Japan, furthermore, is the most advanced nation in Asia. Says Makoto Liang, manager of the Japan department at a record company called Avex Taiwan, "An individual's preference for a particular culture or country is very deeply influenced by natural affinities that exist between cultures as a whole." The fondness of Taiwanese people for Japan does not extend to other Asian nations. Japan's status as a major power has much to do with this phenomenon, but perhaps the fact that Taiwan is a former Japanese colony is another underlying factor. A Japanophile since before birth?
Wu Chuan-ning is a longtime Japanophile. In her student days, she kept a photo of Nakayama Miho inside the front cover of her history textbook and a photo of Kudo Shizuka inside the back cover. Now she is a planner in the programming department at Sanlih Entertainment TV. As a fan, she was strictly on the receiving end of information about Japan, but now her job puts her on the sending end as well. She feels that her affinity for Japanese culture probably has to do with the fact that she grew up listening to her grandfather sing Japanese songs.
Japan laid the foundation for the modernization of Taiwan. As such, says Wu Chan-liang, associate professor of history at National Taiwan University, "A lot of Taiwanese-born people of the older generation have a great deal of respect for Japan, and this cultural link makes it easier for younger generations to identify with Japan."
After Japan's colonial rule over Taiwan came to an end, however, a new government swept in and took strong action to suppress Japanese culture in Taiwan. In the view of Makoto Liang, a mixture of Chinese patriotism and a colonial mentality has left the older generation of Taiwanese with a love-hate relationship toward Japan. In addition, attitudes toward Japan can vary significantly depending on age and whether one was born in Taiwan or the mainland.
Travel writer Ha Jih Hsin-tzu is an interesting case. Her pen name means "Kyoko the Japan-lover." Still short of age 30, her enthusiasm as a teenager for Japanese culture in general, and for pop singer Matsuda Seiko in particular, prompted classmates to label her as "a little self-made Jap." Far from taking offense, however, she wore the label with pride. "I must have been a Japanese person in a previous existence," says Kyoko. "If not that, then I must have at least been a Japanese pig."
Japanophiles thus carry their enthusiasm to considerable lengths at times, and those with an antipathy for Japan find this exasperating. Evidence of this tug-of-war within the Taiwanese psyche can be seen in society. Says Makoto Liang, "The long-standing restrictions upon Japanese culture in Taiwan turned out to be counterproductive. Look at the frenzy that ensued after they were lifted." Birth of the Japanophiles
Once restrictions on media activities were lifted, "Japanophilia" swept through Taiwanese society like a virus. If you have a preference for Japanese products, closely follow the doings of Japanese entertainers, or dress up in all the latest, coolest fashions, consider yourself a Japanophile. According to Makoto Liang, "The term ha ri zu (Japanophile) has come to be associated with the idea of mindless infatuation." (The ha in ha ri zu is a Taiwanese word that means to be infatuated with someone or something.) For many, to describe a person as ha ri zu is to accuse that person of being airheaded, impulsive, and shallow. Nevertheless, the various media devote considerable column space and air time to items of interest to Japanophiles, and this media attention continually draws more and more Japanophiles into the ranks.
Uno Lin points out that Japanese stars who achieve success in Taiwan are mostly idols who do well in large part due to their good looks. He notes that there are not many Taiwanese fans who actually understand the lyrics of Japanese songs. There used to be a Taiwanese magazine devoted exclusively to reporting on Japanese culture, business, and society. It was called Japan Digest, but it went out of publication not long before Taiwan got caught up in the current wave of Japanophilia. When Japan Digest closed down, Taiwan lost its only in-depth coverage of Japan.
Huang Chih-nan, publisher of Japan Digest, states that there is much more worth paying attention to in Japanese society than just its exports and traditional cultural pursuits like the tea ceremony and flower arrangement. The Japanese author Murakami Haruki, for example, has recently enjoyed widespread popularity in Taiwan, and many Taiwanese writers have taken to imitating his style. Tsai Kang-yung and some other writers have even published a book entitled 100% Murakami Haruki. Admirers of Japanese highbrow culture, however, enjoy nothing close to the notoriety of those with a fondness for Japan's pop culture.
Huang Chih-nan looks on with concern as Japanese pop culture (or perhaps it should be called Japanese consumer culture) makes inroads into Taiwan, Says Huang, "As we assimilate elements of other cultures, we must do so with a critical eye." Taiwan first
Kuo Yu-fu, a specialist in Taiwanese history who proclaims himself a Japanophile until his dying day, has some stern advice for fellow Japanophiles of his generation, who have never actually been subjects of the Japanese emperor.
In studying Japanese literature and the history of relations between Japan and Taiwan, Kuo has found that earlier generations of Japanese historians seem to have deliberately remained silent about the Japanese government's opium policy in Taiwan, nor do they make any mention of an incident in which the Japanese police massacred Taiwanese citizens in Tokyo. Kuo emphasizes that although he loves Japanese literature and relies heavily on Japanese sources in his academic research, he still puts Taiwan first.
He notes that the mass media have the power to influence thought patterns and shape lifestyles. The Japanese government requires that all TV programs be dubbed into Japanese for this very reason. He asks whether we should not also impose appropriate restrictions on Japanese products.
Tsai Chia-chun does not view the issue from quite the same perspective, however. He points out that while the younger generation is agog about Japan, the tendency of those just a bit older to spike their conversation with English all the time is indicative of a similar infatuation with the West. As the world shrinks into a single global village, national boundaries are becoming blurred. Travel and telecommunications are highly developed nowadays, and the ROC government has eliminated its former prohibitions against cable TV and Japanese programming. Many nations are now wrestling with the difficult question of how to preserve one's own traditional culture without cutting oneself off from the global village and falling out of step with the international community. Rebellious youth
Some scholars urge that before turning one's attention abroad, it is a good idea to take a close look at one's own culture.
Says Makoto Liang, "For the past several centuries, the island of Taiwan has been ruled by a succession of outside powers. The Taiwanese people are quick to assimilate cultural influences from abroad, but we have long ignored our own culture." In his opinion, the infatuation of Taiwanese youth with Japanese pop culture may be due primarily to the fact that we have not fully developed our own culture.
Huang Chih-nan feels strongly that the government has not done enough to build up Taiwanese culture, and that the island's youth do not identify with their own culture.
Chen Wen-fen views the fondness of Taiwanese youth for Japan from yet another perspective. According to Ms. Chen, this youth sub-culture has local roots, and reflects directly upon the state of Taiwanese society. She asks, "What do you see on TV? What do you read about in the newspapers? Every day it's murder, robbery, and mumbo-jumbo from the politicians. Where do you turn if you're looking for something uplifting?"
At a deeper level, the Japanese stars and fads that Japanophiles follow so closely actually reflect the rebellious impulses of the Japanese youth sub-culture, and express a rejection of rigid social systems and old politicians. The good guy in the film Sanctuary looks a lot like Richard Gere, while the movie's villain, with his pudgy physique and bushy eyebrows, looks more like a crafty old politician. An honest-looking image is basically associated with rebellion against the system. Better for the experience
The younger generation has its Japanophiles, and so do the older generations. In the final analysis, what they have in common is a disgust for their own society and a search for something new and different.
Lin Chi-po works at a magazine and often travels to Japan to "recharge his batteries." Lin comments, "Sure, we're nuts about Japan, but there are lots of Japanese people who feel the same way about Taiwan. A lot of my Japanese friends come to Taiwan every year. They say the Taiwanese people are friendly, outgoing, and not inclined to let themselves be bound by rules. This is just what the highly rule-conscious Japanese lack."
Many commentators have noted a fawning attitude in Japan toward the West. After the powerful cannon of Western warships forced Japan to abandon its isolationist policies in the mid-19th century, the big-nosed Westerners who entered Japan reminded the Japanese of their own tengu (a long-beaked avatar, half-man and half-bird, both feared as an abductor of humans and valued as a protector against evil). During the ensuing Meiji Restoration, Japan aped the West with a vengeance. Ever since then, says Wu Chuan-ning, Japan's visual arts have adopted a French baroque style. Makoto Liang also notes that Japan's strong adulation of the West is reflected in marked preferences for French cuisine and German tableware.
Nan-fang Shuo, on the other hand, argues that Japan's highly refined style of decorative art dates back over a millennium to the Heian period, and that even though it can sometimes be quite elaborate, there is nevertheless a pleasing elegance about it that is unsurpassed anywhere in the world. According to Nan-fang Shuo, "Japanese culture is highly unique. Even when they assimilate cultural influences from abroad, they end up transforming everything they borrow into something unmistakably Japanese."
When you really think about it, perhaps there's nothing wrong with people feeling fascinated with Japan, Europe, America, or wherever. When these crazes die down, we often find that they have enriched our own culture and left us with something that people from abroad can get excited about when they visit Taiwan. Without a doubt, the global village is turning into a very interesting place.
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