This chapter is more or less a conclusion of all the foregoing chapters: it shows how we humans are storytellers and convey meaning, values, experiences and insights by storytelling. And that is what constitutions actually are: stories of how we best relate to one another in political societies, and how we should behave (stories about morality, justice and the law). Through constitutions we communicate and establish paths for (optimal) human cooperation, in credible, convincing, even compelling ways - packed together with methods (instruments) for reaffirmation.

Chapter 2 presents a history of popular storytelling in the Kamigata/Kansai region, with discussion of important figures and translations of early stories. As one willl see, Kyoto and Osaka storytellers developed an art with distinct characteristics, and this can be connected to the fact that, for a significant part of its history, the art was performed outdoors. Kamigata storytelling has virtually always been inclusive and open to the public. Countless amateurs took part in Osaka storytelling circles; in fact, participation was regularly solicited. Consequently, storytelling there has always been tied to the masses. It was arguably this special bond that helped a small number of rakugoka steer the art out of some of its darkest hours before, during, and immediately after World War II. Kamigata rakugo still operates at ground level and retains traditional elements. Tokyo rakugoka had a hard time after the war, but, unlike the case in Osaka, yose were quickly rebuilt in the capital. Kamigata rakugoka did not have a permanent ‘home’ until 2006, when the Tenma Tenjin Hanjōtei opened its doors. In spite of this, the art flourishes today.