These morning exercises are called “radio taisou,” or “radio calisthenics.” There’s also an afternoon version that airs at 3:00. Some companies have their workers drop what they’re doing to stand and perform the exercises. There are two kinds of exercises: those for younger, more energetic people and those for everyone else. The basic exercises is mostly a series of stretching routines, a simple “warm up” to get the blood flowing and the mind more alert for the day. At most sites, a volunteer will lead the group in the workout. After many days of repeating the stretches, you may come to remember how to do them yourself.

Radio taisou began in Japan in the 1920s. The Japan Post newspaper and NHK Radio started the project, although they may have been inspired by MetLife’s American radio exercise programs that appeared around the same time. The radio taisou briefly stopped after World War II, when American occupiers thought the masses getting together for a daily workout was too militaristic in nature. However, the program was reworked in the 1950s and focused more on exercise and bonding with co-workers, classmates, and members of the community. They’ve aired consistently since.

See an example of the radio taisou in a park here.

Have you ever participated in radio taisou while in Japan? Do you like the idea of a short daily exercise you do together at work, school, or in the neighborhood? Why or why not?

In Japan, the game is called “jankenpon” or “janken” for short. The game is usually played for the best of three. The rules are similar to “Rock, Paper, Scissors” in that you make the same fist for “rock,” peace sign for “scissors,” and flat palm for “paper.” Paper still beats rock, rock still beats scissors, and scissors still beats paper. The players begin the game by shaking their fists up and down in tandem three times, revealing their choice of rock, paper, or scissors on the third beat. In Japan, you say “jan” on the first beat, “ken” on the second beat, and “pon” on the third beat.

If the players both throw the same choice and the round is a tie, they say, “Aikou deshou” in three beats (“ai-kou-deshou“) and play again, shaking their fists up and down on each beat and throwing their new choices on the third beat. This means “one more time!” However, you can keep saying it and keep playing again and again no matter how many times you tie thereafter.

Some, but not all, games of “jankenpon” are more complex, particularly when played on Japanese game shows. During this version of the game, the players are seated at a table. On the table is one toy hammer (a plastic collapsible squeaky hammer) and one hardhat. The two players play a round of “jankenpon” but the person who throws the winning choice of rock, paper, or scissors doesn’t necessarily win. Instead, the loser must scramble to grab the hardhat and put it on his head. The winner must grab the toy hammer at the same time. The winner is trying to hit the loser on the head with the toy hammer before he successfully puts on the hardhat. If she does hit him, she wins the round. If the loser puts the hardhat on before the hammer hits the top of his head, no one scores the point and the players go back to playing jankenpon.

Have you ever seen Japanese people play jankenpon, with or without the hammer addition? Would you rather play jankenpon or flip a coin to settle a debate?

Last week we discussed goukon, group dating

Nanpa refers to young Japanese men in their teens, twenties, and sometimes thirties who hit on young women in public, usually on the streets where a lot of pedestrians walk. The men tend to dress sleekly in what’s perhaps known as a “metrosexual” look in the West (but this look is far more common and accepted in Japan). The young men who nanpa usually take the “art form” seriously and may shadow a more experienced young man for a time, read up on nanpa techniques, and spend time preparing before he starts hitting on women.

Many women are turned off by nanpa but still others will gladly take a guy up on his offer for coffee, karaoke, or tea. Young women visiting the country should be aware, though, that if ever asked to join a fancily-dressed man on the street for tea, he’s asking you out on a date. Some men may even expect a one-night stand if the date goes well–but that’s not to say that they all do. And, while some nanpa men are enjoying their youth and playing around, still others are looking for “the one,” so a date that goes well may lead to future dates.

In a country in which seriousness is valued and individuality isn’t as important as it may be in the West, nanpa is the art of those “bad boy” rebels, which some women find appealing.

The female equivalent of nanpa–in which women try to pick up men–is gyakunan, although this is far less common in Japan, especially outside of bars and singles clubs. Nevertheless, some men in Japan may find themselves pursued on the streets by go-getter women as well.

Do nanpa and gyakunan sound appealing to you? Why or why not? Would you rather hit on others or be hit on?

The average group for a goukon may include between four or five people of each gender, although you can find goukon with fewer or more people. However, a total of eight to ten people is big enough to lessen the embarrassment and awkwardness of meeting new people but also small enough to allow these people to get to know one another.

A goukon usually takes place at a public, noisy place like an izakaya (a sort of bar), a location that’s welcoming for conversation over a few drinks. No one is particularly paired with anyone else although there should be an equal number of men and women so no one’s left out. The group is often seated with a man between every woman (placed randomly) so that everyone can get to know potential partners. After a self-introduction to the entire group, the individuals may focus more on getting to know the people next to them.

The groups of men and women may take frequent breaks to pull each other aside and discuss whom they find the most attractive and personable; they may also text each other during the meeting to share their thoughts without the others knowing. The people in the goukan can ask for phone numbers or e-mail addresses of the people who sparked their interest (if polite, they may want to mask which man or woman they’re particularly interested in and ask for everyone’s phone number and e-mail) and may get to know each other better later. They can also ask each other to help arrange a new goukan with some new people swapped into the group.

Have you ever been on a group date? Would you prefer a group date to a blind date where it’s just one-on-one? Why or why not?

While the geisha still exist in small numbers, the more prevalent modern example of hosting of this type is the hostess club or the host club. The goal of a hostess or host club is somewhat similar to that of the geisha. The guests at these establishments pay the club and select a host or hostess (or two or three) to entertain them. The host or hostess puts aside his or her own feelings and makes the guest feel loved and lavish attention on them. They engage in conversations that appeal to the guests and they may even pour alcohol, much like a geisha would.

However, the geisha is a nationally cherished Japanese performer and is often an expert in a traditional Japanese art. She also wears an elaborate traditional costume. Modern hosts and hostesses dress up–sometimes in a thematic outfit, depending on the establishment, but usually in stylish eveningwear–but they only receive basic training from the establishment. While geisha can train for years as teenagers and go on to entertain their whole lives, hosts and hostesses normally only look at the job as a way to earn pretty good money. Most hosts and hostesses are between the ages of 18 and 25 and are asked to retire from the profession after that. They need to be attractive as well. Geisha are beautiful in their own way, but being a stunning beauty is not absolutely required.

Another great difference is the host club. While the hostess club is somewhat more reminiscent of the traditional geisha culture, in that women are paid to entertain male guests, host clubs are just the opposite: male hosts being paid to entertain female guests.

Attending a host or hostess club can be pricey, so be prepared to spend the equivalent of hundreds of dollars–mostly on drinks, but there may be a minimum charge. The hosts or hostesses will continue throughout the night to encourage you to spend more money at the clubs, so be cautious. The more money you spend, the more attention you’ll get.

Have you ever been to a host or hostess club? Would attending such a club interest you? Why or why not?

Ginza is a great place for window shopping, as you’ll find high-end international brands like Chanel, Gucci, Louis Vuitton, and Dior, as well as high-end Japanese department stores like Wako, Seibu, Matsuzakaya, and Mitsukoshi. However, be careful when spending money and remember the exchange rate. (A basic rule of thumb is to remember 100 yen equals $1, but the amount can actually vary quite a bit. At present 100 yen equals $1.22.) Many of the items for sale are rather expensive, although you’re likely to find something that’s more affordable.

Restaurants are rather high-end as well. Be careful to peruse menus before you sit down and remember the old adage if there’s no price on the menu: “If you have to ask, you can’t afford it.” Sushi restaurants in Ginza can be especially expensive, with an average of a 20,000 to 70,000 yen bill ($243 to $850) per visit, depending on the number in your party. However, if you like the nightclub scene, you may be in paradise. Just be aware that the cover charge may be pricey. If you want to spend just a little less but still enjoy an elegant dining experience, try the coffee shops or tea houses in the area.

Don’t forget to take a look at the Kabuki-za in Ginza, one of the rare all-kabuki theaters in Japan. It was built in 1889.

Although this is largely true throughout Tokyo, most people who walk around in Ginza dress up in fashionable clothing. You’ll stand out in Japan as a foreigner, but you’ll especially turn heads if you wear typical comfortable tourist clothing.

Have you ever been to Ginza? Would you be interested in going to Ginza? Would you buy anything?

Because the metropolitan areas of Japan are especially crowded, space is limited and many apartment buildings have thin walls that can make privacy a little difficult to come by. Living with family–which is much more culturally accepted for young adults before marriage in Japan than it is in Western countries–can also complicate trying to have sexual relations with a partner. In order to have some privacy, many couples look to have their sexual encounters at love hotels. (Of course, there are people having affairs and illicit encounters that turn to love hotels as well, but the majority of customers are couples in need of privacy.)

Love hotels are different than regular hotels in that they specifically cater to people having sex and giving couples privacy. Many of these hotels have no windows and discrete entrances so that couples don’t have to worry about being seen. They often also don’t have anyone manning the front desk (but they may). Instead, couples select a room via a computer screen and deposit the room key card on their way out in order to verify that they’ve left. Couples can also often purchase sex toys and costumes via vending machines.

Many of the love hotel rooms are themed to add to the excitement. Themes can include fetishes and may also include pop culture references like anime characters or even Hello Kitty. Some theme rooms don’t resemble bedrooms at all and recreate an entire scenario, like a bad student in detention after school with a teacher, an encounter on a train car, or a nurse providing a checkup for a patient.

Love hotels are not intended for long stays. After usually 10 pm, couples may choose to pay for an overnight stay. However, they may come to the hotel at any time and stay for a shorter period (called a “rest” stay) from anywhere between one and three hours. Rates vary by hotel, but a “rest” could cost around ¥2800 to ¥4500 (~US$34 to $55) and an overnight “stay” could cost about ¥7500 to ¥12,000 (~US$92 to $147).  Leaving the hotel  before you’ve finished with your stay is usually discouraged.

On December 15th, the Tokyo Assembly (part of the local government) approved Bill 156, a reworking of an earlier-proposed bill referred to as “the Non-Existent Youth Bill.” Bill 156, sometimes called the Tokyo Youth Ordinance Act, is causing a stir in the Japanese entertainment industry because of its often vague and sometimes overly strict mandates for the creators, publishers, and sellers of anime, manga, and video games.

The original intent of the bill seemed to be aimed at what’s called “lolita” or “shota” content in an effort to protect the “non-existent” (fictional) youth and, in the government’s opinion, reduce deviancy and suicidal thoughts in the actual youth who may be exposed to these series. In Japan, strangely, what’s allowed in terms of potentially sexual content even when it comes to children (so long as they’re fictional characters) hasn’t been that regulated. “Lolikon” (“Lolita complex”) refers to anime, manga, and video games that feature (fictional) young girls in risque situations and “shotakon” (“Shotaro complex”), which is less popular but still somewhat prevalent, refers to the same with young (fictional) boys. While often risque, most of these types of series are not outright sexual (although some can be). Nevertheless, under the new law, any fictional character under the age of 13 must not be “wholly or partially naked” or shown wearing swimwear in anime, manga, or video games. However, all such content–including the outright sexual–will still be allowed if it’s sold exclusively to adults and not aired on TV.

Bill 156 potentially impacts much more than just this somewhat contentious kind of content. In an effort to completely regulate the anime, manga, and video game industries, sexual content–even if just slightly risque and not outright sexual–may have to be censored if aired on TV. The Bill has also mandated that violence be toned down, which impacts some of the most popular anime and manga in the country. Content that features homosexual or incestual relationships may also be censored or, in the latter’s case, outright banned.

However, at the moment, all of the bill is vague and creators are struggling to understand what will and won’t be allowed. At the last minute, political opposition to the bill (who didn’t have enough power to overturn the bill) requested that a rider be attached to allow anime, manga and video games that are culturally relevant to remain uncensored and accessible to the general public. (The exact words of the bill ask censors to consider “merits based on artistic, social, educational, and satirical criticism criteria” when allowing content to be produced.) This may apply to such pieces of entertainment as the works of Studio Ghibli, which generally receive favorable reviews from critics and are enjoyed by the general population at large. However, this again is vague and may cause further confusion.

Another point of contention with Bill 156 is that it does not apply to live-action TV shows or movies, nor does it apply to books. Actual children can still be shown in swimwear, for example, and live-action movies can be as violent as they please. This leads many to believe that the bill is a movement sparked by anti-otaku (socially awkward extreme anime, manga, and video game fans) politicians with tenuous data at best how this kind of content “hurts” the Tokyo youth.

Publishers are creators are expected to comply by changing the type of new content they produce on April 1st; sellers are allowed to continue selling old material under pre-Bill 156 laws until July 1st. Publishers and creators are trying to protest the bill by withdrawing their presence at the Tokyo Animation Fair in March.

Fukuwarai (“lucky laugh”): This game is somewhat like Pin the Tail on the Donkey, although a human face is used. Blindfolded, children must take the shapes for eyes, ears, mouth, nose (and sometimes eyebrows, mustache, etc.) and try to properly place them on an outline of a face. Unlike Pin the Tail on the Donkey, this is traditionally performed sitting down with the face on a table and every participant gets his or her own face to make. Once finished, all of the participants remove their blindfolds and laugh at all of the faces, sometimes (in good humor) saying who in the family each face resembles.

Hanetsuki (“shuttle passing”): This game is often called Japanese badminton. It’s similar to badminton except that there is no net and the two players simply try to pass the shuttle (called hane) back and forth. The hane also looks different from a Western shuttle and is usually a very small round ball with feathers attached. The paddles, called hagoita, are ornately decorated in traditional Japanese style. Some people even collect these paddles without using them.

Sugoroku (“two sixes”): A board game that’s existed for over a thousand years, sugoroku is another traditional New Year’s game to play. A bit similar to backgammon, you roll a die and advance across the board. There’s a simpler version that’s popular with children that’s closer to Snakes & Ladders.

Karuta (“cards”): Playing a traditional Japanese card game is another common activity around New Year’s. However, karuta is not like the card games you tend to think of. Instead, cards are arranged face up on a surface. Each card has something on it–a vocabulary word, lines of a poem, pictures–and the goal of the game is to find the right card and grab it before the other people playing do. Someone directing the game will call out whatever he or she wants you to choose (reading the first few lines of a poem and asking you to complete the poem, saying a vocabulary word in one language and asking you to find it in another, etc.) and it’s up to the other players to find the right card. This is a great game for learning vocabulary words.

Since 1951, an annual entertainment tradition has become a part of the Japanese culture on New Year’s Eve. First broadcast on radio for a couple of years, the Kouhaku Uta Gassen (“Red and White Song Battle”), often called the Kouhaku for short, has been aired on TV since 1953. A live-broadcast singing competition, the Kouhaku now lasts about four hours and ends shortly before midnight, allowing for the more typical TV countdowns when it reaches the midnight hour.

The Kouhaku is a showdown between singers. Not at all for amateur singers, the annual competition extends private invitations to popular or upcoming Japanese pop and rock singers as well as classic enka singers. It’s considered a great honor in the music industry to secure a position in the competition, as it can either propel your career or validate your position as a current hot commodity in the industry. Decades ago, as many as 81% of the population tuned in to watch this event. These days, the percentage of people watching may be as low as 30% to 40%, but that’s still extremely high in terms of television ratings, so the event is an annual cultural spectacle.

The competition features musical performances by the invited guests split into two teams. The red team (akagumi) consists of all female performers and the white team (shirogumi) consists of all male performers. (If there are groups or bands with male and female performers, their team membership is determined by the gender of the lead singer.) There are ten judges from a variety of fields to offer commentary and vote on the winning team, but the audience in the venue can vote as well. Like American Idol, some viewers at home are allowed to vote and help determine the winning team, but the home voters must be subscribers to a certain digital broadcasting service.

One more note on the program–sometimes the fashions, makeup, hairstyles and dancing routines can cause as much fervor as the actual singing! Since the performance is broadcast live, some last-minute costume changes sneak by the program’s directors (a somewhat common ploy when singers want to wear risque or outrageous outfits).

You can see some clips from a Kouhaku here.

What do you think of the Kouhaku? What would you compare it to in your country? Would you like to see an all-stars performance of popular singers from your country?