes very popular with the common

0:42:48.080 --> 0:42:51.600
<v Speaker 3>people during the Edo era, I believe, as you alluded

0:42:51.640 --> 0:42:54.759
<v Speaker 3>to earlier. Horry points out that during the seventh through

0:42:54.760 --> 0:42:58.440
<v Speaker 3>eighth centuries, a sacred animal called the hockey was associated

0:42:58.480 --> 0:43:03.680
<v Speaker 3>with nightmare consumption, and that you still see some of

0:43:03.719 --> 0:43:07.759
<v Speaker 3>this reflected. This was originally an imperial court practice, but

0:43:07.760 --> 0:43:11.280
<v Speaker 3>you see some of it reflected in the Setsubun ceremony

0:43:11.320 --> 0:43:14.080
<v Speaker 3>that still practice today. We discussed this in our bean

0:43:14.200 --> 0:43:17.719
<v Speaker 3>episode about like pelting one or demons with beans in

0:43:17.840 --> 0:43:19.880
<v Speaker 3>order to drive them out of say a school or

0:43:19.920 --> 0:43:22.960
<v Speaker 3>what have you. The baku, however, seems to sort of

0:43:23.000 --> 0:43:26.000
<v Speaker 3>take on this sacred role and replaces the hockey when

0:43:26.040 --> 0:43:28.760
<v Speaker 3>it enters Japanese traditions. So this seems like a possible

0:43:28.800 --> 0:43:32.759
<v Speaker 3>way of looking at the evolution of this monster like

0:43:32.800 --> 0:43:35.920
<v Speaker 3>you already have perhaps a role for some sort of

0:43:36.000 --> 0:43:39.279
<v Speaker 3>dream eating creature, even if it's not fully developed. And

0:43:39.320 --> 0:43:42.880
<v Speaker 3>then here comes this new sort of sacred creature that

0:43:43.000 --> 0:43:46.520
<v Speaker 3>is associated with protective qualities, and maybe these two kind

0:43:46.520 --> 0:43:48.680
<v Speaker 3>of get wrapped into one. You know, this is a

0:43:48.719 --> 0:43:52.319
<v Speaker 3>common thing you see with traditions of magical creatures. You know,

0:43:52.320 --> 0:43:55.880
<v Speaker 3>they don't there are morphous over time, they change shapes,

0:43:56.280 --> 0:43:59.359
<v Speaker 3>they converge with other creatures, and sometimes they separate as well.

0:44:00.120 --> 0:44:04.560
<v Speaker 1>The danger of steamrolling over nuance and how folklore evolves.

0:44:04.600 --> 0:44:07.240
<v Speaker 1>I really do wonder if the fact that the baku

0:44:07.360 --> 0:44:11.680
<v Speaker 1>is cute played a role in It's in a role,

0:44:11.719 --> 0:44:14.880
<v Speaker 1>and it's evolving to fill this niche of protecting children's dreams.

0:44:15.400 --> 0:44:17.759
<v Speaker 3>Yeah, I mean there's a there's certainly a larger discussion

0:44:17.760 --> 0:44:20.960
<v Speaker 3>to be had there concerning not only the universal appeal

0:44:21.280 --> 0:44:25.320
<v Speaker 3>of cute, but also obviously cute has a tremendous history

0:44:25.640 --> 0:44:30.120
<v Speaker 3>in Japanese culture as well. So Hore shares that old

0:44:30.120 --> 0:44:33.560
<v Speaker 3>Baku amulets show things like a ship filled with rice

0:44:34.400 --> 0:44:38.080
<v Speaker 3>or just characters representing baku, and this was from when

0:44:38.120 --> 0:44:40.239
<v Speaker 3>it was a higher class affair for the emperor in

0:44:40.239 --> 0:44:43.120
<v Speaker 3>his circle and a ritual of sleeping with it, you know,

0:44:43.200 --> 0:44:45.880
<v Speaker 3>on or under your pillow. And this was something that

0:44:45.880 --> 0:44:48.000
<v Speaker 3>would be carried out once a year to clear out

0:44:48.280 --> 0:44:51.120
<v Speaker 3>the past year's bad dreams, which I thought was interesting.

0:44:51.120 --> 0:44:53.680
<v Speaker 3>It wasn't necessarily a situation of like I had a

0:44:53.680 --> 0:44:56.120
<v Speaker 3>bad dream, I need to fix this, or I might

0:44:56.160 --> 0:44:57.840
<v Speaker 3>have a bad dream tonight I need to fix it.

0:44:57.840 --> 0:45:00.799
<v Speaker 3>It's more like market on the calendar. It's time to

0:45:00.800 --> 0:45:04.120
<v Speaker 3>clear out all those bad dreams. All the past year's

0:45:04.160 --> 0:45:05.160
<v Speaker 3>bad dreams are gone.

0:45:05.320 --> 0:45:08.400
<v Speaker 1>It's like a nightmare leaves a stench that's sort of

0:45:08.440 --> 0:45:11.000
<v Speaker 1>hanging in the air, and you bring in the baku

0:45:11.120 --> 0:45:13.279
<v Speaker 1>to like waft it all out.

0:45:13.440 --> 0:45:18.720
<v Speaker 3>Yeah. The boat that is depicted on these ambulance apparently

0:45:18.719 --> 0:45:22.160
<v Speaker 3>the ideas the boat becomes loaded with these bad dreams

0:45:22.840 --> 0:45:25.279
<v Speaker 3>again that have been accumulated over the course of a year,

0:45:25.640 --> 0:45:30.520
<v Speaker 3>A whole boatload of them literally or symbolically intends tell

0:45:30.520 --> 0:45:32.880
<v Speaker 3>you look at it. I guess. Anyway, they're loaded up

0:45:32.920 --> 0:45:35.200
<v Speaker 3>on this boat, and then the boat goes out, sails

0:45:35.239 --> 0:45:39.440
<v Speaker 3>out into the waters of purification. It's essentially dumping them.

0:45:39.440 --> 0:45:42.600
<v Speaker 3>I guess, you know. As time goes by, these depictions

0:45:42.960 --> 0:45:47.160
<v Speaker 3>show more treasure aboard the Baku ship, and in time,

0:45:47.239 --> 0:45:50.200
<v Speaker 3>you know, the common people adopted ritual as well. Horry

0:45:50.239 --> 0:45:54.120
<v Speaker 3>writes that it eventually loses the association with nightmare purification

0:45:54.239 --> 0:45:56.000
<v Speaker 3>to a large degree and becomes kind of more of

0:45:56.040 --> 0:45:58.560
<v Speaker 3>a mascot of happiness and kind of a good luck

0:45:58.600 --> 0:46:02.360
<v Speaker 3>token as well. So it's interesting how we see the

0:46:02.680 --> 0:46:04.520
<v Speaker 3>Just as we see the rise and fall of dream

0:46:04.600 --> 0:46:07.319
<v Speaker 3>emphasis within a given culture, you could also see that

0:46:07.520 --> 0:46:13.520
<v Speaker 3>associated with particular practices, amulets and mythical creatures. By the way,

0:46:13.600 --> 0:46:17.000
<v Speaker 3>in this paper, there's at least one really interesting thing

0:46:17.040 --> 0:46:20.680
<v Speaker 3>that Horry brings up that's not Baku related at all,

0:46:20.920 --> 0:46:25.600
<v Speaker 3>concerning dream manipulation superstitions in Japan. But they do mention

0:46:25.680 --> 0:46:28.839
<v Speaker 3>that there is this pre modern practice where it is

0:46:28.880 --> 0:46:31.880
<v Speaker 3>said that if you want to see your loved ones

0:46:31.880 --> 0:46:35.560
<v Speaker 3>in your dreams, and I think this may relate more

0:46:35.600 --> 0:46:39.160
<v Speaker 3>to loved ones who are deceased, you could wear your

0:46:39.200 --> 0:46:42.239
<v Speaker 3>clothing inside out when you go to sleep and that

0:46:42.280 --> 0:46:45.440
<v Speaker 3>would help manipulate the nature of your dreams.

0:46:45.920 --> 0:46:49.080
<v Speaker 1>Any insight into the magical logic there.

0:46:49.440 --> 0:46:51.920
<v Speaker 3>It reminds me of things in general that we've touched on.

0:46:52.000 --> 0:46:55.520
<v Speaker 3>It reminds me of things in Russian folklore that we've

0:46:55.520 --> 0:46:59.200
<v Speaker 3>talked about before, you know, the idea of wearing clothes

0:46:59.239 --> 0:47:02.640
<v Speaker 3>backwards or doing something interesting with the buttons, Like there's

0:47:02.680 --> 0:47:06.120
<v Speaker 3>something about manipulating the order of things in the waking

0:47:06.200 --> 0:47:10.240
<v Speaker 3>world that can then have some sort of a relationship

0:47:10.280 --> 0:47:13.720
<v Speaker 3>on the supernatural world or in this case streams.

0:47:14.200 --> 0:47:17.600
<v Speaker 1>Wasn't it that, like, by wearing clothes backward in the

0:47:17.640 --> 0:47:21.120
<v Speaker 1>Russian folklore you would like defend yourself against ghosts or

0:47:21.160 --> 0:47:22.280
<v Speaker 1>monsters or something.

0:47:22.640 --> 0:47:25.200
<v Speaker 3>Yeah, or it concerned well, what was their name, the

0:47:25.239 --> 0:47:27.360
<v Speaker 3>wild one, the man of the woods?

0:47:27.719 --> 0:47:29.319
<v Speaker 1>Oh, the Leshie.

0:47:29.920 --> 0:47:32.239
<v Speaker 3>Yeah, I believe it came up in the Leshie that.

0:47:32.200 --> 0:47:33.640
<v Speaker 1>Would lure people off the path.

0:47:33.760 --> 0:47:38.160
<v Speaker 3>Yeah, yeah, though I think it's come up elsewhere as well,

0:47:38.360 --> 0:47:43.239
<v Speaker 3>maybe in I want to say, Irish folklore and superstition.

0:47:43.719 --> 0:47:46.319
<v Speaker 3>You know, I think it's a motif you see pop

0:47:46.400 --> 0:47:48.200
<v Speaker 3>up here and there. You know, this idea that there

0:47:48.520 --> 0:47:51.600
<v Speaker 3>if something's out of line with your clothing, there's some

0:47:51.640 --> 0:47:55.239
<v Speaker 3>potential slip into the other world. I guess one of

0:47:55.280 --> 0:47:57.439
<v Speaker 3>the interesting things about this to me is that it's

0:47:57.480 --> 0:48:00.759
<v Speaker 3>not just necessarily about good versus bad, But in this

0:48:00.800 --> 0:48:04.719
<v Speaker 3>we're getting in the depiction into the distinction between dreams

0:48:05.120 --> 0:48:07.920
<v Speaker 3>that are just you know, clutter, you know that that

0:48:08.640 --> 0:48:11.040
<v Speaker 3>you don't want, and having a dream that has some

0:48:11.120 --> 0:48:15.359
<v Speaker 3>connection to a realm beyond the waking world in this case,

0:48:15.440 --> 0:48:17.520
<v Speaker 3>like the realm of the dead, the realm of past

0:48:17.600 --> 0:48:18.760
<v Speaker 3>lives and so forth.

0:48:19.160 --> 0:48:21.560
<v Speaker 1>Yeah, that's interesting. So I could see like wearing your

0:48:21.560 --> 0:48:25.279
<v Speaker 1>clothes inside out might somehow grant you access, But that

0:48:25.560 --> 0:48:28.560
<v Speaker 1>does seem somehow different than because again if well maybe

0:48:28.560 --> 0:48:30.400
<v Speaker 1>I'm not even remembering this right, but if I am

0:48:30.440 --> 0:48:32.360
<v Speaker 1>remembering it right, with the Russian thing, it was like

0:48:32.400 --> 0:48:36.000
<v Speaker 1>that wearing the clothes backwards would somehow protect you. That's

0:48:36.040 --> 0:48:38.719
<v Speaker 1>almost like that would keep you more grounded to reality

0:48:39.280 --> 0:48:43.320
<v Speaker 1>or maybe prevent these creatures from recognizing you or something.

0:48:43.520 --> 0:48:46.680
<v Speaker 3>I don't know. Yeah, yeah, like somehow messes with how

0:48:47.280 --> 0:48:50.640
<v Speaker 3>this world interacts or touches with the other world or

0:48:50.680 --> 0:48:54.319
<v Speaker 3>creatures of that other world. So we've covered some key

0:48:54.400 --> 0:48:58.560
<v Speaker 3>dream cultures here from particular periods in these episodes, but

0:48:58.560 --> 0:49:01.400
<v Speaker 3>there's so much we didn't get into. Like you just

0:49:01.560 --> 0:49:05.040
<v Speaker 3>in passing horror mentions that there's a strong Malaysian tradition

0:49:05.080 --> 0:49:08.280
<v Speaker 3>of dream control, and I didn't have time to follow

0:49:08.400 --> 0:49:10.279
<v Speaker 3>up on that and see what that might consist of.

0:49:10.480 --> 0:49:13.920
<v Speaker 3>But it would be interesting to hear from from listeners

0:49:13.920 --> 0:49:16.440
<v Speaker 3>out there if you know of any other great examples

0:49:16.440 --> 0:49:19.680
<v Speaker 3>of some sort of robust or even just very slight

0:49:19.800 --> 0:49:25.200
<v Speaker 3>seeming method of changing or altering or controlling the flow

0:49:25.239 --> 0:49:27.480
<v Speaker 3>of dreams, be it related to an amulet or a

0:49:27.560 --> 0:49:31.400
<v Speaker 3>childhood you know, nursery, rhyme, or story. We'd be very

0:49:31.440 --> 0:49:32.160
<v Speaker 3>interested to hear.

0:49:32.040 --> 0:49:34.799
<v Speaker 1>About that totally. Does your culture have something like a

0:49:34.840 --> 0:49:36.680
<v Speaker 1>baku you want to tell us about.

0:49:37.000 --> 0:49:38.960
<v Speaker 3>Or do you have just additional tales of the baku?

0:49:39.320 --> 0:49:40.640
<v Speaker 1>Did you have a baku pillow?

0:49:41.080 --> 0:49:42.920
<v Speaker 3>I did a quick search for baku pills and I

0:49:42.960 --> 0:49:45.399
<v Speaker 3>could not find one that is shaped like a baku.

0:49:46.000 --> 0:49:49.360
<v Speaker 3>But I did see one on a popular online retailer

0:49:49.440 --> 0:49:52.040
<v Speaker 3>that that does have a depiction of a baku on it,

0:49:52.680 --> 0:49:55.400
<v Speaker 3>and it looks very nice. But of course we know that,

0:49:55.520 --> 0:49:57.480
<v Speaker 3>you know, I feel like you would also have to

0:49:57.520 --> 0:49:59.680
<v Speaker 3>be really comfortable for my purposes, like I need a

0:49:59.760 --> 0:50:03.080
<v Speaker 3>very specific pillow if I'm going to have if I'm

0:50:03.160 --> 0:50:04.680
<v Speaker 3>hoping to have decent dreams.

0:50:05.320 --> 0:50:07.600
<v Speaker 1>I don't think I ever had a pillow with representative

0:50:07.680 --> 0:50:10.120
<v Speaker 1>art on it. I think I've had boring pillows my

0:50:10.160 --> 0:50:12.720
<v Speaker 1>whole life. Never had like a spider Man pillow or anything.

0:50:13.200 --> 0:50:16.160
<v Speaker 3>I never did. But my son has gone to I

0:50:16.200 --> 0:50:19.720
<v Speaker 3>don't know, at school or camps. They sometimes make pillow cases.

0:50:19.800 --> 0:50:22.800
<v Speaker 3>So he had one that was decorated with with Pokemon

0:50:23.040 --> 0:50:26.359
<v Speaker 3>not too long ago that he'd made himself, so you know,

0:50:26.719 --> 0:50:28.959
<v Speaker 3>you can always make your own baku pillow for sure.

0:50:29.480 --> 0:50:31.560
<v Speaker 1>Do the Pokemon protect him from bad dreams?

0:50:32.520 --> 0:50:35.480
<v Speaker 3>I don't know, maybe, I mean one does wonder at

0:50:35.480 --> 0:50:38.640
<v Speaker 3>times if you're if you're obsessing about something and you

0:50:38.719 --> 0:50:41.000
<v Speaker 3>have that kind of like childhood obsession level for it,

0:50:41.560 --> 0:50:44.400
<v Speaker 3>if you can control the nature of your dreams in

0:50:44.440 --> 0:50:47.080
<v Speaker 3>that way. Because my son is always talking about how

0:50:47.200 --> 0:50:50.359
<v Speaker 3>like he's obsessed with them with Zelda right now, and

0:50:50.400 --> 0:50:53.200
<v Speaker 3>so he'll he'll have dreams about playing Zelda and about

0:50:53.280 --> 0:50:55.960
<v Speaker 3>or about the world of Zelda, which is great, And

0:50:56.080 --> 0:50:58.560
<v Speaker 3>at times I'm like, I was, like, I wonder, like

0:50:58.560 --> 0:51:02.439
<v Speaker 3>what some of the differences are between the adult mind

0:51:02.440 --> 0:51:05.239
<v Speaker 3>and the childhood mind, because there are plenty of things

0:51:05.280 --> 0:51:07.520
<v Speaker 3>that I get obsessed about that are, you know, a

0:51:07.560 --> 0:51:10.600
<v Speaker 3>wonderful distraction from the real world, But I end up

0:51:10.600 --> 0:51:13.520
<v Speaker 3>not dreaming about them, or I don't remember those dreams.

0:51:13.560 --> 0:51:17.520
<v Speaker 3>I have dreams about other things that don't make any sense,

0:51:17.600 --> 0:51:21.759
<v Speaker 3>or things that aren't like key to to you know,

0:51:21.840 --> 0:51:25.080
<v Speaker 3>central to my interests or even my my anxieties, at

0:51:25.160 --> 0:51:27.960
<v Speaker 3>least not on a you know, a really obvious level.

0:51:28.360 --> 0:51:30.920
<v Speaker 1>You know, I'm gonna say my gut instinct about this.

0:51:31.040 --> 0:51:33.800
<v Speaker 1>So I'm not speaking for any science I've read or anything,

0:51:33.880 --> 0:51:37.399
<v Speaker 1>but my suspicion is that you are much more likely

0:51:37.520 --> 0:51:42.279
<v Speaker 1>to dream about an obsession if that obsession has a

0:51:42.560 --> 0:51:46.279
<v Speaker 1>spatial component. So video games are very much something you

0:51:46.280 --> 0:51:48.880
<v Speaker 1>could dream about because they, I mean typically they have

0:51:49.040 --> 0:51:55.000
<v Speaker 1>a simulated environment with spatial dimensions that you explore. Similarly,

0:51:55.080 --> 0:51:57.520
<v Speaker 1>I think people have a lot of dreams when they're

0:51:57.520 --> 0:52:01.960
<v Speaker 1>obsessed with, like houses or something like that. That kind

0:52:02.000 --> 0:52:04.600
<v Speaker 1>of content seems especially prone to turning up in the

0:52:04.680 --> 0:52:05.320
<v Speaker 1>dream world.

0:52:06.760 --> 0:52:10.000
<v Speaker 3>But then like movies we watch for the podcast, subjects

0:52:10.040 --> 0:52:11.960
<v Speaker 3>we research for the podcast nothing.

0:52:11.960 --> 0:52:13.360
<v Speaker 1>Yeah, I don't know if those have as much of

0:52:13.400 --> 0:52:16.280
<v Speaker 1>a spatial component. I mean, like a movie is shot

0:52:16.320 --> 0:52:19.640
<v Speaker 1>within spaces, but you don't really imagine inhabiting those spaces

0:52:19.760 --> 0:52:21.040
<v Speaker 1>moving through them.

0:52:21.239 --> 0:52:24.000
<v Speaker 3>Hmm. Interesting, Well, you know, i'd love to hear what

0:52:24.040 --> 0:52:25.959
<v Speaker 3>everyone else has to say about this. You know, well,

0:52:26.480 --> 0:52:28.320
<v Speaker 3>we all have different sorts of dreams. Are they're different?

0:52:28.680 --> 0:52:31.279
<v Speaker 3>It's kind of a question, b is you know, are

0:52:31.320 --> 0:52:34.160
<v Speaker 3>there particular things you do in the real world or

0:52:34.160 --> 0:52:36.279
<v Speaker 3>obsess about in the real world that seem to have

0:52:37.080 --> 0:52:40.320
<v Speaker 3>more of a guaranteed connection to the subject matter of

0:52:40.360 --> 0:52:40.920
<v Speaker 3>your dreams?

0:52:41.160 --> 0:52:45.640
<v Speaker 1>Yeah, how's my spatial hypothesis? Hold up? Blasted out of

0:52:45.640 --> 0:52:49.480
<v Speaker 1>the water? Come on, all right, we're going to go.

0:52:49.480 --> 0:52:50.960
<v Speaker 3>And close it out there, but we'd love to hear

0:52:51.000 --> 0:52:53.600
<v Speaker 3>from everyone out there. Our core episodes of Stuff to

0:52:53.600 --> 0:52:55.719
<v Speaker 3>Blow Your Mind publish and the Stuff to Blow Your

0:52:55.719 --> 0:52:59.640
<v Speaker 3>Mind podcast feed on Tuesdays and Thursdays, but we also

0:52:59.640 --> 0:53:02.200
<v Speaker 3>do a lit your Mail episode on Mondays, so write

0:53:02.200 --> 0:53:05.040
<v Speaker 3>in that's where we'll discuss those messages. On Wednesdays we

0:53:05.080 --> 0:53:08.359
<v Speaker 3>do a short form monster fact or artifact episode, and

0:53:08.400 --> 0:53:10.400
<v Speaker 3>on Fridays we set aside most serious concerns to just

0:53:10.440 --> 0:53:13.080
<v Speaker 3>talk about a weird film on Weird House Cinema.

0:53:13.320 --> 0:53:17.040
<v Speaker 1>Huge thanks to our excellent audio producer JJ Posway. If

0:53:17.080 --> 0:53:18.560
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0:53:18.640 --> 0:53:21.040
<v Speaker 1>feedback on this episode or any other, to suggest a

0:53:21.120 --> 0:53:23.239
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