The Japanese Tea Ceremony

          The Japanese tea ceremony, also called the Way of Tea, is a Japanese cultural activity involving the ceremonial preparation and presentation of matcha, powdered green tea. In Japanese, it is called chanoyu (茶の湯) or chadō (茶道; also pronounced sadō). The manner in which it is performed, or the art of its performance, is called otemae (お手前; お点前; 御手前). Zen Buddhism was a primary influence in the development of the tea ceremony.

           Tea gatherings are classified as ochakai (お茶会) or chaji (茶事). Chakai is a relatively simple course of hospitality that includes the service of confections, thin tea (薄茶 usucha), and perhaps a light meal (点心 tenshin). Chaji is a more formal gathering, usually with a full-course meal (kaiseki), followed by confections, thick tea (濃茶 koicha), and thin tea. A chaji may last up to four hours.

History of Japanese Tea Ceremony

            Tea was originally brought to Japan in the 9th century, by the Buddhist monk Eichū (永忠), who had returned to Japan from China. This is the first documented evidence of tea in Japan. The entry in the Nihon Kōki states that Eichū personally prepared and served sencha (unground Japanese green tea) to Emperor Saga who was on an excursion in Karasaki (in present Shiga Prefecture) in the year 815. By imperial order in the year 816, tea plantations began to be cultivated in the Kinki region of Japan. However, the interest in tea in Japan faded after this.

In China, tea had already been known, according to legend, for more than a thousand years. The form of tea popular in China in the era when Eichū went for studies was "cake tea" (団茶 dancha) tea compressed into a nugget in the same manner as Pu-erh. This then would be ground in a mortar, and the resulting ground tea decocted together with various other herbs and/or flavorings.

The custom of drinking tea, first for medicinal, and then largely also for pleasurable reasons, was already widespread throughout China. In the early 9th century, Chinese author Lu Yu wrote The Classic of Tea, a treatise on tea focusing on its cultivation and preparation. Lu Yu's life had been heavily influenced by Buddhism, particularly the Zen Chán school. His ideas would have a strong influence in the development of the Japanese tea ceremony.

Around the end of the 12th century, the style of tea preparation called "tencha" (点茶), in which matcha was placed in a bowl, hot water poured into the bowl, and the tea and hot water whipped together, was introduced by Eisai, another Japanese monk returning from China. He also brought tea seeds back with him, which eventually produced tea that was of the most superb quality in all of Japan.

This powdered green tea was first used in religious rituals in Buddhist monasteries. By the 13th century, when the Kamakura Shogunate ruled the nation and the samurai warrior class ruled supreme, tea and the luxuries associated with it became a kind of status symbol among the warrior class, and there arose tea-tasting (闘茶 tōcha) parties wherein contestants could win extravagant prizes for guessing the best quality tea that grown in Kyoto, deriving from the seeds that Eisai brought from China.

The next major period in Japanese history was the Muromachi Period, pointing to the rise of Kitayama Culture (北山文化 Kitayama bunka), centered around the elegant cultural world of Ashikaga Yoshimitsu and his villa in the northern hills of Kyoto, and later during this period, the rise of Higashiyama Culture, centered around the cultural world of Ashikaga Yoshimasa and his retirement villa in the eastern hills of Kyoto. This period saw the budding of what is generally regarded as Japanese traditional culture as we know it today.

Tea ceremony developed as a "transformative practice", and began to evolve its own aesthetic, in particular that of wabi. Wabi, meaning quiet or sober refinement, or subdued taste, "is characterized by humility, restraint, simplicity, naturalism, profundity, imperfection, and asymmetry [emphasizing] simple, unadorned objects and architectural space, and [celebrating] the mellow beauty that time and care impart to materials." Murata Jukō is known in chanoyu history as the early developer of this, and therefore is generally counted as the founder of the Japanese "way of tea". He studied Zen under the monk Ikkyū, who revitalized Zen in the 15th century, and this is considered to have influenced his concept of chanoyu.

By the 16th century, tea drinking had spread to all levels of society in Japan. Sen no Rikyu, perhaps the most well-known and still revered historical figure in tea ceremony, followed his master, Takeno Jōō's, concept of ichi-go ichi-e, a philosophy that each meeting should be treasured, for it can never be reproduced. His teachings perfected many newly developed forms in Japanese architecture and gardens, fine and applied arts, and the full development of chadō, "the "way of tea". The principles he set forward harmony (和 wa), respect (敬 kei), purity (清 sei), and tranquility (寂 jaku) are still central to tea ceremony.

Many schools of Japanese tea ceremony have evolved through the long history of chadō and are active today.

Green tea's traditional role in Japanese society is as a drink for special guests and special occasions. Green tea is served in many companies during afternoon breaks. Japanese often buy sweets for their colleagues when on vacation or business trips. These snacks are usually enjoyed with green tea. Tea will also be prepared for visitors coming for meetings to companies and for guests visiting Japanese homes. A thermos full of green tea is also a staple on family or school outings as an accompaniment to bento (box lunches). Families often bring along proper Japanese tea cups, to enhance the enjoyment of the traditional drink.

The strong cultural association the Japanese have with green tea has made it the most popular beverage to drink with traditional Japanese cuisine, such as sushi, sashimi and tempura. At a restaurant, a cup of green tea is often served with meals at no extra charge, with as many refills as desired. The best traditional Japanese restaurants take as much care in choosing the tea they serve as in preparing the food itself.

Cup of Matcha tea and sweet cake

        Many Japanese are still taught the proper art of the centuries-old tea ceremony as well. Still, the Japanese now enjoy green tea processed using state of the art technology. Today, hand pressing—a method demonstrated to tourists—is taught only as a technique preserved as a part of the Japanese cultural tradition. Most of the ubiquitous vending machines also carry a wide selection of both hot and cold bottled teas. Oolong tea enjoys considerable popularity.Black tea, often with milk or lemon, is served ubiquitously in cafes, coffee shops and restaurants.

        Major tea-producing areas in Japan include Shizuoka Prefecture and the city of Uji in Kyoto Prefecture.

Other infusions bearing the name cha are barley tea (mugi-cha) which is popular as a cold drink in the summer, buckwheat tea (soba-cha), and hydrangea tea (ama-cha).

Venue & Season

        Almost any place where implements for the making and serving of the tea can be set out, and where the host can make the tea in the presence of the seated guest(s), can be used as a venue for tea. For instance, a tea gathering can be held outdoors, in the open air. This is known as nodate (野点?). On the other hand, a tatami-floored room with adjacent mizuya space for the host to conduct preparations of the various items to be used is required for a full chaji.

        Tea rooms (chashitsu) that are designed specifically for use for the wabi style of tea developed by Sen no Rikyū are usually small, typically 4.5 tatami. Rooms larger than 4.5 mats may be used for tea as well, particularly with larger numbers of guests, though they are often general-purpose rooms not exclusively used for tea ceremony. Building materials and decorations are deliberately simple and rustic in wabi style tea rooms. Sometimes chashitsu are in free-standing buildings known in English as tea houses.

        However, seasonality and the changing of the seasons are important in tea ceremony. Traditionally the year is divided by tea practitioners into two main seasons: the sunken hearth (炉 ro?) season, constituting the colder months (traditionally November to April), and the brazier (風炉 furo?) season, constituting the warmer months (traditionally May to October). For each season, there are variations in the temae performed and utensils and other equipment used. Ideally, the configuration of the tatami in a 4.5 mat room changes with the season as well.

2 Ways of Preparing Tea Ceremony

         There are two main ways of preparing matcha for tea ceremony: thick (濃茶 koicha) and thin (薄茶 usucha), with the best quality tea leaves used in preparing thick tea. Historically, the tea leaves used as packing material for the koicha leaves in the tea urn (茶壺 chatsubo) would be served as thin tea. Japanese historical documents about tea ceremony that differentiate betweenusucha and koicha first appear in the Tenmon era (1532–55). The first documented appearance of the term koicha is in 1575.

         As the terms imply, koicha is a thick blend of matcha and hot water that requires about three times as much tea to the equivalent amount of water than usucha. To prepare usucha, matcha and hot water are whipped using the tea whisk (茶筅 chasen), while koicha is kneaded with the whisk to smoothly blend the large amount of powdered tea with the water.

         Thin tea is served to each guest in an individual bowl, while one bowl of thick tea is shared among several guests. This style of sharing a bowl of koicha first appeared in historical documents in 1586, and is a method considered to have been invented by Sen no Rikyū.

         The most important part of a chaji is the preparation and drinking of koicha, which is followed by thin tea. A chakai may involve only the preparation and serving of thin tea (and accompanying confections), representing the more relaxed, finishing portion of a chaji.

The Equipments

       Tea equipment is called chadōgu (茶道具). A wide range of chadōgu is available and different styles and motifs are used for different events and in different seasons. All the tools for tea ceremony are handled with exquisite care. They are scrupulously cleaned before and after each use and before storing, and some are handled only with gloved hands.

The following are a few of the essential components:

• Chakin (茶巾). The "chakin" is a small rectangular white linen or hemp cloth mainly used to wipe the tea bowl.
• Tea bowl (茶碗 chawan). Tea bowls are available in a wide range of sizes and styles, and different styles are used for thick and thin tea. Shallow bowls, which allow the tea to cool rapidly, are used in summer; deep bowls are used in winter. Bowls are frequently named by their creators or owners, or by a tea master. Bowls over four hundred years old are in use today, but only on unusually special occasions. The best bowls are thrown by hand, and some bowls are extremely valuable. Irregularities and imperfections are prized: they are often featured prominently as the "front" of the bowl.

A 16th century black Raku ware style chawan, used for thick tea (Tokyo National Museum)

Two modern "thin tea" bowls

• Tea caddy (茶器 chaki). The small lidded container in which the powdered tea is placed for use in the tea-making procedure ([お]手前; [お]点前; [御]手前 [o]temae).
• Tea scoop (茶杓 chashaku). Tea scoops generally are carved from a single piece of bamboo, although they may also be made of ivory or wood. They are used to scoop tea from the tea caddy into the tea bowl. Bamboo tea scoops in the most casual style have a nodule in the approximate center. Larger scoops are used to transfer tea into the tea caddy in the mizuya(preparation area), but these are not seen by guests. Different styles and colours are used in various tea traditions.
• Tea whisk (茶筅 chasen). This is the implement used to mix the powdered tea with the hot water. Tea whisks are carved from a single piece of bamboo. There are various types. Tea whisks quickly become worn and damaged with use, and the host should use a new one when holding a chakai or chaji.

For more information about the list of Japanese tea ceremony equipments, please click here.

Tea Ceremony and Calligraphy

          Calligraphy, mainly in the form of hanging scrolls, plays a central role in tea ceremony. Scrolls, often written by famous calligraphers or Buddhist monks, are hung in the tokonoma (scroll alcove) of the tea room. They are selected for their appropriateness for the occasion, including the season and the theme of the particular get-together. Calligraphic scrolls may feature well-known sayings, particularly those associated with Buddhism, poems, descriptions of famous places, or words or phrases associated with tea ceremony.

          Historian and author Haga Kōshirō points out that it is clear from the teachings of Sen Rikyū recorded in the Nampō roku that the suitability of any particular scroll for a tea gathering depends not only on the subject of the writing itself but also on the virtue of the writer. Further, Haga points out that Rikyū preferred to hang bokuseki (lit., "ink traces"), the calligraphy of Zen Buddhist priests, in the tea room. A typical example of a hanging scroll in a tea room might have the kanji 和敬清寂 (wa-kei-sei-jaku, lit. "harmony", "respect", "purity", and "tranquility"), expressing the four key principles of the Way of Tea. Some contain only a single character; in summer, 風 (kaze, lit. "wind") would be appropriate. Hanging scrolls that feature a painting instead of calligraphy, or a combination of both, are also used. Scrolls are sometimes placed in the waiting room as well.

Tea Ceremony and Flower Arrangement

Chabana (茶花) is the simple style of flower arrangement used in tea ceremony. Chabana has its roots in ikebana, an older style of Japanese flower arranging, which itself has roots inShinto and Buddhism.

Chabana evolved from the "free-form" style of ikebana called nageire (投げ入れ), which was used by early tea masters. Chabana is said, depending upon the source, to have been either developed or championed by Sen no Rikyū. He is said to have taught that chabana should give the viewer the same impression that those flowers naturally would give if they were [still] growing outdoors, in nature.

        Unnatural and/or out-of-season materials are never used. Also, props and other devices are not used. The containers in which chabana are arranged are referred to generically as hanaire (花入れ). Chabana arrangements typically comprise few items, and little or no filler material. In the summer, when many flowering grasses are in season in Japan, however, it is seasonally appropriate to arrange a number of such flowering grasses in an airy basket-type container. Unlike ikebana (which often uses shallow, wide dishes), tall, narrow hanaire are frequently used inchabana. The containers for the flowers used in tea rooms are typically made from natural materials such as bamboo, as well as metal or ceramic, but rarely glass.

Chabana arrangements are so simple that frequently no more than a single blossom is used; this blossom will invariably lean towards or face the guests.

Kaiseki (Cha-Kaiseki)

           Kaiseki (懐石) or cha-kaiseki (茶懐石) is a meal served in the context of a formal tea function. In cha-kaiseki, only fresh seasonal ingredients are used, prepared in ways that aim to enhance their flavour. Great care is taken in selecting ingredients and types of food, and the finished dishes are carefully presented on serving ware that is chosen to enhance the appearance and seasonal theme of the meal. Dishes are intricately arranged and garnished, often with real edible leaves and flowers that are to help enhance the flavor of the food. Serving ware and garnishes are as much a part of the kaiseki experience as the food; some might argue that the aesthetic experience of seeing the food is even more important than the physical experience of eating it.

           The basic constituents of a cha-kaiseki meal are the ichijū sansai (一汁三菜) or "one soup, three side dishes", and the rice, plus the following: suimono, hassun, yutō, and kōnomono. The one soup referred to here is usually miso soup, and the basic three side dishes are the following:

• mukōzuke (向こう付け): foods in a dish arranged on the far side of the meal tray for each guest, which is why it is called mukōzuke (lit., "set to the far side"). Often this might be some kind of sashimi. On the near side of the meal tray are arranged the rice and the soup, both in lacquered lidded bowls.
• nimono (煮物): simmered foods, served in individual lidded bowls.
• yakimono (焼き物): grilled foods (usually some kind of fish), brought out in a serving dish for the guests to serve themselves.
• suimono (吸い物): clear soup served in a small lacquered and lidded bowl, to cleanse the palate before the exchange of saké (rice wine) between host and guests. Also referred to as kozuimono (小吸い物?) or hashiarai (箸洗い).
• hassun (八寸): a tray of tidbits from mountain and sea that the guests serve themselves to and accompanies the round of saké (rice wine) shared by host and guests. The name derives from the size of the tray.
• yutō (湯桶): pitcher of hot water having slightly browned rice in it, which the guests serve themselves to.
• kōnomono (香の物): pickles that accompany the yutō.

          Extra items that may be added to the menu are generally referred to as shiizakana (強い肴), and these attend further rounds of sake. Because the host leaves them with the first guest, they are also referred to as azukebachi (預鉢, lit. "bowl left in another's care").

          Courses are served in small servings in individual dishes. Each diner has a small lacquered tray to him- or herself; very important people may be provided their own low, lacquered table or several small tables.

Because cha-kaiseki generally follows traditional eating habits in Japan, meat dishes are rare.

Tea Ceremony and Kimono

          Many of the movements and components of tea ceremony evolved from the wearing of kimono and, although it is not uncommon for students nowadays to wear western clothes for practice, most will practice in kimono at least some of the time, for this is essential to learn the prescribed motions properly.

For example, certain movements are designed with long kimono sleeves in mind; certain motions are intended to move sleeves out of the way or to prevent them from becoming dirtied in the process of making, serving or partaking of tea. Other motions are designed to allow for the straightening of the kimono and hakama. The silk fukusa cloths are designed to be folded and tucked into the obi (sash); when no obi is worn, a regular belt must be substituted or the motions cannot be performed properly. Kaishi and smaller silk cloths known as kobukusa (小袱紗) are tucked into the breast of the kimono; fans are tucked into the obi. When Western clothes are worn, the wearer must find other places to keep these objects. The sleeves of the kimono also function as pockets, and used kaishi are folded and placed into them.

           On formal occasions the host male or female always wears a kimono. Proper attire for guests is kimono or western formal wear. Most practitioners own at least one kimono suitable for wearing when hosting or participating in tea ceremonies. For both men and women, the attire worn at a tea ceremony whether traditional kimono or other clothing is usually subdued and conservative, so as not to be distracting.

Men may wear kimono only, or (for more formal occasions) a combination of kimono and hakama (a long divided or undivided skirt worn over the kimono). Those who have earned the right may wear a kimono with a jittoku or juttoku (十徳) jacket instead of hakama.

           Women wear various styles of kimono depending on the season and the event; women generally do not wear hakama for tea ceremony, and do not gain the right to wear a jittoku.

Lined kimono are worn by both men and women in the winter months, and unlined ones in the summer. For formal occasions, montsuki kimono (紋付着物) (kimono with three to five family crests on the sleeves and back) are worn. Both men and women wear white tabi (divided-toe socks).

Tea Ceremony and Seiza position

In that the Japanese tea ceremony is conventionally conducted sitting on tatami, seiza is integral to it. Unless it is the ryūrei style of tea ceremony, which employs chairs and tables, both the host and guests sit in seiza throughout.

       All the bows (there are three basic variations, differing mainly in depth of bow and position of the hands) performed during tea ceremony originate in the seiza position.

Tea Ceremony and Tatami

       Tatami are used in various ways in tea ceremony. Their placement, for example, determines how a person walks through the tea room, and the different seating positions.

       The use of tatami flooring has influenced the development of tea ceremony. For instance, when walking on tatami it is customary to shuffle, to avoid causing disturbance. Shuffling forces one to slow down, to maintain erect posture, and to walk quietly, and helps one to maintain balance as the combination of tabi and tatami makes for a slippery surface; it is also a function of wearing kimono, which restricts stride length. One must avoid walking on the joins between mats, one practical reason being that that would tend to damage the tatami. Therefore, tea students are taught to step over such joins when walking in the tea room.

       The placement of tatami in tea rooms differs slightly from the normal placement in regular Japanese-style rooms, and may also vary by season (where it is possible to rearrange the mats). In a 4.5 mat room, the mats are placed in a circular pattern around a centre mat. Purpose-built tea rooms have a sunken hearth in the floor which is used in winter. A special tatami is used which has a cut-out section providing access to the hearth. In summer, the hearth is covered either with a small square of extra tatami, or, more commonly, the hearth tatami is replaced with a full mat, totally hiding the hearth.

       It is customary to avoid stepping on this centre mat whenever possible, as well as to avoid placing the hands palm-down on it, as it functions as a kind of table: tea utensils are placed on it for viewing, and prepared bowls of tea are placed on it for serving to the guests. To avoid stepping on it people may walk around it on the other mats, or shuffle on the hands and knees.

Typical winter tearoom layout in a 4.5 mat tearoom, showing position of tatami, tokonoma, mizuya dōkō, hearth, guests and host.

Interior view of a large tea room with tatamiand tokonoma. Seen in the tokonoma is a hanging scroll, flower arrangement (not chabana style), and incense burner.

         Except when walking, when moving about on the tatami one places one's closed fists on the mats and uses them to pull oneself forward or push backwards while maintaining a seiza position.

         There are dozens of real and imaginary lines that crisscross any tearoom. These are used to determine the exact placement of utensils and myriad other details; when performed by skilled practitioners, the placement of utensils will vary infinitesimally from ceremony to ceremony. The lines in tatami mats (畳目 tatami-me) are used as one guide for placement, and the joins serve as a demarcation indicating where people should sit.

         Tatami provide a more comfortable surface for sitting seiza-style. At certain times of year (primarily during the new year's festivities) the portions of the tatami where guests sit may be covered with a red felt cloth.

Studying the Tea Ceremony

          In Japan, those who wish to study the tea ceremony typically join what is known in Japanese as a "circle", which is a generic term for a group that meets regularly to participate in a given activity. There are also tea clubs at many junior and high schools, colleges and universities.

         Classes may be held at community centres, dedicated tea schools, or at private homes. Tea schools often have widely varied groups that all study in the same school but at different times. For example, there may be a women's group, a group for older or younger students, and so on.

         Students normally pay a monthly fee which covers tuition and the use of the school's (or teacher's) bowls and other equipment, the tea itself, and the sweets that students serve and eat at every class. Students must be equipped with their own fukusa, fan, kaishi paper, and kobukusa, as well as their own wallet in which to place these items. Though western clothing is very common today, if the teacher is in the higher rank of tradition, especially an iemoto, wearing kimono is still considered essential, especially for women. In some cases, advanced students may be given permission to wear the school's mark in place of the usual family crests on formal montsuki kimono. This permission usually accompanies the granting of a chamei, or "tea name", to the student.

         New students typically begin by observing more advanced students as they practice. New students may be taught mostly by more advanced students; the most advanced students are taught exclusively by the teacher. The first things new students learn are how to correctly open and close sliding doors, how to walk on tatami, how to enter and exit the tea room, how to bow and to whom and when to do so, how to wash, store and care for the various equipment, how to fold the fukusa, how to ritually clean tea equipment, and how to wash and fold chakin. As they master these essential steps, students are also taught how to behave as a guest at tea ceremonies: the correct words to say, how to handle bowls, how to drink tea and eat sweets, how to use paper and sweet-picks, and myriad other details.

         As they master the basics, students will be instructed on how to prepare the powdered tea for use, how to fill the tea caddy, and finally, how to measure the tea and water and whisk it to the proper consistency. Once these basic steps have been mastered, students begin to practice the simplest temae, typically beginning with O-bon temae (see above). Only when the first ceremony has been mastered will students move on. Study is through observation and hands on practice; students do not often take notes, and many teachers discourage the practice of note-taking.

        As they master each ceremony, some schools and teachers present students with certificates at a formal ceremony. According to the school, this certificate may warrant that the student has mastered a given temae, or may give the student permission to begin studying a given temae. Acquiring such certificates is often very costly; the student typically must not only pay for the preparation of the certificate itself and for participating in the ceremony during which it is bestowed, but is also expected to thank the teacher by presenting him or her with a gift of money. The cost of acquiring certificates increases as the student's level increases.

        Typically, each class ends with the whole group being given brief instruction by the main teacher, usually concerning the contents of the tokonoma (the scroll alcove, which typically features a hanging scroll (usually with calligraphy), a flower arrangement, and occasionally other objects as well) and the sweets that have been served that day. Related topics include incense and kimono, or comments on seasonal variations in equipment or ceremony.

Top Ten Tips

These 10 tips is what you must or mustn't do when you are in Japan... With these tips, you will get to know and understand what the daily Japanese people do as we'll also should follow them as we respect them too...

TOP TEN TIPS

1.        Always remember to remove your shoes before entering someone’s home. Before stepping on tatami matting, slippers must also be removed. Slippers must be changed when going to the toilet. Remember not to leave the toilet still wearing the toilet slippers, as it would be very embarrassing!

2.        Always make sure that you do not have any holes in your socks or tights, as you may have to take your shoes off unexpectedly.

3.        Shaking hands is uncommon in Japan; the Japanese greet each other by bowing. However, foreigners are sometimes greeted with a handshake.

4.        Sumimasen is a word with many purposes; it can be used to attract someone’s attention before making a request, or to get past people on a crowded train. It can also be used to say “sorry”.

5.        Credit cards are only accepted in the more expensive hotels, shops and restaurants.

6.        If you receive a gift from a Japanese visitor, remember to express delight at the wrapping as well as the gift itself. If you are invited to a Japanese person’s house, make sure you take gift-wrapped present with you.

7.        You can only buy cigarettes and alcohol if you are over 20 years of age.

8.         The Japanese tend not to use assertive words such as “yes” and “no”. Good alternatives are ii desu ne for “yes” and chotto for “no”.

9.        Cleanliness is important to the Japanese. Never drop or leave rubbish.

10.     It’s advisable that you carry proof of identity at all times, so make sure that you always have your passport with you.

*Another extra tip that everyone should know if we have visited Japan which is Japanese can't really understand or speak English very well so it is better for us to learn some basic or amateur Japanese language to communicate with them...

Tips on getting around

 Tips on bus and coach 

            Places such as Kyoto have tourist day passes and bus route maps in English, which you can obtain at a bus station. Local buses usually board from the rear door and if your journey is not covered by a flat fee you may need to pick up a numbered ticket. A board at the front of the bus displays the fares, based on the numbers. You will need to know your destination in Japanese characters. Some buses board from the front door and require you to pay as you enter. Tickets for long/middle distance coach trips, as well as airport limousines, are usually sold at the coach counter or ticketing machine.

 Tips on Metro 

            The Japanese metro and train services are clean, safe and run on time. You can either purchase a prepaid card or an ordinary ticket from the ticketing machine. Silver seats are for the elderly or people with difficulties. Mobile phones need to be on silent and you must not talk in the carriage. In major cities, the rush hour (between 7 and 9 am and 5 and 8 pm) crush can be really bad. Some trains have women-only carriages. The Japanese metro system is very similar to the one in London. The first thing you must do is obtain a metro map which indicates all the lines and stops.

 Tips on Train 

You will find Midori no madoguchi in major train stations where you can exchange Japan Rail Passes to make seat bookings etc. A JR pass can get you a considerable way around Japan. Details can be found at www.japanrailpass.net.

 Tips on Taxi 

            Japanese taxis are safe, clean and operate on meters. The basic fee is based on the vehicle size. It canbe rather expensive but there is no need to tip. There are taxi stands at stations and major hotels but taxis can also be hailed from the roadside. You can identify whether a taxi is available by the sign 空車 (Kuusha) displayed in the front windscreen. All the doors are automatically operated by the driver. A receipt can be requested if necessary.

 Tips on Boat and ferry 

            Japan Railways (JR) run ferry services on certain routes where the JR Pass can be used. There is a good ferry network in Japan linking the various islands. Ferries can be used as an alternative to trains if you wish to travel between the islands and have time to spare. During the holidays some lines can be very busy, so if you are driving it is advisable to book a place in advance.

 Tips on Air travel 

            At the airport, most signs are written in both Japanese and English. All the airport staffs understand and speak some English. You can find airport details by visiting www.narita-airport.or.jp or www.kansai-airport.or.jp.

 Tips on Customs control 

            UK, US, Canadian and Australian visitors to Japan do not require a visa for short business trips and holidays. During your stay, you are not allowed to work. It is advisable that you carry proof of identity at all times, so make sure that you always carry your passport.