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CPCE Working Paper Series No, 9, Issue 4, 2016

Title The adaptation and appropriation of Japanese kimono in society

Author(s) Miriam Leung Che Lau

Issue Date 2016

Issue Number 4

Authorized Paper Number 9

Disclosure Citation Lau, M. (2016). The adaptation and appropriation of Japanese kimono in Hong Kong society (Working

CPCE Paper Series No. 9, Issue 4, 2016). Hong Kong: The Hong Kong Polytechnic University, College of Professional and Continuing Education, Hong Kong Community College. Retrieved Aug 26, 2016 from http://weblib.cpce- polyu.edu.hk/apps/wps/assets/pdf/w20160409.pdf

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CPCE Working Paper Series No, 9, Issue 4, 2016

The Adaptation and Appropriation of Japanese Kimono in Hong Kong Society

Miriam Leung Che LAU Hong Kong Community College College of Professional & Continuing Education The Hong Kong Polytechnic University Kowloon, Hong Kong

Authorized [email protected]

Disclosure ABSTRACT CPCE This paper attempts to analyse the influence of Japanese culture in Hong Kong society, with particular reference to the adaptation and appropriation of Japanese kimono. I will present two aspects for discussion, namely the depiction of Japanese women in Hong Kong pop music videos, and the adoption of Japanese kimono by Hong Kong young couples when taking their pre-wedding photos. Further, I shall examine whether or not the adaptation of Japanese kimono by Hong Kong people is an authentic representation of the traditional Japanese costume, and how far this reveals the understanding of Hong Kong people towards Japanese culture.

KEYWORDS: Adaptation, Appropriation, Japanese Kimono, Hong Kong Society

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Disclosure 1 INTRODUCTION

CPCE When the television industry in Hong Kong emerged in the 1960s, Hong Kong producers had largely imported television dramas from overseas, particularly from Japan, in order to enrich the content of their own programmes. Apart from Japanese television programmes, other cultural products from Japan, such as songs, comics, animations, electronic products, and even Japanese cuisine proved to be extremely popular among the Hong Kong people. During the British colonial era, Hong Kong people have often perceived their identities as unique from the Chinese people in mainland . Therefore, during the 1980s and the 1990s, there has been a trend in the Hong Kong pop culture industry to adapt Japanese songs into lyrics. Another type of appropriation of Japanese songs was to insert a few Japanese lines into a Cantonese song. Some examples include inserting “Sayonara” （さよなら）into Tiger Team 小虎隊’s Holding Back My Tears to Say Goodbye 《忍著淚說 goodbye》(1984), and 黎明’s My Dear 《我的親愛》(1992). Furthermore, Sammi Cheung 鄭秀文 has inserted “Chotto ma tei” （ちょとまて）into her Cantonese song of Chotto ma tei (1993), in which the tune of her song was adapted from that of the Japanese , 大黒摩季 ’s《ちょっと待ってよ》. Furthermore, she has also included a Japanese word of “Arigatou” （ありがとう） in her song, Arigatou (1999).

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2 REPRESENTATION OF JAPANESE WOMEN IN HONG KONG POP MUSIC VIDEOS

Disclosure Apart from the adaptation of Japanese songs, and the insertion of a Japanese line into a

CPCE Cantonese song, Hong Kong singers have also attempted to portray a Chinese lady dressed in kimono in their music videos. One distinctive example was Sam Hui 許冠傑’s “Japanese Doll” 《日本娃娃》in 1987, in which the Hong Kong actress, Kong Yan-yin, Alvina 江欣 燕 , dressed in a kimono, pretended to be a Japanese girl in the music video. In portraying the lead actress as a Japanese girl, Sam Hui’s video has largely represented Hong Kong people’s stereotypes of Japanese females. In terms of appearance, Hui describes Kong in the following line, “Last night [I] met a Japanese doll in a department store. Her eyes are especially large, and her chin is thin. [She is] a bit like Akina Nakamori, interesting and special, definitely Japanese.”1 Secondly, in terms of the personality of Japanese women, Hui imagines them to be submissive and dutiful, as he fantasizes in the following line, “After marrying the doll, my status immediately changed. [She will] wash the clothes, cook the soup, massage my back, and serve me tea.”2 In the music video, Kong, dressed in a blue yukata with red strips, is portrayed as busily cleaning the floor, and she then proceeds to massage her husband’s back. On the contrary, Hui, dressed in traditional Chinese attire, is merely relaxing and playing with the birds in the birdcage. In addition to the Chinese people’s stereotypes of Japanese women as exhibited in the video, Hui’s song also significantly illustrates Hong Kong people’s anxiety towards the handover of the city to in 1997. One of Hui’s fantasies is sung in the following line, “There is no need to be afraid of 1997, [we will] live in Harajuku and start

1 The original Chinese lyrics of the song are as follow: 「尋晚東急碰正個日本娃娃，對眼特 別大，重有尖尖的下巴。有 D 似中森明菜唔系講假，趣怪又特別，直頭日本化。」 The English lyrics of the song come from my own translation; see also Appendix I, photos 7 to 9. 2 The original Chinese lyrics of the song are as follow: 「娶左娃娃即刻就變曬生價，洗衫煲 湯 Dum 骨錬背遞茶。」The English lyrics of the song come from my own translation; see also Appendix I, photos 14 to 15. Working Paper Series No, 9, Issue 4, 2016 2

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a sushi bar.”3 In the video, Hui, now dressed in a Japanese style yukata, is seen with his wife, and they are busily serving their customers in his imagined sushi bar. Hui even adopted the

Disclosure Japanese etiquette of bowing courteously to the customers as they are entering the restaurant.

Another distinctive element of Sam Hui’s Japanese Doll is that while other Hong Kong CPCE singers merely insert one simple line of Japanese greeting (such as “arigatou ありがと”, “chotto ma tei ちょとまて”, and “sayonara さよなら”) in their predominately Cantonese song, Hui’s song has inserted a few more lines of Japanese, which have added to the meaning of the song and which I have translated in the following.

Hello Konbawa こばわ(“Good Evening”), 小姐你好嗎？(“how are you miss?”)4

Watashi wa Hong Kong no Matchy desu 私わ香港のまちです。 (“I am Hong Kong’s Matchy”).5 Anata wa totemo kawaii あなたわとてもかわいい。(“You are very cute”).6

After Hui’s initial conversation with the “Japanese doll” using a mixture of Chinese and Japanese words, he then turned to the audience, and as if like a soliloquy speaking to them, he switches back to Cantonese, “[I will] use Japanese to befriend her.”7

More recent examples of Hong Kong singers’ adaptation of Japanese kimono in their 許志安 《如初》

Authorized music videos are exemplified in Andy Hui ’s “As if it is the beginning” (2014) and Joey 容祖兒’s “Passing by Hokkaido” 《途徑北海道》(2012). Both singers shot their MTV in Japan. Hui produced “As if it is the beginning” in Kyoto, with his main actress, Janice Man 文詠珊, wearing a red kimono in his MTV.8 On the other hand, Disclosure Yung videotaped “Passing by Hokkaido” in Hokkaido in the summer, in which she wears a pink yukata, with a red tsukuri obi tied at the back in one of the shots.9 In addition, both

CPCE singers have also produced micro films in relation to their MTV. Hui’s micro film, titled “Theatrical mode of As if it is the beginning in Kyoto” 《如初の京都劇場版》portrays Hui and Man, in which the latter wears a kimono, strolling slowly along the dark alley of a Japanese street, conversing in a Japanese restaurant, chatting on the beach until near dawn. The story gradually reveals that Man is the younger sister of Hui’s deceased lover, and the complications of their relationship are underscored by the darkness of the long shots in the micro film.

On the other hand, Yung’s micro film, titled “Missing Memories in Hokkaido”《遺落在 北海道的回憶》, portrays her short-lived love affair with a Japanese man while she is on holiday in Hokkaido by herself. This film was produced with the sponsorship of Itacho Sushi ( 板長壽司 ), a Japanese chain restaurant in Hong Kong, and thus subtle insertions of advertising the restaurant can be seen throughout the film. For instance, on her first day in Hokkaido, Yung meets a good looking Japanese man, who works as a sushi chef. He invites her to dine at his sushi bar, which is “coincidentally” named as “Itacho Sushi”. On the second

3 The original Chinese lyrics of the song are as follow: 「1997 個陣無有駛怕，實行住原宿開 間 sushi bar。」 The English lyrics of the song come from my own translation; see also Appendix I, photos 16 to 17. 4 See Appendix I, photo 10. 5 See Appendix I, photo 11. 6 See Appendix I, photo 12. 7 The original Chinese lyrics of the song are as follow: 「實行用架文同她 friend 下。」The English lyrics of the song come from my own translation; see also Appendix I, Photo 13. 8 See Appendix I, photos 1 to 4. 9 See Appendix I, photo 5. Working Paper Series No, 9, Issue 4, 2016 3

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day, the Japanese man presents her a pink yukata, and she wears it when dating with him. Together, they stroll along the railroad,10 walk pass the lavender garden, watch sunset, and

Disclosure certainly, eat sushi for lunch. However, the yukata is poorly worn on Yung, as the end of her collar is very narrow (kou-eri) and also too long down her neck, which signifies that the yukata is meant to be worn by a young teenager instead. Apart from adapting the yukata in CPCE some of the shots, Yung also appropriates Japanese language in her micro film. She speaks in a mixture of Cantonese and Japanese, similar to Sam Hui’s “Japanese Doll”. For example, she speaks in simple Japanese phrases to the Japanese actor, while her inner thoughts or soliloquy are expressed in Cantonese. Chinese subtitles are also made available for the predominately Hong Kong audience of the music video.

3 ADOPTION OF JAPANESE KIMONO IN HONG KONG’S WEDDING CULTURE

There has been a trend for Hong Kong young couples to shoot their pre-wedding photos in kimono and in Japan. Investigations have been conducted with two bridal-cum- photography companies in Hong Kong, namely Perfect Couple and L’amour Bride, as both of them provide services for Hong Kong couples to shoot their per-wedding photos in kimono and in Japan. An interview with Michelle Au, makeup artist of Perfect Couple, explains the reasons why Japan proves to be a popular destination.11 Her company offers photo packages in Karuizawa, and she describes Karuizawa as an ideal place for taking wedding photos in all Authorized four seasons, such as against the backdrop of maple leaves in autumn, snow in winter, and cherry blossom in spring. The wearing of kimono by the couple also matches the surroundings perfectly, such as the shrine.12 However, it appears that the “kimono” that

Disclosure Perfect Couple provides to couples are, in reality, yukata, and it is rather inappropriate to wear yukata during the autumn season and against the backdrop of falling maple leaves.13 A closer look at the “yukata” worn by the bridegroom also proves to be disappointing.14 Far CPCE from being an authentic montsuki worn by Japanese bridegrooms,15 the “yukata” provided by Perfect Couple for Hong Kong bridegrooms is in fact the exact copy of a “montsuki” found on the Taobao website in mainland China,16 in which the website is known for selling fake products. The price of the “montsuki” is only 75 renminbi (excluding shipping costs), roughly equivalent to 1000 Japanese yen.

On the contrary, L’amour Bride proves to be a more professional bridal-cum-photography company in terms of the quality of kimono provided to the couples taking pre-wedding photos. In one of their advertisements, L’amour Bride showcases a series of their past photos, with two photos picturing the same couple in kimono, and the captions read, “Wearing our Japanese wedding gown, evening gown, and kimono, and travelling to Japan for a unique memory. Let us experience the romantic season!”17 Furthermore, the bridal company provides some examples of surroundings, such as taking photos in a blue kimono under the backdrop

10 See Appendix I, Photo 6. 11 Interview conducted with Michelle Au in Cantonese on December 23, 2014, 5:40 pm, at the Perfect Couple Bridal Shop in Tsim Sha Tsui, Hong Kong. 12 See Appendix II, photos 5 to 6. 13 See Appendix II, photo 5. 14 See Appendix II, photos 3 to 5. 15 See Appendix II, photo 2. 16 See Appendix II, photo 1. 17 The original Chinese words of the advertisement are as follow: 「穿起我們的日本婚紗、晚 裝及和服晚裝，一起回日本留下最獨特的回憶。我們一起去感受浪漫的季節吧! The English lines come from my own translation; see also Appendix II, photo 7. Working Paper Series No, 9, Issue 4, 2016 4

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of cherry blossom in the day time and the evening,18 in a red kimono by the autumn maple leaves,19 by the shrine,20 with the captions: “Wearing traditional kimono by the Japanese 21

Disclosure temple, this is the best moment.” Besides renting kimonos to couples for taking pre-wedding photos in Japan, L’amour Bride also rents kimonos to couples who are holding wedding banquets in Hong Kong. In their recent L’amour catwalk showcasing their wedding gowns, CPCE the company has specifically exhibited some of their fusion evening gowns, which are adapted from Japanese kimono. The designer of the dresses, Ceci Chung, explains that wearing a kimono takes a long time, and it is impossible to spend an hour for the bride to dress up in the Chinese wedding banquet, which often has a tight schedule. Therefore, she has incorporated elements of kimono style into her design of the evening dresses for the Hong Kong brides.22

4 CONCLUSION Before drawing a conclusion, it is noteworthy to mention a few pseudo Japanese imitations found in Hong Kong. For example, the 白い恋人 biscuits made in Hokkaido23 were transformed into a box of biscuits with similar packaging style, but named as “White Melody Biscuits.”24 The salesperson of the snacks shop in Hong Kong told me that the taste of “White Melody Biscuits” is 90% similar to the original 白い恋人 biscuits, but its price is much cheaper. In addition, it is also interesting that one of the streets in Hong Kong is named as 東京街, though its English translation is not Tokyo, but Tonkin instead.25 Authorized

With this awareness of Chinese pseudo imitations of Japanese products and street names in mind, it is not surprising to find that the adaptation of Japanese kimono in Hong Disclosure Kong society is merely a superficial one. In the aspects of Hong Kong pop music and wedding culture, the authentic representation of Japanese kimono is hardly a main concern for CPCE the adaptors. This reveals that most Hong Kong people lack a deep understanding of Japanese culture, as they merely appropriate certain elements from the traditional Japanese costume which seem transferrable to their own cultural context.

ACKNOWLEDGEMENTS

I would like to thank Professor Noriko Iijima for reading and commenting on my paper.

BIOGRAPHICAL NOTE

Ms. Miriam Lau Leung-che is a lecturer at Hong Kong Community College, Polytechnic University, where she teaches academic English. She has published papers in

18 See Appendix II, photos 8, 12. 19 See Appendix II, photo 9. 20 See Appendix II, Photo 11. 21 The original Chinese words of the advertisement are as follow: 「在日式寺院穿起傳統日本 和服，總是最有感覺。」The English lines come from my own translation; see also Appendix II, photo 10. 22 See Appendix II, photo 13. 23 See Appendix III, photo 1. 24 See Appendix III, photo 2. 25 See Appendix III, photos 3-4.

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Shakespeare Review and Nordlit, and she is currently doing her doctoral studies at the Shakespeare Institute, University of Birmingham. She is also an amateur actress, and she has

Disclosure acted with the Royal Shakespeare Company (RSC) in the .

CPCE REFERENCES

Yamanaka, Norio. The book of kimono. Tokyo: Kodansha International, 1982. 荘司礼子 (2010)。《きちんと着る着物のきほん―冠婚葬祭、茶席など、さまざまな シーンに役立つ》。主婦の友生活 シリーズ。 木下勝博 (2009)。《はじめての着物単行本（ソフトカバー）》。

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Appendix I: Adaptation of Japanese kimono in the MTV of Hong Kong singers

Disclosure Photos 1-4: 許志安 《如初》(2014)

CPCE (Andy Hui, “As if it is the beginning,” 2014)

Music Video: https://www.youtube.com/watch?v=pGc-5R9nxbM Micro film of Andy’s complicated relationship with the female model, who is the younger sister of his deceased ex-lover: 《如初の京都劇場版》(“Theatrical mode of As if it is the beginning in Kyoto”) https://www.youtube.com/watch?v=7oW8CW8Y_ok

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Photos 5-6: 容祖兒 《途徑北海道》，2012 （, “Passing by Hokkaido,” 2012）

Music Video: https://www.youtube.com/watch?v=NMiD0rrtveI Micro film of Joey falling in love with a Japanese man in Hokkaido: Authorized 《遺落在北海道的回憶》 (“Missing Memories in Hokkaido”) https://www.youtube.com/watch?v=aI4YLZCennQ

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許冠傑 《日本娃娃》(1987) (Sam Hui, “Japanese doll”, 1987) Disclosure https://www.youtube.com/watch?v=ErGjJ-SjBQ4

CPCE Photo 7: “Last night I met a Japanese doll in a department store”

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Photo 8: Her eyes are especially large, and her chin is thin. Disclosure CPCE

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Photo 9: A bit like Akina Nakamori, interesting and special, definitely Japanese.

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Photo 10: Hello Konbanwa (good evening), how are you miss? Authorized Disclosure CPCE

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Photo 11: Watashi wa Hong Kong no matchy desu (I am Hong Kong’s Matchy/Masahiko Kondō). Disclosure

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Photo 12: Anata wa totemo kawaii (You are very cute).

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Photo 13: (I will) use Japanese to befriend her.

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Photo 15: (She will) wash the clothes, cook the soup, massage my back, and serve me tea. Disclosure CPCE

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Photo 17: There is no need to fear 1997, (we will) live in Harajuku and start a sushi bar. Disclosure

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Appendix II: Hong Kong couples dressed in “kimono” to take pre-wedding photos in Japan Disclosure

CPCE Photo 1: “Montuski” found on the Chinese Taobao website https://world.taobao.com/item/524697186974.htm?fromSite=main&spm=a1z3o.76954 60.0.0.4Ruh6X

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Photo 2: A real montsuki

Disclosure http://blogpanienki.salon24.pl/552339,japonskie-kimona-meskie-plus-dodatki-cz-2 CPCE

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Photo 3: Hong Kong young couple dressed in yukata and taking pre-wedding Disclosure photos in Karuizawa – holding a fan

CPCE (Bridal company: Perfect Couple, Hong Kong) https://www.facebook.com/Perfect.Couple.Wedding/?fref=ts Authorized

Disclosure Photo 4: Playing with water (Bridal company: Perfect Couple, Hong Kong) CPCE

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Photo 5: Ringing the bell (Bridal company: Perfect Couple, Hong Kong)

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Photo 6: Outside the shrine (Bridal company: Perfect Couple, Hong Kong) Disclosure CPCE

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Photo 7: Advertisement of shooting pre-wedding photos in Japan (Bridal company: L’amour Bride, Hong Kong) Disclosure https://www.facebook.com/wedding.lamour.bride/?fref=ts

CPCE 穿起我們的日本婚紗、晚裝及和服晚裝，一起回日本留下最獨特的回憶。 我們一起去感受浪漫的季節吧！ (“Wearing our Japanese wedding gown, evening gown, and kimono, and travelling to Japan for a unique memory. Let us experience the romantic season!”) Authorized

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CPCE Photo 8: “穿上傳統和服，感受櫻花氣氛” (“Putting on traditional kimono, Experiencing the Atmosphere of Cherry Blossom”) (Bridal company: L’amour Bride, Hong Kong)

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Photo 9: By the maple leaves (Bridal company: L’amour Bride, Hong Kong) Disclosure CPCE

Photo 10: 日本櫻花／紅葉拍攝 (Photo shooting of Japanese cherry blossom and maple leaves) Authorized (Bridal company: L’amour Bride, Hong Kong)

Disclosure 在日式寺院穿起傳統日本和服，總是最有感覺。 (Wearing traditional kimono by the Japanese temple, this is the best moment.) CPCE

明年櫻花季節剛巧是複活節期間，所以教師們有幸地有機會去賞櫻及拍一輯櫻花婚 照，要把握時機了！ (Next year, the season of cherry blossom is situated in the Easter holiday, so teachers at work have the chance to appreciate the cherry blossom while taking pre-wedding photos. It’s time to grasp the moment!)

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Photo 11: By the shrine (Bridal company: L’amour Bride, Hong Kong) Disclosure

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Photo 12: Cherry blossom by the night

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Photo 13: Kimono-style evening gowns (Bridal company: L’amour Bride, Hong Kong) Disclosure CPCE Authorized Disclosure CPCE

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Disclosure Appendix III: Imitation of Japanese products found in Hong Kong

CPCE Photo 1: 白い恋人 biscuits made in Hoikkado

Photo 2: White Melody Biscuits sold in Hong Kong

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Photo 3: Tonkin Street (東京街) found in Hong Kong Disclosure CPCE

Photo 4: The is 東京街, while the English name is “Tonkin Street”

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