Neon Nagano

Japan is littered with modernity. Quite literally littered, as when one drives through Japan at night one gets the impression of a land where technology, bright flashes of light and commercialism were merely dropped along the edge of the road with little thought to the world they were creating here. Indeed planning permission would appear to most people to be an alien concept to the Japanese. While the biggest cities are full of impressive architectural accomplishments it’s hard not to feel that Japan’s more rural cities were dragged into the blueprint for a modern Japan as something of an afterthought.

Last weekend, driving from my relatively quiet city, where the centre of town can charitably be said to be rather quiet, I drove along a major Nagano route heading for a neighbouring city where a friend of mine lives. In the daylight I know driving in Nagano to be a breathtaking thing. The countryside appears to endlessly stretch out to a horizon that is so beautiful that from time to time I wonder whether in truth I might be the victim of a Trumanesque hoax, that someone has in fact painted this skyline, a vast and beautiful deception where every winter armies of workers abseil down the face of a giant metal dome in order to paint the mountaintops white.

However, at night it’s a different story entirely. Where once fireflies and the stars were the only thing to light up the night sky, now an endless stream of neon runs alongside the rivers and roads in Nagano’s valleys. All the stores are the same wherever you go along this long stretch of road, Department store followed by McDonald’s, supermarket by pachinko parlour, glasses store (sporting a giant neon pair of spectacles of course) by the same shoe shop you saw 5km earlier. All marked at regular intervals by a Familymart, a Lawson’s or Seven/Eleven.

I’ve said before that Japan has managed to deal with globalization in a fascinating way, picking and choosing what aspects of culture and commerce that set up shop here. But when confronted by this long line of identikit construction and expansion it’s hard not to feel that in some places they let the flood barriers collapse.

While on that road returning home I might have been more saddened by the show of lights were it not for a few things. I had spent part of the previous evening at an open mic music night in a small town. The place was filled with a mix of Japanese and foreigners alike all enjoying the music, whether the lyrics were Japanese or English. My friend and I swiftly followed it up with a few beers in an Indian themed bar where the food was warm and the owners welcoming. Finally finishing our evening by devouring one of the best cheeseburgers I am ever likely to taste at a bar covered in Americana bric-a-brac.

These places were the product of globalization at its best, a place where two cultures can meet and get the best from one another. Do I wish these places were only a short walk from my own apartment? Yes, of course. But then they’d probably build it next to a department store and since you wouldn’t be able to see it behind that behemoth it’d need something bright and colourful so you wouldn’t miss it… maybe a splash of neon would do the trick.

Dear Colonel Santa

Pulling at plastic wrapping, contorting the fragile cardboard box within, peering intently at the numbered squares adorned with cartoon images of reindeer and a fat man in a dapper red number, with a look firmly plastered across their faces that said, “what the hell is this thing?”

It was an advent calendar. Something that for my whole life I’d taken for granted. A fixture of my childhood for which the theme of the box chosen, based on either the cartoon character on front or as I got older the chocolate within, was taken with great care. The very thought that someone might have no clue as to what it was had never occurred to me in the slightest.

I’d always considered certain things to be at the forefront of globalization, dispensed across the global by Coca-Cola and McDonald’s; I figured most of the commercial aspects of Christmas to be among them. Then again, I hadn’t a clue as to 99.9% of Japanese holidays when I arrived here so the double standard was perhaps unfair.

But there is one extenuating circumstance. I didn’t just describe the look of kids but of senior citizens.  Which in a way, when I think about for more than a mere moment makes considerably more sense, despite my initial surprise. Children for one are simply pleased with something new, bright and colourful which they are told has sweets inside. Adults tend to question the purpose of packaging a bit more. Children simply want to know the rules of this mysterious new object and how to extract chocolate from it.

Then there’s the element of media saturation. Anyone who has grown up in a developed nation over the last fifty years has been literally drowned in American pop culture. Christmas just like Valentines day in Japan, is exported commercial opportunity pure and simple.  However, my assumption that globalization alone could spread global awareness of western traditions missed a vital element in its brief calculation, people don’t buy every piece of crap they see.

Almost, but not quite.

In order to sell stuff at Christmas you generally need to get consumers to see it with a certain nostalgic tint. I don’t buy overpriced mulled wine at Christmas purely for the taste after all. I buy it in pubs in England because it’s there and not far from it is a roaring fireplace, which when working in cahoots somehow convince me that Christmas has ever been thus, so thus I must buy.

Which leads me back to Japan where one such company has managed this in a big way, KFC. The Colonel Sanders chicken factory in Japan has managed something quite impressive. If you want to eat fried chicken at a KFC on Christmas Eve, Christmas Day or Boxing Day you’ll need a reservation. It’s really that popular.

So how exactly has the purveyor of, in England at least, relatively cheap, late night, saturated fat and grease (delicious though it may be and particularly enticing after, say the sixth pint of the night) become a household name for all things Christmas in Japan?

When it comes down to it, I thinks its just because Colonel Sanders looks an awful lot like Santa Claus. That and some Coca-Cola-esque advertising tends to help.

The Thousand Autumns of David de Zoet by David Mitchell – A Review

One thing I did while back home in England for a few weeks, which perhaps gave me a hint that I wasn’t quite ready to finish my time here in Japan, was read David Mitchell’s latest novel The Thousand Autumns of David de Zoet. I suppose that this was my attempt at anchoring myself at least in part to my current home, like a Dutch ship harboured at Dejima. Apart from Japan, but somehow still a part of it.

I’d read a little about David Mitchell a few months ago when a friend of mine sent me a link to a review of Mitchell’s latest effort, knowing my love of literature and of course Japan. Reading the drooling review that seemed to elevate Mitchell into the great Pantheon made me a touch suspicious, as any reviewer that does that for an author rather scares me. Literature being such a varied creature I’ve always been loathed to elevate or decry any work too greatly (except Harry Potter).

Personally, I found my way to the giants of literature via Asterix, Spiderman, my brother’s Tom Clancy and Biggles novels and probably most importantly Nick Hornby. The very notion of a literary canon, never mind one that someone can be elevated to by a single reviewer bothers me immensely. Indeed, the most loathsome old bint I ever encountered while working in a library was one who claimed that, “some people just aren’t readers.” Nonsense, it’s just a case of finding the right book for the right person I told her and off she scuttled thinking far less of me. Hence my annoyance at the notion of the ‘right kind’ of novel that fits neatly onto a mahogany bookshelf in a country pile.

In the end I approached this book partially on the back of endlessly positive, if not always as idolizing reviews, in addition to a little tidbit of information regarding Mitchell’s life. Namely that he lived in Hiroshima for eight years as an English teacher. As such I thought that perhaps, I’d find a relatively honest depiction of the Japanese, not some product of research or a homage to the Chrysanthemum and the Sword.

The novel itself follows primarily the path of the titular character David de Zoet, though fortunately takes the perspective of two important Japanese figures in de Zoet’s life as the novel progresses so as not to leave this a one sided depiction of an outsider perpetually looking in. Like many men de Zoet has ventured to the Orient to seek his fortune and like many men, he has not done so by choice. Sent by a potential father-in-law who views de Zoet as presently unworthy of his daughters affections, de Zoet arrives on Dejima, the artificial island in Nagasaki harbour (designed to allow limited trade with originally the Portuguese and then the Dutch during the Edo period without breaking the Japanese policy of sakoku, or self-imposed isolation) on a daunting and in all likelihood fruitless mission, to clean up the corruption of the Dutch Trading Company. Inevitably this makes him few friends. Couple this with the inevitable mismatch of cultural mores, a clash between emerging modernity and tradition across the land bridge in Japan itself and one has more than enough to keep the pages turning apace.

The Thousand Autumns of David de Zoet, is a wonderful novel. It is ostensibly a story of love and longing that doesn’t fall into the usual traps fiction of this ilk often does.  It manages to finely balance the feelings of disconnection and longing for home, the certainties of a life left far behind. The separation from Japan itself feels tangible and the longing to experience life upon shores, which foreigners dare not have tread alone, is balanced finely with the orientalist mystique that lures them in the first place.

Inevitably, what endears this novel to me so greatly is a feeling of connection with the ideas it articulates. As despite the multitude of reasons each of us currently living in Japan chose to venture here in the first place, it is nice to know that the reasons that beguile us and bid us to continue here are shared by others.

Even if they are fictional.

note: This article first appeared in Yomayama Magazine in their Fall edition.

Karaoke Fever aka Turning Japanese part II

Karaoke is a phenomenally popular pastime in Japan. Really, it’s not hard to understand why.  Just think about that most famous of world intersections at Shibuya, the mass of bodies that makes London seem quiet and bucolic in comparison is in a way Japan personified… albeit many times over.

So how does Karaoke fit into this?

There is the simple fact that this is a  cheap private space. In a country with an average population density of about 873 people per square mile, where three generations of a family will live together with paper thin walls between them and not bat an eyelid, a space you can rent relatively cheaply, drink cheap beer and snack to your hearts content with your mates long into the night when other Izakayas have shut up shop is a valuable commodity

Karaoke in Japan can be as private or as social as you want it to be. This is because big Karaoke places have rooms, or boxes as they are sometimes known, where one can sing alone to your hearts content or in the company of friends. Thus allowing both a rare opportunity for privacy or the ability to limit your potential humiliation to a handful of friends or sufficiently drunk co-workers.

Also, it’s liberating. While every other aspect of life in Japan may require a level of conformity and groupthink that some of us in the west might baulk at, Karaoke is about letting go of these constraints. You can be salary man by day and J-Rock star by night if that’s what you want to be.

It is a sense a way to recapture your youth in a big way. We all like to think that we’d sing something current, up to date and unassailably cool. But the truth is, that when the beers are stacking up something of your true and once youthful self emerges and unlike in High School, it isn’t shy. My litany of crimes to music within the confines of a karaoke box are now many, including my own attempt at doing Sad Kermit’s version of the Nine Inch Nails classic Hurt as covered by Johnny Cash, various 1980’s rap numbers and the odd *cough* …Springsteen classic… though strangely I regret them not.

Now I’ve been so often I’m beginning to develop minor pet peeves. Mainly that the aging Karaoke videos for any english language songs are a montage of 1980’s Europe, so when midway through singing any song you are likely to be confronted by the horror of a permed woman attempting to solve the same crossword over and over and over again, amid a sea of London Buses, just before a flood of images rotating around the leaning tower of Piza, before finally falling to despair and plummeting into a belly laugh at the sight of San Francisco tram cars.

It wasn’t long ago that the thought of Karaoke made me chuckle and wince in equal measure, but slowly bit by bit, inch by inch its grown on me. Like some airborne virus it’s caught me off guard. Passed unnoticed into my bloodstream and set up shop and worst of all it’s a fan of The Vapors.

Manga, Manga everywhere but not a jot of Cricket

My first experience of manga in Japan was not the best of introductions. I used to teach three boys, aged about eleven or twelve, at that annoying age where suddenly everything they liked two weeks ago is no longer cool. But one thing spans the gap from childhood to teen hood to adulthood like no other in Japan and every week, before their lesson started they would go looking for it.

Looking for it, just so you know, is my polite way of describing a deafening cacophony of tweenage screams and yelps that oscillated wildly between glass shattering and the noise an old man makes when getting out of an overly plumped sofa. Punches would be thrown, they’d scratch like a cat fighting for a fishbone and all this would be before they’d even collapsed through my office door. Every bit of chaotic energy they possessed was directed in a desperate attempt to be the first to one particular drawer at the base of the office bookshelf. For you see, that’s where they kept their treasure, their manga.

And when all the fighting was done, all the scraping, scratching, yelping, poking, picking and pinching, they’d lay on the office floor, all in a row with feet bobbing in the air reading the damn thing together. Turning pages at a frantic pace and utterly silent, a peculiar calm would descend over them, almost as if someone had just slipped them a sly sedative (note: I’d be lying if I said I’ve never been tempted to do this, but frankly I find making language games very active e.g. endless racing for flashcards, has a similar effect without the high costs and danger of prison time associated with drugging your students).

Soon after though I saw the side of manga and Japanese Anime that often draws raised eyebrows in the rest of the world. Having taken the magazine off the boys as they tried to read it during the lesson I had quick flick through the enormous tome and stumbled across a picture of a young school girl, with Barbie like impossible curves, half bursting out of her uniform and staring down in shock at her now quite see through underwear having somehow spilled a large bowl of spaghetti on herself.

Creepy…

However, to take Japanese comic book culture on such a small sample would be to ignore an enormous amount of history and tradition in an art from so popular, that to dismiss it based on this small sample would be foolish… or baka gaijin/stupid foreigner.

So the last time I was down in Kyoto I took a trip to the Kyoto Manga Museum.

It wasn’t quite what I expected. Granted it was as quiet as most museums as the people within focused with great care on their respective subjects. Yet, this was no ordinary museum. Rather it blended the best elements of a library, a museum and a truly public space. One that was as much for tourists as it was for locals, children and adults or pretty much anyone with a passion for Japan’s favourite art form.

And it is considered a serious art form now because as of 2002 it has been included in the MEXT Junior High School Curriculum. Though I can’t imagine Spider-Man making an appearance in the high school curriculum in the US generally, or Dennis the Menace in England really. ‘

The Kyoto Manga Museum was formerly Tatsuike Primary School and much of the feel of a school still pervades the place. Granted the Astroturf out front problem helps to a large extent, but the museum’s long creaking corridors, lined completely with an astonishing amount of manga gives the place a peculiarly appropriate feel, as if a konbini magazine rack (Japanese convenience store) fell into an old school house. It’s an odd mix, yet seems somehow to me to be matched perfectly. It captures both the childlike quality of comics themselves, in that they offer an escape into an imaginary world populated by creatures from our school day imaginations and just occasionally our more… shall we say wayward, teenage imaginations. It also places the comics in the locale where the frenzy my very own students illustrated was in all likelihood fostered.

Now while the museum was a truly impressive place, having a long list of special lectures on its calendar, some beautiful displays and a good introduction to manga for novices like me, what amazed me most was how well it functioned as a library.

I should probably note at this time that I once worked in a library, so I’ve seen it at its best when it acted as community hub offering homework help clubs to kids and great resources for the local community to add to their CV while continuing to fulfill its basic remit with ease. However, I have never, ever seen a library like the Kyoto Manga Museum. Every bench was full and not just with kids, but an almost perfect cross section of Japanese society. The reason for this is that the Museum offers a year long membership, so you can wander in almost any day of the week, find (if you feel so inclined) the best manga from 1972 and drop yourself onto a bench for as long as you wish. As public private partnerships go, the museum is an outstanding example of how it should be done. In as much the way as British rail service and any construction undertaken by Jarvis in the UK is a prime example of how not to do it.

Now when I say perfect cross section, I really do mean it. Manga covers pretty much every part of society. In their pursuit of profit manga magazines have tried to cater for all ages and both sexes. Although, in the end they discovered that manga aimed at kids was being read by adults, ones aimed at women are read by men, while pretty much every combination imaginable is read by someone completely unexpected as well as their aimed for demographic.

One variety of manga, I have however found deeply disappointing.

Sporting manga is huge and supposedly encapsulates the Japanese spirit in a way that samurai and warrior tales used to before the end of World War II. Every moment of any sport depicted is a heroic struggle; emotion pitched at either end of the spectrum, highlighting just how much sport is more than any mere game. Thanks to its popularity almost every sport has received such a treatment; baseball, volleyball, football (soccer for those who don’t know better), rugby and any other sport you can think of.

Except cricket.

The Naked Festival and Premature…ahem, Exploding.

Every now and then in my sleepy little town the quiet reverie and still countryside air is pierced with an almighty thump, like a cannon ball being launched headlong into the mountainside. It can happen day or night; I’ll be in my apartment, walking to the shops, in the office, in my classroom and from nowhere will come a sound like thunder, without a drop of rain in sight, without even a hint of that audible crackle in the air that precedes a colossal downpour.

Why?

Because there is nothing natural about this deafening rumble that echoes off the mountain chains, it comes instead from a local addiction. A pastime and hobby the local folk hold close to heir hearts. Well not too close…because their hobby is explosive. Their addiction is to the fire flower, the rather beautiful literal translation of hanabi or in English fireworks.

No you didn’t misread the first paragraph nor did I mistype. They do have an odd tendency here for performing test runs on their fireworks during the day even. One such test scaring the crap out of me when set off in a back garden I was just twenty-fifty feet from whilst enjoying a lazy stroll to the local bakers one sunny afternoon. A plume of barely visible smoke and a faint ringing in my ears being the tell tale signs of a local individual indulging somewhat too early in the day in their chosen explosive fun.

For me, fireworks conjure up thoughts of crisp, cold nights in a park somewhere, neck craned up at the clear night sky, ears frozen and mug of plastic tea in hand. An effigy of Guy Fawkes should preferably be burning on a bonfire nearby and the smell of fried onions and cheap burgers ought to fill the air.

However, in Nagano, it’s a little different. Fireworks are generally part of the summer festival season and so a cold beer on a warm summer night is the more likely accompaniment to a quite epic display of explosive beauty.

Towards the end of this season I was lucky enough to be invited along to my student’s local area festival, a short thirty minute drive from my place, to take in what is known as the naked festival due to a single representative of each village wearing virtually nothing but a piece of cloth to cover a hint of his modesty while holding above his head a rather heavy 25kg weight.

This chap was soon followed by men of all ages, in groups of two or four, holding onto a large barrel or piece of wood launching all their effort into pushing the guy holding onto the other end of said block as far backwards as possible. In the course of this traditional outburst of locally cultivated, shrine located violence a little old lady or two were knocked over, some grown men picked up some scraped knees and a collection of elderly bespectacled salary men got very drunk indeed behind the event’s announcer, leading to some fairly amusing drunken background noise.

Yet, as amusing as watching grown men fling themselves about with no apparent thought for their safety can be, it wasn’t what had brought out the majority of the crowd that night. No, that would be the fireworks. Which would be a simple enough incentive one might think, but there was an added twist. Each of the six, yes six, individual displays had been bought and paid for by different neighbouring villages as something of a friendly competition to outdo one another.

Each village began their display with some firework writing that would reveal the name of their villages in Kanji. After that they did as they pleased… and it kind of showed.

One very cool feature of Japanese fireworks displays is the kind of mousetrap-esque way they set off fireworks. One firework will run along a path, ignite the next and so on. One such firework launches vertically up a pole on its own steam and then explodes dramatically upon reaching the top of said pole, a safe distance from the crowd. That night, four of these fireworks exploded prematurely at around head height. Safe we all were, but rather deafened for a moment each time. More and more I began to see how precarious these celebrations could be and perhaps why so many people in Nagano are volunteer firefighters.

The finale at these events always looks amazing and this little festival was no different, one of the dramatic yet dangerous poles was lit once more and this time went off without a hitch. The danger entirely understood and quite gleefully ignored as men danced, waved flags and generally displayed just how tough or insane they are beneath fiery rain.

It did look incredible though.