A further study of the hate bus, and worse

I have the New York Times app on my iPhone. It sounds very worthy, I know, but unfortunately I find Twitter and Facebook far more interesting on the train from work. I should be studying vocabulary in that time anyway. I must have had a particularly slow time because I went to my New York Times app and quickly found the article titled, “New Dissent in Japan Is Loudly Anti-Foreign.”

I thought perhaps that the article would be about the hate buses, which I have previously described. Instead, this article goes on to describe an even more aggressive emergence of ultranationalism. As a matter of fact, the article almost accepts the hate bus as a check and balance on the current system.

According to the article,

… The December episode was the first in a series of demonstrations at the Kyoto No. 1 Korean Elementary School that shocked conflict-averse Japan, where even political protesters on the radical fringes are expected to avoid embroiling regular citizens, much less children. Responding to public outrage, the police arrested four of the protesters this month on charges of damaging the school’s reputation.

More significantly, the protests also signaled the emergence here of a new type of ultranationalist group. The groups are openly anti-foreign in their message, and unafraid to win attention by holding unruly street demonstrations.

Since first appearing last year, their protests have been directed at not only Japan’s half million ethnic Koreans, but also Chinese and other Asian workers, Christian churchgoers and even Westerners in Halloween costumes. In the latter case, a few dozen angrily shouting demonstrators followed around revelers waving placards that said, “This is not a white country.”

The article goes on to describe the emergence of this new nationalism through the internet and blames the rise on socioeconomic issues plaguing the country.

What is interesting, and disturbing, is the hate buses are almost revered and accepted for their professionalism and place in Japanese society.

They are also different from Japan’s existing ultranationalist groups, which are a common sight even today in Tokyo, wearing paramilitary uniforms and riding around in ominous black trucks with loudspeakers that blare martial music.

This traditional far right, which has roots going back to at least the 1930s rise of militarism in Japan, is now a tacitly accepted part of the conservative political establishment here. Sociologists describe them as serving as a sort of unofficial mechanism for enforcing conformity in postwar Japan, singling out Japanese who were seen as straying too far to the left, or other groups that anger them, such as embassies of countries with whom Japan has territorial disputes.

Members of these old-line rightist groups have been quick to distance themselves from the Net right, which they dismiss as amateurish rabble-rousers.

“These new groups are not patriots but attention-seekers,” said Kunio Suzuki, a senior adviser of the Issuikai, a well-known far-right group with 100 members and a fleet of sound trucks.

But in a sign of changing times here, Mr. Suzuki also admitted that the Net right has grown at a time when traditional ultranationalist groups like his own have been shrinking. Mr. Suzuki said the number of old-style rightists has fallen to about 12,000, one-tenth the size of their 1960s’ peak.

Hate bus

Perhaps even more telling is that the “new Net right” don’t think they are racist. Instead, they model themselves after the Tea Party movement in the US. Hmmmm, as much as I don’t like the Tea Party movement (I liked them SO much better when they were tea bagging (snicker, snicker)), I don’t think they are this extreme. Although, who knows. I haven’t been to one of their tea ceremonies yet.

サザエさん and other syndromes

Yesterday evening I was lamenting to a Japanese friend of mine that I was suffering from the Sunday Night Blues. I’ve had this problem off and on since school days. Sunday night rolls around, and I didn’t have my homework done, or maybe I didn’t have enough fun over the weekend, or maybe I just didn’t want the week to start because I wasn’t ready to deal with what the week had to offer. Usually, the feeling was mostly a general malaise, but punctuated with occasional dread, and even physical manifestations of anxiety like an elevated heart rate, the shakes, and other fun symptoms. Sound familiar? It would have been nice to have outgrown that feeling but it carried on through work as well. And after the ridiculous email I just got and foolishly read on my BlackBerry I understand why I still get this anxiety even as a seasoned worker.

Actually, in 2010, I wasn’t actually lamenting to a friend in person, or even by the telephone. This lament came by iPhone instant messaging. You can lament and respond at your own pace it seems [wait, let me check Twitter to see if anyone responded to my latest 140 characters or less … nope … OK, continuing …] using instant messaging. Two hours after my complaint, I got a response, “It’s Sazaesan syndrome in Japanese.”

Hmmmm. I tried to look up Sazaesan in my dictionaries. About the best I could get was, “サザエ” which apparently is a “turban shell (any mollusk of the family Turbinidae, esp. the horned turban, Turbo cornutus).” That doesn’t really apply at all. It was late, I was tired, and I didn’t want to bug my friend anymore, but I fell asleep wondering what the heck a mollusk had to do with my anxiety.

In the morning, I asked my colleagues, “Does anyone know what Sazaesan Syndrome is?” “No, but Sazaesan is TV anime show that has been on forever.” Google was my next resource. Finally, from Wikipedia,

Sazae-san

Sazae-san (サザエさん) is a Japanese comic strip created by Machiko Hasegawa.

Sazae-san was first published in Hasegawa’s local paper, the Fukunichi Shimbun (フクニチ新聞), on April 22, 1946. When the Asahi Shimbun (朝日新聞) wished to have Hasegawa draw the comic strip for their paper, she moved to Tokyo in 1949 with the explanation that the main characters had moved from KyÅ«shÅ« to Tokyo as well. The comic dealt with contemporary situations in Tokyo until Hasegawa retired and ended the comic on February 21, 1974. As one of Japan’s longest running and oldest comic strips and animations, the series is known to nearly every Japanese person, young and old.

The comic was very topical. In the beginning, Sazae was more interested in being herself than dressing up in kimono and makeup to attract her future husband. Hasegawa was forward-thinking in that, in her words, the Isono/Fuguta clan would embody the image of the modern Japanese family after World War II.

Sazae was a very “liberated” woman, and many of the early plotlines revolved around Sazae bossing around her husband, to the consternation of her neighbors, who believed that a man should be the head of his household. Later, Sazae became a feminist and was involved in many comical situations regarding her affiliation with her local women’s lib group.

Despite the topical nature of the comic, the core of the stories revolved around the large family dynamic, and were presented in a lighthearted, easy fashion. In fact, the final comic, in 1974, revolved around Sazae’s happiness that an egg she cracked for her husband’s breakfast produced a double yolk, with Katsuo remarking about the happiness the “little things” in life can bring.

Today, the popular Sazae-san anime is frequently taken as nostalgia for traditional Japanese society (since it lacks modern marvels such as video games and otaku culture), even though it was leftist to the point of controversy when it originally ran in Japanese newspapers.

In October 1969, Fuji Television started an animated comedy series, which is still on the air today and currently in production (making it the longest-running animated TV series in history). It has been broadcast every Sunday from 6:30 to 7:00 p.m. and contains three vignettes. The animated series has some characters, like Katsuo’s classmates, who don’t appear in Hasegawa’s original works.

Well, I’m not Japanese but now I know too. But what does this have to do with a syndrome? Note that the TV show broadcasts EVERY SUNDAY from 6:30 pm to 7:00 pm. For many, it is a reminder that the weekend is quickly ending and the work week is approaching. The gloom they experience (as I described above) around this time on a Sunday night is Sazae-san Syndrome. Pretty cool, huh? Here’s a good article about Hasegawa, the strip, the TV show, and the syndrome.

This is covered in multiple blogs and mine is just another one, but it was new to me and that is what this blog is about. And now instead of saying, “The Sunday Night Blues” I now can label my melancholy as a syndrome.

 
 
But that’s not the only syndrome that I know either. There’s another great syndrome, metabolic syndrome. Folks use it a lot in Japan for drinking too much beer and getting older, not exercising, and generally getting squishier.

I thought it was a just a Japanese thing, but then I checked in, yup, Wikipedia and found it is, “a combination of medical disorders that increase the risk of developing cardiovascular disease and diabetes.” I won’t link because there is a really gross picture.

Party in Central Park

Central Park Nagoya, that is. Yes, Nagoya has a Central Park. It is basically a wide median in the center of the city. It is nice though to have such a green strip running through the center of the city. Today the Park was abuzz though because there was a 24 hour television event, some music underneath the TV tower, and the main stage for the Domannaka Festival. Wow, what a day for Nagoya.

There were some old-timers jamming underneath the TV tower.

Music under the tower

 

And some sort of 24 hour television event. I’ve never quite understood these events. They don’t seem to be fundraisers or have any purpose other than promotion. I never really watch these events. I don’t watch much Japanese TV.

24 hour television

 

This weekend is the 12th annual ど真ん中祭り (yes, another festival). I’ve written about this festival before. I only saw one group wearing fundoshi this year, and perhaps it would have been better to have been a little more modest. As always though, the costumes and dancing were fun.

ど真ん中祭り

 

The requirements for the festival are simple:

The rules of the festival state that each dancer must hold a naruko, or clapper, and that a melody from a local folk tune of the participants’ home area must be incorporated in the music. The teams thus prepare original dances and music that give a sense of their local culture. The greatest characteristic and charm of Domatsuri is that it connects people from many different areas and countries, and gives them an opportunity to vitalize local communities as well as to create and pass on new cultural expressions.

ど真ん中祭り

 

I ended up going to the festival site, having a beer, and watching the stage performances on an outdoor screen. The weather today wasn’t that bad.

Warm but not impossible

 

Cooling off

 

Maybe it was over 90 degF, but the humidity was a little lower so I was comfortable in the shade.

日は明日また昇る

[Translation: The sun will come out tomorrow]

Where do they find the Japanese girls which such red, curly hair?

World famous Annie

Indeed, Annie is just as perky in Japan as anywhere else. I saw this advertisement in my subway station. All the major musicals play in Japan as well. Since I’ve been here I’ve noticed Phantom of the Opera, Wicked, Aida, Annie, The Lion King, and others I’ve forgotten. I haven’t gone to see any of them as they are all in Japanese. At first I thought it was crazy that they shouldn’t be in their original language, and then I realized how much I liked Les Miserables. In English. Of course, the original Boublil & Schonberg lyrics were in French, although the English version is considered by the lyricists to stand alone.

The English language version, with lyrics by Herbert Kretzmer and additional material by James Fenton, was substantially expanded and reworked from a literal translation by Siobhan Bracke of the original Paris version, in particular adding a prologue to tell Jean Valjean’s back story. Kretzmer’s work is not a direct “translation” of the French, a term that Kretzmer refuses to use. A third of the English lyrics were a rough translation, another third were adapted from the French lyrics and the final third consisted of new material.