journeys guided by Sound
2013年6月9日～28日
June 9-28, 2013
前回書いたように、現地における伝統楽器の使われ方、演奏のテンションやヴァイブは段々と理解してきた。
やはりCDやレコード、それに付随する写真や絵だけではいくら想像力があっても、追いつくわけがない。
As I wrote in the last issue, I have gradually come to understand the use of traditional instruments and the tension and vibe of performances in the region.
After all, no matter how much imagination I have, there is no way I can catch up with CDs, records, and accompanying photos and drawings.
その場の演奏者の大きさや動き、その聴衆や働くスタッフ、その会場の周りの雰囲気など行かなければ分かるよしもない。
There is no way to know the size and movements of the performers, the audience, the staff working there, or the atmosphere around the venue unless you go there.
自分の中では『古代』だと思ってた世界が、ちゃんと現代のストリートでちゃんと演奏され、それに興奮する聴衆もいるのだ。
それは勝手な妄想で片付けられるものではなく、『生きる文化』として尊重し、歪めることは良いとは思えない。
The world that I thought was “ancient” in my mind is properly performed on the streets of today, and there are audiences who are excited by it.
It is not something that can be put away as a selfish fantasy, and I respect it as a “living culture” and do not think it is good to distort it.
しかし、自分はジャーナリストでも音楽評論家や調査人ではなく、（その要素もあると思うが）あくまで音楽を創造する、もっと言えば、今まで聞いた事がない音楽を作りに、その楽器を録音しに来たのだ。
But I am not a journalist or a music critic or an investigator (although I suppose there is an
element of that). I am only here to create music, or more specifically, to make music that has never been listened to before, and to record that instrument.
これは毎回旅が始まった時に、『あれ、俺って何しにきたんだっけ？』と惑わされる事が多い（笑）。Every time this happens, at the beginning of every trip, I’m like, ‘Hey, what am I doing here?’ and I often get confused lol
特にこのエジプトの様に、伝統、民族楽器がちゃんと現行の音楽として成り立っているところでは自分が介入する必要性を疑うからだ。
Especially in a place like Egypt, where traditional and ethnic instruments are well established as
current music, I doubt the need for my intervention.
既に成立してる状況を『創造』の為に『破壊』する必要があるのか？
Is it necessary to “destroy” an already established situation in order to “create” it?
でも、一週間くらいするとやはりそこだけで成立している『その文化』と自分の生まれた文化との差異も感じるし、大きな視点、特に自分が今まで訪れた世界各地の人たちに共有できるものなのかを疑うときに、改めて想像力、創造力は漲ってくる。
However, after a week or so, I begin to feel the differences between the culture that exists only
there and the culture I was born into, and my imagination and creativity are recharged when I
question the bigger picture, especially if I can share this culture with the people I have visited in
other parts of the world.
矛盾した言い方だが、何かを疑い、否定するところから、『だったらお前は何ができるのか？』と自分に煽りを入れるのだ。
It sounds contradictory, but from the point of doubting and denying something, ‘Then what can you do?’ incite myself to do the same.
現状に満足しては何も始まらない。
Nothing can begin if we are satisfied with the status quo.
ということで、今回も気持ちが漲ってきたところで、エジプト精通者であり、日本におけるダラブッカ（エジプトなど中東諸国でのポピュラーな太鼓）の著名奏者であるTakseema君の紹介で訪れたエジプト人、ミモさんのお宅にお邪魔する。
So, feeling full of energy, we visited the home of Mimo, an Egyptian who was introduced to us by
Takseema, an Egyptologist and a well-known player of darabukka (a popular drum in Egypt and
other Middle Eastern countries) in Japan.
奥さんが日本人で彼女も演奏者であり、ミモさんも含め、民族楽器のエキスパートを自宅に呼び、教わる、という日本で言う家庭教師を呼ぶような状況。
His wife is Japanese, and is also a performer. We invited experts in ethnic instruments, including Mr.Mimo, to our home to teach us, a situation similar to calling a private tutor in Japan.
でもそれがピアノやヴァイオリンではなく、こんな楽器の演奏者なのがエジプトらしい！
But it is typical of Egypt that they are players of such instruments, not pianos or violins!
娘ちゃんも紛れていて可愛いし、これだけでも最高な時間だが、早速レコーディングに突入。
The daughter is cute in the mix, and this alone is a great time, but we immediately started recording.
日本でいういわゆるチャルメラのラッパの音だ。
最近の若者は知るよしもないと思うが、自分がまだ子供の頃には、台車に水タンク？を積んだ豆腐屋さんが、住宅街を練り歩いていたのを思い出す。
It is the melody of the trumpet of what is called “charmera” in Japan.
I don’t think young people these days would know this, but I remember when I was still a child, tofu vendors with what looked like water tanks on carts would parade through residential areas.
もっと言えば、今でもかろうじて存在する『ヤキイモ屋』さんのあのメロディーも、明らかにアラビックを感じさせると思うのだが、どんな因果があるのだろう？
More to the point, I think that melody of “Yakiimoya(Japanese baked sweet potato vendor)”, which barely exists even today, also clearly has an Arabic feel to it, but what kind of causality is there?
なんて妄想がよぎりつつ、自分の作ったベーシックなオケトラックを聞いてもらい、それに合わせて即興演奏をしてもらう。
With this fantasy in mind, I asked them to listen to a basic orchestral track I had created and
improvise to it.
この衣装も含め、現地感というか空想と現実が交差する瞬間というか、ともかく興奮。
The costumes and the local feeling, or the moment when fantasy and reality intersected, were all very exciting.
続いて彼が持つ様々な笛系の楽器を演奏してもらう。
He then asked them to play his various flute-type instruments.
当然というか、この演奏者もこの様なトラックに、しかも初めて聴く音楽に、即興で演奏しろと言われても…、迷いというか、不安もあるだろうが、おそらく現地の感覚では決して少なくないギャラを目にしたら『やるしかねえ！やれるだろ！オレ！』っていう、自分もだが、お互いにハッタリかます状況で良い緊張感が漂う。
Obviously, the musicians must have had some hesitation or concern when asked to improvise on
a track like this and to music they had never heard before, but when they saw the payment,
which was not small in the local sense, they said to themselves, “We’ve got to do it! You can do it! I can do it!” There is a good sense of tension in the situation where both parties, including myself, are bluffing each other.
日本でも京都のコイズミ楽器あたりでは、これらの楽器も目にすると思うが、やはりそれを毎日の様に演奏する人たちの奏でる音は格別だ。
In Japan, you can find these instruments at Koizumi Gakki in Kyoto, but the sound played by those who play them on a daily basis is exceptional.
また時間差で違う先生、演奏者も登場。
Different teachers and performers also appeared at different periods of time.
同じ楽器だがやはり演奏者によってそのムードは確実に変わる。
Although the instruments are the same, the mood is sure to change depending on the performer.
楽器はあくまで道具であって、その音自体は当然その演奏者の中から湧いてくる。
それはどこからやって来るのか？
この様なブレス、つまり息を使う楽器なら尚更、それは心臓を…、その心臓を動かす何か、
意識を指令する脳幹の奥。
そこには…、
The instrument is only a tool, and the sound itself naturally comes from within the performer.
Where does it come from?
If it is a breath instrument like this, it comes from the heart…something that moves the heart,
something deep in the brainstem that directs consciousness.
There it is…
ともかくおそらく何千年も変わらない音色にトランス状態は高まり、人間とは？宇宙とは？？
そんな意識状態にもなってくるが、現実にはこちらの拙い英語で、ミモさんにアラビック化してもらい、彼らに自分が望む演奏のイメージを伝える。
Anyway, the trance is heightened by a tone that probably hasn’t changed for thousands of years:
What is a human being? What is the universe?
Such a state of consciousness is also brought about, but in reality, I ask Mimo to arabicize the sound with my poor English and convey to them the image of the performance I want to see.
どういう状況か完全には把握してないが、とにかくまた違う先生？演奏者が訪れる。
I’m not entirely sure what the situation is, but anyway, another different teacher? A performer visits.
彼はこの弓系の楽器も出来るとのことで早速聞かせてもらうと、これがまた『古代感』満点で、最高。
I was told that he can also play this bowed instrument, so I asked him to play it for me, and he said it had an “ancient” feel to it, and it was fantastic.
途中でミモさんの家庭教師業務も挟みつつ笑
With Mimo’s tutoring duties interspersed along the way lol
とにかく様々な、日本じゃお目にかかれない楽器を収録できた。
Anyway, I was able to record a variety of instruments that are not available in Japan.
それら録音された音源は下記で聴くことができる。
You can listen to those recordings below.
そして今回のエジプトの導師及川景子の演奏も、本場？カイロで録音をすることに。
And this time, the Egyptian imam Keiko Oikawa’s performance will also be authentic? to record in Cairo.
演奏前に彼女が常宿にしてる？ゼイナブさんのお宅で、現地のモロヘイヤスープをご馳走になる！
本場の味！そしてとてもパワフル！
アロエやこのモロヘイヤなどエジプト原産の野菜は多いが、どれも過酷な状況でも逞しく育つだけあって
食べるとパワーがみなぎる！
Before the performance, we were treated to a local molokheiya soup at Zeinab’s house, where
she is a regular guest!
Authentic taste! And very powerful!
There are many vegetables native to Egypt, such as aloe and this molokheiya, but all of them are so powerful that they grow strong even in the harshest of conditions!
先述した様にヒゲのオヤジの飯ばかり食べていたので癒される！
やはり女性が作るご飯は美味しい！と唸り、感慨に耽りつつ…、
As I mentioned earlier, I was healed because I had been eating only the food of bearded old men!
After all, rice cooked by a woman is delicious! I groaned and was deeply moved…
録音！
Recording!
及川さんはチュニジアとエジプトに何回か訪れ、そこでアラビック、オリエンタルヴァイオリンを学んだ人なので、ココはある意味彼女にとっての音楽的故郷というか、その『愛』をここで聴くとまたとても感慨深い。
まさにLove From Far East.
Ms. Oikawa has visited Tunisia and Egypt several times, where she studied Arabic and Oriental
violin, so in a sense, this place is her musical home.
It is truly Love From Far East.
そんな及川さんのエジプトにおける師匠の一人が先述したサード先生であり、もう一人の師がこの人ダーゲル先生だ。
One of Ms. Oikawa’s teachers in Egypt was the aforementioned Dr. Saad, and another teacher was this man Dr. Dargel.
自宅でのレッスンにお邪魔する。
Visit the lessons at home.
荘厳な空気が漂うお宅と人物。
The house and the person with a solemn air.
ハードヴォイルドというかダンディーというか、ムードもルックスも相当かっこいい。
It’s hard boiled or dandy, and the mood and looks are quite cool.
若い時はさぞ男前だったんだろうと想像する。
I imagine he must have been very handsome when he was young.
先述したサード先生とお年はさして変わらないと思うが、ダーゲル先生は『おじいさん』という感じはしない。
漂う『不良感』。
Although he is not much older than the aforementioned Dr. Saad, Dr. Dargel does not feel like an “old man.
He has a sense of ” bad boy” in the air.
タバコを咥えながら演奏するその佇まい。
その煙からうっすら漂う香ばしい香り笑
The way he plays with a cigarette in his mouth.
The fragrant aroma wafting from the smoke.
自分の中の不良臭覚/レーダーが察知するところ、昔は不良だったであろうことは間違いない笑
I am sure that I would have been a delinquent in the past, as my sense of smell/radar of delinquents detects lol
その日はレッスンだけ聞かせてもらい、後日録音させてもらうことを了承していただいた。
He agreed to let me just listen to the lesson that day and record it at a later date.
帰り道、及川さんからダーゲル先生について知っている情報を聴くと、先生は、音楽関係の仕事、楽器屋さんだか何かを営む父の元で育ち、音楽を愛してやまなかったが父は音楽稼業に進むことを許さなかった。
どうしても抑えられない自分の中で燃える音楽への愛を成就する為、１５歳くらいの齢で家出をしてカイロに出てきたらしい。
On the way home, Ms. Oikawa told me what she knew about Mr. Dargel. She told me that he grew up with a father who was in the music business, a music store or something, and he loved music, but his father would not allow he will be musician.
He ran away from home when he was about 15 years old and came to Cairo to fulfill his love for
music that was burning inside him that he could not suppress.
つまり、音楽的教育は特に受けず、まさにストリートで叩き上げで習得したヴァイオリニストなのだ。
そんな人は世界的にも稀だと思うし、氏はその後中東の報道番組『アルジャジーラ』で１時間の特番が作られるほど、『アラブ世界のモーツアルト』と言われるほどの人物なのだが、なんと譜面は一切読めないという！
In other words, he is a violinist who did not receive any particular musical education, but learned it by beating it up on the streets.
He has been called the “Mozart of the Arab world” and was even featured in a one-hour special on the Middle Eastern news program “Al Jazeera” but to his surprise, he cannot read any scores!
その話だけでも個人的にはカッコ良すぎて惚れる笑
That story alone is too cool for me personally to fall in love with lol
そして次の日、改めて機材を持って参上。
Then, the next day, I came back with my equipment.
下記はダーゲル先生に演奏していただいた作品。
Below is the piece performed by Dr. Dargel.
この演奏は、初めて聴くトラックを一分弱で理解し、すぐに『録音しろ』と。
その１発のみの即興でこれだ…。
This performance was the first time he heard the track, understood it in less than a minute, and
immediately said, ‘Record it.
That one shot, that one improvisation, and this is it…
すごすぎる。
今改めて聴いてもこれをそんな状況ですぐに演奏できてしまうその才能……。
Too amazing.
Listening to it again now, I can see that talent ……
to be able to play this immediately in such a situation.
惜しくもダーゲル先生は2年前にお亡くなりになったという。
Regrettably, he passed away two years ago.
自分の表現力、技術が先生の技巧とセンスに追いついてるとは思えない…。
恐縮だ…。
I don’t think my ability to express myself and my skills have caught up with the skill and sense of the teacher…
I feel sorry…
そしてリベンジできない現実が悲しい。
And the reality of not being able to retry is sad.
曲名がNight Sailという意味深なタイトルなのだが、それが完全に表現されている。
The song’s title is Night Sail, a meaningful title, but it is perfectly expressed.
暗闇の海の中、自分の目的に向けてひたすら船を進ませる。
それを照らすのは月明かりのみ。
In the darkness of the sea, the boat is driven forward toward its goal.
The only light that illuminates it is moonlight.
そしてこの曲は次回で書く予定のヌビアの聖地アスワンで完結する。
And this piece will be completed in Aswan, a sacred place in Nubia, which I will write about in the next episode.
ダーゲル先生とは２曲しか録音できなかったが、もう１曲がこちら。
I was only able to record two songs with Dr.Dargel, but here is the other one.
この曲も同様に一分弱聴いて１発録りだ。
優美、耽美。
氏の演奏はどこかいつもセクシーだと感じる。
そして悲哀。
This song was likewise recorded in one shot after listening to it for less than a minute.
Graceful, aesthetic.
I always feel that his playing is somehow sexy.
And sadness.
及川さんの情報によると自慢の息子さんがいて、彼は役者としてエジプトの芸能界でも名をなしてきた矢先、何者かに殺されたらしい、とのこと。
Ms. Oikawa said that he had a son of whom he was very proud, and that just as he was making a
name for himself in the Egyptian entertainment industry as an actor, someone killed him.
まるで映画の様な話。
The story is like a movie.
でもそんなブルージーな話も納得する先生の趣。
But the quaintness of the teacher convinces even such a bluesy story.
サード先生とダーゲル先生は及川さんの中でも２大巨頭だと思うが、自分もこの短期間で２人の人物とお会いし、その音を聞かせて頂き、男として、音楽に関わるものとして、２人の演奏者を見て、聴いて、感じたことは今、改めて興味深い巡り合わせだったと思う。
Mr. Saad and Mr. Dargel are two great musicians in Ms. Oikawa’s mind, and now that I have met both of them and heard their sounds in such a short period of time, as a man and as someone involved in music, I think it was an interesting encounter to see, hear, and feel the two performers again.
まずサード先生は現状大学教授。
クリーンな状況で、生徒にも慕われ、ある意味正統派としてその地位も演奏もまさに崇高だ。
First of all, Dr. Saad is currently a university professor.
He is in a clean situation, adored by his students, and his position and performance are truly
sublime as a kind of orthodoxy.
かたやダーゲル先生はストリートで叩き上げたセンスと技術で成り上がり、その地位はアーティストとしては、ある一定の世界では完全に尊敬されているが、生活は安定していないだろう。
On the other hand, Dr. Dargel has made it with his street-smart taste and skills, and his status as an artist is fully respected in a certain world, but his life is probably not stable.
また２人とも完全にムスリムであり、ヴァイオリンという楽器をメインの武器であり糧を得るための道具としている。
They are also both fully Muslim and use the violin as their main weapon and tool for sustenance.
どちらが上手いとか、センスがいいとか、どちらが信仰深いとか、そんなことでは計ることはできないし、
２人のその音からはとにかくレベルの高い『思考』を感じざるを得ない。
とにかく２人とも『深い』。
否『高い』のか？
It is impossible to measure by which one is better, or has better sense, or is more religious, and one can’t help but feel a high level of ‘thinking’ from their sound.
Anyway, both of them are “deep”.
Or is it “high”?
宇宙の高さ、深海の深さ。
宇宙は高いが孤独、深海は暗闇だが微生物に溢れた真の生命の揺籃の世界。
どちらがそちらなのかわからないが、白と黒というか、真逆でありながら本当に甲乙つけがたいものがある。
The height of the universe and the depth of the deep sea.
Space is high but solitary, and the deep sea is dark but full of microorganisms, the cradle of true
life.
I don’t know which is which, but they are black
and white, or rather, the exact opposite, yet truly
inseparable.
サード先生の男女を超越した至高の世界。
Dr. Saad’s supreme world that transcends gender.
ダーゲル先生の、セクシーで『憂』や『陰』といった人間の意識の奥深さを感じさせる世界。
Dr. Dargel’s world is sexy and evocative of the depths of human consciousness, such as ‘melancholy’ and ‘yin’.
いずれにしろ個人的にもここまでレベルの高いヴァイオリン演奏は聞いたことがなかったし、おそらくヨーロッパにおけるヴァイオリンとは明らかに違う形でアラブ、エジプトで進化した一つの最高峰の演奏を聞けたのだと思うと、またありがたいというか、いま改めてこの機会に感謝したい。
In any case, I personally had never heard such a high level of violin performance, and I am grateful to have heard one of the highest peak performances that evolved in the Arab world and
Egypt, perhaps in a way that is clearly different from the violin in Europe, and I am grateful again
for this opportunity. I would like to thank you again for this opportunity.
下記は先日及川さんがまとめてくれたダーゲル先生の情報。
Below is the information on Dr. Dargel that Ms.Oikawa recently summarized.
Abdu Dagher
عدب ه دا غر
1936年生まれ。
2021年5月10日没。
Born in 1936.
Died on May 10, 2021.
ダーゲル先生の経歴で特筆すべきことは以下のとおり。
・父親が音楽関係の仕事であったが、息子が音楽の道に進むことを望まなかった。
・独学でウードを学びはじめ、10歳の頃エジプトに来日した西洋クラシックのバイオリニスト、ダヴィッド・オイストラフの演奏を聞き深く感銘を受け、ほどなくして10代で家を出て独学で音楽を学んだ。正規の音楽教育を受けたことはなく、西洋の楽譜の読み書きも知らないまま純粋に耳から音を継承し、さらにはそれを彼独自の境地にまで昇華させた唯一無二の演奏者である。彼にとっての音楽の源泉は聖なるクルアーンの音の響きだと彼自身が語っている。
アラブ音楽においては比重の少ない器楽演奏において素晴らしい曲を残し、その中で奏でられる彼の即興演奏(タクスィーム)は彼の宇宙であり、彼はその宇宙の主人だった。
・20世紀エジプトの大スター、Muhammad Abd el-WahabやOm Kalthoumの楽団で演奏していた時期も
あるが、最終的に彼は自分だけの音を求め続ける道を歩み続けた。また、それと同時に、彼の音に魅かれて門戸を叩く者には、惜しみなく昔ながらのアラブらしい音の継承の仕方を通して音楽を教え、国内外を問わず数多くの奏者が常に彼の家に集っていた。
・海外で高い評価を得たにもかかわらず、国内で彼が十分に評価されていたとは言い難く、「エジプト国家が彼を正当に評価していたら、半世紀以上前に世界中に彼の音と名前が知れ渡っていたことだろう」と言われている。
The following are some of the notable things about Dr. Dargel’s background.
・His father was in the music business, but he did not want his son to pursue a career in music.
・He began studying the oud on his own, and was deeply impressed by a performance by David
Oistrakh, a Western classical violinist who came to Egypt when he was 10 years old. He never
received any formal musical education and did not know how to read or write Western musical
scores, but was able to acquire sounds purely from his ears, and he is the one and only performer who has sublimated these sounds to his own unique state of being.
He himself has said that the source of his music is the sound of the Holy Qur’an.
He left wonderful compositions in instrumental music, which has little weight in Arabic music, and
his improvisations (taqsim) played in them were his universe, and he was the master of that
universe.
・He played in the orchestras of Muhammad Abdel-Wahab and Om Kalthoum, the great Egyptian
stars of the 20th century, but in the end he continued his quest for his own unique sound. At
the same time, he generously taught those who came to his door who were fascinated by his
sound through the old-fashioned Arabic way of inheriting sound, and many players, both domestic and foreign, always gathered at his house.
・Despite his high reputation abroad, it is difficult to say that he was fully appreciated domestically, and it has been said that “if the Egyptian state had given him his due, his sound and name would have been known throughout the world more than half a century ago.”
若かりし頃のダーゲル先生と、チュニジアの歌手とのセッション
A session with a young Dr. Dargel and a Tunisian singer
ダーゲル先生
本当にありがとうございます。
Dr. Dargel.
Thank you so much.
Salaam Aleikoum
次回へ続く
To be continued
J.A.K.A.M. (JUZU a.k.a. MOOCHY / NXS /CROSSPOINT)
http://www.nxs.jp/
https://linktr.ee/JAKAM
東京出身。15歳からバンドとＤＪの活動を並行して始め、スケートボードを通して知り合ったメンバーで結成されたバンドEvilPowersMeの音源は、結成後すぐにアメリカのイラストレイターPusheadのレーベル等からリリースされる。DJとしてもその革新的でオリジナルなスタイルが一世を風靡し、瞬く間に国内外の巨大なフェスからアンダーグランドなパーティまで活動が展開される。 ソロの楽曲制作としても米Grand RoyalからのBuffalo Daughterのリミックスを皮切りに、Boredoms等のリミックス等メジャー、インディー問わず様々なレーベルからリリースされる。2003年にキューバで現地ミュージシャンとレコーディングツアーを敢行したのを皮切りに、その後世界各地で録音を重ね、新たなWorld Musicの指針として、立ち上げたレーベルCROSSPOINTを始動。
2015年から始まった怒濤の９ヶ月連続ヴァイナルリリースは大きな話題になり、その影響でベルリン／イスラエルのレーベルMalka Tutiなどからワールドワイドにリリースされ、DJ TASAKAとのHIGHTIME Inc.、Nitro Microphone UndergroundのMACKA-CHINとPART2STYLEのMaLとのユニットZEN RYDAZ、Minilogue/Son KiteのMarcus HenrikssonとKuniyukiとのユニットMYSTICSなど、そのオリジナルなヴィジョンは、あらゆるジャンルをまたぎ、拡散し続けている。また音楽制作のみならず、映像作品、絵本や画集 のプロデュース、野外フェスOoneness Camp”縄文と再生”を企画するなど活動は多岐に渡る。
Born in Tokyo, he started playing in bands and DJing at the same time when he was 15. As a DJ, his innovative and original style and his activities have quickly expanded from huge festivals to underground parties both in Japan and abroad. In 2003, he went on a recording tour with local musicians in Cuba, and since then he has been recording all over the world, and started his own label, Crosspoint, as a new guideline for New World Music.
In music production, he has also produced video works, picture books and art books, and organized the outdoor festival “Jomon and Rebirth” in 2012.
9 consecutive months of vinyl releases in 2015 became a big topic, and his fourth album was released at the end of that year, which led to the worldwide release of his new album on the Berlin/Israeli label Malka Tuti.
HIGHTIME Inc. with DJ TASAKA in 2017, and ZEN RYDAZ, a unit with MACKA-CHIN of Nitro Microphone Underground and MaL of PART2STYLE, in 2018.
In the same year, his music under the name of J.A.K.A.M. was released in analog form on the French label HardFist, which led to a live performance at the huge 30,000-person Nuits Sonores Festival in Lyon, followed by a DJ tour of Europe and Israel.
In 2019, the production of MYSTICS, a unit with Marcus Henriksson and Kuniyuki of Minilogue/Son Kite, which has a worldwide following, will begin, and the long-awaited album will be released in 2021.
His original vision is spreading across all genres and around the world.
校正・英訳：編集部 中村、池上
Proofreading and English translation: Editorial department Nakamura, Ikegami
#絶景 #アイランドホッピング #ダイビング #Diving #Amami #special #特別編 #堀江武史 #竹谷隆之 #ニクネカムイ #アートトイ #コレクタブルトイ #シンゴジラ #3Dプリント #薬師如来 #YAOYOROZ #TakeshiHorie #TakayukiTakeya #Nikunekamui #arttoy #collectabletoy #ShinGodzilla #3Dprinter #JapaneseCulture #海外旅行 #国内旅行 #Trip #大湯環状列石 #OyuStoneCircles #上高地 #Kamikochi #山岳リゾート #Mountains #Resort #リゾート #リゾートホテル #luxuaryhotel #Karasawa Cirque #長崎県 #Nagasaki
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