Japanese Calligraphy & Sumi-e Workshop in Tokyo
No experience with calligraphy? No problem. You'll be guided step-by-step by Chiaki.
During the workshop, you will get the opportunity to craft your own masterpiece on a traditional Japanese fan ( Uchiwa ), adding your personal touch. Don't miss out on this special opportunity to connect with Japanese culture through art in Tokyo this summer.
The workshop is held in English and all materials are provided—just bring your curiosity and passion. No prior experience needed. Green tea and sweets will be served.
Choose between attending on June 28 (6:00 pm-8:00 pm) or June 29 (2:00 pm-4 pm).
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Japan Times
21 minutes ago
- Japan Times
How the Japanese TV industry is changing
Compliance violations and misconduct in Japanese entertainment had long been overlooked, with the sector placed on a pedestal and many dismissing issues as just 'part of the business.' But a recent wave of scandals involving TV figures may present an opportunity for the industry to make permanent changes. After a series of major scandals in recent years — beginning for many with the sexual abuse allegations against entertainment mogul Johnny Kitagawa and more recently the 'sexual trouble' involving former boy band member Masahiro Nakai and a Fuji TV announcer — the TV industry appears to be growing more sensitive toward issues of harassment and misconduct. Several major celebrities who were once seen as having permanent star status, including Nakai as well as popular comedian Hitoshi Matsumoto, have been exiled from the industry as victims came forward to speak out about their behavior. More recently, evidence of compliance violations — a phrase used to refer to instances of not abiding by regulations or codes of conduct — has tended to be addressed openly, with the responsible parties suspended from the industry as part of a new approach to policing inappropriate behavior. In a recent example, Taichi Kokubun, a former member of boy band Tokio, was dropped from a Nippon TV program over compliance violations. Within a week, the band went as far as to announce its disbandment after a 31-year career. The speed at which this occurred stands in stark contrast to the Fuji TV incident, in which it reportedly took around a year and a half for management to ask Nakai to step down from his programs after they became aware of the incident with the female announcer — a delay that would make heads shake today. Is this signaling an industrywide shift in how compliance violations are dealt with? Could it finally be time that the Japanese broadcast business, which has historically been entrenched and shaped by hierarchical power dynamics, makes changes for the better? To some extent, the answer is yes, says Mamoru Nishiyama, an associate professor of business management at J.F. Oberlin University. 'Ever since the Johnny's issue I think there is a feeling (in the industry) that things cannot carry on like this,' said Nishiyama. 'However, with the Fuji TV scandal and issues with Taichi Kokubun, we can see that the management was still inadequate. On the other hand, the fact that these issues are coming to light is evidence that they are beginning to be seen as a problem, so I do think things are changing.' What complicates regulating compliance issues in the industry is its deeply entrenched, traditional ways of operating — including the need for those operating in the sector to maintain close ties with major stars. 'The entertainment industry is unique — ultimately, harassment was not considered harassment,' said Nishiyama. 'Big-name celebrities were allowed to do whatever they wanted because they were 'special beings,' and therefore they were not expected to abide by the same common sense as regular office workers.' Nishiyama said he has witnessed this culture firsthand. When he had gigs on TV networks, he saw major male celebrities casually asking female personalities whether they had ever slept with a talent of Johnny & Associates, Kitagawa's agency. No director or producer on the scene would be willing to call out such behavior, he noted, since minor harassment is so normalized. This is not something that is unique to Japan and tends to happen in entertainment industries where certain people hold colossal power, said Nishiyama — as was apparent in the cases involving former film producer Harvey Weinstein and rapper Sean 'Diddy' Combs in the U.S. However, the business model in Japan where TV networks have very close and overly reliant relationships with entertainment agencies — such as the former Johnny's — creates a unique power dynamic in which broadcasters avoid challenging celebrities in order to stay in their good books. As such, relationships are directly connected to who appears on certain shows and by extension how much viewership a show can get, and broadcasters have tended to prioritize them even if they come at the expense of others. Nittele Tower, the headquarters of Nippon Television, in Tokyo. Taichi Kokubun, a former member of boy band Tokio, was recently dropped from a Nippon TV program over compliance violations. | getty images 'One of the key points in the Fuji TV case with Nakai was the fact that the incident was (according to a third-party report) said to to have occurred as an 'extension of work,' said Kaname Murasaki, the head of Japan Harassment Association. The case showed a major shift in the way that broadcasters were forced to handle this kind of incident. 'I think until now TV companies had the know-how to create escape routes (for such scandals) where they would say that it was a private issue between a man and a woman and thus they did not have to be accountable for it,' he said. Regarding the shift in the industry, Murasaki says that it could be credited to a growing number of staff working behind the scenes who are in their 20s and 30s — a younger generation that tends to be more aware and sensitive toward issues of harassment. 'Harassment that has been tolerated and normalized for many years is inevitably coming to light as they work with such staff members ... so it's impossible in this day and age for these issues to not become public,' he said. In the past, when people spoke out about harassment, they were often ignored by the public — especially if the allegations involved popular celebrities. However, as audiences are becoming increasingly aware about harassment issues, the public has is starting to take these claims more seriously. More people are supporting those who come forward, to the point that TV networks can no longer ignore the allegations. 'It's coming in order, one by one,' said Murasaki, noting that it most likely started in 2023 when a former member of the Self-Defense Forces came forward using her real name to accuse an ex-colleague of sexual assault. This was followed by allegations surfacing against Kitagawa and the power harassment incident against a deceased member of the Takarazuka Revue. 'One key point is that (these allegations) are happening in major organizations that represent Japan,' Murasaki said. Nishiyama added that the shift in the recognition of harassment as a serious issue, especially among the younger generation, could be a key factor in preventing future incidents. 'You see it when watching TV, and even in my experience interacting with staff behind the scenes, many of them are young, sensible people,' he said. 'The number of women has also increased significantly and so it may seem like things are stuck in the past, but that's a problem with upper management. But the culture among the young people in broadcasting is really changing. That's why having a change in leadership is very important,' he added. However, both Murasaki and Nishiyama stress that lasting change will require systematic regulations and fundamental reforms in how broadcasters operate. While the current situation means that only the networks that have been caught in scandals — such as Fuji TV — are being forced to reassess their corporate governance, one possibility could be a stricter regulatory framework that all broadcasters must follow to handle such incidents. With a background working in the advertisement industry, which faced a lot of scrutiny a decade ago after the suicide of a worker at major agency Dentsu due to overwork, Nishiyama said that there is most likely a lot of low-hanging fruit to improve operations at broadcasters. 'Even if the sticky human relationships and power dynamics are cut out and operations are carried out in a more businesslike and rational way I think that there is ultimately no big issue,' he said. '(TV broadcasters) are going to find that those very Japanese close relations in the entertainment industry are not critical in getting work done ... so I think there will be a growing trend that the nature of work itself should change.' And if meaningful change requires rethinking the very nature of TV as we know it — with new content airing around the clock, creating a high-pressure, time-sensitive environment — then perhaps that, too, needs to change. 'If protecting human rights comes at the cost that broadcast content becomes less substantial and frequent, such major reforms may be necessary,' said Murasaki. 'It will be extremely difficult, but if we don't think seriously about these issues and take drastic measures I don't think we will be able to say that the television industry has really changed. 'I think we are currently going through a time where we can expect quite a lot of reform. It's not a good thing but because so many scandals came to light in such a short span of time, the silver lining is that it could be an opportunity for the TV industry to make a big change.'
Japan Times
13 hours ago
- Japan Times
How Japan made techno its own
Last weekend, on a stretch of green between Fukushima's Bandai and Adatara mountains, techno heads sweated and thrashed under a clear summer sky. They had gathered from as far as India and Guam for rural, a three-day electronic music festival, and a chance to experience Japan's unique techno culture. Why? Because Japan's club scene is a universe of its own. Since the 1990s, Japanese artists have pushed the boundaries of electronic music in relative isolation, cultivating a distinct aesthetic that merges futuristic sound design with deep cultural roots. According to Naoko Hisatsune, co-organizer and resident DJ at rural, the foundation of Japan's techno roots go back to Yellow Magic Orchestra (YMO), an electronic band formed in 1978 by now-legendary artists Haruomi Hosono, Yukihiro Takahashi and Ryuichi Sakamoto. 'YMO expanded the possibilities of electronic music and influenced the foundation of Japan's techno culture,' Hisatsune says. 'In the '80s and '90s, there was simply no way around them.' Around that time, artists such as DJ Shufflemaster, Fumiya Tanaka and Ken Ishii were among the first to cultivate Japan's techno scene, with Tokyo as its epicenter. Wata Igarashi, now a globally touring DJ and producer himself, frequented a club called Maniac Love, where many of these artists hosted their own nights. They also booked top international acts from cities with more established techno scenes such as Berlin and Detroit. Ken Ishii was a major figure in the creation of Japan's techno scene. 'The music I heard there was so futuristic, loopy and psychedelic — it struck a chord with me instantly,' Igarashi says. One of Maniac Love's regular nights, Sublime, led to the creation of a record label of the same name in 1994. Over the next decade, Sublime helped launch the careers of Japanese producers like Ishii, Susumu Yokota and Rei Harakami. That weekly event inspired a record label of the same name, launched in 1994. 'Sublime aimed to be Japan's first international techno imprint — and it succeeded,' Ishii says. 'For artists like me, embracing futurism and technology was key. It set us apart from overseas productions.' Hypnotic, experimental and nature-infused Japan's electronic music scene has long thrived on a 'less-is-more' philosophy — restrained, hypnotic and deeply textured. This restraint distinguishes the country's sound from the rest of the world. In comparison, Detroit is known for its raw production techniques and dramatic chord lines, while the Berlin sound traditionally explored the more monotone and edgier flavors of techno. Igarashi relates the Japanese ethos to the widespread phenomenon of 'ma,' or the concept of negative space in art. 'It's the void between things that matters to us — and that goes for techno music, too,' he says. 'It's not about putting in as many elements as possible, but it's about the space in between the notes that makes techno complete here.' Hisatsune agrees. 'Japanese techno blends delicate sensibilities with experimentation,' he says. 'The sound leans inward, reflecting our island mentality. That's why psychedelic, immersive music feels so natural here.' Notable examples of artists that adhere to this idea include DJ Yazi, Shinichi Atobe and Takaaki Itoh. Producer and DJ Wata Igarashi attributes Japanese techno's uniqueness to a cultural concept called "ma." Igarashi also attributes this mentality to Japan's connection with nature. 'There's an appreciation for life's deeper aspects that's uniquely Japanese,' he says. 'Respect for nature is part of that ethos. Many traditional outdoor festivals blend electronic music with natural settings, creating something transcendent. In these outdoor settings, deep and subtle techno music just works perfectly. Dancing to hypnotic sounds in a forest is pure magic.' According to Ishii, Japanese artists also obsess more over details. 'It's simply in our nature,' he says. 'That precision carries into the music we make.' For Yu Asaeda, better known as the DJ and producer Ena, experimentation is another hallmark of Japanese techno. 'Techno has always been more than four-to-the-floor rhythms; it's any dance music that leverages technology creatively. Innovation defines it,' he says. 'In Japan, scenes like noise, drum and bass, and techno overlap heavily. That cross-pollination breeds innovation, and fans are more open to experimentation — even on the dance floor. I really love that.' The future looks bright — and deep What's next for Japanese techno? While techno is still considered an underground phenomenon, its popular appeal in more recent times has changed its image. Events like Future Terror (DJ Nobu's irregularly held party, spanning venues in and outside Japan) draw devoted crowds. Meanwhile, outdoor festivals like Labyrinth, Moment and rural spotlight cutting-edge electronic music from Japan and beyond. Yet, the meaning and value of techno hasn't changed much for scene veterans like Hisatsune, who has been organizing rural alongside Atsushi Maeda, Yukiko Matsuo and Ami Tsunoda since 2009. 'For me, techno is more than just music,' he says. 'It's something that opens up new ways of thinking and feeling, outside of established values or societal frameworks. It carries an intellectual and futuristic quality, with a kind of psychedelic immersion that allows me to explore my inner world and senses more deeply.' Many Japanese DJs don't head outside of the country too often, which allows them to formulate ideas relatively free of outside influences. | YUMIYA SAIKI For Igarashi, techno is a cathartic journey. 'When done right, it's about losing yourself — escaping everyday problems,' he says. 'It can be emotional or euphoric. With my music, I want others to feel that too.' Igarashi sees lots of talent across a new generation of DJs. 'Most Japanese don't head out of the country much, so a lot of DJs only play in Japan and don't get influenced by others, which results in very significant musical styles,' he says. 'I'm thinking of artists such as DJ Maria., Haruka and Occa. Lots of the music they play comes from overseas. But it's the way they piece these tracks together that makes it special. It's always deep.' Asaeda sees more positive indicators about the current Japanese techno scene, too. 'At a recent Tokyo gig, the crowd was mostly in their early 20s, yet they embraced my experimental sound,' he says. 'That open-mindedness to experience music beyond your comfort zone is a healthy approach — and it's a good sign for the music scene here in Japan.'
SoraNews24
14 hours ago
- SoraNews24
Demon Slayer: Kimetsu no Yaiba comes to Dodger Stadium for fan night, first pitch, and drone show
Crossover caps to be given away in latest team-up between Los Angeles baseball club and hit anime. Earlier this month, Luffy and the rest of the One Piece Straw Hat Pirates sailed across the ocean for a special fan night at Dodger Stadium in Los Angeles. The Major League Baseball team's summer of anime fun isn't over yet, though, as they're getting ready for a special crossover with another of the biggest names in the anime/manga world, Demon Slayer: Kimetsu No Yaiba. 【 #ドジャース 】宿敵との対決『無限城編 第一章 猗窩座再来』が現在上映されている『鬼滅の刃』とのコラボとして、ドジャースは8月15日（日本時間16日）の試合で鬼滅公式限定キャップを来場者に配布します🤩 📷: @Dodgers — MLB Japan (@MLBJapan) July 29, 2025 The event will take place before, during, and after the Dodgers game on August 15 against the San Diego Padres, whose rivalry with the Los Angeles team has been growing more intense in recent years as they've clashed in competition for their division championship and gone head-to-head in the playoffs. In addition to pre-game Demon Slayer festivities, there will also be a Demon Slayer -themed ceremonial first pitch, in-game promotions, and a post-game drone show hyping Demon Slayer: Kimetsu no Yaiba–The Movie: Infinity Castle, the latest theatrical feature in the anime franchise which started showing in Japanese theaters earlier this month and will make its North American debut in September. The official Japanese-language MLB Twitter account also says that limited-edition caps featuring the Dodgers' LA logo and Demon Slayer protagonist Tanjiro, plus the distinctive checkerboard pattern of his coat across the hat's brim, will be given out to fans at the stadium, though with no details currently available as to quantities and conditions. It wasn't all that long ago that conventional wisdom would have said there wasn't sufficient enough crossover between the anime fan and pro sports fan demographics to do an event like this. With anime continuing to grow more and more popular around the world, though, the Dodgers' chief marketing officer Lon Rosen recognizes that 'Without a doubt, there is an intersection between the two fan bases, and we look forward to celebrating that mutual fandom with what is sure to be an exciting night at Dodger Stadium.' It's worth noting that Los Angeles sports teams have had very good results in games with anime tie-ins. Not only did the Dodgers win their One Piece game at the start of the month (with pitcher Clayton Kershaw reaching the 3,000-strikeout milestone on the night), anime promotions also coincided with wins for the city's Rams and Lakers professional football and basketball teams, and the Dodgers performed well in their games that featured a visit from Pikachu and the Sailor Moon theme song too. Source: MLB, Twitter/@MLBJapan via Anime News Network/Ken Iikura-Gross Top image: Twitter/@MLBJapan ● Want to hear about SoraNews24's latest articles as soon as they're published? Follow us on Facebook and Twitter!
