Friday, May 15, 2009

Final Impressions: Rural vs. Urban Life in Japan

My first real impressions of Japan were formed when I came here for six weeks in the summer of 2005. I did a homestay in the very rural town of Tatsuno in Nagano prefecture. My six weeks there allowed me to gain a very interesting perspective on what Japanese life is like in the countryside, which essentially translated into a more traditional perspective.

This time around, I arrived in September of last year, and have been in living in Hirakata city of Osaka prefecture for the last eight and a half months: four months doing a homestay and four months in one of the international seminar houses. Although Hirakata isn`t exactly the most urban of all cities, it is still relatively large, with around 400,000 people, and is located relatively close to the major cities of Osaka, Kyoto, and Kobe, which I frequently visited. During these last eight and a half months, I have gained a much different perspective than the one I did in 2005, as it has been from a much more urban perspective, and by extension, more modern outlook.


So, overall my changing impressions of Japan during this school year have resulted from comparing and contrasting the various differences which exist between rural and urban Japanese life.

One of the first major differences I noticed was the difference between extended families in the countryside and nuclear families in the city. When I did my homestay in Tatsuno, I lived with family which consisted of three generations all living under one roof. The dad worked full time as a salaryman, the mom worked part time as a cook at the local elementary school and was also a full time housewife, and the grandmother would help with all of the household chores like cleaning, ironing, etc. Apart from the grandfather, who wasn't in good enough health to really contribute, the house functioned in a perfect harmonious unit - everyone pitched in and performed their prescribed role down to the dot. It also wasn't uncommon for other extended family members - aunts and uncles, nieces and nephews, etc. - to drop by the house and say hi and hang out for a little while. The sense of familial collectivism was extremely strong, which fit into my preexisting schema I had of what a typical Japanese family was like.

This schema I had regarding what Japanese families are typically like went completely out the window last semester when I did a homestay here in Hirakata. My host family consisted of a divorced mom who works full time as a nurse, 8 and 10 year old boys, and a boyfriend who lives and works in Fukuoka (meaning he only visited once every couple months...). Despite the fact that my host mom's parents and sister live in Hirakata, a mere 5 minute drive away, I only met with them twice - once to just drop off the kids there to be babysat, and once when my host mom's friend was here visiting from Australia (this time we actually went inside for about 15 minutes and chatted a bit). I was quite surprised that there was such a minimal amount of interaction between the two generations in the family. And I don't think this was an exception to the rule - after talking with friends who also did homestays, the majority of whom said that the grandparents lived somewhere else. This changed my impression of Japan being a country in which the extended family and familial collectivism prevails, and seemed to attest to the fact that in the more urban parts of Japan the idea of the nuclear family, which is much more of a western concept, seems to have firmly taken root.

When I lived in Tatsuno, there seemed to be an extremely strong sense of community in general. People knew who their neighbors were, and would frequently chat with them. People seemed to look out for one another in general, which I found to be escpecially exhibited within the context of school. If someone was having trouble with something in the classroom, everyone was there to help them out and try and bring them to the same level as everyone else in the class. Overall, group mentality seemed to manifest itself everywhere, weather it was within the context of family, school, or community.

During my time here in Osaka, I have found the opposite ideal of individualism to be widespread, as exhibited through the characteristics of general anonymity, apathy, and indifference. I can only recall one time in which my host mom actually talked to one of the two neighbors, which took place when they both happened to be hanging up laundry on the balcony at the same time. The conversation seemed to be much more forced out of a desire to escape awkwardness than a genuine desire to be a part of the life of the person who lives in the same community as them so to speak. I have also seen the apathy and indifference exhibited in train stations late at night, where there will be someone who looks like they are either piss-drunk or really badly injured lying on the floor looking desperate for help, sometimes sitting in a puddle of their own vomit, but everyone simply averts their eyes and chooses to ignore them (which is apparently not uncommon, for a video clip showing a situation like this from Professor Fedorowicz, click here).


So, all in all my impressions of Japan did change a significant amount over the course of this last year. I came to realize that there is a considerable divergence between the way people in the countryside live and the way the people in larger cities live, and that my impressions of Japan which were formed in 2005 really only presented half of the picture of what the "real" Japan is actually like. I realized that generally collectivism and group mentality is much stronger in the countryside, and that it often takes the back seat in more urban areas, which I think results from the overall anonymity which is created in urban atmospheres. This does not go to say that one is overall better than the other, rather it is simply something I have observed which has changed my overall impressions of Japan.





Tuesday, May 12, 2009

The Politics of Pachinko

In the documentary Japanland we watched in class this week, there was a section about Japan's famous pachinko industry which stimulated my interest and made me want to learn more about it. In Japan, an interesting system is employed in order for pachinko to legally not be classified as gambling, despite the fact that by any measurable definition it really is (for an explanation, click here and scroll down to the 17th paragraph, which starts with "over the course of the day"). Like prostitution in Japan, it is one of those vice industries that on paper is illegal (although in very unclear and ambiguous terms) but is simultaneously not enforced whatsoever.

This got me thinking about pachinko. Anywhere you go in Japan, it seems like there are pachinko parlors everywhere - with their elaborate advertisements, strangely-worded English slogans, and flashy exteriors: they really do stick out like a sore thumb. Despite this, I have never really given much thought to pachinko in general. I remember when I went to Tokyo 4 years ago, going into a pachinko parlor, and thinking wow this is a really stupid game, why would anyone waste their time and money on this? It seemed like a game that one night some Japanese guy got drunk, decided he wanted to combine pinball and slot machines, and this was the unfortunate result. There is seemingly no skilled involved, it doesn't seem entertaining in the slightest, and on top of it the atmosphere of the pachinko parlor - blaring music, the racket of the little metal balls in every machine, and the incessant cigarette smoke which hangs in the air - is enough to give anyone a headache within 5 minutes. And yet, pachinko is a HUGE multi-billion dollar industry in Japan with approximately 30 millions players. That's nearly a quarter of Japan's entire population!!! What's the big deal?

To further investigate this, I decided to interview one of my Gaidai friends who is a pachinko regular, and to go to the pachinko parlor closest to the seminar houses - Himawari - in order to get a first-hand look for myself.

I asked my Gaidai friend, who asked to not be named, a variety of questions. First I asked why does he do it? What is it about it that draws him? His answers were pretty inline with the explanation given in the Japanland video: he does it because it is a stress reliever: it helps him to escape the real world around him and forgot about daily life's worries and troubles. Another reason he mentioned which I don't think the video touched upon is the thrill he experiences when he plays pachinko because of the fact that there is money at stake, something that can't be experienced from other recreational activies like playing video games or watching TV on the same level - "everyone likes to dream" he said (in reference to winning a lot of money from playing pachinko).

I asked him how often he plays pachinko, to which he responded it depends on whether or not he has money, but that recently it has been less and less because he doesn't work as much as he used to. He said now it is about 2-3 times a month, but that during his sophomore and junior years of college (he is now a senior) it was practically everyday. Something he didn't mention during the interview is the fact that he at one point borrowed around $800 from his friend to keep feeding his addiction (whom I know, which is why I know this), which I think clearly demonstrates that no matter what the form of gambling is - whether it's high wager bets or low wager bets (by the way pachinko is a very low wager form of gambling) - it can be extremely psychologically addicting, which can have innumerable negative consequences.

Next, I asked him about the legal aspects of pachinko. How is it that gambling is illegal in Japan, and yet exceptions are made for things like pachinko and law enforcement turns a blind eye? Why is it that as long as the money exchange center is outside of the actual pachinko building, it is legally considered to not be a gambling enterprise? He said that he has absolutely no idea - it is a complete mystery to him - and that he thinks that it's pointless that they have the exchange center be separate from the main building itself. I then asked if he thinks if it should be illegal or not considering that it is a form of gambling, and that gambling is illegal in Japan, to which he said definitely not. Lastly, I asked him if he thinks he'll continue to play pachinko as he gets older, to which he answered yes. I think this is pretty interesting, considering the fact that I don't think he has paid back his friend the $800 he owes him, who happened to actually be sitting there next to him during the entire duration of the interview...


The inside of Himawari, probably one of the most annoying places I have ever been in my life

The small exchange center outside of the main building. At first glance it looks like it is simply attached to the main building, but then I walked to the back where there was literally about an inch or two of space separating it from the main building. Talk about arbitrary laws...

Notice the flashy marble exterior. It's obvious that buildings like this have a lot of money put into them judging by their appearance, but then again the pachinko industry can afford to do things like this, as it makes an estimated $40 billion a year

Links:
- An extremely detailed and informative report on the pachinko industry in Japan, where most of the statistics I used in this post came from:
http://www.japansociety.org/pachinko_nation

- "Pachinko, Japan's National Pastime"
http://www.mangajin.com/mangajin/samplemj/pachinko/pachinko.htm



Saturday, April 18, 2009

Sports in Japan

On 4/15 I went to Koshien stadium in Nishinomiya (close to Kobe) to watch the Hanshin Tigers, Osaka's local baseball team, play the Chunichi Dragons. Despite the fact that the Tigers lost 9-2, which was a pretty big disappointment (although they did beat the Dragons the following day…), the experience was packed with Visual Anthropological richness.
Comparing what I witnessed at the Tigers match with an ordinary baseball game in the states, several differences popped out at me. One was the overwhelming group mentality that seemed to prevail throughout the stadium, even more so than one would find in a professional sports match in the US (hard to imagine right?). It seemed as though everyone, and I mean EVERYONE (including fragile-looking old ladies, babies, and even pets outside of the stadium), were completely decked out from head to toe in Tiger's paraphernalia. The costumes could be quite elaborate, like the man featured in the photograph below (and yes, it is a man...). This unspoken dress code seemed to be very carefully followed by everyone.


Related to this group mentality aspect, something I found to be very interesting was that there was an entire section in the stadium that was filled with a sea of all blue: the Dragons fans .In the US it is not uncommon for fans of the non-home team to show up at games, but I think in general they sit dispersed throughout the crowd: never have I seen an entire group occupying an entire seating section together. It must of taken massive amounts of coordination for something like that to be achieved I think.


Probably the biggest display of group effort and coordination I saw at the match was the tradition of releasing around 50,000 balloons during the 7th inning stretch – it was truly a sight to be seen. I actually did a little test regarding this: I decided to release my balloons a little bit early in order to see if it would have a chain-reaction effect throughout the crowd, but after all the Japanese fans were way too accustomed to this tradition to be fooled: the only people who released there balloons right after me were other foreigners who came in our group of 40 or so (I know, it’s kind of an evil experiment…). In the end, the group dynamic of coordination prevailed.
All in all the experience was truly an amazing one. It demonstrated to me the large interplay between group dynamics/mentality and sports, both of which play a large role in Japanese culture.

Links:

http://hanshintigers.jp/ Hanshin Tiger's official website (in Japanese)

Links to other student's blog posts about the Tigers:

http://impossiblejapan.blogspot.com/2009/04/sports-in-japan.html

http://heicheldoginjapan.blogspot.com/2009/04/ichinisan-strikes-your-out.html

http://whatputstheoinosaka.blogspot.com/2009/04/sports-in-japan.html

http://intheeyewiththekampai-ceh.blogspot.com/2009/04/sports-in-japan.html

http://kaizybar.blogspot.com/2009/04/sport-in-japan.html

http://orangeberri07.blogspot.com/2009/04/murder-of-colonel-sanders.html

Gender in Japan: Homosexuality

For this week's post about gender in Japan, I decided to take a look at homosexuality in Japan. One of my conceptions about Japan is that gender roles are generally conservatively defined, and so therefore being gay in Japan would fall outside of the box, and hence not be easily accepted. To look into this matter, I decided to interview my gay friend Yuki-chan (I find it interesting that he likes people to use the female suffix "-chan" after saying his name, rather than the male "-san" or "-kun" traditionally used) in order to gain an insider's perspective on the issue.

Yuki said that he thinks Japanese people's point of view regarding gay people is very narrow, probably stemming from the fact that Japan is a very isolated country both geographically and culturally, and that there is a considerable amount of discrimination. He said that he has never personally never really been discriminated against in any direct way, however he knows other gay friends who have. However I asked him if his family knew he was gay, and he said no, that no one in his hometown (Eihimeken on Shikoku) knows he is gay, not even his best friends. I asked him why, and he said he just didn't want them to know because he doesn't think they would be able to accept him.
He spent a considerable amount of time talking about how there are no real appropriate words in the Japanese language for gay people - the only word that actually originated in Japan is お釜 (okama, which literally translates as honorable tea pot...weird right?), which carries a considerable amount of negative connotation in its use. Other than お釜, almost all the other words in Japanese for gay like レズ (lesbian) and ゲイ (gay) are foreign loan words, making it almost seem like homosexuality is a result of foreign influence, and that it is not endogenous to Japan, which Yuki thinks contributes to the negative stereotypes perpetrated against gay people in Japan.
Yuki said that the other major negative influence perpetrating negative or false stereotypes against gay people in Japan is from the media. He talked about Razor Ramon Hard Gay, a Japanese comedian and professional wrestler who is heterosexual but plays a flamboyantly homosexual man who exhibits almost every negative stereotype about gay men, who is apparently extremely popular in Japan. Yuki said it is negative stereotypes like this that contribute to the bad reputations attached to homosexuals in Japan.


Yuki intentionally posing in a stereotypical flamboyantly gay pose as a joke, poking fun at the stereotype of all gay people being flamboyant.

If you hadn't seen the above picture first, and you looked at this picture, would you be able to tell that one of these two individuals is gay and the other is not? If you knew one of them was gay, but didn't know which it was, who would you guess? Yuki said that people often look at his appearance and misjudge him to be straight. He said that on more than one occasion a girl has asked him if he was single, and he said sorry I'm actually gay, at which point the girl would say "物体ない,” translating a "wasteful" or "what a waste!", seeming to imply that he is too attractive to be gay. I find this to be pretty interesting.

Links:
"Queer Japan" - Intersections: Gender, History and Culture in the Asian Context. Great website providing a wealth about anything and everything regarding being Gay in japan:
http://intersections.anu.edu.au/issue12_contents.html
Razor Ramon Hard Gay's website: http://www.hard-gay.org/
link to an archive of his video clips: http://www.thejapanesearecrazy.com/index.php?option=com_content&task=category&sectionid=4&id=14&Itemid=27


Monday, April 6, 2009

Religion in Japan:

Religion in Japan can be said to be characterized by the blending of various elements from various thought, belief, and spiritual systems. For example, the majority of Japanese people "practice" a form of spiritual/religion worship which combines aspects of Buddhism, Shintoism, and local customs. Buddhism and Shintoism are thought of as not being mutually-exclusive, but rather mutually-compatible and beneficial, a trend which started in the Heian period with the emergence of Ryobu Shintoism (両部神道), which is the tradition of blending Buddhist and Shinto practices (from Professor Halawatch’s Japanese History course's lecture notes).

However, this blending of styles isn’t purely limited within the context of the blending of different religious systems. There are also many examples in Japan where a religion incorporates other, often unexpected, aspects. This week I went on a field trip with Professor Kenny’s Shinoism class, and we visited two very interesting Shinto Shrines in Yawatashi, which is about five stops away from Hirakata, right before the Yodo stop on the Keihan line. Visiting these two shrines made me realize just how unconventional religion in Japan can really be sometimes!

A picture taken at the Iwashimizuhachimangu Shinto shrine atop Otokoyama in Yawatashi. Can you read who this memorial is for? Thomas Edison!!! Apparently even Thomas Edison can be honored in the Japanese schema of Shinto rituals.

Can you read this sign? It's the sign for Hikojinja! Do you know what means? Airplane Shrine! Pretty wierd right? Keep reading.

The traditional Shinto-style plaque proudly displays that this is the Airplane Shrine. Even airplanes should have respects paid to them right?

As you can see, there is the tori (gate) in the background of this picture, strategically placed where it should be in the traditional layout of a Shinto shrine. However, note that the tori is actually made out of metal, rather than wood which is traditionally used. Also note the airplane propeller placed right in front of it!
Here we have on the left hand side one of the traditional kami houses which are a traditional characteristic of Shinto shrines, juxtaposed with a large propeller on the right. The traditional and the untraditional placed together in some kind of weird harmony.

Generally, when people think about Shintoism, the images that usually pop into one's mind are those of different animistic gods and nature. Looking at these pictures though obviously prove that Shintoism can be much broader than that. It is a prime example of how religion in Japan evolves in order to keep up with the times.

Sunday, April 5, 2009

The Japanese Version

Today's topic is globalization in Japan. For this topic, I have decided to focus on on the Japanese glocalized version of hip-hop, not specifically just the music, but also the lifestyle and culture associated with it. Hip-hop is extremely popular in Japan, with its roots beginning around the early 1990's. This popularity can be seen all around, weather it's people practicing hip-hop dance in front of a window's reflection (which is extremely common, at least here in Hirakata), someone with a New Era baseball hat tilted to the side, or graffiti art on the side of a building. All of these things can be said to be associated with the culture and lifestyle of hip-hop. Something I find extremely interesting about the Japanese version of hip-hop is the fact that real hip-hop originates from the ghettos of America, with hip-hop being an outlet for disenchanted minorities to express their daily life struggles, and yet there is no real ghettos in Japan (Japan is by-and-large a majority middle-class society), and there really is no minorities relatively speaking considering Japan is a 98.5% homogenized society. (https://www.cia.gov/library/publications/the-world-factbook/geos/ja.html). What do people rap about in America generally speaking? Generally speaking, selling drugs, guns, and going to jail, (it is a generalization, but if you were to take any random sampling of hip-hop being played on the radio, you would find this to be a very realistic generalization). In Japan, drugs, guns, and rappers going to jail are virtually nonexistent, especially in comparison to the United States. Therefore, in many respects the very roots and foundations of hip-hop have been wiped away, and the entire concept of hip-hop itself has been Japanized in a way that allows it to have its own major popular culture niche. It takes away the ghetto lifestyle that is associated with the American version and replaces it with an emphasis and prioritization of the fashion and dance elements associated with hip-hop.
Fames, Japan's most famous baseball hat store, in Harujuku, Tokyo. As you can see in the picture, the store is necessarily about just selling baseball hats, but also other hats associated with hip-hop. Take for example the Run DMC hat in the lower left hand corner of the advertisement sign. Hats, and in particular New Era 59 brand hats, play an extremely important hip-hop fashion - practically every rapper in America and Japan too wears one at any given time. So, these baseball hats have gained much popularity in Japan, generally not because of enthusiasm for American Baseball (the stores generally don't sell Japanese Baseball team's hats), but rather because of the connection between them and the hip-hop fashion.
A hip-hop store in Hiroshima, called "Hip-Hop Style Be Cool"
A graffiti (or can it really actually even be called graffiti considering it was done on a board for an advertisement?) advertisement for Zero's -Kansai Gaidai's largest club on campus, with about 6-10 subgroups within the main group representing each of the various hip-hop styles of dance (e.g. break dance, house, anime, west coast, etc.) - dance competition during the Culture Festival at Nakamiya campus earlier this year.

As the 2 photos below demonstrate, another element of the American hip-hop scene which Japan has imported is the car scene. Rappers in America love old "gangster" cars like the 60's Impalas featured below.
They had these babies spit shine clean, and even had them rigged up with hydrologics and the whole real deal like you would see in the inner-city of a major city in the United States. It's pretty funny to think about. One the one hand, American cars have virtually no popularity in Japan, with over 90-95% of the Japanese car market being absolutely dominated by the Japanese auto companies, and yet here you have a straight old school American cars right smack dab in the middle of Osaka. I wonder how much these cars cost? Based on my knowledge of cars, considering that this looks to be about a '63-'65 Impala (I forgot to ask him unfortunately), this car goes for about a minimum of $20,000 back in the US. Both of the cars also had fully rigged hydrologic systems in them, which is another minimum of $5000 or so. So that’s simply $25,000, BEFORE even calculating how much money it cost them to import them. I would say that it would probably make the price skyrocket, maybe to the point of even doubling the cost. Either way, the point is these guys paid a butt-load of money for some old school American gangster cars. These owners obviously aren’t some run-of-the-block salary man who randomly decided he wanted an American classic muscle car, it is obvious that these people own these cars because of the influence hip-hop has had on their life. Very interesting to say the least!

Since I have been Japan, I have had at least 15 Japanese people look at me, notice I am wearing an LA hat, and then throw up the Westside hand sign, as demonstrated in the picture above (also notice his 80's Cadillac on spoke rim wheels with hydraulics!!!). I find this extremely interesting, and honestly hilarious, considering,
1) They have most likely never even been to the West Coast of America
2) They probably don't realize the implications of the gesture being associated with the Bloods faction gang in the West Coast of America, and
3) Even if they were to try and Japanize this hand gesture, where is the "West Side" of Japan? Anywhere west of Tokyo? How about the Kansai area? or I guess Kyushu since it's the most west of all the islands if you don't include Okinawa? This just goes to show that it's "cool" to them because they probably saw in a magazine or a music video somewhere, and decided that it was a cool thing to do.

Background Readings:
History of hip-hop dance scene in Japan
https://www.msu.edu/~okumurak/japan/history.html
Globalization and Japanese Creativity: Adaptions of Japanese Language to Rap
http://macsem.org/pantaleonipaper.htm

Thursday, March 12, 2009

Special Post - Daido Moriyama

(Image borrowed from http://anti-corporation.blogspot.com/2008/07/daido-moriyama.html)

After watching the Daido Moriyama video in class (which can be found at http://www.youtube.com/watch?v=VViYphLJWOk) I became inspired by Moriyama’s unconventional approach to photography, and chose him for this week’s blog post. Moriyama employs a no holds barred approach to photography – he simply goes out and takes pictures, without permission from the subjects, and doesn’t think twice about it. I find this very interesting considering how relatively strict Japan’s privacy laws are, escpecially in regards to taking pictures, regardless of whether or not it’s in public or not. It’s what many Kansai Gaidai students would refer to as a typical “Gaijin Smash:” a situation in which a foreigner does something despite it being against Japanese custom, although Moriyama isn’t a gaijin. I was felt very refreshed after watching the clip about him and his works.

Daido Moriyama was born in Ikeda, Osaka in 1938. At the age of 20 he took up work as a freelance designer, and two years later he decided to give photography a try, which he would soon discover to be his passion. He apprenticed under Takeji Iwamiya in Osaka for about a year, and then moved to Tokyo in 1961, where he would work as an assistant to the prominent photographer Eikoh Hosoe. Within a few years, Moriyama started working as a freelance photographer, which he continues today. He has over 70 published photography books, and has had countless exhibitions.

The main theme of Moriyama’s photography is uncensored, unedited Japanese daily life. Moriyama primarily focuses on urban settings, mainly in the Shinjuku ward of Tokyo, although he has dabbled in other genres, such as more natural environments in Hokkaido and Okinawa.

Moriyama’s photography is generally done entirely in black and white, although I think this adds rather than detracts from the picture’s impact. Many photographers are able to successfully manipulate the appearance of their works through color editing to the point where the impact of the picture can be completely changed. Because Moriyama sticks to black and white, there is a very raw and uncut feeling. Because of Moriyama’s spontaneous approach to photography, simply pointing and shooting whenever he feels inspired or moved to do so, he says he can go through 20 rolls of film on a normal day. Because of the sheer quantity of photos he takes, he is able to catch the little moments that can provide a very realistic window into everyday life in Japan. In this respect I think Moriyama is extremely successfully in his representation of Japanese culture.
Moriyama's personal webpage:
Interview is Moriyama:
Collection of photos and (brief) biography of Moriyama from the Luhring Augustine gallery

Disclaimer

This blog is a class project for my "Visual Anthropology" class; as such it is for educational purposes only. All photos posted here are taken by the blog author unless otherwise noted. If any problem with the posting of a particular photo is brought to my attention, I will earnestly review the problem and remove the photo if necessary.