Imagining Japan
Student Essays from the iCoToBa Course“What is Japan, Anyway?”
Fall Semester 2015-2016

Edited by Brett A. Hack
Course Instructor

2015-2016

Imagining Japan
2016 年 2 月 12 日発行
発行：愛知県立大学 iCoToBa（多言語学習センター）〒480−1198‒ 愛知県長久手市茨ヶ廻間 1522－3 E 棟 2 階
E-mail: icotoba@for.aichi-pu.ac.jp
http://www.for.aichi-pu.ac.jp/icotoba/
本教材は、愛知県立大学グローバル人材育成推進事業の成果の一部として刊行された。

印刷‒ 株式会社‒ あるむ
Front Cover Images:“View from Zunantei (Tofuku-ji)” by PlusMinus, “Pink 萌え合コン部” by Kim Ahlstrom, “Child in
the Car” by Matthew Rad, “Asakusa Shrine” by Joe Mabel, “「二度漬け禁止」新世界にゆるキャ
ラ「くしたん」誕生” by Hiroshi Ishii, “Anime Expo 2011” by the Conmunity – Pop Culture Geek,“Inside a Japanese Train Ticket Gate” by gwaar, “2010 Japan Soccer Fever featuring Billiken” by
MASA, “Work (5383504229)” by Evan Blasser, “2008 G8 Summit: Antiglobalist Demonstration
March” by Muji Tra(All front cover images have been altered by the cover designer.)
Back Cover Image:“View from Zunantei (Tofuku-ji)” by PlusMinus (unaltered)
All images retrieved from the Wikimedia Commons database (www.wikimediacommons.org)
Images used through Creative Commons Attributed-Share Alike 3.0 Unported license.
Copyright © 2016 by Aichi Prefectural University
All rights reserved. With the exception of cover images (free to use under the aforementioned license)no part of this publication may be reproduced or used in any way without written permission from
Aichi Prefectural University Office of Global Human Resource Development.

Contents
Introduction: What is “Japan,” Anyway?

3

Brett A. Hack, Course Instructor
Part One: Changing Cultures
A Community of Consumption: The Halloween Phenomenon in Japan

13

Ayumi Takeuchi
Changing Conceptions of Women’s Roles in Japan

16

Nami Amano
Japanese Language Guidance for Foreign Students and the Cycle of Avoidance

19

Jovielyn Okine
Part Two: Self-Presentation and Self-Image
Identity Tourism in the “Half” Model Boom25

Aoi Sakakibara
Decorative English Posts on Instagram Written by Young Japanese Women

28

Anna Tsujimoto
How to Regard Self-Monitoring in Japan: The Case of Aoi Haru Ride

31

Hikari Matsunaga
Part Three: Japan on the World StageThe Ise-Shima Summit Character Controversy: Problems with the Cool Japan Policy 37
Kanako Shimizu
International Contribution and Positive Nationalism on Japanese TV

40

Mai ItoNational Sports Team Names and the “Spirit” of Japan
Shinsuke Ojika

44

Flyer for the course final conference, held January 19th 2016.

Introduction: What is “Japan” Anyway?
By Brett A. Hack
Course Instructor
Japan is in need of a ground-level reassessment. As Harumi Befu (2009) has explained, Japanas a physical entity has no meaning outside of its cultural interpretations. “Japan” is first andforemost a concept that changes based on time and perspective. However, this concept is notchanging quickly enough to cope with current conditions. While almost everything about its
people, society, and culture is currently in motion, Japan’s identity remains hampered by static
images of traditional customs and pre-digital business culture. Not only for foreigners but also formany Japanese, Japan is still a country of tatami and tatemae even when the sum of their daily
activities contradicts this tranquil image.
The immovable monolith of “Japanese culture” did not appear accidentally. Postwar
Japanese elites expended great amounts of energy centralizing the nation’s conception of itself.
The so-called nihonjinron [theories of the Japanese] writers attempted to delineate a uniqueessence of the Japanese and their culture. Whether describing this essence sociologically as a“vertical society” (see Nakane 1978) or psychologically as kind of consciousness (see Doi 1971,
Aida 1972), these writers characterized Japanese culture as an inalterable “structure” which could
be traced back to ancient agricultural roots.
Befu, a longtime critic of essentialist interpretations of Japanese culture, stresses theinequality inherent in such notions. These definitions always serve to include a privileged
category while excluding others. The cliché image of a homogeneous Japan amounts to a strategic
denial of ethnics groups such as the Ainu, Ryukyu, and ethnic Koreans, of the numerous local
dialects and cultures, and of all the professions outside of white-collar corporate life. Furthermore,nihonjinron analyses always sought to define “Japan” against a supposed universal other,
generally the West (Kosaku 1992). This has had the effect of erecting a barrier between Japan andthe rest of the world. In this view, Japan is necessarily unique, and therefore necessarily alone.
Nihonjinron ideas of homogeneity and uniqueness formed the dominant cultural paradigm
partly because of the socioeconomic normativity that characterized the postwar era. Motoaki
Takahara (2009) has described how the success of Japan’s postwar system effectively nullified
domestic political debate. As long as the system generated prosperity, citizens could ignore its
inequalities. In the cultural arena, people were willing to accept sweeping definitions about
themselves and their roles as long as they could live in a stable society. But that stability is gone
now. Anne Allison (2103) has documented how in the last two decades Japan has changed rapidly
into a “precarious” society with uncertainty as its defining characteristic. Daily practice has
33responded in kind, becoming more differentiated and mobile. However, the definition of “Japan”
is still by and large that of the nihonjinron. To put it in Geertzian terms, the cultural system of
postwar Japan no longer matches contemporary social milieu (see Geertz 1973: Ch. 6).
This discrepancy has created crises of representation. Practitioners of Japanese traditionalarts continue to present themselves as keepers of a true Japanese spirit even while the arts
themselves have become foreign to contemporary Japanese, items to choose from in aninternational “cultural supermarket” (Matthews 2000). Generational conflicts arise when theprevious generation’s conception of community as geographic locality runs up against the current
generation’s diverse and temporary “communities of consumption” (White 2004). In a moreinsidious example, the persistent image of the lifelong salaryman perpetuates a uniform career
ideal even as more and more workers are forced into unstable and low-paying temporary jobs. As
Allison poignantly puts it, “the old [postwar] nervous system is still, to some degree intact,
grinding down and spitting out “disposable humanity” in what is now a scarcity of social
belonging” (2013: 69). Finally, the “myth of the homogenous nation” documented in detail by
Eiji Oguma (1996) continues to define a set ethnic-cultural-political cultural matrix ofJapaneseness that does not reflect the increasing numbers of immigrants, returnees, ethnic
minorities like Zainichi Kankokujin [Korean nationals] and Nikkeijin [Brazilians of Japanesedescent], and mixed-race children of international marriages.
These and other inconsistencies in the national image of Japan have been well-documented.
However, it is not enough that scholars write about them. As stated at the beginning of thisintroduction, a reassessment of Japan must come from the ground up. Members of Japan’s new
generation of adults require opportunities to learn about and discuss these issues. More
importantly, they need to understand that, since they must live in the Japan of the future, they
have both the freedom and the responsibility to re-imagine what it means to be Japanese. Finally,
they must gain the critical thinking and discussion skills needed to productively reinterpret theconcept of Japan. While there are many venues for this kind of education, the foreign-language
classroom offers interesting possibilities. There, students are already made to step out of theirown linguistic-cultural space and interact with other ways of life. It makes sense to utilize thisdisplacement in order to enable students to look critically at their own culture as well. Towards
this purpose, the course What is “Japan,” Anyway? was created.
Taught in the fall semester of 2015-2016, this was the most recent in a series of advanced
language/content courses taught at Aichi Prefectural University’s iCoToBa Multilingual Learning
Center. These courses form part of a program of global competency based on three core
categories: Nihon Shōkai [Introduce Japan], Hikaku Bunka [Comparative Culture], and Risāchi
Hasshin Purojekuto [Research Project and Presentation]. The advanced courses were created togive participating students the chance to critically investigate the program’s central concepts and44use English to engage with relevant sociocultural issues. The previous year’s course investigated
the term “global” as it relates to society, culture, and identity, fulfilling the Hikaku Bunka
requirement. For the Nihon Shōkai requirement, What is “Japan,” Anyway? sought to do the sameto the term “Japan.”
What is “Japan,” Anyway? was attended by nine students from the British & American
Studies and International & Cultural Studies departments. As with other advanced courses at
iCoToBa, it was designed along CLIL (Content and Language Integrated Learning) principles,
where the foreign language functions as a medium for teaching and discussing specific content.
Classes use authentic native-language materials, supplemented by resources which help learners
gain the language skills needed to speak and write about the subject. This method has been shown
to be effective in linking language teaching with the full range of cognitive processes (Coyle etal. 2010). The stimulation of working in the foreign language for a real-world purpose acts as astrong motivator for students, especially at the university level (Dupuy 1999). It also been shownthat gaining the ability to think in another language improves content knowledge (Marsh 2009).
CLIL has been well-utilized in the English-speaking world, and has recently proven to be aneffective method in Japan as well (Sasajima 2011).
The in-class activities combined reading comprehension exercises, multimedia lectures, andextended discussion. Each lesson was centered on one or two theoretical texts that dealt withJapanese identity, including some of those summarized above. Readings were accompanied byreading guides and a set of working vocabulary which the students studied at home. One uniquefeature of this class was that students read both English-language and Japanese-language texts, inorder to understand what both Japanese and non-Japanese thinkers were saying about Japan. For
English-language texts, students answered comprehension questions given by the teacher. For
Japanese-language texts, students translated key passages into English. The multimedia lectures
served to define key concepts in simple terms and provide concrete examples of the social
phenomena in question. With a solid theoretical base and working vocabulary in place, students
conducted lengthy discussions in English. Students were consistently encouraged to reject
essentialist notions of “Japanese culture” or “Japanese vs. foreigners.” This required specificintervention from the instructor at first, but gradually the students acquired the skill of talking
about “Japan” as a discursive concept and “Japanese culture” as mutable meaning system.
In the final section of the course, students composed academic essays that applied atheoretical concept to a social phenomenon of their choice. Many students chose to analyze media
products in the light of social change, while others chose to focus on contemporary social andcultural practices. After choosing a topic, they began an intensive writing and editing process
designed to improve English writing skills and argumentation skills. Since iCoToBa classes are
not graded, we carried this process out as workshop. That is, the students did not first complete
55an essay to then be evaluated. After meeting individually with me to fully construct a basis fortheir arguments, they submitted drafts every week, regardless of how much or little was completed.
In addition to English-language correction, I added comments, example sentences, and cognitive
maps that showed how each student should continue in order to make their argument successful.
This process served to point out gaps in students’ argumentation and help them understand thedifference between “saying what you think” and “proving what you think.” Since time to meet inperson was limited, much of this was carried out via email. Each essay went through an averageof four drafts before completion.
These classes are non-credited and completely voluntary, which leaves an instructor
somewhat hesitant about implementing this strenuous process, lest students become discouraged
and quit before the course is over. However, these students responded admirably to the challenge
and effected the necessary changes in order to make their essays successful. In this class I wasparticularly pleased at how every student worked hard to complete essays about topics which
particularly interested them, regardless of topic difficulty or English language ability. Nobody
here took an easy way out, and for that I salute them. The final results of their essays comprisethe contents of this volume.
The volume is divided into three thematic parts, with three essays in each. “Part One:
Changing Cultures” considers areas where traditional cultural practices are giving way to newforms of interaction. Ayumi Takeuchi’s essay “A Community of Consumption: The Halloween
Phenomenon in Japan” deals with the recent explosion of Halloween celebrations among Japaneseyouth. Using Bruce White’s ideas about communities and generational change, she argues thatthe Halloween phenomenon is a reflection of how younger Japanese create interest-based
communities in order generate moments of solidarity. In “Changing Conceptions of Women’sRoles in Japan,” Nami Amano compares the portrayal of working women in sitcoms from the
1980s and the present day. She discovers that while the successful working woman has come to
be a standard image, career and home life are still portrayed as incompatible, which Amano sees
as a reflection of the unideal conditions female employees still face today. In the final essay forthis section, “Japanese Language Guidance for Foreign Students and the Cycle of Avoidance,”
Jovielyn Okine analyses the relatively new practice of nihongo shidō [Japanese-language
guidance], which provides special language classes for the growing number of non-Japanese
students attending public school. While this practice has many benefits, Okine is concerned that
separating these students from their classmates might reinforce the culture barrier between native
Japanese and foreign residents.
“Part Two: Self-Presentation and Self-Image” investigates different ways in which young
Japanese attempt to create and display positive identities in the midst of contemporary media
culture. Aoi Sakakibara’s essay “Identity Tourism in the “Half” Model Boom” looks at the current
66trend within young women’s fashion magazines of using mixed-race models as examples ofbeauty and fashion sense. She criticizes this phenomenon, arguing that it dehumanizes people ofmixed race while creating an inferiority complex among ethnic Japanese women. Anna Tsujimoto
also deals with young women’s culture in her essay “Decorative English Posts on Instagram
Written by Young Japanese Women.” She explains how English is used as a status symbol onsocial networking sites, which impedes its communicative function. Hikari Matsunaga’s “How to
Regard Self-Monitoring in Japan: The Case of Aoi Haru Ride” examines individual-group tension
as it appears in girl’s comics. She shows how characters in the manga Aoi Haru Ride deal withexcessive self-monitoring tendencies, arguing that the work seeks to provide a lesson to young
readers coping with social anxiety.
The essays in the final section, “Part Three: Japan on the World Stage,” consider different
efforts in Japanese media to present a particular national image both to Japanese citizens and to
the rest of the world. Kanako Shimizu’s essay “The Ise-Shima Summit Character Controversy:
Problems with the Cool Japan Policy” describes how a local government’s plan to use an otakustyle bishōjo [beautiful young girl] character as a mascot aroused criticism. In the light of thisdebacle, Shimizu offers reasons why official channels should refrain from using anime and manga
culture for publicity stunts. In “International Contribution and Positive Nationalism on Japanese
TV,” Mai Ito analyses a network television program which interviews foreign visitors to Japan.
Although the program contains mild nationalistic tendencies, she claims these are based oninteraction and cooperation with other cultures and thus offer a healthy way for Japanese viewers
to feel a sense of national pride. In the final essay, “National Sports Team Names and the “Spirit”
of Japan,” Shinsuke Ojika, looks at the use of the word “samurai” as it features in the national
baseball and soccer team names. He applies Gordon Matthews’s notion of the “cultural
supermarket” in order to show how “warrior spirit” connotations are used as promotional tools
for the team.
The final lesson of the course was conducted as an academic conference, where fourvolunteers read their essays aloud with accompanying slides. The other class members read thepresenters’ essays beforehand and prepared challenging questions. These were asked at the endof each reading, and were followed by lively discussions. Other iCoToBa instructors also joined
as audience members. A convivial reception with a selection of food and drinks followed the event.
This conference provided a sense of completion for the course, as well as a chance for students toshare their efforts with each other.
Working with the students on these essays was a great privilege. The participants showedboth determination and optimism in thinking about Japan’s image. Their contributions both inclass and in these essays gave me a wealth of examples where the various theories of Japan are
currently being tested by social reality. It was a stimulating experience for me, both as a language
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teacher and as a student of Japanese culture. Most of the graduating seniors in the class had been
taking my advanced courses for years, and it evoked a distinct sense of pride to see the level of
linguistic and cognitive ability they had achieved. It was also exciting to see the new attendees of
my advanced courses overcome their initial reluctance and strive to communicate a higher levelof ideas in a higher level of English. My deepest gratitude goes out to all these students and their
excellent efforts. I wish them the best of luck in whatever future Japan they will inhabit. My
thanks as well to the staff of the iCoToBa Multilingual Learning Center and Atsumi Miyatani for
their help with the final conference. I am looking forward to the chance for another successfulclass and conference next year.

88Sources
Aida Yūji (1972) Nihonjin no ishiki kōzō [The Structure of Japanese Consciousness]. Tokyo : Gendai
Shinsho.
Anne Allison (2013) Precarious Japan. Durham, NC and London: Duke University Press.
Befu, Harumi (2009) Concepts of Japan, Japanese Culture, and the Japanese. The Cambridge Companion
to Modern Japanese Culture. Ed. Yoshio Sugimoto, pp. 21-37. Cambridge, UK: Cambridge
University Press.
Coyle, Do, Philip Hood, and David Marsh (2010) CLIL: Content and Language Integrated Learning.
Cambridge, UK: Cambridge University Press.
Doi, Takeo (1971) Amae no kōzō [Anatomy of Dependence]. Tokyo: Kōbundō.
Dupuy, B. C. (1999) Content-Based Instruction: Can It Help Ease the Transition from Beginning to
Advanced Foreign Language Classes? Foreign Language Annals 33, 205-223.
Geertz, Clifford (1973) The Interpretation of Cultures. New York: Basic Books, Inc.
Marsh, David (ed.) (2009) Report by the Core Scientific Research Team, Study on the Contribution ofMultilingualism to Creativity, EACEA/2007/3995/2. Brussels: European Commission.
Mathews, Gordon (2000) Global Culture/Individual Identity: Searching for Home in the
Cultural Supermarket. New York: Routledge.
Nakane, Chie (1978) Tate shakai no rikigaku [The Mechanics of the Vertical Society]. Tokyo: Kodansha.
Oguma, Eiji (1996) Tan’itsu minzoku shinwa no kigen: “Nihonjin” no jigazō no keifu [The Myth of the
Homogenous Nation: A Genealogy of Japanese Self-Images]. Tokyo: Shinyōsha.
Sasajima, Shigeru (ed.) (2011) CLIL: Atarashī hassō no jugyō [CLIL: A New Course Concept]. Tokyo:
Sanshusha.
Takahara, Motoaki (2009) Gendai Nihon no tenki: “Jiyū” to “antei” no jirenma [The Turning Point ofModern Japan: The Dilemma of Freedom and Stability]. Tokyo: NHK Books.
White, Bruce (2004) The Local Roots of Global Citizenship: Generational Change in a Kyushu Hamlet.
Japan’s Changing Generations: Are Young People Creating a New Society? Eds. Gordon Matthews
and Bruce White, pp. 47-62. London: Routledge.
Yoshino, Kosaku (1992) Cultural Nationalism in Contemporary Japan: A Sociological Enquiry. London
and New York: Routledge.

99Part One:
Changing Cultures

A Community of Consumption:
The Halloween Phenomenon in JapanBy Ayumi Takeuchi
Junior, British and American Studies
Abstract
This study will analyze the phenomenon of Halloween in Japan as an example of acommunity of consumption. Applying both Bruce White’s concept of the term and Rogers
Brubaker’s concept of “groupness,” it will show what has made the Halloween gathering one of
the most well-known events in contemporary Japan. Ultimately, it argues that the act of gatheringin a public place with costumes forms a community created by people who are attracted to bothanime cultures and Western cultural images. The Halloween participants enact a moment ofgroupness to create a temporary community which replaces local community events such as
chonaikai [town meetings] and matsuri [festivals].
Theoretical Outline
As Japan is aging rapidly, the issue that most young people do not join in local communities
is a matter of serious concern. However, this is actually a result of a change in our understandingof a “community.” Anthropologist Bruce White writes that “there is a marked generational
contrast between how particular types of community activities are created and undertaken;
alongside this, there is a playing out of community memberships as plural, dynamic and open
entities exposed to and connected with the outside world.” To the older generations, thecommunity represents the boundaries of social existence. On the other hand, the younger
generations consider it to be a group where people sharing common interests gather, which White
calls a “community of consumption.” These communities are based on things like music, fashion,etc., and can happen all over the world. The communities of consumption are temporary. In fact,sociologist Rogers Brubaker claims that all groups are temporary, created by actions and words.
He believes that we should shift from talking about “groups” to “groupness” and treating groups
as “variable and contingent rather than fixed and given…to treat groupness as an event, as
something that ‘happens’’ (Brubaker 2002). This means that we can see the Halloween
phenomenon as a moment of successful “groupness.”13
13Case Study
Nowadays, Halloween is one of the biggest events in Japan. The popularity of Halloween
culture imported from the West has been increasing rapidly in the last few years, generating alarge amount of profit every year. Every year around the end of October, we often hear news about
Halloween parades in many locations in Tokyo. For example, on October 31st 2015, 3,000 people
staged a costume parade in Tokyo’s Roppongi district that drew 98,000 spectators, while at a
separate event near JR Kawasaki Station 2,500 people in costume attracted 110,000 spectators,
according to organizers (Muragon 2015). Some of them were from outside the Kanto area andcame to Tokyo just to join the parade to celebrate Halloween. Revelers – including a group ofscary doctors and nurses wearing white coats splattered with blood, a person dressing up as the
popular children’s show character Anpanman, and anime characters – got together to walk in thestreet and take group photos.
Some people see this phenomenon as a negative trend. They argue that Japanese people
just want to dress up in costumes and do not think about the meaning of Halloween, so it is strange
to import the Western traditional culture and change it into a Japan event. They also claim thatthe revelers are socially irresponsible, leaving large amounts of litter in the streets. Although thisphenomenon causes controversy, it is certain that the event has become a part of Japanese culture.
Analysis and Conclusion
We can see how the Halloween phenomenon is an example of a community of consumption.
The Halloween gathering in Tokyo has two main features. One is that the participants of this event
are together for only one day. The other is that it is a group of people brought together by acommon interest in dressing up in costume. On Halloween day, they assemble to walk in the street
with costumes, in effect creating a huge temporary community. The fact that many are fromoutside the Kanto area indicates that this new community is not a geographically specific groupsuch as a chōnaikai. This temporary, non-local, and interest-oriented group fits White’s definition
perfectly.
Moreover, the Halloween event is a moment of “groupness.” Brubaker mentions that“groupness” is changeable. The Halloween gathering happens for a short time and there is nocentral principle to fix and define the gathering groups. Therefore, this assembly which has
emerged in the last few years shows that the form of communities in Japan has changed. Somepeople complain that this phenomenon is caused by a bunch of rowdy people who just want tomake a noisy scene all together, and produces neither a sense of unity like matsuri nor anunderstanding of foreign culture. However, this idea is based on an image of traditional
communities. To the younger generation, communities are places where people having common
interests get together and have fun for a short time. Thus, it is a mistake to see this phenomenon
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as cultural depravity. The Halloween parade is a new form of community that has very concreteinteractions without geographical borders.
These days, most people use social networking services such as Facebook, Twitter andInstagram, which makes it easier to communicate with people all over the world. Accordingly,
the shape of communities has been changing significantly. Young people’s apathy towards local
communities does not mean that they are getting more independent, but actually has created new
non-geographical communities. One example of these is the Halloween gathering. Therefore,
these events, which generate the community of consumption, are going to continue to develop in
Japan.
Sources
Brubaker, Rogers (2002) Ethnicity without Groups. Archives Européennes de Sociologie XLIII (2). 163–
189.
Muragon Blog Site (November 1, 2015) Halloween! 2015 Shibuya Halloween. http://murauchi.muragon.com/entry/523.html. Accessed February 4, 2016.
White, Bruce (2004) The Local Roots of Global Citizenship: Generational Change in a Kyushu Hamlet.
Japan’s Changing Generations: Are Young People Creating a New Society? Eds. Gordon Matthews
and Bruce White, pp. 47-62. London: Routledge.

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Changing Conceptions of Women’s Roles in Japan
By Nami Amano
Junior, British and American Studies
Abstract
This essay will analyze Japanese sitcoms featuring career women as main characters, as
examples of the changing views about the gender division of labor in Japan. Examining two
Japanese sitcoms from different periods, it will show the changes in conceptions of women’s roles.
This examination will elucidate how the roles of women have been changing for many years.
Ultimately, this essay argues that, while women have achieved the ability to work in a wider
variety of jobs and obtain higher positions, the problem of women’s identity still persists 30 years
after the Equal Employment Opportunity Law of 1986. Work-life balance is still a large burden
for women. In other words, it is difficult for women to have a family while they are working.
Theoretical Outline
Conceptions of women’s roles have changed with the times. In the past, society dictated thatmen work and women remain at home and do housework or take care of their children. As
anthropologist Anne Allison explains, in postwar Japan, “women gained recognition for
producing children who achieved high academic performances by demonstrating extraordinary
output and discipline even as toddlers” (Allison 2013: 26). However, that concept is now
becoming outdated. In September in 2015, Chief Cabinet Secretary Yoshihide Suga, talking about
the marriage between a famous singer and an actress, said that it was good for Japanese society
because this could influence Japanese women to give birth at the same time the actress does, “soplease give birth to many children” (Sankei News 2014). This statement became a major
controversy, played up by TV news programs. This indicates how the concept of women haschanged in Japan. Suga’s statement reflects the old idea of women’s work, which many people
now see as a problem to criticize. This change has an influence on Japanese sitcoms as well.
Case Study
In 1988, a sitcom called Dakishimetai [I Want to Embrace You] was broadcast in Japan. Twofamous actresses played the leading roles. One is a single career woman who works hard as awidely sought-after hair stylist and manages a company where other stylists work. The other is ahousewife whose husband manages a Chinese restaurant. Both of them live in a luxury apartmentbuilding with a rooftop pool. In this sitcom, the two women stick to their lives as career woman
and housewife while they face the troubles of living, that is, one keeps working without marrying
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anybody, and the other lives with her husband who supports her.
In 2015, the same type of a sitcom as 1988’s Dakishimetai was broadcast, called Otona-joshi[Adult Women]. This sitcom also features a career woman as a main character. She is a single
office worker and she works hard as the leader of her division. Although her co-workers talk about
her in her absence, she has a strong sense of responsibility for her job and is able to work
successfully on her own. Her co-workers say that they do not want to be like her because “sheworks so hard” and she “could not get married to anybody.” Happiness for them is dependent on
marriage to an eligible man.
Analysis and Conclusion
We can see how these two Japanese sitcoms are examples of the changing views about thegender division of labor in Japan. In the 1988 sitcom, there are two main characters; one isindependent and works hard while the other is a housewife and supported by her husband. This
reflects how strongly the idea that women should remain at home was fixed in society. The Equal
Employment Opportunity Law was passed 1986 and conceptions of women’s roles had gradually
begun to change, yet most people at that time believed that women should be a housewife. On theother hand, in the 2015 sitcom, the main character is a leader of her division in the company andshe has the responsibility of dictating tasks to her coworkers. In addition, her coworkers are almost
all women. Furthermore, two of her best friends, who are also main characters in the sitcom, also
have careers. This clearly shows that the participation of women in the public sphere has come tobe an accepted sight, and that the idea that the workplace is a man’s world has disappeared.
Interestingly, however, the main characters in both Dakishimetai and Otona-joshi who havecareers are all single or divorced. This may indicate that people in both eras think working womenmust necessarily struggle to marry or have a family.
Sitcoms always show the features of that specific period’s society. For example, thecharacters’ fashion, words, and roles are quite different in each sitcom. Thus, social situation has
a big influence on sitcoms. It can be argued that these two sitcoms accurately depict the lives ofwomen in the workplace. Perhaps they go too far in assuming that working women cannot havefamilies, but it is still true that women working at small and medium-sized businesses havetroubles when they return to a job after giving birth to children. The companies of Japan should
reconsider the system so that more and more women can keep working.

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Sources
Anne Allison (2013) Precarious Japan. Durham, NC and London: Duke University Press.
Dakeshimetai I Wanna Hold Your Hand! (1988) (TV series). Fuji TV.
Otona-joshi [Adult Women] (2015) (TV series). Fuji TV.
Sankei News (October 17, 2015) Suga kyokuchō no hatsugen no hamon nao: Ikimaku josei dantai, mottoreisei na giron ga hitsuyō de wa? [After the Ripples at Minister Suga’s Statement: Angry Women’sGroups, We Need a Calmer Discussion]. http://www.sankei.com/politics/news/151017/
plt1510170001-n1.html. Accessed January 16th, 2016.

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Japanese Language Guidance for Foreign Students
and the Cycle of Avoidance
By Jovielyn Okine
Junior, International and Cultural Studies
Abstract
This study will analyze the new revisions to Japanese education laws which allow for nihongoshidō [Japanese language instruction] within the context of the issue of multiculturalism in Japan.
Applying Daniela de Carvalho’s discussion of nikkei [Brazilians of Japanese descent]communities, it will consider how minorities in Japan are part of a “cycle of avoidance” meaningthat both minorities and Japanese tend to avoid each other in society. With the application of the
new law, children of foreign residents can study Japanese Language as a separate class. Thischange has the benefit of allowing foreign children to learn Japanese in detail, thus helping them
function in Japanese society. However, the danger is that by separating them from Japanese
students, this new practice can worsen the cycle of avoidance. Ultimately, this study argues thatin order to avoid the dangers of isolation and increase its benefits, schools should conduct nihongoshidō through the method of hairikomi shidō [inclusive instruction], where language teachers
assist foreign students within regular classes.
Theoretical Outline
Sociologist Daniela de Carvalho’s work investigates the lives of the Nikkeijin: Brazilian
immigrants to Japan who are of Japanese ancestry but culturally Brazilian. As a minority groupin Japan, they have created their own communities that are isolated from the larger society(Carvalho 2002). Many Nikkeijin have suffered from what they see as instances of prejudice andmisunderstanding by the Japanese-speaking native residents. Despite the similar physicalcharacteristics and their close familial ties with their issei (grand) parents in Brazil, many reportthat the Japanese in Japan (nihon no nihonjin, japonês do Japão) will not accept them warmly
and instead label them as definite “foreigners” (gaijin, estrangeiros). As a consequence, after
residing in Japan for a while, many Nikkeijin call themselves “Brazilians” to distinguishthemselves from the members of a Japanese society that imposes rigid social norms and customs
on them. According to Carvalho, the attitudes leading to isolation on the part of the Nikkeijin areencouraged by the local Japanese who seldom come into contact with them even when living
nearby or working together with them. This causes the minorities like Nikkeijin and the Japanese
to tend to avoid each other and not talk to each other. We can call this situation a “cycle of19
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avoidance,” which is likely to continue unless opportunities for the two groups to interact are
created.
Case Study
The Ministry of Education applied new revisions to Japanese education law specifying thatJapanese language instruction will be a Special Curriculum starting in 2014. This revision
stipulates that children of foreign students attending public elementary schools and junior highschools who need Japanese language study will take Japanese as a separate class. This Japanese
Language class is categorized as a special curriculum, and acts as substitute class hours for othersubjects, in the range of 10~280 hours per year. Therefore, students can study Japanese language
in a different classroom in the whole of usual school time. The teachers of these foreign children
should have a teacher’s license, including part-time teachers. Children with foreign nationalities,
Japanese returnee students, and students with dual nationalities can take this Special Curriculum(The Ministry of Education 2013).
The purpose of Japanese language instruction through the special curriculum is to help
students adapt themselves to school life in Japan and become able to participate in other school
subjects and activities in Japanese. In addition, instruction to acquire the necessary Japanese forchildren in school life is also included. There are specific programs that will be carried out in theJapanese course, for example, Survival Japanese Program, Basic Japanese Program, Skill-BasedJapanese Program and Supplementary Subject Lesson programs (Matsumoto 2014). However,this Japanese instruction has the effect of isolating the children of foreign students who needJapanese language into separate rooms.
Analysis and Conclusion
The benefit of allowing foreign children to learn Japanese in a separate classroom is they canunderstand what the teacher says in class. As a result, they can study each subject in assisted
Japanese, so they can catch up to their Japanese classmates. They can take the class at the samepace and of course can participate in other school activities in Japanese. Local communities andschools involved in teaching Japanese language can improve their awareness about multicultural
teaching. In addition, Japanese instruction can give foreign students more opportunities to choose
their course in Japanese society after they become adults (Matsumoto 2014, Saito 2013).
However, the danger is that by separating them from Japanese students, this new practice canworsen the cycle of avoidance. Certainly, they can study Japanese in more detail if they study inseparate rooms. However, without a chance to interact, the Japanese students and foreign children
will not have the opportunity to know each other’s culture, religion, personality, and theirdifferences and similarities. This can also lead to ijime [bullying], because foreign children run
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the risk of being criticized by Japanese students because of their “differences,” if they are treatedas a different category of students. They might become more isolated not only in the society but
also in school.
The new revisions to Japanese education law which make Japanese language instruction a
Special Curriculum are good in principle. However, the form of giving Japanese instruction to theforeign students should be altered. This study believes that nihongo shidō would be best
conducted through the method of hairikomi shidō, in which foreign children study Japanese in
the classroom with Japanese children but with a language teacher beside them for guidance. Thisway, the foreign children can learn at the same time as Japanese children, and thus they will be
more motivated and confident. It also gives both types of students more chances to interact witheach other and therefore can break the cycle of avoidance.
Sources
De Carvalho, Daniela (2002) Migrants and Identity in Japan and Brazil: The Nikkeijin. London and New
York: Routledge Curzon.
Saitō, Gōshi (September 19, 2013) Gaikokujin jidō seito nado no Nihongo shidō wo jyugyōnai de [InClass Japanese Instruction for Children of Foreigners and other Students]. Benesse Website.
http://benesse.jp/blog/20130919/p1.html. Accessed January 5 2016.
Matsumoto, Kazuko (2014) Japanese Language Instruction as a Special Curriculum Daigaku Nihongokyōin yōseikatei kenkyū kyōgikaishu. Aichi Shutoku University, ISSN 2186-5825
The Japanese Ministry of Education (May 2013) Nihongo shidō ga hitsuyō na jidō seito wo taishō to shitashidō no arikata ni kan suru kentō kaigi [Review Meeting about the Way of the Teaching forStudents Needing Japanese Instruction].http://www.mext.go.jp/a_menu/shotou/
clarinet/kaigi/1334896.htm Accessed January 5 2016.

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Scenes from the final conference.

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Part Two:
Self-Presentation and
Self-Image

Identity Tourism in the “Half” Model Boom
By Aoi Sakakibara
Senior, British and American Studies
Abstract
This study will analyze the “half” fashion boom as an example of identity tourism in Japan.
Applying Lisa Nakamura’s ideas in her essay “Race In/For Cyberspace: Identity Tourism andRacial Passing on the Internet,” it will show how “half” (mixed-race) models give some ethnic
Japanese an image that assists them in trying to change their appearance and experiment with
their identities. The “half” fashion boom is a phenomenon which makes young people pretend tobe someone they admire. Ultimately, this study argues that the “half” boom is a negative
phenomenon because it creates unrealistic stereotypes about mixed race people in Japan.
Theoretical Outline
Digital media scholar Lisa Nakamura’s 1995 work “Race In/For Cyberspace: Identity
Tourism and Racial Passing on the Internet” first coined the term “identity tourism.” Nakamura
describes how people choose characters to play in an online role-playing game “LambdaMOO.”
She notes how most male Asian character names that appear in the game are derived from familiarstereotypes from popular media such as video games, television, and film; characters are named
Musashi, Bruce Lee, Nunchaku, Akira, etc. Players who choose to perform this type of racial play
are mostly white. She argues that this kind of identity tourism allows people to “abandon
themselves to a dream of crossing over racial boundaries temporarily and recreationally…a formof travel which is inherently recreational, exotic, and exciting, like surfing” (Nakamura 1995).
She notes that white players can “appropriate an Asian racial identity without any of the risks
associated with being a racial minority in real life.” Nakamura’s essay was 1995, but now media
culture is everywhere so there are many more kinds of identity tourism in the world.
Case Study
In most fashion magazines for young people, various “half” models are featured on the
covers recently. The loanword “half” (hāfu) refers to a person born from two different races, oneof which is generally Japanese. One considerable reason for “halves” to be chosen as fashion
models is that they are known to have Japanese identity, which makes ethnic Japanese consumers
feel a sense of familiarity, while at the same time allowing the exotic experience of foreignness.
For example, consider the latest issue of the fashion magazine ViVi (February 2016). ViVi ismarketed to young women in their teens and early twenties. The models on the cover are all ViVi
2525

models and they are all “half.” The cover reads “All about ViVi Models” and “the Secret of their
Beauty.” In the past, “half” meant only someone whose parent is a foreigner or born frominternational marriage. However, the present usage of the term “half” is somewhat changed. Now
anyone can dress and adorn themselves to be “half.” The most important point for young girls isthe appearance, whether they look “half” or not. There are a lot of articles that show “half”
makeup styles and fashion. On the Internet, some websites show “how to look “half” with aJapanese face” (Ely 2015). An ethnic category is becoming a fashion style.
Analysis and Conclusion
We can see how the fashion images in the “half” boom are a kind of identity tourism. Becauseof these images, “half” fashion is popular now for ethnic Japanese girls because they can enter
into a fantasy of crossing over racial boundaries temporarily. However, the ethnic concept “half”
indicates they are not completely foreign – they have some Japanese identity – which makes thiskind of identity tourism a safe fantasy.
However, the “half” boom has two major negative effects. Firstly, this boom causes Japanesewomen to feel like their own image is unsatisfactory and that to appear much as possible likeforeigners (meaning Westerners) is better. Reading fashion magazines, we can find any numberof “half” models wearing “half” fashion and makeup. However, many women feel a sense of
futility from this, thinking that the style would not fit their ethnic Japanese face and figure. Rather
than a simple reference point for beauty, these images create a sense of physical inferiority among
young women.
Secondly, the half boom creates unrealistic ideas about people of mixed race. Because of theboom, the stereotype that “halves are all beautiful” has spread in Japan. Even stereotypes thathave positive ideas on the surface are damaging, because they take away the individuality of theperson. The phrase “hāfu dakara (because she is half)” passed around so easily makes life difficult
for regular mixed race people. The fact that someone is beautiful is not because she is “half,” it isbecause she is beautiful. Also, Nakamura’s criticism of how white gamers “appropriate an Asian
racial identity without any of the risks associated with being a racial minority in real life” applies
here as well. The daily lives of mixed race Japanese have many difficulties, and enjoying theirappearance as a fantasy increases these problems.
In conclusion, the most important point is that “half” fashion is only one type of fashion andthe stereotype of “half is beautiful” or “half is better than Japanese” should be changed. Mixedrace models became popular in some part because of marketing strategy, but mostly because they
are beautiful. They became models because they are beautiful, and the result was that they became
categorized as “half.” Identity tourism is exciting and I believe it should be allowed to exist as
part of life’s enjoyment. However, people in Japan should understand more about racial equality
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and be proud of being ethnic Japanese.
Sources
Cover Design (February 2016) Vivi. http://www.netvivi.cc/special/detail?pr_id=61. Accessed January 16th,2016.
Ely (blogger) (May 27, 2015) Nandaka hāfu-poi ano ko. Nihonjin-gao demo gaikokujin mie suru himitsu
no denju [That Girl Looks Half. The Secret of Looking like a Foreigner even with a Japanese Face].
Mery. http://mery.jp/112328. Accessed January 16th, 2016.
Nakamura, Lisa (1995) Race in/for Cyberspace: Identity Tourism and Racial Passing on the Internet. Works
and Days, Volume 13, 181-193.

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Decorative English Posts on Instagram
Written by Young Japanese Women
By Anna Tsujimoto
Senior, British and American Studies
Abstract
This study will analyze posts written in English on the photo-sharing site Instagram by young
Japanese women as an example of “decorative English.” Referring to anthropologist Bruce
White’s notion that “communities of consumption” might encourage young Japanese to be moreglobally minded, this paper argues the opposite point of view. These communities of consumption
on Instagram make English a tool for increasing social status in a small and isolated communityof fellow Japanese speakers, instead of a means of communication with non-Japanese. Ultimately,
this paper argues that in order to avoid this kind of phenomenon, a more practical English
education system is necessary.
Theoretical Outline
Bruce White describes communities of consumption as social groups where friends areconnected by “stylistic trends that embody a huge variety of forms, from musically definedinterest groups to lifestyle choices” (2004: 53). For example, there are many running events held
for young people to join – Color Run, Bubble Run, Electric Run and Zombie Run, etc. – which
many young people participate in. These can be considered communities of consumption. He also
writes that “the community of consumption represents a new ordering of and exposure to diversity”(54). For White, communities of consumption are positive things that contribute to global society.
If this is true, then Instagram communities using English should also somehow contribute.
However, English in Japan is not used primarily as a communication tool. John Dougill
explains that in Japan, English has a “decorative” function. He points out that “compared with the
Chinese characters used for everyday purposes, the romaji (Roman alphabet) of English seems
smart, sophisticated and modern…. This English is never even read, even by students and teachersof the language: it’s purely decorative” (2008: 18). Practically, English is often recognized as acool language in Japan not only because it is a lingua franca, but because is exhibits this “cool”
status. Looking through English posts contributed by young Japanese women, we can see thatthey regard using English as symbol of status.

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Case StudyAs the Internet is now in use all over the world, the power of social networking sites (SNS)seems to have stronger and stronger effects on people’s lifestyles, especially on the younger
generation. They seem to deeply depend on SNS to connect with each other. This dependence isoften seen in the way young Japanese women contribute posts on SNS in English. The photosharing site Instagram is one especially strong example. People upload photos onto Instagram,along with some comments. They share photos of food, fashion, daily life, shopping, animals,
views and so on. Better posts usually get more “likes,” and so people share photos which theywant others to see. This website illustrates how people in the current generation of youth connect
each other. They share the same preferences and from these preferences forge social relationships.
Dougill admits that “education has been freed up, English introduced into primary schools,
and listening tests established in national exams” and “the number of “international Japanese” hasbeen increasing.” However, at the same time, he insists that “the peculiarities of Japanese English
continue to adorn the country’s buildings, goods and items of clothing” (Dougill 2008: 19). In
line with Dougill’s observation, the Instagram posts contributed by young Japanese women often
contain many mistakes. Here are some examples below:
A. Example 1
This woman is describing a photograph of a light display featuring American flags at amonument in Washington D.C.:“When I listen to music, I’m so happy. But…I’m alone fight!”“It’s a dream to go to here!!!”From the example above, we can see that she uses English as “decoration.” In addition to
mistakes in grammar and usage – “go to here” instead of “go here” – she also uses someJapanese-style expressions such as ellipses to express silence while thinking of something or“fight” to express ambition, which never happen in native English usage. From that point, we
can see that she is not aiming at accurately describing her feeling with English but writing forher own self-satisfaction, or for expressing her desires to her friends in the same Japanese
small community in which she is isolated. Additionally, the photograph she posted is not one
she took by herself. This may indicate that she recognizes the United States as a dream
location which exists far away from her. In that case, English may have that same status in
her mind.
B. Example 2
There are some websites which tell Japanese people how to post on SNS in English. An
example can be found on a post from the blog website I Know (Urara 2015). In this post, thewriter instructs the readers: “You may often write posts about food or drinks. Common
expressions will be more fashionable if you use English!” This example shows how many
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Japanese people regard English. Some Japanese people contribute posts in English because
they think it is cool. Many people think using English acts as a fashion statement, as thewebsite recommends. Just to illustrate, this post has got 157 likes on Facebook.
Analysis and Conclusion
The English consumed among young Japanese women on Instagram does not come as arepresentation of the diversity of Japanese society. These Instagrammers do use English tocontribute posts, but the English there is not used as a global communication tool. English usedin the sentences is grammatically wrong and sometimes even includes Japanese expressions. Theyuse English because it seems to be fashionable in their Japanese community. To use English as a
fashionable decoration does not help Japanese society to be global. Those usages have the dangerof making English in Japan isolated into a small community.
Japanese society is exhibiting more and more interest towards English-speaking cultures thanin the past. Young people especially seem to have very positive attitudes toward English.
Contributing posts on SNS may be regarded as one example of this. However, as described in thisstudy, young people tend to use English simply as a decoration. I want to suggest that thephenomenon of decorative English in Japan arises as result of the English education system inJapan. Because Japanese English education focuses on reading and writing, Japanese students
normally study those sections very hard. However, they do not have many opportunities to use
English practically in English classes or in their daily lives. Japanese education makes people
recognize English just as a subject, not a communication tool. With the movement towards global
participation active now, it seems to be a good time to change Japanese education. If there are
more opportunities for Japanese students to feel real English in the education situation, theisolated communities using decorative English may change into open ones with English as acommunication tool.
Sources
Dougill, John (2008) Japan and English as an Alien Language. English Today 93, Vol. 24, No.1.
Cambridge, UK: Cambridge University Press.
Posts on Twitter. https://twitter.com/. Accessed January 16th, 2016.
Urara (blogger) (May 21, 2014) Facebook ni eigo de tōkō! SNS de ima sugu tsukaeru shichuēshon-betsu
furēzu matome [Use English on Facebook! A Collection of Situation-Based Phrases You Can Use Now
on SNS]. I Know! Blog. http://blog.iknow.jp/posts/3277. Accessed January 16 th, 2016.
White, Bruce (2004) The Local Roots of Global Citizenship: Generational Change in a Kyushu Hamlet.
Japan’s Changing Generations: Are Young People Creating a New Society? Eds. Gordon Matthews
and Bruce White, pp. 47-62. London: Routledge.

3030How to Regard Self-Monitoring in Japan:
The Case of Ao Haru Ride
By Hikari Matsunaga
Junior, International & Cultural Studies
Abstract
This study will analyze Sakisaka Io’s comic for girls Ao Haru Ride (2011) as an example ofthe phenomenon of self-monitoring in Japan. In this work, the author depicts self-monitoring as“playing friends” – pretending to get along with someone you don’t like by hiding your real
feelings so as to belong to a social group. This process has a negative image, but the charactersconquer their negative feelings by stopping their self-monitoring. Ultimately, this work treats selfmonitoring as a regular problem Japanese people often face. The depiction of self-monitoring inthis work does reflect real-life, and many people can empathize with the experience. However, in
real life is it difficult for some people to overcome the negative feelings created by self-monitoring.
Ao Haru Ride therefore offers the lesson that people can live by expressing their individuality.
Theoretical Outline
Japanese people tend to place special emphasis on harmonization with the other members of
their social groups. Dutch social psychologist Gerard Hendrik Hofstede says that while
Westerners act on the basis of individualistic cultural values, Japanese act on those of acollectivistic culture (Gudykunst 1998). Collectivism is the idea that cooperation is a fundamental
value. It stresses interdependence and cohesiveness, acting for not only the individual but foreveryone within the group. Members of a collectivist culture tend to think it is important to hide
their individuality.
A psychological phenomenon related to collectivist behavior is “self-monitoring.” This study
defines self-monitoring as the act of observing and analyzing one’s own behavior and changing
one’s actions accordingly in order to adapt to one’s surroundings. In principle, self-monitoring isjust a way to adapt to society and has no negative image. For example, a delinquent can stop to
think about their bad behavior and from there attempt to live an honest life in order to survive inthe society. However, self-monitoring can be performed to an excessive degree, especially incollectivist society. According to research by Gudykunst, Gao, Nishida, and Sakai, in a collectivist
society – in particular Japanese society – people tend to excessively self-monitor because they
feel it is important to review their conduct in order to accommodate other people and cooperatewith them (1992). Japanese people tend to monitor themselves more because they are in a31
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collectivist society, so therefore they tend to feel more stress about social relationships.
Case Study
We can see how self-monitoring is treated in Ao Haru Ride, a high-school story about thedaily lives of youth. The story follows five main characters. One of them is the protagonist, Futaba
Yoshioka. She was a quiet girl in junior high school, and was neglected and isolated by other girls.
She was popular with boys, so she got on girls’ nerves by arousing their jealousy. Therefore, shebegan to put on a show of carelessness after entering high school, where no one knew her past.
For instance, she made the contents of her bag sloppy and made a show of eating quite a lot (AoHaru Ride 1: 44, 50). She purposely displayed these habits so as not to be liked by boys. It wasmore important for her to be liked by girls than by boys, in other words, to not stand out. In thelanguage of the comic, this is called “playing friends.” They get along with friends by hiding theirreal feelings. Through these habits, she managed to get along with her friends, but they neverhelped her when she ran into a problem. She felt lonely because of the shallow friendship she hadwith them.
One day, a boy who Futaba likes confronted her about her habit of “playing friends.” She
was shocked at being discovered, but she replied to him that playing friends is essential for her.
In addition, she was impressed by the words of one friendless girl who couldn’t help cultivating
an image of sweetness consciously: “I want to be a person who I myself can like.” Futaba knew
she also was afraid of being isolated, but eventually she chose to show her real character. These
events became the trigger of her disclosing her real intentions without thinking to her friends, andtheir “play” friendship was broken. It led to isolation in the classroom. However she didn’t regret
saying her true feelings and put all her doubts behind her.
Analysis and Conclusion
In this work, Futaba does self-monitoring. She analyzes herself and concludes that her quiet
character led to other girl’s jealousy. Therefore, she changed her behavior so as not to be disliked
by them. It was only way for her to belong to a group of friends. The author describes this selfmonitoring as a negative phenomenon; thus, stopping it and accepting her own character is apositive phenomenon. Probably, many people can sympathize with Futaba’s situation. It was
treated as a common occurrence in our lives.
In general, people perform self-monitoring unconsciously. Futaba in Ao Haru Ride rethought
her life and decided to express her unique personality. This work describes a success inovercoming excessive self-monitoring. However, it is more difficult and complex to stop selfmonitoring in real life. People who self-monitor less than others may be criticized such as KY(Kuki Yomenai). This study defines kūki yomenai [lit. “can’t read the atmosphere”] as the kind of32
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people whose statements and attitude are unsuitable for the social atmosphere at the time. They
are criticized in Japan as people with no common sense.
Conversely, people who do it too much may be distressed because they feel a constantpressing need to change themselves. Excessive self-monitoring can lead to serious consequencessuch as hikikomori [shut-ins] and suicide. People try to shelter themselves in places where they
don’t have to change themselves. It is likely that one reason for the many cases of hikikomori andsuicide in Japan is immoderate self-monitoring. In real life is it difficult for some people toovercome the negative feelings created by self-monitoring. Ao Haru Ride therefore offers thelesson that people can live by expressing their individuality. The success story of Ao Haru Ride
encourages young people who are troubled by excessive self-monitoring. If they follow thisadvice, Japan will become better because Japanese people can feel they don’t have to take refuge
from society anymore.
Sources
Gudykunst, W. B. (1998) Bridging Differences: Effective Intergroup Communication. Beverly Hills, Ca:
Sage.
Gudyknust, W. B., Gao, G., Nishida, T., Nadamitsu, Y., Kashima, & K. Leung (Eds.), (1992) Innovations
in Cross-Cultural Psychology. The Hague, Netherlands: Swets & Zeitlinger.
Sakisaka, Io (2011) Ao Haru Ride. Tokyo: Shueisha Inc.

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A slide from Unit 1 of the class.

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Part Three:Japan on the World Stage

The Ise-Shima Summit Character Controversy:
Problems with the Cool Japan Policy
By Kanako Shimizu
Senior, British and American Studies
Abstract
This study will analyze the controversy surrounding the proposed Ise-Shima Summit mascot
character as illustration of problems inherent in the “Cool Japan” publicity measure of local andnational governments. The Ise-Shima character was created by depicting a Japanese traditionalama driver in the sexualized moe style of otaku culture, a decision which drew criticism fromreal-life ama divers in the Ise-Shima area. Applying both Azuma Hiroki’s concept “pseudo-Japan”
and Iwabuchi Kōichi’s thoughts on the globalization of Japanese culture, this essay will show theimportance of government’s nonintervention into subculture.
Theoretical Outline
In 2002, American journalist Douglas McGray published his article ‘Japan’s Gross National
Cool’ in Foreign Policy. He mentioned in the article that “Japan already possesses a vast reserveof potential soft power.” Soft power refers to a country’s potential to influence policy based on
the attractiveness of its culture. After the article was published, the tendency to look at Japanese
subculture such as manga, anime, or otaku culture as “cool” was widely spread.
The Japanese government established the Cool Japan branch in the Ministry of Economy,
Trade, and Industry in 2010. They define Cool Japan as Japanese unique culture, focusing on popcultural products that have received attention in foreign countries. The purpose of that measure isto promote the coolness of Japanese culture to the world in order to provide a big boom for private
markets.
However, the issue of whether the government should control Cool Japan as a matter ofpolicy is debatable. As global studies scholar Iwabuchi Kōichi has mentioned, even if Japaneseculture has come to be widely known, “it is quite another [thing] to say that this cultural influenceand this perception of coolness is closely associated with as a tangible, realistic appreciation of“Japanese” lifestyle or ideas” (2002: 35). Japanese specialist in Western philosophy Azuma
Hiroki has explained that otaku culture is based on the complicated desire to remake “pseudoJapan” by using American materials because Japan has lost the comfort of a traditional Japanese
identity after WW2 (2001: 24). Azuma explains that there are two types of Japanese people: one
which accepts otaku culture’s version of Japan, and one which rejects the characters that combine
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Japanese tradition and western culture, because they are not perceived as “real Japan.” Therefore,viewing otaku culture as Japanese culture in general is controversial.
Case Study
The 42nd G7 summit, called “The Ise-Shima Summit,” will be held in the spring of 2016 in Shima,
Mie Prefecture, Japan. The leaders of the seven G7 members and the representatives of theEuropean Union will participate. The city has traditionally been a center for pearl harvesting. To
promote the summit and welcome the participants, Shima City adopted the character of an ama[female pearl diver] as an official mascot. The character was depicted wearing a too-short whitecloth, exposing her long legs. She was also depicted in the otaku style as both breasty and childish,quite different from real ama. The Shima city government explained that the character was a great
promotional measure because the younger generation and foreigners were much familiar withotaku culture. However, most of the ama who live in Ise-Shima area resolutely opposed the useof this character. One of them, Utsubo Isako, argued that “this character was totally different fromthe real figure, and insulted the great traditional profession of ama. The fishing skill of ama isrecognized as an important Intangible Folk Culture Asset in Mie. I’m doubtful about treating suchan important tradition as otaku culture” (Kimura 2015). Therefore, 309 signatures of ama
opposing the character, and seven thousand others, have been collected through the Internet.
Consequently, the city government apologized for making people uncomfortable, and promised
to alter the mascot (Ogino 2015).
Analysis and Conclusion
We can see how the ama character is an example of the pseudo-Japan that Azuma indicates.
The character was supposed to present Japaneseness by focusing on traditional professions, inthis case ama. However, it did not depict real ama, but showed a particular kind of Japaneseimagination by making it in the otaku style. As Azuma explains, the goal of pseudo-Japan is not
to show the value of history, but to visually enjoy an imaginative world combining both traditionaland modern pop culture. Otaku culture also does not reflect real life but an ideal world like infiction. Therefore, it should be said that the Ise-Shima character in the otaku style is just an ideal
for fun. The ama of Ise did not share this same ideal in relation to their history, which is why they
got angry.
If a character becomes approved as an official symbol, this means it is public, and thus is
supposed to be accepted by everyone in that community. In this case the main reason of those
who opposed the character was that the city government officially approved it and began a public
promotional campaign. Moe characters such as the Ise-Shima mascot are attractive for otaku as
fiction, however, they also connect to real-life issues. Many of the ama are uncomfortable with
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the character because they think of her as sexist. This character is treated as just an attractive
figure. In the context of the current government push to encourage more working career women,creating a female character in such a kind of style is contradictory.
In addition, the use of the character is an example of Cool Japan problem that Iwabuchi
mentions. The summit is a formal and important occasion for Japan to gain credibility ininternational politics. Therefore, the use of the character as an official one is a problem, because
the purpose of the summit is not to enjoy otaku culture. It is good that many foreigners have aninterest in Japanese subcultures such as otaku culture. However, the government should notcontrol Cool Japan as a policy for soft power, because otaku culture will lost its coolness andfreedom once the public authorities invade into private culture.
SourcesAzuma, Hiroki (2001) Dōbutsuka suru posutomodan: Otaku kara mita Nihon shakai [Otaku: Japan’s
Database Animals]. Tokyo: Kōbunsha.
Iwabuchi, Kōichi (2002) Recentering Globalization: Popular Culture and Japanese Transnationalism.
Durham, NC: Duke University Press.
Kimura, Masato (August 26, 2015) “Rorikon,” “seisabetsu,” “umi no bunka o baka ni suru na” –Samitto no kaisaichi Shima de ama no moe kyara dai enjō [“Pedophilia” “Sexism,” “Ridiculing the
Culture of the Sea:” Summit Location’s Shima’s Ama Mascot Gets Flamed]. Yahoo News.
http://bylines.news.yahoo.co.jp/kimuramasato/20150826-00048855/. Accessed January 14, 2016.
McGray, Douglas (May 1, 2002) Japan’s Gross National Cool. Foreign Policy May/June, p.54-70.
Ogino, Yoshihiro (November 6, 2015) Shima Casts off Shapely Teenager Diver Mascot after Claims of
Sexism. The Asahi Shimbun http://ajw.asahi.com/article/behind_news/social_affairs/
AJ201511060034. Accessed January 15, 2016.

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International Contribution and Positive Nationalism
on Japanese TV
By Mai Ito
Senior, British and American Studies
Abstract
This study will analyze the Japanese TV program Why Did You Come to Japan? [You wa nani
shi ni Nihon e?] (TV Tokyo) as an example of how nihonnjinron theories of Japanese uniquenessinteract with more modern ideas of international contribution within the Japanese media.
Applying both Kosaku Yoshino’s discussion of nihonjinron and Ōishi Yutaka’s idea ofinternational contribution as a new kind of nationalism, it will show how this TV program
simultaneously exhibits both nationalistic nihonjinron tendencies and a desire to contribute to andinteract with the rest of the world. Ultimately it will argue that even though certain isolating
tendencies continue, this kind of show is valuable because it helps the audience realize how much
Japan is globalized while at the same time allowing a sense of pride at being Japanese people who
can coexist with foreigners.
Theoretical Outline
Nationalism is created through many sources and indirectly influences much of our lives.
Kosaku Yoshino explains how Japanese nationalism is connected with nihonjinron [theory of theJapanese] a famous set of ideas about Japanese identity. Nihonjinron has been widely discussed
for decades and is still a key concept to think about Japanese culture. To summarize it simply, it
is an idea that Japan is unique (different from foreigners) and Japanese culture therefore does notinteract well with other cultures. “Japanese identity is the anti-image of foreignness and, as such,
can only be affirmed by formulating the image of the Other; namely, the west (or in a previous
age, China)” (Kosaku 1992: 11). The image of Japanese uniqueness which influences ourperceptions is created by differentiating Japan from a supposed universal norm. Kosaku also
writes that “it should be stressed that those ideas concerning Japan and the West emphasized in
the nihonjinron do not necessarily represent empirical reality but rather images created toreinforce Japanese identity” (12). Since in nihonjinron Japanese identity is deeply related to theimages of the Other, its ideas influenced Japanese nationalism in the 1970s and 1980s.
Another important idea in the discussion of Japanese nationalism is Ōishi Yutaka’s notion ofnationalism through international contribution. Ōishi explains that mass media takes the role of awindow for the Japanese to look at the outside world and to look back on history. He also says
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that non-news media such as TV shows, movies and novels stimulates public feeling of
nationalism automatically (2006: 4). Ōishi explains several changes in Japanese nationalism afterWorld War II and the economic crisis. According to him, nationalism in pre-1990s Japan wasconnected to economic success. After the recession hit in the 1990s, Japanese media discoursebegan to attempt to reestablish a place in the world through “international contribution” (28). The
impulse towards contribution is good, but as Ōishi says it can lead to a new kind of nationalism –where Japan is in competition with or trying to show off to other countries.
Case Study
These years, the number of TV shows treating foreign subjects is growing dramatically. Oneof them is TV Tokyo’s extremely popular Why Did You Come to Japan? (You wa nani shi ni Nihone?), which airs Mondays at 7:00 p.m. This TV show started in 2013, and consists of interviews
with visitors from foreign countries. The “You” in the title refers to the foreigners who came to
Japan. The show’s camera crew begins at airports and travels Japan with these foreign visitors.
The show is a documentary and also a comedy; the hosts of the show are popular comedy duo
Bananaman. According to the official homepage, the show wants to highlight foreigners because
the number of foreign travelers coming to Japan is increasing year by year.
The show generally does not feature celebrity guests in the studio. Bananaman’s job as hosts
is to watch and comment on videos of interviews taken before the show. The interviews are taken
by a three-person crew of cameraman, director and interpreter who rarely show up in front of thecamera. The commentary functions as a substitute voice for the audience, making honest remarks
while the interviews are shown. One of the unique features of the show is that it does not haveany scripts for the interviewees (this is the documentary aspect) and simply follows the visitor’s
stay in Japan basically without giving them any advice or help. Therefore, the audience can feelthey are getting raw information about what foreigners really do in Japan and why they came.
The interviewees offer the audience new points of view about Japan as seen from outside. Someof the interviews are in fact not travelers but living in Japan. These figures represent how
globalized Japan has become.
Interestingly, some interviewees on Why Did You Come to Japan? mention parts of Japaneseculture that Japanese people do not realize is popular abroad. For example, the December 7th 2015
broadcast featured an American women who came to Japan to visit her boyfriend working inTokyo. She told the interviewers that she wanted to learn origami. This desire originated with anorigami crane she saw decorating a Japanese restaurant in New York. The program showed her
visiting an origami museum to learn how to make a crane. The camera showed many kindJapanese who helped her at the museum. Also, Bananaman’s commentary expressed surprise ather huge excitement about making a crane (“just a crane!”) figure.
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Why Did You Come to Japan? also sometimes reflects on how Japan contributes towards
world culture. In the July 14, 2014 broadcast, the crew followed a group of Americans who cameto Japan to join a charity event called Oxfam Trail Walker Japan. In this large annual event, groupsof four people mixing foreigners and Japanese walk 100 km for 3 days. Because it is a comedy
show, the show focused more on the team than the event itself. However, the audience could learn
that Japan hosts such humanitarian events.
Analysis and Conclusion
We can see how Why Did You Come to Japan? features both nihonjinron and international
contribution forms of nationalism. Even though this is a comedy show, this show reflects both
Japanese traditional values and globalization by using foreigners as its central material. As
mentioned above, the coverage of the American woman interested in origami takes care to display
and emphasize the kindness of Japanese people, and to show origami as one of the great Japanesearts. It can be said that this is a clear example of the way of thinking that characterizes Japaneseculture as unique and great. However, this is not totally the same as nihonjinron uniqueness, since
the show depicts how an American woman can understand Japanese values and arts as well as (oreven more than) native Japanese. Therefore, this segment does contain nationalist traits but also
simply shows the internationalization of Japanese culture. It shows Japanese culture as capableof being shared by everyone in the world.
The Oxfam Trail Walker Japan segment mirrors Ōishi’s description of nationalism createdthrough ideas of international contribution. Because the show covers a large-scale charity event
in Japan, the audience can revel in the idea that Japan is a great country which can support otherpeople throughout the world, subconsciously stimulating a sense of nationalism. Even though thisshow does not intend to show off Japan’s international contribution, camera shots showing
Japanese event staff helping out the foreign runners and working towards the success of theinternational charity help evoke that sense of nationalism as well.
Although the term “nationalism” has a negative image, this newer nationalism throughinternational contribution might be a better method for contemporary Japan to be proud of itself,
and also to think about our globalized society. As Ōishi points out, national media have always
created nationalism in their audience in one way or another, even comedy shows like Why Did
You Come to Japan? TV shows use foreigners – or Japanese people living in foreign countries –to search for a new Japan. This trend follows Ōishi’s new idea of nationalism as finding a placein the world. I want to argue that this is better than a traditional nationalism through nihonjinronideas, because international contribution also encourages interaction with other cultures andpeoples in this globalized world. To conclude, the popularity of Why Did You Come to Japan?
reflects both new the nationalism and the globalization of Japan. This show is a good example of42
42how TV programs contain ideas of nationalism. Audiences should try to be more conscious ofwhat they are being shown through the media.
Sources
Kosaku, Yoshino (1992) Cultural Nationalism in Contemporary Japan: A Sociological Enquiry. London
and New York: Routledge.
Ōishi, Yutaka and Nobuto Yamamoto (2006) Media nashonarizumu no yukue [The Endpoint of Media
Nationalism] Tokyo: Asahi Shinbunsha.
Yuu wa nani shi ni Nihon e [Why did you come to Japan?] (2012-present) (TV Series). TV Tokyo.

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43National Sports Team Names and the “Spirit” ofJapan: SAMURAI BLUE / SAMURAI JAPAN
By Shinsuke Ojika
Senior, British and American Studies
Abstract
Some of the most popular TV broadcasts in Japan are the sports matches of national teams,
especially soccer and baseball. These teams have nicknames. The most popular ones use the word
“samurai,” which refers to a member of a powerful military class in medieval Japan. This essay
will apply Gordon Matthew’s ideas about the consumption of Japanese traditional culturalelements with a sense of “Japaneseness” to the phenomenon of samurai team names. It will
ultimately argue that the meaning of “samurai” as a nickname is far from the essence of traditional
Japan itself. However, this name does lead to a successful campaign for the promotion of thenational teams.
Theoretical Outline
National teams’ nicknames show the spirit or pride of the team, and the existence of thenames is often emphasized by the media. This emphasis is related to the consumption of“Japaneseness” or the concept of a Japanese “spirit.” Anthropologist Gordon Matthews (2000)
interviewed a teacher of shakuhachi [Japanese bamboo flute], and explained the teacher’s opinionof the sense of Japaneseness. “Japaneseness isn’t a matter of race or place, but a way of thinking,a matter of heart, behavior, attitude” (47). Matthews explains that many teachers of Japanesetraditional arts claim that they are promoting the roots of Japanese traditions for young people torediscover them, but Matthews notes that “these practitioners of Japanese traditional arts are lessengaged less in the rediscovery of the underlying Japaneseness than in the ongoing invention ofJapaneseness for display in the cultural supermarket” (39-40). In other words, Japaneseness is notmatter of spirit, but a product to sell.
Case StudyThe Japanese Football Association (JFA) started to officially use the nickname “SAMURAI
BLUE” for the national soccer team from 2006. The name was decided by the votes from the
supporters. On the other hand, the name for the baseball team” SAMURAI JAPAN” was created in2011 by the Nippon Pro Baseball Association (NPB), and these two names are used separately inthe field of sports. There is no connection. BLUE indicates the color of the main uniform, and44
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JAPAN evokes the recovery from the great Tohoku Earthquake which happened in the same year.
However, both the national soccer and baseball teams have an important aspect in common: great
results. Japan hosted the World Cup in 2002 for the first time, and the result of the Japanesenational team was successful: best 16, which is the greatest result up to the present moment. The
Japan national baseball team won the championship in the World Baseball Classic two times
running (2006, 2009). The examples of soccer and baseball are regarded as models of thecommercialization of national sports teams.
Analysis and Conclusion
A samurai fights for his master. In the context of national sports teams, the “master” does
not only mean the team’s coach, but also the supporters and citizens. The nickname “samurai”
certainly implies such a mentality. However, in reality, the word is utilized for the promotion of
the team, as the official associations like JFA and NPB tried to respond to people in Japan’s
expectations of better results compared to the previous strenuous efforts. Maintaining the
popularity of the national team is a big duty for such associations, and the promotion of sports
often tries to create a sense of national identity around the team. The method of publicity generates
support for or interest in the national team. There is a gap between the fundamental meaning of“samurai” as simply “loyalty” or “bravery” and the intention of the officials for the commercial
use of the word. The nickname of the national team did not ignore the original sense of the word,
but the impression it creates was arranged for the promotion of the national team in Japan.
Therefore, the nickname “samurai” does not always reflect the mindset of Japaneseness accurately,
but “samurai” was a successful case as a marketing strategy.
Sources
Japan Football Association Website (n.d.) Samurai burū te nani? [What is Samurai Blue?].
http://www.jfa.or.jp/info/inquiry/ 2011/11/samurai-blue.html. Accessed January 12 2016.
Mathews, Gordon (2000) Global Culture/Individual Identity: Searching for Home in the
Cultural Supermarket. New York: Routledge.
Nippon Pro Baseball Association Website (n.d.) Samurai japan ni tsuite [About Samurai Japan].
http://www.japan-baseball.jp/jp/summary/about/. Accessed January 12, 2016.

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Imagine Japan!