10 Japanese Customs you Must Know Before a Trip to Japan

If you know these key Japanese customs, you’ll get closer to the locals and see beneath the surface of Japan.
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1. Addressing Someone, Respect

Bowing is nothing less than an art form in Japan, respect pounded into children’s heads from the moment they enter school. For tourists, a simple inclination of the head or an attempt at a bow at the waist will usually suffice.

The duration and inclination of the bow is proportionate to the elevation of the person you’re addressing.
For example, a friend might get a lightning-fast 30-degree bow; an office superior might get a slow, extended, 70-degree bow. It’s all about position and circumstance.

In addition to bowing, addressing someone properly is key. Just as a “Dr. Smith” might feel a little insulted if you were to refer to him as “Smith”, so would a Japanese if you do not attach the suffix “san” to their last name, or “sama” if you are trying to be particularly respectful.

Usually children are content with just their first names, but you can add the suffix “chan” for girls and “kun” for boys if you like.

2. Table Manners

Some simple bullet points here:
- If you’re with a dinner party and receive drinks, wait before raising the glass to your lips. Everyone will be served, and someone will take the lead, make a speech, raise his drink, and yell “kampai!” (cheers).

- You will receive a small wet cloth at most Japanese restaurants. Use this to wash your hands before eating, then carefully fold it and set it aside on the table. Do not use it as a napkin, or to touch any part of your face.

- Slurping noodles or making loud noises while eating is OK! In fact, slurping hot food like ramen is polite, to show you are enjoying it.

- You may raise bowls to your mouth to make it easier to eat with chopsticks, especially bowls of rice.

- Just before digging in, whether it be a seven-course dinner or a sample at a supermarket, it’s polite to say “itadakimasu” (I will receive).

3. No Tipping

There is no tipping in any situation in Japan – cabs, restaurants, personal care. To tip someone is actually a little insulting; the services you’ve asked for are covered by the price given, so why pay more?

If you are in a large area like Tokyo and can’t speak any Japanese, a waiter or waitress might take the extra money you happen to leave rather than force themselves to deal with the awkward situation of explaining the concept of no tipping in broken English.

Just remind yourself: a price is a price.


4. Chopsticks

Depending on the restaurant you decide upon for that evening, you may be required to use chopsticks.

If for some reason you aren’t too adept with chopsticks, try to learn before passing through immigration. It’s really not that hard.

One false assumption among many Japanese that’s slowly being dispelled by time is the “uniqueness” of Japan. Japan is an island nation; Japan is the only country that has four seasons; foreigners can’t understand Japan; only Japanese can use chopsticks properly.

I cannot count the number of times I’ve been told I use Japanese chopsticks with skill and grace, despite the fact I’ve seen three-year-olds managing just as well.

If you’re dining with a Japanese, don’t be surprised if you receive a look of amazement at your ability to eat like a Japanese.



5. Thresholds

Take off your shoes at the entrance to all homes, and most businesses and hotels. Usually a rack will be provided to store your shoes, and pair of guest slippers will be sitting nearby; many Japanese bring a pair of indoor slippers just in case, though.

Never wear slippers when you need to step onto a tatami mat (used in most Japanese homes and hotels; the standard unit of measurement for area even today), and be careful to remove the toilet slippers waiting for you in the bathroom.

It is extremely bad form, for example, to reenter the main room of a house wearing slippers that have been running across dirty linoleum.

6. Masks





SARS is long gone, though I did happen to see a “SARS Preparation Kit” during my brief stay in a Japanese hospital.

Nevertheless, sterilized masks, like the ones you’d see in the emergency room, are commonly used by salarymen, office ladies, and municipal workers to protect other people from their germs.

Rather sensible when you think about it, as masks do not protect the wearer so much as the ones around him. The reason could be anything from a slight cold to simply being worried about exposing other people; don’t let it concern you on your Japanese vacation.

7. Conformity

When groups of high school students in Japan were asked to identify the dangers facing children today, the majority agreed on the number one threat: individualism.

Japanese society is focused on the group. Western cultures are focused on the individual.
Does this mean that the Japanese are nothing more that worker bees in a vast hive of steel and concrete? Certainly not, but their presentation of such individual qualities are carefully calculated and given in doses.

Drawing attention to yourself as an individual is a huge no-no: don’t blow your nose in public, try to avoid eating while on the go, and don’t speak on your cell phone in crowded public areas like trains or buses.

The main problem with this is that foreigners simply can’t avoid standing out; we stick out like sore thumbs no matter how long we’ve been here, or how much we know about Japanese culture and society.

As a result, being in Japan gives foreigners the status of D-level celebrities: you’ll get glances, shouts for attention, calls to have pictures taken with people, requests for autographs (happened once to me on a southern island), and overall just more awareness of being a “stake that sticks out”.

8. Bathing





Public bathhouses are alive and well in Japan.
Sento, or neighborhood bathhouses, can be found from the largest area in Shinjuku to a small town on the island of Shikoku.

Onsen, or hot springs, are very popular as weekend excursion resorts.

Unlike in western cultures, the Japanese bath is used after you have washed and rinsed, and feel like soaking in extra-hot water for 10, 20, 30 minutes. It’s an acquired taste to be sure, but can be very relaxing.

If you happen to be invited into a Japanese household, you will be given the honor of using the bath first, usually before dinner. Be extra careful so as to not dirty the water in any way; the sanctity of the ofuro (bath) is of utmost importance.

Take the time to visit a sento if you have the opportunity. These are places without barriers, without regard to skin color, age, or language… well, they are separated by sex with the exception of some mixed-bathing areas.

Lying in the hot water and slowly listening to my heart beat slow down is a time when I feel most attuned to Japanese culture.

9. Speaking English

Japanese will generally assume you are a native English speaker until you prove otherwise.

Even during a short visit, you’ll see:
-A group of schoolchildren in neatly pressed Prussian uniforms walking across the intersection, shouting “Hello! Hello! Herro!” as they assess your foreign features

-A random person just walking up to you and asking “Where are you from?”
Friendly? Certainly. But I can see how constant celebrity status might get confusing or frustrating for travelers who don’t speak English.

Although you may speak some or fluent Japanese, the default language of choice is English.

Many Japanese will insist on using their own English language ability, however limited, to converse with foreigners, in spite of the fact that the person on the opposing end may have more knowledge of the local tongue.

10. Safety

Every Japanese person I have met warns me to be safe in my travels, to take care of my belongings. Every foreigner tells me not to worry, nothing can go wrong, nothing will be stolen.

This may be based on individual experience, but there are other issues:

- The fear of crime in Japan is high, especially among Japanese citizens.

- Murders happen. I repeat, murders happen. People are attacked, robbed, assaulted, raped, beaten, and swindled

However, Japan’s low crime rate is evident when you see businessmen who have missed the last train sleeping outside on a park bench, or a group of 5-year-old boys walking by themselves for over a kilometer to make the starting bell at school.
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Celebrating the kimono

BY SHARON SCHLEGEL
Special to the Times

The kimono, a fashion classic with a fascinating history, is very much alive.
Right now, fashion-minded shoppers can find "kimono-sleeved" blouses on sale, a hot spring item, while lingerie designers consider the short, kimono-style wrap robe a staple of intimate apparel.

But an up-close look at the beauty of the traditional floor-length kimono, which emerged in Japan in the eighth century as both an all-purpose everyday garment and a robe for special occasions, is a lot harder to come by.

Through July 20, 85 original and breath-taking kimono (the plural is the same as the singular) are on display, in all their brilliance of color and riotous range of pattern, at the Philadelphia Museum of Art's new Perelman Building. The exhibit, "Fashioning Kimono: Art Deco and Modernism in Japan," has been brought to U.S. shores for the first time by Swiss collector Jeffrey Montgomery. It dates from the early to mid-20th century, when the kimono was at its height of its creative design, its patterns heavily influenced by Europe's budding Art Deco and Art Nouveau movements.

Included are a wide range of artfully woven and hand-painted silks: from watercolor-like Japanese pastoral scenes, which typically include cranes and bamboo, to oversize florals, abstract patterns and bold geometrics, which jump out at you like 1960s Op Art.

The unusual color combinations and freedom of design are stunning. One typically fanciful stylized floral pattern pits orange and pink rose-like flowers, set inside gold six-pointed stars, against a background of magenta. A 1910 stencil-printed silk weave boasts enormous white and yellow camellias, with long, languorous green or blue leaves, all set against a brilliant red.
A 1930s example looks like intertwined strands of DNA: mingled vertical lines of yellow, red and white, in bold contrast to a black background. The pattern seems totally contemporary, but was actually influenced by European Cubist art of the time.

As the exhibit's title indicates, the explosion of interest in what European artists and designers in the early to mid-20th century called "Orientalism" was matched by the strong influence of European Art Deco and Modernism on Japanese kimono patterns.

Also not to be missed are nine rare men's kimono, with a whole different dynamic. These are each of solemn black silk -- on the outside. But they are propped open to reveal linings covered with calligraphy or gorgeously hand-illustrated scenes: battlefield encounters, processions of feudal lords, boats passing under Mount Fuji.

The idea, explains Kristina Hoagland, the exhibit's curator and the museum's associate curator of textile and design, was to modestly "hide your extravagance" by placing the intricately inked adornment out of sight, inside the kimono.

Japanese sumptuary laws frowning on public display of wealth, she says, encouraged the idea of hidden beauty in male apparel. Hoagland compares the custom to the wearing of designer labels on the inside, as they used to be through the 1950s, lending pride to the owner and his "in the know" class of friends alone.

Montgomery, who gathered the collection over 30 years, recently described his first glimpse of them, at the exhibit's press opening.

"I felt an extraordinary energy, and a relation to both Art Nouveau and Art Deco in many of them. I'm still taken by their beauty, but when I first found them, they were being discarded."
That was the result of changing values after World War II. Prior to that, the kimono was proudly seen as Japan's national costume. After the war, when Japan sought to Westernize, the kimono was no longer welcome. Thousands of kimono were tossed away or burned. The era of the "living" kimono, when the garb was worn routinely, ended.

Yet the kimono's international fashion influence did not. It had started as early as 1910, when French fashion pioneer Paul Poiret helped bring women out of stiff-boned corsets and into softer silhouettes, using wide, loose sleeves, and cocoonlike wrap coats, clearly kimono-inspired. Although the kimono remained in post-war use in Japan for ceremonial occasions alone, at the turn of the 21st century, a new generation of Japanese women rediscovered it. Today, women in their 20s and 30s in Japan are sometimes seen sporting a kimono at graduation ceremonies, or even wearing them as coats.

Meanwhile, a growing interest in vintage kimono has helped unearth precious originals long packed away and preserved.

This gorgeous exhibit shows clearly that while today's high-speed world may be a recent phenomenon, the interplay of cultural influence between nations is hardly brand new.

http://www.nj.com/living/times/index.ssf?/base/living-1/1211861141253740.xml&coll=5

Hello! Fashion: Kansai Yamamoto, 1971 to 1973 at The Philadelphia Museum of Art

Flying Saucer Dress, Spring/summer 1994, (Designed by Issey Miyake, Japanese, born 1938). Polyester plain weave, Philadelphia Museum of Art; Gift of Issey Miyake.

PHILADELPHIA.- Kansai Yamamoto (born 1944), one of the founding fathers of Japanese contemporary fashion, is best known for his work of the 1970s and 1980s. Inspired by the colorful art of Japan’s Momoyama period (1568–1615) and traditional Kabuki theater, his exuberant designs contrast with the Zen-like simplicity and deconstructed silhouettes favored today by designers such as Yohji Yamamoto, Rei Kawakubo, and Issey Miyake.

Kansai opened his first boutique in Tokyo in 1968 and eventually expanded worldwide. His collections debuted in the United States in 1971 at Hess’s in Allentown, Pennsylvania, a department store known for its controversial fashion shows of American and European styles selected for their potential to influence ready-to-wear clothing designs. (Rudy Gernreich’s topless bathing suit was first modeled at Hess’s in 1964.) That same year Kansai became the first Japanese designer to show in London, where his clothing was seen by musician David Bowie; Bowie later commissioned Kansai to create the wardrobe for his Ziggy Stardust stage persona. The designer was again featured in Hess’s showing of Asian trendsetting fashions for fall/winter 1973 at One World Trade Center in New York. All of the Kansai ensembles on view in this gallery were modeled at the New York event; several were shown earlier in London.

Since his last collection for fall/winter 1992, Kansai has lent his name to licensed products ranging from eyeglasses to tableware. His fashion show spectaculars have become the framework for the grand Kansai Super Shows, the first of which was held in Moscow’s Red Square in 1993. Others held since in Japan, Vietnam, India, and Berlin have drawn audiences in the hundreds of thousands.

Kansai recently returned to fashion as a designer of traditional Japanese garments in a contemporary idiom including kimono (2004) and Hanten festival–inspired coats (2007). He continues to produce Super Shows as part of a larger initiative to invigorate the arts in Japan and serves as a government advisor on tourism and cultural affairs.

http://www.artdaily.com/index.asp?int_sec=2&int_new=24363

To the Beat of a Different Drum

Both visually stunning and amazingly educational, visitors to the Children's Japanese Art Festival didn't need a plane ticket to be transported to the far east last Friday night.

After a year long study of Japanese arts and culture students from Jefferson, Washington and Lincoln Elementary schools in Lindsay came together at Washington Elementary to show off their educational venture to Japan.

Art projects and painted lanterns were everywhere you looked. It seemed every child was dressed in a colorful Kimono and was enthusiastically ready to tell or show friends and relatives what they had learned.

The evening also included multiple special guests including the Director of the Japan Information Center at the Consulate General of Japan in San Francisco, Midori Yamamitsu, Japanese Koto player Mrs. Tokumoto, the Fresno Gumyo Taiko Drummers, Professor of Sculpture at COS Richard Flores, Japanese artist Hiroko Sakai and brush and ink artist Joy Harvey.

The school district focused on the study of Japanese art and culture as a follow up plan to the Japan Fulbright Memorial Teachers Program. The program started with hands on research and study for three weeks in Japan by Director of Professional Development in Art Education, Michelle Bussey.

Throughout the year Japanese art history, geography, haiku, brush and ink, raku ceramics, silk painting, block printing and scroll painting techniques have found their way into classrooms.

In addition, Bussey brought Japanese artists, Megumi and Hiroko Sakai to conduct professional development, classroom visits, and participate in the Family Literacy and Art Night event Feb. 27. Both we present again at the Children's Japanese Festival.

http://www.thesungazette.com/articles/2008/05/21/news/education/ed01.txt

Meiji Art Techniques

Among the early Meiji artists who were studentsof Fontanesi was Asai Chu. Asai became an advanced painter, who later founded the Meiji Art School In his Kotaba Village, Asai had used the technique taught by Fontanesi of placing a tree in the center of the painting. The tree branches spread out, touching the edge of the canvas. Moving towards the foreground, we see that the artist used shading in tones of black and gray to create space. The dark black can be seen on the house at left. The gray tone is shone as spots on the ground that could either be shadows or the artist's attempt to show the roughness of the ground.
Other techniques can be seen in Mallard Still Life by Iwahashi. Here Iwahashi shows a duck hanging head down with one of its feet and wing tied together. Behind the duck is a wooden wall with the duck's shadow casting on it. Although in this painting the artist uses little modeling, there is evidence that Iwahashi used this technique. For example in the area between the body of the duck and the wing Iwahashi darkens it by using a light tone of black to create a sense of volume and shadow. The shadow of the duck casting on the wall is quite effective in creating a sense of space and three-dimensionality. The shadow itself consists of different shades of black. On careful observation, the outer edge of the shadow is a light grayish black that gets darker inside. Also notice the light reflecting on the duck's belly adding to the realistic appearance that Meiji artists want to achieve.