De La Salle University-Manila College of Liberal Arts
The Shifts in the Filipino Youth’s Perceptions of Japan through Cosplay
A Thesis Presented to the: International Studies Department
For the Degree of Bachelor of Arts In International Studies Major in Japanese Studies
By:
Benino, Joy Angeline R. Tayag, Sarah Joyce S.
December 23, 2014
Acknowledgement
The researchers would like to express their gratitude to the people who helped and assisted them to complete this study. First, they would like to thank Ms. Mary Laureen L. Velasco, Philosophy Department of De La Salle University – Manila, for her assistance and support as the researchers` mentor during the time frame of this study. The researchers greatly appreciate the advice and encouragement she has given for the study. They also want to thank Dr. Jeane C. Peracullo, Philosophy Department of De La Salle University – Manila, for her assistance and suggestions. The researchers would also like to thank the Philippine cosplay community for the data they provided the researchers. They are very approachable and kind in providing the researchers the information they needed. Lastly, the researchers would like to express their gratitude and appreciation to their family and friends for their support and patience during the writing of this study.
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List of Figures
Figure no.
Title
Page
1
Theoretical Framework
10
2
Perception of Japan (Prior Cosplay)
61
3
Change in perception of the Audience
63
3.1
Change in the Audience’s perceptions of Japan (after being exposed to cosplay)
3.2 4 4.1
Unchanged perception of the Audience
64
Change in perception of the Participant/Cosplayer
66
Change in the Participant’s/Cosplayer’s perceptions of Japan (after being exposed to cosplay)
4.2 5 5.1
Unchanged perception of the Participant/Cosplayer Change in perception of Both (Audience and Participant/Cosplayer)
67 67 69
Change in Both’s perception of Japan (after being exposed to cosplay)
5.2
64
Unchanged perception of Both (Audience and Participant/Cosplayer)
70 70
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List of Tables
Table no.
Title
Page
1
The age range of the respondents
47
2
Gender of the respondents
51
3
Occupation of the respondents
52
4
The role of every respondent when they attend a cosplay event
54
5
Number of years the respondent attends cosplay events
58
6
Rewards and Punishments the Respondents gain from Cosplay
59
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TABLE OF CONTENTS PRELIMINARIES Title Page
i
Acknowledgement
ii
List of Figures
iii
List of Tables
iv
Table of Contents
v
Chapters
Page
I. The Problem and its Background A. Background of the Study
1
B. Statement of the Problem
6
C. Hypothesis
6
a. Assumptions D. Theoretical Framework
7 8
E. Significance of the Study
10
F. Scope and Limitations
11
G. Definition of Terms
12
II. Review of Related Literature and Studies A. Japan’s “Soft Power”
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a. “Cool Japan” Movement
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b. Kawaii Culture
21
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c. Manga
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d. Anime
26
e. Cosplay
30
B. Cosplay Movement
32
a. People’s Republic of China
33
b. Republic of Korea
36
c. Republic of the Philippines
39
III. Research Methodology A. Method of Research
43
B. Data Collection Procedure
43
C. Instrumentation
44
D. Data Analysis
45
IV. Presentation, Analysis, and Interpretation of Data A. Demographic Data a. Age
47
b. Gender
50
c. Occupation
52
d. Role in the Cosplay event
54
e. Years attending Cosplay events
58
B. Filipino Youth’s Experiences in Cosplaying (Participants/Audience)
59
C. Filipino Youth’s Perception of Japan (Prior to Cosplay)
61
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D. Filipino Youth’s Shift in Perceptions of Japan (After Exposure to Cosplay)
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V. Summary, Conclusion, and Recommendation A. Summary
72
B. Conclusion
75
C. Recommendation
75
Bibliography Appendix A: Sample Survey for the Audience Appendix B: Sample Survey for the Participants/Cosplayers Appendix C: Sample Survey for Both (Audience and Participant/Cosplayer) Appendix D: Interview Guide Questions
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CHAPTER I The Problem and Its Background
Introduction A. Background of the Study Cultural diplomacy, as defined by political scientist Milton Cumming is “the exchange of ideas, information, values, systems, traditions, beliefs, and other aspects of culture, with the intention of fostering mutual understanding”1. It has long been practiced since the end of World War II by different actors using various aspects of culture and other elements to embody and demonstrate what humanity shares in common through cultures; reason being, primarily, is to promote cooperation and ease conflicts among countries2. In the case of Japan, at the end of World War II, they were classified as an aggressive militaristic country. They showed their capabilities to the world during the war but still, they lost. Until today, Japan has this negative image that haunts the world especially in East Asia; sometimes seen as a country lacking in remorse for its past militarism and other times as a predatory and protectionist “economic animal” 3. Among the controversies which reflect to Japan’s negative image until today is the Yasukuni Shrine visits done by Japanese leaders every year. This became controversial because among the 2 million people contained in the shrine’s “Book of Souls,” 1, 068 of them
1
Milton C. Cummings, Jr. “Cultural Diplomacy and the United States Government: A Survey”, Washington, D.C: Center for Arts and Culture, 2003. 2 “Historical Acts of Cultural Diplomacy”, Institute for Cultural Diplomacy, accessed February 25, 2014, http://www.culturaldiplomacy.org/academy/index.php?en_historical-acts-of-cd. 3 Peng Er Lam, “Japan’s Quest for Soft Power: Attraction and Limitation”, East Asia (2007): 349, accessed August 28, 2013, doi 10.1007/s12140-007-9028-6.
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were war criminals. So when Japanese leaders visit the shrine to pay their respects to Japan’s war dead, it touches a raw nerve in the neighboring countries where many of the war crimes took place 4 . There is also this so-called “Comfort Women” issue. Comfort women were women kidnapped by the Japanese military and were used as sex slaves; while horrific incidents like the massacre of the civilians either in China, Korea or the Philippines, forced labor of Koreans and Manchurians in Japan’s mines; and even territorial disputes with Korea and China over the Takeshima and Senkaku Islands respectively, 5 still leaves a mark in history. These controversies that Japan got involved in the past have now become a part of their history, but Japanese history textbooks today have sparked controversies and conflicts among East Asian powers such as China and South Korea. It is because the Japanese tend to remove the “dark side” information about the war 6. Not only are they involved in these controversies regarding their war atrocities, but they are also involved in whaling 7 and slaughtering of dolphins8. Even with all these negative impressions that Japan has, they never stopped to improve their image to the world. For the past 40 years, Japan has been providing economic assistance to developing countries which they call Official Development Assistance (ODA). Japan also utilizes several policies and tools regarding cultural diplomacy. All throughout these years, they have intended audience to become familiar with their history, culture, society or lifestyle. These include aspects of educational and 4
“Why Is Japan's Yasukuni Shrine Controversial?,” About.com: Asian History, accessed July 3, 2014, http://asianhistory.about.com/od/japan/f/Yasukuni-Shrine-Japan.htm. 5 Ibid. 6 Kathleen Masalski, “Examining the Japanese History Textbook Controversies,” Japan Digest, November 2001, accessed July 3, 2014, http://iis-db.stanford.edu/docs/134/textbook.pdf. 7 Justin McCurry, “Greenpeace launches major anti-whaling campaign in Japan,” The Guardian, December 9, 2008, accessed July 3, 2014, http://www.theguardian.com/world/2008/dec/09/japan-whale-hunting. 8 Justin McCurry, “Japan's dolphin slaughter: cruelty or custom?,” Global Post, September 30, 2010, accessed July 3, 2014, http://www.globalpost.com/dispatch/japan/100929/taiji-dolphin-slaughter-cove.
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cultural activities such as educational grants, cultural exchanges and even promoting their pop culture around the world through media. One strategy Japan used to promote their culture in the world is to introduce their pop culture to different nations. Various mediums such as anime, manga, and j-pop, are highly popular all over the world today. With its unique sense of beauty, creativity and highly detailed drawing, Japanese art is acclaimed by many and has spread across national borders 9. In April 2006, Foreign Minister Aso Taro proposed that manga and anime could be the way to China’s heart. He addressed this to the students in Akihabara district—the Mecca of Japan’s electronic gadgets, saying that manga and anime had grasped the hearts of the youth in many countries, not the least of which is China. Subsequently, Aso included in his policy speech to the Diet last January 2007, to adopt Japanese pop culture as a diplomatic tool. “Ironically, being “cool”, “fun” and “hip” have now become serious business for the Japanese state. 10” Although such Japanese cultural products have been prominent in Asia and beyond recently, this phenomenon has been present long before it became famous today. The Japanese state today is trying to ride the bandwagon on these products and harness them for its “soft power” even though that was not the original intent of the producers of manga and anime 11. Japan’s soft power has its limits. Manga and anime do indeed fascinate foreigners, especially the youth, but their attraction may be exaggerated especially for
9
“Japan Pop Culture Views: Cosplay”, Japan Monthly Web Magazine, accessed February 25, 2014, https://www.jnto.go.jp/eng/indepth/exotic/JapanesQue/amusing/201102_trend.html. 10 Peng, “Japan’s Quest for Soft Power: Attraction and Limitation”, 351. 11 Ibid.
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Asian countries with more conservative values and religion 12. Its “soft power” may be easily undermined by the insensitive statements and clumsy behavior of a new generation of nationalistic leaders over politically sensitive issues pertaining to Japan’s past militarism 13. Japan’s strategy of harnessing “soft power” across national borders includes promoting cultural diplomacy by introducing the concept of cosplay to various countries. Inspired by anime and manga, Japan is known for holding cosplay conventions annually. The term “cosplay” (コスプレ—kosupure) was coined by a Japanese reporter named Nobuyuki Takahashi when he was sent to Los Angeles, California to report about the ’84 WorldCon being held at that time. The WorldCon in the United States is a sci-fi convention held each year since 1939 and is attended by various artists and writers dressed in different costumes which are of their original and unique ideas. Since Takahashi was asked to describe what he was seeing in the convention, he contracted two English words, “costume” and “play”, and came up with the term “cosplay”. His enthusiastic reports and writings about the sci-fi convention sparked the Japanese cosplay movement 14. Contrary to what we are all aware of, cosplay did not originate in Japan, yet they get the credit for its fame today. In the United States, where costuming originated, they dressed up with their own idea of costume, whilst in Japan, their costuming is more on imitating an ‘existing character,’ so the aim is to look and act as much like the character they are portraying. Inspired by manga and anime characters, the Japanese youth, especially the women, 12
Peng, “Japan’s Quest for Soft Power: Attraction and Limitation”, 357. Ibid. 14 Dr. John L. Flynn, “Costume Fandom: All Dressed Up with Some Place to Go!”, Costuming.org, accessed February 25, 2014, http://www.costuming.org/history.html. 13
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are more engaged in costume playing. Ever since cosplay gained fame in Japan, they have seen this as a strategy to harness soft power across national borders. Cosplay is not just done in Japan today, but all over the world because of its unique, entertaining and pleasurable factors 15. The Philippines is one of the countries that have been holding cosplay conventions annually since 2008. Activities include workshops, costume building contest and the cosplay competition for individuals and groups. The Japan Foundation, Manila and the Embassy of Japan in the Philippines actively promote different Japanese popular cultures here in the country such as the Japanese Film Festival (Eiga Sai), JPop Anime Singing and Dance Contest, Mini Cosplay contest and travel exhibits to be enjoyed by the Filipinos, also to commemorate the “Philippines-Japan Friendship Month”. 16 According to Onezumi Hartstein, co-founder of the Internet Culture Convention Intervention, and Henry Lee, co-founder of American Cosplay Paradise, cosplay has established itself as a major commercial industry and an important new form of cultural expression in different nations. Furthermore, Lee says that Japan should not take for granted the strong ties between Japanese cultural exports and cosplay; and though “the Japanese government has recognized that anime and manga are a strong economic commodity, they still need more programs to encourage greater creative freedom”17. Cosplay has sparked the interests of the Filipinos especially the youth and is 15
Janine Fron, et.al, “Playing Dress-Up: Costumes, Roleplay and Imagination” (Undergraduate Thesis, University of Modena and Reggio Emilia, 2007). 16 “Enjoy the Month of July by Celebrating Philippines-Japan Friendship Month!,” Embassy of Japan in the Philippines, accessed December 22, 2014, http://www.ph.embjapan.go.jp/pressandspeech/press/pressreleases/2014/52.html. 17 Eddie Walsh, “Cosplay Diplomacy”, The Diplomat, accessed February 25, 2014, http://thediplomat.com/2011/09/cosplay-diplomacy/.
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gaining its way to fame here in the country. At the malls, many young adults are seen dressed in fancy costumes whenever there is a cosplay convention being held. It may be deemed as just one’s hobby 18 , but to Japan, it helps them promote their contemporary culture and is considered as a strong economic commodity.
B. Statement of the Problem As part of Japan’s strategy to transform its World War II image in its neighboring countries, Japan promoted its popular culture worldwide which attracted foreign audiences. Other than manga and anime, Japan is famously known for its cosplay movement. Despite its prominence in various nations, limited researches on the demographics and movements on cosplay are done which reflects its lack of importance and legitimacy in the academic world. This study identified how the cosplay movement changed the perception of both the Filipino cosplayers and its audience toward Japan. This study also answered the following sub-questions: 1. What are the Filipino cosplayers and audience’s perceptions of Japan prior to engaging and being exposed in cosplay activities? 2. What benefits do the Filipino cosplayers and audience gain from engaging in cosplay? 3. What are the different cultural traits and characteristics the Filipino cosplayers perceive in cosplay that persuade and motivate them to continuously engage and be exposed to such kind of activity?
18
Natasha Nesic, “No, Really: What is Cosplay?” (Undergraduate Thesis, Mount Holyoke College, 2013).
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C. Hypothesis Cosplay movements are one of the strategies used by their “Cool Japan” movement in promoting their culture and at the same time modifying the perceptions of the Filipinos upon their country. By promoting their popular culture all over the world, Japan aims to change their militaristic image. Cosplay allows the participants to imitate their favorite Japanese characters, may it be from an anime or manga, to show their love and support for that character. The participants do not only imitate the chosen character’s clothing, but the whole character itself such as attitude, thinking, speaking, movement, and personality. In other words, they try to become as if they are the character itself. And by imitating that character, they will be able to see how the Japanese people are because their popular culture is seen as a reflection of their country. By engaging more in this kind of activity and being exposed to it, the Filipino participants and its audience will have a higher chance of having positive perceptions of Japan, but in some cases, excessive exposure may change their positive perception to a negative one.
a. Assumptions This study assumes that as the Filipino youth continuously engage and participate in cosplay, their perception towards Japan will be affected and may gradually change due to their exposure to Japan's pop culture. Their exposure to cosplay can alter and influence their perceptions of Japan. This is one of Japan’s strategies of showing their peaceful, positive image and improve, if not, erase the old image of being an aggressive militaristic country. With using cosplay
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movement as one of the strategies to modify the perceptions of foreigners towards their country, Japan continuously exposes and promotes their cosplay events all around the globe for the improvement of their image on an international level.
D. Theoretical Framework This section will discuss the theories that the researchers will be using in this study. The researchers will be using two (2) theories, the Mere Exposure theory and the Social Exchange theory to further explain and understand this study. The last part will be the presentation of the theoretical framework itself. The first theory that this study will be based to is the Mere Exposure Theory or more commonly known as the Mere Exposure Effect. It is a psychological phenomenon developed by psychologist Robert Zajonc in 1968 wherein he conducted an experiment to prove his theory that the more exposure one person has to a stimulus, the more the person will tend to like or be familiar with it; in social psychology, it is called the familiarity principle. These stimulus can also be referred to as people, commercial products, places, events, etc. 19 This theory had its roots from the research and hypothesis done by German psychologist Gustav Fechner and British psychologist Edward Titchner in different times. According to Zajonc, the exposure effect is capable of taking place without
19
Robert B. Zajonc, “Attitudinal Effects of Mere Exposure”, Journal of Personality and Social Psychology (1986) 9: 1-27.
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conscious cognition 20, and that "preferences need no inferences.” However, using too many repetitions can reduce this preference. Furthermore, prior exposure increases processing fluency21 at the time people have to make a judgment; thus, misattribution of positive feelings (due to fluency) to the stimulus comes into effect. With mere exposure, the more often you see certain information, the better you can process it and the more fluent it is. 22 The supporting theory is the Social Exchange Theory which is a model that interprets society as a series of interactions that are based on estimates of rewards and punishments. Reward is referred to the approval and punishment is referred to disapproval resulting from an interaction. According to this view, our interactions are determined by the rewards or punishments that we receive from others and all human relationships are formed by the use of a subjective cost-benefit analysis. Centralizing to this theory is the idea that an interaction that draws out approval is more likely to repeat than an interaction that draws out disapproval 23 . Examples of rewards that can be drawn out from this study are the benefits the audience and participants can get from engaging and being exposed to cosplay: new friends, opportunities, enhancement of creativity skills, etc. whilst examples of punishments that can be elicited from this study are: discrimination, various criticisms and judgments from people, and the like. With these two in mind, by using the Mere Exposure Theory the researchers will 20
Cognition - “the mental action or process of acquiring knowledge and understanding through thought, experience, and the senses.” (Oxford Dictionaries, http://www.oxforddictionaries.com/us/definition/american_english/cognition) 21 Processing fluency – “the speed and accuracy of processing a stimulus.” (Rolf Reber, Tedra Fazendeiro and Piotr Winkielman, “Processing Fluency as the Source of Experiences at the Fringe of Consciousness,” 2002) 22 “Attitudinal Effects of Mere Exposure.” 23 Ashley Crossman, “Social Exchange Theory,” accessed August 25, 2013, http://sociology.about.com/od/Sociological-Theory/a/social-exchange-theory.htm.
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identify their perceptions of Japan, considering the frequency of their exposure to cosplay. And with the Social Exchange Theory, the rewards and punishments they gain from engaging and being exposed in cosplay that help shape and modify their perceptions will be identified and analyzed, also their knowledge about Japan prior to engaging in the activity will be considered. To simplify, please see figure below:
Figure 1. Theoretical Framework
E. Significance of the Study The researchers have chosen Cosplay and the Filipino youth’s perceptions of Japan as the main subjects of their study because the number of Filipino youth engaging in Cosplay is continuously growing. The researchers would like to expand the 10
knowledge of the readers on the perceptions of the Filipinos toward Japan today. Some of the statements in this study are modified from the thesis of Ralph Alonzo M. Tobias, Patricia Jade O. Poñgol, Eunice H. Cabantug and Eloise E. Limotin from Ateneo de Davao University (Ang Makulay na Pagbabalatkayo: A Phenomenological Study on the Lives of Filipino Costume Players as the Japanese Popular Culture Invades the Country, 2012). Hitherto, the researchers believe that this study plays a significant role to (1) the Filipino youth costume players, by reading this amateur study, they will have a knowledge on how others (audience) perceive them when they engage in cosplay. (2) The Japanese entertainment companies can use their popular culture such as cosplay, anime, manga, j-pop, etc. as a foundation to develop and strengthen future ties with the country through their “Cool Japan” movement. Lastly, (3) this study will show awareness to the people especially the Japanese on how the Filipino youth perceive Japan today through their popular culture.
F. Scope and Limitations The researchers’ subjects are the Filipinos within Metro Manila who participate in Cosplay conventions held in the country, also its audience. The researchers conducted an online survey on the Filipino costume players and the Filipino audience in the Philippines. The researchers identified their perceptions of Japan through pop culture, especially when they engage in cosplay. The researchers also included in this study the perspectives of the Filipino audience who are not participating in this kind of practice but are exposed to it. Despite the fact that the concept of cultural diplomacy was introduced in the background of the study in this paper, the researchers did not conduct a study to
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measure the effectivity of cosplay as a tool in Japan’s cultural diplomacy in the Philippines since the researchers focused on the cosplayers and the audience’s reasoning behind engaging in such activity. The study is limited only to the youth with the age ranging from 14-35 years old. The researchers gathered data from 55 respondents and were limited only to those with internet connection as the survey was done online for this study. The time spent in doing the research is another limitation for the researchers since they are only given two terms to conduct this study. In addition to this, the researchers could only use Filipino and English texts for reference as the researchers are limited only to conversational Nihongo.
G. Definition of Terms 1.
Cultural diplomacy - cultural diplomacy is best described as “the exchange
of ideas, information, art and other aspects of culture among nations and their peoples to foster mutual understanding”. Cultural diplomacy includes exchanges between people in different countries, through which individuals are able to visit foreign countries and learn about the culture and society of the foreign country. It includes the study of another country’s language, traditions, and lifestyle. 24 2.
Soft power - soft power is the ability to get what you want through
attraction rather than coercion or payments. Soft power arises from the attractiveness of a country’s culture, political ideals as well as its policies. It simply rests on the ability to
24
Milton C. Cummings Jr., Cultural Diplomacy and the United States Government: A Survey, (Washington, D.C: Center for Arts and Culture, 2003), 1.
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shape the preferences of others. 25 3.
Popular culture – popular culture or simply pop culture is the accumulated
store of cultural products such as music, art, literature, fashion, dance, film, television, and radio that are consumed primarily by non-elite groups such as the working, lower, and middle class. 26 4.
“Cool Japan” Strategy – “cool japan” is a strategy used by Japan in
attracting international attention to the whole globe with the use of their pop culture that has been regularly shown on television shows and at events in which are held in different parts of the globe. With the booming of Japan’s pop culture, “Cool Japan” is seen as a tool in the growth of its enthusiasm of Japan’s sense of “cool” and has also affected their marketing. 27
25
Joseph S. Nye, “The Changing Nature of Power,” in Soft Power: The Means to Success in World Politics (New York: Public Affairs, 2004), 6. 26 Ashley Crossman, Popular Culture, accessed August 26, 2013, http://sociology.about.com/od/P_Index/g/Popular- Culture.htm. 27 “Cool Japan” Goes Global, accessed March 16, 2014, http://www.gov-online.go.jp/pdf/hlj_ar/vol_0028e/2123.pdf.
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CHAPTER II Review of Related Literature
This chapter will discuss the different strategies used by Japan through “soft power”. By promoting their popular culture throughout the world, with the use of media, Japan intends to improve the image they had from their war atrocities. First, it will be a discussion of how Japan projects their “soft power” through their popular culture. It will be based on an article written by Peng Er Lam which discussed the attraction and limitation of Japan’s soft power throughout the world. Second, it will be an enumeration and discussion of each mediums used by Japan in promoting their popular culture. It will be supported by several articles and studies that discuss and explain each mediums. These include: the “Cool Japan” movement, kawaii culture, manga, anime, and cosplay which this study will focus on. Lastly, it will discuss how the cosplay movement affects the following countries that have a past history with Japan and are greatly affected by it: (1) People’s Republic of China, (2) Republic of Korea, and (3) the Republic of the Philippines. In this part, the discussion will be based from several studies and articles conducted and written by students from different universities to each country in understanding cosplay within their respective countries.
I.
Japan’s “Soft Power” Today, Japan still has an image problem that they are dealing with due to their
war actions and atrocities, most especially in East Asia. The Chinese and Koreans, specifically, view negatively Japan’s war atrocities, Prime Minister’s visits to Yasukuni
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Shrine and the Abe Administration’s prevarication over the “comfort women” issue. On the other hand, Asian consumers have embraced things Japanese such as sushi, J-pop (popular music), television dramas, manga, anime and such. 28 Japan has seen this as an opportunity to improve their war image all over the world. The “soft power” concept gradually gained currency in Japan after Professor Joseph Nye coined and popularized the term in the 1990s. According to Nye, “soft power” is to get others to want what you want through cultural attraction and ideology without resorting to coercive and costly military force. 29 Since post-war Japan cannot exercise hard military power to coerce other states, Japan pursued “soft power” rather than “hard power” in its national strategy. Long before the present wave of popular characters such as Doraemon, Hello Kitty and Pikachu captured the hearts and minds of many kids of this generation, Astro Boy, Ultraman and Godzilla had already done so in the previous generation. 30 In the article written by Peng Er Lam, he examined the interest of the Japanese state to recognize and promote Japan’s popular culture specifically the manga and anime at the heart of its new public diplomacy. He said that these cultural products appear to have the best of both worlds: distinctively Japanese in style and yet have universal appeal among the young. In 2006, Foreign Minister Aso Taro, together with his proposal that manga and anime could be the way to China’s heart, popped the statement: “What is the image that pops into someone’s mind when they hear the name ‘Japan’? Is it a bright and positive image? Warm? Cool? The more these kinds of positive images pop up in a person’s mind, the easier it becomes for Japan to get its 28
Peng Er Lam, “Japan’s Quest for Soft Power: Attraction and Limitation”, East Asia (2007): 349, doi 10.1007/s12140-007-9028-6. 29 Ibid, 352. 30 Ibid, 351.
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views across over the long term. In other words, Japanese diplomacy is able to keep edging forward, bit by bit, and bring about better and better outcomes as a result,”
31
to
the students at the University of Digital Content in Tokyo’s Akihabara district. The Council on the Movement of People across Borders, an advisory council to Foreign Minister Aso, also proposed that Japan should tap on the rising popularity of manga and anime especially among the young abroad on that same year. 32 Before manga and anime were co-opted by the Japanese state to promote its public diplomacy, it has relied on several programs supported by the government such as the Japan Foundation, The Japan Exchange and Teaching Program, Japan Overseas Cooperation Volunteer program and Official Developmental Assistance. 33 The aim is to promote Japanese language education overseas and also art, cultural and intellectual exchanges 34 and aid economic development assistance to several nations around the world especially the developing countries35. The Japan Foundation is likely to move in tandem with the Ministry of Foreign Affairs to promote pop culture like manga and anime for greater international outreach. Another strategy that Japan uses to enhance others’ understanding and appreciation of their country is to promote the study of Japanese language abroad. 36 Before, students studied the Japanese language for economic reasons but today, more students are studying the language because of their
31
Ibid. Ibid. 33 Ibid, 355. 34 Ibid. 35 Ibid, 356. 36 Ibid, 357. 32
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fascination and love for manga and anime. In doing so, they may end up with a better understanding of Japan. 37 With the flattering number of foreigners mesmerized by manga and anime, the reality is often just the opposite. The Chinese media has noted that certain manga promote anti-China sentiments. They would consider certain adult manga and anime often licentious and violent - to be anathema to the good morality of their societies. 38 According to Peng, without a historical reconciliation with China and South Korea, Japan is unlikely to truly win the hearts and minds of the Chinese and Korean people, notwithstanding the allure of its comics and cartoons. The act of denial and petulance of Japan regarding their actions during the war damaged their international image as a country lacking remorse and sincerity over its wartime aggression and atrocities. According to various surveys conducted in East Asia, Southeast Asians tend to view Japan very favorably while the Chinese and South Koreans do not. It seems that Japan lacks “soft power” toward China and South Korea due to its historical problems and respective territorial disputes, notwithstanding the appeal of Japanese cultural products. Although the Chinese and Koreans appreciate manga and anime, these cultural products are necessary but not sufficient for Japan to establish an appealing image in their countries. 39 Peng concluded that if Japan can settle the history issue with its neighbors, Japanese “soft power” will be further enhanced in the region.
37
Ibid. Ibid. 39 Ibid, 359. 38
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a.
“Cool Japan” Movement Today, most of the countries used cultural diplomacy as a way of
connecting and building stable relationships with other countries. Since using hard power had brought distraught to their country, they decided to use soft power which is seen less threatening and easier to use. With that, Japan has decided to use it which caused them to create “Cool Japan”, a movement that uses their pop culture as products that are seen as “cool” by foreigners. The word “Cool Japan” appeared in Douglas McGray’s article in 2002 about foreign policy wherein the title was “Japan’s Gross National Cool.” 40 In this article, McGray claimed that Japan is becoming a superpower again. But instead of using their military capability, they are using their culture as an influence to the globe and had greatly helped with their economic growth. He explained in his article how Japan was able to become a cultural superpower which is through cultural influences in globalization. According to McGray, globalization is a “fresh, marginal culture reaches consumers in the United States through increased contact with the rest of the world.” 41 In other words, the more their culture becomes demanding to the United States the more the world would be exposed to it in which Japan finds it as an opportunity to use as a way of supporting their economy. Other than that, they also used the imported products as a way of attracting the foreigners. He has showed in his article that there have been products from the United States in Japan such as Starbucks, Nike, and so on. But, what makes it interesting is how 40
Douglas McGray, “Japan’s Gross National Cool” (2002), accessed August 4, 2014, http://web.mit.edu/condry/Public/cooljapan/Feb23-2006/McGray-02-GNCool.pdf. 41 Ibid, 2.
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Japan was able to make it as their “own” by adding some twist to the products resulting as an attraction to the foreigners and being recognized as “cool”. 42 Even if there have been many imports in Japan from overseas, what greatly helped them were the exports of their popular culture. Its exportation started first in Europe and then to the United States. The following products that became in demand overseas were films, manga, and J-pop music. Each of the products was able to grab their attentions to a point that Japan was able to gain an enormous fans in Asia despite the fact there have not held any tours or concert in the United States. 43 With the huge demand for their products overseas, Japanese popular culture became the core of “Cool Japan” movement since these products resulted in the foreigner’s perspective of Japan as “cool”. Japan believes that through this movement, it will be able to boost their economy and at the same time be able to shift their past image into something more friendly and positive image. According to Kazuhiko Tsutsumi, “Japan’s pop culture is attracting international attention, being featured regularly on television shows and at special events around the world. Japan Echo reports on the world’s growing enthusiasm for Japan’s sense of “cool” and the marketing potential of this phenomenon.”44 Tsutsumi is an executive producer of the NHK television show cool Japan Hakkutsu: Kakkoii Nippon! [Discovering Cool Japan]. He explained 42
Ibid, 1. Ibid, 2. 44 “Cool Japan” Goes Global” (2009), 1, accessed August 4, 2014, http://www.govonline.go.jp/pdf/hlj_ar/vol_0028e/21-23.pdf. 43
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that the products of Japan such as anime, manga, and computer games became very demanding and popular overseas which made the people to have a perception of Japan being “cool”. To prove this, he used his show that focuses on Japan’s culture. The show had greatly helped them in various ways. First, it helped Japan in being continuously seen as a ”cool” country by letting a panel of foreign participants to discuss how cool Japan’s culture and products are. Second, it was able to identify the things that attract the foreigners to their culture and their reason behind it. With that, it comes to show that they are not only interested in one aspect of their culture, but in many aspects – both old and new. Examples used were omurice [オムラウ (omuraisu, an omelet with rice in it)], iced coffee, and kimono. In the article, Tsutumi explained that these dishes came from abroad and were modified once they came into Japan. With that, the twists of the dishes became a signature of being Japanese and something very cool in the eyes of the foreigners. And with the kimono, he explained how the foreigners seen it as Japan being proud of their traditional culture since it can be used in different styles and can be passed down from one generation to another. Lastly, the show not only helped the people of Japan to know what makes them attractive to the foreigners. It also helped them to realize that they should appreciate their traditional culture more since the foreigners appreciate their culture. 45
45
Ibid, 1-2.
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Despite how much the foreigners adore and appreciate their culture, the message behind Japan’s cultural influence is still questionable. As McGray said in his article, people still find it difficult to accept the fact Japan has changed their ways. And since they are now becoming a superpower again, people find Japan as a threat for it might lead to the possibility of becoming a militaristic state. With the fear in their minds, the impact of Japan’s culture is not as strong as America’s which was greatly and easily accepted by others. 46 In order for Japan to be fully accepted by the world, Japan must be able to prove their change and no desire in being a conqueror once again. To achieve such goals, McGray believes that it will only happen if Japan fixes their depleting economy, fear of their military capability, and their youth in becoming more assertive with their values and tradition. Once Japan was able to address these factors, they will be able to change the perspective of others towards them without difficulties. If the number of people accepting Japan increases, their economy will definitely boost more to a point where they will be able to recover from the recession they experienced since the Cold War. 47
b.
Kawaii Culture The word かわいい (kawaii) is a Japanese term which means “cute”,
“lovely”, or “adorable.” It has been a prominent aspect of the Japanese popular
46 47
McGray, “Japan’s Gross National Cool”, 5-6. Ibid, 5.
21
culture nowadays. 48 Although kawaii is used to describe all things that are cute or adorable, its original definition is not similar to what people know today. The word was first used by Lady Murasaki in her masterpiece “The Tale of Genji”—a novel which illustrates a unique depiction of the livelihood of high courtiers during the Heian period—which referred kawaii as “pitiable qualities.” 49 The modern definition of kawaii emerged in the 1970s when Japanese teenagers, mostly female, began a new “cute” and informal style of writing. They used a more Westernized left-to-right form of writing with many English terms. They also decorated it with hearts, happy faces and multiple exclamation marks to make it look “cute”. 50 Not only did they begin using this “cute” writing style but they also started using childish pronunciation of regular words. This new “cute” writing and speaking was not well received by most adults. It even came to a point where it was banned in some schools because it was seen as a form of rebellion against traditional Japanese culture. 51 Even if it was considered as a rebellion by most adults, the modern term kawaii gained enormous popularity in the 1980s, dominating the Japanese popular culture. Many Japanese young people felt that adulthood was too harsh and strict, requiring too much responsibility; they felt that they have lost their
48
Jeremy Read, “Kawaii: Culture of Cuteness” (research paper presented in St. Edward’s University, Austin, Texas, March 2005). 49 Kanako Shiokawa, “Cute But Deadly: Women and Violence in Japanese Comics,” Themes and Issues in Asian Cartooning: Cute, Cheap, Mad and Sexy, ed. John A. Lent, Bowling Green, Kentucky: Bowling Green State University Popular Press, 1999. 93–125. 50 Read, “Kawaii: Culture of Cuteness”. 51 Ibid.
22
freedom. 52 They rebelled against the concept of adulthood by being cute and childlike, cherishing immaturity and fun. The emergence of kawaii products were well received; ended up being a huge success and were the beginning of a new large industry in Japan. 53 Cute goods were developed to add fun and happiness to ordinary household items even in the non-enjoyable things such as dentist offices and guard rails. The major forces behind the popularity of kawaii are the Japanese women. 54 The burriko style (“a woman who acts like a child”) created by Japanese pop idol Seiko Matsuda was widely adopted by young women across the country. The kawaii culture was effectively evolved into a form of power and independence by and for the Japanese females. 55 It became a subculture that valued consumerism and materialism and those taking part in the kawaii movement were seen as rebels against the more conservative traditional Japanese society. 56 Aside from the Japanese women taking part in this kawaii culture, there were also Japanese men who wanted to be included in this subculture, it was known as the “Peter Pan” syndrome. 57 Today, there is an overwhelming amount of items featuring kawaii themes ranging from anime and manga to actual municipal buildings. With the existence of the internet, kawaii has spread out of Japan and made its way into several
52
Ibid. Ibid. 54 Ibid. 55 Ibid. 56 Ibid. 57 Ibid. 53
23
countries around the world. 58 It has made it possible for foreigners to take part in this kawaii culture, and companies marketing the products have started to take advantage of this. In the Philippines, kawaii is well received by young Filipinos. They even held the first ever kawaii lifestyle workshop last September 14, 2013. It was an event that wished to foster close ties with fellow Japanophiles59 through a variety of kawaii related activities. Its aim was to promote the concept of kawaii as not just a word that means cute, but as an entire movement and lifestyle. 60 “Kawaii in Manila” was a one day event which was attended by limited kawaii enthusiasts. Due to its success, another convention with the same name is planned to be launched again in September this year. 61 Kawaii, from being a form of rebellion and a statement of individuality for Japanese women to a multi-billion dollar industry with worldwide consumers, has caught the interest of young Filipinos especially the females. It is an interesting phenomenon to study about; though limited to no studies are conducted here in the Philippines regarding this phenomenal Japanese subculture.
c.
Manga The emergence of Japanese manga had its roots way back in the 12th
century. Developed from World War II, manga were used as a tool of government 58
Ibid. Japanophile - “One who has an interest or love for Japan and anything Japanese,” (Merriam-Webster Online, http://www.merriam-webster.com/dictionary/japanophile). 60 “Kawaii in Manila,” Kawaii Philippines, accessed August 22, 2014, http://www.kawaii.ph/Kawaii-in-ManilaBrief.pdf. 61 “Kawaii in Manila,” Kawaii Philippines, accessed August 22, 2014, http://kawaii.ph/events/kawaii-activities-inkawaii-in-manila-2/. 59
24
propaganda and were mainly satires on current affairs at that time. 62 Osamu Tezuka, known as the “father of manga,” made manga a fashion and led people to talk about it. He divided the Japanese manga into six periods after the Second World War: (1) Toy Period (1956-1954), the period where manga only belonged to kids; (2) Onslaught Period (1955-1958), comic books (manga) were considered as evil books; (3) Candy Period (1959-1962), reading manga is acceptable for many parents and teachers if it has no positive influences on young generation; (4) Staple Food Period (1963-1969), with the huge success of Astro Boy, manga became a main entertainment for the family; (5) Air Period (1970-1984), manga have been able to access commonly in daily life and; (6) Symbol Period (1985present), manga became a symbol of communication. 63 Japanese manga can be both a medium of popular culture and one that pursues sophisticated themes. Originally aimed at young men in their 20s and 30s, these manga come with a wide range of styles and topics—mostly issues relating to life as a student or adult, or social issues and economic matters—capturing a wider demographic of readers. In the 1960s, manga readership steadily expanded to include everyone from the very young to people in their thirties and forties. Manga-for-girls genre also became prominent when female manga artists such as Machiko Hasegawa, the first significant manga female artist, came to demonstrate their talents in the 1970s and 1980s. 64 In the early 1990s, there has been a notable increase in the export of Japanese manga to Europe, America, and Asia. 62
Yuxin Guo, “Global Influence of Japanese Animation” (research paper presented in Southern Polytechnic State University, Georgia, United States, n.d). 63 Ibid. 64 Natsume Fusanosuke, “Japanese Manga: Its Expression and Popularity,” ABD, 2003, accessed August 20, 2014, http://www.accu.or.jp/appreb/report/abd/34-1/abd3411.html.
25
Manga were widely bashed all over the world due to some themes where sexual and violent situations are present. But according to Natsume Fusanosuke, a Japanese columnist and cartoonist, he said that “Although there may be cultural differences, adults who do not know (or read) manga may feel, upon seeing only these scenes above, that martial arts are violent and deaths of characters are cruel. The children, as readers, empathize with the characters as they grow and live and read the violent scenes as within the context of the story. Violence is not there just for violence’s sake.” Translated editions of Japanese manga started in 2002, when a major Japanese manga publisher established an overseas affiliate to market it around the world and also distribute animated manga. 65 In the U.S., bookstore shelves are lined with manga featuring the stories of famous animation series such as Dragon Ball (by Toriyama Akira) and Yu-Gi- Oh! (by Takahashi Kazuki). In line with the increasing export of Japanese manga all over the world, Tokyo established the International Manga Award and the First International Manga Award Executive to honor manga artists who contribute to the promotion of manga abroad in 2007. 66
d.
Anime Japanese animation has been present in since the 1980s. Today, it has
been accepted globally since it has invaded the global market to a point that there have been more Japanese animation products as compared to the US’. As 65 66
Ibid. Peng, “Japan’s Quest for “Soft Power”: Attraction and Limitation,” 356.
26
a result, they have become the “largest exporter of animation” in the market. As the people continue to consume Japanese animation products, Japan had received many benefits that truly helped their economy. The following benefits are their exportation of ACG (Animation-Comic-Game) had reached up to 4.35 billion dollars based on Japan External Trade Organization in 2003, had occupied more than 60% of the market, 10% of Japan’s GDP came from their Japanese animation industry, and they have become the third largest business. 67 To understand how Japanese animation came to life, we must look into the history of manga where anime is based on (usually). The beginning of manga started in the 12th century by a Niaoyu, a Japanese Monk, tried to “personified animals as ironies to the political corruption” during that time. As time pass by, World War II (WWII) came into the country in which made manga to have its modern form since it is used for government propaganda. But the most important timeline of manga is after the WWII because of Osamu Tezuka. He was known to be “the father of manga” or “the legend.” But, what made him important when it comes to manga is being the promoter of manga as a “fashion” and leading the people to talk about it. With that, he divided the timeline of manga into 6 periods: Toy period [1945-1954, only for kids], Onslaught period [1955-1958, seen as evil books], Candy period [1959-1962, accepted but must have no positive influences with the youth], Staple food period [1963-1969, main entertainment of the families as a result of the Astro Boy’s success], Air period 67
Yuxin Guo, “Global Influence of Japanese Animation”, 2, accessed on August 26, 2014, http://students.spsu.edu/yguo2/researchpaper/GlobalInfluenceofJapaneseMangaandAnimation.pdf.
27
[1970-1984, easy access that became part of their daily lives], and Symbol period [1985 upto the present, seen as a “symbol of communication”]. As you can see, people seen manga as “harmful, bad, and ugly” at first. But as they entered the 60s, their perception towards manga changed. 1960s was considered the turning point of manga for it was seen as something “cultural” and applicable for all ages. With that, the number of fans of manga and animation started and still continues to grow as more mangas and anime are being consumed by the people. With that, manga and anime has been taken seriously ever since due to the “different” perspective that it had showed to the people. 68 Many say that animation is meant as “candy for kids” which is not accepted by adults. But when it comes to Japanese animation, there are many themes and stories that are not meant for children. This is why majority of the consumer ranges from teenagers to adults. With that, many have considered that Japanese animation is different from the US animations, such as Disney, Pixar, etc., because everyone could watch it. As people continue to watch Japanese animation, it had gained three roles within their lives. First, it never fails to make them laugh due to the character’s actions that they find it exaggerating which they find it entertaining and the stories too. Second, the theme of their animations is usually based on traditions and real life of the ordinary people in which people could easily relate to. With that, people have this thinking that the story and which character that represents them most are the same with them. In other words, they have “That’s my life, and that’s me” 68
Ibid, 3-5.
28
feeling or thinking. Lastly, it has a message in which is filled with knowledge that is greatly influenced by the animator’s experiences in real life and their perspective of the world. 69 What made Japanese anime attractive to a lot of people is its unique fan culture caused by their fan’s feedback that are seen through cosplay and doujinshi [同人誌, fan manga/comics). Cosplay is known as “costume play” wherein they try to imitate the looks and actions of the character they are portraying. They tried to be the character itself whenever they imitate them which is seen as a way to show their love to the character. Because of their love, they are not only seen as a”culture consumer”, but more of a “culture producers” since they expression of fandom influences
others who are not aware of
Japanese anime and/or manga. They are usually seen on the gatherings of fans. Since the number of fans started in 1990s, it is seen as a way of promoting in attracting more fans to the conventions or exhibitions. As for doujinshi, the term is derived from doujin (“same person” who has a common interest or goal with others) and shi (magazine or periodical). 70 This is more creative than cosplay since this is where amateur manga artists express their fandom through their self-published manga of an existent manga. In other words, they make their own version of manga with the use of characters from the original manga that they love. If cosplay brings the character into the real world, here they try to recreate the original manga into something new. With that, they have to be really creative 69
Ibid, 5-6. Nicolle Lamerichs, “The Cultural Dynamic of Doujinshi and Cosplay: Local Anime Fandom in Japan, USA and Europe,” Participations: Journal of Audience and Reception Studies 10 (2013): 158, accessed on October 16, 2014, http://www.participations.org/Volume%2010/Issue%201/10%20Lamerichs%2010.1.pdf 70
29
in order for others to be able to see the difference of their work to the original. 71 Through these cultures, the fans have the ability to go deeper and deeper into manga and animation that they love. As they continue to embrace it, the more they are exposed to it. Thus, they have gained interest of knowing more of Japan and even having a desire to go to the source itself. In order to keep themselves interested in Japan, they have to be exposed continually. Once they have stopped due to their life activities, their interests and desire to know more about Japan will little by little decrease as the exposure to the ACG decreases72
e.
Cosplay Many believed that the art of “Cosplay” originated in Japan, but not as
much as we thought it was. Japanese cosplay was influenced by the Sci-fi WorldCon held in Los Angeles way back in 1984. The founder and writer of Studio Hard (an anime publishing company) Takahashi Nobuyuki was one of the reporters present at the said convention. He was amazed at what he saw, the masquerade, the people wearing their own hand-made costumes and the activities done 73 . When Takahashi returned to Japan, he wrote enthusiastic reports about his experiences at the conventions, mainly about the masquerade and costuming; encouraging his readers to incorporate costumes into anime and manga 74. These sparked the cosplay movement 75 and conventions in Japan 76. 71
Ibid, 6-9. Annie Manion, “Discovering Japan: Anime and Learning Japanese Culture”, 5, accessed on August 26, 2014, http://www.chanpon.org/archive/manionthesis.pdf. 73 Dr. John L. Flynn, “All Dressed Up With Some Place to Go,” Starlog (1988): 89-92. 74 Theresa Winge, “Costuming the Imagination: Origins of Anime and Manga Cosplay,” Mechademia (2006): 67. 75 Flynn, “All Dressed Up With Some Place to Go,” 89-92. 72
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Takashi contracted two English words, “costume” and “play” and came up with the term “cosplay (コスプレ, kosupure).”77 The term was later then added to the subculture and pop culture lexicon. 78 The demand for Japanese anime and manga imports were growing and an increasing number of otaku (おたく) —a Japanese term for “obsessed-fan” mainly in anime, manga, cosplay and the like—attended the North American Scifi and fantasy conventions in the late 1980s. 79 As the imports for Japanese manga and anime started to catch up in America during the 1990s, cosplay was reintroduced in a larger scale which has led to many North American otaku believing that it started in Japan, unaware of their hobby’s origins. 80 Japanese cosplay is more visually oriented and participants carefully model the character they are portraying than that of the North America’s costuming. Its aim is to have fun with friends and have their pictures taken. It is more of a young women’s hobby in Japan. What makes cosplay interesting for the participants is the reason that this activity “allows them to be liberal and become a different person”. 81
76
Winge, “Costuming the Imagination,” 67. Flynn, “All Dressed Up With Some Place to Go,” 89-92. 78 Winge, “Costuming the Imagination,” 67. 79 Ibid. 80 Flynn, “All Dressed Up With Some Place to Go,” 89-92. 81 “Japan Pop Culture Views: Cosplay”, Japan Monthly Web Magazine, accessed February 25, 2014, https://www.jnto.go.jp/eng/indepth/exotic/JapanesQue/amusing/201102_trend.html. 77
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II.
Cosplay Movement As “Cool Japan” movement continues to influence other countries, one of its major products in demand is cosplay wherein it is greatly practiced by many countries throughout the globe. The more people engage in the activity the more attention it gets. With that, it caused other countries to hold events and create communities for those who desire to continuously engage in cosplay either as a participant or an audience. Based on Japan’s history, Japan was able to “colonize” many countries within Asia which caused some of them to have a negative image towards Japan. But despite their past history, Japanese popular culture was still able to enter their country effortlessly. The reason behind it is because of “cultural proximity” in which Japanese culture has shown similarities within their own cultures. 82 With the similarities of culture, it could be seen as to why they were able to easily accept Japan’s pop culture and is to why Japan has more Asian fans as compared to the Americans and Europeans. Other than that, it was easy for other Asian countries to accept Japan’s pop culture because of the youth who were not able to experience their colonization. With that, the issue whether Japan has truly changed or not is not as a big deal as to the older generations who were present in Japan’s colonization to the country. 83
82
Nissim Kadosh Otmazgin, “Japanese Popular Culture in East and Southeast Asia: Time for a Regional Paradigm?,” The Asia-Pacific Journal: Japan Focus (2008): 1, accessed August 6, 2014, http://www.japanfocus.org/nissim_kadosh-otmazgin/2660. 83 Ibid, 2-3.
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a.
People’s Republic of China China started to be exposed to Japanese culture during the 80s
wherein major imports that entered the country were anime, comics, and games which later was called as an ACG culture in the academe. The ACG culture has been rooted in the minds and hearts of the young generation from the 1980s up to the present which is the result from the open-door policy. The open-door policy was established by the government in order to support their economy in which was at risk during that time. With the help of the policy, Japanese products quickly entered the country and the lives of the children. As they grow up, their interest and love for Japanese culture grew even more when they entered their teenage years causing them to create a community of their own. Through this community, they would be able to meet more people who share the same sentiments towards Japan. 84 Before cosplay became appealing to the youth, there have been other Japanese products that caught their attention, such as animation and comics. But, the local government had decided to regulate and restrict some of these products. The reason behind it is to give their local products and businesses a chance to compete within the market and in order for their economy to boost more. However, they have encountered many difficulties in reducing the number of Japanese products in the country due to the demands of the youth. With the extreme demands of the youth, 84
Kanzhi Wang, “Cosplay in China: Popular Culture and Youth Community” (2010), 15, accessed August 6, 2014, http://lup.lub.lu.se/luur/download?func=downloadFile&recordOId=1698210&fileOId=1698215.
33
pirated business had produced more copies for them to consume. And also, they still have access to Japanese products through the internet and satellite dishes. The more the local government limited the products, the more the youth became interested in the Japanese culture. As a result, cosplay was able to catch a lot of attention from the youth, especially during exhibitions. Two of the exhibitions that believed to be the “milestone of cosplay” in the country were the first cosplay performance that happened in 1993 and the first ever animation and comic exhibition that happened 5 years after. Both of the exhibitions happened in Hong Kong which is the reason why most of the cosplay events are held there, such as the competition for the candidates of the World Cosplay Summit in Japan, the biggest international cosplay event. 85 As the number of cosplay fans continues to grow, they have created associations which usually started within the universities. The basis of the formation of these associations is based on the number of fans. Therefore, the higher the number of fans the more associations will be created. With that, they were able to create an association within a region that is composed of different organizations from different universities. These organizations played an important role in the lives of the cosplay fans for it not only provides them a place to share their love for Japanese culture. It is also a place where they could freely practice cosplay to their heart’s content. 86 85 86
Ibid, 30-32. Ibid, 38-39.
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Cosplay is seen to be very important in the lives of the youth for it has helped them in coping up with reality. First, it provides an escape for the youth from reality that is the source of their negative emotions and pressure. With the help of cosplay, they were able to create their own reality by imitating the characters that they admire and/or aspire to be in life. Second, it serves as a way for them to find their own dreams and aspirations in life. As they continue to imitate their idols, they have come to realize that the dream that they aspire for could happen in real life. Therefore, it gives them hope and this kind of thinking that they could also achieve it since the character could. Third, it helps in the improvement of one-self. In cosplay, they were able to attain certain skills such as acting, creativity, sewing, and etc. But, the major achievement that the cosplayers would be able gain from such activities is having self-esteem. With their ordinary lives, cosplay was able the cosplayers to develop this thinking of being unique or special which is projected through their choice of characters to portray along with the clothes and accessories used. 87 Other than using cosplay as a way for improving oneself, it also provides them financially by joining different competitions. There are some competitions held that include rewards if they were able to win. Also, there are some companies that actually hire cosplayers to promote their
87
Ibid, 41-43.
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products. Some of them even produce and sell “cosplay ephemera” in a form of clothes, cards, calendars, etc. 88 But according to Wang, the main reason for the youth to be active in engaging in cosplay is for them to experience what it feels like to be Japanese. What attracted the youth to the Japanese products were the themes and topics that are seen to be wide causing for it to have many representations of different lifestyles and dreams or illusions. 89 Thus, accepting Japanese culture into their lives was easy since it entered during their childhood. As a result of being a kid who grew up exposed to Japanese culture, they could not help themselves in wanting to learn more of Japan and to be so attached to it. That is why even if they were colonized by the Japanese in the past, they are still into their culture for it had greatly benefitted them, especially when it comes with coping with their “ordinary and boring” lives.
b.
Republic of Korea During the 1990s, there have already been traces of Japanese
cultural influences in the country which was through their music despite the fact there was a banning of any Japanese products within the country. With the help of pirated Japanese products within the market and accessibility of satellite dishes, the people were still able to consume
88
Anatasia Sukhoretskaya, “Chinese Cosplay” (2014), www.theworldofchinese.com, accessed August 6, 2014, http://www.theworldofchinese.com/2014/05/chinese-cosplay/. 89 Wang, “Cosplay in China”, 27-28.
36
Japanese products. 90 South Korea became open to Japan’s pop culture for the past few years, especially during 2008, in which they have started to refer to it as “Japanese wave”. Korea was not able to resist Japan’s pop culture as it continuous to spread rapidly across the globe which is reported by the Korea Times. And also, it was inevitable for them to resist the Japanese wave due to their government’s decision of unbanning the Japanese products to be sold within their market. Other than not being able to resist it, the young generation of South Korea has gain interest in Japanese pop culture which includes manga, novels, films, and “cosplay” cafes according to Yomiuri Shimbun’s article. As they continue to be exposed to it, they were able to appreciate Japan more, especially when it comes to manga and novels. There was a large consumption of manga being published in the country during 2006, which was estimated to be around 70% of it to be Japanese manga translated in Korean. And as with the novels, the number of Japanese novels in Kyobo Book Center, the biggest bookstore in Seoul, had increased and is more than the number of South Korean novels within the store. 91 Aside of being interested in Japan’s pop culture, they have also seen it as a way for them to promote their own country by creating their own pop culture and at the same time to continuously practice Japan’s culture in the country. One of the most popular and practiced products of Japan’s culture in Korea is cosplay.
90
Otmazgin, “Japanese Popular Culture in East and Southeast Asia”, 2-3. David Kang and Ji-Young Lee, “Japan-Korea Relations: Inaction for Inaction,” Comparative Connections (2008): 6, accessed August 17, 2014, http://csis.org/files/media/csis/pubs/0801qjapan_korea.pdf. 91
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In Korea, cosplay is not only a way for them to show their appreciation of Japanese culture, but also to promote their own known as “K-pop” (Korean pop). But even if they use cosplay in promoting more of their own pop culture, they could not deny the fact that it originated in Japan and was only exposed to it. Nevertheless, they still continue to practice and engage in it due to their love of it. With the love of cosplay, they were able to create their own website which is called “Comic World” 92 . It is a place where the Korean fans express their love of cosplaying and at the same time keep themselves updated with “what’s new”, events, and many more. Not only that, they also made an facebook page with the name of “Korean Cosplay” 93 in which it became easier for them to share any announcements, sentiments, and pictures of the cosplayers. Though cosplay is being used in promoting K-pop, it still has an effect to how the people of Korea see Japan since the participants not only practiced their own but as well as Japan’s. Even if they have some difficulties in accepting Japan today, the tension and hesitation of the people are somehow lessened as they continue to engage in cosplay as compared to those who do not engage in it. And as the cosplay community grows, the number of Koreans fans gradually increases which is to why they have created Comic World and Korean Cosplay as proof of their acceptance of Japan. 92 93
Accessed August 6, 2014, http://www.comicw.co.kr/. Accessed August 6, 2014, https://www.facebook.com/KoreanCosplay?fref=nf.
38
c.
Republic of the Philippines As the appeal and popularity of Cosplay surged in the Philippines,
cosplay enthusiasts built a community in the country and established a website, Cosplay.ph, which is solely for cosplay die-hard fans. The first cosplay event held in the Philippines was in October 2008 although history of cosplaying in the Philippines started way back in 2000s 94. The most known cosplay convention in the Philippines is called Cosplay Mania which is done annually in the final quarter of the year. This is usually held in SM Megatrade halls located at SM Megamall or in the SMX Convention Center located beside the SM Mall of Asia. Cosplay in the Philippines include activities such as costume building
contests,
cosplay
video
contests,
workshops,
and
also
tournaments95. Cosplay have expanded in the Philippines to the point that even famous cosplayers from other countries such as Singapore and Japan are being invited to the event 96. Philippine’s Cosplay Mania is supported by the Department of Foreign Affairs, Japan Information and Culture Center – Embassy of Japan, The Japan Foundation Manila, and TOEI Philippines; setting a world record for having many sponsors. It has strong local and international partnerships from television media to print media. Several cosplay conventions are done in the country such as the Otaku Expo, 94
“About Cosplay Mania,” Cosplay.ph, accessed February 25, 2014, http://www.cosplay.ph/microsites/cosmania/wp/?p=405. 95 “Events,” Cosplay.ph, accessed July 21, 2014, http://www.cosplay.ph/microsites/cosmania/wp/?cat=5. 96 “Cosplay Mania ’12,” http://www.gmanetwork.com/news/story/274341/cbb/cosplay-mania-12-five-years-ofproviding-world-class-cosplay-events.
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Komikon, Ozine Fest and more but Cosplay Mania commits to be the most professional and most world-class cosplay event in the country. 97 There are currently two studies done that the researchers have obtained which are about the Cosplay in the Philippines. One is the research done by the group of Ralph Alonzo Tobias, Patricia Jade O. Poñgol, Eunice H. Cabantug and Eloise E. Limotin, students of Ateneo de Davao University, entitled “Ang Makulay na Pagbabalatkayo: A Phenomenological Study on the Lives of Filipino Costume Players as the Japanese Popular Culture Invades the Country (2012)”, studied and analysed the reasons why the Filipino teenagers fancy the Japanese Cosplay so much. They listed down the different experiences, influences and reasons they obtained from their subjects. Based on their research, the role of media is one important factor that disseminates the context of Cosplay in the country. They also stated that there are people who are pro and anti-Cosplay here in the Philippines. The pros see Cosplayers as those who re-enact the characters of the imaginative animation which helps them develop their self-confidence, creativity, bravery and interpersonal skills. While the antis see Cosplayers as those who just need special attention from the public. 98 Cosplay in the Philippines has developed a peculiar characteristic which distinguishes it from the other countries’ cosplay movement. The 97
Ibid. Ralph Alonzo Tobias, et. Al, “Ang Makulay na Pagbabalatkayo: A Phenomenological Study on the Lives of Filipino Costume Players as the Japanese Popular Culture Invades the Country,” Ateneo de Davao University, September 2012. 98
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other study which is a dissertation done by Ms. Ma. Bernadette Bravo from Waseda University entitiled “Japanese Cultural Influence in the Philippines through Anime’s Popularity and Pervasiveness (2012),” researched about the features of Filipino cosplay. According to Ms. Bravo, the Filipino cosplay features a family bonding component in which families cosplay together and family members attend cosplay conventions to support their relatives. These two studies identified and analyzed the different reasons why the Filipinos fancy the Japanese subculture, Cosplay. With that being studied, this paper will focus on how the Filipino youth who engage and are exposed to cosplay perceive and view Japan before and after they have participated in this kind of activity. Japanese cosplay in the Philippines have garnered interests from Filipinos particularly the youth, that even though Japan has a “dark past” due to its war controversies, the Filipinos still show their love and interest for the culture of their past colonizers 99. With the increasing number of Filipinos engaging in cosplay, the Japanese pop culture is continuously being successful in the Philippines 100. With its increasing popularity, it has been a tool used to stimulate businesses as well as informal regional and global networking among cosplay practitioners. And with cosplay’s
99
Resty Odon, “Why Filipinos Love the Japanese,” theasiamag.com, accessed July 14, 2014, http://theasiamag.com/people/why-filipinos-love-the-japanese. 100 “Cosplay Mania ’12,” http://www.gmanetwork.com/news/story/274341/cbb/cosplay-mania-12-five-years-ofproviding-world-class-cosplay-events.
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continuous expansion worldwide, practitioners on each country are associating their own values to the said Japanese subculture. 101
101
Ma. Bernadette Canave Bravo, “Japanese Cultural Influence in the Philippines through Anime’s Popularity and Pervasiveness” (PhD diss., Waseda University, 2012).
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CHAPTER III Research Methodology
A. Method of Research This study is a descriptive research using both the qualitative and quantitative approach. In the qualitative approach, the researchers identified and analyzed the factors on how cosplay affected and influenced the perceptions of the Filipino youths who continuously engage in this activity and its audience toward Japan. The perceptions of the participants toward Japan prior to engaging in cosplay were also taken into consideration. In the quantitative approach, the researchers measured and generalized the incidence of various results from the data collected through the online survey, and interview conducted.
B. Data Collection Procedure This study used documentary research, survey and interview for the data collection. The survey was done to gather the primary data needed to identify the perceptions of the Filipino youths engaging in cosplay toward Japan and the audience who are interested and exposed to it. It was used as a questioning technique to gather data from both the cosplayers and the audience. The researchers were able to gather responses from 55 Filipino youths through an online survey. The questions asked to the respondents were open-ended. The primary data gathered from the respondents were their demographic data such as their age, gender, occupation, role in cosplay and the number of years they
43
are attending cosplay; and their traits, interests and opinions which determined the reasons that shaped their perceptions toward Japan. The interview with 7 respondents was conducted so they could further elaborate on their answers. The documentary research was used to gather secondary data necessary to support the primary data that the researchers obtained in this study.
C. Instrumentation A survey was conducted to gather primary data. The survey included questions regarding the different factors that affect the Filipino youths’ perceptions toward Japan by engaging in cosplay. It also included questions regarding the reasons why they participate in cosplay and their motivations for engaging in it, and also, their views and perceptions toward Japan before they engaged in Cosplay. Moreover, the researchers also identified the different views and opinions of people who are not engaging in the cosplay movements but are exposed to it. The survey was conducted online. The researchers sent the survey link to the administrators of the cosplay community which was then disseminated to its members online. The researchers indicated in their survey if the respondents are willing to be interviewed to further elaborate their answers. Attached are three sample surveys for the audience (Appendix A), the participants/cosplayers (Appendix B), and for those who are both cosplayers and audience (Appendix C) that will be handed out online to the respondents for this study, and the interview guide questions (Appendix D) for those who consented to an interview.
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D. Data Analysis In analyzing the data gathered, the researchers used two of the three widely accepted levels of generalization in the field of International Relations, namely, the individual and state level of analyses. Under the individual level, the different characteristics and traits present in Japanese cosplay that gained the interest of the Filipino youth, as well as the benefits they get from engaging in such kind of activity were identified. Moreover, the different experiences from participating in cosplay and knowledge of the Filipino youth about Japan that will help shape the perceptions of the respondents toward the said country were also analyzed. Under the the state level unit of analysis, the researchers examined Japan’s cultural influences on the Filipino youth through cosplay, taking into consideration Japan’s war history and how it will affect the perceptions of the Filipino youth towards them.
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Chapter IV Presentation, Analysis and Interpretation of Data
This chapter shall discuss the findings obtained from the primary instrument used in the study. It shall discuss the demographic data of the respondents and how cosplay helped change and modify their perceptions of Japan. The researchers were able to gather 55 responses from the Filipino youth with ages ranging from 14-35 years old. Among the 55 respondents, 20 of them were willing to be interviewed but the researchers only able to interview 7 of them due to time constraint and conflicting schedules. The interview was done for the respondents to elaborate their answers in the survey. The demographic data that will be presented will include the respondents’ age, gender, occupation, role in cosplay and the years of attending cosplay events. These data contributed to the respondents’ exposure to cosplay that helped influence the shift in their perception of Japan. Furthermore, the answers gathered from the respondents were divided into three main categories, the Filipino youth participants and audience’s experiences in cosplaying, their perceptions of Japan prior to engaging and being exposed to cosplay, and the changes in their perceptions. With the use of the Social Exchange theory, the experiences of the Filipino youth will be identified into sub-groups as either rewards or punishments. On the other hand, their perceptions of Japan prior to engaging and being exposed to cosplay, and the shift in their perceptions will be identified as either positive, neutral, or negative.
46
A. Demographic Data (N = 55) a. Age Knowing the age of the respondents, the researchers would be able to know what age range is attracted to cosplay the most. It will also give a little background of the status, behavior, thinking, and time availability of the respondents.
14-17
NUMBER OF PERCENTAGE OF RESPONDENTS THE SAMPLE 16 29%
18-21
24
44%
22-25
10
18%
26-29
3
5%
30-34
2
4%
AGE
Table 1: The age range of the respondents
As seen on the table above, majority of the respondents who are interested and are active in engaging in cosplay activities are ages ranging from 18 to 21. At this age range, the respondents are most likely in or about to finish their college degree. People in college usually have control over their time and schedule to do their academics, school organizations, and other activities that are non-related to school. They no longer need a parent’s consent due to the fact that they are seen as an adult by the law. With that, they are free to explore all possibilities and opportunities that would help in their career path, but mostly for the enhancement of their talents and skills. This was confirmed by some of the respondents who claimed how much 47
cosplay helped in the enhancement of their skills (e.g., sewing, acting, posing, etc.) and being able to develop more self-confidence about their abilities and physique. Other than their skills enhancement, the main benefit that they gain by joining such activity is being able to share their sentiments about Japan with other people and at the same time learn more about Japan in the process.
Therefore, cosplay is seen as a way of expression of fandom and
oneself, and a way of learning more of Japan. As for the age range of 14 to 17, it is seen from the table above that it is in second place in being the majority age range of the respondents for this study. The people within this range are approximately still in high school and/or in the beginning of their college degree. In this age range, it is considered to be the beginning of their interest in cosplay as claimed by most of the interviewees. But even so, they have three (3) factors that are interconnected that hinder them from being active in engaging in cosplay. (1) The respondents’ age. Since they are still a minor, they do not have the liberty to do whatever they want. They still need their parent’s consent and supervision in practically every activity they have to do whether it is schoolrelated or not. With that, they could only engage in cosplay if their parents allow them to. (2) The respondents’ parents. Some of the parents do not necessarily encourage their children to dedicate their time to cosplay and that they should focus more on their school works. There are also some parents who highly discourage their children from being exposed to cosplay or to any Japanese popular culture due to their dislike of Japan. According to one of
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our respondents who happens to be pure Chinese (grew and resides in the Philippines), the basis of his parents’ dislike, especially his father, is because of Japan’s past actions. Even if Japan continues to claim that it has learned its mistakes in the past, they are still not convinced that Japan has atoned enough for their past actions. In spite of the fact that he is Chinese and his father is still hostile to Japan, it did not stop him from being exposed to the Japanese popular culture. He continued to pursue his passion of getting to know more of Japan when he entered college. But when he was still in high school, his visits to cosplay events were minimal as compared to when he got into college. Though there are some respondents who claim that their parents do not see cosplay as a hindrance to their academic performance but do not necessarily encourage it, they were allowed to be active and attend cosplay events up to a certain extent. They would only be able to attend a cosplay event if the date, time, and venue of the event are convenient for the parents. If it is not convenient, parents do not usually let them go. And, there are some parents who let their children be active in cosplay as long as they would not let their academic performance suffer. (3) The respondents’ schedule. Even if they have all the time to be active in cosplay, their schedule is usually tied to their academics and school organizations. With that, the workload keeps them preoccupied to a point that they have no time to do other activities, unless their schedule permits it. This is the reason why some of our respondents would be able to attend cosplay events if it is held during weekends and/or when they go out with their family. This is also the reason
49
why their parents do not highly encourage them to be active in cosplay and prefer them to focus solely on their schoolwork. But for those who are good with time management, they still continue to engage in cosplay causing them to have a deeper appreciation, connection, and understanding of cosplay and of Japan. And this drive or interest continued as they enter college. As the respondents move away from the age range of 18 to 21, it is seen from the table that the number of respondents who are interested and continue to engage in cosplay had decreased, especially at the age range of 26 to 29 and 30 to 34. On these age ranges, the people shifted their focus to their job careers with the goal of having a stable salary in order for them to be able to provide for their future families. With that, the respondents are particular as to where and in what they will invest their time. These people are now more mature who believe that acting childish is inappropriate for their age and now see cosplay as something only teenagers would love and do. They think their goals and hobbies should reflect their age. These findings are based on how they answered the online survey.
b. Gender The role of gender in the study is for the researchers to know who are attracted to and engage in cosplay the most.
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Female
NUMBER OF PERCENTAGE OF RESPONDENTS THE SAMPLE 36 64%
Male
19
GENDER
36%
Table 2: Gender of the respondents
As seen on the table above, majority of the respondents who engage in cosplay are females. Based on the interview that the researchers have conducted, they were able to know the reasons why they are interested in cosplay and continue to be active in such activity. According to the female interviewees, they have many reasons as to why they are so fond of cosplay. First of all, it is an extension of their feminine side since doing cosplay requires one to be able to make and wear costumes, and to have skills and knowledge about make-ups. With that, our female interviewees became easily interested in cosplay since those are usually seen and done by women. But other than that, it also gives them an opportunity to enhance and/or develop their skills and abilities as an individual. It also helps in boosting their self-appreciation and confidence, especially when it comes to their physical appearance. Although they are attracted to the costumes, make-up, wigs and the like, majority of them became interested in cosplay because of the opportunity to meet new people with the same interests as them. Though there are some whose main goal is to be the character they are imitating and be able to convince the audience that they are being that character. The costumes, make-up, wigs, and others are just a small part of doing cosplay. 51
As for the male interviewees, the general reason as to why they go to cosplay events is to meet girls. But, they have also stated other reasons that eventually keep them from being active in cosplay. First, they consider cosplay events as a place where they would be able to meet people who share the same interests and sentiments towards Japan and its popular culture. Having these people around them helps the respondents to create friendships and at the same time be able to learn more of Japan on a deeper level together with the people they encountered and/or shared ideas with. Second, they see it as a way for them and others to show their love for anime and manga, especially when it comes to the character that they admire. Lastly, cosplay gives them more knowledge about Japan which gives them the feeling of being Japanese.
c. Occupation The researchers asked for the respondents’ occupation because it indicates their time availability and how much money they invest in cosplay.
Student
NUMBER OF PERCENTAGE OF RESPONDENTS THE SAMPLE 39 71%
Working
11
20%
Others
5
9%
•
Working student
1
2%
•
Unemployed
3
5%
OCCUPATION
52
•
Military Reservist
1
2%
Table 3: Occupation of the respondents
As seen on the table above, majority of the respondents gathered are students. The life of being a student is different as compared to those who are working or currently unemployed. Based on the findings gathered through the interviews of 7 respondents, the researchers have identified that the students are the ones who benefit the most when it comes to cosplay. Being a student, they have more time in their hands and their priorities are less as compared to those who are working or currently unemployed. Their main priority as a student is to ensure that they would be able to graduate on time and that their school performance is good or even excellent. They usually have time to do their school work and other activities, but the pressure and stress that they get from it is still overwhelming. As a result, cosplay is seen as an outlet for them to be able to cope with their lives as a college student. Even if majority of the students’ priority is academics, most of our respondents want to use their time in looking for opportunities to develop and enhance their talents and skills. Other than that, those who engage in cosplay are at the same age as they, making it as one of the reasons to be attracted to and be interested in cosplay As with the working and unemployed, their priorities are now more practical, for they need to have a sustainable job to support themselves
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and/or their families. They are careful about how they use their time and money. They realize they could no longer afford to invest in things that are seen as luxuries. With that being said, cosplay is now seen as a waste of investment by some of those who are working and unemployed.
d. Role in the Cosplay event Knowing the respondents’ roles in the cosplay event would help in indicating how much they are exposed to cosplay and identifying their learnings about Japan which influenced their perception of the said country.
Audience
NUMBER OF PERCENTAGE OF RESPONDENTS THE SAMPLE 17 31%
Participant/Cosplayer
17
31%
Both (Audience and 21 Participant/Cosplayer)
38%
ROLE
Table 4: The role of every respondent when they attend a cosplay event
Based on the table above, majority of the respondents play the role of both audience and participant. As to the role of the audience and participant, they have the same number of respondents. The findings that have gathered are based both on the online survey and interviews.
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I. Both (Audience and Participant/Cosplayer) According to the respondents whose roles are both audience and participant, the reasons for their flexibility are the following: (1) it serves as a break from being a participant; (2) they are still in the process of making the costume of the character they want to imitate; (3) they do not have any idea as to which character to imitate; (4) they have no money to buy or make the costume; (5) they are waiting for a certain character to portray who they connect to the most or simply want a new character to imitate; and (6) they are aware that being an audience from time to time has its benefits, such as not worrying about their costumes, their make-up, their hairdo, and their props. But majority of them answered that not spending too much money on cosplaying benefits them the most. They would rather spend their money in buying merchandise that are only sold during cosplay events and some are sold cheaper than the usual price. They know that being an audience is less of a hassle than being a cosplayer. As an audience in a cosplay event, they are the ones being entertained. As for the cosplayers, they are the entertainers. Other than the reasons stated earlier as to why they chose to be both audience and participant, the respondents had also shared their appreciation, knowledge, and learning of Japan. Based on their sharing, the researchers have found that those whose roles as audience and participant have similar sentiments towards Japan. Despite the fact that they have similar sentiments, those who are both audience and participant have a deeper level of appreciation towards Japan. As a result, they continue themselves to be 55
active in being part of cosplay community. Therefore, their exposure to cosplay continues to increase causing them to go deeper and deeper in Japan’s pop culture through cosplay. As for the audience and participant/cosplayers, they both have gained the same appreciation, knowledge, and learning about Japan to some extent. The difference between the two roles is where they retrieve the information about Japan, reasons as to why they go to cosplay, and how they see cosplay. II. Audience For the audience, they usually gather all the information about Japan through the internet, academics, manga, and anime. Though some respondents admit that cosplay had helped them in understanding more of Japan but very minimal as compared to anime and manga. They also gave their reasons why they attend cosplay events. First, it is to see how the participants portray the characters, especially their favorite character. Second, it enables them to meet new people who share the same interests. Lastly, they are interested in purchasing the merchandise since there are products that could only be bought in that event. The reasons why they have remained as audience are (1) issues with their physical body, (2) issues with money for they see cosplay as costly, (3) the effort needed to be a cosplayer, and (4) it is more convenient for them to be an audience than being a participant.
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As with their view of what cosplay is for them, it is seen as an extension of those who are fans of manga and anime. It is a place where their fellow people are able to express their love for the characters through costumes, which really attracts most of them. III. Participants With the participants, the way they have gathered information about Japan is the same as with the audience but with an additional source which is through their co-cosplayers. Through them, they were able to share and exchange ideas about Japan resulting in a deeper understanding of Japan. Though some still think that anime and manga are the ones that helped them the most in understanding Japan more compared to cosplay. According to them, cosplay is seen more as a way of self-development and meeting new people with the same interests. Being the character they portray does not necessarily help in appreciating Japan. It is more of the connection they felt with the character since majority of them portrays the character with which they have similar traits, attitudes and characteristics. Therefore, cosplay is seen as an extension of their love for anime, manga, and games, upon which cosplay is based. And through cosplay, they were able to have deeper positive sentiments towards Japan causing them to feel enthusiastic in participating in the event.
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e. Years attending Cosplay events By knowing how long they have been attending cosplay events, the researchers would be able to know the frequency of their exposure and participation in cosplay.
YEARS 0-1 yr. 2-3 yrs. 4-5 yrs. More than 5 yrs.
NUMBER OF PERCENTAGE OF RESPONDENTS THE SAMPLE 9 24
16% 44%
9
16%
13
24%
Table 5: Number of years the respondents attends cosplay events
Table 5 shows that majority of the respondents have been attending cosplay events for 2 to 3 years. The findings gathered for this data are based on the respondents’ answers on the online survey. In the range of people attending the cosplay events for 2 to 3 years, it may be concluded that they have been attending long enough for them to have an idea on how things work and have met a number of people in the cosplay community. These people are filled with enthusiasm and eagerness to learn and explore new things about Japan even if they have abundant information about Japan in their hands. And as to how they see cosplay, some of them still see it as a hobby and some as a passion. However, many of them confirmed that doing and attending cosplay is not a simple hobby. As
58
they continue to be active and exposed to the cosplay community, cosplay is little by little becoming a part of their daily lives. As with the range of more than 5 years, these people are the ones who have truly felt a deep connection with cosplay to a point that it became part of who they are and they see the cosplay community as a second family. As with the other two ranges, these people have similarities in which they both are interested in cosplay and in search for something to make them stay active in cosplay. The difference would be that, those who have been attending cosplay for 4 to 5 years have seen cosplay as a passion and not just a hobby and that they are in search for an inspiration to keep themselves motivated in being an active audience and/or cosplayer. As for those who have attending cosplay events for less than or a year, they still see cosplay as a hobby and what they are in search for is something that will make them want to pursue cosplay.
B. Filipino Youth’s Experiences in Cosplaying (Participants/Audience) REWARDS
PUNISHMENTS
Meet people
Cosplayers are misinterpreted as “attention-seekers”
Boosts self- confidence
Hassles (Proximity of venue)
Enhance creative/artistic skills
Financial burden
New knowledge about Japan’s sub-cultures
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Respect for the cosplayers from the fans/audience Fun experience
Table 6. Rewards and Punishments the Respondents gain from Cosplay
As stated in the table above, the respondents receive the following ‘rewards’ and ‘punishments’ from engaging in and being exposed to cosplay. Meeting and socializing with people, learning new knowledge about Japan’s popular culture and the fun experience they gain are the ‘rewards’ they get from engaging in cosplay. Also, cosplay lets them enhance their artistic and creative skills through making their own costumes. It also lets them boost their selfconfidence because they turn into a different character whenever they attend cosplay events. Lastly, the cosplayers gain the respect of the cosplay fans because of the passion and dedication they put in cosplaying. Aside from the ‘rewards’ the respondents gain from such activity, they also enumerated the ‘punishments’ they receive through it. According to the interviewees, people who do not appreciate the art of cosplay say that those who engage in it are “kulang sa pansin” or “attention-seekers” given that when they engage in cosplay, they dress and act “weird.” But for the fans of cosplay, they see the cosplayers as “cool people”. Also, since most of the respondents for this study were students, the ‘punishments’ they encounter from engaging in cosplay are: (1) financial burden, since they are incapable of earning their own money for
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their hobby, and (2) the inconvenience of going to a venue that is far from their homes.
C. Filipino Youth’s Perceptions of Japan (Prior to Cosplay) Positive
Neutral
Negative
6% 15%
79%
Figure 2: Perceptions of Japan (Prior to Cosplay)
As shown in Figure 2, 79% of the total respondents gathered for this study have a positive perception of Japan even before they started engaging in and being exposed to cosplay. Majority of them answered that before they knew anything about cosplay, they were first aware that Japan was a developed First World country having high-tech gadgets that amazed the world. Some knew about anime and manga when they were younger but they did not have a particular perception of Japan from being exposed to it at a young age. There were also some who answered that they knew Japan through her culture—a vast,
61
rich and dynamic culture that they really admired. One interviewee even said that she wanted to know how Japan became prosperous. Whilst majority of the respondents have a positive perception of Japan before engaging in and being exposed to cosplay, a few had negative or no perceptions of Japan at all. Those who answered that they have no perceptions of Japan prior to cosplay, is because they only knew Japan’s war history through academics and it did not bother them of Japan’s war actions. Most of them stated that, after all, “past is past”. Out of the 55 responses gathered for this study, only two (2) answered that they had a negative image of Japan before being exposed to its popular culture. They stated that they viewed the Japanese as bad, weird, and war freak people that they still abhorred what the Japanese did to the Philippines. Based on the findings, majority of the Filipino youth who participated in this study have a positive perception of Japan even before being exposed to cosplay. Despite the fact that they were aware of Japan’s war atrocities, it did not bother their views and perceptions of Japan being a highly industrialized and developed country. They even love their culture and are willing to know and explore more about Japan.
D. Filipino Youth’s Shift in Perceptions of Japan (After Exposure to Cosplay) On this part, the researchers will be showing the results of the respondents’ perception of Japan after being exposed to cosplay. On each role, there will be three (3) figures to be presented. The first figure will show how many
62
of the respondents on that certain role have changed or not changed their perception of Japan. The second figure will be about those respondents who had changed their perceptions of Japan. This figure will show if the changed perception is either positive, neutral or negative. Lastly, the third figure is about those respondents who have an unchanged perception of Japan. Same as with the second figure, it will show if their perception remained to be positive, neutral or negative.
a. Audience YES
NO
41%
59%
Figure 3: Change in perception of the Audience
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Positive
Neutral
Negative
0%
100%
Figure 3.1: Change in the Audience’s perceptions of Japan (After exposure to Cosplay)
Positive
Neutral
Negative
0% 14%
86%
Figure 3.2: Unchanged perception of the Audience
As shown in Figure 3, 59% of the respondents confirmed that they indeed had a change of perception, while the other 41% disagreed. 64
Figure 3.1 shows the new perception of those respondents who claimed to have a change of perception towards Japan. As you can see in the figure, all of the respondents have a positive perception towards Japan. Based on their answers as to why they have a new perception towards Japan, majority of them said that it was because of Japan’s culture, both traditional and popular. Through those cultures, they were able to understand and appreciate more of Japan. They have also come to realize that the past has nothing to do with the present Japan and that they have so little knowledge of Japan. And therefore, they feel that there is more to know about Japan. As a result, they continue to be exposed to the different Japanese pop-culture and other sources available that will help them to know Japan more and on a deeper level. While in Figure 3.2 shown above, 86% of the total respondents who play the role of audience have maintained their positive perceptions of Japan after being exposed to cosplay despite being aware of the country’s war history. One respondent stated that wartime Japan is vastly different from modern Japan. Few of them answered that Japan is an ally and not an enemy of the Philippines, that Japan now shows a peaceful side, improving their past image. Due to the media, some of the respondents’ views of Japan were first influenced by anime and manga (e.g., Voltes V ∗, Pokemon, Sailor Moon) which captured the hearts of most Filipinos favoring these shows during their childhood years. Ever since, they have had positive perceptions of Japan despite knowing its wartime history.
∗
The anime robot series “Voltes V” was first aired in the late 70s during Marcos’ time. But due to the complaints of several parents claiming that it shows violence, it was banned by the government. By the time the ban was lifted during the 80s, network companies began filling their time slots again with the series. It was then repeatedly shown during the 90s, but it was then dubbed in Tagalog.
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The 14% of the respondents whose perceptions of Japan remain neutral answered that it is not fair to hate or favor something just because of society’s perceptions and views. According to them, past is past, and that the reason for liking or hating something should be based on one’s own opinion of the subject.
b. Participant/Cosplayer YES
NO
29%
71%
Figure 4: Change in perception of the Participant/Cosplayer
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Positive
Neutral
Negative
0%
100%
Figure 4.1: Change in the Participant’s/Cosplayer’s perceptions of Japan (After exposure to Cosplay)
Positive
Neutral
Negative
0% 8%
92%
Figure 4.2: Unchanged perception of the Participant/Cosplayer
As shown on Figure 4, 29% of the respondents confirmed that they indeed had a change of perception, while the other 71% disagreed. 67
Figure 4.1 shows the new perception of those respondents who claimed to have a change of perception towards Japan. As you can see on the figure, all of the respondents have a positive perception towards Japan. Based on their answers as to why they have a new perception towards Japan, majority of them said that it was because of Japanese anime. And through anime, they were able to have a view of Japan’s traditions, living, thinking, ethics, food, etc. It was anime that made them realize that Japan had “a lighter and colorful side.” Other than that, they could also see how Japan is able to keep their old traditions and culture, while being open to “new and modern methods of expressing values.” As a result of watching anime, they claimed that: (1) it is the main reason as to why they have become interested in Japan, (2) they have learned about Japan in different aspects by simply having time to watch anime, and (3) they could see that the past Japan is no longer presented by the present Japan of today. As
shown
in
Figure
4.2,
92%
of
the
respondents
who
were
Participants/Cosplayers said their positive perceptions toward Japan remained. They are the ones who wanted to know more about Japan and because of cosplay their curiosity about the country’s culture deepened to the point that they are eager to learn the Japanese language by themselves. The respondents also answered that cosplay and history are two different things; cosplay does not reflect the actions of Japan during the war period. Even though they were given abundant information regarding wartime Japan, their love for and interest in cosplay still emerged. They even classify themselves as an otaku—a Japanese term for people with obsessive interest in Japan’s
68
popular culture, commonly anime and manga—because of their love for Japan’s rich culture. The 8% of the respondents who have maintained their neutral perception of Japan stated that they view the country having a weird yet unique culture. Although the respondents did not elaborate on why they view Japan as a weird country, its one of a kind culture is what gained their interest the most. Their perception was not greatly influenced or affected by Japan’s wartime history since they are more interested in exploring its culture.
c. Both (Audience and Participant/Cosplayer) YES
NO
38%
62%
Figure 5: Change in perception of Both (Audience and Participant/Cosplayer)
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Positive
Neutral
Negative
0%
100%
Figure 5.1: Change in Both’s perception of Japan (After exposure to Cosplay)
Positive
Neutral
Negative
0%
100%
Figure 5.2: Unchanged perception of Both (Audience and Participant/Cosplayer)
As shown in Figure 5, 62% of the total respondents who chose “Both (Cosplayer/Audience)” as their role in cosplay have changed their perceptions of Japan; 70
all of them having a positive image of the country (see Figure 5.1). Majority of them said that at first, they thought Japan was just another weird country that has an exotic taste for things. They also thought that the Japanese were very serious people who are hardworking and strict. But as they started to engage in and be exposed to cosplay, their interest in Japan’s culture emerged and that they were eager to learn more about the country. According to the respondents, as they engage in cosplay, they fell in love with and grew to love Japan more, mostly with its culture, i.e., saying that it has a deep, rich culture that attracts them. Moreover, despite the fact that they know about Japan’s war history, it does not bother and affect them because their interest in Japanese cosplay is more important to them. On the other hand, the 38% of the total respondents under this category (Figure 5) have not changed their perceptions of Japan. As shown in Figure 5.2 above, 100% of the respondents whose role in cosplay is both as audience and as participant/cosplayer, still have a positive perception of Japan. Their reasons for having unchanged positive perceptions of Japan are because of the country’s culture and their fandom for cosplay. The respondents stated that they have always seen Japan as a beautiful oriental, traditional and artistic country which made them unique. Japan’s technological advancement also amazes them.
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Chapter V Summary, Conclusion and Recommendation
This chapter discusses the summary, conclusion and recommendation of the researchers about how cosplay helped influence or change the Filipino Youth’s perceptions of Japan.
A. Summary Japan’s classification as an aggressive militaristic country due to their war actions has left an appalling impression on the world especially on the colonized countries such as China, Korea and the Philippines. Their war atrocities have haunted people from around the world. Although Japan has never stopped promoting their popular culture through cultural diplomacy, some still think, especially the Chinese and Koreans, that they have not atoned enough for their war crimes. In the Philippines, the youth have knowledge about Japan’s war history and the heinous acts they have committed against the Filipinos, but still, they admire and honor Japan’s culture; describing it as a dynamic and rich culture. With Japan’s continuous promotion of their popular culture such as manga, anime, games and cosplay, the number of the Filipino youth gaining interest on it is increasing. Cosplay, one of the popular culture Filipinos are being fond of, enables them to dress up and imitate a character they admire from an anime, manga or game. It has gained fame here in the Philippines to the point that conventions are held here every year, and attended by famous international cosplayers from countries such as Singapore, Japan and Thailand. With its popularity, the focus of
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this study is, therefore, to look into the various reasons on how cosplay influenced and changed the perceptions of the Filipino youth towards Japan considering their knowledge about wartime Japan. Also, to find out their experiences from attending and being exposed to it which, helped shape their views of Japan. This study used the “Mere Exposure Theory” developed by Robert Zajonc which explains that the more exposure one person has to a stimulus, the more the person will tend to like or be familiar with it. However, being exposed to a stimulus too much can reduce one’s liking to it. Another theory used in this study is the “Social Exchange Theory” which is a model that interprets society as a series of interactions that are based on estimates of rewards and punishments. Reward is referred to the approval and punishment is referred to disapproval resulting from an interaction. The researchers identified how the frequency of their exposure to cosplay, and the rewards and punishment they gain from engaging in it affected the change in their perceptions of Japan. The methods for data collection used for this study are survey, interview and documentary research. This study used survey as a questioning method which was disseminated online to the Filipino youth cosplayers and audience. The interview was optional for those respondents who gave consent to an interview. The researchers gathered 55 responses from the online survey and only 7 respondents agreed to have an interview conducted to further elaborate their answers. The documentary research was done to support the primary data gathered. With the minimal responses gathered, hence, the conclusions made in this study cannot serve as a generalization for all the Filipino Youth in the country.
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The data gathered from the respondents include their: demographic data, perceptions of Japan prior their exposure to popular culture, their experiences from engaging in and being exposed to cosplay, and the changes in their perceptions. The units of analysis used in this study are both the individual and state level of analysis to identify the different characteristics and traits present in Japanese cosplay that gained the interest of the Filipino youth, the benefits they get from engaging in such kind of activity, and Japan’s cultural influences on the Filipino youth through cosplay, taking into consideration Japan’s war history and how it will affect the perceptions of the Filipino youth towards them.
Below are the major findings of the study: 1. Majority of the respondents’ changes in their perceptions of Japan after engaging in and being exposed to cosplay are the following: a. Prior to engaging in cosplay, 27 respondents had a positive perception of Japan, 5 respondents had a neutral perception of Japan and 2 respondents had a negative perception of Japan. Due to a technical glitch in the researchers’ online survey results, they were unable to collect the data from the “Both (Audience/Participant)” survey form regarding this question. b. After engaging in and being exposed to cosplay, 53 respondents have improved and deepened their positive perceptions of Japan. 5 of which are those who had a neutral perception of Japan, and 2 respondents who had a negative perception of Japan.
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2. Most of the Filipino Youth’s primary reason as to why they engage and attend cosplay is to meet people and gain new friends who share the same interests; seeing how people portray characters and admire the cosplayers’ costumes only comes in second. 3. The Japanese cosplay characteristic the Filipino Youth admire the most is how creative yet complex the Japanese characters’ costumes are. According to the interviewees (participants/cosplayers), it is making one’s own costume that makes cosplaying fun. 4. The value most Filipino youth cosplayers and audience gain from engaging and being exposed to cosplay is friendship.
B. Conclusion Based on the findings obtained in this study, the researchers concluded that, majority of the Filipino youth are exposed first to anime and manga. They only knew of Japan’s war history through academics and it did not greatly affect their perceptions of Japan at all. The Filipino youth are attracted to Japanese cosplay solely because they classify it as an extension of their fandom for anime and manga. Their creativity and artistic skills are enhanced through cosplay since they get to make and imitate their favorite character’s costume for the event. Also, the benefit they get from cosplaying is, they gain new friends and meet people with the same interests as them. Since many of the respondents were students, their exposure to cosplay was minimal due to time conflicts, financial matters, and also the place where the cosplay events are being held became a problem to them because it was
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far from their homes. Nevertheless, their perceptions of Japan are mostly positive and were deepened when they started to engage in and be exposed to cosplay.
C. Recommendation The researchers would like to recommend for the study to be broadened. In view of the time given for this study, the researchers were only able to gather 55 responses within Metro Manila. The researchers suggest increasing the number of respondents, not only limited within Metro Manila but also from the other regions in the Philippines in order to have a stronger basis with regards to the study. In line with the limited time given for the researchers to conduct this study, they were not able to include the cosplayers’ blog testimonials about their cosplay experience. Hence, the researchers recommend gathering the cosplayers’ testimonials as an additional data for future studies. Since this study tackles about how cosplay helped influence and change the perceptions of the Filipino youth towards Japan, this research paper could act as a guide for the Japanese cosplay community to invite the Filipino cosplayers to their country for them to experience how cosplay is done in Japan where it gained its fame from. Lastly, the researchers would recommend this study for further development and serve as a guide for future references.
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Bibliography “About Cosplay Mania,” Cosplay.ph, accessed February 25, 2014, http://www.cosplay.ph/microsites/cosmania/wp/?p=405. “Cool Japan” Goes Global” (2009), 1, accessed August 4, 2014, http://www.govonline.go.jp/pdf/hlj_ar/vol_0028e/21-23.pdf. “Cosplay Mania ’12,” http://www.gmanetwork.com/news/story/274341/cbb/cosplaymania-12-five-years-of-providing-world-class-cosplay-events. “Enjoy the Month of July by Celebrating Philippines-Japan Friendship Month!,” Embassy of Japan in the Philippines, accessed December 22, 2014, http://www.ph.embjapan.go.jp/pressandspeech/press/pressreleases/2014/52.html. “Events,” Cosplay.ph, accessed July 21, 2014, http://www.cosplay.ph/microsites/cosmania/wp/?cat=5. “Historical Acts of Cultural Diplomacy”, Institute for Cultural Diplomacy, accessed February 25, 2014, http://www.culturaldiplomacy.org/academy/index.php?en_historical-acts-ofcd. “Japan Pop Culture Views: Cosplay”, Japan Monthly Web Magazine, accessed February 25, 2014, https://www.jnto.go.jp/eng/indepth/exotic/JapanesQue/amusing/201102_tr end.html. “Kawaii in Manila,” Kawaii Philippines, accessed August 22, 2014, http://www.kawaii.ph/Kawaii-in-Manila-Brief.pdf. “Kawaii in Manila,” Kawaii Philippines, accessed August 22, 2014, http://kawaii.ph/events/kawaii-activities-in-kawaii-in-manila-2/. “Why Is Japan's Yasukuni Shrine Controversial?,” About.com: Asian History, accessed July 3, 2014, http://asianhistory.about.com/od/japan/f/Yasukuni-ShrineJapan.htm. Anatasia Sukhoretskaya, “Chinese Cosplay” (2014), www.theworldofchinese.com, accessed August 6, 2014, http://www.theworldofchinese.com/2014/05/chinesecosplay/.
Annie Manion, “Discovering Japan: Anime and Learning Japanese Culture”, 5, accessed on August 26, 2014, http://www.chanpon.org/archive/manionthesis.pdf. Ashley Crossman, “Popular Culture,” accessed August 26, 2013, http://sociology.about.com/od/P_Index/g/Popular- Culture.htm. Ashley Crossman, “Social Exchange Theory,” accessed August 25, 2013, http://sociology.about.com/od/Sociological-Theory/a/social-exchangetheory.htm. David Kang and Ji-Young Lee, “Japan-Korea Relations: Inaction for Inaction,” Comparative Connections (2008): 6, accessed August 17, 2014, http://csis.org/files/media/csis/pubs/0801qjapan_korea.pdf. Douglas McGray, “Japan’s Gross National Cool” (2002), accessed August 4, 2014, http://web.mit.edu/condry/Public/cooljapan/Feb23-2006/McGray-02GNCool.pdf. Dr. John L. Flynn, “All Dressed Up With Some Place to Go,” Starlog (1988): 89-92. Dr. John L. Flynn, “Costume Fandom: All Dressed Up with Some Place to Go!”, Costuming.org, accessed February 25, 2014, http://www.costuming.org/history.html. Eddie Walsh, “Cosplay Diplomacy”, The Diplomat, accessed February 25, 2014, http://thediplomat.com/2011/09/cosplay-diplomacy/. Janine Fron, et.al, “Playing Dress-Up: Costumes, Roleplay and Imagination” (Undergraduate Thesis, University of Modena and Reggio Emilia, 2007). Jeremy Read, “Kawaii: Culture of Cuteness” (research paper presented in St. Edward’s University, Austin, Texas, March 2005). Joseph S. Nye, “The Changing Nature of Power,” in Soft Power: The Means to Success in World Politics (New York: Public Affairs, 2004), 6. Justin McCurry, “Greenpeace launches major anti-whaling campaign in Japan,” The Guardian, December 9, 2008, accessed July 3, 2014, http://www.theguardian.com/world/2008/dec/09/japan-whale-hunting. Justin McCurry, “Japan's dolphin slaughter: cruelty or custom?,” Global Post, September 30, 2010, accessed July 3,
2014, http://www.globalpost.com/dispatch/japan/100929/taiji-dolphin-slaughtercove. Kanako Shiokawa, “Cute But Deadly: Women and Violence in Japanese Comics,” Themes and Issues in Asian Cartooning: Cute, Cheap, Mad and Sexy, ed. John A. Lent, Bowling Green, Kentucky: Bowling Green State University Popular Press, 1999. 93–125. Kanzhi Wang, “Cosplay in China: Popular Culture and Youth Community” (2010), 15, accessed August 6, 2014, http://lup.lub.lu.se/luur/download?func=downloadFile&recordOId=1698210 &fileOId=1698215. Kathleen Masalski, “Examining the Japanese History Textbook Controversies,” Japan Digest, November 2001, accessed July 3, 2014, http://iisdb.stanford.edu/docs/134/textbook.pdf. Ma. Bernadette Canave Bravo, “Japanese Cultural Influence in the Philippines through Anime’s Popularity and Pervasiveness” (PhD diss., Waseda University, 2012). Milton C. Cummings Jr., Cultural Diplomacy and the United States Government: A Survey, (Washington, D.C: Center for Arts and Culture, 2003), 1. Natasha Nesic, “No, Really: What is Cosplay?” (Undergraduate Thesis, Mount Holyoke College, 2013). Natsume Fusanosuke, “Japanese Manga: Its Expression and Popularity,” ABD, 2003, accessed August 20, 2014, http://www.accu.or.jp/appreb/report/abd/341/abd3411.html. Nicolle Lamerichs, “The Cultural Dynamic of Doujinshi and Cosplay: Local Anime Fandom in Japan, USA and Europe,” Participations: Journal of Audience and Reception Studies 10 (2013): 158, accessed on October 16, 2014, http://www.participations.org/Volume%2010/Issue%201/10%20Lamerichs %2010.1.pdf Nissim Kadosh Otmazgin, “Japanese Popular Culture in East and Southeast Asia: Time for a Regional Paradigm?,” The Asia-Pacific Journal: Japan Focus (2008): 1, accessed August 6, 2014, http://www.japanfocus.org/-nissim_kadoshotmazgin/2660. Otmazgin, “Japanese Popular Culture in East and Southeast Asia”, 2-3.
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APPENDIX A Good Day! We, Joy Angeline Benino and Sarah Joyce Tayag, undergraduate students from De La Salle University-Manila taking up International Studies Major in Japanese Studies, would like to take 10 to 15 minutes of your time to answer this survey. The purpose of this study is to identify and analyze the perceptions of the Filipino youth toward Japan, mainly the cosplayers and its audience, before and after they engage and be exposed in Japan’s sub-culture which is Cosplay. Your participation in this study through answering this survey will contribute to the knowledge on how the Filipino youth perceive Japan through cosplay. After we have finished data collection, we also will provide you with more detailed information about the purposes of the study and the research findings. No risks or discomforts are anticipated from taking part in this study. If you feel uncomfortable with a question, you can skip that question or withdraw from the study altogether. If you decide to quit at any time before you have finished the questionnaire, your answers will NOT be recorded. Your responses will be kept completely confidential. We will NOT know your IP address when you respond to the Internet survey. We will ask you to include your weblog name and address at the end of the survey so that we can get your previous testimonies and experiences about your participation in cosplay. Only the researchers will see your individual survey responses and the results of our content analysis of your weblog. After we have finished data collection and have sent you a copy of the results of the study, we will destroy the list of participants’ weblog addresses. At the end of the
survey, we will ask your permission to use quotations from your weblog for professional presentations and publications. If you agree to let us use quotations, we will NOT include any names or nicknames you use, nor will we include your weblog name or weblog address along with the quotations. The results of the study will be used for scholarly purposes only. The results from the study will be presented in educational settings and will be published as a thesis that will be submitted to the International Studies Department of the De La Salle UniversityManila only and may be used for other educational purposes. If you have concerns or questions about this study, please contact Joy Angeline Benino at
[email protected] or Sarah Joyce Tayag at
[email protected]. We will be glad to respond to your queries regarding our study. By beginning the survey, you acknowledge that you have read this information and agree to participate in this research, with the knowledge that you are free to withdraw your participation at any time without penalty. * Required NAME: (optional) _________________________ *AGE: _____ *GENDER: □ MALE □ FEMALE *OCCUPATION: □ Student
□ Working
□ Others: ______________
*Choose your role in the cosplay event: □ Participant/Cosplayer
□ Audience
□ Both
1. How did you know about “cosplay”? Choose as many as you like □ Friends
□ School
□ Internet
□ Family
□ TV
□ Others: _______________
2. How did you learn about cosplay events being held in Metro Manila? Choose as many as you like: □ Friends
□ School
□ Internet
□ Family
□ TV
□ Others: ________________
3. What is/are the reason/s that made you decide to go see the cosplay events? ________________________________________________________________ ________________________________________________________________
4. What are the different or specific characteristics of Japanese cosplay that interest you to be continuously exposed in such activity? ________________________________________________________________ ________________________________________________________________
5. How long have you been attending to watch cosplay events here in the Philippines? □ 0-1 year
□ 4-5 years
□ 2-3 years
□ More than 5 years
6. What are your views and opinions on the costume players who participate in cosplay? ________________________________________________________________ ________________________________________________________________
7. Seeing the cosplayers, did you ever consider attending as a cosplayer yourself instead of being just an audience to a cosplay event? Why? ________________________________________________________________ ________________________________________________________________
8. Before knowing about cosplay or other Japanese sub-culture (e.g. anime, manga, J-pop, etc.), what are your views and perceptions of Japan? Are you aware of its wartime image? ________________________________________________________________ ________________________________________________________________
9. Did your perception of Japan change when you started being exposed to cosplay or any other Japan-related media (e.g. anime, manga, J-pop, etc.)? ________________________________________________________________ ________________________________________________________________
10. If your perception of Japan changed through cosplay, how do you see Japan today? Why? (If no, proceed to #9.) ________________________________________________________________ ________________________________________________________________
11. Why did your perception of Japan remain the same? (Skip this question if you answered #9.) ________________________________________________________________ ________________________________________________________________
12. What are the values and learnings that you gain as you continue to watch and see the cosplay events? ________________________________________________________________ ________________________________________________________________
13. Do you have a blog or website wherein you share your experience/s about Cosplay in the Philippines? □ Yes, I have. Kindly provide the link to your website. ________________________________________________________________ □ No, I do not have.
14. Do you consent to an interview with the researchers to add or elaborate on your answers? □ Yes. Kindly fill out the following necessary information regarding your availability for the interview. Date: ______________________________________________________ Time: ______________________________________________________ Contact No.: ________________________________________________ Venue: □ Starbucks, Vito Cruz □ McDonalds, Vito Cruz □ Robinsons Manila □ SM Manila □ Others (Along Taft): ___________________________________ □ No.
15. Other comments: ________________________________________________________________ ________________________________________________________________
Thank You!
APPENDIX B Good Day! We, Joy Angeline Benino and Sarah Joyce Tayag, undergraduate students from De La Salle University-Manila taking up International Studies Major in Japanese Studies, would like to take 10 to 15 minutes of your time to answer this survey. The purpose of this study is to identify and analyze the perceptions of the Filipino youth toward Japan, mainly the cosplayers and its audience, before and after they engage and be exposed in Japan’s sub-culture which is Cosplay. Your participation in this study through answering this survey will contribute to the knowledge on how the Filipino youth perceive Japan through cosplay. After we have finished data collection, we also will provide you with more detailed information about the purposes of the study and the research findings. No risks or discomforts are anticipated from taking part in this study. If you feel uncomfortable with a question, you can skip that question or withdraw from the study altogether. If you decide to quit at any time before you have finished the questionnaire, your answers will NOT be recorded. Your responses will be kept completely confidential. We will NOT know your IP address when you respond to the Internet survey. We will ask you to include your weblog name and address at the end of the survey so that we can get your previous testimonies and experiences about your participation in cosplay. Only the researchers will see your individual survey responses and the results of our content analysis of your weblog. After we have finished data collection and have sent you a copy of the results of the study, we will destroy the list of participants’ weblog addresses. At the end of the
survey, we will ask your permission to use quotations from your weblog for professional presentations and publications. If you agree to let us use quotations, we will NOT include any names or nicknames you use, nor will we include your weblog name or weblog address along with the quotations. The results of the study will be used for scholarly purposes only. The results from the study will be presented in educational settings and will be published as a thesis that will be submitted to the International Studies Department of the De La Salle UniversityManila only and may be used for other educational purposes. If you have concerns or questions about this study, please contact Joy Angeline Benino at
[email protected] or Sarah Joyce Tayag at
[email protected]. We will be glad to respond to your queries regarding our study. By beginning the survey, you acknowledge that you have read this information and agree to participate in this research, with the knowledge that you are free to withdraw your participation at any time without penalty. * Required NAME: (optional) _________________________ *AGE: _____ *GENDER: □ MALE □ FEMALE *OCCUPATION: □ Student
□ Working
□ Others: ______________
*Choose your role in the cosplay event: □ Participant/Cosplayer
□ Audience
□ Both
1. How did you know about “cosplay”? Choose as many as you like: □ Friends
□ School
□ Internet
□ Family
□ TV
□ Others: _______________
2. How did you learn about cosplay events being held in Metro Manila? Choose as many as you like: □ Friends
□ School
□ Internet
□ Family
□ TV
□ Others: ________________
3. What is/are the reason/s that made you decide to participate in cosplay events? ________________________________________________________________ ________________________________________________________________
4. What are the different or specific characteristics of Japanese cosplay that interest you to continuously engage in such activity? ________________________________________________________________ ________________________________________________________________
5. How long have you been attending to participate in cosplay events here in the Philippines? □ 0-1 year
□ 4-5 years
□ 2-3 years
□ More than 5 years.
6. What kind of character/s do you imitate as a participant to the event? Choose as many as you like. □ Tsundere (acts strong and tough on the outside, but is actually a softy or a warm person) □ Kuudere (simply cold and seemingly uncaring, but opens up to the people they truly trust and love) □ Dandere (associated with a person who is extremely quiet and shy) □ Yandere (extremely sweet, loving, and caring, but is mentally unstable resulting to violence as a way for him/her to show his/her affection to others) □ Others: _______________
7. In relation to the previous question, why did you choose such character/s to portray? Does it have any similarities to your personality and attitude? How? ________________________________________________________________ ________________________________________________________________
8. Before knowing and participating in cosplay, what are your views and perceptions of Japan? Are you aware of its wartime image? ________________________________________________________________ ________________________________________________________________
9. Did your perception of Japan changed when you started engaging in cosplay or any other Japan-related media (e.g. anime, manga, J-pop, etc.)? ________________________________________________________________ ________________________________________________________________
10. If your perception of Japan changed through cosplay, how do you see Japan today? Why? (If no, proceed to #9.) ________________________________________________________________ ________________________________________________________________
11. Why did your perception of Japan remain the same? (Skip this question if you answered #9.) ________________________________________________________________ ________________________________________________________________
12. What are the values and learnings that you gain as you continue to participate in cosplay events? ________________________________________________________________ ________________________________________________________________
13. Do you have a blog or website wherein you share your experience/s about Cosplay in the Philippines? □ Yes, I have. Kindly provide the link to your website. ________________________________________________________________ □ No, I do not have.
14. Do you consent to an interview with the researchers to add or elaborate on your answers? □ Yes. Kindly fill out the following necessary information regarding your availability for the interview. Date: ______________________________________________________ Time: ______________________________________________________ Contact No.: ________________________________________________ Venue: □ Starbucks, Vito Cruz □ McDonalds, Vito Cruz □ Robinsons Manila □ SM Manila □ Others (Along Taft): ___________________________________ □ No.
15. Other comments: ________________________________________________________________ ________________________________________________________________
Thank You!
APPENDIX C Good Day! We, Joy Angeline Benino and Sarah Joyce Tayag, undergraduate students from De La Salle University-Manila taking up International Studies Major in Japanese Studies, would like to take 10 to 15 minutes of your time to answer this survey. The purpose of this study is to identify and analyze the perceptions of the Filipino youth toward Japan, mainly the cosplayers and its audience, before and after they engage and be exposed in Japan’s sub-culture which is Cosplay. Your participation in this study through answering this survey will contribute to the knowledge on how the Filipino youth perceive Japan through cosplay. After we have finished data collection, we also will provide you with more detailed information about the purposes of the study and the research findings. No risks or discomforts are anticipated from taking part in this study. If you feel uncomfortable with a question, you can skip that question or withdraw from the study altogether. If you decide to quit at any time before you have finished the questionnaire, your answers will NOT be recorded. Your responses will be kept completely confidential. We will NOT know your IP address when you respond to the Internet survey. We will ask you to include your weblog name and address at the end of the survey so that we can get your previous testimonies and experiences about your participation in cosplay. Only the researchers will see your individual survey responses and the results of our content analysis of your weblog. After we have finished data collection and have sent you a copy of the results of the study, we will destroy the list of participants’ weblog addresses. At the end of the
survey, we will ask your permission to use quotations from your weblog for professional presentations and publications. If you agree to let us use quotations, we will NOT include any names or nicknames you use, nor will we include your weblog name or weblog address along with the quotations. The results of the study will be used for scholarly purposes only. The results from the study will be presented in educational settings and will be published as a thesis that will be submitted to the International Studies Department of the De La Salle UniversityManila only and may be used for other educational purposes. If you have concerns or questions about this study, please contact Joy Angeline Benino at
[email protected] or Sarah Joyce Tayag at
[email protected]. We will be glad to respond to your queries regarding our study. By beginning the survey, you acknowledge that you have read this information and agree to participate in this research, with the knowledge that you are free to withdraw your participation at any time without penalty. * Required NAME: (optional) _________________________ *AGE: _____ *GENDER: □ MALE □ FEMALE *OCCUPATION: □ Student
□ Working
□ Others: ______________
*Choose your role in the cosplay event: □ Participant/Cosplayer
□ Audience
□ Both
1. How did you know about “cosplay”? Choose as many as you like: □ Friends
□ School
□ Internet
□ Family
□ TV
□ Others: _______________
2. How did you learn about cosplay events being held in Metro Manila? Choose as many as you like: □ Friends
□ School
□ Internet
□ Family
□ TV
□ Others: ________________
3. What is/are the reason/s that made you decide to participate in cosplay events? ________________________________________________________________ ________________________________________________________________
4. What are the different or specific characteristics of Japanese cosplay that interest you to continuously engage in such activity? ________________________________________________________________ ________________________________________________________________
5. How long have you been attending to participate in cosplay events here in the Philippines? □ 0-1 year
□ 4-5 years
□ 2-3 years
□ More than 5 years
6. As an audience, what are your views and opinions on the costume players who participate in cosplay? ________________________________________________________________ ________________________________________________________________
7. As a cosplayer, what kind of character/s do you imitate as a participant to the event? Choose as many as you like. □ Tsundere (acts strong and tough on the outside, but is actually a softy or a warm person) □ Kuudere (simply cold and seemingly uncaring, but opens up to the people they truly trust and love) □ Dandere (associated with a person who is extremely quiet and shy) □ Yandere (extremely sweet, loving, and caring, but is mentally unstable resulting to violence as a way for him/her to show his/her affection to others) □ Others: _______________
8. In relation to the previous question, why did you choose such character/s to portray? Does it have any similarities to your personality and attitude? How? ________________________________________________________________ ________________________________________________________________
9. Before knowing and participating in cosplay, what are your views and perceptions of Japan? Are you aware of its wartime image? ________________________________________________________________ ________________________________________________________________
10. Did your perception of Japan changed when you started engaging in cosplay or any other Japan-related media (e.g. anime, manga, J-pop, etc.)? ________________________________________________________________ ________________________________________________________________
11. If your perception of Japan changed through cosplay, how do you see Japan today? Why? (If no, proceed to #9.) ________________________________________________________________ ________________________________________________________________
12. Why did your perception of Japan remain the same? (Skip this question if you answered #9.) ________________________________________________________________ ________________________________________________________________
13. What are the values and learnings that you gain as you continue to participate in cosplay events? ________________________________________________________________ ________________________________________________________________
14. Do you have a blog or website wherein you share your experience/s about Cosplay in the Philippines? □ Yes, I have. Kindly provide the link to your website. ________________________________________________________________ □ No, I do not have.
15. Do you consent to an interview with the researchers to add or elaborate on your answers? □ Yes. Kindly fill out the following necessary information regarding your availability for the interview. Date: ______________________________________________________ Time: ______________________________________________________ Contact No.: ________________________________________________ Venue: □ Starbucks, Vito Cruz □ McDonalds, Vito Cruz □ Robinsons Manila □ SM Manila □ Others (Along Taft): ___________________________________ □ No.
16. Other comments: ________________________________________________________________ ________________________________________________________________
Thank You!
APPENDIX D Interview Guide Questions For the Audience
For the Cosplayers/Participants and Both (Audience and Cosplayer/Participant)
1. When you first heard of cosplay, what came into your mind?
1. When you first heard of cosplay, what came into your mind?
2. When you first heard of Japan, what were your thoughts about it?
2. When you first heard of Japan, what were your thoughts about it?
3. Are you aware of the characters that the cosplayers imitate? What are your thoughts about them?
3. What are your different reasons of choosing such kind of character to imitate?
4. Did cosplay help mold or enhance your appreciation of Japan?
4. Did cosplay help mold or enhance your appreciation of Japan?
5. What do you think is the core of cosplay?
5. What do you think is the core of cosplay?
6. What do you think is the goal of Japan by promoting cosplay as one of their subcultures?
6. What do you think is the goal of Japan by promoting cosplay as one of their subcultures?
7. What is cosplay for you? Why do you only attend and not dress up in cosplay events?
7. What is cosplay for you? Why do you engage in it?
