History of Japanese pop culture

Japan Pop!

History of Japanese Pop Culture

The Japanese introduced Karaoke in the mid-1970s, and many have since argued that this was one of Japan's best known and greatest contributions to the world (Shimatachi, 101). Karaoke in Japan is very different from Karaoke in the United States. In America, Karaoke is viewed primarily "as a kind of talent contest from which the less musically gifted had best abstain" (Shimatachi, 101). Americans commonly go to nightclubs to show off their talents and attempt to win some money in the process. Only those with adequate singing voices are considered serious Karaoke participants. In Japan however, Karaoke is utilized not only as a form of entertainment, but also as an important means with which to conduct business (Shimatachi, 101). Karaoke in Japan is encouraged among all people equally, and is typically carried out as a means to develop camaraderie. These ideas and more are explored in greater detail below.

Karaoke has been referred to in Asia as "an electric geisha - a modern invention that plays the socializing role traditionally performed by a hostess" (Shimatachi, 101) and is used to "draw out guests" and help clients establish a level of comfort and rapport when meeting. The person hosting a meeting will be weary of the musical likes and dislikes of his/her guests, to ensure adequate appreciation and enjoyment. Westerners however view Karaoke primarily as a means of entertainment, and as a way to establish themselves as a local talent. Most Americans typically participate in Karaoke in the hopes of winning a cash prize or recognition among their peers as a top quality singer. In America, Karaoke is not seen as a method of enhancing communication, though it could be.

The differences in perception of Karaoke are due in part to the different socialization rituals that exist in Japan and among Americans. In Japan for example, typically individuals conduct a method of meetings referred to as "ringisei" where each member attempts to "achieve consensus rather than score points" (Shimatachi, 102). Consensus building is in fact a staple of solid relational building in the Asian culture. Part of the Karaoke process in Japan includes taking into account the musical preferences of guests, as a proper host would do, and sharing appropriate compliments or jokes after a performance to thank the host for entertaining appropriately (Shimatachi, 102).

Interestingly, in Japan a participant would not shy away from Karaoke merely because he/she did not sing well. In fact, a participant with mediocre singing skills is likely to be more enthusiastically cheered on than someone who is an established vocalist. This again is due in part to the notion that Karaoke in Japan is not competitive in nature. Not so in the United States, where anyone who is "less than a Pavarotti" may "shy away from the spotlight" (Shimatachi, 103). In Japan the importance of Karaoke revolves around participation, not in singing talent, and shying away from participation in the group activity may actually harm ones relationship with his/her guests and peers.

Karaoke in its truest form recognizes someone for their effort rather than there talent. An individual who shows off in front of the microphone in Japan is likely to be less highly regarded than someone who exhibits "doryoku" or sincere effort (Shimatachi, 103). Many American's feel that they should not perform if they do not have adequate talent; this is perhaps a side effect of a culture that pushes competition in all aspects of life. However, In Japan, the culture emphasizes a philosophy more along the lines of everyone is created equal (Shimatachi, 104).

Most people in Japan begin participating in Karaoke rituals very early on in life. Teenagers typically will get together in karaoke "boxes" which are small rooms with a microphone and music box, and everyone in the group takes a turn singing, no matter their talent (Shimatachi, 104). This is somewhat similar to a type of singing called "freestyling" in the United States, where smaller groups of people sometimes gather around a microphone and rap impromptu (Shimatachi, 104). Again the differences are evident though. In Japan, everyone participates in this event, no matter how poor a singer; in the U.S., those who do not have good rapping or freestyling abilities are likely to be chided and ridiculed, and not invited to participate. There is a very "obvious distinction between those with talent and those who remain spectators" (Shimatachi, 104). This again is perhaps due in part to the more individualized and competitive notions that are built into the psyche of Americans at an early age.