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License to Play: The Ludic in Japanese Culture, by Michal Daliot-Bul
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Play is one of the most powerful cultural forces in contemporary Japan and in other late modern societies. In this notable contribution to our understanding of play, Michal Daliot-Bul explores the intricate and dynamic transformations of culture and play (asobi) in Japan. Along the way, she takes readers on a theoretically informed journey to better comprehend what makes play a significant cultural function, asking such questions as “How can we explain the dialectics between play as a biological instinct and play as a culturally specific activity? What defines the best player? How is creativity related to play? What is the difference between play and playfulness? Are some cultures more play-oriented than others, and if so, why?” Daliot-Bul argues that the cultural meaning of play and its influence on sociocultural life are not inherent properties of a fixed, universal behavior called play but rather are conditioned by changing cultural contexts and competing social ideologies.
Spanning Japan’s premodern period to the twenty-first century, the extent and expressions of play described in this book become thought-provoking lenses through which to view Japanese social dynamics and cultural complexities. As she approaches the post-industrialized 1970s in Japan, Daliot-Bul’s narrative also explores urban consumer culture as a system for organizing daily life, the tension between institutional and contemporary popular cultures, the production of new gender identities, and the cultural construction of urban space.
License to Play is an insightful and engaging work that will appeal widely to scholars and students specializing in cultural studies, cultural anthropology, and Japanese studies. Given the global fascination with Japanese popular culture and with play-like pleasures in late consumer cultures, the book will also find a readership among those interested in Japan in general and the universal phenomenon of play.
- Sales Rank: #1087875 in Books
- Published on: 2014-10-31
- Released on: 2014-10-31
- Original language: English
- Number of items: 1
- Dimensions: 9.10" h x 1.00" w x 6.30" l, 1.06 pounds
- Binding: Hardcover
- 224 pages
Review
Michal Daliot-Bul presents a theoretically ambitious cultural history of play (asobi) in Japan . . . [and] demonstrate with fascinating scholarship is the significant imbrication of play and the more sober realities of politics and economy and the everyday routines of social life. (Journal of Japanese Studies)
About the Author
Michal (Miki) Daliot-Bul is the head of the Japanese studies section of the Department of Asian Studies at the University of Haifa, Israel, and the academic committee of the Israeli Association of Japanese Studies.
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Playing, Seriously
By Charlie Canning
“Ludic” is not a word you hear very often. Its most common appearance is in “ludicrous”, something laughable or ridiculous. But as Michal Daliot-Bul makes clear in License to Play: The Ludic in Japanese Culture, throughout most of Japanese history the ludic had very little to do with looking ridiculous. Asobi was serious business.
As is often the case in Japanese culture, the height of refinement took place during the Heian period (794-1185) when members of the court played sophisticated poetry games that required an almost encyclopedic knowledge of the Chinese classics, the seasons, and the animal world. During the Edo period (1603-1868) the locus of play shifted to the sakariba or amusement district on the outskirts of town. Asobi came to be associated with "idleness and promiscuity." All you needed to enjoy yourself was free time and money in your pocket.
The final third of the book takes up the modern and postmodern periods. Dailot-Bul suggests that when it comes to play, Japan is already in the postmodern phase. In fact, play as we formerly understood it (a spontaneous and creative drive to try out alternative realities) may be already passé. What we have in its place is the suggestion of play in the form of iconography and simulacrum in which an object or a theme is meant to contain an experience of the original. (For more on this, see the work of science fiction writer Philip K. Dick.)
The critical thing about a simulacrum is that it be load-bearing. It has to be able to carry the weight of the world in a similar way that a flag or a religious symbol like the crucifix or the Star of David does. One might argue – and I would agree – that a toy or a cartoon character like Mickey Mouse was never intended to take the place of the Statue of Liberty. “Kitty-chan” was never meant to do the work of Fuji-san.
Those who see a progression of sorts in the postmodern slide into banality (what Philip Roth describes as “the moronic amusement park that is now universal”) would have us believe that it is value-neutral – that play is play and art is art no matter what the subject is or how it is expressed. We may not like it but the problem is ours. At such times, it is wise to quote a Japanese critic because they know precisely where the problem lies. In an aptly titled article “A denunciation of mass society and its apologists” that Dailot-Bul cites, Nishibe Susumu writes that “contemporary Japanese were not involved in mature and creative play but in a puerile play characterized by a ‘single minded pursuit of whatever is perceived to be amusing.’” (126) The article was written in 1986. What would Nishibe make of what passes for fun and games on the average Japanese commercial television show of today?
In many cultures around the world, the fall does not seem as precipitous as it does in Japan. Perhaps it is a question of history. In America, not much time passed between James McNeill Whistler, Winslow Homer, John Singer Sargent, and Andy Warhol’s soup can. But Japan. The land where the first novel was written and later illustrated in a graceful style that has not been equaled in a thousand years. Astonishing levels of mastery in letters, painting, sculpture, arts, crafts, theater, music, garden design. Leading to what? The neon playgrounds of Shinjuku?
More disturbing still is the marketing plan for “Cool Japan” that the government / business sector (Japan Inc.) is backing to co-opt and control media and art initially meant to be avant-garde or counter-cultural (like Ronald Reagan championing Bruce Springsteen). Yes, people around the world like Japanese youth culture but not because it has been given the seal of approval from the Ministry of International Trade and Industry (MITI). They like it because it exhibits resistance to an overwhelmingly oppressive power structure that is smothering their dreams.
After dissecting the concept and expressions of play in Japanese culture so astutely, Dailot-Bul ends License to Play rather blandly with a rumination on Maffesoli’s “pendulum of ‘moral life’”: In the future, Japan will most likely move between “a withdrawal into a more rigid and puritan mode of life” and a “‘postcapitalistic’ system” that can only be imagined. (144-146) Not exactly going out on a limb.
In fact, if there is a one shortcoming to Dailot-Bul’s thesis it is that it is too safe. While Dailot-Bul does hint at the dark side of play in the sakariba, manga, anime, and video games, she never fully engages with the fear, alienation, impotence, frustration, and rage at the base of it. The biggest elephant in the room is the hikikomori – hundreds of thousands of shut-in youths and men in young adulthood who don’t play with anyone. The hikikomori are never mentioned. Nor is suicide treated in any significant way.
The best thing that can be said about Dailot-Bul’s License to Play: The Ludic in Japanese Culture is that it is one of those books like Doi Takeo’s The Anatomy of Dependence or Miyamoto Masao’s Straightjacket Society that will forever change your way of thinking about Japan. Whether you choose to think differently is another matter.
From the review published in Kyoto Journal 84.
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