Cecille de Laurentis: Kyodai Orchestra

I have mixed feelings about my CIP experience.

First, the good: there is no doubt that the CIP can provide experiences that a ryuugakusei might not otherwise have access to in Japan. Although interacting with our host families and with the outgoing KIXS and DESA members is certainly good language practice and often a lot of fun, generally the families that choose to host and the students that choose to join international circles are used to interacting with foreign students and enthusiastic about it. Thus, chances are we’ll be spoken to in language we’re more likely to understand; our mistakes will be more readily forgiven/breezily ignored; each participant in the interaction has a better idea of what to expect from the other. In other words, it’s less of a challenge. However, when one reaches out to a circle or community organization, one may encounter people who have never met a ryuugakusei before, creating more pressure on both ends. Talking to the people at Kyodai Orchestra was a huge change from hanging out with my host family or my KIXS/DESA friends–from their slang/vocabulary (I was totally thrown by “ikkaisei” and “gakubu” in lieu of “ichinensei” and “senmon” at first) to their mannerisms. Suddenly being polite and following cultural expectations became a lot more important–which, if I’m not mistaken, is part of the intended value of the CIP. It keeps us from getting complacent, which is definitely beneficial.

However, I must unfortunately voice disagreement with some of the things we were told at the CIP information session at the beginning of the year: namely, that it’s best to pick an activity you are very familiar with and/or good at. I understand the motivation behind that, but I honestly wish I had tried to learn (for example) the koto from scratch, or done something I was perhaps vaguely familiar with, rather than try to play cello in an orchestra, something I have done in the States for about ten years. Because I’ve been heavily involved in the Western classical music world for so long, a world in which the structure and expectations are very familiar to and beloved by me, the cultural differences in the Kyodai Orchestra system grated on and sometimes even upset me, rather than opening my mind to learning opportunities. Considering that I’ve largely found it easy to embrace cultural differences in general since coming to Japan, that is a significant thing to say. Therefore, I would recommend for future students: choose a CIP you are interested in, to be sure, but perhaps avoid an activity which you feel strongly about or are very used to in its Western form. In terms of Kyodai Orchestra specifically, the people are kind and welcoming, but due to the lack of an audition process, it’s impossible to enter the main orchestra, so that would be another thing to keep in mind.

Additionally, I feel that were I studying abroad for a full year, I would have been more motivated to form meaningful connections with the other orchestra members. For the first month and a half that I attended my CIP, I was only doing individual practice in the strings building, because they weren’t sure in what capacity I could enter the orchestra yet. I didn’t consistently see the same people every week, and it wasn’t until after I’d joined the first-year orchestra (as I mentioned above, joining the main orchestra wasn’t an option), which in turn wasn’t until mid-November, that I received a welcome party and actually had an extended interaction with the people I was playing with. Because I will probably only see them once or maybe twice more and then return to the States, I feel that I quickly dismissed the possibility of lasting friendship, which is a shame. Nevertheless, I enjoyed the welcome party much more than I expected to, and it provided me with an opportunity to experiment with some of the wakamono no kotoba and Kansai-ben I’ve picked up since I’ve come to Japan–since the other orchestra members aren’t particularly familiar with the formalized college-Japanese-student language I arrived here speaking, I wasn’t looked askance at, which was quite gratifying (though I don’t mind being mocked in a friendly way by others, of course.)

To conclude, there’s definitely no way I can say my CIP was worthless, but I feel I could have gotten more out of it than I did, which is both my own fault and that of external factors that couldn’t really be controlled.

Jacqueline Wee: Calligraphy Club

I’ve always been interested in Japanese calligraphy.  There’s something about the contrast of bold black lines on white that just gets me.  Maybe I’ve read too many comics glorifying the image of calligraphy masters, but the process itself also strikes me as incredibly poetic.  I picture an old man in a tatami room, dipping his brush in ink.  Breathing in the scent of ink and incense, he deliberately places his brush on paper, pauses for a moment, and then delivers a powerful first stroke, imbued with the wisdom of many years.  Or I picture woman behind screens, enveloped in the folds of her red silk kimono, pondering for a while before settling on a suitable line of poetry.  Her hand quivers slightly as she thinks about the man with whom she is corresponding, but then steadies as she begins to churn out the elegant, perfectly-formed characters that have been drilled into her since she was a child.

With the desire to create my own over-exaggerated poetic scenario, I joined the calligraphy club at Doshisha University.  Despite having an interest in calligraphy, I had never actually practiced it, so I emailed the club representative asking if complete beginners were welcome.  They were welcome.  He told me what day and what time to come by, and on the set day and set time, I climbed to the sixth floor of the “Student Meeting Building” (A.K.A  gakuseikaikan) of Shinmachi campus, just a five minute walk away from KCJS on Doshisha’s Imadegawa campus, and braced myself for the first contact.  Nervous about using my rusty, less-than-passable Japanese abilities, I took a breath and opened the first door on the right, the one on which the sign SHODO was hung (written in Japanese, of course).

Without going too much into the nitty-gritty details, my first day was really fun, but it was far from what my over-active imagination had conjured.  I did get the scent of tatami and the satisfyingly serene feeling from focusing all my attention on a single task, but I also got numb legs from sitting on the floor for three hours and a good deal of frustration from being unable to properly write the simplest character in existence, ichi (―).  And I had never come into contact with Japanese pertaining to a very specific subject before, so more than half the time I didn’t know what the club members were saying.  However, even the bad things were kind of fun in a way.  I became even more set on joining the club so that I could practice and eventually write more elegantly, sit seiza for longer, and learn shodo-specific words.

I’ve been going to club every Thursday since that first day.  Although the club meets three times a week, two of those times are at the Kyotanabe campus, which is just far enough to be a nuisance, so I stick to my once-a-week routine.  The club members are all very friendly, and they always come to my rescue when I have questions.  Although I think my writing is still pretty sloppy, it’s definitely improved, and my legs have somewhat adjusted to sitting seiza.  To clarify, I mean that I’ve gotten used to the feeling of my legs being asleep, rather than that they don’t fall asleep as quickly…I’ve also picked up some vocab, so I’m not quite as in-the-dark when someone explains the difference between different styles and materials or whatever else it may be.

Although I opted to join a club so that I could interact with people my age, rather than taking private lessons, a teacher also comes to the club for an hour or two every week, or nearly every week, so I get the best of both worlds.  With corrections and instruction from the teacher, I’m getting ready to write something for the calligraphy club’s December exhibit.  I’m still sort of hesitant about putting anything up for display because my writing look worse than an elementary school student’s, but such an opportunity doesn’t come often, so I figure I should just go for it.

In any case, joining the calligraphy club was a great decision.  Since the materials are fairly compact, I can continue practicing even when I return to America, which is the best part.  Although I may be starting something in Japan and must return home eventually, I can keep doing it for the rest of my life, all the while reflecting back on my time spent in Japan.

James Chiang: Doshisha Alpine Club

KCJS Fall 2011

Community Involvement Project, Blog Entry 2

 

The photograph on my desktop “beneath” the empty white and mocking blue of the word processor shows Mount Fuji flanked in the foreground by the foothills of the Minami Alps.  I had gotten up at 4 in the morning, packed away my frozen tent, and stumbled sleepily to the summit of Kita Dake in time to take it just as the sun came up.  Looking at it helps me to escape, in some sense, the confines of my room when work pins me to my desk, although in terms of air temperature my room and the second highest peak of Japan at sunrise in late fall are not such different places (and I’m wearing the same cozy socks now as I was then).  This brings me closer to the point of this exposition: to reflect on my experiences in the Doshisha Alpine Club.  That trip was not, in fact, one of the club’s, but it may as well have been.  If Doshisha University’s fall break was aligned with that if my study abroad program, perhaps it could have been.

Every Thursday for the past ten weeks, I have commuted by train to practice rock climbing with two other members of the Doshisha Alpine club.  A number of factors have conspired to prevent me from participating as much as I might like to: the commute is long enough that I can’t really afford to go more than once a week, my Japanese doesn’t allow me to say simple but important things like “don’t put your weight on the rope yet or you’ll fall to your death, I haven’t finished the anchor” or to understand the same, and because I’m not a true Doshisha student I don’t have the insurance policy I need to participate in outdoor activities.  So I haven’t been attending the weekend alpine climbing training sessions that this club holds in place of the drinking sessions that I hear comprise the weekend itineraries of other clubs, nor will I go on their winter climbing expeditions next week.  Incidentally, that expedition doesn’t line up with my vacation time either, and miscommunications in 100km/hr ice-laced winds are bad enough even when everybody speaks the same language.

In spite of these obstacles and the condition of quasi-membership they impose, I’m going to miss the two people I rock climb with every Thursday, and I think to some extent they’ll miss me.  One might think that the fact that every Thursday we trust each other’s belay to prevent lethal (or paralyzing, or maiming…) falls has brought us together, but we exercised this trust without much thought from the very first day, and the first few sessions had a rather awkward and formal social character, so I don’t think this has much influence.  My relationship with the two other Thursday-afternoon-rock-climbing-practitioners has progressed in the same manner as an ordinary friendship, with common interests and shared activities doing battle with an exceptionally stiff language barrier.  I humbly assume all responsibility for communication failures while in Japan, but the other person’s speed has a tremendous influence and I can still hardly understand anything my climbing partner says.  It’s a testament to the strength of unspoken communication that we’ve come to understand something about each other’s character without ever really hearing any of each other’s ideas.

Is this alpine club here in Japan different from the one at Cornell?  Well, Cornell University is located a solid 6 hour plane ride away from anything I would call “alpine”, so we don’t have an alpine club in the true sense of the word, but we do have a university funded outdoor club that offers PE courses in everything from canoeing to ice climbing.  The more I think about their official structure and composition, the less I can justify drawing comparisons between the two institutions, but ultimately they both represent groups of people who spend time together outside.  The senpai-kohai relationships evident in the speech patterns of Japanese club members struck me at first as evidence of the presence of a hierarchy completely absent in the American club model.  Ultimately, beyond dictating which verb-forms are appropriate for whom, and fostering self-introductions that include what this American student finds to be an awkward and unnecessary mention of what year student what is, these relationships don’t seem to have too much influence.  So I suppose an alpine club is an alpine club, Japan or America (unless it isn’t).

I’ve gotten somewhere, or at least consumed some of that taunting white space.  Now I’ll press save, put away this awful blue, and go back to gazing at the sea of clouds to which Fuji is an island, a distant perfect lonely cone of rock.

 

Andres Oliver: Calligraphy Circle

My time in the shodou club has allowed me to truly appreciate the personal nature of a traditional Japanese art. Though technically a club, the shodou group acts more as a venue for anyone interested in practicing or learning about calligraphy to come and spend however much time he or she wants doing so. Thus, I have found my weekly visits to the shodou room to be moments of calm reflection. Because everyone is focused on their own calligraphy, the shodou room is usually fairly quiet. Practicing my calligraphy in such a setting allows me to forget about everything else and focus on the beauty of the characters themselves. Two things I have come to appreciate from this experience are both the beauty and the difficulty of writing kanji. I believe you cannot truly recognize Japanese writing as an art form until you see it through the lens of shodou, rather than as a mere tool for communication.

Adriana Reinecke: A Cappella

The thing that struck me most about the entire C.I.P. initiative was, ironically, just how difficult it was to initiate. In fact, the one aspect of it that left the biggest impression on me was that it is exceedingly difficult to integrate oneself into the flow of normal Japanese university life as an exchange student residing in an entirely different flow.

My initial difficulty stemmed from the fact that I had to wait for the end of the Dōshisha University summer holiday before I received word from the circle that I had contacted – an a cappella circle called ONE VOICES based on the main Kyōtanabe campus. When I finally did manage to arrange a meeting, I quickly learned that speaking the same language does not guarantee mutual understanding. I misinterpreted the intended meeting time, and almost went home before both I and my contact realized our miscommunication and I turned around.

The second thing that surprised me was the group dynamic within the circle. My contact, who was in charge of member recruitment, immediately insisted I called her Yū-min – an extremely familiar nickname. I was even more surprised to observe that all of the club members I met or was introduced to also call her by her nickname, regardless of whether said member were her sempai or kohai. This dynamic is made more unusual by the break-down of the circle. The largest a cappella circle on campus, ONE VOICES consists of over 200 members organized into “bands” of 6, based on musical interest. This means that many members of the circle meet only on rare occasions for circle-wide events. Yū-min, as the coordinator, was familiar with almost everybody, however, interactions between members of different bands ranged from extremely informal to highly traditional, with rules of seniority being strictly observed. My general impression was that this complicated mixing of differing levels of formality between sub-groups and individuals is a far more truthful representation of group dynamics than the stark, hard-and-fast rules of propriety we are taught in class.

Another factor of this 6-member band structure was that, until five other members presented themselves (actually four, as there was another prospective member touring with me), I was unable to formally start taking part in club activities. This became the biggest obstacle for me and was ultimately why I had to shift what I had been using as my “supplementary C.I.P.” activities (with Kyōto University’s KIXS international circle) to be my main C.I.P., whereas my contact with the Dōshisha a cappella circle was relegated to the “supplementary” spot. I confess I was surprised at how strictly the members stuck to the “6 person rule.” I can’t speak for everyone, but in my experience, American university students might be more inclined to temporarily (or even permanently) allow the formation of a 7 member group, or come up with some other solution in such a case. That is not to say that one is better than the other – simply that they are different.

Were KCJS run on the Japanese academic calendar (which would be exceedingly difficult to reconcile with our lives and schedules back home), I personally think it would be easier to integrate into everyday university life. Despite the fact that in the end I was unable to really join the group due to logistical issues, I still feel like I learned a great deal from the contact I did have with its members, both in person and via text messaging. I was pleasantly surprised by the extremely warm welcome I received – by the end of the first day I had been given a nickname, invited to have dinner and to visit Yū-min at her part-time job, and even asked if I was half Japanese (which I found funny seeing as I’m very obviously Caucasian). I was struck by the level of casual friendliness and openness with which I was welcomed into the group, which as I understand is not a given. It was possibly the first time since coming to Japan that I truly did not feel my “foreignness,” mainly because they did not seem overly concerned by it. All in all, although it did not become my regular C.I.P., I found what contact I did have with the circle both educational and fun, for lack of a better word. I hope to keep in touch with the people I met there for the remainder of my stay in Japan.

Hillary Fens: Doshisha “Photo Club” Member

Officially, I joined a photography circle at Doshisha for my CIP. I went in not knowing what to expect, and I’m coming out of it not really knowing what happened. I did not really do anything special to become a member, other than express interest in photography and in joining their circle. I noticed many things – namely, that not all circles are as serious as they are made out to be, and the theme of a non-sports-circle may have little or nothing to do with its members’ interests.

These were actually my two preconceived notions on circles – first that, as a circle, there would be a hierarchical order to the club members and that the club bonded them as friends; second, that, as a group branded with “Photo Club”, the members would be interested in photography.

Well, in my case, neither ended up being true.

This particular circle is pretty nebulous, a problem that prevented me from feeling like a full-fledged member of the club. The club only set out to have regular meetings because I had come into the club asking about meetings. So, they decided to meet every week on Fridays.

I thought this was exciting at first – I’m in a circle and we get together every week, great! They were excited, too! However, our “schedule” quickly devolved into members ignoring other members to get out of having to meet. While I never neglected to contact the members, after a while, I started hoping they would just ignore my contact – it was tiresome to go through excuses instead of just having it put directly: we don’t want to meet with you.

The times we did meet for dinner, our language barrier was a huge issue. It was hard to socialize in such a stiff setting. We were friends under very contrived circumstances. Even my one go-to topic, photography, was not successful in soliciting get-to-know-you small talk.

I did make one friend, though, and she seemed to be the only one who legitimately enjoyed photography! With her, language was almost a non-issue, because she had spent time studying English in America. I am happy to be a year-long student so we can hang out more next semester.

Actually, after having made this friend, my weekly CIP event became inviting her out on Friday nights for dinner, along with KCJS friends + other Japanese friends.

Lucia Carver: DJ Circle

I want to start off by saying that the CIP requirement is an excellent effort on the part of KCJS to ensure that students are being exposed to friends and social situations outside of the KCJS environment. It is absolutely crucial that all study abroad students get out of their comfort zone and leave the safety of other English-speakers and events planned by KCJS; in fact I would say that this is by far the most rewarding part of studying abroad. Knowing that you were able to make friends and contribute something not as a study abroad student but as a valued member of a club or such is an incredibly satisfying feeling.

I joined the DJ circle over at Ritsumeikan, a neighboring university, as I had a difficult time finding contact information for Doshisha’s DJ circle. My experience there reminds me quite strongly of my experience in the volleyball club at a Japanese girl’s high school when I studied abroad in Osaka during my junior year of high school. That is to say, there was a lot of frustration involved.  Despite pledging to be a member of the club, it was apparent that I wasn’t receiving all of the appropriate information; one time when I went to our regular practice space at the normal time, no one was there. I later asked one of the circle members whom I had added on Facebook where everyone had been, and he informed me that practice had been canceled. I had received no notice.

This made me feel as if I was being treated as less than a full member, which needless to say was quite a frustrating experience. I wanted to participate as fully as possibly but without the necessary communication about events and the like, I felt as if I was simply showing up for practice and that was about it.

However, whereas in America I would perhaps get angry and have a few words with the club president, I realized that it was unlikely the president realized this problem was even occurring. One of the responsibilities of being a study abroad student in Japan is that you must be as proactive as possible. If you feel that you are not being accepted fully into the group as a real member, nothing will change unless you take charge of it yourself and eliminate the problem. I am going to speak to the club president this week and reestablish what it is that I joined the club for, and to reach a level of understanding on both sides so that I can begin to feel like a full, contributing member.

These sort of cultural differences in communicating wants or in the way we make assumptions about another’s understanding of our feelings are difficult to grasp for all international students, but especially for Americans in Japan. We come from very different cultural contexts, and speaking as someone who as of now has lived in Japan for a total of 1 and a half years and studied the language and culture for many, I still struggle with these fundamental yet frustratingly subtle elements of communication. However, working through these frustrations and feeling glimmers of understanding are truly the most rewarding part of being immersed in a foreign culture.

ヒラリー・フェンズ:「フォトクラブ」というサークル

フィルム写真をとることは私が一番興味があることだから、写真のサークルに入りたかったのです。私のCIPは同志社大学の「フォトクラブ」です。「フォトクラブ」のBOXに暗室があります。だから、フィルムの現像やプリントもできます。

サークルにはもう入っていますが、私はまだ他の部員と一緒に暗室で作業はしていません。毎週金曜日、「フォトクラブ」の部員の三人と一緒に出かけています。たいてい、晩ご飯を食べに行きます。楽しいけど、これからは暗室をもっと使いたいです。

部長と二人だけで会った時、今度「フォトクラブ」の部員全員のミーティングがあると言いました。たぶん、このミーティングは新入生歓迎パーティだと思います。そこで、「フォトクラブ」のみなさんとクラブに入っている他の留学生にも会うことができるでしょう。とても楽しみです。

アイジェイ・エスピノーザ:「soul2soul」

高校の時、ダンスを始めて、大好きになりました。その時に、ストリートダンスを少しやったけど、あまりやれませんでした。そのことで、ストリートダンスが、一番好きなダンスジャンルだということはもう分かっていました。大学生になってから、ストリートダンスだけやっていました。長い間に踊っていなかったので、9月に同志社のストリートダンスサークルに入りました。

そのサークルの名前は「soul2soul」で、京田辺キャンパスで練習しています。160人もメンバーが入っています。しかし、アメリカのチームでは色々なジャンルを一緒に練習するけど、日本ではジャンルに分かれて練習します。だから、あまり一緒に発表に出ません。「soul2soul」は月水金に練習します。普通、同じジャンルをやる人とだけ一緒に訓練します。私は決まっていることを習う練習に慣れているので、そんな練習はだいたい新しい経験です。そしてミーティングを行って、将来のエベントについて話あります。後で練習に戻ります。

今、ロックというジャンルを習っているところですが時々ワックという私が普通踊るジャンルを他のメンバーに教えます。EVEさいというエベントが、11月26日から29日まで、今出川キャンパスで行われます。そのエベントに「soul2soul」は出ます。見に来て下さい。

カーヴァー・ルーシャ:DJサークル

CIPではDJサークルに参加しています。

DJ Meow Mix takes scratching to a whole new level

音楽がたまらなく大好きで、アメリカの大学で友達のパーティーがあるたび、私のiPodをいつも使うことになっていました。そこで、とにかく実質上のDJだったからこそ本当にDJのやり方を学ぼうと決めて、去年の冬からDJ Mucha Lucha という名を使用してDJとしてのアルバイトを始めました。

それでDJのことに熱心になって、日本でもDJをやってみたいと思って、立命館で活発に活動をしている「L@BEL」というDJサークルに入ることにしました。毎月2回Billy`s Barという三条にあるバーで練習会があるし、二ヶ月に一回イベントがあります。皆は色々なジャンルをやっているで、定期的にクラブでDJをやる方もいるし、DJに限らなくてVJとMCの方もいます。

入ったばかりなので、今回のイベントには登場しないけど、練習を楽しんでいるし、次回のイベントに出たいと思っています。もっとイベントに出るため、京大と同志社のDJサークルにも入ろうと今考えています。

皆さんもぜひ、機会あれば、イベントに来てくださいね。

次のイベント情報:

2011.10.29(SAT)
L@BEL PARTY vol.24
-Halloween SP!!!-

@Billy’s Bar (in 三条, see below for address)
22:00-05:00
ADV 1000yen/w1D
DOOR 1500yen/w1D [外国人500円オフ(要ID)]

*Entertainment Bar BILLY
京都市中京区材木町186 2F&3F
075-212-5668
http://bar-billy.com/

L@BEL PARTY @ WORLD, 02/07/2010