Research and Methodology Paper

When giving a presentation on Golden Gai, a neighborhood on the fringes of Tokyo’s Kabuki-cho district, I had difficultly convincing students that the neighborhood, which constantly faces the threat of becoming yet another high-rise complex in the Shinjuku Ward, deserves to be preserved after all. Indeed, as a former black market and red light district, Golden Gai certainly has a colorful history, but these are not the aspects of Tokyo’s history most people feel compelled to preserve. Moreover, while the low-rise buildings are a rare sight among the ubiquitous skyscrapers in Shinjuku, the structures are rather dilapidated, many of them having not been updated since the 1940’s. The area is also notoriously private, with the many signs prohibiting filming and photography attesting to this fact. Entry can also prove daunting; most bars have cover fees of 500 to 1000 yen just to get a seat, some bars require an introduction, and still others do not admit foreigners. Thus, on paper, Golden Gai’s appeal does not seem immediately clear. More than its architecture or history, however, the draw of Golden Gai lies in the experience it provides, and after going there, one finds an atmosphere unlike any other in Tokyo. Thus, my methodology was founded in this experiential element of Golden Gai.

That being said, my initial plans for research did not reflect this stance. I started by researching the history of Golden Gai in several books about Kabuki-cho and Tokyo in general. As I found out, after the occupation ended, the neighborhood was transformed into a nomiya district, filled with many tiny bars. During the 1960’s, the area become a cultural center, attracting the likes of Mishima Yukio and Ozu Yasujiro. It was much bigger in size than it is currently; a number of landowners have sold their much valued real estate over the years, and the area now consists of just several narrow alleyways that retain a vestige of post-war Tokyo. I also read several news articles on the topic of Golden Gai’s atmosphere and uncertain future. After finishing my initial research, I came up with a list of potential interviewees and questions. I decided I wanted to interview an expert who could talk about Golden Gai’s history and culture, at least one bartender, and at least one client who had been coming to Golden Gai regularly for a fairly long time. I planned to ask them mainly about the history of the neighborhood.

As stated before, Golden Gai is a steadfastly private place – the residents fear that any unwanted attention will cause an influx of curious visitors that will change the urban fabric of the neighborhood. Indeed, as I would later find out from the interviewees, Golden Gai has changed considerably in the past 5 years alone: the amount of bars has nearly doubled, and the once exclusively Japanese clientele now has given way to a large number of tourists who have discovered the area from guidebooks. The residents’ desire for privacy and the flood of tourists who do not understand the Japanese bar system have led to the aforementioned restrictions. As our interviewees speculated, the prohibitions on photography could also be attributed to the number of famous actors, musicians, filmmakers, artists, and other prominent figures who frequent the area.

Thus, gaining access to the area proved extremely difficult. I went to several bars, but my efforts were fruitless: even after I had spent an amount of money that is exorbitant for a non-drinking, broke college student such as myself, the bartenders and clientele were reluctant to give interviews. (Some offered to have un-filmed “chats” instead, while others declined to talk about Golden Gai’s history altogether.) Because of time and money constraints, I abandoned the façade of an innocent bartender and adopted a straightforward approach by stating my intentions of conducting interviews upfront. Using this approach, I found my bar of choice: Aces. Reassured by the sign on the front door (“If you have a problem, ask me! I love English and you”), I entered the bar, camera in hand, along with Shinya, the Japanese translator in the group, and two female friends studying abroad at Keio University. Much to my delight, I received a welcoming reception.

Before I continue with this particular experience, there are two unique aspects about Golden Gai that I would like to discuss. The first is that each bar tends to be specialized around a certain theme, the most famous being La Jetée, which pays homage to French avant-garde film and is known as a haunt for famous filmmakers such as Quentin Tarantino and Francis Ford Coppola. Aces was no exception to this rule: the owner, Yamashita Tsuyoshi, went to college in Colorado before returning to Japan, and the décor is reminiscent of the American southwest, with Georgia O’Keefe-esque animal skulls displayed on the walls and movies such as No Country For Old Men playing in the background.

The second point I would like to bring up is the demographics of the clientele. As stated before, a sizeable amount of tourists come to the area, and indeed, we met people from around the world at Aces. More interesting to note, however, are Golden Gai regulars, who go to the same bar almost every night, making the place their second home. This was an important factor in the methodology of the project, as I will explain later.

To summarize the first night of filming: because it was still “early” by Golden Gai standards (read: a little after 8), there were only 2 clients at the bar, both regulars. My Keio friends talked to the other bargoers while I broke the ice with Yamashita-san. Talking about the nature of my project and the difficulties I had encountered in its undertaking, I received a sympathetic response. I then started asking Yamashita-san about his experiences in America, and this led to a conversation about various personal matters. In talking to him, I felt that I was able to establish a more comfortable relationship and gain insight into the workings of Golden Gai. When I asked about the history of Golden Gai, Yamashita-san replied that he didn’t know too much about it, but the regulars offered some input. The topic of the neighborhood’s possible destruction produced a similar response.

After an hour or so had passed, I decided to start filming, asking a series of questions that I had written beforehand. I began by asking general personal information before delving into matters of Golden Gai’s history and uniqueness. The interview, as well as the preceding conversation, was conducted in English. I did not have a tripod or microphone with me at the time, so this interview was conducted as a first run, in order to have him become more accustomed to the camera and talking about the subject matter. It also allowed me to examine which elements I needed to improve or alter.

Once my interview finished, one of the regulars, Tanaka-san, offered to do an interview as well. I had actually not intended to interview anyone else in the bar that night; my original plan was to go over to the Albatross, per Professor Herrera’s recommendation, to interview the bartender there. However, interviewing Tanaka-san changed the course of the project for the better – he proved to be a valuable source of information, and by concentrating on one single bar, I became a “regular” of sorts. Granted, I was not drinking there every night, but I did get to know the people there fairly well, and this “regular” aspect was an important part of my revised methodology, which gradually came to reflect the more intangible, experiential elements of Golden Gai rather than simply its history.

I came back the next week with a slightly revised set of questions – the changes reflected my newly adopted methodology and my interview with Donald Richie (see below). The process was much the same, as I chatted with the interviewees before I began shooting in order to produce a more relaxed atmosphere. This time, the interview with Yamashita was conducted in Japanese (he was more comfortable speaking his native tongue, and it added to the atmosphere). I tried to make the interview questions open-ended, broad, or coupled with other questions. The inquiries were as follows:

For Yamashita: How old are you and what is your name? When did you first come to Golden Gai and why did you come here? What has changed since you first came to Golden Gai? What do you like about Golden Gai and what do you think could change? What makes Golden Gai unique? Can you talk about Golden Gai's history? Why are there signs prohibiting photography and filming?

For Tanaka: How old are you and what is your name? When did you first come to Golden Gai and why did you come here? What has changed since you first came to Golden Gai? What do you like about Golden Gai and what do you think could change? What makes Golden Gai unique? Can you talk about Golden Gai's history? What do you think of tourists? Is it true that Golden Gai has been purchased, and what would happen if it were replaced by high rise buildings? How do you think Golden Gai will change in the future? What will you do if Golden Gai disappears? Do you think it should be preserved?

While the experiences leading up to the final interviews were often difficult, I was very satisfied with the material in the end – the answers were alternately personal and objective, which created absorbing oral histories of Golden Gai and its loyal followers.

The process of procuring an expert on the area was similarly difficult but rewarding. I had originally toyed with the idea of asking Donald Richie for an interview after reading his book Tokyo, but I was intimidated by the idea. In my research, I discovered the Shinjuku Historical Museum, which I thought would be a perfect resource. After talking to a museum worker, Shiguchi-san, I was under the impression that an interview was certain. When I went to the museum, however, he insisted that he was “not an expert” and referred our group to the Shinjuku Ward Office. Much to my dismay, they likewise informed us that Golden Gai was not their area of expertise, and told us to instead talk to the head of the Golden Gai Neighborhood Association, Okuyama-san. However, Shinya was not able to talk to Okuyama-san by July 2nd, and the encroaching deadline caused me to panic. In what I thought would be a fruitless move, I decided to return to my first choice: Donald Richie. Fortunately, I was able to obtain an interview with Richie between 6 and 6:30 on July 4th. Because of the one-shot nature of the interview, everything had to be done efficiently and correctly (unfortunately, it was not – I had troubles with the sound, which taught me to really make sure you know what you are doing before using equipment).

After meeting Mr. Richie at Super Deluxe in Roppongi, he informed the group that he wanted to eat dinner in Roppongi Hills. While the walk over there and the buying of food took up valuable time, I also gained an opportunity to break the ice with Mr. Richie in a similar fashion to what I had done with the previous interviewees. I first informed him about the topics about which I would be inquiring (e.g., Golden Gai’s history, its transformation into a cultural center, how it reflects post-war Japan, and the neighborhood’s uncertain future). I also tried finding common ground by talking about film and literature, and I continued such conversations while I was setting up the equipment. Once I had finished, I told Mr. Richie I was ready to film, and I took out the questions I had planned to ask him, but much to my surprise, he did not even allow me time to ask questions. Instead, he launched into an eloquent speech about the aforementioned topics. The footage was self-contained and showcased his expertise in the area.

While the other two interviews were more relaxed oral histories, Mr. Richie’s was more factual and objective. Despite their differences, however, both provided positive points, and I think having such different styles strengthened the quality of my resulting video.

Final Video and Poster

Bars of Gold: A Portrait of Golden Gai from URBZ on Vimeo.

Editing Commentary

So, I spent 12 hours on July 14 editing. The editing process was a good experience, but it's nice to have the stress lifted off my shoulders. Here is a summary of the editing process, which took place July 7th-July 15th:

- The first thing I did (after importing, of course) was to adjust the sound. I wasn't able to make decisions about what parts of the interviews I wanted to keep since I hadn't received translations yet, so I worked on this instead. I played around with audio filters a lot, especially on the Donald Richie interview. Because it was impossible to remove the ambient noise on his interview, I decided to keep the ambient sound on the other interviews as well to make the transitions less shocking. After deciding what clips I wanted to use, I also added cross fades in between every interview clip and extended/shortened the audio clips past their respective video portions in some instances.

- The second thing I worked on was deciding what sections of the interviews I wanted to use. I actually did this by looking at the transcripts of the interviews, rather than at the footage itself, in order to pick out relevant material. At first, I chose to include 2 clips for each thematic element, e.g., the history of Golden, but after actually editing the clips and watching them in succession, I noticed that the documentary would be too long and repetitive, so I decided one speaker per topic would suffice. In the end, I used 9 clips from the interviews (2 from Yamashita, 3 from Richie, and 4 from Tanaka), each at around a length of 30 seconds to keep the pacing consistent. They totaled about 5 minutes in all, and after I edited credits/b-roll, the movie was around 5:30.

- I then worked on the aesthetics of the video. Because of the insufficient lighting conditions of the bar interviews, the use of archival photos, and the theme of the video, I decided to make the entire documentary black and white. After desaturating everything, I spent a lot of time adjusting the contrast of the video. At first, I used the brightness/contrast and levels filters, but I read online that 3-way color balance filter actually works better, and it did indeed! So, it took some trial and error, but it worked out well in the end.

- The last parts I worked on (almost all on Tuesday) were adding b-roll and subtitles. I also added opening and closing credits and music, which were both very easy tasks. I edited a bit on Wednesday, but this was mostly just polishing things up. Anyway, everything is done now!

Filming: Part III

Miracle: we finally went to Golden Gai as a group! We went on Monday, July 6 - I expected to go together to Golden Gai about a month ago, but I guess that's how these things to go. Anyhow, we went over to Golden Gai around 6:00 to get some b-roll before the bars opened. Shinya was really intent on getting overhead shots of the area, which led to several instances of trespassing. At 8 we went back to Aces to re-do the interview with Yamashita-san (the last time I went, I wanted to be discreet so I didn't bring the tripod, and the audio was quite bad, so I decided to reshoot). This time Yamashita answered in Japanese, but I still asked the questions in English. Shortly after we finished the interview, Tanaka-san also came in, so we interviewed him as well. I took some b-roll of the inside of the bar and the outside.

Anyway, I don't think I'll be doing any more shooting because of time constraints, but I might go back and take some more pictures. I'm pretty much done with editing the first 2 minutes of the video (the parts in English and b-roll mostly). By the way, I like editing. I hadn't used Final Cut Pro in about a year, but after the media workshop, I've gotten right back into the habit of using it.

Filming: Part II

On Thursday, July 2nd, Shinya still hadn't gotten in contact with Okuyama-san, so I was genuinely panicking. I decided to arrange another interview myself since we really needed to talk to a person who could provide us insight into Golden Gai's history. I decided to contact Donald Richie; in the beginning of the project, I had considered contacting him, but I was somewhat intimidated. Anyhow, I talked to Dr. Cleveland, who told me Mr. Richie would be attending an event at Super Deluxe in Roppongi Saturday, July 4th. Dr. Cleveland called Mr. Richie, who agreed to talk to us from 6-6:30, so I canceled my prior plans and checked out equipment. Shinya had work, and I couldn't get a hold of Tony at first, but fortunately I ran into him on my way to Roppongi on Saturday.

We went to Super Deluxe, and Mr. Richie was waiting outside. He told us that he hadn't eaten dinner, so we headed over to Roppongi Hills. At first we went to Starbucks, but there were no seats, so we went to a soup place instead. I bought him dinner and chatted with him about film and literature while setting up the camera. Unfortunately, in a moment of mental abstraction, I forgot how to use the wireless microphone (I frantically explained to Mr. Richie that I am accustomed to making silent, experimental films and that I had never used the wireless microphone before). Tony, having skipped the workshop, was of no help in the matter, and since we were running out of time, I took a deep breath and shot with the ambient microphone. The sound was sub-par because the restaurant was quite crowded and filled with music/clanging dishes. However, the content of the interview was great. I gave Mr. Richie my contact information and he gave me his, saying that I should call if I wanted to do any re-takes. I called him on Tuesday and left a message, but as he has not returned my call, I think perhaps he had only given my his phone number out of courtesy instead of an actual desire to redo the interview. The footage is still salvageable, though, so I will be using it. Instead of the question/answer format of most interviews, Mr. Richie actually gave a rather eloquent speech. This will make editing easier because he contextualizes what he's talking about (i.e., he doesn't answer with only a few words). Here's the transcription of the interview:

"Golden Gai is a section of Shinjuku, which is a section of the old night city of Tokyo, which has a very interesting reputation. It has over the years turned into a sort of an artist’s haven, a sort of bohemian enclave. It wasn’t always that way. Originally, after the war, it was sort of a very large black-market area. Then it turned into the whore district, then half of it turned the gay district, and now it's turned into a very specialized bar district. It is a warren (it used to be a lot larger than it is now). It is a warren now of six or seven alleys, two story buildings, all of them post-war, and all of them rather flimsily made. This is where a number of bars have sprung up. These bars originally were known as cheap places to have a drink, or pick up a girl or take a friend, or something. But over the years, as I say, being in Shinjuku, it’s received an enormous amount of impetus, by the fact that Shinjuku is having its own history at this time. Shinjuku had sort of a renaissance in the 1960’s. This is where it was all coming from – Shinjuku. Shinjuku was the home of the counter-culture. This is where all the dissidence went. If you wanted to smoke pot in public, you did it in front of the  Shinjuku Station. If you wanted to play the guitar, that’s where you did it. At the same time, more serious things were happening. This is where a lot of the new aesthetics came from, where a lot of the avant-garde came from. This is where Terayama Shuji had his first theatre, where Kara Juro had his first theatre. This is where Hijikata Tatsumi invented Butoh modern dance. All of these were post-war expressions of a new Japanese ethos. What is left of these which has not been commercialized has been subsumed in Golden Gai, and so you get a feeling of the period. By going to Golden Gai, you see the reason it’s so popular. People who are interested in avant-garde film, for example, always go to a very small bar called La Jetée, which is named after Chris Marker’s film, and all the young directors go there. It’s nice to go there and have a drink or two. So it still has some sort of validity. It’s grown very fast, of course, since Tokyo changes faster than any other city in the world, I think. Actually, Golden Gai has been bought. It’s been bought by the people who own Parco-Seibu Department stores. But they bought it at a time when their [something] was such that they were not really able to do anything with it. They never built anything on top of it, but they own the land, but they’ve never been able to afford to tear down the buildings, so it’s living on borrowed land. It’s still there - it’s sort of a mummy, a petrified period piece of the time. Still quite visible, still quite experiential. It won’t last very much longer. As soon as Japan hits the next boom, all of that land is going to be raised, all those bars will go, and of course, all sorts of new high rises – it will start to look like Roppongi. So what’s left of the past – and it’s very precious, this past, because the past that is still alive is very difficult to find, particularly in volatile Tokyo. You can find it in downtown Tokyo, you can find it in Asakusa, in Ueno, in little corners that no one else wants, where the culture has managed to survive. In certain of parts around Shinjuku, it’s been mainly Golden Gai and Shomben Yokocho, the Piss Alley, which is right next to it. When they go, that is an entire section of Tokyo history, of Japanese history, of Japanese anthropology, of Japanese aesthetic history [that] will go as well."

Filming: Part I

Wow, this update is long overdue! I meant to create new posts several times, but I've been really busy with shooting and whatnot. I suppose it's better late than never. Anyhow, I'll be making 3 new entries tonight, one for each day of shooting.

On Friday, June 26th, I went out to shoot because I had finally managed to get people to go with me. Tony was M.I.A., so first I went with Shinya to the Shinjuku Historical Museum. When we got there we met up with Shiguchi-san, whom Professor Herrera had called about 2 weeks ago. However, he informed us that he was "not an expert" on Eastern Shinjuku, and he directed us towards the Shinjuku Ward Office. They in turn also said they were not that knowledgeable about Golden Gai and suggested we talk to Okuyama-san, the head of the Golden Gai Neighborhood Association. He wasn't there when we called, so I put Shinya in charge of contacting him for an interview/archival photos (he has as of yet not gotten in contact with him, and since the due date for the project is just around the corner, it's highly doubtful that we could interview him at this point anyway). We also got special permission to film/take pictures of the museum's exhibition, but it turned out to be rather paltry. When we called before, they said they had archival materials relating to Golden Gai, but I didn't really see any. I filmed some stuff anyway, but all in all it was a rather fruitless visit.

Later, at around 8, I met back up with Shinya and with two friends who were interested in going to Golden Gai because they had read about it in a guidebook. We headed over to the flamenco bar first, but when the prospect of getting an interview came up, we received a frosty reception. We then headed over to the Albatross per Professor Herrera's suggestion, but the man we had hoped to interview wasn't in the bar at the time. We waited for him for a while, but I felt sort of bad for making my friends wait when it wasn't even their project, so we headed to another bar instead. We found a new bar called Aces, the front door of which displayed a sign that said "We love English and you!" We asked the bartender, Yamashita-san, for an interview, and he agreed! There were also several regulars who were very friendly -- quite a relief. I conducted an interview with Yamashita-san in English, and then with Shinya's help I interviewed one of the regulars named Tanaka-san. I got some b-roll footage and photographs as well before heading back at 11:30 to catch the last train. Finally having accomplished substantial shooting really helped alieve the stress I had been feeling, and so lugging the equipment and my backpack up the very steep walk to my house at 1:15 didn't seem so bad.

Golden Gai: Part II

After a series of scheduling mishaps, Professor Herrera and I decided to go over to Golden Gai last night without my other group members. At around 10, we went to La Jetée, a movie-themed bar owned by Tomoyo Kawai. Known as a haunt for filmmakers from around the world, it is arguably the most famous bar in Golden Gai. Professor Herrera introduced me, and after ordering two ginger ales, Ms. Kawai served us some tofu. Incidentally, this was the first time I had ever been in a bar, since I don't turn 21 for another 3 weeks, and in any case my alcohol consumption has generally been limited to familial occasions such as New Year's, weddings, et cetera. It may seem somewhat counterintuitive for a non-drinker to choose to document an area that comprises hundreds of bars, but I wanted to present myself with a challenge. While I was initially somewhat inclined towards a shopping area, my natural stomping ground, there are several reasons why I decided against this. Firstly, I wanted to maintain as much objectivity as possible; my feelings towards an area like Harajuku are colored by previous experiences and preconceptions, whereas I my knowledge of Golden Gai is mostly factual and unbiased. Secondly, I wanted to place myself outside of my comfort zone -- creating a film is largely about pushing the limits, not necessarily opting for what is safe or easy. The processes of viewing and creating are similar in that ultimately one should learn something from the experience.

In any case, I digress -- back to La Jetée. After getting our bill, I told Ms. Kawai of my intentions, and I asked her if she would do an interview, to which she responded she would "think about it," which of course meant "no." Professor Herrera and I tried a few more bars to no avail. The flamenco bar was our final stop, and we seemed to have more luck there, but I had to leave to catch the last train home. That said, nothing is for certain, and I plan on going back several more times -- I hope I can convince someone to let me film!

Reactions to the Donald Richie Readings/Lectures

I meant to post this a while ago, but I've badly neglected this blog as of late. Anyhow, Donald Richie has been something of an omnipresence since I came to Tokyo. I had read and admired his work back in the States, so it was quite the experience to get to see him lecture. Here are a few reactions:

Readings:
1. Lateral View: This was an interesting and relevant reading that certainly broadened my understanding of Japanese neighborhoods. Coming from a small American city where the streets are named sequentially and addresses are conspicuously displayed on the front of buildings, I found Tokyo overwhelming upon my arrival; I quickly learned that knowing the address of a place proves rather unhelpful in locating it. Thus, I found Richie's essay "Tokyo: The Impermanent Capital" pertinent in explaining the seemingly illogical layout of Tokyo's neighborhoods. As we learned in the Metropolitan Tokyo class, urban design is a rather irrelevant concept in Tokyo; according to Richie, neighborhoods grow and change organically rather than being carefully planned out. Another aspect covered in the article is Tokyo's obsession with constantly tearing down and reconstructing buildings, which was another issue that surprised me upon coming to Japan -- even an Important Cultural Property like Kabuki-za is not exempt from this process. Japan does indeed seem to have an obsession with the new, but Richie argues that the cycle of building/destroying/rebuilding can be attributed to the idea of temporality that lies at the core of traditional Japanese beliefs.

2. Tokyo: This is one of the sources I consulted as research for Golden Gai; when he said that the area prohibited pictures, I had hoped it wasn't true, but alas, the neighborhood is indeed an intensely private one. In any case, this is an interesting and personal view at the city that Richie has called home for most of his life.

Lectures:
1. Cinema Eclectics: The film covered here was Kore-eda's Distance, a film that I had learned about in my Japanese film class at St. Mary's but never actually watched. I've enjoyed what I've seen of Kore-eda's work, but I have to say that I didn't much care for the film while I was watching it. That said, I appreciated it more after the Q & A session, as many issues were pointed out that I had overlooked. Richie compared the film to L'Avventura, and while I never picked up on the connection before, I can definitely see now how Antonioni influenced Kore-eda. I asked a question during the Q & A, but because of my nerves, I started stumbling over my words and Mr. Richie told me to enunciate. (I made sure to speak as clearly and loudly as possible when I asked a question at the next lecture.)

2. Reasons Behind Reasons: As one of the few English majors who actually enjoys critical theory, I love learning about semiotics, so this lecture was right up my alley. The concept of the signifier/signified is present in all cultures, but it's particularly relevent in Japan, a culture where there is often a marked discrepancy between what a person says and how they truly feel (i.e., honne and tatemae). Yesterday, when we went to Golden Gai (the blog entry is forthcoming), bartenders told us they would "think about it" when asked if they would be interested in doing an interview, which of course means they won't do it. Alas!

Golden Gai: Part I

Last Sunday at around 4 in the afternoon, Tony and I went to Golden Gai to take some pictures. At first we got lost and ended up wandering around Kabuki-cho, so we stopped at a Lawson Station to ask for directions. The guy we initially asked had apparently never heard of Golden Gai, so he gathered 3 or so of his colleagues, and one of them produced a really detailed map of Eastern Shinjuku. It turned out we were only 2 blocks or so away, so it was pretty surprising that none of the workers were familiar with Golden Gai; I felt like we were looking for an esoteric, mythical place.

This seemingly esoteric nature was elucidated when we reached the location, which is surrounded by run-down and fairly innocuous residences. Golden Gai certainly does not seek to widely advertise itself: as I had read in Donald Richie's Tokyo and other sources, there were indeed several signs saying not to take pictures or videos (we of course took photos anyway). The place was almost like a ghost town; we did encounter a foreign couple wandering around and a Japanese man also stealthily taking pictures. This gave the overall impression of the town being a sort of hidden treasure known only to a select few (though, I've seen it mentioned in several guidebooks, so it's certainly gotten it's share of publicity over the years).

Anyway, the "no photo" photos are not loading in this post, perhaps because of some karmic retribution, so here is the url for them:
Sign 1
Sign 2

And here are a few of the pictures we snapped:

Project Proposal

Group members: Kristen VanBlargan, Shinya Sato, Tony Radosti
Topic: Golden Gai

Concept and MethodologyIn the Shinjuku ward of Tokyo, incongruities appear abundant: the area presents an image of modernity and tradition simultaneously, and despite its clean-cut and business-oriented façade, it hosts the city’s largest and most infamous entertainment district, Kabuki-cho. Known for its bustling nightlife and sex industry, Kabuki-cho is situated to the east of Shinjuku Station, which separates it from the skyscraper-ridden landscape of western Shinjuku. Within Kabuki-cho lies a small area known as Golden Gai (“Golden Town”) that hosts a number of small bars that have recently gained a reputation for their reputable and bohemian clientele. Unlike the rest of Kabuki-cho, Golden Gai is not associated with the yakuza or with being a red light district, but it has attracted a number of foreign visitors recently. Furthermore, many scholars have commented that Golden Gai exemplifies the city of Edo (old Tokyo) in terms of its structure and atmosphere, and it has remained fairly unchanged since the 1940’s.

For our project, we would like to trace the history of Golden Gai, looking first at how Eastern Shinjuku was transformed from a swampland into the highly urban area of today. To gain a better understanding of the Edo Period and of post-World War II Tokyo, we will consult several academic sources and visit museums, such as the Edo Tokyo Museum and the Shinjuku Historical Museum. We will then investigate the formation of Golden Gai itself by conducting a series of interviews with people who are well-acquainted with the area and its history. Some possible interviewees are tour guides, older locals, and bar owners. In addition to constructing an oral history of the neighborhood, we also plan on consulting archival photographs and materials in order to recreate its evolution. Furthermore, we would like to inquire as to how Golden Gai has managed to remain relatively unchanged despite the constant building and re-building that surrounds it; in a city that is so enamored with temporality, Golden Gai remains something of an anomaly. In this vein, we would also like to speculate about the area’s uncertain future.

As for the technical aspects, we would like make a documentary using video (mini DV), photography, and audio. The documentary will not include the group members in the shots, though some voice-over narration may be employed (in lieu of this, text on a black screen might be used in combination with audio; this will be intercut with footage). The attitude will be one that is intimate, but it will not necessarily reflect the “personal journeys” of the filmmakers; this intimacy should rather arise from the atmosphere of the neighborhood itself. To avoid the chaos of the nightlife, most of the shooting will be accomplished in the afternoon; this will also provide better natural lighting. While postproduction editing always creates a certain amount of manipulation, we hope to adopt a perspective that is as objective as possible. Our aim is to let the history of Golden Gai unfold naturally for the viewer, not to create a sensationalistic or deliberately controversial work. Finally, given the nature of the area (according to some of the sources, filming is prohibited), clearance will likely have to be granted in order to complete our project, so we will need to obtain permission as soon as possible to avoid potential conflicts.

Bibliography

Chaplin, Sarah. Japanese Love Hotels: A Cultural History. London: Routledge, 2007.

Cybriwsky, Roman. Tokyo. London: Belhaven Press, 1991.

Richie, Donald. Tokyo. London: Reaktion Books, 1999.

Watanabe, Katsume. Gangs of Kabukicho. New York: PPP Editions, 2006.

Online News articles:
Braun, Stuart. "The Fringe Club." Metropolis 364. http://metropolis.co.jp/tokyofeaturestories/364/tokyofeaturestoriesinc.htm

Matsubara, Hiroshi. "Golden-gai drinks in economic and legal changes." The Japan Times 17 12 2002 .

Ethnography, Part III

So, I finished the exercise yesterday (Wednesday, June 3rd, 2009). Sadly, I didn't recognize any of the people from previous days except for a homeless man (there was only one today), and I didn't want to rouse him since he was sleeping. The homeless men were the only ones to make multiple appearances throughout the three days. Anyhow, after observing for a while and taking some notes, I began to scout out possible interviewees. I tried to aim for people who were alone, but most people there were on dates or in groups. I first approached a Japanese businessman who was sitting alone reading manga, but he declined. After walking around a bit, I finally decided on a pair of young people, a girl playing guitar, and a guy whom I assumed was her boyfriend. I introduced myself and decided to interview the guy, mostly because I didn't want to interrupt the girl's music. The interview was conducted in Japanese (they seemed to understand what I was saying despite my terrible accent), so I've translated it.

Basic Information (recorded in my notebook):

Name: Keiji
Age: 21
Occupation: Student at a senmon gakkou (I didn't recognize what type of school this was. Senmon means major and gakkou means school, so at first I thought he was saying his major was education or something; upon seeing that I didn't understand, he turned to his girlfriend asking how he should explain it, but I said that it was okay. Later I asked my host mother and she said that a senmon gakkou is a vocational school)
Hometown: Saga Prefecture
Current Town: Tokyo

Questions (recorded on my cell phone; he seemed rather entertained by this. His answers were very short, I think partially because he wanted to make it simple since I'm obviously not a fluent speaker):

Do you often come to Yoyogi Park? When? Sundays. Holidays. (He said this part in English.)

Why do you come? Because it's fun.

What do you think of homeless people? They're dirty. It seems like a hard life.

Do you think that Yoyogi Park has changed at all recently? Yes, it's become more beautiful.

After I was done, I thanked him and apologized for my terrible Japanese (naturally, he politely said, "No, no, you're very good"). Here you can listen to the interview (again, I'm really bad at speaking Japanese):

Click To Play

Ethnography, Parts I & II

Hello again! This time I'll be posting about my observances of Yoyogi Park. I went Monday, June 1, and today (Tuesday, June 2). Both times I sat by a field of clovers on a park bench that provided a good view of the surrounding areas, and I sat on the bench from around 3-4 pm. On Monday, I did not take notes, but rather just observed. It was quite a relaxing experience. Anyhow, the weather was not bad, but there were some light sunshowers (my favorite kind of precipitation). Numerous people passed through on the path in front of me, but I mostly concentrated on the people who remained in the area for the whole time/most of the time I was there. I noticed those who weren't passing through tended to stay in the same area for the duration of their time, claiming there own little spaces in a way. I was mostly interested in the area to my left, where a few homeless men slept underneath a line of trees. Meanwhile, two children played by the men while their grandmother sat nearby. I felt a little bit like Humbert Humbert watching children at play, but I suppose that's neither here nor there. The children didn't really pay any heed to the homeless men. The men mostly slept the whole time, but one of them did get up briefly to look through the trash (he didn't take anything, though). Anyway, there was a lot going on besides this, and my general observation was that the demographics were very mixed -- young/old, natives/tourists, impoverished/privileged, that sort of thing.

So, on to the next day! As per the assignment, this time I took notes detailing my observations. They're a little cursory, but I'll try to transcribe them verbatim nonetheless (for authenticity and what have you):

Time: 3:15-4:15
Location: Yoyogi Park, by clover fields
Weather: Clear, very sunny - temperature is lovely (not that humid -- a miracle!), light breeze.

The park is somewhat more crowded today (probably because of the weather). My bench is occupied by a salaryman reading, so I moved slightly to a picnic table with a similar view. Homeless are here again, sleeping. There are 5 today; 4 sleep by trees lining the path, each under a different tree. Another sleeps farther away out in the open. The general set-up of their "homes" is the same -- sleeping on tarp mats surrounded by duffle bags. Shoes are outside by sides of tarp. There are more lackadaisical youth here today as one might expect. By homeless, a guy is playing guitar while a high school girl wearing skirt and leggings and carrying shopping bags sends text messages. Another guy is sitting on picnic table with guitar but not playing. He sits with a young mother. They aren't talking much. They leave now.

On the bench in front of me are two young people (one is male, the other androgynous). On the same bench sits a businessman, so perhaps because of his presence they are not talking. He leaves shortly after I get there. A women (in her 50's, wearing floppy hat, T-shirt, blazer, slacks, and big bag) approaches and starts talking to them. Two of her friends are nearby; one is dressed very similarly to her, the other is wearing striped sweater with backpack. The young people reply -- okay, the androgynous one is a guy. By the way, he's dressed like Diane Keaton in Annie Hall -- fedora, vest over white shirt:



His friend is wearing polo shirt, khakis, and boots. They're talking with the old ladies, but I can't really hear -- something about butts, I think. Ah -- my bench is free again -- I reclaim it. I'm closer to them now. Anyway, the ladies and Keaton are doing some stretches now for some reason, while khakis guy takes pictures with cell phone. Very weird. Toy dog suddenly runs over and they pet it, but master quickly comes over and takes dog away. Ladies and Keaton are posing for a picture now; one of the women puts her arms over him without actually touching him while the third women is doing some kind of weird movement with her arms. What on earth? Guy has a mildly entertained expression. They mention Kansai (wish I could hear them better/knew more Japanese).

Over to homeless -- a teenage boy and girl are pitching/catching a baseball by the men. Neither group pay seach other heed. Across the street a little boy and girl are playing with bushes (they're sort of smacking them). I think the kids are part of a nearby picnic (all women).

Back to scene next to me. The ladies are rolling their heads (like a theater warm-up) with khakis guy now. They start taking pictures again from a different angle (their backs are towards me) and with khakis guy now, but doing the same weird pose/movements. Even after Keaton is done taking pictures, they keep doing the movements. A gust of wind comes through, and one of the ladies starts flapping her arms like a bird. Now they're stretching again. More pictures.

3:45
The guys sit down and light up cigarettes; they hold the cigarettes by their knees and stay still while one of the ladies leans over them; they look like statues. At 3:46, ladies leave. Boys stay on bench, look at pictures on cell phone. They are laughing. The ladies move over behind me to the picnic table I was at before; it's now occupied by a girl wearing a red & white striped shirt, red baseball hat, overalls, and two big round spots of rouge on her cheeks (she looks like either a rag doll or a clown, I can't decide), and her friend who is wearing a striped shirt and jeans. They do the same poses and talk to the girls. They ask some questions - rag doll girl keeps saying "hai" quite loudly. They leave, bowing (arigatou gozaimashita). They start walking down the path away from the field and out of sight.Boys are done looking at pictures now -- they start imitating the ladies and laugh. One of them comments that it was omoshiroi. Couple playing baseball leaves.

Girl with striped shirt gets up and leaves, walks towards wooded area; rag doll stays.

4:00
Picnic with small children is still going on, guys still on bench talking, girls still at picnic table, homeless still asleep. In a new development, there is a small group behind me at another picnic bench:P three college-aged people (two male, one female) practice lines in a play while middle-aged man and women watch (the directors, perhaps?). The older woman gets up and demonstrates some kind of jumping movement for the guy.

Khakis guy gets up off the bench, walks two feet or so, and crouches down. He's watching a woman doing martial arts in the distance, I think; Keaton is still on the bench. Khakis goes back to bench. Girl with striped shirt returns. She hands something to her friend who gets up and heads over in the direction from whence the other girl just came. Meanwhile her friend starts to text and smoke. A couple in their 20's sits down at another picnic table; they have a picnic, man smokes.

One of the homeless men wakes, puts on his shoes. He walks over towards the bathroom; no one really looks at him (at one point the police had also come through on their bikes, but just ignored them). Rag doll returns and starts texting too.

Public/Private Spaces

Public













A crowded crosswalk is probably a bit obvious as a pubic space, but ambiguities still exist (see my comments in Part II).

Let me preface by saying that I am not really a cat person (not by my own choice, mind you; it's just that getting too close to felines tends to induce asthmatic fits). However, I am compelled by the fashion in which they seamlessly navigate public and private spaces. The way they vacillate between the two spheres would be forbidden by humans in many cases, but it is more or less expected of cats. Thus, much of my photographic journey followed the furry fellow seen above. The path he walks along is public, despite being sandwiched between private spaces (residential areas).

Who owns nature? While trees and gardens are (on paper) variously privately or publicly owned, can humans really claim ownership over these spaces? Like the air or the water, they are domains that are hard to define. I would make a case that as long as a plant is outside, it becomes part of the public domain, but this probably differs from the legal definition.
















Parking lots are public spaces, but contain privately owned vehicles.
















Here is a lovely shot of trash ready to be picked up. While the items contained therein were largely private property at one point, upon being disposed of they entered the public sphere. A love letter or financial statement becomes free-for-all once it's in the trash, but I suppose that's what shredders are for.



Private














Our friend Mr. Cat is not in the shot (he did jump behind the gate, but my camera was too slow to catch him). Anyway, this is an example of private space that he entered rather easily. Gates are physical markers of the boundaries separating public and private spaces. Obviously I would not be allowed to open the gate and charge in.















Roads are public, but cars are private spaces (this is reinforced by the ubiquity of tinted windows).















I believe this is a Buddhist shrine (I feel like a typical, culturally ignorant American). Anyway, despite being viewable to the public, it represents something private, even esoteric.















Mr. Cat makes another appearance, this time on stairs leading up to someone's house, thus occupying a transitory space. The stairs are privately owned, which is why this picture is included at this section, but at the same time, strangers can walk up it.

This was supposed to accompany the picture of the crosswalk, but the order of my pictures flipped when I tried to put them in this post. In any case, it's a very poor quality picture, but mostly I was trying to concentrate on an idea rather than on composition. Phone conversations are private, yet at the same time, many people talk on them in public (it's not as bad in Japan as, say, NYC, but if you look closely at the picture of the crosswalk, you can see some people chatting on their cell phones). In doing so, the speaker makes his/her half of the conversation public.