HT 243 PDF

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                     





 



ISSN 1348-7906

1

January 2007   No. 243



“This is the wedding I longed for” — producers of  dream weddings

    

 

 

 

 

      We offer information about part-time and contract jobs, as well as new employment opportunities.

powered by DIP

 

www.hiraganatimes.com Jobs in Japan 

 

Costume designer, TOKIHIRO Shingo  







 

 

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Costume Design Crossing Borders  

I

n August 2006 at the Umewaka Noh-gaku Gakuin Kaikan in Tokyo’s Nakano ward, four musicians in fancy costumes appeared on the quiet and simple  Noh stage and began to play drums that echoed around the hall. It was very difficult to recognize exactly which play was being performed from this opening scene, but once the dialogue started, you realized that it was SHAKESPEARE’s “Othello.”  

 



 







    

  







 

 

  

 

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     

 

 





    

 

   





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 



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        

 

 

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

 

                 

  





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      

 







      Besides original staging and vivid acting by performers, the beautiful costumes are some of the most important elements of the play. “Costumes are created by integrating all the aspects in the play, such as the plan of the director, the actors, and the atmosphere of the stage designs,” says Mr. TOKIHIRO Shingo, who designed the costumes in the series.    



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 

 

“Ryutopia” (Niigata City Performing Arts Center) took on the challenge of creating new versions of famous Shakespeare plays which naturally adopt the concepts and methods of traditional Japanese performing arts. The group started this series with “Macbeth” in 2004, continued with “King Lear” and “Winter’s Tale” which was performed in Niigata, Tokyo, and other locations. The groups’ latest performance is “Othello” which was introduced in August this year.



            





 

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   



 







 

     





 

 

 

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 

 

 

 Male actors such as the person who plays Othello wear costumes of the Renaissance period similar to those seen in pictures painted by RAPHAEL. Pretty and pure Desdemona performs in costumes inspired by  Junihitoe , which are elegant traditional Japanese kimono for ladies of the Imperial court.

 

Photos courtesy of Ryutopia (page 3)  P3

www.ryutopia.or.jp/ 

TAJIMA Mayumi as Bianca, TANIDA Ayumi as Othello, UEMOTO Jun as Iago, YAMAGA Haruyo as Emilia, ICHIKAWA Emiya as Desdemona

3

 

Photo: HARA Toru, Model: Seiren

Photo: Rick THOMSON, Model: Seiren

At one point she is dressed in layers of colors in cherry blossom hues, and at another point she is dressed in willow-colored hues. One of the remarkable remarkable things things is that Emili Emilia, a, who has a realistic and unchanging image, looks so noble in a purple dress, and Bianca, a prostitute, is so neat and sincere-look-

 







  



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

 

 





  







  

ing in a chic dress, both of which are totally different from their stereotyped images. The costume designer describes the mentalities of various actors using different colors and costume styles. For instance, patchworks can represent complicated human psychology, power or property.

Photo: HARA Toru, Model: Seiren



     

Mr. Tokihiro wanted to be a Japanese-style painter when he was a student. He was interested in historical paintings and “ Bijinga,” which is one of the genres of Japanese-style painting involving pictures of beautiful women. However, he stud ied Japanese literature in university and after graduation, cov ered the Paris Collection and the London Collection for a long  period of time as a journalist. He was greatly impressed by the   sense of “creating 3D art” which began in Photo: YAKUMO Kiyomaro, Model: Yui Europe. Europeans picked up this sense natu         rally during their long history, and it is very  difficult for people of other countries to come     to the same level of awareness. Then, he      decided to design costumes utilizing Oriental 

 



  



  











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





  



  







 



 

 

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     

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ideas.



  





    

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 





  





 

  

 



  

 

 





     

 





 







“I wish that everyone will be beautiful on stage,” Mr. Tokihiro says. “We are not really beautiful in real life. Unfortunately, that is human nature. So I would like to express our beauty at least in an imaginary world. Bianca has a relationship with many men because of her job, but she is also sincere about her love. Therefore, I would not like to design her costume to be too feminine. Also I considered creating the props in accordance with the atmosphere of a  Noh







stage, which is a special place with a feeling of dignity.”    

 

    





 







        







 







 



 











 

 









 





 





  





 Mr. Tokihiro also designed costumes for the play “Okuni Warau,” which is about Okuni of Izumo, who founded Kabuki. This job was a turning point in his life. He thought that he could not re-create the kimono worn by Okuni 400 

Photos courtesy of Lyric     

TOKIHIRO Shingo’s website   4

www.shingotokihiro.com/ 

 

Photo: YAKUMO Kiyomaro, Model: KOJIMA Chieko (KODO)

Photo: YAMATO Shinichi, Model: Seiren



years ago, but he was sure that he could create new costumes for her if she was alive today, therefore he tried to design costumes filled with the essence of oriental beauty. Kabuki started in Kyoto, a local region, but the stage performance was so powerful it was as if their passion had spread across the seas. It is obvious that Mr. Tokihiro’s costumes have greatly contributed to this. 

 



 

 

 

   







  

 

 







 

 





   



 



 



 





 

 





 







 





 















“I suppose that I expressed myself more naturally. I have been working a lot in other countries and when I stay in Japan, I have coffee and bread in the mornings. So, I have been influenced a lot from western cultures. My productions honestly describe myself.” “Winter Story,” the show that was performed before “Othello,” was invited to the Shakespeare International Festival held in Romania and received high praise. 

 





 















  

 

 









 







2007     3  4 

 

 







 





 

 









    

   



    





 









Stage performance schedule in 2007, “Macbeth” (Niigata, Tokyo), March ~ April    





 











 









 













 

           

Mr. Tokihiro’s costumes have certain themes that stay constant. These may be a prayer for peace, admiration for beauty, or gratitude for living on earth. The most important thing for Mr. Tokihiro is loving human beings. Costumes, arts, cultures — they are all without borders. His inspiration wafts freely around Japan and other countries wishing for peace.



 





 





 

  



“When I was offered this job, I felt that Okuni was giving me permission to create costumes that represented her. Then hundreds of images of costumes filled my mind like rain falling from the sky. Now I can feel Shakespeare would have appreciated my work.” The costumes he designed for the Shakespeare series are a little different from those he created unique oriental charm. Instead, Mr. Tokihiro harmonized western with eastern tastes. 







 



 

 





    

       

 



 

Photo: TAKASHIMA Toshinobu, Model: Motoko



 





        

 





 

 



        





    

  





          







  



Text: TANAKA Mika  5

 

Topics & Events Exhibition on of Masterpieces Masterpieces  The Exhibiti of Musee Guimet    



        

 





     

 

     

First exhibition 

      

First exhibition 

  

Second exhibition

      

   



This is the Ukiyoe exhibition from the Museum Guimet (the Musee national des Arts asiatiques — Guimet) in Paris, which acts as the Orient Department of the Louvre Museum and has an Oriental art collection rich in quality that stands out worldwide. One hundred and eighty nine famous pictures from among those that were brought to France will be back in Japan for the exhibition. The main feature is the “Dragon” picture by KATSUSHIKA Hokusai. It was recently discovered that the dragon picture used to be part of a pair, and that the other picture-of a “Tiger” — has been kept by Ota Memorial Museum of Art. At this exhibition you can enjoy seeing both pictures together for the first time ever.      





 





 









 

 







 

 





 

 

 

 

 

 













     

 







  



     

 

 

 





Second exhibition    



Ukiyo-e Ota Memorial Museum of Art Admission fee: Adult ¥1,000 First exhibition: January 3 ~ 26 Second exhibition: February 1 ~ 25  



 

  

  





 1,000     

   





   

 





 1  3  1  26   2  1  2  25  Tel: 03-5777-8600



                          

 





Free invitation for 5 coupl couples es (10 people). See the bottom of page 10. 







10   © Musée Guimet/T Guimet/Thierry hierry Ollivier

6

 

  5  10 

 

Topics & Events

Photos by Masayuki Masayuki Tsutsui Tsutsui

©2006 by Shizuka Shizuka Kusano Kusano,, Published Published by Kodansha Inern Inernation ational al Ltd.

 The Fine Art of  





Kimono  Embroidery

     





 This book presents author and talented embroidery artist KUSANO Shizuka’s canvases of kimono, obi (the kimono sash) and tapestries. Her themes are drawn from Japanese poetry, literature, and art, as well as traditional seasonal-oriented seasonal-oriented images such as trees, birds and streams. Kusano’s insight and fresh perspective on this unique art style will inspire embroidery enthusiasts, textile collectors, and art lovers worldwide. 





  

         







         

 







     

This photo by Matsukawa Yutaka



     

















   







  

 

    

 





 Kodansha International. 4,600 yen.   



4,600  7

 

Topics & Events

Naha-shi, Okinawa

    

New Year’s Banquet at Shurijo Castle  





    







Naha city, Okinawa    

    







 

 

 



   





Shurijo Castle Park Management Center      

  Tel: 098-886-2020

 

      



    

www.shurijo.com/ 



  

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1  1  3 

  



January 1 ~ 3

“Chouhaiokishiki” (the Imperial Court New Year morning ceremony) has now been revived in Okinawa. This ceremony used to take place early on New Year’s morning during the Ryukyu dynasty, a time in which the people enjoyed prosperity for 450 years. Ryukyuan dances including classical performing arts add grace to the ceremony. At Shurijo Castle Park you will be able to experience the traditional Ryukyuan culture.   





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Photos: courtesy of Shurijo Castle Park 

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 



    

www.hiraganatimes.com 8

 

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            

 Story of a Chinese HERO

Listen to Heartwarming Japanese Music “Spring Sea” in the New Year 

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      

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     

     

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         

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 

     

     

  

  

    

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       

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 

  



        

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  

  

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          

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        

 





         

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     

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      

         





  





     

      

  

    

        

   

 

      

  

 

 Japan has a type of traditional music called “ Houg  Hougaku aku ,” which creates sounds using Japanese musical instruments including the Koto (harp), Shakuhachi (flute) and Shamisen (guitar). Famous traditional Japanese masterpieces which have been deeply engraved in Japanese hearts will be played by a professional music group in the New Year. Some of the pieces have been written by famous Japanese composers including MIYAGI Michio’s “Spring Sea” and TAKI Rentaro’s “Flowers.” The music will be performed by Japanese musicians who are taking on the challenge of composing music for those living today using traditional Japanese instruments. Held at Tokyo International Forum on January 2, at Omiya Sonic City on January 3 and at Yokohama Minato Mirai Hall on January 6. All seats are reserved. ¥4,000. Tel: 03-3943-9999

To commemorate the 35th anniversary of the normalization of diplomatic relations between Japan and China, a magnificent acrobatic fantasy show will be performed by a Chinese acrobatic group. The show is a fantastic spectacle performed by what is reputedly the best acrobatic group in China and based on stories of Chinese heroes in each era of the country’s 4,000 year history. When acting out the stories, performers execute high jumps, jump through hoops, swing on trapezes, do acrobatic cycling, and much more. Even if you cannot understand the stories, they are compiled so that everybody from children to elderly people will be able to enjoy them. Held from January 19 to 28 at Tokyo International Forum. Admission fee: ¥5,000 ~ ¥9,000. www.chinese-hero.jp Original present for 10 people

 

 

   

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       

COVER STORY    3-5 3-5

TIPS FOR LEARNING JAPANESE 

6-11 TOPICS & EVENTS    6-11

25-27 SPECIAL REPORT    25-27

     CHALLENGE!! 12-13 12-13

INTERNATIONAL COUPLE SCENE

PARODY TALK       14-15 14-15

  28-29 28-29

  







16 USEFUL WEBSITES    16

HIRA-TAI FORUM    30 30

Insight into Japan — Japanology Textbook 

VISA Q&A  Q&A   31 31



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  

      





32 MY JAPAN    32

JAPANESE PERSPECTIVES 

NEW TREND    33 33

    CLOSE UP JAPAN  TIPS FOR LIVING IN JAPAN 

SUBCULTURE    34-35 36-37 HOT SPOT   36-37

  



JAPANESE HISTORY MAKERS 

JAPAN QUIZ    38 38

The unauthorized reproduction, photocopying or copying of articles or photographs appearing in this magazine is strictly prohibited.

 Publisher Publi sher & Editor: Editor: HASEGAWA HASEGAWA Ka Katsuyu tsuyuki ki

Assist Assistant ant Editor Editor:: Jon Jonathon athon WALSH Illustrat Illustrations: ions: YOSHIDA YOSHIDA S Shinko hinko DTP: NAKADA Natsu Natsuko ko

9

 

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      

          

  The International Arts Festival in Kanagawa 



 





 Japanese Speech Contest for Foreign Students 





    

    



      





       

 



       





 

       







 

          

  

 

     





   

  



 

 

 

      

 

            













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  



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 

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  







        

        

  



Starting with the “Ensemble Vienna Collage” at the Kanagawa Kenritsu Ongakudo (prefectural Music Hall), an orchestra comprised mainly of Vienna Philharmonic members will play classical and modern music from Vienna. Viennarelated programs including the “Operetta Gala Concert” and the Operetta “Bat” are also scheduled to be performed at Kanagawa Kenmin (citizens’) Hall. In addition to that, you can also enjoy the new performance of “Oyayubi Kozo” (Tom Thumb), the national Spanish Dance Company show, and an

The 41st Contest held by the International Students Friendship Circle of Waseda University. The theme is “Bouquet of Touching Words.” The students’ intensity of  feeling is evaluated, not only Japanese skills. In part 2, a plan to aid in the understanding of the background of the participating foreign students is prepared for the visitors. And in addition, after the contest is over, there will be an exchange party with those foreign students. Visitors, including foreign visitors, are welcome. Open at 12:30pm on December 17 at the Ono Azusa Memorial Hall of Waseda University.

exhibition of woodblock prints. December 9 ~ February 4.

Admission free.

www.kanagawa-arts.or.jp

Tel: 090-6196-6944

Presents for readers,  Y  You ou have a great chance to win a prese present nt whenever you see this picture (left). Write the present name, your name, address, sex, age, nationality and the top article(s) you enjoyed in this issue, as well as your impression(s) or suggestion(s) for future articles and send by postcard or e-mail. Competition closes December 25. Winners will be selected by lottery and receive presents directly.

     

We are looking for ... Those engaged in international business, International couple stories, Japanese who are successful or leading a unique life in a foreign country, NonJapanese who are successful or leading a unique life in Japan, Forum, etc.

Story

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Personal information you send us will only be used for sending a present or magazine. We will never use it for other purposes. 

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                      Please keep in mind that articles printed in Hiragana Times may be published without notice in PDF version, on the Hiragana Times website, in other media related to Hiragana Times and possibly by third party media approved by Hiragana Times.  PDF Web Hiragana Times  Hiragana Times 

10



 

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 Poetry with English Translation “AIDA Mitsuo — Earnestly” 

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  





   

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 



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  

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   

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      



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  

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   

         

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      



    

   

 

  Japanese Conversation Skills Learning Through Comics

     







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



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 

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

 

Do you know of the poet, AIDA Mitsuo? Japanese know him as a philosopher of life due to his poems that express his thoughts in a unique and heartwarming manner. A book called “Honki” (Earnestly) containing 79 of Mitsuo’s poems including “Fall seven times and writhe in pain eight — stumbling and falling are natural, yo you u know after all, we are human” is now on sale from Bunka Shuppankyoku. An English translation has been added to his original calligraphy written with a brush. ¥1,365

This is teaching material using a comic book. It contains conversations used in many situations including making introductions, asking for meanings, apologizing, looking for a room for rent, associating with neighbors, using hospitals, and so on. It has two characteristics, one of which is that you can come to understand conversations visually, and the other is that you can also learn about Japanese culture. In addition, you can listen to the conversations by using the attached CD. Furthermore, an English translation has been added to the instructions. Published by ALC. ¥2,520.

11

 

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t’s not often that a foreigner can rock the club scene in Japan, but that is what Canadian singer-songwriter Rose BEACH is doing. “I make lyrically raw, socially-conscious fusion-pop,” Rose says about her unique musical style straight after the release of her debut CD “Family Love.” “My music ranges from hot, sensual club tracks, to heartfelt acoustic sounds. I love being on stage. It’s the best feeling in the world to exchange energy with an audience.” 

  



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   



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  

 



 

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

 

 





 





 

    So, how did she start out? As a young girl Rose began by making up plays and performing them to members of pensioner homes. “My folk artist mom did busking, and as bright-eyed children, my twin sister and I would dance around delightedly. I started singing and writing because it was part of my natural growth as a person. I continue today because I feel like I am at home when I have an audience, a great song and a stage.”

Rose BEACH 



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 

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



Launching Rosy Music Career from Roppongi





    

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 

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  

 

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  



  

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  



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  







 

Rose has faced many challenges along the way to becoming a singer. While most singers are content just to sing, Rose is also striving to break into other areas of the music industry. When she was living in Canada, she quickly discovered how

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                            No-Key money, deposit, guarantor  (Only facility deposit required)

TV, VCR, fridge, f ridge, A/C,  24h free Internet access in your room.

0 422-51-2277     Apple House Co., Ltd.   www.applehouse.ne.jp 



www.rosebeachmusic.com

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difficult it was to find background music and producers who could get things done as quickly as she wanted. So, to overcome this obstacle, she decided to go back to school in Vancouver where she studied Digital Analog Recording and subsequently learned how to produce music, to add to her singing and songwriting skills.  

  







     



 



 

 

   













 

 

 





 









 

have been lucky enough to meet.” Bucking the trend Rose published the CD herself. “When I was studying, my instructors were always emphasizing that we should try to finance and publish our music using our own means, so that when we walk into a label they will be less likely to take advantage of  us.” Rose did so, and now through her own efforts, including writing or co-writing most of the songs herself, her CD is being sold in many small clubs in Tokyo and Vancouver, through her website, and through the hugely popular Apple iTunes online music store.





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 





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



       

 

 

  



  



  





  





 













      



 



   







        









 

Rose first came to Japan five years ago after her girlfriend told her about all the wonderful aspects of the country. However, her friend ended up canceling at the last minute so Rose came alone with no apartment, no friends and little money. But within a very short time, she had found everything she needed and began to build up her singing career. For the past few months Rose has been singing in various bars around Tokyo, and in November, she launched her debut CD at a club in Tokyo’s trendy Roppongi district. 







   



 







 



 Why did Rose create Family Love? “I created ‘Family Love’ for the same reason all artists do. I want my voice to be heard. It is also a tribute to all of the talented people that I







  









 

 

          









 

 







     



  

 Rose will soon travel to Canada and the U.S. to play shows in December before moving on to perform in Europe (UK, France) in January. She will then return to Japan in February to perform more concerts. “I will continue to make music and put on shows all over the world ... including Tokyo because it is intriguing, crazy and different. I love it.”  



 



 

 

 







 





 

   







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     





Text: Jonathon WALSH 

13

 

 

by Hiragana Times CIA

 





 





Study of World History is Nonsense!  Rec ently, ent ly, a ver y ser ious iou s iss ue has been bee n dis covere cov ere d in whi ch 540 high hig h sch ools ool s (approximately 10%) nationwide had neglected to teach their students world history, which is a compulsory subject. Since 84,000 third grade students are now not able to graduate, the government has decided to let students undergo 70 hours of extra lessons to make up for the error. One high school principal committed suicide to take responsibility for the issue. Hiragana Times CIA investigated the background of this issue with an education critic who is well versed in behind the scenes issues. 

 

 

  







 



 

                  

  

 

 



          





 











              











                



 



         CIA: Why has this happened? Critic: Even if students study both “world history” and

“Japanese history” subjects, only one subject is required for university entrance examinations. Many high school students avoid world history because it requires wide ranging and intensive study, and choose Japanese history instead, which is relatively limited. A large number of schools admitted they had neglected to teach world history.   









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







 





 





  



  



  





   











  



  



               

fact, many parents support this policy, rather than supporting the type of education that can enhance students’ humanity. For parents, their son or daughter’s university is a kind of  brand. In other words, it is something that satisfies their sense of vanity. You probably know that weekly magazines that feature the number of students who have entered leading universities from from each high school school always en enjoy joy high sales due to this aspect of parents’ psychology. 

   



 

 





 







  









  





 



 





       CIA: While globalization is progressing, schools are not teach-

ing world history. This is going against the times, isn’t it? Critic: High schools’ reputations are judged by the numbers of students who enter well-known universities. Therefore, they are only interested in placing students in universities. In

 



 

               

 









CIA: To be honest, is the knowledge required for university

examinations useful after graduation?

 

14

 

 

 

 

 

 CIA Cynically Cynically Insulting Agency        

Critic: No, almost not at all. One educational institute carried

out an experiment to discover whether ordinary adults could pass university entrance examinations. Results showed that less than 10% actually passed. In short, the knowledge required for entrance examinations is not very practical. Actually, to live their daily lives, most ordinary people only require the knowledge they learned up to the end of junior high school. 

    



 









 

  









        

 





 



        

 



 

  







    

 







 

                













       





 





               







 CIA: How can we stop these problems? Critic: It’s simple. It can be solved if only those who

can easily answer entrance examination questions without putting in much effort enter university.

 

    

 

    













  



        

 





CIA: Why do they set such questions?





 





Critic: Questions are set by experts in each field. They think 



their dignity will be compromised if they set easy questions. This creates a lot of bother for examinees. In order to answer the questions, students have to temporarily cram lots of  knowledge that is not at all useful for daily life and that they will soon forget after entering university, which wastes a tremendous amount of time.

 





  

  

 

 



  

 





 

    

 

 

  



  









 





 



 









 











  Comment from CIA  CIA 

Students who have successfully entered university are reluctant to attend any classes as a reaction to their long periods of  unnecessary study. On the other hand universities have become more businesslike. I have asked my university president acquaintance whether he would let students who didn’t study graduate. He told me his inner thoughts. “Those who pay the tuition fees without coming to school are good clients for us. Of course I’ll give them a graduation diploma, because it is a receipt for the tuition.” 











CIA: Doesn’t this cause any harmful effects?



Critic: Nowadays, the number of top-level students who can

 

achieve great things has decreased. Instead, the number of students who can tolerate boring tasks for long periods of time, in other words, characteristics suitable for carrying out simple



labor work, has increased. 

 

 









Makiko Examinations are a test of the abilities of for examinees. Ideally, these exams should be conducted without notice because even if you pass the examination, you have not shown your real ability if you have only studied for questions that you expected to be set.





























  



 

 









 









 

        



15

 

Gourmet Navigator  Gnavi  www.gnavi.co.jp/en/?gclid=CKv8hvjkqYgCFQZJTAodwSbseA A well-known restaurant guide. After entering the region, you can select other restaurant information by main train station and restaurant type. You can search for restaurants within a specified distance from a station and also find a specific

type of restaurant such as Japanese, Western, Chinese food,  Izakaya (Japanese style pub) and cafés. Available in Japanese, English, Korean and Chinese.   













 





 





 

    



   

  



 











 

 

 



 



  

Medical Resources in Japan  

  

The Embassy of The United States, Japan  tokyo.usembassy.gov/e/acs/tacs-7119.html

This is found in the US citizen service in the website of the Embassy of the United States. Main hospitals nationwide are listed by category. In the Tokyo section, information about hospitals with English speaking staff is added. You will also be able to access lawyer and international school information. 



 



 







 

 

















               

 





  



Japanese Proverbs   

David’s Japan Homepage of Kotowaza  www.geocities.com/Tokyo/5623/index.html

Japanese proverbs (kotowaza ) are classified by category and the direct translation and meanings are shown. For instance, “iwanu ga hana.” It describes the direct translation as “Not-speaking is the flower” and “Some things are better left unsaid; Silence is golden” as the meaning. This site is concise and easy to view. 

 













    







                       

 

16



 

No. 010

          



       





  



 

 

While major Japanese mass media including newspaper companies and television stations cover news from all over Japan, there is not much difference in the content of their news. This means that Japanese in Japan are receiving very similar information. This greatly influences the promotion of  the already common values among the mono-cultural Japanese. It often drives them to react to events in very similar ways.



  



in many different fields from food to entertainment. It is said that the homogeneous Japanese have a mentality that makes them want to catch up with others.



 

 









 

  









 



 



 



 





 

  



 

  

 



 





 

  





 





 

    





 

  



 

 







 









 







 



 

  

 

 

 



  





  

say that this militant trait has essentially the same roots as that of  Japanese women who are persuaded to buy brand products.

 





In peaceful present day Japan, it is very difficult to imagine that Japan was once a very militaristic country. However, it is safe to

 





For foreign enterprises, the Japanese market must be very attractive as they can expect to sell products in large quantities. However, on the other hand, Japanese people have another side to their character which can be described as “easily warmed up but just as easily cooled down.” Since they are apt to purchase brand products based on the influence of others rather than because they themselves actually love the products, they easily lose interest in them.



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

 

It is well-known that Japanese women are very fond of  brand products. Japanese women commonly buy brand goods based on the advice of popular fashion leaders and magazines. This occurs not only in the field of fashion products, but also

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





 

17

 

                              





 

 





North Korea’s reported nuclear tests had a strong impact around the world, especially in Japan, which received a great shock. This neighboring country to Japan is called an outlaw nation, and produces counterfeit dollar notes and drugs, and at the same time is guilty of abducting Many people fear what this country is goingmany to doJapanese. next. There is definitely a possibility that they are likely to export nuclear weapons. In Japan there is a proverb “A mad man with a knife,” that seems to be an apt description of North Korea.

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

18











 

 





 

 

  

 





 

 

 

 

   

 

 

  

 



   



 



 

 

  







   

           

   



   

        



      



  



  



 

Japan is the only country to have suffered from an atomic bombing in Hiroshima and Nagasaki. People have a strong

 





Many countries, including the USA, are anxious that Japan may possess nuclear weapons to counter the threat from North Korea. To fan this anxiety, NAKAGAWA Shoichi, Chairman of the Liberal Democratic Party Policy Research Council, recently said, “I think discussions about nuclear weapons should be allowed.” Also ASO Taro, Japan’s Foreign Minister spoke out in support and said, “I don’t agree with those who say we should halt even debating such an issue.” Both men’s comments created a sensation.





















         









 



 



aversion to nuclear weapons. Japan has three anti-nuclear principles, namely “Japan will never possess, produce, or permit into the country any nuclear weapons,” and it is said to be a taboo even to discuss possessing nuclear weapons. The birth of three anti-nuclear principles goes back to the time when China conducted a nuclear test in l964.





 

Japan is likely the nation most capable of possessing nuclear weapons among the countries that do not possess them when national power and technology levels are considered. The Japanese attitude based on the three anti-nuclear principles, combined with the Japanese Constitution, which forbids Japan from having armed forces, is an ideal model for other nations in the world. It might even be possible to realize an end to war if every nation could adopt this ideal. World leaders should now move to realize this ideal goal.

 

 

 

 

















 



   



 









                  

     



 





 

 









 

 

 





 



 





    





Afterwards, Prime Minister Sato changed his policy and declared the “three anti-nuclear principles” in 1967 and was awarded the Nobel Peace Prize in 1974. Prime Minister Sato is an uncle of Prime Minister ABE. The Japanese people still hold some concern over whether the USA will actually protect Japan or not. However, US Secretary of State Condoleezza RICE repeatedly assured Japan of its support straight after North Korea’s recently reported nuclear test.

 



 

Former Prime Minister, SATO Eisaku, who was inaugurated soon after China’s nuclear test felt a sense of crisis. He informed the USA that Japan had an intention to possess nuclear weapons to counter a threat from China. The Prime Minister interpreted the Japanese Constitution, which bans the possession of armed services, in a way that would allow the possession of nuclear weapons for self-defense. The US Government, which was increasingly anxious about nuclear proliferation, persuaded Prime Minister Sato to abandon it as the US said they would protect Japan with the so-called “nuclear umbrella” instead.







Never possess nuclear weapons despite having the power to do so







 



 



 





              



 



 



               



   





 

   

 



 

   







 

 

     







  



 



 

    



 



 

      

 

















     

 





 







  

 

 









 



 

19

 

                   







  



It has long been reputed worldwide that Japan is a safe place to live, although this reputation has been bothered recently. The reasons for this level of safety has been studied in foreign countries and the general conclusion seems that it is because of the nationwide network of police boxes, or ‘koban.’ But behind the scenes, a community system exists that supports the creation of safe towns by regional people through their information network.

 

 

 

 

  





 



  

 

  







 

   









  









  

 

 







 







  Usually, a  jichikai (community circle) exists as a unit in a local area called “hon-machi or hon-cho” for example, which   consists of a city, town and village.  Jichikai activities include  park cleaning days, locating garbage dumps, planning events  such as the  Bon festival, demonstrating what to do in case of     fire or earthquakes, organizing donations, and so on. Besides committee members such as a chairman and a vice-chairman  who handle many kinds of issues based on the community  policy, there are block leaders representing a large number of  







 





     

 

  

  









 













   











  











families, who pass information from the committee to the families.

                  

20



 



Committee information is usually passed on to families via a thick notice board, on which memorandums are attached with a large clip and then circulated to each family. After reading it, each family stamps a seal on it or signs it and passes it to the house next door. In the end, the board returns to the block leader. In this way everybody can receive the information.











  































  











    

 

 

     

   



 



 



   

   

 

 

  

 

 





  



 

   

 



  

 

 











 

  

In big cities many people live in apartment houses, and some of them do not cooperate in their community circle. One



 



The annual community fee is around 3,000 yen, which is used for community activities including donations, events, making community member lists, among other things. Many foreigners are not familiar with this kind of system. But in order to get on well with the neighbors, it is best for them to participate in various kinds of voluntary work including cleaning parks. If you show a positive attitude, your neighbors’ attitude towards you will change and you will be able to form good relationships with them.





   

Getting on well with your neighbors is a step to enjoying a pleasant stay in Japan











 







   

















  



 









of the big issues that communities c ommunities in big cities have is garbage dumps. Disposal procedures differ by city, but generally garbage should be disposed of in a semi-transparent bag on fixed days at a fixed place. The garbage must be separated into burnable and unburnable items. Some city offices oblige people to stick a purchased seal on their garbage bags.

 

Japanese people generally obey rules, not only for the disposal of garbage, while some foreigners living in Japan don’t. This may be due to different customs, or that relevant information doesn’t reach them, or that they are indifferent or simply ignore them. The Japanese seldom criticize these people in public, but rather tend to form an unpleasant attitude towards them. As you can see, in order to enjoy a pleasant stay in



 





 















 









   







 





 



 





   









 

 



 



 

 





 



 



 

 





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

Japan, it is necessary for you to follow the rules at first and cherish your association with your neighbors.

                      Tokyo Business Hotel Genkai

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                  

                                  

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21

 

            

















OOISHI Ku r anosuk e

                

  

Each year when December rolls around, a drama called “Chuushingura” is almost always shown on TV or in movie theatres. This is a story in which 47 samurai (warriors) sacrificed their lives to avenge their lord, and touches the souls of  Japanese people even now 300 years after the event took  place. In Japan, the bushido, or samurai spirit, in which people would be loyal unto death, used to be able to be seen in Japanese businessmen businessmen up to only a couple of decades ago.

to blame in a fight, so the warriors of Akou were dissatisfied with the decision of the Shogunate. A discussion was held



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 









 

   

       



 

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  

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  



 

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 

  

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 

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  

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 

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 



   

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    





      







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 

    

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  

   

    



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

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    



     

          

22



     

 

In this era, the samurai class had a rule that both sides are



 



This story takes place in Edo castle in 170l when ASANO Takumi no Kami, a lord of Akou (in present day Hyogo) suddenly attacked KIRA Kouzukenosuke with his sword in the corridor. Asano was a reception committee member for an envoy from the Emperor, and Kira was the reception manners instructor. The attack started due to Kira’s repeated insulting of Asano. As a result, r esult, Asano was ordered by the Shogunate to commit hara-kiri on the day, and subsequently the domain of  Akou was extinguished, while Kira was not accused at all.

 

        



 



under the supervision of a chief retainer, OOISHI Kuranosuke (1659~1703 . Many opinions were put forward including that they stay in the castle and fight against the Shogunate, or that they all sacrifice themselves for their lord by committing hara-kiri , and so on. After deep consideration Kuranosuke chose to obey the order from the Shogunate and leave the castle in order to restore the past glory of the Asano family.



 

Kuranosuke, who became a masterless samurai, moved to Kyoto with his family where he waited for a notice from the Shogunate to allow the restoration of the Asano family. Some of the radical Akou warriors in Edo requested that Kuranosuke take revenge, but he did his best to soothe their anger. However the final decision by the Shogunate was so severe and resulted in the forfeiture of the Asano family’s property and no punishment was handed out to Kira. At this moment, Kuranosuke made up his mind to take revenge against Kira for his lord Asano.

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 

 



 

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 

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 

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

 



 

    

 



 









     







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

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 

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    

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        







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   

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

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 

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

              

 

 Hara- kiri was an honorable way to die according to the  Hara-kiri samurai spirit. After the act, 46 warriors (one left during the attack) were buried in Sengakuji Temple in Shinagawa, Tokyo, where their master was buried. Incense is continually burned in front of Kuranosuke’s tomb. The word “Chuushin” means a subordinate who is faithful to his lord, and the word “Kura” comes from Kuranosuke’s name. The title of the story is sometimes called “Akou Roushi” which means masterless





 

There was only one chance and it could not be allowed to fail. While in Edo, Kuranosuke made complete preparations for the attack. At last, at midnight on December 14th, 1702, 47 masterless Samurai including their leader Kuranosuke attacked Kira’s residence and cut off his head to avenge their lord’s death. The citizens who heard the news of the attack  produced a storm of applause. Although Shogun TOKUGAWA Tsunayoshi was deeply moved by their loyalty, he ordered them to commit hara-kiri, in order to maintain the  Bushi (samurai) system.







Akou warriors’ loyalty moved the Shogun too

















 

  



      

 

 









 



 

    









   





 



 



    









    





   





  

 

 







samurai of Akou. This is a story that deeply moves the souls of Japanese.

www.succeed.co.jp/ 

   



          

23

 

[

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                         





Counting in Japanese often confuses those who are learning the Japanese language. When you count dogs in English, you  justt add the noun aft er the numb ers,  jus ers , eg: “one “on e dog, ” “tw “two o dogs,” “three dogs,” etc. However, in Japanese, the counting method differs depending on the objects being counted.







   











              





 





  







  



 

      









 



 

 

 



 

        

Taking a dog (inu) as an example, we don’t say “1 inu,” “2 inu” or “3 inu.” Instead we use the term “hiki” after the num-     ber, ie: “1 hiki (pronounced ppiki),” “2 hiki,” “3 hiki (pro       nounced biki).” Usually “hiki” is used for animals, however, it  is common to use “tou” for large animals such as horses and cows, and “wa” for birds.  

 

 

























































   

There are many different terms used for counting including











“ki” for airplanes, “dai” for cars, “ken” for houses and “mai”     for paper. Although it is helpful to memorize these words one   by one, it is safer to use “ko” after the number when you are not sure which term to use. use. There is one more problematic  aspect of the Japanese Japanese language — the pronunciat pronunciation. ion. The   pronunciation of “hiki” differs depending on the numbers, for               example: “i-ppiki,” “ni-hiki,” “san-biki,” etc. 



 

 





















  

You do not have to pay much attention to this, since the ‘counters’ are changed only for the purpose of making pronunciation easier. As you can see, it is easier to say “i-ppiki” instead of “ichi-hiki,” “san-biki” instead of “san-hiki,” and so on. There are plenty of other similar examples. When counting bottles with the term “hon,” the counter changes as follows:





 

       



            





 



              



“i-ppon,” “ni-hon,” “san-bon.”

 Audio Version Version In Information formation  Features

Annual Subscription Fee: ¥6,000 (available only for a 1-year subscription period.)  



  

  

 

 English and Japanese are recorded in alternative order sentence by sentence. This means you will be able to understand them even without using a textbook.  Texts are recorded a little slower but still close to normal speaking speed, so they will be easy to listen to and will be ideal for those people wanting to learn Japanese and/or English. l isten to them on  You will be able to directly listen your PC, or download them on your iPod and other mobile devices.

     



 

 

24

 

 

  

 



   

 

      





 

 



     



 

Insight into Japan: Edited & Produced by Hiragana Times. Recorded by Succeed, Inc.



  

  



 

School of Global Studies, Tama University 

  

 



 Aiming to Raise “Glocal” Experts — University’s Unique New Division  











I

t is safe to say that globalization is now spreading rapidly and that the earth is becoming more like one community. Under such circumstances, how should an individual live? Young people will need to study with this trend in mind. Over the next ten years or so, we are likely to see more people working abroad and, on the other hand, thousands of nonJapanese working in Japan. 







 



 

 

 



 





 





     







 





 A special characteristic of the course is that they will raise students to become experts with a well-rounded understanding of the peculiarities of Japanese culture that makes up their identity — and who can express their thoughts and ideas to people from other nations — in English. For that purpose, a thorough curriculum focused on teaching about Japan that includes Japanese history, culture, religion and other subjects has been prepared and will be taught entirely in English. In order to do this, 60% of the teachers are non-Japanese who have been selected considering world standards of teaching. 





 

 

  

 



 

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 

 





  

When the time comes for Japanese to communicate with foreigners in ordinary daily situations, will you be able to deal with it? To meet this challenge, Tama University (NAKATANI Iwao president) will open a Global Studies Division at Shonan in April 2007. Their curriculum differs totally from that of ordinary universities in Japan, in fact, Tama University’s course has something in common with the concept behind Hiragana Times.

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



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







 





  

 





 

     

         





 

    





 

 



 



 



  

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



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         





 



 



   President Nakatani headhunted professor MIYANAGA Kuniko for the responsible position of Chair of the Planning Committee for the School of Global Studies. Professor MIYANAGA has been charged with pursuing this bold plan at the university. She was a former professor at International Christian University Postgraduate School, author of the book  “Globalization and Identity,” among other books, and a cultural clarification anthropologist. She is considered to be the



  



 



most suitable person to enable the university to raise experts who can connect local people to global society.

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

    





    

 

 

     

 









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     

 

 







   

           

  

          





 

 



 





       

  

 

In classes in which students’ English ability is low, simpler



  

 







 “Building up individuals’ personalities is definitely the most important aspect,” says Professor Miyanaga, who places importance on personality building prior to the teaching of  English skills. This is because in the age of globalization, students are asked not only to study, but also to have self learning capabilities. The discussion of personality building is often apt to be nothing more than lofty statements, but the department considers this basic element to be most important.   





  



 



 

  











    

   

     

    

 







 

 “English learning is systemized and can be mastered as long as you accomplish all that should be done,” explains Professor Miyanaga confidently. In the first year, 150 students will be classified according to their English ability and take intensive



 



 





 



 

 



    



 

 



    



 

  



 



The knowledge students learn through their English studies will be reused as the content of later lessons since their English study is linked to their English lessons. Furthermore, it will be used again in the listening study lessons. In this way the teaching program will work  systematically. In addition though, there is a tendency that the more the system is standardized, the more individuality is lost. To avoid this, the university will provide private lessons.  

English lessons with the help of eight native teachers. They will be repeatedly trained in the English skills of speaking, listening, reading and writing.

   









 

   



  



 



   

• • •

Open: 11:00 am ~ 3:00 pm/5:00 pm ~10:00 pm Closed: 2nd & 4th Mondays    Menu:

  

          "Soshoku (Simple Eating)" is Chinese-style veg-  etarian cooking. And right now it's a big healthy  food hit in Hong Kong and China. One example  is the popular "Tay Ban Soo Yee" at ¥1400 (S), which looks like fish but is actually made from  dried bean curd and tofu. You don't have to be  a vegetarian to love     the flavor of Soshoku   from Nakaichi! The           Taiwanese staff is       waiting for you to    come and give it a try.  

         

Appetizers:

Fried Gyoza ¥400  Steamed Gyoza ¥350  Weekly Menu: 5 dishes with a choice of w white hite or brown rice ¥700, ¥800, ¥1000 (with two side dishes) 

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



 









 







 

 







  

English texts will be used, but the content of these texts will be is the same as that used in the high-level classes. This is because when the students in the lower classes catch up to those in the higher levels, they will be able to make the transition smoothly. For students who are unable to catch up to the higher levels, supplementary one-on-one lessons will be given by the seven Japanese teachers, placing special emphasis on English listening skills that is often a weak point.





   

 8-19-1 NAKA, KUNITACHI-SHI, TOKYO

  

 



 



   





 

  

 



  









Feeling the passion for education “To be able to speak English doesn’t mean that you can communicate with people in English,” says Professor Miyanaga, who advocates the necessity of education acknowledging different cultures. “The English term ‘interactive’ doesn’t have the same meaning as the Japanese term ‘Taiwa’ (dialogue). The Japanese can understand each other tacitly as they have the same cultural background, but in English speaking countries you are not often understood by others unless you speak out yourself.

Professor Miyanaga pointed out that the university wants to accept students with three kinds of traits into their school. One is a student who has a strong will to complete their studies, the second is a student who has their own goals and career direction, and the third is a student who is strong in their mother tongue, which means the student has a comprehensive ability to think and express themselves freely in Japanese. “It is difficult for a student who does not have a clear cultural identity, even if he or she can speak the language fluently.”     

  

 









 

 











This new division is indeed unique in a country where learning English is often considered as a hobby, or used merely for commercial purposes. Tama University’s idea is different from that which can often be seen in other educational institutions and which is often ideological and unrealistic. You can feel Tama University’s passion for raising experts who are capable of meeting the challenges of the future.  

   

 

 

 



 

    





    





 







 

Globalization will continue to spread further and English will continue be used as the common global language. Under such circumstances, English ability is essential, but while acknowledging the awareness that English is only a skill, it is meaningless if you are unable to talk about yourself and Japan. The Global Global Studies Division will be a product product that is a sign of the times. 

 





 



 

 

 

  



   

 

        





 



    

 



 

 

 

 

     





   











 

          





       

 

     

   

 

  



 





        



   



 













 



  





 

   



  





 



 



   





 

    





  

Tama University 

www.tama.ac.jp/  27

 

The International Couple Scene

 







          









 









Masahiro and Jeannette KITAWAKI  



T

heir large house is located in the high-class residential area in Inagi city, Tokyo. When you enter the front door, you will see the living room with a high ceiling in which a 65-inch ultra large television is positioned, and adjoining that is a wooden deck large enough to accommodate 100 people. Mr. Masahiro and Mrs. Jeannette KITAWAKI live in what would be considered dream house for most

In 1979 the couple met for the first time in California where they were studying English at the same school. At first glance Masahiro fell in love with Jeannette, a Venezuelan. To catch her attention, he did everything for her: offering her a lift in his car, mending electric appliances,

Japanese. Since the couple was introduced in a TV program “My wife is a foreigner,” there are likely to be many people who already know of this couple. 







  

and so on, but Jeannette only looked at him as just a free handyman.  











        

 









 





 





    





 

  

 





    



 

 













    





 

 













             





    



 

     



      

 



 

          









      

After this continued for eight months, Masahiro left for Canada on a trip. Jeannette thought there might be no more chances to see him again. Soon after he had left, she found herself facing many difficulties and that there

3 470 – 2 0 1 2  

    

          

28

 

was no one around her to help. Furthermore, she felt lonely without him, and began to think that there was no one else who was as devoted to her as he was. 













   





 

ed her. On the other hand, she found it very difficult to understand Japanese customs, including having to say, “I am always obliged to you” to those who she didn’t feel so at all, and also having to prepare slippers for the others at school, which only increased her dislike of Japan. 

 





 

 







  





 

 







  



 





         













  







  



 

Later, Masahiro came back to Japan and wrote letters to her every week. Jeannette says “on the envelope he wrote some sweet words, which were different each time, such as ‘I love you’ and ‘You make me me feel fine.’ ” Gradually those words made her fall in love with him. When she told her father about him, he warned her saying, “To marry a Japanese man means marrying into Japanese society and his par-



ents.”

society and learned the spirit of the Japanese, is now very happy.







 

“His mother taught me about these customs. I am very thankful to her,” said Jeannette, who learnt not to forget about respecting her mother-in-law. Masahiro succeeded in running his father’s company in Nagoya and often travels between Tokyo and Nagoya. Their three sons grew up to become independent and Jeannette is teaching Spanish on the ground floor of her house. Jeannette, who has married into Japanese

 

       











    













 

             





  









     















 





 



 

 











 













     









 

she had a nervous breakdown as it was too difficult to learn Japanese language. Masahiro’s words, “Take it easy” comfort-



     



In spite of this, Jeannette made up her mind to marry Masahiro and moved to Japan to live, but



  

  





           



  

  



  

    











 

 







 





      











    

      

          

   

   

Phone. 03-3341-8989 Fax. 03-3341-8987 [email protected]

29

 

HIRA-TAI FORUM

INTERNATIONAL INTERNATIONA L GRASS-ROOTS

I could guess that one person was one of the novelist’s groupies or related people. I also found out that the other was a maniac web contributor who had written nearly 200 posts. posts. This person person is tthe he kind who doesn’t understand the essence of the books, and enjoys finding faults and wants to show off his

Background of Those who  Slander Others on the Web      

 

  





          

 

 

 

I often use the bulletin boards on the Internet. The other day I noticed someone had slandered my favorite writer. Since having read all of his books, I believe I understand his thoughts. The slanderer made his criticism by picking up only a part of what the author wrote, but it was obvious if you read all he wrote that the slander was entirely off the point. 

 









 



 







 



  



 









 

 



 





existence. His thoughtlessness was obvious from his past records. The writing records of these two people overlap each other, so I could see a possibility that they are related behind the scenes. 

 







  

  

  

 





  





  









 





 



 

    

 



 

 

 

 



  











  To my surprise, someone else had posted very emotional and inflammatory opinion agreeing with the slender. As I took  an interest in those who slander the writer without knowing much about the novelist, I checked up their past records of  postings on the web. Then, I found out a tendency that one person always writes in the specific field and speaks highly of  a specific novelist, and then slanders the others. 







      

  



 



 



  





 











   







 

 





 











 



 



 









 



 

 



GUAM SAIPAN PALAU POHNPEI SAMOA TONGA FIJI HAWAII





 



      

    1

















 

















 

 



  







      

 







       

  







  





    

 





   







 

 

As long as these people are participating on bulletin boards, it becomes very difficult to trust anything that is written. The one who is slandered may not know it, but the slander’s actions may be a criminal offence. I am now searching those who criticize others without understanding the essence of the issues concerned. In the near future, I want to see their reaction when they stand in the position to be criticized, after I disclose their human nature and the occupation of those who write silly criticisms.





 1

  1,300 

    

30

 

Public notary since 1981 Former Counselor at the Information Center of the Tokyo Immigration Bureau Office: 2-3-107 Nobori-cho, Naka-ku, Hiroshima

What is the difference between        a visa and residency status?     

 t ion  e s



  u

   Q 





    

    





    



    







  

Takeshi MIYAKE



I’m Polish and have a Green Card for the U.S.A. When I





 







  

    

asked to change my visa at the local immigration office, I was advised that I need to change my residency status instead. In conversations among foreigners, we always say “the extension of the visa” or “change of the visa.” Please explain the difference between a visa and residency status.





  

 







      









    













         







 

 Consider a visa to be a kind of invitation letter that is issued by Japanese embassies and n s   w     A consulates around the world. There are two e    r      types of countries with regards to visas. The first is the country that automatically permits a person who obtains visa to stay in the country, and the other is the one that regards a visa and permission to stay as different. Japan is adopting the system of law that regards visa and permission to stay as being different.  



  

 

   

   





 

 









 

 





 





 



  





 



 

     



 





 





   



  











 



         

 











 



 



 

  As you can see, visa and residency status are different in Japan. Therefore, even if you obtain a visa for Japan, it doesn’t mean you are always permitted to enter Japan, in spite of  the fact that many foreigners refer to residency status as a “visa.” Japanese Immigration law provides 27 types of residency status. Besides these, a large number of Koreans living in Japan possess special permanent resident certificates. In addition, American military personnel can stay in Japan without these certificates due to the U.S.-Japan Status Treaty.  

   



 



 



 



Therefore, after obtaining a visa at a Japanese Embassy or consulate in your country, you will receive permission to stay and be given the necessary residency status at Japanese Immigration. The possession of residency status allows foreigners to conduct some activities to a certain extent and provides a certain level of status or social position. It is a legal status based on immigration law. 

   



   

  





 





 





   

   







 





 

 



  

           



  

      

 

 







  

 



   

 

 



English Language service available

 

31

 

       

        

 





   

People are very kind

Crowded everywhere

Japan is a beautiful country with lots of hot springs, and various landscapes. The food is delicious and people are very helpful and kind in general.

Too many people live on a narrow amount of land. Tokyo is crowded wherever you go. Roads, too. In summer it is too cool in buildings and trains. On the other hand,

   

heaters are weak in winter, many buildings do not retain heat well, and heating systems often do not working well.







 









 







Name: Beata SZABO



Nationality: Hungary



Stay in Japan: 7 years

 

    



Job: Model

 













      

 









   













 









 









    





 7 

   







 

   

 



 





 

























  

  



   



























  



We introduced the “Dragon” picture and the “Tiger” picture in the Topics and Events section. In Japan, two outstanding rivals are called “Ryuuko” (dragon and tiger).









An American promotion company is beginning work to promote MANAMI, who was introduced in the “Dreaming of being a vocalist singing in Editorial   English” article in the November 2006   issue. Great! Sometimes, some difficult terms that ordinary people do not understand, for instance “kasane” in the “Costume Design Crossing Borders” article that appears in this issue, but they are either professional or business terms.



 









 









    





 



     



 

 6 



The smoking is really difficult to tolerate. Smoking affects me directly, every day. I always find myself walking behind a smoker and I have no choice but to breathe it in. The smoke is really disgusting to nonsmokers. I don’t think they realize this sometimes.

 



    

What I like most about Japan is the sense of  community. Probably, because most people here are from Japan, as well as their ancestors, everyone respects the same traditions and values for the most part. As a result, the modern popular culture is easily appreciated by almost everyone.

Job: Teacher







Smoking

Nationality: USA

 



The sense of community

          

Stay in Japan: 6 years









Name: Jeremy DROUIN







 







  







 





 



 









 

 







          





 





 







 

 

 









      



 



  

         





32

 

"Fake"   Fake Fa ke Products Products Tempting Tempting Buyers Buyers



I

n Japan, you will often see samples of the food offered inside restaurants sitting in the show window outside (above photos). Customers can order dishes with ease as they will already have some idea what the dishes look like from viewing the samples. In fact, because it is difficult to display the real dishes, the “food” shown in the windows is made from vinyl chloride to look like real food. This fake food is so exquisitely made that it can be very difficult to tell that it is actually not real.  





 

   





 

  









  

 





 

 









 

 Miniature versions of these products are now on sale in a variety shops and toy stores, and they are popular among children and adults alike. Under the circumstance, these fake products, which look just like real products at first glance, are becoming trendier. Take, for example, a cake made with a









  

 





 

 

  

 













 



   

 

   

  





       In addition, the Connect Company in Tokyo is producing soaps that look like chocolates, body treatments that look  exactly like jam, and other products. Their bath products look so realistic that you may even want to eat them. Besides the above, there are other products like cosmetics that resemble desserts which are actually sweet when you taste them, and flowers arranged to look just like cakes. 

  

 

towel produced by the Prairie Dog company in Osaka. It is so realistic that you would think you can eat it. There will likely be some people who will display it as an art object instead of  putting it into practical use.







   



 





   



 

 As you see, here in Japan, there is a tendency to create new demand by changing practical goods into products that bring charm into people’s lives. Furthermore, this tendency appears to be spreading into various fields. These products are sold at department stores and specialized stores.  









  













   





 





 



 

Prairie Dog Company 

www.prairiedog.co.jp/ 



Connect Company 

www.bathing.jp/ 

33

 



U

ntil the early 90s in Japan, wedding ceremonies used to be held at deluxe hotels and specialized wedding ceremony halls, but recently the number of simple weddings, or the so-called “Jimikon” in which couples only invite their close friends and relatives, has been rapidly increasing. On the other hand, there are also more and more couples who prefer to hold their own unique weddings without spending large amounts of money. As a result, new businesses that provide unique wedding ceremony plans have begun appearing. 



    

    







        





 







 











  

 

 





 

 





 





















  Wedding planner Ms. TANAKA Natsumi explains the reaction about one such setting. “Upon entering the hall, guests are surprised at all the flowers they can see, and ceremonies where they can enjoy a delicious meal in a field full of flowers. These ceremonies seem to be creating a deep and positive impression, and we are receiving lots of orders from friends, brothers, guests and others who have attended these ceremonies.” 



 







 















 





 



Julia’s rose (Shibuya, Tokyo), a company that produces “order-made” wedding ceremonies, can enable couples to make their dreams come true by changing ordinary spaces into dream worlds. For instance, a gymnasium can be changed into a forest, a field of flowers, and other beautifully created artificial settings. Instead of  selecting one of the many existing ceremony halls, Julias Rose has created a whole new













   





 

 





    







 Wedding costs differ depending on the halls, meal styles and the number of attendants, but the total cost is estimated by multiplying the number of 

before befor e afte afterr

concept in wedding spaces.  



 









guests by ¥30,000, which approximately equivalent to the wedding gift money that is is received from most wedding guests in Japan. The company also provides a more affordable, casual party-style ceremony

34

 

plan and can produce weddings for international couples who want to place added importance on expressing their own cultural tastes. The company has recently received requests from Italian-Japanese and Indian-Japanese international couples.   



 





  



 

 

  

   

    



 

 

     















 





 













 





 











 



 



 



      

 

  





 

 

 

 

 

impression of the wedding may differ drastically. Ms. MIYAMOTO Kirina, who is actively working as an MC, shares a secret, “Since a wedding is a once-in-a-lifetime event, couples have special emotions tied to it. To meet their needs, I do a lot of preparation and discuss it in great detail in advance.”















     









   









  “This work is worth doing to be able to have a bond with the couples even after the wedding, associating with them as friends, visiting to see their babies, and so on,” Natsumi explains with a smile. “We feel happy experiencing the sense of unity among the staff when we are all involved working in the tense atmosphere realizing the wedding plan by doing our best to work as a team.” 







Natasha FARROW, a wedding singer from Australia, has been singing for about a year, and in the busy time, may sing at up to 8 weddings a day. “I am told what to sing,” Natasha says. “Generally, the most popular songs are ‘Ave Maria,’ and ‘What a Friend we have in Jesus.’ Some people are in tears and say it is beautiful,” she says, satisfied with the positive feedback.



      







        





 



 



 

  





  



 



 

 

 





  



 

 









       







    















The person who performs the main role in the wedding ceremony is the MC, and depending on their skill, guests’



Julia’s rose 

www.juliasrose.com







35

 

        

       

     

Pilot 

“Kidzania,” which is very popular in Mexico, opened in Toyosu, Tokyo this autumn. Kidzania is a place where children can try out and experience a wide range of jobs that they might want to do in future. Children can also experience how Japanese society is structured while they are playing and having fun. Children can experience about 70 kinds of jobs and receive “Kidzo”s, Kidzania’s own currency. Children can use Kidzo money to go shopping or buy services. World-famous companies are sponsoring this project. 



  



   











     



  



 















   









 



 

 

 



Soft ice cream shop  

Radio Station 



36

 

            

    

Police Station 



 Fire Station 

Fashion Model 

    Dental Clinic 

Kidzo 

Location: Three minutes’ walk from “Toyosu” station on the Yurikamome line and Tokyo Metro, Yurakucho Line. Open: All through the year First shift: 10:00 ~ 15:00 Second shift: 16:00 ~ 21:00 Admission is good for one shift only. Admission fee; Children (2~3 years old) ¥1,500, (4~15 years old) ¥3,000, Adults (16 years and over ) ¥2,000 These fees are applicable only for Sat. Sun. and holidays. 

 

 









 3    

 

    





    

1 10:00  15:00   2 16:00  21:00    

 









2  3 1,500 4  15 3,000   





16 2,000  







 



Credit card, e-Kidzo 



For inquiries  La La port Toyosu, Urban dock 2-4-9, Toyosu, Koutou-ku, Tokyo      

 

 2-4-9        Tel: 03-3536-8410 www.kidzania.jp/ 

Sports Instructor  

 

Street 

Court 



 

37

 

 JAPAN AN QUIZ  JAP

1

2

Japan’s main political building.  

 



 



4

The Japanese Emperor lives here.  

 





3

A very controversial shrine.  



 



    

    

 Q.: What are these buildings called?

TV tower resembling the E if f e l Tower in Paris.







 A present will be awarded to everyone who answers all the questions correctly! 1. Free one-time Hiragana Times party admission ticket (next month in Tokyo or Osaka). 2. Audio “Insight into Japan” for 1 month (next issue). *The above can be used by people besides yourself. Send all your answers and the number of the present (1 or 2) together with your name, sex and nationality to [email protected] by [email protected] by the end of Dec. 2006. *Applicants must be non-Japanese. The answers will be published in the next issue.

       

This is the central station where shinkansen trains departs to many different destinations.

5

  



 



    

      

A theater in which only men perform traditional dramas. 

6



  

     

                                                                                          

  



Baseball games and other events are held here.



 

           

7

  

    

                     

                       

 

            



                        No Par Park kin ing g 2.  Fire Fire E Ext xtin ingu guis ishe herr 3.  Open Now 4.  Lavatory 



 

5.    No Smok Smokin ing g

38

6.    To let

7.  Exit

 

  

    

       

  













     



     



   

    

    

     

  



 

    



 

  

 

H

* Return train fare from Tokyo to Karuizawa * Return coach transfer from Karuizawa to Kusatsu Now Resort * 1 night accommoda accommodation tion at Kusatsu Now Resort * Breakfast and dinner

i    r   @    g  a n  a



385 * Surcharge will apply for Saturdays   and a day prior to public holiday

i    m  e  s 

4   2    3  

                                                                                                  

Discover Japan!! Jalpak offers a variety of excursion tours!!  Ex Tokyo

Ex Tokyo

Ex Kyoto

Explorer Metropolitan Metropolitan 

Spectacular Winter view Spe pec ctacul ula ar W int nter er vie vi ew 

Traditional Trad raditiona onal Japanese Japanese nese Culture ul ultu turre 

 A$53

from  Tokyo Morning Tour

 A$198  A$19 8

 A$70

from 

Mt. Fuji & Hakone 1 day with lunch

from  Kyoto Afternoon Tour

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