Affective Labor: Maid Cafes and Social Change

Posted on June 28, 2014 by japansociology

Anonymous student post

Now in Japan, there are many people performing affective labor, such as caregivers, flight attendants, and so on. It is the labor that it does not need only physical labor and brainwork, but also emotional control. Anne Allison argued about global affective labor in the fourth chapter of Precarious Japan. Japan actively accepts the migration of Filipina and Indonesian caregivers. However, Allison pointed out problems that they are not allowed to enter “Japanese” homes, must pass a rigorous exam, and wages for care work remain low as well.

Working in a maid cafe is also a form of affective labor. The customers do not come there because of the food. According to Allison, they look for shokuraku kukan, which is homey and relaxed space of eating. It is essentially expressed a place where the family gets together, however, after the burst of the bubble, the form of Japanese family radically changed. Because the number of two-paycheck families increased, and it became difficult for the family to eat dinner together, the number of children who must eat dinner alone increased. Then, at the maid café, the customers of maid cafe enjoy eating food and communication with pretty maids, and their performance. Besides maid café, kyabakura (hostess bar) and idol and so on are also affective labor. Customers pay for communicating with the workers.

This is related to people thinking that real relationships are mendō (troublesome).

Now in Japan, people tend to get married late or not to get married in life. Allison said this is because young people think marriage is mendokusai. In addition, I think many Japanese people sometimes feel relationships with others are a bother, for example, when they worry about others too much. I think it is relaxed and comfortable for them to communicate with people such as a hostess. Those who are usually lonely also want to the relationship at the kind of shop.

Allison said “it is breakdown or liquidization of relationship between human time and capitalist value at the level of the (re)productive family home that marks the form of precarity and unease experienced in post –postwar Japan.” I agree with her analysis. It seems that modern Japanese society based on capitalism does not necessarily meet the modern family. The social progress of women is being developed, but social system for supporting it is inadequate. This brings collapse of family, and lack of relationship, and the demand for affective labor will increase.

Japanese fixed concepts and weak relationships

Posted on June 28, 2014 by japansociology

Tokyo Sonata (Photo credit: Wikipedia)

by Misaki Kosaka

First of all, while Anne Allison’s book refers to the homeless and they have merely lost their home materially, Sasaki Ryuhei, who is a main character in the film Tokyo Sonata, has lost his home space mentally. That is, he has no place inside of his home. After WWⅡ, family roles in Japan have been rigid, such as “sengyo shufu” or the breadwinner of the family. Especially, the fixed view that a husband should work very hard for his family is an idea accepted by most Japanese. Ryuhei could not tell his family the fact that he was fired due to this fixed idea. He acts as if he is still working, wearing his suit and having card holder after his dismissal because being at home without any jobs of a husband is often recognized as ashamed things in Japan. Ryuhei’s former classmate who was fired like Ryuhei was even sets his cellphone ringing in designated time. They were afraid that people around them, especially their families, find out they have lost a job. Husband or father in Japan have to be just existence as people imagine. Ryuhei rejected a work as cleaning man and hoped a work people there wear suits at first, then it is also a kind of the fixed concept of people in Japan or himself.

But such an idea is not only a cause of not telling the truth but also of a weak relationships. In Allison’s book, Japanese tend to seek their identity at workplace and have few connections with their family or neighbors. The characters in this movie also put their place on workplace, so Ryuhei would feel to take away “ibasho” when he lost his job, and he could not tell the truth his family because of disconnectedness and incommunicativeness. Allison says that this family is “ordinary” in Japan.

In this movie I was most impressed by the scene that the family gather and start to eat a meal. This scene seems to be ordinary family’s life, but I felt something strange because although they are sitting in front of same table, they hardly talk each other. We generally think that they don’t need to gather for a meal if no one speaks, but I guess that sitting around the table with one’s family keeps a few relationships, and it may be only evidence that they are “family” even if nobody speaks. This strange sight can be seen in any Japanese home. Japanese are losing a spiritual home.

Reference

Allison, Anne. 2013. Precarious Japan. Durham, NC: Duke University Press.

Present Human Relationships in Japan

Posted on June 26, 2014 by japansociology

English: Signage for hostess bars in Kabukicho, Tokyo. (Photo credit: Wikipedia)

by Narumi Ito

Anne Allison mentioned “global affective labor” in her book. Affective labor need not only physical strength but also restrain on emotion and tension on their work. Thus they always smile and pay attention to customers. Japan has affective labor such as a waiter, a flight attendant, hostess and maikosan. Especially, maikosan is unique to Japanese culture. They play Japanese instruments and perform traditional dances. In addition, a person who has never been to Japanese restaurants in which maikosa work cannot get services by maikosan because of ichigen san no kotowari (maikosan rejects people who do not connect with other customers). Thus maikosan tend to have “good” relationships with their customers.

On the other hand, a hostess is different from maikosan. They drink with customers, especially, most of them are office workers and hear their talking. Some customers talk proudly about themselves and complain about their jobs or families. Thus hostesses have to praise and pay compliments to them. There are two reasons why people want to go to clubs in which hostess provides drinks and chat with their customers.

The first reason is that people do not have “real” relationships. They are under stress, feel lonely and worry about their ibasho. After the Second World War, people worked hard and they could have time to spend with their families and friends. They could not consult with their parents about their worries. In addition, it was more difficult for them to keep company with their coworkers than with their families because fellow workers were just people who work with them in same offices. Thus they cannot find their ibasho in their lives any more.

However they think that they want to have someone hear their troubles. If they cannot consult their troubles with their families or friends, they will come to seek people who can advise to them, even if the people are stranger for them. They go to hostess clubs and confide their feelings. A hostess always hears their worries. Moreover, a hostess always praises her customers thus they can feel better.

The second reason is that customers do not need to worry about relationships with hostesses. People do not have opportunities to meet hostesses unless they visit hostess clubs. Thus if they have a quarrel with a hostess, they do not mind about it because they are outsiders in each other’s lives. It connects with mendoukusai. In modern Japan, they consider relationships as troublesome things because it is hard for them to keep and continue on good conditions.

In conclusion, if muenshakai is worse, people need to depend on stranger to solve their problems in Japan in the future. Thus people should have strong relationships even if they have only one. Japanese people have to own the same image of Japanese future which people have closer relationships and Japan will become stable.

Needing human relationships in Tokyo Sonata

Posted on June 26, 2014 by japansociology

Tokyo Sonata (Photo credit: Wikipedia)

by Haruka Ichikawa

Many problems have occurred in modern society in Japan. For example, issues in human relations continue to increase. It is considered that the problems of NEET, hikikomori, and kodokushi are also social problems in Japan. These social problems is called “muen shakai”. This represents one side of Japanese society which single-person household increases, and the relationship between people is becoming weak.

In the movie Tokyo Sonata, muen shakai was drawn heavily in the ordinary nuclear family. By Ryuhei (father) losing his jobs, family relationships begin changing. Someone else of his family start having a secret from each other. And because they no longer speak to each other, family relationships go thinner. In modern society in which relationships with family and the neighbor is very weak, we would have become not to know if we do not speak to each other whether who, when, where, and what we are.

The severity of the present employment was expressed with the scene in which he hunts for a job. He lost one of his ibasho and his social position. It is not necessarily that everyone is able to do they work they want. Like Ryuhei, by losing their jobs suddenly, some people work in non-regular employment. Non-regular employment is unstable and has lower income compared to regular employment. But there are problems with regular employment. For example, karoshi. As a result of being forced to work without holidays and long overtime, in the mental and physical burden, workers succumb to death from sudden cerebral hemorrhage or heart attack. Even when death did not come from overwork, some people are driven to suicide by the stress and pressure. I think in order to prevent suicide, it is necessary for their mental health to be supported by the power of family. It is also considered that support of the Japanese government becomes necessary in economic terms.

When I saw this movie, I wondered not that we have to care about our appearance and views like Ryuhei did, and that should not be put off the idea and feelings of family. The family woke up little by little in the end, and it went toward a good direction in this movie, but some families can lead to divorce once they no longer go well. I think that it needs communication, having common understanding of what is important for them, and making an effort to build relationships each other before the relationship is broken.

Prosthetic sociality building new senses of home

Posted on June 26, 2014 by japansociology

by Minami Ichiji

“Prosthetic sociality” means the transformation of human relationships in 21th century Japan: warm sensibility is getting to be less fleshy. Anne Allison (2013) explains “In an era of material accumulation and sterile decorporealization (datsushintai), young people who “float” the waves of “net society” have “informationalized bodies.” That’s to say, they communicate with one another mainly by “social network services” (SNS) for example, Facebook, Twitter, and Line. Allison also uses “techno-intimacy,” that is “an intimacy premised on care and built into technology” (Allison, 2013) to literally focus on technology. She sees robots, Tamogotchi and Pokemon as techno-intimacies. I find some examples of it. “Bishoujo” (beautiful girl) and “renai” (romantic love) games, players meet bishoujo or ideal partner and go out with her/him on an electronic screen. They establish imaginary relationship through this play.

Allison refers to techno-intimacies, “this is a play that, while mulitifaceted and complex, turns on fostering sinews of attachment that burrow into the nervous system ‘as if humanly interactive, even social”. I agree with her analysis, prosthetic sociality is meaningful concept. “The paradox of the vanishing social today: the kinds of human connections that bring warmth have also come to seem annoying” (Allison, 2013). She points out this paradox is stirred up structurally, accompanies with the advance of technology and “shifting in constant, competitive, and intense labor”, she says is spreading all over Japan. I consider this phenomenon as the issue, prosthetic sociality and techno-intimacy play an important part in it.

Reading chapter 4 of Precarious Japan, I notice that there was a sign which would lead to the paradox. Before the destruction of the family-corporate system, according to Allison (2013), under the trend that “aspirational adults treat their kids as investments for the socioeconomic marketplace, the young people he (psychiatrist Serizawa) treats as hikikomori are emotionally stunted, hungry for a kind of love they rarely get from parents overly focused on achievement.” If the abandoned youths should meet a chance to get a robot or a game, they would rush to these prosthetic tools.

In a struggling recession, more and more people are hired as unstable labor. It is hard for them to have the opportunity to spare time for “the soul”, “the time to touch a mother with Alzheimer’s or to shelter a child getting bullied at school or to simply enjoy the rhythm of slow eating with friends” (Allison, 2013). As the author remarks (2013) “a nuisance coming from ‘existence utterly depending on me’ also drives people to prosthetic sociality, dog and tamagotchi will die without perpetual caregiving”.

Although, what I see as the most serious issue is the paradox I state above. To be specific, anyone feels lonely can seek human connection. And then, affording to pay for a maid café, a hostess and a game, they can buy some kinds of easier “home” and go their house. There are desperately lonely people who have nowhere to go and lack money, like net café refugees. No exception, this can happen to anyone.

Prosthetic sociality is created as new and ultimate way of organizing home.

References

Allison, Anne. (2013). Precarious Japan. (pp.52,100-101,106,118). Durham, NC: Duke University Press.

Solving social problems in Japan

Posted on June 25, 2014 by japansociology

Tokyo Sonata (Photo credit: Wikipedia)

by Yuko Hiromori

Today’s Japan has many social problems, for example poverty, unemployment, suicide, and so on. Especially unemployment is very serious and important problem. A movie, Tokyo Sonata, described the collapse of a family in Tokyo. They usually live a peaceful life every day until the father, Ryuhei, is fired by his company. In Japan, if we are not a regular employee once, it is said to be very difficult that we again get a job which is equal to our previous job. So if we want to get another job, we have to have patience with the severe labor condition—low salary, insufficient social security, unstable employment and so on.

The condition of family finances has a direct connection with children’s education. In wealthy families, the parents can let their children go a private school and go accomplishments. In the movie, Ryuhei’s second son wants to go to piano school but Ryuhei cannot allow him to do so because of his lost job. Allison says in her book that parents who are rich let go their children to a cram school and they enable their children to acquire a good school background. In Japanese society, when a person enters a company, their school background is a factor to judge their ability. Some parents believe that the better their children’s academic background, the easier they enter a famous company, get a high salary, and secure stable employment. Children in such environments can start the school competition to get better employment environment and win the competition.

It is clear that irregular employment contains some bad factors—low salary, unstable employment. However regular employment has problems too. Indeed, regular employment is more stable compared to irregular employment. But in return for the stableness, regular employment is needed a certain extent responsibility in the work. In other words, regular employment has to be needed a lot of work. For instance, a Japanese man, he is an office worker, worked hard every day till late at night. It was not long before he led to his bad mental condition. It is said this condition depression. In case of suffering from the illness, there is possibility that a patient may have to take a rest or resign his office. If the patient lapsed such situation, it is difficult to return to his office again. Things which the worst possible is karoushi (death from overwork).

Tokyo Sonata described the weak relations in families through Japanese social problems. Also, Alison argued that the weakness of human relations in Japan gave rise to muenshakai. I think the two things have common factors, in short, human relations. So, I consider that the change of it is a clue to improve Japanese society.

Reference

Allison, Anne. 2013. Precarious Japan. Durham, NC: Duke University Press.

The connection between Tokyo Sonata and precarious Japan

Posted on June 25, 2014 by japansociology

Tokyo Sonata (Photo credit: Wikipedia)

by Yume Furumura

Tokyo Sonata is a movie which shows a breakdown and a bit of hope in an ordinary family in Japan. There are a lot of messages of this movie, but I’d like to analyze it focusing on “ibasho” and “jiko sekinin” of the ideas in Anne Allison’s book, Precarious Japan.

Allison writes “If only we have hope and respect, we can live. But without a secure means of existence, many today have no place or sense of home at all [ibasho].” In this movie, each member of the family looks for their own “ibasho”. For example, Ryuhei (the father and husband) lost his job, but it was the only ibasho for him. Then, he starts to pursue his new ibasho. The other members of the family also search for it. However, Allison has doubts about Japanese’s having problems of “ibasho”. She says as follows, “instead of finding shelter for their dream making, many feel exiled but not to anywhere else as much as to nowhere at all?” It does not necessarily mean that all Japanese don’t have their house. However, if it is a form-only house, it doesn’t occupy their mind. In fact, the family of the movie has a house, but it is just the house for them. It was not ibasho.

The older son loses “kibo” (hope) because he cannot find a good job and believes that he will never be acknowledged by society in Japan. The son got tired of the structure of Japanese society, kakusa shakai. Therefore, he decides to be a soldier in America for finding a new ibasho and for his family. Ryuhei was strongly against what he tried to do. However, the son went to America with “jiko sekinin” (self-responsibility). According to Allison, “Couched in a rhetoric of ‘quality of life’ and ‘living independently,’ this turn to individual responsibility (jiko sekinin) and return to family or household is the signature of government attempts to privatize care and cut back on state spending.” Even if the son dies in America, the government of Japan wouldn’t do anything, because it is his (the son’s) jiko sekinin. In fact, Megumi tried to confirm her son’s safety, but she couldn’t do even that. If I were in the son’s shoes, I would probably think that whatever the outcome, it is better to go to America than live in disgrace in Japan.

I was surprised at the close connection between the movie and what Allison’s book says, because it is a Japanese who made the movie, and it is a foreigner who wrote the book. Japan has been thought as a rich country by people in other countries. However, a lot of Japanese feel that they are not happy now, and the perspective of the future of Japan may start changing. I want Japan to be the society that all of the people can have hope, and I expect the hopeful story will be made next.

Reference

Allison, Anne. 2013. Precarious Japan. Durham, NC: Duke University Press.

Tokyo Sonata: a look into precarious Japan

Posted on June 25, 2014 by japansociology

Tokyo Sonata (Photo credit: Wikipedia)

by Marina Furuichi

“Tokyo Sonata” is a film which describes a breakdown and a faint ray of hope in a family. The outline of the story is this: In Tokyo, the Sasaki family lives in a town. Ryuhei, the father of the family, is fired, but he can’t tell his family the fact. His two sons also have their own secret. In addition, one day, his wife Megumi is drawn into involvement in a robbery. In these situations, however, little by little, they begin to find a faint ray of hope while all the family has each their own feeling. In this movie, some parts of recent precarious Japan which Allison states such as jikosekinin is depicted. I will states the review in terms of jikosekinin, kodoku, and mendōkusai which are the issues that Allison states.

First of all, I’m going to state my analysis of the movie in terms of “jikosekinin”. In the beginning of the movie, father, Ryuhei, is fired because the company decided to employ Chinese workers who work for a smaller salary than Japanese. In the scene, after the company tells that he isn’t needed in the company, his superior says, “What can you do for this company? Do the rest by yourself.” I think the line is one of the best examples of idea of “jikosekinin”. As the movie shows us a negative side of “jikosekinin” in Japan, I think they easily abandon people who is not useful by using the word “jikosekinin” because especially, Japanese company place great importance on their benefits. Government also imports on their policies such as “privatizing more and more of (what once were) government services under the banner of “individual responsibility (jikosekinin),” as Allison (2013, p52) states.

Second, I will state my analysis of the movie in terms of “kodoku” and “mendōkusai”. There is a scene which Kenji who is a younger brother talks with his piano teacher. He learns the piano without saying it to his family. One day, he happen to learn that the teacher decided to divorce. Then, he says to her, “I understand you. There is more time I want to be alone than that with someone. I have to be worried about hurting someone when I’m with someone.” In this scene, I think people who choose “kodoku” to live in easier human relationships without “mendōkusai ningenkankei” is described. According to Anne Allison (2013, p100), “young people say marriage is mendōkusai [a nuisance]; they’d rather protect their money and time for themselves.” There is a link between the scene of the movie and the passage in Allison’s book. I think that both of them refer to that there are many people who want to be alone to run away from “mendōkusai ningenkankei” in Japan.

Reference

Allison, Anne. 2013. Precarious Japan. Durham, NC: Duke University Press.

Social relations with Robi and Tamagotchi

Posted on June 25, 2014 by japansociology

A Tamagotchi Connexion V1 (Photo credit: Wikipedia)

by Marie Fudaba

In the book Precarious Japan, Anne Allison mentioned “prosthetic sociality”. Prosthetic sociality means electronic goods that attach to the body and keep users continually plugged into circuits for information, communication and affect. It is percolating in the social gap left by the weakening of human ties in the family, workplace, and community in Japan today. In Japanese society, the attenuation of human relations becomes a serious problem and the number of people who enter prosthetic sociality seems to be increasing.

The author mentioned ‘Tamagotchi’ as typical example of it. Tamagotchi is the virtual pet that came “alive” by hatching, an egg on the electronic screen that grew to adulthood by feeding, playing and tending to do it like a “real pet”. It is popular for people who feel lonely without human connection because it evokes an intimate attachment in humans and it has healing power. The author called such an electric good that offers an intimacy premised on care and built into technology “techno-intimacy”. She is optimistic about it because there is a constant sense of connection and an expectation of instant communication, it effects good impact people who have the weakening of humanities.

I agree with the author’s opinion that the number of people who rely on prosthetic society is increasing because they feel attenuation of human relations, and her optimism for it. Actually, an annual lifestyle white paper written by the Japanese Cabinet office shows a dilution of human relationships in the family, community, and at work. Particularly in the family, people don’t have time to spend with each other. Under modern capitalism, the father and mother are working for long hours every day, they spend no time with their family and it makes their children lonely. Moreover, many children often tend to go to cram school or individual enrichment courses so they can work in a good company in the future. They also spend a lot of time on the internet and playing electronic games at home. Ties between children and parents all get weak, and they must think they don’t have ibasho and feel lonely. In work, Allison mentioned there are many people who don’t get on with the people at work, and they seems to feel a lack of communication.

In this situation, techno-intimacy can help them from a lack of human connection. For example, there are ‘Robi,’ which is a robot that can communicate like a human because it is a therapeutic robot. Moreover, Japanese engineers are putting a lot of work into development to establish a ‘heart-to-heart relationship’ to become closer, like with friends, between people and robots. If that development can be implemented, it might decrease the number of solitary persons or the number of solitary deaths from now on. Therefore, I agree with Anne Allison’s opinion and am anticipating its future development.

References

Allison, Anne. 2013. Precarious Japan. Durham, NC: Duke University Press.

Japanese Cabinet office HP, annual lifestyle white paper. http://www5.cao.go.jp/seikatsu/whitepaper/index.html

Japanese issues in “Tokyo Sonata”

Posted on June 25, 2014 by japansociology

Tokyo Sonata (Photo credit: Wikipedia)

by Tomohiro Doi

In class, we watched the film “Tokyo Sonata.” This movie showed issues in Japan. A man was fired and he looks for work but he cannot find it. In his family, he tried to hide that he was fired. And his family became hopeless and worse than ever before. Then his family members broke up and relationship of that became weak. He frantically tries to bring his family together. However, his family still broke up.

I think this movie shows the modern Japanese society faithfully. The minority which is no job people and fired people are despised by the majority. A certain people were driven to suicide. And then I think this movie displayed not only unemployment but also all problems in Japan.

In Anne Allison’s book, Precarious Japan, an important issue in Japan, especially the breakdown of family is described and it is connected with this movie. Allison interviewed the Marxist sociologist Adachi Mariko. She argued about this problem appropriately. She said that the Japanese stereotype that is male work outside female stay at home as housewife has broken down. Therefore the male as breadwinner broke down. And the man’s family corporate system has ended little by little.

Allison said that the family corporate system linked a particular structure of work to one of family and home. However, this system have changed. In this movie “Tokyo Sonata,” the man behaves as a breadwinner male and worries about himself authority in family. But he was found out to be unemployed and work as a non-regular employee. Allison wrote about hope for the breakdown of family. In this book, it was about Tamura Hiroshi, who is a Japanese talent now. In his middle school student time, his family broke down. In his family, his mother died two years ago and his father brought up his two children. However, he could not work and he abandoned his two children. In the movie, father could not work and looks like to break down his family.

Now, the break down of family could connect with a case. In these days, a certain man divorced and broke down his family. And he was not able to bring up his son and to kill him. Like this, like “Tokyo Sonata,” this breakdown of family may connect with a crime and disintegration of relatives.