Ya Taiwan Fest 2026 at Hibiya Park, Tokyo: Savor Taiwanese Street Food, Cool Down with Shaved Ice, and Release Sky Lanterns

Ya Taiwan Fest 2026

A gathering of fantastical “Sky Lantern Experiences,” piping hot gourmet food to blow away the late summer heat, and cooling drinks and shaved ice!

The Yataiwan Fes Executive Committee will hold the first “Yataiwan Fes 2026 ~Gather! The Ultimate Street Food~,” a street food event themed around Taiwan’s “Night Markets,” for four days from Thursday, September 3 to Sunday, September 6, 2026, at the Hibiya Park Nirenokki Hiroba. In addition to a gathering of Taiwan beer, sweets, and street food reminiscent of Taiwan’s popular tourist night markets, the “Sky Lantern Experience,” where lanterns with written wishes are released into the night sky, is scheduled to be held every day during the period. Why not visit the venue to fully experience the charms of a Taiwanese night market, from piping hot gourmet food you’ll want to eat even in the late summer heat to cooling drinks and shaved ice?

As the first edition of the event, it brings the atmosphere of Taiwan’s night markets to central Tokyo, with food stalls, games, shopping, and performances spread across the park.

Sky Lanterns in Hibiya Park!

The “Sky Lantern Experience,” which reproduces the lantern release of Taiwan’s popular tourist spot “Shifen,” is scheduled to be held every day during the period. You can enjoy a fantastical moment of light by releasing lanterns written with wishes into the night sky.

Reception starts: 18:00~
Exchange starts: 19:00~
Launch time: Scheduled for 20:00
Fee: 4,000 yen per lantern (Same-day reception, first 100 people per day / No advance reservations)

*Cancelled in case of rain or strong winds

Shifen, a town in northern Taiwan, is known around the world for its sky lantern tradition, and this event recreates that experience in the heart of Tokyo. Since participation is limited to the first 100 people each day and no advance reservations are accepted, those hoping to take part should plan to arrive early.

Piping Hot Gourmet You’ll Want to Eat Even in Midsummer!

Even in the severe late summer heat of September, freshly made, piping hot Taiwanese street food will stimulate your appetite. A lineup just like the authentic locations will color the venue, featuring:

Beef Noodle Soup (Niuroumian)
Roasted Duck (Taiwan Duck)
Pan-fried Small Buns (Shao Xiao Long Bao)
Braised Pork Fried Rice (Lu Rou Fried Rice)
Scallion Pancake (Negi Pie)
Taiwan Fries
Braised Pork Rice (Lu Rou Fan)
Large Fried Chicken Fillet (Da Ji Pai)
Sausage in a Sausage (Dachang Bao Xiaochang)
Meatball (Ba Wan)
Taiwanese Chinese Cabbage Dumplings
Oyster Omelet
Taiwanese Dry Mixed Noodles (Taiwan Mazesoba)
Taiwanese Dan Dan Noodles (Taiwan Ramen)
Taiwanese Mapo Tofu
Pepper Buns (Koshou Man)

From hearty noodle soups and braised pork rice to the Large Fried Chicken Fillet and Sausage in a Sausage, the menu spans the range of Taiwanese night market classics.

Cooling Drinks & Cooling Gourmet (Shaved Ice)

In addition to the “Taiwan Tavern” and booths where you can taste Bubble Milk Tea and Taiwanese tea, cooling sweets such as Tofu Pudding (Douhua), Rainbow Cotton Candy, and fluffy Taiwanese Shaved Ice will also appear. These offer a refreshing counterpoint to the piping hot dishes, making it easy to keep exploring the stalls well into the evening.

Other Ways to Enjoy

Classic Taiwanese night market games such as ring toss and mask making will also appear. You can also enjoy shopping at the “Taiwan Products (Taiwan Souvenirs/Goods)” corner, which features souvenirs, cup noodles, and soy milk imported directly from Taiwan. Musical performances and shows are also planned for the special stage.

*Please check the official website for detailed information.

Basic Information

Item	Details
Location	Hibiya Park
Nearest Station	Hibiya Station / Uchisaiwachō Station / Yūrakuchō Station / Kasumigaseki (Tokyo) Station
Address	〒100-0012, 1-6 Hibiya Park, Chiyoda-ku, Tokyo (MAP)
Period	2026/09/03 (Thu) ～ 2026/09/06 (Sun)
Hours	September 3 (Thu): 16:00–22:00 (L.O. 21:30)<br>September 4 (Fri): 11:00–22:00 (L.O. 21:30)<br>September 5 (Sat): 11:00–22:00 (L.O. 21:30)<br>September 6 (Sun): 11:00–20:00 (L.O. 19:30)
Admission	Adults (junior high school students and above): 500 yen<br>Free for elementary school students and below<br>Includes a handheld lantern
Official Website	https://www.yataiwan-fes.jp/
Rain Information	Will be held in rain; cancelled in case of severe weather

*The posted content may have changed. For the latest information, please check the official website of the venue or the organizer.

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What is Hibiya Park?

Hibiya Park is a public park in central Tokyo, a short walk from the Imperial Palace and close to Yurakucho, Kasumigaseki, and Hibiya stations. It opened in 1903 on land that had previously served as an army parade ground. At the time, it was an unusual project: a Western-style park built to give the city’s residents a place to walk, sit, and spend time outdoors. Its design was straightforward—wide paths, open lawns, flower beds, a central fountain, and rows of trees—and that layout has largely remained since.

The park has never been limited to quiet use. Over the years, its open areas have been used for charity bazaars, outdoor concerts, and cultural festivals. The Hibiya Open-Air Concert Hall gives the park a permanent performance venue, and the large plazas around it can accommodate stages, stalls, and seating. At the same time, the side paths and shaded benches provide a place to get away from the nearby office district.

For Ya Taiwan Fest, the park works for practical reasons. It is central and easy to reach, it has room for the festival’s market-style layout, and it is familiar with hosting crowds. The mix of food and live performances suits the informal, open environment, and visitors can eat in the grass or at tables without feeling cramped.

September 1, 2026

“Visible to Those Who Can See” Third Exhibition at Seibu Shibuya Store in 2026: Experience the Unseen Before the Iconic Venue Closes

An Exhibition for Those Who Can See

“Visible to Those Who Can See” is an experiential spirit photography exhibition that has drawn a cumulative total of approximately 40,000 visitors since its first run began in April 2025 at a private house in Namikibashi, Shibuya, followed by the second exhibition “Visible to Those Who Can See -Zero-” in Nihonbashi. Tickets frequently sold out, and the exhibition has received extensive coverage in various media. The experience of “borrowing the perspective of those who can see” has garnered a wide response.

The third installment opens August 28 at the Seibu Shibuya store, which will bring its 58-year history to a close at the end of September 2026.

The exhibition has been held in locations that retain the memories of the land. The first took place in a 93-year-old traditional folk house; the second, in a Nihonbashi building slated for demolition due to redevelopment. The Seibu Shibuya store continues that pattern. Why not take this opportunity to visit?

What is “Visible to Those Who Can See”?

In this world, there are a fair number of people who can see “something” that others cannot. “Visible to Those Who Can See” is an exhibition where visitors can vicariously experience the world as seen by such “seers.” The photographs on display appear to be ordinary landscape photos at first glance, but each is a piece where “it is visible to those who can see,” confirmed under the supervision of a psychic.

The photographs document existences that linger in the places where they were taken. What looks like an unremarkable street or a quiet ruin to most viewers is, to a seer, a scene occupied by something else. For visitors who cannot see what the seers perceive, the exhibition is a chance to borrow their perspective, if only for the duration of a visit.

Introduction to the Exhibition Experience

Until now, the project has visited ruins, cities, and power spots throughout Japan together with seers, photographing the existences lingering there. For this third installment, the team took on a new challenge: venturing abroad. Photography was conducted in the United States, Thailand, and China.

What do seers see in lands where cultures, histories, and forms of faith differ? The exhibition presents records of existences “seen” in various locations, organized into rooms named after the places where the photographs were taken: Shibuya, Shanghai, Bangkok, Ayutthaya, Las Vegas, and Sedona.

Voice Actor Yoshimasa Hosoya in Charge of Audio Guide

To allow visitors to enjoy the exhibition more deeply, the free audio guide will once again feature the voice of voice actor Yoshimasa Hosoya, following his narration for “Visible to Those Who Can See -Zero-.” Visitors can listen using their own smartphone and earphones.

Communication costs shall be borne by the visitor.
The audio guide cannot be heard once you leave the exhibition venue.
Please check the official website for details on the content.

Editorial Team’s Experience Comment

The editorial staff member who visited for coverage is a “non-seer,” so they participated with great curiosity to see in what form “those who can see” perceive things.

The venue was dim with unsettling sounds playing, and at first, they proceeded with hesitant steps.

As they moved forward and gradually grew accustomed to the atmosphere, it was interesting to make various discoveries, such as “The things that are seen also reflect the characteristics of their respective countries.”

However, just as they let their guard down, something shocking is conveyed in the “final room”…

Photography was prohibited there, so please visit and confirm for yourself.

The diagnostic test to find out if you are a “person who can see” is also recommended.

Even if you end up seeing something… you can receive “Purification Salt” at the end, so please participate with peace of mind.

Basic Information

Item	Details
Location / Nearest Station	Seibu Shibuya Store / Shibuya Station
Address	〒150-8330, 21-1 Udagawacho, Shibuya-ku, Tokyo (MAP)
Venue	Seibu Shibuya Store Building B, 3rd Floor Event Space
Period	2026/08/28 (Fri) – 2026/09/30 (Wed)
Hours	10:00–20:00 (last admission 19:00)
Fees	Weekdays: 1,900 yen (tax included) / Weekends & holidays: 2,300 yen (tax included)
	Free for elementary school students and younger
	Student discount (same-day tickets only): Weekdays 1,600 yen / Weekends & holidays: 1,800 yen (tax included)
Official Website	https://mieruhito.com/

A selection of exhibition merchandise is available at the venue.

The information on this page was published after the Let’s Enjoy Tokyo editorial team conducted on-site coverage and photography and confirmed the details with the “Visible to Those Who Can See Management Office.” The published content may have changed. Please check the official website of the venue or organizer for the latest information.

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The Seibu Shibuya Store is a department store on the west side of Shibuya Station, across from the Hachiko exit. It opened in 1968 and has long been identifiable by its yellow sign and the repeating geometric pattern on its facade. The architecture belongs to the postwar modernist style common for Japanese commercial buildings of that period; the grid gives it a quieter presence than the surrounding signs and screens.

For much of its life, the store also functioned as a venue for contemporary art and design. Its exhibitions and installations were not just decorative additions to the shopping floors. They were treated as independent projects and were often the main reason people came. That program made the store unusual among department stores, and it gave the building a public role that went beyond retail.

The merchandising was similarly deliberate. Floors were organized by category and by a consistent visual point of view, from clothing and accessories to housewares, books, and restaurants. The selection tended toward established and emerging designers rather than the widest possible range of brands.

The store is scheduled to close in 2026. After nearly sixty years, its departure will remove not only a large retail operation from Shibuya, but also one of the more sustained attempts in postwar Tokyo to put commercial and cultural activity in the same building.

September 1, 2026

Vermeer’s Girl with a Pearl Earring Exhibition 2026 at Osaka Nakanoshima Museum of Art: Experience Dutch Masterpieces and Exclusive Collaborations

Vermeer’s “Girl with a Pearl Earring” Exhibition at Osaka Nakanoshima Museum of Art: Masterpieces of 17th-Century Dutch Painting, a Miraculous Return to Japan

An exhibition introducing works by Vermeer and Dutch genre paintings from the collection of the Mauritshuis in The Hague, Netherlands, will be held at the Nakanoshima Museum of Art, Osaka. This is a unique opportunity: two of the three Vermeer works owned by the Mauritshuis will come to Japan—the masterpiece “Girl with a Pearl Earring,” returning to Japan for the first time in 14 years, and “Diana and Her Companions.”

This exhibition will be held exclusively at the Nakanoshima Museum of Art, Osaka. There will be no touring to other regions. In addition, 10 masterpieces of 17th-century Dutch painting will be exhibited, including Jan Steen’s “The Old Woman Singing and the Young Man Playing the Flute,” Paulus Potter’s “Bull Reflection in Water,” and Maria van Oosterwijck’s “Flowers in an Ornamental Vase.” There will also be a special visual experience available only here, where you can feel Vermeer’s world of light on a large screen stretching 20 meters in length.

■ The Ambassador is Dutch-born “Miffy”

Miffy, who like Vermeer was born in the Netherlands, will serve as the ambassador for this exhibition. Original plushies of Miffy dressed as the “Girl with a Pearl Earring” will also be available.

■ “Frieren: Beyond Journey’s End” Collaboration Newly Drawn Illustration

The fantasy manga “Frieren: Beyond Journey’s End” by Kanehito Yamada (original story) and Tsukasa Abe (art) is a story about traveling through a world reminiscent of the medieval and early modern Europe in which Vermeer lived. For this occasion, original goods will be sold featuring a special illustration newly drawn by Tsukasa Abe-sensei specifically for this exhibition, where Frieren overlaps with the “Girl with a Pearl Earring.”

Exhibition Details

Period: Friday, August 21, 2026 – Sunday, September 27, 2026
Hours: 9:30 – 17:00 (Last admission 16:30)
Location: Nakanoshima Museum of Art, Osaka, 5th Floor Exhibition Room (4-3-1 Nakanoshima, Kita-ku, Osaka City)
Fees: Adults 3,000 yen, High school/College students 1,500 yen, Elementary/Junior high students 500 yen *Date and time reservation system

Notes:

Persons holding a disability certificate (Physical Disability Certificate, Rehabilitation Certificate, Mental Disability Health and Welfare Certificate), including one caregiver, will receive half off the daily fee (proof required). Please purchase at the ticket counter on the 2nd floor on the day of your visit (no advance reservation required).
For this exhibition, persons aged 65 and over residing in Osaka City will also be required to pay the general admission fee.

Contact:

Inquiries: 06-4301-7285 (Osaka City General Call Center / Naniwa Call; Reception hours 8:00 – 21:00, open year-round)
Website: https://vermeer2026.exhibit.jp

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What is the significance of Vermeer’s Girl with a Pearl Earring?

Vermeer’s Girl with a Pearl Earring is a tronie, a type of character study that emerged in the Dutch Golden Age. Tronies were not commissioned portraits, nor were they narrative scenes. They were studies of expression, costume, and light, made to display the artist’s skill rather than to tell a story or advertise a sitter’s status. In this painting, Vermeer moves away from the domestic interiors with which he is most often associated. One female figure stands against a dark, flat background. She has turned to look over her shoulder, lips parted, with an earring catching the light. The painting does not claim to be a likeness of a particular woman; the subject remains anonymous. The pearl, a small patch of paint with a bright highlight, is a reminder of how much Vermeer could achieve with a limited number of strokes.

For art historians, the work matters because it embodies what a tronie was supposed to do. It allowed a painter to demonstrate technical skill and sensitive observation of human presence without the constraints of allegory, moral narrative, or portraiture. It also shows Vermeer’s interest in optical effects: the way light can fall on skin, fabric, and metal, and how a viewer’s eye can be led to a single point in the composition.

The painting’s fame is not entirely a modern phenomenon. It has long been admired by specialists, but its wider popularity grew considerably after the publication of Tracy Chevalier’s novel in 1999 and the subsequent film. When it is shown at the Osaka exhibition in 2026, it will be a good opportunity to see the work in person. The painting is small, about 44 by 39 centimetres, and much of its effect depends on the delicate handling of paint and the contrast between the figure and the background. The background has darkened with age, making the figure seem more isolated than it would originally have been. In that sense, the painting is not only a famous image; it is also a demonstration of how a seventeenth-century Dutch painter could turn simple materials into a convincing human presence.

September 1, 2026

Gangbuk Baekmaek Festival 2026 in Seoul: A Complete Guide to the Waterfront Craft Beer, Food, and Busking Event

Gangbuk Baekmaek Festival

🗓️ 2026.09.04 ~ 2026.09.05

Since its first edition in 2023, the Baekmaek Festival has become one of Gangbuk-gu’s representative annual events. The festival is held in connection with the Seoul Metropolitan Government’s plan to turn waterfront areas into emotional city attractions, a plan that includes the completion of the waterfront terrace observatory. Using the beautiful waterfront resources of Ui-cheon as its core space, the festival is a place of harmony for people of all ages and genders, while also integrating local commercial districts and young entrepreneurs.

Rather than centering on stages for famous singers, the program offers diverse busking and performances where local artists and residents perform together. It also expands sales space for craft beer and food from traditional markets within the district, helping small business owners develop new sales channels. The festival creates a foundation for Ui-cheon to leap forward as a waterfront emotional cultural space—one where culture flows and permanent night markets exist.

1. Main Programs

Wonder Gate (Baeknyeon Market Entrance): A large gate and photo zone symbolizing the festival, a general information center, and an interactive ‘DJ ZONE’.
Maze of Taste (Local Food Zone inside Baeknyeon Market): Food and brewery stalls arranged around a wonderland concept.
Upside-Down Garden (Eunmoru Children’s Park): A family lounge and Bubble Wonderland.
Strange Alley (Alley moving from Baeknyeon Market to Ui-cheon): Caricatures and wonder performers who interact with visitors.
Jumbled Square (Badminton Court): Baekmaek Chef’s Table and camping-style relaxation areas.
Wonder Maru (Ui-cheon Waterfront Stage): Official events and ongoing singer performances on the waterfront stage.

2. Side Programs

Food Booths including Traditional Markets (Alley Commercial Districts) – 85 locations

Food (snacks/side dishes) sales booths from traditional markets
Food (snacks/side dishes) sales booths from alley commercial districts
Menu sales booths linked to smart farms, etc.

Craft Beer Breweries – 15 locations

Beer tasting and sales booths
Non-alcoholic beer by some breweries

📍 Address: 45 Dobong-ro 97-gil, Gangbuk-gu, Seoul (Suyu-dong)

🛏️ Accommodation near the event

💰 Fee: Free

📞 Inquiry: 02-901-7253

🖥️ Homepage: 100beer.kr

Baekmaek (백맥) is the Korean term for white beer. In practice, it refers to a family of wheat beers: hazy, pale gold, light-bodied, smooth, and refreshing. The word combines baek, meaning “white,” and maek, short for maekju, the Korean word for beer. The “white” does not describe the liquid’s color but its cloudy, unfiltered appearance, which comes from suspended yeast and wheat proteins.

The style is brewed with a substantial share of wheat malt alongside barley. That grain bill produces a softer mouthfeel and a mild, bready sweetness. A typical baekmaek has moderate citrus notes, sometimes a trace of coriander or clove, and ends with a dry, clean finish. Bitterness is low, and alcohol content is usually modest, which suits the beer to outdoor drinking. Recipes vary: some versions are spiced in the Belgian witbier manner, while others stay plain and rely on the wheat itself. Because it is unfiltered, the beer may look hazy in the glass.

At the Gangbuk Baekmaek Festival, the style is the organizing theme. The festival takes its name from baekmaek and gives it a central place on the waterfront tap list, alongside other craft beers chosen for a similar light, food-friendly profile. The program includes classic white ales, fruited wheat beers, and local experimental batches. What the selections share is the beer itself: cold, crisp, and well matched to food and live music by the Han River.

August 31, 2026

2026 Hongseong Namdanghang Jumbo Shrimp Festival: Enjoy Fresh Seafood, Live Performances, and Stunning West Coast Sunsets

Hongseong Namdang Port Jumbo Shrimp Festival

🗓️ 2026.09.04 ~ 2026.11.08

The 31st Hongseong Namdanghang Jumbo Shrimp Festival is Hongseong’s representative autumn food festival. Held at Namdanghang Port, a gourmet tourism destination on the west coast, the festival centers on the seasonal jumbo shrimp found in the clean waters of Cheonsuman Bay. Visitors can eat plump shrimp and other fresh seafood from the bay, watch performances, join hands-on programs, and take in the sea views around the port in one trip.

The 2026 festival will be held from September 4 to November 8 in the Namdanghang Port area. Opening performances are scheduled for September 4 to 6, with additional Chuseok performances on September 25 and 26. The lineup for those performances includes Bin Ye-seo, Park Hyun-bin, Jang Do-hyun, Yoo Do-hyun, Kim Jung-ah, and Kim Seo-yeon.

Namdanghang Port sits within Cheonsuman Bay and is known for its seafood, including gizzard shad in addition to jumbo shrimp. During the festival period, visitors can enjoy fresh seafood and local dishes while watching the sunset over the West Sea. The event brings together food, performances, and coastal scenery in one place, making it a fitting autumn destination for families, couples, and friends. Admission is free, and the main expenses are food and optional experience programs.

1. Main Programs

The 31st Hongseong Namdanghang Jumbo Shrimp Festival Opening Event
Opening Celebration Performances: 2026.09.04 ~ 09.06
Chuseok Special Performances: 2026.09.25 ~ 09.26
Performances by invited singers and local artists
Sale of jumbo shrimp and Namdanghang seafood

2. Side Programs

Namdanghang Seafood Food Market
Sale of local specialties and agricultural/fishery products
Namdanghang marine and tourism promotion
Cultural performances on weekends and holidays

3. Consumer Participation Programs

Tourist participation programs
Experience events related to jumbo shrimp
Family-unit experiences and on-site events
Tourist singing and performance participation programs

※ Detailed programs are subject to change according to the on-site operating schedule.

4. Other Details

Sale of Namdanghang food and seafood
Marine tourism in Cheonsuman Bay and Namdanghang Port
Viewing the Namdanghang sunset
Use of restaurants and seafood markets around the festival grounds

📍 Address: 1-1 Namdanghang-ro 213beon-gil, Seobu-myeon, Hongseong-gun, Chungcheongnam-do

🛏️ Accommodations near the event

💰 Fee: Free (Some food and experience programs are paid)

📞 Inquiry: 010-5433-8196

🖥️ Homepage: https://blog.naver.com/official_namdang

Namdanghang is a working harbor on the west coast of South Chungcheong Province, in Hongseong County. It supports the region’s fishing industry, particularly through the jumbo shrimp catch that gives the local festival its name. The port is modest in size compared with major commercial harbors, and its daily operations revolve around a relatively small number of fishing boats and direct sales at the dock. In the morning, boats unload shrimp and other seafood that visitors can buy on the spot. The harbor also has a seawall that runs alongside the water, with views over the Yellow Sea and access to the tidal flats nearby. Photographers and walkers use the area throughout the day, and the west-facing location makes it a straightforward place to watch the sunset. The annual jumbo shrimp festival adds food stalls and cooking demonstrations to the waterfront, but the port continues to function as a working facility before, during, and after the event. For someone visiting the area, it offers a clear view of a coastal fishing community without the crowds or commercial gloss of a larger port.

August 31, 2026

Yoiji Toro 2026 at Tokyo Station: 100 Lanterns, Expanded Yaesu Fireworks Projection Mapping & Summer Food Stalls

Evening Lanterns 2026

Projection mapping “Yaesu Fireworks” expands to 2 areas this year! “Yoiji Toro 2026” held, featuring approximately 100 lanterns coloring Tokyo Station in summer.

The summer tradition of GranRoof returns for its fifth iteration with “Yoiji Toro 2026.” This year, the event centers on the theme of “Yaesu Fireworks,” employing approximately 100 lanterns and sophisticated projection mapping across the GranRoof Great Roof to transform the urban landscape of Tokyo Station into a serene space of light. In a significant expansion over previous years, the projection area has grown to encompass two distinct locations, deepening the immersive experience for visitors.

To cultivate a genuine festival atmosphere, the event features a variety of takeout food and beverages, with specialized stalls operating exclusively on weekends. These stalls offer unique treats, including the “Shinkansen Sugoi Katai Ice” (Shinkansen Super Hard Ice Cream). Furthermore, the “Yaesu Lantern Walk”—a collaborative rental project with Tokyo Midtown Yaesu—introduces an interactive element this year; the color of the rented lanterns changes as visitors reach specific checkpoints throughout the venue. Whether you are looking for a casual evening stroll or a moment of respite from the city heat, the Yaesu area offers a multifaceted seasonal experience.

A Fantastical Fireworks Space at Tokyo Station

The venue deck is illuminated by approximately 100 lanterns, each featuring one of three intricate patterns inspired by traditional fireworks. These installations work in tandem to envelop the entire area in a soft, fantastical glow, providing a visual departure from the typical bustle of Tokyo Station.
*All images are for illustrative purposes.

Expanded Projection Mapping: “Yaesu Fireworks”

The “Yaesu Fireworks” projection mapping has been expanded to two locations this year, now including displays on the Grand Staircase. This expansion creates a more dynamic and healing environment, utilizing synchronized imagery and sound production to evoke the feeling of a traditional summer festival—an experience designed to make visitors momentarily forget their city surroundings.

Interactive Installations and Photo Opportunities

Several themed decorations are placed throughout the venue to enhance the atmosphere and provide commemorative photo opportunities:

Wind Chime Bench: A designated area for guests to take a break while listening to the cooling sounds of wind chimes.
Fireworks Ball: Floating, illuminated spheres that mimic the appearance of fireworks in the night sky.
Fireworks Wall: A large-scale installation linked to the event’s key visual, where visitors can engage with “firework-color fortunes.”

Special Culinary Offerings: “Choi-nomi Sets” and “Yoiji Drinks”

From August 28 (Fri) to September 6 (Sun), four select stores on the 2nd floor of “Gransta Yaesu” (the restaurant area of GranRoof Garden) will offer exclusive takeout menus. These include three “Choi-nomi” (light drink) value sets pairing recommended beers with appetizers, as well as two new soft drink additions for this year.

Hitachino Brewing Tokyo Yaesu: Hitachino Nest Beer White Ale [Regular Size] & Mixed Nuts with Shichimi Brown Sugar Flavor — 1,000 yen (tax included)
VOLPUTAS OLIVEOIL DINING TOKYO: Tokyo Craft Draft Beer & French Fries — 950 yen (tax included)
Osteria IL VIAGGIO: Kirin Heartland (Draft Beer) & Inca no Mezame Potato Frites — 1,265 yen (tax included)
feb’s coffee &TOKYO scone: Peach Fireworks Soda (800 yen / tax included) or Melon Cream Soda (850 yen / tax included)

Weekend Nighttime Stalls: “Yatai Yoiji”

Operating exclusively on Fridays, Saturdays, and Sundays, the “Yatai Yoiji” stalls provide a curated selection of drinks and snacks. A highlight of these stalls is the “Shinkansen Sugoi Katai Ice,” a premium vanilla ice cream made with Hokkaido fresh cream. This treat is identical in both taste and packaging to the famous “hard” ice cream sold onboard Shinkansen trains.

Stall Details:

Dates: August 28, 29, 30 and September 4, 5, 6 (6 days total)
Business Hours: 18:00–20:00
Items: Canned/bottled alcohol, soft drinks, and Shinkansen snacks
Operator: JR East Service Creation Co., Ltd.

The “Yaesu Lantern Walk” Collaboration

In a joint effort between Tokyo Station, Tokyo Midtown Yaesu, and Yaechika, the “Yaesu Lantern Walk” invites visitors to explore the neighborhood with a free rental handheld lantern. This project bridges the “Yoiji Toro” event and the “Yaesu Night Market” held at Tokyo Midtown Yaesu.

This year, the walk features an interactive update: as you visit five checkpoints across three different facilities, the light color of your lantern will change. Those who can correctly identify all five colors upon reaching the goal may participate in a lottery to win a gift certificate set valued at 1,500 yen.

Rental Information:

Dates: August 28, 29, 30 and September 4, 5, 6 (6 days total)
Time: 17:00–20:30 (Final return: 21:00). *Note: On September 6, the event ends at 20:00 (Final return 19:30).
Reception: JR Tokyo Station GranRoof 2F GranRoof Garden and Tokyo Midtown Yaesu 1F Atrium
Participation Fee: Free

For further details, please consult the official website.

Basic Info

Location / Nearest Station
Tokyo Station (JR East)
Tokyo Station
Address
〒100-0005
1 Marunouchi, Chiyoda-ku, Tokyo
MAP
Venue
JR Tokyo Station Yaesu Exit (outside ticket gates) GranRoof 2nd Floor “GranRoof Garden”
Period
2026/08/28 (Fri) ～ 2026/09/06 (Sun)
Time
Lighting time: 17:00–23:00
*Projection mapping display time: 18:00–23:00
Fees/Costs
Free (Food and drink costs apply separately for “Choi-nomi Set,” “Yoiji Drink,” and “Yatai—Yoiji—”)
Other URL
Tokyo Station City

*Posted content may be subject to change. Please check the official website of the venue or organizer for the latest information.
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What is Yoiji Toro?

Yoiji Toro is a summer evening event around Tokyo Station built around traditional Japanese paper lanterns. The name combines yoiji, the relaxed early-evening hours of a summer night, and toro, the classic Japanese lantern. It is a straightforward name for a straightforward event: a set of illuminated lanterns placed in a public space, with food and projection-mapping added around them.

In 2026, the event will place 100 illuminated lanterns on the Yaesu side of Tokyo Station. The station plaza will be the main venue, and the lanterns will define the walking route through it. The program also includes a larger projection-mapping display with fireworks imagery along the Yaesu skyline and a group of summer food stalls. Together, these elements make the event less a single exhibit and more an evening program: visitors can look at the lanterns, watch the skyline projection, and eat at the stalls without treating any one part as the main attraction.

August 31, 2026

Seoul Upcycling Festival 2026: Discover Sustainable Living Through Hands-On Eco-Experiences in Seongdong-gu

Upcycling Festival

The Upcycling Festival is an environmental culture festival held with the aim of spreading the culture of resource circulation and upcycling. It takes place over three days in early September in Seongdong-gu, Seoul, and brings together upcycling companies, organizations, creators, and citizens in a single space. The festival is designed to inform visitors about the value of upcycling and sustainable lifestyles while building a shared consensus on resource circulation—through experiences, exhibitions, performances, and participation programs rather than passive viewership.

The event is structured as a complex cultural festival open to anyone regardless of age or social class. Its contents include an upcycling market, repair programs, hands-on experiences, exhibitions, performances, and picnic spaces. That breadth is part of what sets it apart from a conventional eco-fair or flea market: it combines the commercial energy of a market with the participatory nature of a workshop, the showcase function of an exhibition, and the atmosphere of a street festival. For visitors, the appeal lies in doing as much as seeing—repairing a broken item, bidding in an auction, joining a competition, or settling into a picnic space while performances go on around them.

Another distinguishing feature is the festival’s commitment to applying eco-friendly methods to its own operation. It aims to implement a sustainable festival model, meaning the event is organized to practice the resource circulation it promotes.

Program Highlights

Opening Ceremony

The festival begins with an opening ceremony featuring guest greetings, citizen events, and stage performances. It functions as a formal start to the three-day program and a welcome to visitors.

Contest

A central component of the festival is the upcycle contest, which includes an awards ceremony and an exhibition of the entries. The contest gives creators and citizens a platform to showcase what can be made from discarded materials, and it gives visitors a chance to see the range of ideas that upcycling can produce.

Citizen Participation Programs

This set of programs is where the festival’s participatory character is most visible:

Upcycle Competition — a hands-on competition in which participants create upcycled works.
Refresh Auction — an auction featuring refreshed, upcycled items.
Upcycling Special Tour — a guided tour centered on upcycling and the festival’s key spaces.
Open Studio — a program that opens up the workspaces of upcycling creators to visitors.
Toy Resource Circulation Experience Zone — a dedicated zone where toys are the focus of exchange, repair, and upcycling activities, offering a family-friendly entry point into resource circulation.

Upcycling Market

The market portion of the festival is organized into distinct zones:

Repair zone — where visitors can bring items to be repaired instead of discarding them.
Children’s market — a market zone for children, introducing younger visitors to the idea of exchange and reuse.
Sales & experience zone — booths offering upcycled goods alongside hands-on activities.
F&B — food and beverage stalls, providing refreshment within the festival grounds.
Seoul Zero Market — a section focused on zero-waste products and practices, in line with the festival’s resource circulation mission.

Side Events

Beyond the main programs, the festival includes a range of lighter, ongoing activities:

Upcycling Mission Run — a run with upcycling-themed missions.
Playground — a space for rest and play, suitable for families and children.
Stage performances & busking — live music and street performances throughout the festival.
Ongoing events — continuous activities that visitors can join at any point during the day.

Visitor Information

🗓️ Date: 2026.09.04 ~ 2026.09.06

📍 Address: 49 Jadongchasijang-gil, Seongdong-gu, Seoul (Yongdap-dong)

🛏️ Accommodations near the event

💰 Fee: Free

📞 Inquiry: 070-4289-5542

⭐️ Instagram: https://www.instagram.com/seoulupcycling/

🖥️ Website: https://www.seoulup.or.kr/

Upcycling is the practice of turning discarded materials, old objects, or waste into something useful, often with more value than the original. Recycling breaks materials down to create new products, usually of similar or lesser quality. Upcycling keeps the core form of the item intact. An old wooden pallet can become a bookshelf; worn-out jeans can become a tote bag; glass bottles can become lamps.

This approach reduces waste and limits the demand for new materials. It also avoids some of the energy and processing that recycling and manufacturing require. Because upcycling is hands-on, it offers a direct way for people to engage with the objects they use, rather than treating them as disposable.

In Seongdong-gu, residents and visitors can take part in upcycling activities. These programs are practical: participants bring in items that would otherwise be thrown away and learn how to repair or repurpose them. The result is less waste going to landfills and a clearer sense of how everyday objects can be reused.

August 30, 2026

2026 Chungju National Heritage Night Crawl: Experience the Magic of Joseon Dynasty Culture and Night Tourism

Chungju National Heritage Night Crawl

The 2026 Chungju National Heritage Night Crawl will be held for three days, from September 4 to September 6, 2026, in the area of Chungju Gwan-a Park (21 Gwan-a 1-gil, Chungju-si). The event was planned to convey the historical value of Chungju and revitalize the local economy of the original downtown area by reinterpreting the status of the past Jungwon-gyeong and the symbolism of the Chungcheong Gam-yeong (Provincial Governor’s Office) of the Joseon Dynasty in connection with cultural heritage sites such as Cheongnyeongheon and Jegeumdang in Gwan-a Park.

The festival consists of a variety of programs under eight nighttime themes (8 Ya): Night View (Yagyeong), Night Road (Yaro), Night History (Yasa), Night Painting (Yahwa), Night Story (Yaseol), Night Food (Yashik), Night Stay (Yasuk), and Night Market (Yashi). Within the night view of Gwan-a Park colored by night lights, historical street explorations and various cultural heritage experience activities take place. Meetings with artisans, courtyard plays, and traditional performances using historical figures and folk tales are operated throughout the venue. In addition, a food zone recreating the old marketplace, a free market featuring local craft artists, and programs linked with local accommodations and commercial districts come together to provide visitors with the beauty of Jungwon culture and the unique pleasure of nighttime tourism.

Main Programs: 8 Ya (Night) Programs

Night View (Yagyeong): Light of Jungwon Culture, Story of Chungju Sago, Jungwon Culture Rubbing Exhibition
Night Road (Yaro): Stamp Tour following history, Road of Jungwon History, Rickshaw Street, Goguryeo Monument rubbing experience, Traditional game experience, Cultural heritage lantern making
Night History (Yasa): Meeting with a potter, Meeting with a blacksmith, Taekkyeon children’s creative play
Night Painting (Yahwa): On-the-spot portraits by Joseon painters
Night Story (Yaseol): National Heritage courtyard play, Recreation of old Taekkyeon ring, Jungwon Concert, Jungwon history lecture
Night Food (Yashik): Mokgye Market
Night Stay (Yasuk): Night of the Eupseong (Fortress)
Night Market (Yashi): Recycling market, Free market

Side Programs

National heritage demonstrations and experiences, Stamp tour, various performances, experience, and exhibition programs are available alongside the main lineup.

Consumer Participation Programs

Visitors can take part in the food market and the free market, adding a direct, hands-on element to the event.

Visitor Information

📍 Address: 21 Gwan-a 1-gil, Chungju-si, Chungcheongbuk-do (Seongnae-dong)

🛏️ Accommodations near the event

💰 Fee: Free

📞 Inquiry: 043-723-1350

The Joseon Dynasty

The Joseon Dynasty ruled Korea from 1392 to 1897. It began when General Yi Seong-gye took power and established the capital at Hanyang, now Seoul. The new state adopted neo-Confucianism as its governing ideology, which shaped its legal codes, bureaucratic examinations, and expectations for family life. For over five centuries, Joseon was a centralized kingdom with a hereditary monarch, a scholar-official class, and a social order based on rank and duty.

Joseon produced a substantial body of technical and artistic work. King Sejong and his scholars introduced Hangul in the 15th century to improve literacy. The dynasty also developed movable metal type, astronomical instruments, and rain gauges. In the visual arts, Joseon is known for its white porcelain, ink paintings, and scholarly calligraphy. Palaces such as Gyeongbokgung and Changdeokgung, royal tombs, and traditional wooden houses remain as notable examples of its architecture.

The dynasty’s institutions had a long afterlife. Its administrative and legal traditions persisted in modified forms after 1897, when Joseon became the Korean Empire, and through the following decades of Japanese rule. Today, scholars continue to study Joseon’s records, including the Annals of the Joseon Dynasty, which were compiled by historians who were required to record events independently. The heritage sites associated with the dynasty are maintained as public resources.

In 2026, the Chungju National Heritage Night Crawl will offer evening access to historic sites in Chungju, a city with several landmarks from the Joseon period. It is a chance to see the buildings and grounds without daytime crowds. The event is organized around the city’s existing heritage and requires no added spectacle.

August 30, 2026

Pyeongchang Hyoseok Cultural Festival 2026: Complete Guide to Korea’s Premier Literary Festival with Free Buckwheat Flower Experiences

Pyeongchang Hyoseok Cultural Festival

🗓️ 2026.09.04 ~ 2026.09.13

*The following festival details are from the previous year (2025); the details for the 2026 festival are currently being updated.*

The Pyeongchang Hyoseok Cultural Festival transforms Bongpyeong Market—the very setting of “When Buckwheat Flowers Bloom,” Lee Hyo-seok’s masterpiece and one of Korean literature’s most celebrated short stories—into a living canvas where literature meets landscape. Visitors arrive as white buckwheat flowers blanket the surrounding countryside in a spectacle that resembles salt scattered across the fields.

The festival operates on two distinct rhythms. The cultural arts courtyard occupies the market itself, offering temporary escape from daily exhaustion through performances, rustic market fare, and the unhurried atmosphere of rural commerce. Here, the visual texture matters as much as the programming: weathered storefronts, the generous cadence of elderly vendors negotiating in thick Gangwon dialect, the satisfying weight of utilitarian goods changing hands. The Heungjeongcheon relaxation area provides the second rhythm—a quieter space for visitors to set down accumulated fatigue and sketch provisional hopes for days ahead.

Main Programs

Madanggeuk (Traditional Outdoor Play) Performance
A theatrical adaptation of “When Buckwheat Flowers Bloom” performed in the open-air tradition, allowing the story to breathe in the same air where its narrative unfolds.

46th National Hyoseok Writing Contest
Nearly half a century of continuity anchors this literary competition, drawing participants from across Korea to engage with Lee Hyo-seok’s stylistic legacy.

3rd Pyeongchang Buckwheat Flower Song Festival
A relatively young addition that sets original lyrics against the festival’s signature visual motif.

Lee Hyo-seok Literary Forum
Scholarly and public discourse examining the author’s continued relevance in contemporary Korean letters.

Lee Hyo-seok Literary Award Ceremony
Recognition of contemporary writers working in the lyrical realist tradition.

Open Radio Broadcast
Live programming from festival grounds, extending the event’s reach beyond physical attendance.

Side Programs

Local performance groups contribute programmed entertainment throughout the festival run.

Four competition programs distribute prize money across distinct skills:

Competition	Discipline
Poetry Writing Contest	Verse composition
Acrostic Poem Contest	Constrained-form poetry
Handwriting Contest	Penmanship
Photography Contest	Visual documentation

Consumer Participation Programs

The festival emphasizes tactile, embodied engagement with both the literary source material and the agricultural landscape that shaped it.

Into the Novel on the Literary Train~
A curated transit experience connecting transportation to narrative immersion.

Enjoying the Festival with a Stamp Book
Structured exploration through collectible confirmation of program attendance.

Musical Journey with DJ Choi Yong-jin
Request-based programming where visitors submit personal stories for musical interpretation.

Find the Golden Buckwheat!
A search activity with substantial stakes—the first-place recipient earns a pure gold award plaque.

Fire-Gazing Experience
Complimentary participation in the traditional Korean practice of musang (fire viewing), a contemplative evening activity.

Wish Ball Experience
Visitors inscribe aspirations on buoyant spheres for release onto water.

Small Zoo Experience and Viewing
Agricultural-animal encounter programming scaled for accessibility.

Donkey and Horse Riding Experience and Viewing
Equestrian activities including both mounted participation and observation.

Practical Information

📍 Address: 157 Leehyoseok-gil, Bongpyeong-myeon, Pyeongchang-gun, Gangwon-do

🛏️ Accommodation near the event

💰 Admission: Free

📞 Inquiry: 033-335-2323

🖥️ Website: https://www.hyoseok.com/

Free shuttle bus operates from Pyeongchang Station to the festival grounds throughout the event period—recommended given limited parking in the historic market district.

Lee Hyoseok

Lee Hyoseok (1907–1942) was a Korean modernist writer whose short life yielded concentrated work of unusual lyrical precision. Born in Bongpyeong, a village in Gangwon Province’s mountain valleys, he drew subjects and settings from the rural landscape he knew intimately.

Writing through the 1930s, Lee produced fiction distinguished by close attention to sensory experience—particularly his evocation of nature—and by his direct treatment of poverty among peasants and struggling intellectuals during the Japanese colonial period. He was associated with the Groupe of Nine, a Seoul-based collective of modernist writers, and published regularly in the period’s major literary journals.

His 1936 story When the Buckwheat Blooms (Memilkkot pil muryeop) remains his most widely read work. The narrative follows a traveling peddler who meets a woman in a buckwheat field at dusk, then moves through an extended reflection on memory and impermanence. Its opening description of moonlit buckwheat flowers as “piles of snow” established a durable association between the flower and Lee’s particular sensibility.

Other significant works include The Ocean (Hae, 1933), about coastal village life, and A Morning at P’och’on (P’och’on-ui achim, 1939), written near the end of his life. His prose combined rhythmic structures from traditional Korean poetry with techniques for rendering psychological interiority; this hybrid approach influenced later Korean fiction.

The Bongpyeong valley retains tangible connections to his writing. Since his death, the annual blooming of buckwheat there has drawn readers who approach the landscape as something between documentation and continuation of his work—seasonal proof that his descriptions still correspond to observable phenomena.

August 30, 2026

2026 Jikji Cultural Festival Cheongju: World’s Oldest Metal-Printed Book Comes Alive with Hands-On Experiences, Escape Rooms & AI Calligraphy

Jikji Cultural Festival

🗓️ 2026.09.04 ~ 2026.09.06

The 2026 Jikji Cultural Festival returns to Cheongju with a program designed to make one of humanity’s most important printing artifacts feel immediate and accessible rather than distant and academic. At its core sits Jikji, the world’s oldest surviving metal-printed book—predating Gutenberg by seven decades—which UNESCO recognized as a Memory of the World in 2001. The festival uses this credential not as a static honor, but as a living foundation for exploring how knowledge spreads, how technology evolves, and how a single artifact can embody both.

This year’s theme, “Jikji, Opening the Door of Time,” deliberately collapses the distance between 1377 and 2026. The date is fixed to September 4th, when Jikji officially entered UNESCO’s register, and the programming reflects an assumption that historical value deepens through direct engagement rather than passive observation.

What You Can Actually Do

The festival organizes around five tracks, ranging from formal ceremony to casual wandering:

1. Official Events

The Opening Ceremony and UNESCO Jikji Prize Award Ceremony anchor the schedule with institutional weight, followed by celebratory performances that translate the formal into something watchable.

2. Exhibition Events

Special exhibition on records before paper— clay, stone, bamboo, and other surfaces humans used before woodblock and metal type
Jikji facsimile and digital book Jikji— physical and screen-based presentations of the original
Exhibition of Jikji Korean translation— the text made legible to modern readers
Winning works of “One Person One Book Publishing”— contemporary self-publishing in conversation with the first
Exhibition of press releases related to metal type— documentary evidence of how Jikji entered global consciousness
Geumdang-yagyeong exhibition— paintings of Buddhist temple landscapes
Permanent museum exhibition— the host venue’s standing collection

3. Experience Events

This is where the festival distinguishes itself from a standard museum visit:

Citizen-participatory content media wall— your contributions become part of the display
Room escape game themed on Jikji and metal type— puzzle-solving through historical knowledge
Demonstration of Eastern and Western metal type casting— side-by-side technical comparison
Four Treasures of the Study experience with artisans— brush, ink, paper, and inkstone handled under guidance
Jikji Golden Bell competition— presumably a quiz format (the Korean “Golden Bell” reference)
My own AI calligraphy experience— machine learning generating your written name or phrase in historical style
Making the light of my heart lanterns— handcrafted takeaways
Singing bowls— acoustic meditation
Topdoli (circumambulating the pagoda) experience— walking meditation in Buddhist practice

4. Performances and Lectures

Jikji-related cosplay competition— historical or literary costume interpretation
Jikji Concert— hybrid format combining lecture with singer performance
Citizen content contest and busking performances— open participation
Jikji-related performance works— theater, dance, or music explicitly engaging the text

5. Side Events

Free market
Food trucks
Promotional booths
Photo zones (trick art, etc.)
Jikji promotional fam tour inviting diplomatic missions to Korea— international presence deliberately cultivated

Practical Information


📍 Address	713 Jikji-daero, Heungdeok-gu, Cheongju-si, Chungcheongbuk-do (Uncheon-dong)
🛏️ Accommodation near the event
💰 Fee	Free
📞 Inquiry	043-201-3666
⭐️ Instagram	https://www.instagram.com/jikjifestival_official/
🖥️ Homepage	https://jikjifestival.com/

Why This Matters Now

Cheongju has something most heritage sites do not: a genuine claim to a technological first that was subsequently forgotten, then rediscovered, then globally validated. The metal type used for Jikji represents a path not taken—East Asian printing developed along woodblock lines until the nineteenth century, despite this earlier breakthrough. The festival does not resolve this historical paradox so much as stage it: you can watch Eastern and Western casting demonstrations, compare their outputs, and recognize that “progress” is neither linear nor guaranteed.

For visitors, the value lies in compressed access. In three days, you can handle replica materials, watch master artisans, participate in a competition, attend a concert-lecture, and eat from a food truck—none of which requires prior expertise. The free admission removes the typical museum barrier where cost shapes who enters. The room escape game and AI calligraphy specifically target visitors who might otherwise skip a “cultural festival” as too sedate.

What separates this from other Korean regional festivals is the specificity of its anchor object. Jikji is not interchangeable with generic “traditional culture.” It is a single, datable, locatable artifact with documented provenance and contested ownership—the original sits in Paris, and Cheongju’s relationship to it remains complicated. The festival does not avoid this; the “press releases related to metal type” exhibition implicitly traces how Jikji became known, debated, and finally celebrated.

What is Jikji?

Jikji is the world’s oldest surviving book printed with movable metal type, predating Europe’s Gutenberg Bible by approximately 78 years. Created in 1377 at Heungdeok Temple in Cheongju, Korea, this Buddhist text was compiled by the monk Baegun to distill the essential teachings of Zen Buddhism’s most revered masters. The original surviving volume, containing the second volume of the two-part work, is housed at the National Library of France in Paris, while Cheongju remains the spiritual and historical home of this achievement.

The book reveals several interconnected developments worth examining. The technology itself—casting individual metal characters, arranging them into pages, then distributing them for reuse—required sophisticated metallurgy and systematic organization. The choice of content matters too: Baegun selected commentaries on Zen practice rather than scripture itself, suggesting an audience of practitioners seeking guidance rather than mere doctrinal preservation. The preservation of only the second volume in France meanwhile traces a path through colonial history that continues to shape discussions about cultural heritage and repatriation.

Understanding Jikji requires moving past the instinct to claim priority or national distinction. The movable type technology developed independently in Korea and later in Europe; neither instance diminishes the other. What survives in Paris allows us to examine specific material details—the alloy composition, the wear patterns on certain characters, the consistent imperfections that indicate production at scale. These particulars offer more insight than any narrative of revolutionary transformation. The book records a moment when Korean artisans solved practical problems of casting, composition, and duplication, embedding those solutions in an object that has outlasted the specific religious community that produced it.