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with Pon
Otastunku and marries him. They leave Wajin town and return to the village together. One day, people from another village start the battle with Pon Otastunkur to steal his money gained from trading with Wajin. Unfortunately, Pon Otastunkur and his wife both die in this battle. Their son loses both parents and repeats the same destiny as his father. The same wolf god raises the son of Pon Otastunku and brings him to the Wajin town to conduct trade. At the end of the story, they successfully rescue and heal the village from the damage.
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The observation and creation of nature in literature emerge from their generations of hunting, gathering and fishing experiences in nature. It is very different from
Western science's perspective of the natural world, which is distanced and objective. Ainu people first participate in nature and then
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are all narrated in the first person. Some stories describe the world through animal perspectives, such as owls, wolves and foxes. Besides animals, all things in the natural world can deliver their voice in the story, including the rivers, valleys and seas. The first-person narrative of animals and
347:
The protagonist Pon
Otastunkur is an orphan. His parents both pass away. He is raised in the village by an old man whose true identity is the wolf god. When Pon Otastunkur is old enough, the wolf god brings him to the Wajin town to conduct trade. The daughter of the Wajin town's ruler falls in love
297:
Both story patterns are about the risk and danger associated with trading. The difference is whether or not the main protagonists can solve these problems. In the first story pattern, the story's ending reveals that all problems are resolved, and the heroes live long lives. They become wealthy and
49:. In older periods, the epics were performed by both men and women; during the 19th and early 20th centuries, when Ainu culture was in decline, women were generally the most skillful performers. Traditional tales describe floating worlds with
151:
In 1999, a multi-national group of educators and translators established "Project U-e-peker" with the intention of making more Ainu folktales available in
English. They have produced English versions of two of Kayano's books under the titles
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narrative. There are a variety of risks associated with trading activities, including conflicts with foreigners, assaults by inland invading foes, and troubles in Wajin town. In the Ainu language, trade with the Wajin is referred to as
372:
narrative, the repeated rhythmic phrase imitates a cry, scream, gnawing, or slithering of the animal spirits. It also mimics behaviour such as a snake moving through the grass. Hirame
Karepia's recitation of the
344:"The Story of a Wolf God Who Saved Pon Otasutunkur and His Son" reveals both themes of trade and parents' death. It illustrates the connection between two themes the risks of trade and parents' death.
270:, which refers to the ethnic Japanese. The trade between both sides persisted from the 14th century to the middle of the 19th century. This long-term trade with Wajin becomes a common theme in the
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The trade-difficulty pattern. It is about heroes stumbling into a problem in a Wajin town. However, the protagonists manage to overcome those difficulties and become wealthy in the end.
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survive by themselves or through the help of gods in the Ainu culture. When the orphan grows up, their action of starting the trade with outsiders is regarded as heroic in
483:
Strong, Sarah M. "The Most
Revered of Foxes: Knowledge of Animals and Animal Power in an Ainu Kamui Yukar." Asian Ethnology, vol. 68, no. 1, 2009, pp. 27–54. JSTOR,
461:
Sakata, Minako. "Possibilities of
Reality, Variety of Versions: The Historical Consciousness of Ainu Folktales." Oral Tradition, vol. 26 no. 1, 2011. Project MUSE,
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successful. In the second pattern, some of the key characters in story are killed. One hero survives and has the responsibility of carrying on their family line.
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283:. The Ainu-Wajin trade began as a friendship trade. However, this relationship changed as Wajin aimed to control and rule Ainu through trade.
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181:, an anthology of stories from the Ainu oral tradition which were first put into writing and translated into the Japanese language by
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Yuko, Tsushima, et al. "The
Possibility of Imagination in These Islands." Boundary 2, vol. 21, no. 1, 1994, pp. 191–97. JSTOR,
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has a refrain that begins with the sound pau. It is the traditional onomatopoeic presentation of a fox's cry in Ainu culture.
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is the parents' death. In the epic story, the protagonists lose both parents at a young age. These hero characters in
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224:, as well as Chiri's original preface and background on her working relationship with Kindaichi. The Ainu epic
185:(1903–1922), the niece of Kannari Matsu, an invaluable assistant to Kindaichi until she died at the age of 19.
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with the tenth story lost and 49 stories left untranslated. It is said that the stoppage was because of
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591:"Possibilities of Reality, Variety of Versions: The Historical Consciousness of Ainu Folktales"
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697:"The Most Revered of Foxes: Knowledge of Animals and Animal Power in an Ainu Kamui Yukar"
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160:(RIC Publications 2006). Future projects include picturebook English versions of the
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The trade-murder pattern. It is about heroes getting murdered in a Wajin town.
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Ainu spirits singing : the living world of Chiri Yukie's Ainu shin'yōshū
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Ainu
Spirits Singing: The Living World of Chiri Yukie's Ainu Shinyōshū
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Songs of gods, songs of humans : the epic tradition of the Ainu
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by Donald L. Philippi. The
Project Okikirmui collection contains 13
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depict the creatures they see and their living environment. In the
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334:"The Story of a Wolf God Who Saved Pon Otasutunkur and His Son"
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Songs of Gods, Songs of Humans: The Epic Tradition of the Ainu
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Songs of Gods, Songs of Humans: The Epic Tradition of the Ainu
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Yuko, Tsushima; Harcourt, Geraldine; Miyoshi, Masao (1994).
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The trade and parents' death are two common themes in
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nature shows the Ainu people's powerful imagination.
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518:. Princeton, N.J.: Princeton University Press.
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589:Sakata, Minako (2011).
188:Books which relate the
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117:Kannari Matsu Notebooks
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1047:Mythological locations
857:Japanese creation myth
148:'s death in May 2006.
19:For the asteroid, see
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1103:Mythological weapons
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158:The Ainu and the Fox
85:In August 2006, the
1228:Legendary creatures
1115:Kusanagi no Tsurugi
1007:Konohanasakuya-hime
431:Philippi Donald L.
140:stories written in
129:Kan-nari Matsu Nōto
68:Translation history
1359:Glossary of Shinto
1354:Japanese religions
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875:Ame-no-Minakanushi
774:Japanese mythology
738:Project U-e-peker2
1400:Hokkaido Heritage
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1292:Ryukyuan religion
558:978-0-8248-6012-7
525:978-1-4008-7069-1
456:978-0-8248-3512-5
446:Strong, Sarah M.
306:Another theme in
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1059:Ama-no-Iwato
997:Tenson kōrin
978:Takeminakata
939:Ame-no-Uzume
915:Takamagahara
884:Kamiyonanayo
818:Nihon Ryōiki
781:Mythic texts
707:(1): 27–54.
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1133: [
1110:Amenonuhoko
1079:Sanzu River
1033:Tagishimimi
973:Kuni-yuzuri
793:Nihon Shoki
618:10355/65222
183:Chiri Yukie
1385:Ainu music
1374:Categories
1319:Kamuy-huci
1203:Fukurokuju
1193:Daikokuten
1069:Ne-no-kuni
968:Ōkuninushi
869:Hitorigami
833:Butsuzōzui
646:Boundary 2
496:References
406:folk songs
395:Ainu music
248:narratives
190:epic songs
76:collected
72:Professor
52:Ainu mosir
21:8089 Yukar
1287:Shinigami
1218:Kisshōten
1183:Benzaiten
1021:Human age
990:mythology
951:mythology
934:Tsukuyomi
924:Amaterasu
917:mythology
828:Shintōshū
808:Kogo Shūi
713:1882-6865
682:163650910
666:0190-3659
627:1542-4308
567:798295761
534:904547563
410:Rekilaulu
1297:Amamikyu
1074:Ryūgū-jō
721:25614520
489:25614520
389:See also
101:Bunkacho
1256:Shinshi
1246:Kitsune
1213:Jurōjin
929:Susanoo
905:Izanagi
900:Izanami
895:Kamiumi
890:Kuniumi
414:Finnish
238:style.
218:of the
210:Imekanu
123:金成マツノート
113:Imekanu
1236:Dragon
1160:Daruma
1002:Ninigi
880:Kamiyo
803:Kujiki
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788:Kojiki
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532:
522:
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