Rachel-A'lexandria Hawkins: Ohara Gakuen

I wasn’t sure what to expect when I finalized my plan to volunteer at Ohara Gakuen. I was worried that with my limited Japanese, especially in using keigo, I may not be excepted. Nervous and confused, I went to meet with the English teachers and principal. I left Ohara that day feeling that I would be not only accepted, but also appreciated.

The first unexpected thing that I noticed was that all of the staff treated me as an adult. Being nineteen, I’m just barely considered independent in America, and certainly not in Japan. However, as I was held to a high standard of responsibility, and I found myself naturally rising in an attempt to meet expectations.

Though they were clearly pleased with the fact that I was there, they were rightfully worried about presenting me correctly to the students. Having many food allergies, I couldn’t always eat all the food that the kids ate, and I was surprised by how important it was to explain to the children that the only reason I wasn’t eating was because I could get hurt – not because I didn’t like the food. I was a bit surprised, because I didn’t think that the kids would have a difficult time understanding this, but, to the teachers, it seemed to be something important to overcome.

Another hardship for me personally, was switching between English and Japanese so frequently. I’ve had trouble with this in America as well, when talking with a Japanese friend and an American friend at the same time. I was asked to just use English with the students, and I did whenever I could, but there were many times when I had to use Japanese to explain something more complicated, and when I spoke to the teachers. Especially with the younger kids, it ended up being more of me asking about their English in Japanese.

The younger children speak in such small voices that it didn’t matter if I would understand their Japanese, because I couldn’t hear them at all. I didn’t want them to shy away from me when communication problems arose, so I attempted to answer them even when I didn’t hear what they said. This is tough to do in your mother tongue. Together with my lack of Japanese fluency, and having no context for the conversation I was having, the kids would often stare at me blankly, obviously having not understood a word I just said. Even so, when I did say a sentence or two, they were wildly surprised and delighted. One boy asked me a question, and I explained to him as best I could. When I was through, he stared at me with his mouth open. I started trying to rephrase what I said, because obviously my Japanese wasn’t up to par, but after a moment of silence he exclaimed, “Wow! She can speak Japanese!” He seemed to have no interest at all in the answer to the question. I wonder, if he was so surprised, did he expect to just not understand my answer, and go along his marry way after he’d asked the question? Either way, I appreciated his enthusiasm and his cuteness was astounding.

But just in case matters weren’t complicated enough, there was one more barrier to communication that I was surprised to find. In one case, I used the word “novel” while explaining my hobbies to the first graders. The student immediately responded, “What’s a novel?” Caught off guard, and trying to remember if that was indeed the Japanese word for novel, I didn’t respond at first, eventually stuttering out “N-novel?” in hopes that this time around I would say it correctly. The little girl ran over to the teacher and repeated the question. “A novel is a story,” the teacher answered, and the girl, who had since lost focus on the conversation we were having, trotted off to play with everyone. That was an experience I never thought I’d have.

The one downfall of it all, is that I don’t feel as though I’ve done all I can for Ohara. I would attempt to assist in lessons, teach pronunciation, and talk to the students, but I was unequipped to do the latter. I had never been to a Japanese middle school, and I certainly hadn’t studied the English education system for that region of Japan, so I was completely amiss as to how much English a student knew. Then there’s the individual difference between each student. I only ever had the chance to have a few sentenced conversation with any individual student, because the school was large and there was only one of me. And in that conversation, I couldn’t overcome the student’s shyness, gauge how much English they knew, and then make up a conversation that uses their level of English so that they could practice. In that way, I wish I had more time with them, I would have learned more, an I believe I maybe could have had more of an impact on them too.

Some of what I predicted was true; there were levels of formality and structure that I was foreign to, and needed to work hard to overcome. And a lot of what I feared turned out to be just fine. My confidence wavered throughout the program, as I battled with things I thought could be better, and melted as the kids became more and more animated about talking to me and learning about a foreign culture. But in the end, the hour commute to Oohara every week was not something that I dreaded, it was in fact something that looked forward to. On the long bus ride into the mountains, I could feel my eagerness and excitement swelling in me. Even if I had had a terrible experience on every other day, in every other class, it would all be worth it for what one first grader said as I entered the room. 「レイ先生 来てくれた!」”Ms. Rei came for us!” The feeling in my heart that that one little boy drew out, was worth everything in the world.

Thank you Oohara, it’s hard to say good-bye.

Abby Hu: Niconico Tomato

For my CIP, I volunteered at Niconico Tomato (Link), an organization focusing on creating events for hospitalized children at Kyoto University Hospital. I went to the volunteer office every Thursday to help with event preparation and occasionally participated in afternoon workshops to play with children. My tasks included making holiday cards, delivering items from the basement to the playroom, taking photos during the event and cleaning up after events ended.

What has caught my attention was how professional Niconico Tomato is. The professionalism of the organization can be seen from the following aspects: the attitude in which members approach their work, the variety of workshops and activities, and the attentions paid to those hospitalized kids. Members always take their tasks very seriously. For example, when the group was making Halloween cards, if any minor fault occurred, say the double-side tape stuck out a little bit, members would take trouble to fix it until the component they were in charge of looked perfect. Workshops range from science experiment session to balloon modeling session. Besides workshops, the organization also incorporates large-scale events such as bi-annual bazaar and Christmas café for fundraising purpose. The variety of events enables kids to explore their interests and to enjoy their ward life more cheerfully. These children definitely mean a lot to Niconico Tomato. The organization shows its care by updating the photo wall weekly with photos taken from events, displaying paintings and calligraphy pieces done by kids and designing a yearlong work plan in advance to ensure everything proceed smoothly. Although having participated different volunteer groups in China and in U.S., I have never seen such a high level of professionalism as Niconico Tomato has achieved.

How has such a high level of professionalism developed in Niconico Tomato? Based on my interview with the founder and my observations, the professionalism comes from members’ sincere love towards those children who are suffering from illness and the solidarity among the group. Starting from a small group comprised of only the founder and several of her friends, Niconico Tomato has attracted many more people who expressed interests in bringing happiness to hospitalized children and the group has become an 80-people team in the past 20 years. Among the 80 people, half of them have volunteered to design and lead workshops, making workshops available to children almost every weekday through out the year. In addition, these members deeply dedicate themselves out of pure love. For example, during the Halloween parade, a 50-year-old member wore a Godzilla costume for the entire afternoon and played with children in order to cheer them up. Later she told me that the costume was too warm for that day yet witnessing how children smiled when they saw her made her effort completely worthwhile. In addition to members’ good intentions, their solidarity helps achieve efficiency and complete wonderful works. The event preparation always splits into smaller tasks; each member voluntarily takes their parts and works very hard for the team purpose. The constant efforts from each member congregate and enable the group to operate in an efficient way. Overall I feel impressed by what Niconico has achieved and proud to be part of the team in the past four months.

Hayley Valk: KYOTO EXPERIMENT Kyoto International Performing Arts Festival

I’ve long been interested in theater and am actively involved through campus groups and internships at home, so when I arrived in Kyoto I immediately sought out an opportunity to be involved in the performing arts here. Kyoto Experiment stood out to me for its contemporary, international focus, and I was grateful that they took me on as an intern based on past experience and my first Japanese resume and interview.

In New York I interned in an American performing arts department that used Japanese as a second language, so it was really fascinating to intern here for a Japanese performing arts department that used English as a second language. The goals and activities of the organization were similar, so I could generally infer what was going on, but I was constantly left wishing that I had a more thorough understanding of what everyone around me was doing. Unfortunately I struggled to balance my desire to ask questions and have conversations with the understanding that this was a professional work environment where I didn’t want to be a distraction or nuisance.

One of my primary activities was translating between English and Japanese for the website, artist submissions, emails, etc. The dictionary was my best friend, and at times I ended up having to translate poorly-written English profiles of dance performances inspired by cannibalism to Japanese, but overall it was great practice and a useful learning experience. Generally the staff had positive feedback towards my work, but an interesting dynamic emerged concerning their desire to constantly check and edit my English, even though their knowledge of English was not strong (despite this being an international festival with almost all information bilingual, I failed to ever find someone on the staff who was really fluent in English and responsible for other translations). At times there would be opportunities for a back-and-forth where they could edit my content and I could brush up the language, but in other cases I wasn’t consulted, and later found my translations edited for the worse. However, I wasn’t surprised by my superiors’ constant desire to review every detail, and I observed that it applied not only to me but to senpai/kohai interactions across the staff. In the end I am proud to have some of my translations (only slightly edited) published on their website.

I would have liked more opportunities for conversation and interaction during my time at CIP, but unfortunately the office was usually quiet and oriented towards independent work, especially after the festival performances ended in late October. I was able to learn a bit about Japanese office culture, particularly linguistic variations depending on position and age. For example, I was able to observe different greetings when someone enters the office and thanks when someone leaves, and the difference between my supervisor’s in-group language (occasionally tending to be more informal towards kohai, especially in chatting situations) and the very formal language she used towards outside parties in phone conversations. I was also able to observe interactions between staff members and patrons at performances, which I found more polite than in the U.S., and had the authentic experience of saying いらっしゃいませ hundreds of times.

All in all the setup of my CIP did not lend itself to many opportunities for ethnography, and I wish that my Japanese language skills had allowed for a more fruitful experience, but I think interning for Kyoto Experiment was a great opportunity to be involved here in Japan in a field that I’m passionate about. I am thankful to have met a community of people with similar interests, for the challenging but rewarding work translating, to have seen (for free) some crazy performances, and to have gained professional experience and connections related to intercultural arts that will hopefully benefit me in the future.

Augustus Chow: My CIP Blog

While I started my CIP in a temple and shrine sightseeing circle, the circle’s schedule proved to be unfeasible for a CIP project and I instead joined Klexon. Klexon is a volunteer organization in the Kyoto area that is the equivalent of a meet-up group. In this case, Klexon is a meet-up between fluent English-speakers and Japanese in the Kyoto area who want to speak English.

During my various CIP experiences with both Klexon and the sightseeing circle I’ve encountered a few facets of Japanese culture and society that seem to coincide with what I’ve experienced outside of CIP as well. In CIP, we are asked to make hypotheses and generalizations about the Japanese. But to a large extent, what my CIP experience has taught me is that there are various Japanese people who don’t all believe the same things.

For example, my first night at Klexon, we were asked to draw a fall festival from our hometowns and talk about them. Obviously, I had no choice but to write about Halloween. Others wrote about different festivals. I asked two Japanese people what their festivals celebrated, because they only explained what happened during the festival, and I’m interested in that sort of thing. Both said they didn’t know and seemed slightly troubled by my question, but, after the second time, one of them told me that the Japanese sometimes just hold festivals and that they don’t necessarily mean anything. Now, we weren’t speaking in his native language, so I can’t say for sure. I can think of half a dozen alternatives off the top of my head, but I had the sense that my questions had been offensive or perhaps troubling to him in some way. The next day, I spoke to my Japanese language partner and asked her what she thought of my question, but she thought it was a perfectly normal thing to ask and that the festival probably had some sort of origin.

So, while it is a small example, it still provided an insight that I try to keep in mind. Not all Japanese people will feel the same way about something. So I’m largely reluctant to do anything that involves making generalizations about a group of people.

Having said that, I’m going to make one based off of my CIP experience that has been supported by my interactions with Japanese outside of CIP. During my time with the sightseeing circle, we climbed partway up Fushimi-Inari Taisha. A little way up, we all went to a stone where you would make a wish and try to lift the stone. If you could lift the stone your wish might come true. I lifted it, yay me, but my wish is a secret ;P—Anyway, after everyone tried lifting the stone, people started asking everyone around them if they had a girlfriend, particularly those who couldn’t lift the stone. I got the feeling they were asking whether they wished for girlfriends, but my Japanese wasn’t good enough to tell. Then, they asked me if I had a girlfriend. Now, in the U.S., that kind of question is a little forward, because, if the person doesn’t, that might be inconsiderate. Also, when someone asks you that there’s some level of connotation that they’re asking for themselves or for a friend. Fortunately, I didn’t jump to conclusions and assume I was being asked out. After I said I didn’t, they asked me if I was married; though, I misunderstood them to be asking if I wanted to be married. I said once I found the right person, yes, I’d like to be married. But, after that, I kept on hearing kekkon (marriage) being brought up in the various conversations around me. I was a little surprised, because Americans typically aren’t so forward about those questions with people they’ve just met. But, from what I’ve experienced in Japan both in CIP and outside, these kinds of questions seem to be pretty normal. For example, my friend’s adoptive Japanese family took a few of us out to lunch. In the middle of lunch, the mother turned to me from a long conversation with someone else and, without context, asked me what I thought of Japanese girls. Stunned, I managed to remember how to say that between American girls and Japanese girls either is fine. Another example would be in Klexon. One man I spoke to was quite interested in my love life and asked me if I had a girlfriend. After I said I didn’t, he said I should get a Japanese girlfriend. Upon hearing that I had a host sister, he asked if she was beautiful. The next day, I went to my Japanese language partner and asked if these kinds of questions are normal. She explained to me that they’re pretty normal questions when people first meet new people. So, while these questions may be incredibly awkward and forward in America, they appear to be standard operating procedure here in Japan.

So, yes, I would say that I’m reluctant to make generalizations about groups of people. But, at the same time, there are customs and cultural norms that are different here than elsewhere. I guess that’s just something to keep in mind.

Alejandro Ruizesparaza: Bazaar Cafe

When I first joined the Bazaar Café, I wasn’t sure what to expect. I was originally drawn to the idea working in a café for the sake of exposure to part time life in Japan. I wanted to use keigo, see how people interact behind-the-scenes of a restaurant and try something new. Admittedly, the prospect of a free lunch was also a lovely addendum. But when I first walked in to ask for a position, found out that one of the two managers (and my main source of contact) is Brazilian, the staff consists of immigrants from all over, and the café is a hub for discussing social and health issues, I realized the experience was going to be much more interesting than what I pictured.

Bazaar Café is only a couple of minutes away from Doshisha University and open Thursdays, Fridays and Saturdays. Each day has a specific regional cuisine dependent on the people cooking that day. I worked on Thursdays, when we would normally prepare Brazilian food. My usual job consisted of washing dishes, helping set lunches on trays and delivering meals to guests. Each Thursday was also a chance to get to know the other workers a bit better and learning how to flow as a group. Early on, I definitely felt like more of a disturbance than anything. But being with the group longer established a sense of unity. Though during work we were focused, at lunch-time we all came together and discussed whatever random topic came up.

My biggest impressions of Bazaar Café, however, actually came from outside of normal working hours. I was invited to help out at a party for some theology students and missionaries interested in the café’s purpose of highlighting social issues. Another time I helped out at a health festival focused on sexual health and STD awareness. Through those experiences I learned that the café had some rather ambitious goals but strove to establish a safe space for those sorts of topics. Through talking to staff I also realized how rare it is to have spaces like that in Japan. But if the home-like café setting and warm atmosphere isn’t convincing, the actions of the workers definitely are.

As my time is coming to an end here in Japan, I find myself sad to soon leave my new friends among the staff. As a final act of warmth, they’ve told me to come in the day before I leave for a Christmas party that will double as a Sayonara party for me. At only a semester, the time at the café was relatively short-lived. But I’m happy to say the experiences and what they had me think about are likely to be long-lasting.

Thank you Bazaar Café!

Andy Kaesermann : Kyoto Art Center

As I have previously written, my CIP for this semester was done at the Kyoto Art Center. My original intent in choosing this program was to become acquainted with the art scene here in Kyoto and to make some valuable connections through my volunteering! I would happily say that I think I have achieved these as well as, made an absolutely wonderful group of friends!

Much to my surprise, the actual volunteering tasks I was doing were a lot less based on my ability to speak English. Instead, I was much more like a regular volunteer at the center, taking on one shift a week in the gallery and working one event per month. Seeing the way in which volunteers were organized, events coordinated and how the center worked to make art accessible for the larger community in Kyoto was really enriching.

I have learned many things from my CIP; such as, the way appropriate, formal interactions are conducted in a business-like atmosphere. However, one of the most impressive things I learned over my time volunteering was the ways in which status and group identity inform everyday interactions to an extraordinary degree. This oes beyond the use of 敬語. Aside from the normal difficulties of entering a normal group(let alone one with a language barrier) was the fact that I was the only male volunteer among the members of the incoming batch of volunteers. This had helped me a lot in understanding the complexity of group formation and the position in one’s group, of course through the lens of being a volunteer at an art center. As we all were new volunteers,there was little difference between our “status” in the larger context of the center however, in the allocation of tasks by our supervisor, a type hierarchy emerged. This is what had seemed to be a big influence on the ways the other volunteers would interact with me and each other. Specifically, because of a bit of an initial struggle in properly communicating, most of my interactions with the other volunteers resembled a mother duck helping her pathetic duckling child…which is really funny retrospectively. However, over time I was able to convey my knowledge gained from a background in art history and my being able to speak English both played a role in the change in the ways my interactions toward the end of my time at the center.

I am really grateful I was able to work with the Kyoto Art Center this fall. Not only, did it allow me to continue my interest in art and combine with my stay in Japan, it also deepened my connection with those helping popularize fine art in Kyoto! All within the duration of my stay in Japan! I will miss my cohort at the Art Center but, am happy knowing even as I leave they will continue to bring joy, through art to those living in Kyoto~!

ショーナ・ムーア:国際交流チーム

今、私のCIPは東山国際交流チームとよんでいる。毎週、違う活動をするけれども、普通は、東山のへんを歩きながら、まいごになった人に道案内する。加えて、国際交流のイベントを企画している。初めはちょっと大変だった。私はまいごになりやすいから、道案内するのがとくに下手だ。だから、あまり役に立たないが、道のこと以外なら、役に立つかもしれない。英語を教えて欲しいと言われたので、私は外国人に英語で説明するのが仕事かと思ったけど、実は、外国人に会ったら、他の人が説明していた。道が分からないので、英語でも道案内できないので、本当に安心したが、じゃまな感じがし始めた。けれども、後で、「英語のいい文を作って下さい」と頼まれて、そうした。次は、手巻き寿司作りの国際交流イベントのことを決めて、次のミーティングでその材料を買うことになっている。すごく楽しみで、テンションが上がる。頑張るぞ!

ムリヨ・エリザベス:英語アシスタント

CIPのために京都文教中高で国際英語のクラスの竹内と言う先生を手伝っています。アメリカで教育学を勉強していいて外国語を習うことについて興味があります。将来、先生になりたいと思うのでこのCIPを選びました。最近は毎週月曜日の三時に京都文教中高に行きます。学校の門で普通に竹内先生と三年生の藤野さんが待っていてくれます。私は客ですから学校のスタッフからパスをもらわなきゃいかないです。後で私たちは一緒に教室に行きます。一時間半ぐらい色々なトピックについて英語で喋ります。アメリカの文化とか生活など興味がある学生が多いから私はアメリカのことを教えます。大抵女性の学生しか私と話しません。男性はほとんど話しませんけど時々勇気を持って私に近付いています。今まで二回だけ学校に行ったんですけどもう学生といい友達になりました。できれば、学校が終わった時に買い物をしに行きたいです。

実はこのCIPであまり日本語を使いません。やっぱり私は英語の先生でしょうね。でも日本語を使わないでたくさん日本の学校の生活について習いました。いい経験と思います。私はこれからも頑張ります。

アンドル・ケーザマン:京都芸術センター

僕の専門は美術の歴史なので、参加したいCIPを探す時、僕の興味についてのボランティアを調べてみました。少しだけ探した後で、最後に京都芸術センターという団体を見つけてよかったんです。芸術センターは14年ぐらい前に若いアーティストを支えたり、京都で全部の情報を集めて、出したりするために作られました。芸術の目的は僕にとって大切なので、そこでCIPをしたいと思います。

実は一回しか行ったことがありませんが、京都芸術センターのボランティアをちょっと説明します。芸術センターのおかげでたくさんの芸術家はセンターの色々なスタジオに住んで、アートを作れます。だから、このボランティアがその芸術家を手伝うことになるんです。センターでも色々なワークショップをするので、イベントがあると、ボランティアしに行きます。そして、最後にすることは翻訳やオフィス的なことです。CIPとして芸術センターは情報を提供することも目的としてるので、翻訳していきます。僕は芸術センターでボランティアできることを楽しみにしてます~!

これは京都芸術センターのウェブサイトのリンクです。もしよかったら、見てみてください:http://www.kac.or.jp/

レイチェル-アレキサンドリア・ホーキンス:大原学園

毎週水曜の11時ごろ、今出川を出発して国際会館まで電車にのる。それからバスで大原に行く。1時間くらいかかるのだが、私は気にならない。行き先が大原学園だから。そこで私は先生達と手伝って英語を教える。生徒は可愛く賢いので教えられるのが嬉しい。アメリカについて色々なことを教えたり、英語の発音をと話し方を練習してあげる。先生達は全員優しいし面白い人だから毎週に行くのをいつも楽しみしている。まず小学生1年生と昼ご飯を食べて週によって違う学生の授業に行く。廊下で私に挨拶をしてくれる子供が皆はまだまだだけど、よく頑張っているようだ。