Showing posts with label Japanese Pop Culture. Show all posts
Showing posts with label Japanese Pop Culture. Show all posts

Wednesday, January 20, 2010

Manga Messiah & Manga Metamorphosis Artist Interview

The Bible Illustration Blog has an excellent interview of Japanese Manga artist Kozumi Shinozawa posted here: THE INTERVIEW
Kozumi is the illustrator of Manga Messiah & Manga Metamorphosis -- the first two books in the Bible Manga Series (there will be a total of five). Well over 500,000 copies of Manga Messiah have been distributed in Uganda alone; it is being published around the world in many languages.

Three of the Bible Manga series are currently available in English at Amazon, you can purchase them HERE


Tuesday, June 02, 2009

Black Gospel Music in Japan ...and the questions that come with it

Greetings from a guest blogger. 

I (Jeff Timmer) am here for six weeks this summer working as an intern with Paul Nethercott and fulfilling requirements for my grad degree in ethnomusicology. I’m also here to do some research on gospel choirs in Japan. I became interested in this topic two summers ago while on a short-term trip working with a church in Osaka. After two years of grad classes as framework and preparation, I’m back to spend some more time looking in to the topic. Paul has asked me to share a few thoughts via blog posts while I’m here.

I’ve been here only a week, so I’m still a little cautious when it comes to writing any new and interesting discoveries, happenings or insights. Instead I think it’s best to begin by sharing some of the questions I’m addressing as a researcher, visitor and ethnomusicology student. (For those who don’t know, I should probably mention that “ethnomusicology” is essentially the study of music in/as culture; the anthropology of music; the study of the music of the world; etc.)

To the questions:

  •  Now that black gospel music has been popular in Japan for around 15 years, has the genre established itself as a fully Japanese activity and not something that has been imported? How is this defined or characterized? What is uniquely and distinctively Japanese about the way black gospel music plays itself out here?
  • What is drawing the Japanese to participate in these choirs?
  • What are the goals, methods and vision of gospel choir leaders and directors?
  • How are choirs established and how are they supported?
  • As Jonathan Herring notes in another post on this blog, most of the participants are not Christians. For the number of choir members who have become Christians through participation in the choirs, what are the elements, methods or people God is using in this conversion?
  • What lessons can be drawn from these gospel choirs that can help the local Japanese churches and their ministry to the community?
  • Some work is being done to experiment with fusing black gospel music with wadaiko as well as hip-hop dance. What effects will this have on the genre, if any? How will the relationships between leadership and participants develop and spread?
  • What’s next for black gospel music in Japan?

The purpose in sharing these is partly to preface any later posts on the subject, but also to help challenge your own thinking and take a moment to put on the hat of an ethnomusicologist/artist by taking a step back and asking similar questions. Sometimes when you take things that have become normal or routine and look at them with some outside eyes, new insights or epiphanies can emerge that will ultimately help refine your work or goals.

I’m looking forward to digging a little deeper with these questions and others over the next few weeks. More thoughts later!

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Note from Paul Nethecott: 

It is really good to have a quality person like Jeff here for a few weeks working with me on an important project. His research is tied in with a film project we are producing under Studio Re:

The first part of this production is a mini-documentary that will explore the popularity of both Black Gospel and a genre indigenous to Japan called Wadaiko (Japanese style percussion troupe). 

The second part is a Wadaiko/Black Gospel Music Video (WBG Music Video) that we will shoot on June 20, 2009 at a large hall in Tokyo.  This will feature a large Japanese Black Gospel choir under the direction of Ken Taylor and 12 Wadaiko percussionists from a group called Matsuriza. As far as we know, this will be the first performance of Black Gospel and Wadaiko fusion.  It could be the start of a new style of music.  And, it could attract a lot of attention. 

Why is Studio Re: producing a Music Video?  This will be a visual demonstration of the fact that the Gospel is for Japan.  It will show that the gospel does indeed "connect" with Japanese and with their culture.  In a nation where virtually everyone views Christianity as a foreign religion, this is a radical idea.  But, we aren't going to just talk about the fact that the gospel relates to Japanese culture, we are going to create a visual demonstration.  Will it work? 

The first time our Japanese bookkeeper saw the WBG teaser inserted below, she cried.  


She couldn't even say exactly why she cried but it touched her on the emotional level.  I took it as a very good sign.   She did say something like "I had never thought about how Japanese culture could be part of my faith." 

Related Posts: 

Japanese Black Gospel Choir & Taiko Troupe in a Music Video?

Missions & Filmmaking Converge in Tokyo

A Film Showing that God is at Work in Japan

"Bicycle" - A Film by Biola University & Studio Re:

View Mujo No Kaze Online Here

Tuesday, April 21, 2009

Wadaiko/Black Gospel Fusion in Tokyo

Hey Everyone, I (Jonathan Herring) have been working with Paul and 'Studio Re:' for a little over two months. I have had a great time! I am excited to tell you about a project we have been working on that involves God, drums, and a Japanese choir.

Studio Re: has been advancing a project that will be filmed on June 20 in Tokyo. We will shoot an entire concert of Black Gospel Choir music but our main purpose is to create a music video of one specific song during the concert. That song will be a fusion of two distinct Japanese styles of music. One is Wadaiko (also known as Taiko), which is an intense, elaborate, Japanese drumming performance. It has deep roots in ancient Japanese culture, going further back than even Buddhism's arrival in Japan. Wadaiko is full of energy and incredibly engaging to watch. The bride to this groom may surprise you; Black Gospel Choir. But this couple isn't too diametric as Gospel Choir music has some of the same rhythmic and energetic qualities as Wadaiko. Gospel Choir is also quite popular in Japan. Since the movie 'Sister Act' The Japanese people have grown a love and fascination for Gospel music and it has become a mainstream art.

As far as we know, a fusion of Wadaiko and Gospel Choir has never been done in Japan (or any where else for that matter). But having seen a good bit of both, I think the fruit they produce will be extraordinary. By filming this concert, and by making a short documentary to go along with it, we hope to achieve a number of important things:

1. The developing of relationships with the members of the Wadaiko group, none of whom are believers. We want to show them God's love and through this film promote and bless their group. The same goes for those in the gospel choir; there will be about 600 choir members involved in the entire concert, perhaps 100 of them are Christians. Yes that's right, 500 people will be singing praise to God, 500 people who don't yet know God, but nevertheless find themselves glorifying Him.
2. As Christians we can make a huge impact on the culture by being at the forefront of art and music. Since a collaboration of Wadaiko and Gospel Choir has not been done before, we believe with its success, many windows will be opened to permeate the Japanese culture with art that overflows with the heart of Christ.
3. The leaders and directors of the concert and film are believers. Though the participants might not know it, they will be glorifying God and through film we will be able to show that to the world.

We see a lot of potential in this project, and I am thankful for the opportunity to be a part of making it happen. Here is teaser of what a Wadaiko and Gospel Choir fusion might look like, so please take a look and tell us what you think.

Sunday, December 14, 2008

Christmas Cheer

Japanese ingenuity will never cease to amaze me. Take, for example, turning your produce section into a wind ensemble. Enjoy this... unique... rendition of "Angels We Have Heard on High," and have a great Christmas season!

Monday, November 24, 2008

Spiritual Bridges in Video Games - The World Ends With You

If you were to die today, do you know where you would go? Heaven? Hell? Shibuya? Well, according to the minds over at Square-Enix and Jupiter, the answer is c) Shibuya. The game is called "The World Ends With You" (Japanese title: Subarashiki Kono Sekai - It's a Wonderful World)--an RPG (Role-Playing Game) for the Nintendo DS released earlier this year. I (Scot) picked it up without any idea that I'd be writing a post on it; I simply wanted to play what I anticipated would be one of the greatest games of all times. [In that, I wasn't disappointed; this easily falls into the top 10 Nintendo DS games ever made, and it will be remembered long after the system becomes defunct.] What I wasn't anticipating was that the story would be an unintentional modern re-telling of the book of Job that directly deals with the pitfalls of Buddhism.

This came as a huge surprise to me, since I have been playing games by this development team for six years now. They are responsible primarily for the Kingdom Hearts franchise, though they have contributed to a half a dozen Final Fantasy titles too. Having played most of their games, and having even read the director's personal blog for a short stint, I can say with utmost confidence that this is not a Christian company. All of the spiritual bridges I am about to write about were not intended by the creators, but are simply evidence of God's law being written on every man's heart.

Before we begin, let me offer up a warning. I am going to go very far with the spoilers here, not only talking extensively about the ending, but also referencing things that are only unlockable on the second playthrough. If you have any desire to play this game, please stop reading right now and come back to this blog when you are finished. (For the unitinitiated, gamers are even touchier than movie-goers when it comes to spoiling the ending.) But also be warned, this is one of the most difficult games I have ever played, so I would ward off inexperienced gamers. With those warnings in place, let's begin.
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The World Ends With You
(すばらしきこのせかい - It's a Wonderful World)
Developers: Square-Enix, Jupiter
System: Nintendo DS
English Adaptation: Square-Enix


The game begins as the protagonist, Neku Sakuraba, wakes up in the middle of the Shibuya crosswalk. Annoyed by people in general, he puts on his headphones and tries to get out of sight. Unfortunately, his headphones don't seem to be blocking out anything. Instead, Neku finds that he is not only able to hear people's words, but also their thoughts. Just what he needs. As he is trying to figure out why he has this ability, many things happen in rapid succession: he recieves an email on his broken cellphone that gives him a mission telling him to make it to the 104 building in 60 minutes or face "erasure", a timer painfully appears on his right hand, frog noise appear out of nowhere and start attacking him, and a cheerful young fashion designer named Shiki forms a pact with him that saves both of their lives. All of this, and the bystanders don't even bat an eye.

As events unfold, Neku slowly learns that he is involved in "The Reaper's Game", a sadistic underground game that takes place in a parallel dimension, allowing him to be invisible while reading and eventually making imprints on the thoughts of others. He and his partner, Shiki, are fighting towards the ultimate prize, which will be awarded to the winners at the end of seven days. Both of them gave up the thing most valuable to them in order to participate, which will be lost forever if they are erased. For Neku, it was all of his memories before waking up in the crosswalk, and, by inference, his identity. For Shiki, it was her appearance, as she now looks exactly like her best friend whom she had been jealous of for years. Oh, and one more thing: they're dead. The ultimate prize is none other than being restored to life.

Most of the missions include clearing areas of noise, which are the physical manifestations of negative emotions and distractions. Oftentimes these noise will be hindering a person's relationships or business. By clearing them, you are restoring friendships and helping people to succeed. In short, you're making the world a better place. But in the meantime, you are being hunted by reapers, who can survive only by erasing you.

Fast forward. Many events happen, and Neku and Shiki end up winning the game after Neku opens up and makes his first friend (Shiki). Shiki deals with her own jealousy, which had been eating her up. But there is a twist. Only one can be restored to life; the other must play again. Neku is forced to play again, and his entry fee is none other than his previous partner--the only person he had ever let inside his emotional walls.

Fast forward again. Neku ends up playing the game a total of three times, partnering second with a self-possessed boy named Joshua who entered the game illegally while still alive, and third with a hot-headed boy named Beat, who gave up his status as a reaper in order to help Neku proceed through what he percieved to be an increasingly unfair and malicious game. Both boys, Joshua and Beat, are obsessed with taking down and replacing a man named "The Composer"--the creator of Shibuya and the Reaper's Game. They see his creation as deeply flawed and in need of renewal. Neku, in addition to completing his missions, helps them on their quest, as he knows that he can't survive without them.

The story continues to progress, and we discover some startling things. Mainly, that the composer is absent, and the game is being run by his proxy, The Conductor. The Conductor has his own plans for "saving Shibuya," which include eliminating everyone's individuality and causing them to think alike. His missions have been slowly building to that crescendo, and Neku has been helping him reach that goal without realizing it.

When the game reaches its final showdown between Neku and the Conductor, we are still in the dark about why all of this is taking place. Why is Neku in the game, and what is its true purpose? Upon defeating the Conductor, all of the loose ends are tied up. The Composer was disgusted by the depravity of his creation, and had plans to destroy it. The Conductor stepped in at this point and proposed that the two of them play a game to decide the fate of Shibuya. (The Conductor was playing for his own gain, as he really wanted to become Shibuya's Composer.) Each side had limitations placed on them. The Conductor had 30 days to complete his assignment, and the Composer was not allowed to play directly. He chose Neku to play as his proxy, knowing that Neku would go through untold suffering, but also knowing that Neku could win in the end. In the final moments, Neku finds out that the Composer was none other than his second partner, Joshua. Having won the game, he has given Joshua the right to destroy Shibuya. Worse yet, as his memory returns, he finds out that in order to make Neku his proxy, Joshua killed Neku in the real world. Everything, from a limited understanding, points at Joshua as the bad guy. Thankfully, Neku doesn't have that limited understanding, and he realizes that though Joshua was sometimes harsh, he always helped people whenever he could. Even his sharp demeanor was there to goad Neku into making the right decisions (Joshua confirms this in Mr. Hanekoma's secret journal entries). So, at the last moment, Neku realizes that he cannot be the Composer, and decides to trust Joshua, even if he doesn't fully understand. As the story wraps up, we discover that Joshua not only decides to sustain Shibuya, but also to restore people's individuality. As a parting gift, he restores Neku, Shiki, and Beat to life.

Phew. Compressing 20 hours of plot into one page is tough. I am scared that I've done nothing but make your head spin, rather than communicating the depth and humanity this story contains, much less its spiritual relevance. Those that have played the game will hopefully have their memory jogged by this synopsis. (My apologies for leaving out the subplot with Mr. Hanekoma and Sho Minamimoto, but adding in their "wild card" status would have made this post surely incomprehensible. Hopefully, I will be able to include Mr. Hanekoma in a future post about the role of the "sin-bearer" in anime, manga, and video games.)

The story borrows elements from many Biblical stories. Certainly you can see the presence of Abraham and Lot as they pleaded for the salvation of Sodom and Gomorrah. You may have even seen Moses pleading with God on top of Mt. Sinai to spare the Israelites. For me, it is Job who stands out most clearly. Job was a man in the Bible who suffered in untold ways for very unclear ends, only given the assurance in the end that God was sovereign and good. The whole time, he is told to curse God and die, but he remains faithful, and in the end, God restores his life in such a way that he has more than he did in the first place. It is a story about God's sovereignty, and his right to direct our lives not only for our own gain, but for the gain of everybody. This is reflected in the character of Neku, who suffers physical, mental, and emotional strain from three weeks straight of playing a game where he could be killed at any moment. He gives up his memories, his only friend, and even the potential of making more friends and allies, all for the purpose of proving the Composer's right to create and destroy as He pleases. In the second playthrough, Joshua, the Composer, explains that the purpose of taking away the things most valuable is not to make people suffer, but to free them from things they are hanging on to in order to mold them into better people. In the end, Neku chooses to trust the Composer rather than taking matters into his own hands, and the Composer not only restores everything he had previously, but gives him everything he gained during the struggle--mainly, the ability to feel, empathize, and have friends, which he had previously lacked.

On a more philosophical note, we have the intriguing character of the Conductor, who is more than a stand-in for the role of Satan. I find it extremely interesting that his idea of salvation was to "snuff out" individuality and make everyone part of the Universal One. It's intriguing because, at the heart of it, that is the goal of Buddhism, the main religion in Japan. Yet here, we have a story that portrays that idea as a half-measure compared to the real salvation. Whether the creators meant to put it in or not, the message is clear: loss of desire and individuality is not something to hope for, but something to be avoided.

Finally, we have the character of Joshua. The name in iteslf should be a dead giveaway of this spiritual bridge, as it has the same meaning as Yeshua (Jesus). His decision to make Neku a proxy caused Neku suffering, but Joshua didn't leave him to flounder for himself. He, in a sense, "incarnated" himself (he entered the Reaper's Game) to impart to Neku the knowledge that he needed (the existence of the Conductor and Composer, and where to find them), and to make sure that Neku wasn't alone. I'm am not partial to Joshua's portrayal as an apathetic and annoying individual, but the seed of truth is still there. I am very interested in the fact that after his "ascension" back to his original place, Joshua decides to show mercy and speaks as an advocate for the people that he met. Connect that with Hebrews chapters 4 and 5, which talks about how we have an advocate (High Priest) who can sympathize with us.

As you can see, the spiritual truths are abundant. They are unintentional, and a little bit murky, but they are there. And as this is one of the highest-rated games on the Nintendo DS, people who have played it will know what you are talking about. They will have something concrete to latch onto in order to understand the ideas of why suffering is necessary, and how God can still be good in those circumstances.

Sunday, September 21, 2008

Stephen Shores Explains How to Join mixi

We have a couple of posts on this blog that refer to mixi (the huge Japanese social networking site) and we have offered to send an invitation to those who asked for one (mixi requires an invitation to join).

Well, there have been many requests but those living outside of Japan are having a very difficult time getting a mixi account set up. My friend Stephen recently wrote an excellent post on his blog explaining how it can be done. Click on the following title to read Stephen's post:

How I Got On Mixi, and The Only Methods I Know For Non-Japanese To Get On Mixi


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edit: Stephen here. I found out that Mixi now requires a Japanese cell phone number for any email address, so getting in to Mixi requires a friend in Japan who's willing to let you use his cell phone.

Friday, September 12, 2008

Japanese Pop Culture: The Tree of Life and the Tree of Knowledge

Scot's good article several months ago "The Tree of Life and the Tree of Knowledge" received several great comments and just got another one today. I realized that they deserve to be featured in a post so will re-post the original article and include the comments at the end.

Please leave your comments, adding value to this post. And, I invite you to go to the bottom of the column on the right and subscribe by email. It is VERY easy, just put in your email address and hit "subscribe." Your email address will never be made public. When you subscribe, new posts will automatically go to your email account.

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I (Scot) am in the midst of preparing the next "Spiritual Bridges" entry on Eureka seveN--a series released roughly two years ago which unfortunately was never really given its due (I suspect it will only grow in popularity as people discover it in DVD form). Anyway, one of the bridges I was going to write about was the presence of a strong icon in the anime: a tree of knowledge. However, I also recently finished the incredible Gonzo anime Romeo x Juliet (*very* loosely based on Shakespeare's original play) where there were two trees named "Escalus" which held the sky continent of Neo Verona (I said it was loose) in the air. Which in turn got me thinking about Miyazaki's "Laputa - Castle in the Sky" which had the presence of a similar tree. As I started reflecting, I realized that the concept of a special "centralized" tree is present in a LOT of Japanese media. Oftentimes, this tree can represent life or centralized knowledge. Here is a quick list off the top of my head of places I have seen this symbol (feel free to add more in the comments section):

*Eureka seveN (anime series) - the collective consciousness of the Coralians is represented as a tree (knowledge).
*Romeo x Juliet (anime series) - the twin trees of Escalus hold the sky continent in place and give it life (knowledge and life).
*Laputa: the Castle in the Sky (anime movie) - the mythical city of Laputa is built on the foundation of a tree (life).
*The Twelve Kingdoms (Juuni Kokuki) (anime and light novel series) - children, animals, and grasses are all borne from the fruit of white trees, not from mothers' wombs (life).
*Final Fantasy IX (video game) - the Lifa tree. Self explanatory (life).
*Neon Genesis Evangelion (anime series, anime movies) - among other randomly placed symbolism is the tree of knowledge covering a huge section of Ikari Gendo's office (knowledge).
*Okami (video game) - in each region, you must restore life to a Sakura tree. Doing so restores life to the entire region (life).
*Death Note (anime series, manga series, movie series) - though the trees are not present, the apple has very strong symbolic meaning, representing Light's ambition to become a God (knowledge).

And the list escapes me. I have never really watched for this particular symbol before, so though I have vague memories of it popping up elsewhere, the details are hazy. Even so, it seems that the "tree" has a very important place in Japanese spirituality.

Anyway, I am wondering where the basis for this is. Is it a symbol contained in Japanese folklore, or has it crept in along with other Christianized things?

If this is contained in Japanese folklore, I can see a potentially strong opportunity to use this as a bridge in more than just media-based conversations. I myself have been intrigued in the past year or so to see how often the symbolism of the tree of knowledge and the tree of life show up throughout the Bible. I'm also intrigued by the fact that according to Revelation, the Tree of Life will be in the center of New Jerusalem, and it will grow on either side of the River of Life. [I tend to take the Bible literally whenever possible, so I really do believe in a New Heaven and a New Earth, and I take the Tree of Knowledge and the Tree of Life to be more than just symbols; I take them as history. Feel free to disagree with me on this.] What intrigues me most, though, is that Adam and Eve's choice between life and knowledge was not simply a face-value decision, but a decision of whom they would worship. More on that later...

For now, I'm asking from comments from the hundreds of people who come through this site without ever leaving any. Where else have you seen this symbol emerge? For those of you more versed in Japanese folklore, is there a basis for this symbolism aside from Western influence? What strengths and weaknesses do you see arising from using this symbol as a spiritual bridge? Thanks in advance, and sorry for my rambling in this post.
~Scot

Yu Shibuya said... Thanks for investigating a fascinating symbol! Here are some random notes to add to your research:
  • The tree in "Okami" is a reference to "Hanasaka-Jiisan," a famous Japanese fairytale. More here: http://en.wikipedia.org/wiki/Hanasaka_Jiisan
  • Two more games that feature the World Tree are: "Seiken Densetsu" and "Sekaiju no Meikyu."
http://en.wikipedia.org/wiki/Mana_%28series%29
http://en.wikipedia.org/wiki/Etrian_Odyssey
  • I agree that the image repeats in Japanese media, but I'm not sure if it's our own. The obvious one that comes to mind is Yggdrasil in Norse mythology, and perhaps its assigning of mystical energy to a tree resonates with the Japanese Shinto belief of worshiping nature.
  • Ultimately, I think any tree in mythology is man's rendition of Eden, since mythology is, for the most part, man's attempt to rewrite scripture, whether he knows it or not.
Blogger Robin said... Have you guys ever heard the theory that the Japanese are descended from one of the lost tribes of Israel? Or that the Jews at least visited Japan long long ago? There are a number of other parallels between Japanese religion and Judaism. I wonder if this could be one of them.

Blogger Jose Gabriel said... Hey Scott...
I wonder if its better to use "cultural bridges" instead of "spiritual bridges". I am actually doing a research on Islam and I am using the concept of spiritual bridges to propose an evangelistic approach...
Just in case... you can see the use of spiritual bridges in the Bible when Paul talks in Athens quoting Greek poems originally applied to Zeus, or when Jesus talks to the Samaritan about the Taheb (Samaritan mesiah) and the living water (that was one of the mayor doctrinal believes of samariatan people). "Living water" was not a common concept in Jewish terminology...
Great work...
God bless...

Blogger Scot Eaton said... Jose, Actually, the moniker "Spiritual Bridges" was very intentional. I have little interest in bridging the gap between two cultures, such as Japan and Midwest America. I DO, however, have a rather large interest in bridging the gap between God and man using cultural forms that are already existent.

Too much "Missionary Culture" has been transmitted in the past here in Japan, and I feel the aftereffects of that every time I go to church. I would like to see what happens when God is understood within Japanese culture and expressed through it.

So, "Spiritual Bridges" was chosen. Actually, it was from a book on Islam (which you are probably reading) that I originally got the term.

Anonymous said... The idea of a "world tree" is found in many cultures, mostly in pagan myths that tell of a "world tree" or "cosmic tree" in the middle of the earth that connects to the underworld with its roots, to the earth with its trunk, and to the heavens with its branches, and is seen as a pathway between earth and heaven.

Also, the "tree of life" is central in the teachings of the Kabbalah, which has a very gnostic and occult worldview. Just as we see pagan and secular stories about gardens reflecting a long-past knowledge of the loss of the Garden of Eden, so we see these trees in non-Christian stories as possible echoes of the Tree of Life and Tree of Knowledge in the Garden of Eden.