My 20×20 Presentation

I enjoyed other presentations. All topics are very interesting, and I want to know them in detail.

However, I had been nervous until I finished my presentation, because I had to speak in front of many people in the big room. My hands were shaking during my presentation. I made my slides with good imges and practiced speaking hardly, so I was able to explain the history, crisis and solutions of Kabuki. Neverthless, It was difficult to keep speaking for twenty seconds per slide. In addition, some section mates advised me to speak more slowly in their comments, so I need to practice speaking more and more.

Anyway, this presentation was a meaningful experience for me. Therefore, I want to say, "Thank you, Mark. Thank you, BGs."

First Draft

How Japanese People Prevent Kabuki from Declining?

    “Today, Kabuki is the most popular of the traditional styles of Japanese drama,” UNESCO described (United). Do you agree with the explanation? Kabuki was registered on “the UNESCO Intangible Cultural Heritage Lists in 2005” (“Kabuki”). It means that Kabuki was evaluated highly in the world. Nevertheless, according to one research about Kabuki, about ninety percent of people have not seen Kabuki (DIMSDRIVE). It shows that Kabuki faces a crisis to take over traditions for the future.

     Kabuki was inherited for four hundred years. In 1603, “Izumo no Okuni” started a modern performance of dance and drama, so the kanji of Kabuki means a song and a dance in Edo era (“Kabuki”). It became a popular entertainment among the general public, because it was a source of information about new trend like music, clothes and actors at the time (“Kabuki”). However, Western culture came to Japan in Meiji era (“Kabuki”). Daily lives including education and culture became westernized, so there were differences between lives shown by Kabuki and the real lives in Meiji era (International 24). Japanese people gradually preferred Western culture to Kabuki from then.

Thus, Japanese people need to acknowledge the value of Kabuki, and protect it for the future, so the quality and quantity of audiences should be improved in order to continue to exist Kabuki. The ways for this are that 1) a curriculum to learn Kabuki deeply for children, 2) a variety of publicity to attract Japanese young people.

Ⅰ. Education to Learn Kabuki for All Children

     Japanese ministry of education should include a class of learning Kabuki in a curriculum.

     According to Toshio Kawatake, the attention and the ability to understand Kabuki of Japanese young people are almost as same as that of foreigners (International 23-26). It means that a chance to learn Kabuki deeply is demanded to acknowledge the value of Kabuki. However, it is difficult to have enough time to know Kabuki except for a school, so it is a best way to get opportunities to learn it as compulsory education.When I asked some friends whether you have seen Kabuki or not, Yurika Goto, one of my section mates, answered that she had been Kabuki-za to see Kabuki without paying a fee because of a class in her high school. I was surprised at her story, because I have never taken such a class when I was a high school student. According to a committee of education in Tokyo, it makes up a curriculum of public schools in Tokyo to learn or experience Japanese traditional culture (Tokyo). It must be nice for children, but I wondered why governments do not give all children opportunities to learn it equally. This means whether children can learn Kabuki in a school or not depends on curriculums of each prefecture. This situation needs to be changed.

Moreover, the contents of a class is also important. Teachers need to teach not only good aspects but also current crises of Kabuki to students. In fact, the state of Kabuki’s supporting industries becomes worse and worse. Ichikawa Danjyuro, a Kabuki actor explained in his interview that the number of “producers of okuchibakama (a type of hakama pleated tousers)” was only one (Nakatani). He also said that other manufactures used in Kabuki faced crisis (Nakatani). Kabuki uses various items, like umbrellas and kimono. If those industries become extinct, Kabuki actors have to use other items imported from foreign countries instead of them. It means the decline of Kabuki as a Japanese traditional culture. Children need to curious the future of Kabuki, and have a sense of impending crisis to take over Japanese traditions. 

Therefore, Japanese ministry of education should oblige all of prefectures to make a curriculum which all children can learn Kabuki equally.

Ⅱ. New Fields of publicity

     A variety of publicity using latest technologies are needed for Kabuki to inform truths.

     Some people have mistaken negative images about Kabuki even though they do not see the real Kabuki. The most reason why people do not see Kabuki is the price of Kabuki ticket (DIMSDRIVE). About seventy percent of them want to see Kabuki if the price of Kabuki ticket is less than one thousand yen. However, the cheapest ticket is four hundred eighty yen for one show actually. It is cheaper than a movie ticket. Surprisingly, less than five percent of people know this fact (DIMSDRIVE).

     In addition, some young people say that Kabuki is boring, because it is for older people. Yet, new Kabuki is created even now. Young Kabuki actors create new works reflected modern times. For instance, Ichikawa Shinnosuke create new program mixed between an old type of “Sukeroku” and a new type of “The Tale of Genji” (Okura 174). Moreover, Ichikawa Ennosuke brought high-tech to classical Kabuki (Ehrlich 581). It is a new style of Kabuki called “Super Kabuki”.

     However, Japanese people do not know these facts well. It means that Kabuki’s publicity is not enough to inform these new changes of Kabuki. Now, Japan is a society of information, so people related to Kabuki should make use of this situation. Especially, propaganda using a computer is very useful. Some web pages to introduce Kabuki are already created, but it is not enough because only people who are interested in kabuki see the web pages. In other words, people who are indifferent to Kabuki will never see them. Hence, latest advertisements on the Internet are essential to call audiences. For example, advertisements on Twitter or Facebook are effective in attracting Japanese young people, because these industries will be seen regardless of people’s interest of Kabuki. If those stereotypes are deprived, Japanese people will not feel hesitant to see Kabuki.

Ⅲ. Conclusion

     In conclusion, the ways that 1) learning Kabuki in a curriculum, and 2) advertisements in new fields are useful for Japanese young people who become next generation to go to see Kabuki at ease. If a number of people who go to see Kabuki has increased, people will recognize the importance as a Japanese traditional culture and protect it from declining.

However, the change of Kabuki may have a risk. Toshio Kawatake demanded that the quality of Kabuki should be maintained even if the audiences are young people or foreigners (International 33). The role of education of Kabuki and a new style of Kabuki like “Super Kabuki” must be just a kind of hook to inherit classical Kabuki.

Thus, improving both quality and quantity of audiences is significant as a first step in order not to decline Kabuki as a Japanese traditional culture.

Works Cited

DIMSDRIVE “Kabuki ni Kansuru Chosa.” [The Research about Kabuki]. 2005. Web. 12. Oct. 2011.

Enrlich, Linda C. “Review: [Untitled].” Monumenta Nipponica. 53.4 (1998): 581. JSTOR. Web. 10 Oct. 2011.

International Symposium on the Conservation and Restoration of Cultural Property (1996), and Tokyo Kokuritu Bunkasai Kenkyujyo. Kabuki, Changes and Prospects. Tokyo: Tokyo National Research Institute of Cultural Properties, 1996. Print.

“Kabuki.” Wikipedia. Wikimedia, n.d. Web. 10 Oct. 2011.

Nakatani, Shogo. “Interview: Kabuki star Danjyuro cries out for future.” The Nikkei Weekly. 26 Apr. 2010. Web. 10 0ct. 2011.

Okura, Shunji, et al. Kabuki Today: The Art and Tradition. 1st ed. Tokyo; New York: Kodansha International Print, 2001. 174. Print.

Tokyo Metropolitan Board of Education. “Tokyo Toritu Gatukkou no Nihon no Dentou Bunka Karikyuramu.” [Curriculum of Japanese Traditional Culture of Public Schools in Tokyo].www.kyoiku.metro.tokyo.jp/index.html, Mar. 2010. Web. 10. Oct. 2011.

United Nations Educational, Scientific and Cultural Organization. “Kabuki Theatre.” UNESCO World Heritage Center, n.d. Web. 12 Oct. 2011.

Outline

Research Question:
  Should Japanese people change “kabuki” to prevent it from declining?
  What should be done to protect “kabuki” for the future?

Thesis Statement:
  The system of “kabuki” should be changed to attract Japanese people in three ways. :
(1)  The price of “kabuki” ticket needs to be fallen sharply.

(2)  Children should get opportunities to learn “kabuki” deeply in a school.

(3)  The traditional “kabuki” can be mixed with a modern culture or a latest technology.

Ⅰ. Introduction

A.    (AG) Statistic of “kabuki”

    What percent of people are interested in “kabuki”?

    What percent of people have shown “kabuki” on the stage?

B.    (BG) The history of “kabuki”  and the current situation of “kabuki”

C.    Thesis Statement

Ⅱ. A drop in price of “kabuki” ticket will call customers.

A.    People who have not seen “kabuki” have an image that the ticket is expensive.

B.    Some people want to see “kabuki” if the price of a ticket drops.

Ⅲ. By learning “kabuki” in education, people will feel a sense of closeness to “kabuki”.

A.    One of the reasons why people are not interested in ”kabuki” is an image that “kabuki” is difficult to understand or is not familiar with them.

B.    Japanese ministry of education should include a class of learning Japanese traditional culture in a curriculum.

Ⅳ. “Kabuki” as a traditional culture needs to collaborate with a modern culture or a latest technology to attract Japanese young people.

A.    Japanese young people prefer other country’s culture to Japanese culture.

B.    For example, Ichikawa Ennosuke produced “Super Kabuki”, which is combining the spectacle of “kabuki” with modern messages.　

Ⅴ. Conclusion

My Topic for Essay

1. Issue
     Kabuki for Japanese people-Why Japanese people prefer other country's culture to Japanese traditional culture?

2. Importance of the Issue
     There are a lot of culture in Japan. However, especially Japanese young people like Western culture and Korean culture. If the number of people who are interested in Japanese traditional culture has decreased, the culture will be declining. One of the problem is decreasing people who inherit their traditions. We need to protect them as a Japanese.

3. Connection to me
     I have watched a TV program about foreigners who love Japanese traditional culture. They appreciate them more than Japanese people. I knew that Japanese traditions are evaluated highly around the world. However, Japanese people including me do not seem to understand them deeply. For example, when foreigners asked me what "kabuki" is, I did not explain it well. I need to be aware of  their importance as one of Japanese culture.


4. Questions
     (1) Why do Japanese people like other country's culture?
     (2) How do foreigners evaluate "kabuki"?
     (3) How do Japanese people evaluate "kabuki"?
     (4) Is there some gaps of evaluations between Japanese people and foreigners?
     (5) What are serious problems of Japanese kabuki?
     (6) Is it enough to learn Japanese traditions in a school?
     (7) What should be done to protect "kabuki"?

5. Sources
    (1)Interview: Kabuki star Danjuro cries out for future
        The Nikkei Weekly 04/26/2010 Edition
    (2)My Nippon/ More Japanese than the Japanese
        The Daily Yomiuri    May 23, 1998, Saturday
    (3)Reinvigorate traditional performing arts
         BYLINE: Yomiuri
         SECTION: Pg. 2