Japan in a New Light: The Hana Yori Dango Factor

Upon coming to Kansai Gaidai to study abroad, I would make my second journey to Japan. The first time I came for a couple weeks worth of vacationing and sight-seeing. During that time I saw a large sum of exciting and sometimes quirky pop culture, beautiful landscapes, and pieces of Japanese traditions, yet I later realized that although I had seen a lot and knew some limited background, there was still more to be found within the complex of the Japanese culture. This time was different. Like this sakura matcha flavored Kit-Kat shown below, even when I thought I was familiar with something, I was surprised to find a new take on the concept that I had never considered before. Even though I was still able to have fun and enjoy the excitement of being in Japan again, I had the opportunity to deepen my experience. I was able to take courses such as this one (Visual Anthropology of Japan) that helped me to find the meaning behind what I saw and see more than I had the chance to see on my own.

Before coming to Japan, I knew about themed cafes and bars and about Japan’s seeming infatuation with certain parts of Western culture, but some of the videos we watched in class helped me to see that the Japanese don’t always go for these things just because they are “cool.” A bar with a western cowboy theme, for example at first seemed like a simple desire to act Western. After watching the video, however, I discovered that to the Japanese, the cowboy represented something different than it does to people who live in the United States. To people in the US, the cowboy is the rough, tough, loner, hero type figure. To the Japanese, the cowboy represented teamwork and unity. They worked together to solve problems and gathered around the campfire to sing together. One man in the video even compared his work with the life of a cowboy saying that like a cowboy he has pride in his work. He rides the train every day to work as a cowboy rides his horse, he works in his office somewhat like a ranch, and he even ropes in customers like a cowboy ropes in cattle. This made me realize that there’s more to Japan than what we perceive with our own eyes trained by our own cultures. We have to take a look at the country within its own context.

Hosts clubs are another thing I knew existed in Japan, yet never knew the full context. I found host clubs interesting before, but I suppose I used to think of them much more lightheartedly, perhaps as a place for girls to simply drool over their dreamy host. I never really thought about what that meant, that it draws women desperate for the emotional support and care they don’t seem to get in their daily lives or how women who go there on a regular basis actually end up falling in love with their host in a hopeless fantasy they know can never be realized. Nor did I consider that because these types of places cost so much money, many women turn to high profit markets such as selling their bodies, sometimes as prostitution or just short of that. Although the host clubs seem like fun and games, they can create a serious issue.

I also saw sides of the culture that I could not see much of before. Watching Kokoyakyu I learned how hard some high school students train to have even a chance to make professional baseball teams. I also saw that it doesn’t seem to be considered “unmanly” to show emotions and tears as it often is in the states. We also talked in class about the content of Japanese blogs. It turns out Japanese people rarely complain in their blogs. One example was a girl who wrote her blog about what she ate for lunch every day. If she went to a restaurant she didn’t particularly like, she would still avoid saying anything bad about it because she wouldn’t want anything she said to lessen the customers or possibly lead the restaurant to shut down. Most people in the US don’t think about that because we like to tell our true feelings and feel that it is our right to do so, even if it is complaining. Then, although the video was not terribly exciting I learned more about the organization of neighborhoods and more about religious festivals that happen, that they are both very oriented towards building community and solidarity, elements essential within the Japanese culture.

Doing this blog helped me to learn more about Hachiko, some of the parts involved in Shinto shrines, since I had to do some research. I particularly enjoyed the story of Hachiko because I feel that it really shows something key to understanding the Japanese culture. An on top of that, even the Japanese use it as a lesson in elementary school books, so that means they feel it’s important too.

 What I knew about Japan was like dango (shown in the photo above). I knew about dango and thought that they were cool, yet I didn’t know their name let alone the saying about them. “Hana yori dango” is a phrase used most often to refer to the sakura viewing times of the spring called ohanami. It’s a phrase that literally translates to something like “dango over flowers” but what it really means is that some people place more importance in eating and socializing with those close relatives and friends than they do in actually seeing the sakura. This is not to say, however, that probably don’t enjoy the blossoms. Instead, it points out again the importance of a community in which everyone can enjoy each other, work together, respect each other, and do things for the better of the whole group.

Fushimi Inari Taisha

Fushimi Inari Taisha (Fushimi Inari Grand Shrine) located in Kyoto is a well known Shinto shrine dedicated to Inari, the god of rice and harvest who protects the rice fields. In the past, rice and good harvest was associated with wealth and prosperity, so now, perhaps because business is the modern day equivalent, Inari is now associated with success and prosperity in business (1). Fushimi Inari Taisha actually serves as a headquarters for all the other shrines in Japan also dedicated to Inari.

Most Shinto shrines have shishi (or lion-dogs) as guardians which help to ward off the evil spirits. Inari shrines however, like this one, have foxes because the fox are Inari’s messengers. These foxes can be seen throughout the area often in front of the gates called torii gates.  Some hold keys for the rice granaries in their mouths (1). And in addition, the red bibs are symbolic too. Supposedly red is a color for expelling demons and illness in Japanese folk legends (6). 

Torii gates are a representation of the boundary between the profane and the sacred.  According to a Scholarly essay written by Randall L Nadeau, “they represent invisible barriers between an inner world that is clean, pure, and bright and an outer world that is spiritually polluted and morally uncertain.” At several shrines, torii gates are lined up right after one another to create a tunnel effect. Fushimi Inari Taisha is particularly famous for this. Nadeau writes, “Passing though these gates, there is a magical sense of depending spirituality: a cleansing of outer pollution and a growing awareness of inner purity.” Another element of purification lies in the shimenawa (the rope and strips of paper shown below). These are used in the markings of sacred places; they ward off evil spirits and are sometimes used to mark the presence of a kami (Japanese for god) (5). 

The area also specializes in the special dishes, kitsune udon (udon topped with fried tofu) and inari sushi (sweetened rice stuffed inside of a pocket of fried tofu). This fried tofu called aburaage is said to be a treat particularly favored by the foxes. In fact, pieces of aburaage can be seen laid out as offerings to the kami.

sources:

1. http://www.sacred-destinations.com/japan/kyoto-fushimi-inari.htm
2. http://www.trinity.edu/org/ics/ICS%20Issues/ICS%20VI/ICS-VI-1-Nadeau.pdf
3. http://www.japaneselifestyle.com.au/travel/kyoto_fushimi_inari_taisha.htm
4. http://www.onmarkproductions.com/html/fox-inari-university-of-wiscon.htm
5. http://www.onmarkproductions.com/html/shrine-guide-2.shtml
6. http://www.onmarkproductions.com/html/color-red.html

Hanatouro (花灯路)

Established in March 2003, Hanatouro is an event held at two points of the year during which the beautiful landscape, architecture, and art of Kyoto are grandly illuminated beneath the moonlight, such as the two trees shown above. Although both are known as Hanatouro, the “Kyoto Higashiyama Hanatouro” held in March and “Kyoto Arashiyama Hanatouro” held in December. Having become quite a popular event, the website run by the Kyoto Tourism Council claims that “it attracts over 2 million people every year from both Japan and abroad.” As shown by the official Hanatouro website the winter hours are from 5pm to 8:30pm while in the spring they are from 6pm to 9:30pm. This spring I attended the “Kyoto Higashiyama Hanatouro” which occurred over the span of nine days (from March 13 until March 22).

The path for the “Kyoto Higashiyama Hanatouro” stretches 4.6km long from Shoren-in Temple near Sanjo Station down to Kyoto’s famous Kiyomizu Temple near Gojo Station. The streets and admirable surroundings are lit up and decorated to make for a very pleasant walk. For example, along the path elaborate flower arrangements called ikebana are on display. The photo above is one of them that I was able to see. Not only are the flowers carefully arranged, but the vase too is beautifully crafted and painted with detailed plum blossoms.

Along this strip there are numerous temples and shrines, each having something to offer. Unfortunately only had the opportunity to go to one, but I found that taking my time slowly in one of the temples was well worth the time. The view to be seen in Shoren-in Temple was romantic and breathtaking. The architecture alone was stunning, giving the feel that you were in a true historic Japanese structure. Then as you walk along the outside, the open space is illuminated like the stars in the vast night sky with blue lights (pictured above). Next, you can walk along a path that takes you through the temple’s gardens and up next to the mystical bamboo forest (shown below).

Although I did not get a chance to see them myself, there are other events such as the “Fire Watch and Ohayashi Music Group” in which school children sing songs and play music, and the “Bamboo Lanterns/Profound Stream” where a thousand bamboo lanterns are put on the stream and flow through Maruyama Park.

I definitely enjoyed the sights illuminated during the nighttime, so if you ever get the chance I recommend going.

Popular Inexpensive Foods

Meal Ticket Restaurants

 Although Japan does have fast food restaurants as those of us from the United States (and perhaps from Europe too) know them such as McDonald’s and KFC, Japan also has their own versions of fast food. These come in forms such as Japanese noodle bars, yatai or rotensho (movable and temporary food stands made for quick meals), or “meal ticket” restaurants. I want to take a look at the last one. Spread throughout the more busy areas of Japan such as bigger cities and train stations, these “meal ticket” restaurants can be found. I had never encountered anything like them.

Before entering the restaurant or just past the entrance, you stop to take a look at the vending machine that sells the meal tickets. The machine has an array of buttons, set up to act like an interactive menu. Each dish is pictured on a separate button, and once you have decided what you would like to eat, you insert money into the machine, press the button that matches the dish you want, and out comes a ticket. You then walk fully into the restaurant and hand your ticket to one of the cooks behind the counter. Most of the ingredients are pre-prepared (though not necessarily pre-cooked) to facilitate a fast cooking process. Depending on the restaurant, you can either pick your meal up from the bar when it is ready or they can bring it out to your table, like the one pictured here.

These types of restaurants usually have an assortment of inexpensive Japanese dishes such as, donburi (a dish with the ingredients cooked with eggs in a soy-sauce like sauce and topped over rice), curry rice, or noodles.  

These restaurants actually seem to be quicker than the American-style fast-food restaurants in Japan. I say this because when you go to McDonald’s, instead of having food pre-cooked and waiting as they do in the States, they cook it fresh each time you order.

焼き鳥 – Yakitori

Yakitori is another popular, inexpensive food in Japan.  These are often found at yatai or rotensho (as I mentioned above), but they can also be found at an izakaya (a Japanese style location that sells alcoholic drinks along with various small dishes to eat), or at a small restaurant that specializes in yakitori. Literally yakitori means “grilled chicken,” and may include a large number of chicken parts. Some that I often see—however these are by no means a complete list—are the following:

ねぎ間Negima – alternating pieces of chicken and leek

つくねTsukune – chicken pieces pressed into meatballs

かわKawa – chicken skin

ハツHatsu　こころ – hearts

レバー(Rebaa) – liver

エレンギ (erengi) – type of mushroom

The setting of the Izakaya (居酒屋) is actually very interesting in itself, but I won’t be able to go into great detail about it in this post. The first kanji居(i) holds a meaning of “sit” or “sitting” followed by 酒(sake/saka-) meaning “alcohol”, and屋 (ya) meaning something like “shop.” All together, an Izakaya is a place where you can sit down and have a few drinks and snacks. It is known that many Japanese “salary men” go for a few drinks after a long day of work where they might talk about how work is going.

お好み焼き – Okonomiyaki

The term breaks down into お好み (okonomi) which translates as “liking” or “preference” followed by焼き (yaki) meaning “fried.” Together お好み焼き(okonomiyaki) literally means something like “fried to your liking.” I find this interesting because it is a simple dish in which from a range of ingredients people put in whatever they like. The base is somewhat like a pancake batter (but the product is not sweet). The necessary ingredient is cabbage, but others may include onions, bacon, octopus, shimp, etc. The ingredients may either be mixed together or layered and fried up in a skillet or a hot cooking surface. In the photo I show here, you can cook it yourself right in front of you on the table. The finished product is usually topped with an okonomi-sauce, mayonnaise, and sometimes crushed のり (nori, which is seaweed) or fish shavings.

Okonomiyaki styles may vary across Japan. The photo I took was taken in Osaka where I understand they mix all of their ingredients before cooking, whereas in Hiroshima, they supposedly layer their ingredients. There is also もんじゃ焼き(mojayaki) in Tokyo, which is sort of a different take on the same idea.

Hachiko: a lesson of "on" (恩)

Over spring break I had the opportunity to travel to Tokyo, where I saw Hachiko statue at Shibuya Station. I chose to do a post about Hachiko because it is true story that has worked its way into the hearts of most Japanese. Every Japanese person that I have asked is familiar with the story. There are probably hundreds of different publications of the story, and perhaps some with different variations, but the underlying base and themes are the same. The basic story is that a man named Hidesaburo Ueno raised Hachiko from a pup, and the two grew quite fond of each other. Every morning when Hachiko’s owner would leave for work, Hachiko would follow him to Shibuya station to see him off and go back home only to return again to wait for his owner to come back at the ticket gates each evening. This happened every day, but one day his owner suddenly died—it is said that he died either from a stroke or heart attack—while he was away at a meeting. Even though his owner did not return, Hachiko continued to go to the station to wait for him every day for years up until his own death. It is said that those who saw these events were touched at the loyalty and devotion Hachiko showed for his master, and the story became widespread in Japan after it was published in Asahi Shinbun, a major newspaper in Japan.

 Now, the story has been made into at least two movies, and if you search the internet you can find various videos and books dedicated to Hachiko’s tale. The tale has even been issued by the government in textbooks for primary schools as a way to teach moral lessons what the Japanese call on （恩）. Although there is no exact translation of this term into English, it touches along the idea of faithfulness and moral indebtedness to those who have been good to you or taken care of you. Ruth Benedict wrote in her in depth study about the Japanese culture titled The Chrysanthemum and the Sword,

"The moral of this little tale is loyalty which is only another name for love. A son who cares deeply for his mother can speak of not forgetting the on he has received from his mother and mean that he has for her Hachi's single-minded devotion to his master. The term, however, refers specifically not to his love, but to all that his mother did for him as a baby, her sacrifices when he was a boy, all that she has done to further his interests an a man, all that he owes her from the mere fact that she exists. It implies a return upon this indebtedness and therefore it means love. But the primary meaning is the debt, whereas we think of love as something freely given unfettered by obligation (100-101)."

Although Westerners who hear the story of Hachiko may think the moral to be more along the lines of love, the Japanese define the meanings of love and loyalty in a different way. I understand that the meaning of on goes deep into the way Japanese define their relationships to others. The way my Japanese friends explained it to me, it's almost as though they are always conscious of their position in a relationship and feel a desire to thank and pay back those who have sacrificed something for their sake.

I do think that this often has ties to some sort of social ranking system as well, which can be seen throughout the Japanese culture such as the honorifics in the language, the sempai-kohai relationships, and even the ideal picture of what love is. First, the Japanese language has many different levels of formal language, including very casual language used among close friends, a standard formal language which is most used with people you don't know well, and a very formal language used to talk to your superiors, such as your boss or teacher. There are more divisions of the various formalities, but I won't get into that for this blog post. The sempai-kohai relationships are those in which the sempai is the older, more experienced one to be respected, and the kohai is like the trainee, who looks to his sempai for guidance. These relationships can be found in school clubs and in the work place. Finally, the Japanese picture that embodies the ideal relationship of love is the relationship between mother and child. In this way, love is not seen as much as an equal relationship as we see it in the West, but rather a sort of vertical dependency on both ends. What I mean by this is that the child is relatively helpless; he has to depend on his mother for fulfilling his basic needs. The mother, however, also depends on the child in some way because she devotes her life to raising the child, especially because child rearing is almost entirely up to the mother in Japan.

In the end, while the story of Hachiko seems to be a simply children's tale of unconditional love, the Japanese society has come to understand it as something deeper than that. It has come to be something of much greater cultural significance, something that holds ties into what it means to be Japanese and the true picture of relationships with others. That tie has something to do with on.

If you are interested in reading more about the story of Hachiko, please check out the links below:

          http://home.kyodo.co.jp/modules/fstStory/index.php?storyid=445511

          http://dailyme.com/story/2010032100002546/jury-system-japan-quits-league-hachiko.html

          http://www.akita-of-rasproki.eu/info_teil3.en.php

          http://en.wikipedia.org/wiki/Hachik%C5%8D

          http://www.northlandakitas.com/pdf/hachiko.pdf

          http://www.youtube.com/watch?v=P3s11acb7Z8&feature=fvw

Two Great Photographers: The Unique and the Shared

Both Annie Leibovitz and James Nachtwey are renowned for setting the bar high with their outstanding works in photography. In this post I will compare and contrast the two as photographers. While having starkly different moods in their works, the two still share several common characteristics as talented photographers with good technique. By looking at the differences and similarities I hope to bring out elements that all photographers can learn from two of the world’s most known photographers.

VOGUE FEATURE: Beauty and the Beast Midnight in the Garden 

"I thought I felt only friendship toward you," cried Beauty, "but I see that I love you." Christian Lacroix Haute Couture voluminously ruffled dress with pink and purple chiffon layers.

First I want to take a look at the differences between the two. The clearest difference is in the nature of their work. Leibovitz is on the cutting edge of artistic and portrait photography. In the beginning Leibovitz shot very casual photographs of her family that held sentimental value for her. Later she got first big job working with Rolling Stone magazine where she gained recognition for her revolutionary portrait work. Since then she has done work with Vanity Fair magazine and various commercial work. She is famous for her “story portraits” that incorporate something to be said about the person in the photograph. Some say that she has the ability to use feelings, music, and poetry and turn them into photography, meaning that the moods in those elements are carried through and understood through her works. Some of them, like the one below titled Susan at the House on Hedges Lane, have a very natural feel, but several of her more recent works border on fantasy. For example, the photo above titled Beauty and the Beast: Midnight in the Garden is very clearly a photo set up in order to resemble a scene from a fantasy. Even the background has either been edited or is something like a painted screen.

Annie Leibovitz (American, b. 1949). Susan at the House on Hedges Lane, 1988. Photograph © Annie Leibovitz. From Annie Leibovitz: A Photographer's Life, 1990–2005

This is photo above is more comparable to Nachtwey’s work—which I will describe in the next paragraph—because it’s a snapshot of the natural setting and less manipulated. Still, you can see that is a very artistically composed photograph.

Chechnya, 1996 - Ruins of central Grozny.

Nachtwey has a more serious stance in the profession. He made the decision to be a war photographer after encountering images from Vietnam that didn’t match the claims of the government. Instead of being commercial, he produces his photography very much with the intent of being a raw documentation of the truth to counter those images and information filtered by the government. In fact, the quote on the main page of his website reads, "I have been a witness, and these pictures are my testimony. The events I have recorded should not be forgotten and must not be repeated." Natchwey’s photography, while still having artistic elements, focuses on the harsh conditions of war and the emotions felt by those caught within them. For example, take a look at the photo above titled Ruins of central Grozny. The composition is quite artistic, but the point is rather the expression of sadness on the boys face together with the amount of destruction that can be seen behind him.

 Cam Lo, Quang Tri Province. Phan Thi Hoi bathes her 14-year-old son, Bui Quang Ky. She was exposed to Agent Orange when she was in the North Vietnamese Army during the war.

This second photo by Nachtwey is very typical of his work. It is of a mother washing her son who was deformed as the result of Agent Orange, a chemical used during the Vietnam War. Although the photograph is still very well composed, it is less artistically daring and rather a realistic moment of truth in which the viewer can feel the emotions felt by the people in the photograph. Leibovitz too uses emotions in her works, but hers are much more lighthearted and fun while Nachtwey’s photographs are intended to tug on people’s heartstrings and motivate them to help make a change in the world.

Despite having strikingly different moods in their results, they still share several characteristics of what it means to be a good photographer. Both of them are able to create images that have the power to move emotions, touch hearts, tell stories, and captivate those who see them. I believe that those of us still beginning to pursue our interests in photography can also learn from these two great photographers. Their success, I think, is due to their methodology of photography. Both Leibovitz and Nachtwey are very respectful of their subjects and recognize that in order to be a good photographer, it is necessary, and in fact unavoidable, to be involved to some extent. They become a part of the scene to the point that the people being photographed either don’t notice them or don’t mind, and this enables a more natural and moving result. For example, whenever Leibovitz spent time with the people she was shooting, she would join them in their normal activities so that everyone would feel comfortable and so that she could get an insider’s perspective. Many of her portrait subjects admitted that sometimes they forgot she was even there. Nachtwey’s situation was different because he shoots in the war-scene scenario, but even so he doesn’t just shoot and leave. He is careful and slow with his movements, gets the consent of those he photographs—although sometimes the consent is non-verbal—and talks with them for a while. What we as learning photographers can take from this is that we should be careful to stay considerate of those we are photographing. This doesn’t always have to be through verbal communication, but getting some form of consent is ideal. Even if it isn’t possible before taking the photo then perhaps asking for permission afterward is acceptable as well. Also, in order to make the setting more relaxed, it is a good idea to become involved with your subjects, whether that means just talking with them for a while or joining the activities they do. This helps to dissolve the idea of you being a stranger taking photographs and to create the feeling that you are one of them.

The second major characteristic shared by Leibovitz and Nachtwey is that they both take shots of everything. Both of them expressed the idea that everything has meaning. Leibovitz says that even the little things that some people may deem as trivial can also have meaning. Then, because Nachtwey’s goal is to document and testify to the truth, leaving out parts of the activities would possibly give a slanted impression. In order to get a full truth, he needs to take photos of everything and not just screen what he thinks will be important or preferred by viewers. What we should take from this is that we too should not be afraid to take photographs of anything and everything that impresses us or not. Even something that seems mundane could have meaning somewhere.

Assignment: Portait

For this assignment, we were asked to take a portrait of a Japanese person (and vice versa for the Japanese students in our class). To be honest I was rather nervous about it. You see, I am a very non-confrontational person, and I didn’t want bother someone else who might either be busy or not feel comfortable having someone take their photo.  In addition, due to my lack of experience with portrait photography, I wasn’t able to feel fully comfortable and at-ease with the whole process. Despite my hesitation, I finally scrounged up enough courage to ask my friend Haruka if she would be willing to let me take her portrait. I felt more comfortable asking her than I would feel asking some of my other Japanese friends, likely because I see her more often and outside of the classroom setting. I was very relieved when she happily agreed.  

I’ve seen Haruka a lot in the dorms, since she is my Resident Assistant, but I didn’t know the kinds of things that made her truly happy. I did know that she’s one of the sweetest people I know, she seems to enjoy spending time with all the international students in our dorm, and she works hard long into the night preparing for her TOEFL exam. After asking her at what times she feels the most happy or the most herself, I found out that she feels the most relaxed and happy when she is able to spend time slowly talking with her good friends. With that idea in mind, we considered taking the portrait of her while she was talking with her friends, but along with that came a few extra challenges. Because I was afraid to intrude on other people’s privacy and time, I was concerned about having an increased number of people involved in the portrait process. I also wanted to capture the natural atmosphere created by a casual conversation with her friends and avoid any possible notions that the situation may have been staged for the photograph.

Each time we met to try and take the shot, the setting just didn’t feel right and we had to postpone. Then, one afternoon after class I met with Haruka again. After failing to find the right feel once more, Haruka called her close friend who had been in the library for a while to see if she would mind helping us out. She too was happy to help. Haruka and her friend sat together at a table inside the Center for International Education building where I was told they often sit and chat. At first it was still slightly awkward for me to take photographs of them while they talked, but soon the feelings of awkwardness faded, and I was able to get this shot. I particularly like Haruka’s natural smile and how you can easily understand that she in having a conversation with a friend without distracting from her as the main focus of the portrait. I feel that the portrait brings out the charm of Haruka’s personality that she genuinely cares for others and that some of her best moments in life are those shared with her friends.

Even though this second photo is clearly during the same session, I find it interesting that the mood is still different. Both photos portray Haruka interacting with her friend, however the first one gives the impression that she is a sensitive listener while the second one shows her more actively engaging in the conversation and telling her friend something. Both photos together express a more full depiction of Haruka's interactions with her friends; good communication skills involve being both able to tell interesting things to others as well as being able to listen well when others have something they want to say.

Although I was intimidated by the assignment in the beginning, I feel that it was also a good experience for me to have. Haruka helped me to see one more time that I shouldn’t worry as much as I do. While I was prepared for the worst situation, most people aren’t so negative and will gladly do what they can to help you out. I just need to let loose a little and take another step further into the world of visual anthropology.