© Javier Corso from the series 'MATAGI'

A few weeks ago I had a talk with Photographer Javier Corso (JC) and researcher Alex Rodal (AR) about their first photographic book ‘The Matagi project’. Both of them are part of the team of Oak Stories, a creative agency and production company that specializes in the development of documentary projects and that Javier founded back in 2015. Their main focus lies on local, small-scale stories that help understand global realities and which comes from the need to communicate certain aspects of the human condition. ‘The Matagi project’ is a direct result of this concept and started off in 2017 with a first visit to the Matagi hunters, a community who lives in the highlands of northern Honshu on Japan's main island. After a second stay in 2019, the project now finds its final form as a photobook. Because of the unique subject of this project, they were granted one of the prestigious research and exploration grants by the National Geographic Society. From March on, the book will be available in both Spanish and English.

© Javier Corso from the series 'MATAGI'

© Javier Corso from the series 'MATAGI'

© Javier Corso from the series 'MATAGI'

Can you tell me a little bit about your history together connected to your agency OAK stories?

JC: In 2015, and as a consequence of a successful documentary project carried out in Benin on illegal gasoline trafficking, I created the agency and production company  OAK Stories. The objective was to address little or unknown media topics, stories that the main media tend to ignore and work out in depth stories. In this process, I always give great importance to the research process and the maturation of the projects. For that reason a few months later, in 2016, criminologist Alex Rodal joined OAK stories as head of research.

Which way have you traveled to discover the Matagi? This tribe is even somewhat unknown among the Japanese. What is the starting point for creating a project around them?

JC & AR: In 2016 we decided that we wanted to do a documentary project on cultural heritage but from a somewhat different perspective. We thought of many traditions whose need for preservation is not so obvious, for example, because they clash with the values and cosmovision of modern society. An example close to home, could be for example the traditional Spanish bullfights.  Instead, we put our focus on Japan, a country that perfectly exemplifies the balance between tradition and modernity. With the help of the Japanese Embassy in Spain, we found out about the Matagi hunters, a community which is, as you noticed, quite unknown even within Japanese territory.

We were convinced that the topic had a lot of potentials, so we began to further investigate it. It turned out to be quite a challenge, since there is very little written information about their culture. Most Matagi practices and beliefs have been transmitted only orally from parents to children. We had to contact anthropologists and leading experts on this subject, which again, are very rare.

© Javier Corso from the series 'MATAGI'

The Matagi are traditional hunters who want to create a natural balance in their environment in the light of "Yama-no-kami". Alex, can you explain to our readers the myth surrounding this character and how it affects the hunters?

AR: In Shintoism, the Goddess of the Mountain (Yama-no-Kami) is usually described as a very ugly and malicious old woman, who presents great suspicion and envy towards other women. For this reason, the Matagi, who venerate this deity, have traditionally presented many taboos regarding women, such as the prohibition for females to enter the sacred kingdom of the mountains. In recent years this has changed: The number of hunters has dwindled considerably due to their aging, and young people show no interest in this kind of lifestyle. For this reason, the Matagi have renegotiated the tacit agreement with the Goddess. An evolution of religion that responds to a concrete necessity and social change of society. Little by little they have started to put the women, who have taken a step forward claiming their place as full-fledged hunters, to test.

This religious belief also affects their way of understanding and relating to the natural environment. For the Matagi, the Goddess of the Mountain is the one who grants them permission to feed on everything that the mountain has to offer (not only the meat of wild animals, but also vegetables or mushrooms). However, these divine gifts are only given on the condition that they never take more than they need, expecting that the Matagi act responsibly and in a measured way.

© Javier Corso from the series 'MATAGI'

The concept of the book can be read in different ways. It also acts, in my opinion, as an object in itself. Can I assume that the structure of the book has a direct link with the Matagi's traditional way of life and weaponry? These are important assets for the tribe, objects that find their roots in history. However, a century ago they switched to contemporary weapons. What else has changed in the last 100 years?

JC & AR: Matagi have evolved in many aspects in recent decades: I am referring to the fact of replacing their traditional clothing and weapons with more modern and current ones as well as when it comes to relaxing a very strict code of conduct that has marked their lifestyle for centuries.

This book is a physical object with a very careful design, taking as inspiration the traditional Japanese scrolls. Hence the reason for creating an accordion book, or leporello. A work that we have created by putting in our knowledge and affection and which is the conclusion of several years of research and work. Our humble contribution to the cultural legacy of the Matagi.

In the book there are nine chapters written down; would you care to tell the purpose and content of this text?

JC & AR: The nine chapters are a diary or journal written from the point of view of the Mountain Goddess, her memoirs so to speak. A journey in the form of a historical fiction novel in which, through five centuries of history, we review the evolution of the Matagi from their origins to the present moment.
In addition, the book contains the transcription of the original legend of the Matagi, which we found on a mural in the village of Ani.

© Javier Corso from the series 'MATAGI'

© Javier Corso from the series 'MATAGI'

© Javier Corso from the series 'MATAGI'

The main reason why National Geographic rewarded you the with their grant, is because of your project's focus on the first female Matagi hunters. Can you tell me about this change in their history? Are there any special qualifications needed? Or, what does one have to do, to become a member of the hunters?

AR: As you mentioned, the reason for our second trip to Japan in 2019 was to document the inclusion of the first Matagi female hunter. It's been a turning point in their community. Since their origins, five centuries ago, there is no evidence that this has happened before. All around the world, hunting has traditionally been an activity reserved for men. There is not really a specific requirement or qualification, other than a willingness to adopt a tough (and generally a not much rewarding) lifestyle. Economically speaking, it is impossible today to live solely from hunting. In addition, the Matagi have a strict code of conduct and respect for natural balance, as a result of their belief in Yama-no-Kami, (who offers them everything that the mountain has, in exchange for a responsible consumption.
Given the lack of interest of young people, and the aging of their population, the Matagi have relaxed their beliefs and traditions in pursuit of their cultural survival.

But in the case of the young woman we focus on in our project, named Hiroko, the challenge has been even bigger. The Matagi cautiously tested possible divine "reprimands", fearing that the goddess of the mountains would not accept the presence of a woman in her sacred territory.
After a long process, she finally became the first female hunter in Matagi history, opening the door for other communities (which until now had been more inflexible and conservative) to do the same.

© Javier Corso from the series 'MATAGI'

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MATAGI

Photographer & Designer: Javier Corso
Text: Alex Rodal & Javier Corso
Ilustrations: Hiroko Ebihara
Year of publication: 2021
Pages: 82 pag.
Sizes: 21 x 16 cm
Paper: Biotop 200 gsm.

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LINKS

Javier Corso (website)
Matagi book 
OAK Stories