Chupa Chups

It is Sports week here in Visual Anthropology and that means that I will be sharing with you the oh so sporty things I do. After skimming the posts of my fellow classmates, I was a bit discouraged by the statistics Melissa posted from What Japan Thinks on her blog. There was not a single mention of Tennis. I have played the game seriously since High School, and I took some lessons as a kid. Now a days, I just play whenever the opportunity presents itself.
At Gaidai I am in one of the tennis circles, Chupa Chups. Quite an interesting name don't you think? The name is in honor of lollipops, because all of the circle's members have personalities as various as Chupa Chups has flavors. There is the largest concentration of international exchange students in Chupa Chups, making this statement a valid one. My personal count of ryugakkusei in the circle is up to five (including myself). One reason for this could be the relative closeness of the tennis courts to the seminar houses. The courts are not only close to seminar house, but close to Gaidai as well. Apart from the courts on campus, this circle has the next closest meeting ground, a key point for recruiting new members.
Speaking of circles, clubs, and new members, that is just what has been going on around campus for the past couple of weeks. With the new semester starting up, clubs are eager to grab as many members as possible (especially 1st year students). Trying to be an active member of the group, I devoted some of my time to this recruitment process. Occupying the central spaces of campus, many groups have been setting up their tables religiously. There are an intimidating amount of clubs/circles as well as people with signs, confronting total strangers about their interests. Clubs and circles are so important to academic institutions that here at Gaidai there is a building devoted to hosting these groups. Before coming to Japan, I had never seen such support for extracurricular activities.

Having just seen the video in class about High School Base Ball in Japan, I can see why the significance of sports is attached to academia's hip. Thanks to years of watching anime, and Japanese anthro. classes, I know that starting in Jr. High School clubs establish important Sempai/Kouhai relationships. A sense of responsibility and teamwork is created, preparing the individual for any social circumstance. In high school tennis teams especially, many new members will just end up being ball fetchers. This is a major con that can drive people away from the sport. Thankfully though, the circles and clubs are more relaxed.
What I find to be a big hindrance to the popularity of tennis in Japan is the issue of playing space. It is no mystery why this is a major problem, Japan is a densely populated country. With there being very few public courts, the average Taro can't even get his game on. Unless presented with the opportunity at a school's club/circle, or the work place, one might never get to play tennis in their lifetime. The first public court that I've seen here, happened to be in Osaka. I have yet to find any in Hirakata, although I haven't really given this search much effort. I've mostly been getting my fix in some very sandy courts with Chupa Chups members.
The fact that I rely on circle activities to play tennis presents another interesting point. I feel that Japan relies too much on its schools and universities to provide the necessary space for recreational sports. The problem at hand is that these places are very difficult bubbles for outsiders to penetrate. Even at my home university there are issues I encounter with court usage. Although my university has some nicely renovated courts, they are strictly reserved for the tennis team and club. For recreational use there were one too many times that my friends and I were required to scale a twelve foot fence.
In my opinion it is the focus of one's career that gets in the way of recreational sports. I have been told that even some seniors members will drop out of their clubs to focus on entrance exams, and finding work. With base ball dominating the popularity scene of any other sport in Japan, I have only had the pleasure of seeing Komatsu's company base ball league. I would assume that this trend is followed in many other places of work too. Perhaps basket ball is a good winter sport too, but that is just a guess. Tennis does not build teamwork quite as well as the aforementioned sports do, and any work place needs good teamwork. Japan is quite keen on the concept; there need not be any "nails that stick out", the ideal sport is one where collective efforts pay off. Therefore, tennis is losing in a national popularity contest.

Doraemonarchy?

Japan is indeed a country full of aesthetics,even the word Geisha means artisan. Despite this though, Japanese art and entertainment mostly flashes images of Anime and Manga in my brain. One image that sticks out in particular is a blue robotic cat with no ears. I think that most people reading this post know who I am talking about: Doraemon. If you don't know this character, you will soon be very well acquainted, overqualified, and inundated with Doraemoknowledge. (how many bad puns can one name spawn?) All ridiculousness aside (mine and Doraemon's), this "fugly" blue figure has recently become the official "Anime Ambassador of Japan". How could a cartoon character possible accomplish such a difficult job though? The answer is quite simple actually: Doraemon's face can be found in every single city, prefecture, and town in Japan. Therefore he can be everywhere at once, something a physical representative could never achieve. He doesn't even need to use his "Dokodemo" door ((the "where ever door" (it is shown on the Doraemon homepage)), a tool he uses to bring people and children alike to their most desired places.
As I have learned (twice now) in the Genki II book, chapter 16: "Doraemon is a robot cat from the future. He came to help the weakling Nobita-kun with all the various tools from the future that he keeps in his fourth dimensional pocket. Doraemon is on the kids side, kind, fair, and always willing to help." As I have read on this site, Doraemon can be easily compared to "Mickey Mouse in the U.S. (but a lot less annoying)." Started in 1969 by " Fujiko F. Fujio (the pen name of Hiroshi Fujimoto)," Doraemon is a very nostalgic, positive figure to the current "Adult" (people between the ages of 20 and 40) population of Japan. Ergo, a perfect candidate to elect as the anime equivilent of "Big Brother". Now Doraemon can (legally) watch you while we watch him! Quite a disturbing notion, at least everyone knows that he isn't real (or is he>?).
Recently Japan has been pulling its art and entertainment (primarily: manga and anime) out of the dark and exposing it to the world. It is a true phenomenon, enough to spark such a publicity stunt as appointing a cartoon character some made up government job. That's really all it is (a publicity stunt), and it was done to draw in tourism as well as revive interest in the market of Doraemon paraphernalia. Once something is "official" or "commemorated" by the Government, some people can't help but abuse their wallets in the name of said object. Just like any other greeting card holiday, "it's all about the Sōseki's"(doesn't quite have the ring of Benjamin's, nor equivocate in monetary value). Don't you just feel the need to be waken up by THIS---> Doraemon alarm clock? No?
Actually, one of my first lost and found memories of Japanese culture happens to involve a Doraemon alarm clock. I was maybe eleven, and one of my friend's father bought him a singing, dancing, doll like Doraemon clock. I thought it was very funny, as well as Japan. The udder unavoidability of this cartoon persona is remarkable. Doraemon really was one of my first impressions of Japan, so I guess there is some validity to his appointment of "Ambassador" status. (However weird he may be)
For a while in March, one could see his face plastered on a Bilboard from any Demachiyanagi bound Keihan train. I regrettably have no documentation of said bilboard, but I have had many other encounters with ROBO-cat.
In particularly my favorite encounter was at a Doujinshi festival that I attended on a field trip for professor Hester's Culture and Everyday Life class. As one can see from the image, this manga is not your typical Doraemon story. In fact it has several fan-stories inside, all very comical, all very awesome.
The style that the books cover image is imitating is that of Fist of the North Star, another anime/manga of Japan. The sheer parody of this manga was well alone worth the shiny golden 500 yen coin that I gave to the ecstatic dealer (she was kind enough to give me another book with my purchase too). Sometimes I show it to my Japanese friends and it never fails to get a laugh. It would be like seeing and image of Mickey Mouse drawn in the likeness of RAMBO. Sheer comedic genius. On you tube as well, I have seen some videos that feature this art style. I think it is Quite the Phenomenon. No matter how art styles may change though, Doraemon will always have no ears.

Looking for Home?

Lets talk religions in Japan! That's one thing out of the past few week that I can give any sound information and opinion on. Despite more than half of the population having no particular religious affiliation, instances of religion can be seen in every Keihan line train-car. Japan has deep Shinto and Buddhist roots, therefore there are many representations of this in society. I however do not wish to discuss these religions particularly. I am much more interested in those newer, shiny religions. According to the CIA (World Fact Book:Japan), some 16% of Japanese residents belong to these religions.
These "other" religions I chose are mostly based on, accessibility, and knowledge. Since Kenny-sensei's Japanese religion class recently went on a field trip to Tenri (the birthplace of Tenrikyo as well as all of humanity) I have plenty of thoughts on this issue. Before I start disclosing valuable information of this sacred spot, I would also like to mention Soka Gakkai. I have a close friend who happens to be of this faith, and disclosed some facts about it. Besides Shinto, Buddhism, and Tenrikyo, it is the only other religion in Japan I know something about.

Soka Gakkai is essentially a peace loving self empowering religion. Unlike the Jinja and Tera of traditional Japanese religions(even churches), Soka Gakkai believes these to be unnecessary and distracting aspects of worship. For being only 78 years old, Soka Gakkai has a respectable 12 million member estimate. This blows my topic religion out of the water by about 10 million members. This is because of the difference in each one's standard procedure. Soka Gakkai members have the freedom to practice on their own terms, it is less material (hence its Buddhist foundations) and more spiritual. Tenrikyo involves a very specific sacred object and location, limiting its popularity.
Within the confines of the Tenrikyo Headquarters stands a column on the (supposed) creation point of all humanity. In honor of this fact, a popular saying amoung followers use is: "Welcome Home".This site was discovered by a woman (Miki Nakayama) in the 1830's being guided by the spirits. Apparently it was under her house. After the demolishing of her family house, the spot was declared holy. One hundred some odd years later, this structure (to the right) has been built around the spot. Photos are not allowed inside for the sanctity of the pillar. There is no roof above the pillar, fore it is never to be obstructed by a ceiling. This is not the main building however, the building housing the spirit of Miki Nakayama is considered most holy. Everyday there is food brought to the spirit, even the TV is turned on for her. Extreme, but necessary for keeping the faith and receiving benefits.
The point I am trying to get across here is that each religion is treated as a little strange "hen" within Japanese culture. Tenrikyo worships a place with limited members, and Soka Gakkai gains members and power through its accessibility. Both religions are spoken of as "cultish". Knowing what I do now I would say that members of said faiths are just self identifying with what each one has to offer. When I received my initial explanation of each, I was given the impression that they were more like religions in exile. I was told that the town of Tenri was a cult town, and that Soka Gakkai were extremists.
Soka Gakkai does have its own sect within the Japanese Government, and Tenrikyo did rename and (almost) completely occupy Tenri; therefore they are given somewhat of a bad rep by any typical non believer. Not to mention the rumor about our Kansai Gaidai being owned and controlled by Soka Gakkai affiliates. That is just a rumor I've heard though. One of my close friends is a SG follower and she will often leave this fact out when speaking about religion with people who aren't close friends. A Tenrikyo follower is probably just as discreet. Our tour guide even said how most people (while outside of Tenri) refrain from gallivanting about in their ever fashionable Tenrikyo Happi, a uniform that many followers wear (see previous post's second picture). Why should these people have to be embarrassed that they follow a less credible and ancient religion? I feel it is just a lack of knowledge on the Japanese citizen's part, the country is (according to our in class PowerPoint) 53% non-affiliated with religion.

Are Shotengai All That Magical?

Finding something worth repeating is often a very difficult task. Sometimes it can be rich with cultural value, other times it repeated because it always has been. If it performs a meaningful function within society it will be repeated as a tradition. If the action has ceased its usefulness it may still continue as a traditional form of culture. When a tradition is carried on it sometimes loses its reason for existence. As a culture develops traditions tag along, integrating, and adapting to society. Constant revision can lead to an identity crisis or even the death of a tradition. Why continue something that has been out dated for several hundred years? Is it out of respect for religion, ancestors, or the general integrity of culture? Whatever it may be, a tradition is just that: tradition. When I think of tradition I become slightly sad. I'm pretty sure that it has something to do with The Fiddler on the Roof. Thinking about Tevye, his issues with tradition (and a singing Kosher ghetto) is the image I have of tradition. The movie sums it up pretty well, things change but the sun will come out tomorrow (wrong musical?). Anyway, the point of this all is that at the end of the day all people have their own reasons for doing things. Be it a tradition they keep alive or something new, everyone is doing something that contributes to society. Today I have a survivor's story of a dying breed tradition. I would like to share with you, A bit of salvage ethnography.

The Shotengai is one of these survivors, barely. A shotengai is very much a street mall, not a strip mall, or an actual mall. I could be compared to a strip mall for its linearity, multitude, and diminishing popularity. However, it is one structure that I have only encountered in Japan. In a commercial district where cars are outlawed, various shops, restaurants, markets, and parlors line a single or intersecting streets. Some can stretch for upwards of a kilometer, others (smaller ones) could be as small as a four blocks squared. Most shotengai are covered by roof-like structures, giving them a closed in feeling. They have become tradition only through the consumption of goods, and the prosperity of the post war economy.
People have always wanted stuff (regardless of what), and when it is centralized to one area some can not help buying something. Much like the commercial districts of ancient Japan, a shotengai is avenue filled with entertainment, and necessities. Ideally a local merchant would thrive in this area, and perhaps they once did. Nothing in this life is guaranteed though, especially when dealing with goods.
I am not saying that there are no malls (there are), but personally I have encountered more shotengai. I would say that I feel that Japan's dense population has always played a key role in keeping the shotengai around. Since there are continual outlets and (most likely) a train stops nearby, access is easy. Opposed to the isolated confinement of a mall, a shotengai can accommodate foot traffic. Therefore a shotengai holds the greater potential for customers.

This holds true only for big thriving cities though.
Small cities and towns have shotengai, but are quickly losing customers. Much like their cousin the strip mall, the lifespan of said structures is completely dependent on the economy. Flexibility of a shop plays a key role as well. The older the shotengai, the older its owners are, and the less apt the owners are to change their image. When an owner's shop closes, it may remain closed for years. Many shops in Japan also provide a home to their owners on the second story. This is why a shop may not be sold directly after its death. Renting one such an establishment without living there can be even more expensive, hence the many ghost town shotengai's scattered throughout Japan.

I first learned what a shotengai was, through the anime Abenobashi Maho Shotengai (Gainax). This anime portrays Abenobashi Shotengai as one of these ghost towns. It takes place within the Osaka prefecture, making it very easy to relate with the infamous Shin Sekai (Photo)shotengai of Osaka city. Despite Shin Sekai meaning "New World," it is rather old and desolate. In Abenobashi Maho Shotengai two of the adolescents who grew up within its markets and shops, are sucked into an alternate dimension to ultimately discover the true (and oh so magical) history of the Shotengai. The series itself includes many cultural references, while dealing with very real issues that plague all dying shotengai.

For these reasons a shotengai is much like an elephant in your room, he can not be ignored forever. The economy may or may not address these issues. Shotengai may or may not get their second coming (a ShinShinSekai perhaps?). What is true is that shotengai are as much apart of Japanese culture as Sushi. Hell they even have Sushi in shotengai; the versatility of culture that these structures hold is truly vast.

(Desolate Shin-Sekai, Image Copyright: Troutfactorynotebook)

Globalization, what a concept.

Today I will be brief. Lack of sleep, lack of interest, and lack of energy are all bogging me down. Professor, I'm sorry I skipped class today. It was a difficult choice to make because I do enjoy your lectures. Speaking of lectures, tomorrow I will actually get to see one of my UMASS professors give a presentation on the author Uchida Shungiku, in Kyoto. She is also in the anthropology field, doing research in Tokyo this past academic year. I am more excited about that right now than I am globalization in Japan. One must accept their duties though, whether I like it or not.

So, what the hell happened to the Japan that fit in so well with the western ideal of the Orient? Well, it's still there. It's just trapped inside of an "onion,"; as it was so brilliantly cliched in the film: The Japanese Version, a film we viewed on Monday in class. What this means to me is that the current western concept of Japan is that it has multiple layers; I however feel this has become a stereotype no longer applicable to the culture. Therefore, I feel the true answer to this question is trapped within said "onion". With the idea of Globalization in mind, Japan is progressing just as any other country would. I feel as though Japanese citizens have a slightly better understanding of America (this being an age of the internet) than they did in 1991 when Alvarez and Kolker did their film. This does not mean that I think the Japanese have a great understanding of Occident culture, it just means they know a bit more about it than MacDonald's and Elvis.
Addressing Globalization more specifically, the term itself proposes a unified culture around the world. This means there is as little stereotyping as possible. It can never be accomplished, but much like socialism and communism it works better in theory. Anyways, Japan has been acquiring/borrowing the ideas of other cultures ever since she opened up to the rest of the world and saw how much there was to take in. Thus we are left with (in the interest of keeping this stupid joke alive)"tree", not an "onion" . A ring for every year, retaining scars, accommodating new branches, ultimately growing all the more complex. That is as complex as its history, and culture will allow.
In everyday Japan, one can see examples of this everywhere: English is used in a variety of signs and announcements. Not just this "EGO" boom, but a boom of western companies have invaded the land of the rising sun as well. Visually speaking, what I have for you today is not that profound, just interesting. It made me go "huh". Here I present to you the reader, the Japanese version of "Habitat for Humanity". I snapped this shot outside Kyoto the other weekend; they were campaigning for world peace and love. I just like it because they are Japanese hippies. The guy on the far left has adapted to the current western hippy image perfectly. That's Globalization for you (ba-dum-cha, I guess this post really did get the better of me).

Kids, they're cute. Too cute for their own good?

It's debatable, the extent of which a child is cute. Personally I feel Japanese children glow with a light of cuteness that is so intense; it's as if all the other kids of the world are holding candles on the sun. That sounds pretty messy though. Is A-san's child cuter than B-san's, I have no idea. What I do have "some" idea about is when they stop being cute, and become real people. That's right, they become Japanese people! (Which is today's theme) "Why do kids have to grow up?" I have heard people say a thousand times (myself included); well the truth is that we as a race would not progress. Really? Yes. Why? Well, there is an overwhelming truth for children, they are pretty much inept at the mental and physical skills required to function as a member of society. This shocking truth is why kids are cute. It is also why kids cease to be cute at a point in their life. In Japan, it is schooling, society, and mostly self acknowledgement that rips them from the fluffy cradle into the reality that is life. Once the child is given an inkling of responsibility they are no longer inept, they are completing a function within society.

The general timeframe that I believe a child (more specifically infant) can remain cute in Japan is relative to its academic institutions. That is to say the entire span of one's academic career in Japan. Having recently watched a film portraying a Japanese preschool (Joseph Tobin's Preschool in Three Cultures: Japan, China, and the United States) I can safely say that this institution focuses less on academic merit, and more on child development. Most "preschools" can also be considered as daycare centers where working parents can keep their kids for the day, knowing that their kids are learning something (regardless of what that is).

In Preschool in Three Cultures there is a lack of adult interference with the children's social interactions. It is specifically noted and discussed. The answer given for the lack of interaction was: kids need to interact with each other on a peer level, not an adult's level. Their reason being that kids will learn valuable social skills and behaviors more easily, as well as enjoy just being a kid. Segwaying into my next topic, kids can pretty much do what they want (within their limits). Within any demographic, there is no more leeway given than in that of children. "They don't understand that what they are doing is (insert offensive subject material here)." This seems to be acknowledged by society in general, therefore letting kids be rude or rambunctious more often than in other cultures/countries. Why? I believe this has something to do with Amaeru, something Takie Lebra discusses in her article "Dependency". Amaeru, a Japanese concept of dependency, is what society and parents are doing for the children. Essentially sacrificing other's and their own ego's to better the kids. This is perhaps why Japan's image of childcare is so extreme.
As for my picture, this is a child climbing some stone steps that provided to be quite a challenge for her. She smiled so wide at her accomplishment just before this picture was taken. I was merely one of many taking pictures of her. In my opinion this is one of the cutest kids I have ever seen. Note how her mother is letting her walk rather than carry her. This is only reinforcing the principles of Amaeru; the mother is sacrificing time and energy just to let her child conquer some rather difficult steps.

Flash! - Ah-ah, Savior of the Universe!

Well this week I have been given the privilege to post about any old (or new) thing I want. Thank you Professor Fedorowicz. We learned quite a lot in class this week about the Blogging scene as a whole, we even had Garr Reynolds give a presentation on it. After desperately trying to integrate everything I had learned into my two blogs, I had little time to come up with anything amazing this week. Perhaps it is just a bit more quirky than other topics we will explore in this class, but this is the stuff that I am thinking about. I hope you find it as interesting as I do, because at the moment I'm thinking of starting a completely new blog based off of one of my following subjects. This week I present you with GRAFITTI, and HYGENE, in Hirakata. Hey, sounds like fun! It also sounds like a battle between contrasting elements of society. One might say Graffiti sullies a public object, where as someone else might say it breaths artistic life into mundane public objects. The same could be said for cleaning of public space: Cleanliness is godliness, but incessant cleanliness can be a bit too much. Each has its reason, its own pros and cons. Let's get started with the first of the two.
Meet Flash! You may already know him/her from their various tagged locations, in and around Hirakata-shi. Between my roommate and I, Flash is a common name. We often talk of locations we have seen tags, even who we think Flash really is. Since coming to Japan I have quickly learned how to identify a Flash tag, even admire their determination to become well known. Who is Flash really? "Have you seen flash?" Perhaps some select persons know the true identity of our local artist, but the reality is that their fame is not legal. Then why should they be so bold as to self promote their illegal activity? If anything it only increases the chances of getting caught; however that in itself it the answer to the questions. The more bold Flash gets, the more people begin to notice (just as my roommate and I have). It is the perfect marketing strategy, become a well known graffiti artist: become a well known artist. Flash's fame is also the artists Fame. Whether people who know the artist or not, Flash is popular.

Perhaps the best tag I have seen up to date was on the side of a Coke machine outside Gaidai's east gate. It read: "Flash! It Must be tonight!" What ever that meant, that night has since long gone. The tag however, remained there for quite some time. I was lucky enough to see it with my own eyes before it was torn down. Be it a fan or law enforcement that removed "It Must be Tonight!" I do not know. What I do know is that the message was sent to all those with the privilege to have seen it.

In the case that Flash does get caught, I'd assume it would do more good for them than harm. This, I believe, is the M.O. (Modus Operandi) behind Flash's crime. If caught there would be news of this, thus making Flash apart of history and increasing popularity. Though I could not find the sentence for Graffiti in Japan, I'd assume it is a nominal one in comparison to other crimes. After such sentence is served, this could be used for the artist's benefit. It could be the platform needed to land an important job as an artist. Therefore I respect all of what Flash has to offer the world, and find s/he is quite an interesting stranger.



Next on my agenda (and a bit more brief than Flash) is this guy to my right here--------->
This is one of the many respected employees at Kansai Gaidai. He is involved with the custodial duties on and around campus. In this picture one can see that he is raking the leaves. Seems natural enough. The problem is that most of these said leaves have gone elsewhere (most likely in to his colleague’s trash bins). He is at this moment raking the leaves trapped within the Ivy at the Tree's base. "How nice," one might think or "How thorough,” however I think it is a bit excessive and anal. I do not condone this mans actions, but feel he could be put to better use. I have seen this many times around campus before: three women raking the grass into three small piles of leaves, also two men scraping moss out of the grout (and Gaidai has a lot of grout). Therefore have come to the conclusion that Gaidai is either: A) directing its funds into the Anal Retentive Custodial Reformation Act, or B) Hiring too many custodians, leaving a lack of necessary duties to fill a full work day. It is most likely the later, but A) would make for a better argument against Gaidai's usage of its funds.