digital artefact

Digital Artefact: Learning Japanese Calligraphy

I’ve always been intrigued by Japanese culture. I was given the opportunity to study the language and culture for one year in high school but the class only taught the most basic of things. In the past year, I have also developed an interest in typography and brush lettering. This style of lettering has been developed from more traditional forms such as Japanese calligraphy, or Shodo. The research I have conducted surrounding Japanese calligraphy and how it works as an art form is a combination of personal narrative and outsourced information and data. My methodology followed Ellis, et al’s Autoethnography: An Overview. I would be using this method of research to describe and analyse my personal experience as a way of understanding this cultural experience (Ellis, et al 2011).

For my digital artefact, I created a three-part series that showcased myself using different application methods to learning the basic skills of Japanese calligraphy. As traditional shodo takes many, many years to practice and perfect, I would only be attempting to learn the stroke order of the hirigana alphabet. I explored both traditional and contemporary methods of application, which can be seen in videos two and three of the series.

Before even attempting to put a pen/ brush to paper, I researched methods of setting up materials and the correct way to prep new tools. It was during this process that I really had my first epiphany. I was so intrigued with the idea that there were so many rules out there when it came to shodo. Being told that I have to sit up straight and have two feet on the floor while writing out characters was more challenging than I thought it would be. I’ve always had poor posture and I tend to slump when I’m writing, drawing or typing, but after actually putting this rule into action, I was able to see why it may be so important in the art form that is shodo.

From this whole experience, I concluded that the more traditional form of shodo was a lot easier to learn. It was far more enjoyable to use a brush and ink to learn than it was using an app on my iPad. The common theme I found with using an app was that it was near impossible to predict the pressure you were placing on the screen. This, ultimately, affected how the hirigana character looked. I also found it difficult to feel immersed in the experience as I was simply just dragging my finger around a screen. It was such a contrast from using a brush and getting ink on my hands and fiddling with the paper. In saying this, the app also acknowledged that it was just a learning tool. When I first opened the app, it had three little ‘Must Reads’. They said “Paper, writing brush and ink are the best and proved method for calligraphy/ practicing…” and “The idea of this app is to help [focus] on the structure of glyphs and mastering the essence of calligraphy”.

All three videos contain some form of voice over. This was just to provide some context into what I was doing, what I was trying to achieve, and how I felt looking back on the experience.  This experience has instilled in me the fact that shodo is an art form and it has allowed me to understand why it is so highly regarded in Japanese culture.

Part 1: Learning the Strokes

Part 2: Saying Bye to Practice Guides

Part 3: Going Digital

References: 

Ellis, C., Adams, T., & Bochner, A. (2011). ‘Autoethnography: An Overview’. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, 12(1). http://dx.doi.org/10.17169/fqs-12.1.1589

Kim, T. (2017). Hiragana Practice Exercises – Learn Japanese. Guidetojapanese.org. http://www.guidetojapanese.org/learn/grammar/hiragana_ex

MAIKOYA. (2017). Japanese Calligraphy (Shodo). https://mai-ko.com/japanese-calligraphy-shodo/

Schumacher, M. (n.d.). Japanese Calligraphy, Calligraphy in Japan & China. Onmarkproductions.com. http://www.onmarkproductions.com/html/calligraphy1.shtml

Shodo-japan.com. (n.d.). SHODO JAPAN|書道ジャパン. http://shodo-japan.com/

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Origami – My Autoethnographic Experiences

I love learning new things so having the ability to explore Japanese, Chinese and Korean culture through the use of autoethnography has been awesome. As someone who has dabbled in Japanese culture through high school, I did start off this journey knowing a thing or two about the culture through books and materials the school gave to us. I’m not necessarily saying I know everything about the culture because in reality I only know a very small aspect of something so big, but what I do know has definitely opened my eyes.

Autoethnography is something that has taken me some time to get used to, but looking at it from a new perspective and especially using it during the time of discovering new aspects of Digital Asia’s cultures I have discovered that I was able to sort through my thoughts and ideas in a narrative autoethnographic form. By doing this my narratives would place emphasis on what I was thinking/feeling and remembering while engaging in these topics.

For my Digital Artefact, I followed an epiphany that I had during the week and chose to look further into the art of origami and specifically paper cranes. In order to make my research into an autoethnographic experience, I chose to investigate the history behind the folding of origami and paper cranes while also drawing on my own experiences with making these cranes for my art project.

Origami is the art of folding paper into decorative shapes and figures which originated in Japan. The crane is considered a mystical animal that is believed to live for thousands of years and because of this, they have become a symbol of good luck and long life. Origami was considered a ceremonial and religious art form since the symbol of the crane is lucky and sacred. A sense of wonder about the paper cranes sparked my curiosity which leads to the art of origami.

When approaching this subject to find out the history of the practice I chose to try and look at it in an autoethnographic way. Autoethnography is known as a genre of writing which displays multiple levels of consciousness, which connects the personal to the culture (Ellis, C., Adams, T.E., and Bochner, A.P. 2011). When looking at this practice I wanted to place emphasis on the study of the practice and my research and interaction with the practice.

When approaching the research side of the project I wanted to find out as much as I could about the evolution and history of origami. To do this I found a lot of websites that gave me information on the folding methods and also interesting points about its history. I found that there weren’t many academic articles about the topic so I chose to use those instead.

Coming into the research aspect of the project I found that I knew very little of the history of origami and origins of paper cranes. I found that most if not all of the information was new to me and in the long run I found out a whole lot more of a culture that I found intriguing.  The research as a whole did give me a lot more information, understanding, and insight into the culture and in hindsight, by researching the topic more I did end up understanding the practice a whole lot more which changed my outlook on the project. It started as something that I was doing because it was pretty and fascinating to something I was doing because I loved the history and story behind it and wanted to delve into the culture.

The criteria for the art piece is to create a device of wonder that spurs imagination, examination, investigation, and speculation that is caused by something beautiful, remarkable or unfamiliar. Devices of wonder invite the audience to engage in the work and ultimately become a part of it. The idea of curiosity is sparked between an individual’s and the work encourages investigation which is where the idea of someone becoming a part of the work is explored.

The prototype of the art piece was successful when it was put together and everything turned out how I wanted it. There were, however, setbacks though with the process of actually putting it up and hanging it from the roof. The reality was that my prototype was only a small indication of how it would look and I did need to change the way that the cranes were hanging from the mesh to get the impact that I wanted from the audience.

I thought that folding all these paper cranes would end up turning in to a chore and I would despise paper after, however, I think that the process of folding paper cranes has become quite therapeutic for me to do after having a stressful day or just needing some time alone.  Through experiencing this I have an understanding why this practice was originally an art form for formal ceremonies as well as an elegant way to pass the time.

 

Origami Paper Cranes

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When thinking of what to do for this assessment I was stumped. I didn’t know which way I wanted to go in terms of topics and found myself procrastinating heavily through the weeks and putting it off.  It was a few weeks before I had to present this Digital Artefact to a group of people in the tutorial that I had an epiphany that guided me to the topic that I have chosen for my DA. Originally for another class, I’m creating a paper origami crane art piece. This involves making as many cranes as possible in the time frame, tying them to fishing wire then hanging them from the roof from three metal meshes.

In order to tie this subject/idea of origami paper cranes to this subject, I have chosen to do some ethnographic and specifically autoethnographic research. Autoethnography is an approach to research and writing which seeks to describe and systematically analyse personal experience in order to understand a cultural experience. In order to “do autoethnography,” I have chosen to investigate the history behind origami and paper cranes while also drawing my experiences with making these cranes for my art project.

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The word “origami” comes from the Japanese language where “Ori” means folded and “Kami” is paper. The art of paper folding infiltrated the Japanese culture more strongly than any other. However, the traditional art of paper folding didn’t just exist in Japan alone.

During the 6th CE, paper was introduced into Korea and then into Japan by Buddhist monks. The process of folding origami become an art form as well as a religious ritual for formal ceremonies. It was also practiced in the Japanese imperial court where it was considered amusing and an elegant way to pass the time.

An earlier example of paper folding called “Shide” is a method where the paper is cut into zig-zag shapes. This method of paper folding was used in Shinto purification rituals and are found tied around and in objects, shrines and sacred spaces as an indication that spirits and Gods are present.
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When the art of folding paper become recreational as well as ceremonial a book was published in 1797 by Akisato Rito, which documented recreational paper folding called ‘Folding 1,000 paper cranes’. Before this book origami was taught by elders to the younger children but after this book was published the secrets of origami were recorded and allowed for many people to learn how to fold origami.

Akira Yoshizawa is also considered to be one of the instigators or modern origami. He developed a system of folding patterns which used symbols, arrows, and diagrams that were published and became widely available which contributed to its global reach and standardization. As the art of origami became widely available the methods of folding started to develop and mix together into origami that we usually see today. Many of the origami models found in Europe tended to have a grid crease, pattern with squares, rectangles, and diagonals while ceremonial folds from old Japanese methods tended to have judgment folds where the location of the creases was up to personal taste and interpretation of the individual.

855480_orig.jpgPaper cranes are usually the first thing people think of when origami is concerned. The paper cranes carry heavy symbolism and meaning in Japanese, Chinese and Korean cultures. In these cultures, cranes represent good fortune and longevity. In Japanese culture the crane is known as the “bird of happiness”, Chinese culture also believes them to be heavenly and full of wisdom. In these cultures, the wings of the crane were believed to be able to carry souls up to heaven and carry people to higher levels of spiritual enlightenment.

Mainly in Japan, the crane is known to be a mystical creature which is believed to be able to live for thousands of years. As a result, these animals are held in the highest regard and has become a symbol of hope during challenging times. Because of this, it has become popular to fold 1,000 paper cranes or “senbazuru” in Japanese. The cranes would usually be strung together on strings and given as wedding or baby shower gifts.

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The story of Sadako Sasaki was the reason why folding 1,000 paper cranes became so popular. Sadako survived the Hiroshima bombing when she was only 2 years old, as she grew older her injuries grew worse and she notices her glands were becoming swollen and purple spots appearing on her legs. She was later diagnosed with leukemia – a cancer of the bone marrow. While she was deteriorating Sadako made the decision to make 1,000 paper cranes, she made the cranes as a way to let out her pain, suffering, and boredom. Sadako hid her suffering and pain through making paper origami cranes and ended up making 644 cranes out of her 1,000 goal. She ended up passing away before reaching her goal so friends, classmates, and family members came together to finish it for her and she ended up being buried with her cranes and a promise of a wish.

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So far I have made around 200 paper cranes and am hoping that I will be able to create another 200 for my art piece. Folding paper cranes have become somewhat therapeutic for me and it’s something that I will continue to do in my free time. I originally used Youtube as a source to understand how to fold the cranes properly because the diagrams available were quite confusing and hard to figure out. When I used Youtube as a source I found that other people who were helping me make them also found it easier to understand which was also helpful. When the art piece is finished and marked I’m planning on keeping it and hanging it somewhere in my room somehow. I think that the story and history behind the origami art form is a beautiful one that I think will definitely stick with me beyond the university assessments I have completed about it.

 

 

The brutal and hilarious world of Asian dating

Most of you reading this will know about television shows such as The Bachelor and X-Factor. Some of you might even be huge fans, with your Foxtel IQ memory being used up by countless hours of women crying over one man and people who can’t possibly think their talented making a fool of themselves on national television.

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Personally, I’ve never been a huge fan of dating and talent shows, but my god has that changed. I have recently been made aware of the single greatest dating show I’ve ever seen. It’s called If You Are The One and it’s so great. Brutal, full of surprises and so opposite to every Western dating norm that I am used to, If You Are The One is a cultural phenomenon. It has bridged an understanding of Chinese dating and partner types through the use of entertainment, but the real understanding comes from my own experiences: the fact that some of the dating standards are so strange and so funny to me produces a strong juxtaposition between Australia and Asia and allows me to understand the culture so much more – a direct feature of autoethnography.

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To describe the show quickly, a lone male suitor has to impress a panel of 24 single women (The Bachelor), who register their interest or disinterest through the use of podium lights (X-Factor). Throughout the show, the man introduces himself through pre-filmed footage and short performances of their talents. If the man and woman choose each other, then they win a trip to the Aegean Sea – wild. But the real lessons and entertainment comes from the reasons the women don’t choose the man, usually for purposes such as their family would disapprove of they are not ready to father children immediately.

My initial encounter with this Chinese dating came a few weeks ago during my first viewing of the show, from which my spiralling obsession has grown. I recorded a few observations during this first episode:

  • Huge live audience with lots of applause
  • All the 24 girls are beautiful and very thin – much like Australian dating shows.
  • The show uses purely English music – empowering as the man walks on, sad music if he walks off alone
  • Win prizes if every girl turns light on. If no one turns on light, they get another chance with audience members who are interested.
  • First impressions: turn lights on if they like him. Purely based on looks (Tinder).
  • Women makes comments like “You’ll be fun to marry”
  • The men and women perform things to impress each other: breaking dancing, singing jazz dancing and yoga – maybe the funniest thing I might have ever seen
  • Seems like a talent show and dating show mixed into one
  • Man shows introductory videos: one of them is about past relationships: re-enacted videos of the lovers together: seems so odd for the new women to want to see that. Man describes why the relationship ended – usually things like careers not matching or man not ready for marriage or children (this usually means many women turn their lights off)
  • So brutal when the countdown from 24 women goes further and further down (written largely on the screen)
  • The participants seem much more picky than Australian dating shows. Consider deeper things than just personality and looks
  • Internal thought: “50 minute episodes and 4 people find a lover or not- this is so much fucking better than an entire season of the Bachelorette. No drama and no tears!!!”
  • One woman sang to show her feelings – ‘Can’t take my eyes off of you’ – why an English song?
  • Most men speak of the expectations to find a wife and have children to keep family happy and leave a legacy
  • One couple chose each other and straight away decided by what age they would have children together. When choose each other, straight away choose when to have kids by
  • Feels like such a weird blend between English and Chinese. The music and show really don’t mix together well

As such, my individual research project aims to understand Asia, in particular Chinese dating, through my own experiences, considering how my own cultural biases and experiences form my opinions. “Autoethnography is an approach to research and writing that seeks to describe and systematically analyze (graphy) personal experience (auto) in order to understand cultural experience (ethno)” (Ellis et al. 2011). In this way, the researcher makes themselves the subject of research by using their thoughts and observations. So, by describing and analysing my personal experience of dating and dating shows I will produce research into the cultural experience of Chinese love.

I plan to continue watching more Chinese dating shows (hell yeah), and then produce a digital artefact which compares or relates what I am used to (Western dating) with the norms of Asian dating. I am still tossing up with the form my project will take – however, I am sure I will take notes during the dating shows of anything that seems different to what I am accustomed to. I will then use this information to create a project which clearly highlights the differences in culture, perhaps using reasons that people in Wollongong have decided not to date someone.
Autoethnographic research will allow an insight into Asian culture that regular research would not – application to real life situations. Hopefully, this form of research will produce an interesting, humourous project that bridges an understanding and connection between Australia and Asia.

Autoethnographic Experience of OHSHC

Ouran High School Host Club was probably the 4th or 5th anime series I ever watched and is vastly different from the rest. The first episode I tried to watch the English dubbed version and it just didn’t sound right to me, I could tell a lot of the lines just didn’t exactly match up so I switched to English subtitles. The story line is kind of hard to explain, the plot summary on IMDB says “At the ultra prestigious Ouran High School, Haruhi Fujioka looks for a quiet place to read and walks into an unused music room, and accidentally stumbles across the notorious Ouran High School Host Club, a group of boys who entertain the girls of the school for profit. When Haruhi accidentally breaks an expensive vase belonging to the wacky Host Club, she is made to serve under them until her debt is paid off. Haruhi is soon made a Host, but in order to pay off what she owes, she must continue to allow the Host Club’s customers to believe she is a boy.”

I definitely started watching it because it was fun, silly, colourful and a little bit ridiculous. But I continued watching because of the intelligent use of satire as well as Haruhi who is such a strong female lead character who is constantly rolling her eyes at these boys who are just so ridiculous and foreign to her. It’s so refreshing to see the teenage boys being viewed as the crazy ridiculous characters, that being said there are plenty of strange and silly girls in the show too.

After watching the first few episodes I had to do some research to find out what Host Clubs were and if they actually existed, so that I could understand the show better considering Host Clubs are a foreign concept to me. They do in fact exist but from the personal experiences I read online they aren’t nearly as fun and glamorous as Ouran High School Host Club might lead you to believe.

For my digital artefact I have chosen to do character profiles to highlight the different characteristics of anime that are used and parodied in the show. These character profiles will be formatted in to a tumblr because tumblr is a platform used by lots of fans for sharing photos, gifs, thoughts, fanfictions. I think because it’s such a widely used platform for fans it’s the most appropriate place to profile characters.

The tumblr is obviously not finished yet but when it is it can be found here… The Faces of Ouran High School Host Club.

http://www.imdb.com/title/tt0816397/plotsummary?ref_=tt_ov_pl

Designing With Paper

How hard could designing a Paper Craft model be? “You reveal your vulnerability within a social context, discuss its social dimensions: themes, issues (death, grief), and construct an account that is both creative and non-fiction” (Ellis 2013). I feel very vulnerable. Designing a Paper Craft model is hard. From utilising the programs, to effectively representing something of Asian content, to being satisfied with the final process, something I’ve avoided attempting all this time doesn’t seem worth it.

The entire process depends on the leading program Pepakaru Designer 2. It’s shareware and Japanese. It creates paper nets from 3D models. But to create the 3D model you have to use a piece of modeling software, like Metasequoia LE. Once again, these programs are originally made in Japan, so they’re hard to use when help sections are in Japanese. However, it’s possible to use Google Sketch Up or CAD. At this point, I’m already confused and overwhelmed. I think I’ve used one of these programs before, but I assume I wasn’t too good at it because I don’t remember using it again.

Tang Mu, off Instructable, encourages that designers sketch up a design first. Not as the geometric final product, but as a squiggly, dynamic sketch. This is the idea stage, or for me, translating Asian content into a representational 3D model. This is something I’m confident at doing. Apparantly keeping the design geometric is important, i.e. boxes are better than spheres. That’s a simple rule, but harder in practice. I also have to keep in mind how a models edges will join. Christopher Bonnette, on his website Macula.tv, shares his process form original illustration to the final model, on almost every one of his creations. It’s reassuring to see how different the 3D model is compared to the sketch. Next I have to save the 3D model and upload it into Pepakura to “unfold”. A button in the program unfolds the model into a net to print on paper. It’s quite remarkable. Except when an error occurs.

To avoid these issues, there are other methods. The other process is to use an existing design for my digital artefact. An easy alternative is the Paper Critters website, a flash based program that allows you to create a design on a small predefined model. While recently its popularity has led to development for a paid iPad app, on the free desktop version there have been over 100,000 designs created. It’s tools are simple, the model is simple, and it could be a unique way of representing my ideas.

Or I can look up blank Paper Craft models/templates, I’m leaning towards this process, but I’m not sure. I feel ethically wrong to use someones work, but the authors are asking for people to use their custom designs. I think I would be cheating myself, skipping a crucial step in the paper craft designing process, if I based my designs on someone elses. But I’m not sure if i have the diligence or the time to create something from scratch. I want to design something similar to the works I admire. Surely, they don’t use these programs too. It’s so much easier to be a consumer.

 

 

 

Week 7: Autoethnographic Practice

I have been particularly confronted by the need to use autoethnography in my weekly blog posts. In deciphering my more recent posts in which I feel I have provided my strongest examples, I can begin to discern a methodology of an ‘educated ethnography’ I have employed to better investigate J-Pop.

Autoethnography as discussed by Ellis, Adams and Bochner as a marrying of autobiography and ethnography (2011). Put simply a drawing of comparisons between personal experience and cultural investigation. Ellis et al also discuss the importance of showing vs. telling when performing autoethnography as the author must remain as subjective as possible. As the area of study is completely new to me, for the most part I can only draw comparisons through my personal knowledge of industrial practices in Japan that I have already explored as part of my university degree, areas such as fan interaction with cultural content and the Japanese film and television industry. My personal knowledge of more local music industry practice is very specific and thus is difficult to apply to the larger industrial process that J-Pop represents. The majority of the autoethnographical process I have established relies on this and the developments provided through a processing of recent preceding research into the J-Pop industry. In their overview of autoethnography Ellis et al (2011) discuss the importance of the epiphany, which has guided my understanding of the practice in discussing my constantly evolving understanding of the practices of the industry. It is these epiphanies that prompt me to further investigate the viability of these connections and consequently finding more avenues of exploration.

References:

Ellis, C; Adams T E; Bochner A P 2011 ‘Autoethnography: An Overview’, Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, vol. 12, no. 1 art. 10 http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095

vlogs, blogs and fandom fun

This week I have continued the blog and profile from different sections of YouTube fandoms. I honestly had no idea YouTube had separate fandoms, but you really start to notice a a trend on similar videos, the same people and similar language is used. Because of this little discovery I have decided to also look at the fandom surrounding the individuals. I have been looking on tumblr and other fan created sites and profiles (such as fan instagram accounts) and will be adding these into the profiles of the YouTubers.

I felt this was important to add, as it helps create a more whole insight into the YouTuber and their fans (who are obviously quite important). Not all YouTubers have such an obvious fan culture but using their comments as evidence can help too.

My experience with the task has been a really positive one. I have found myself enjoying a lot of videos I would never normally watch, such as Let’s Play videos, which *confession time* I had never actually watched before. The fan culture is interesting too, I found myself fangirling over some of these stars along with the rest of the community.

As I was writing some of my blog posts I felt that I needed something more formal to back up some of my personal theories (to see if I was simply making some of them up). I found some helpful articles which have further enhanced my understanding of the YouTube culture is Asia specifically.

Here and here.

 

References:

Brennan, D. (2007). YouTube and the Broadcasters. U of Melbourne Legal Studies Research Paper, (220).

Krishnappa, D., Khemmarat, S. and Zink, M. (2011). Planet YouTube: Global, measurement-based performance analysis of viewer;’s experience watching user generated videos. pp.948–956.

 

A Digital (Paper) Artefact

My digital artefact is going to be an experience for me, an exploration of a community I’ve admired, but have never partook in. I’m going to embark to the other side of the Paper Craft community: designing. It’s what fuels the archive pages, fills the stream with new models, collaborations, and series, by artists from across the world. Designers, like SmileRobinson, are selecting content that they enjoy so much they want to share it with a larger audience. They do this by constructing Paper Craft models of their favourite characters, for fans to experience, build, and discover new content, in a hand-crafted collection. I’m utilising my knowledge of the Paper Craft community to design a facet of a cultural experience, to make a culture familiar for insiders, and represent a culture to outsiders (Ellis, Adams & Bochner 2011).

I want to design Paper Craft models of Asian content and showcase it online as templates and constructed models. Along side, I will develop a reflection of the process, the story behind the model, and encourage learning about a different culture through design. And these designs will be representations of the research fields the students of DIGC330 have chosen. You, are my subjects that have presented me with connections to unfamiliar content. I will share that knowledge back as foldable paper.

 Digital (Paper) Asia:

http://digital-paper-asia.deviantart.com/

 

*I share no affiliation with ‘Asian Paper: The Global Pulp, Paper and Board Industry.’ Although that’s a pretty cool industry group.

Week 6: Moving Forward

In light of last week’s worrying conundrum in deciding the mode of interaction with my digital artefact I am happy to have found an article which has confirmed a starting point for the community. Yoshitaka Mōri (2009) provides an interesting look at the evolution of J-Pop, it it is through his discussion of the “genre” that it is made apparent that J-Pop is not a genre but a signifier of a process of it’s evolution. Mōri summarises this in the quote “the success of J-Pop, it’s petty nationalist tendency and hybrid quality of music are definitely an effect of, and a response to, globalization and it’s consequent anxiety” (2009, p.485). On reflection on this point it seems as if I have somehow subconsciously been drawn back to my interests as discussed in my very first post. J-Pop ultimately serves as a response to an Imagined Asia, a response to fears of the diluting effects of western content. J-Pop is described by Mōri as a descriptor of appropriations of western music first encouraged as a response to forcing the popular radio station J-WAVE to play Japanese music as it was initially a western music only station (2009). They didn’t want to play more traditional Japanese songs but instead sought out songs that sounded like they had been made in Europe and the US but had been made in Japan, ”J-pop was the genre that filled the gap between Japanese popular music and western music at that moment“ (Mōri 2009, p. 476)

 

By looking at the idea of J-Pop more widely as opposed to what I feel was too intense a specificity, a community has the opportunity to be developed. What I am proposing is simply turning the ideas I had last week on their head. Instead of there being a single producer everyone is, which will further promote an open engagement. As J-Pop was an appropriation we can replicate this process by going back to an original idea of making simple sound packs maybe one instrument or texture for the community to use in the creation of new songs, using as many or as few as they want whilst retaining the freedom to mix in new sounds that they feel compliment. It will be interesting to see if a new genre or sound is perpetuated by this free interaction, though it might be slightly ambitious considering the time frame of the project.

References:

Mōri, Y 2009, “J-pop: from the ideology of creativity to DiY music culture”, Inter-Asia Cultural Studies, vol. 10, no. 4 pp 474-488