For my CIP I chose to take sumi-e lessons at アトリエ喜心. I knew from the start that I wanted my CIP to be art related, and I wanted to learn about something I wouldn’t get the chance to in America. I also wanted to do something I’ve never done before, and since I’ve mostly done pencil or digital art, working with ink was a completely new experience for me. 

Every week, I had two-hour lessons held at my teacher’s atelier. There were usually two or three other students as well, but they would filter in and out at their own pace. It seemed like many of the students had been going there for a long time and seemed to mostly use it as a workspace and for the materials. For my first lesson, the teacher had me paint only straight lines for two hours, which might seem menial but was actually very helpful in getting familiar with the brush and ink. I’m used to having the ability to erase or undo my mistakes, so working with a permanent medium like ink forced me to be more careful with my strokes and made me learn how to work with the mistakes I’ve made. The lessons usually consisted of choosing a sumi-e painting I liked and recreating it while receiving advice from the teacher. He would usually do a demo for me at the start, and since he would actually paint what he was explaining, it was very easy to follow along. I was also able to pick up some sumi-e and art related words. It was rewarding to see my own progress and how much more natural my strokes had become compared to the awkward, jagged lines I had made during my first lesson. 

lass. There were actually a few times where I lost track of time and stayed past my lesson time. Since starting college, I haven’t had much time to do art, so it was nice that I had a scheduled time every week to paint. However, I unfortunately didn’t get many chances to speak Japanese during my lessons, since the atelier was almost always completely silent, and it was hard to start a conversation. I spoke a little with my teacher, but it was mostly just him giving guidance on what I was working on. I somewhat regret not choosing a CIP where I could talk more with other Japanese people, as a major reason why I wanted to study abroad was to improve my speaking ability. However, I’m sure a big part of the reason why I wasn’t able to talk a lot was my own shyness. 

Overall, I really enjoyed my experience with taking sumi-e lessons. It was something I’ve never done before, and something I would have had trouble doing outside of Japan. However, if I could do it over, I think I would have chosen a CIP that would have given me more opportunities to speak and integrated me more into Japanese society. 

The CIP that I chose for the semester was traditional calligraphy or shodō (書道). Shodō evolved from Chinse calligraphy and has been relevant to Japanese culture for hundreds of years, and so it is a common activity for kids to do after school. The person who led the class that I took held lessons in his house about three times a week and students could come any of the days that they chose and stayed for about an hour at a time. During this hour, you could do shodō with the brush and ink, writing exercises with either a pen or a pencil, and math with a soroban, which is essentially an abacus that was created in Japan. While I was participating in these classes, I did both shodō and the writing exercises.

At first when I started this CIP it was difficult to really pick up on the environment outside of what I was doing because I had very little confidence in my ability to speak to the Sensei in Japanese and my host mother would usually come along to help translate. I spent around three class sessions getting used to what it was like to be in a room full of shouting children while also comprehending very little of what they were saying. Finally, after several weeks I began to participate in the discussions and talk more to everyone else who was there. The kids who were taking lessons seemed very comfortable with each other and with the Sensei and were often making jokes or singing while they were there. It was easy to see that everyone was enjoying themselves and that while they took their work seriously, they were also there to have fun.

Most of the students seemed to have been in school classes together or were friends from around the neighborhood and knew each other very well. After a while it was more entertaining to watch them fight over who showed Sensei their work first as they stood on chairs or crowded around where he was sitting, waving their papers around before they had even finished drying.  Eventually, I felt comfortable enough to join in conversations or ask questions and clarify things that I had been confused about, or even to answer the things that they asked me. By the last week, it was a far less stressful environment because I was able to communicate and the kids were excited to try and include me in their fun.

As far as being successful in a CIP goes, I think that the most important thing to remember is that you’re there to learn, and that even if you aren’t sure about how to go about things like asking questions or joining conversations, it’s easier to just say something and gauge whether it was right or not by other people’s reactions than it is to overanalyze it and not say anything at all. I spent a lot of time just watching and trying to figure out how to fit myself into all of the chaos of shouting children when in the end, all I had to do was raise my hand and ask a question or talk to one of the kids. They let me know when I was wrong or if something I said was so off that it was funny, and in turn I learned more about the language while also being able to have fun. I think that if there was anything I would do differently, I definitely would try to be more confident in my ability to at least try and speak rather than overthinking it all and ending up saying nothing because even though I enjoyed going to all of the classes, it was definitely a much better experience towards the end.

When we were asked to decide what CIP to do based on our interests, I knew I wanted to take up an activity that had to do with art. This led me to taking pottery lessons at Fujihira, a pottery shop in Higashiyama. Fujihira is a pottery shop with a number of artisans that specialize in traditional Japanese styles of pottery, like many shops in the Higashiyama area. My goal during the semester was to pick up a new style of pottery, but also come to understand the art community in Japan.

Taking pottery lessons at Fujihira was different than I imagined, coming from a background in arts in the U.S., where individualism is prized when it comes to art. It is oftentimes the case that something deviating from the traditional is the goal in contemporary art. However, Fujihira demonstrated that in Japan, the expression of individuality comes from the details. Most importantly in Japanese art, the artist is recognized as having perfected his craft by being able to replicate traditional designs to a T. Fujihira taught me this through interactions with my teacher where he showed me different methods, like coiling to build cups, and reiterated that the measurements and thickness were important to achieve the desired result. This was also evident when my teacher showed me the pieces he was creating, that they were uniform in shape, but differed in how he painted the details on them. My relationship with my teacher is probably more indicative of the art world than any normal teacher-student relationship in Japan, in part because I was his only student at the time. We talked often using short form, but occasionally in long form, as opposed to using formal. We also joked a lot, mostly about how I was doing learning the techniques from him. It was a more relaxed relationship than I expected going into the shop, but it was nice that in addition to the pressure I felt to live up to his expectations as a student, I was able to look forward to him joking about how difficult it was when he was in my position. I still maintained some aspects of the student position in that after he showed me where things were, it was my job to clean up after lessons and put things away for next time. I was able to understand through my interactions and by observing other artists’ interactions in the studios, how the art community in Japan works.

There were some difficult aspects of my CIP, such as unexpected translating between my teacher who only spoke Japanese and foreigners who came to the workshop to look around and only spoke English. By translating, I was able to use my Japanese in a way I hadn’t inside of class, which allowed me to push the boundaries of what I thought I was able to do in Japanese. Besides this, the biggest difficulty was perhaps that I was the only student. This meant that while I had the sole attention of my teacher, I was not able to form a community with other people my age and interact with other students. I was able to compensate this with making lots of Japanese friends in other areas, but it would have been nice to experience that type of Japanese community.