Irabu refers to the black-banded sea krait, a venomous but rarely aggressive sea snake found in the waters around Okinawa. In traditional Ryukyuan beliefs, Irabu holds spiritual significance, particularly among the noro (priestesses), and especially on Kudaka Island, which is considered the most sacred island in the Ryukyu archipelago.
The TokyoCinema crew spent about 50 days on Kudaka Island filming “Izaihō” in 1978. With the permission of the Kudaka noro, they carefully documented every step, from catching Irabu to smoking them. In 2022, director Kazuo Okada revisited the island, and the present documentary includes footage from both visits. The original 1978 footage, shot during the final Izaihō ceremony, has been digitally remastered in high definition. Additionally, newly filmed material from autumn 2023 features interviews with surviving individuals involved at the time, testimonies from the period of revival, the current state of Irabu preparation, and the islanders’ ongoing efforts to restore their rituals.
The documentary begins with Okada screening the original footage on the island, during which a local committee involved in Irabu fishing requests certain archival segments be removed from the final version. This moment becomes a key element in the narrative, as it highlights how, despite the crew’s extensive research, parts of the procedure remain forbidden to show. Nevertheless, the documentary reveals as much of the tradition as possible. Starting with fishing, gutting, and boiling, then smoking, and eventually preparing the product both for local consumption and for high-end cuisine on the mainland, this aspect forms just one layer of the presentation.
The filmmakers also explore the religious dimensions of the practice, the significance of women’s involvement in fishing, and the roles of the Kudaka noro family and the Hassha. Historical context is richly provided, especially in a chapter focusing on how the tradition was interrupted after 1978, which led to the discontinuation of Irabu smoking in the 1990s. The subsequent restoration is also examined. Currently, the tradition is mostly upheld by the elderly, with a few exceptions among the youth, some of whom appear to have been somewhat reluctantly drawn in after marrying into families that maintain the custom. This aspect also subtly comments on broader demographic shifts and cultural inheritance patterns on Japan’s remote islands.
The seamless integration of archival and recent footage works well to depict the evolution of the tradition over time. Interwoven interviews and commentary contribute to the documentary’s strong narrative flow, much of which is thanks to Sen Sasaki’s editing, which connects the various segments effectively. That said, at 100 minutes, the runtime does slightly overextend its welcome. The repeated use of niche terms related to the ritual, while understandable, can become a bit tiresome, especially for general audiences. Additionally, the English narration, though eloquent, lacks the kind of engaging tone that might hold a wider audience’s attention.
On the other hand, the cinematography by Tsuneya Taniguchi and Michinori Kusama, along with drone photography by Shinichi Nishiguchi, produces a series of visually impressive sequences, especially the panoramic shots of the sea and surrounding islands.
“Irabu of the Kudaka Island, Okinawa” is a well-crafted and thought-provoking documentary. Its greatest strength lies in how thoroughly it presents a little-known tradition, fulfilling one of the core missions of the documentary medium. However, due to its specific theme, methodical presentation, and academic tone, the work is best suited for anthropological or cultural interest audiences, with the possible exception of the food preparation scenes, which may appeal more broadly.
