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The Japanese Art of Listening an Ethnographic Investigation Into the Role of the Listener

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The Japanese Art of Listening an Ethnographic Investigation Into the Role of the Listener The Japanese Art of Listening An ethnographic investigation into the role of the listener Nanase Shirota Downing College University of Cambridge December 2019 This dissertation is submitted for the degree of Doctor of Philosophy. This thesis is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my thesis has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. It does not exceed the prescribed word limit for the relevant Degree Committee. 1 Abstract The Japanese Art of Listening An ethnographic investigation into the role of the listener Nanase Shirota This project investigates the art of listening in Japan through ethnographic observation of hostesses (escorts) and listening volunteers, and an analysis of self-help literature on listening. At night clubs in Tokyo, hostesses, who are famous for being good listeners, use listening as a streetwise skill. This enables them to stay in subordinate and supportive positions, and to help customers dominate a conversation. The customers can gain a sense of recognition, enhance intimate relationships with the hostesses or rebuild their masculinity. Hostesses’ listening is ‘an interactional weapon of the weak’, gaining money, business connections and prestige, but this, in turn, intensifies the gendered division of labour in interactions. By contrast, listening volunteers – who converse with elderly people using listening as a tool for reaching out – sometimes fall short in conversation, not realising that their listening functions as a gift. This forces clients to stay in helpee/subordinate positions and makes them feel obliged to reciprocate. Listening here can be ‘a mask for silent authority’. Superficially these two cases do not resemble each other; however, both deal with power dynamics. Their other common aspect is performing emotional labour. These listeners suppress or discard their feelings – such as disgust or boredom – and generate socially required emotions like respect or compassion, whilst displaying situationally expected listening behaviour. They hope to generate a certain state of mind in others to a greater or lesser extent, and so must perform emotional labour. Listening is therefore a subset of emotional labour. Self-help guides implicitly instruct emotional labour, and tacitly suggest dealing with power relations by introducing therapeutic listening for superiors and ‘zealous listening’ (my term) for subordinates. As my analyses show, listening is not simply a skill of hearing or understanding others, but also a way of associating with them. Therefore, listening is an ‘art’, which requires both fundamental skills, and a listener’s own personal way of relating to others. 2 Acknowledgement First and foremost, I would like to give my appreciation to my supervisor Dr Brigitte Steger for her invaluable research support and extensive personal and professional guidance. Almost five years ago, arriving for my first official supervision, I knocked and opened the door of her office on the Sidgwick site, Cambridge. She was sitting, facing the computer, and turned towards me and smiled, saying ‘Irasshai!’ (welcome). I had been feeling nervous, but when I realised that she was wearing a chanchanko (a padded-sleeved kimono jacket), I thought, ‘…is this for real? She is so sweet.’ We talked about my research proposal and she gave me many tips to find new ideas. At the end of the supervision, she smiled and told me, ‘Please don’t go and just be a beautiful and nice woman (sutekina ojōsan), but become a smart, independent female researcher. Good luck!’ I felt I had come to the right place to do my research. Since then, she helped and empowered me enormously. She was patient with my slow progress on both my academic work and my English. My favourite advice she gave me was, ‘Don’t become an impressionist, but become a Picasso in your writing!’ Most importantly, she constantly believed in my research being able to contribute to academic knowledge. I could not have imagined having a better supervisor and mentor for my PhD. I gratefully acknowledge the help provided by Dr Louella Matsunaga and Dr Anemone Platz in their role as examiners. Sensing my nervousness Dr Matsunaga not only created a friendly and insightful viva voce for me, but also checked my thesis word by word with critical comments. Dr Platz gave me opportunities to consider unexpected but fundamental aspects of my research, both in the conference as well as in my viva voce. I also thank Dr Inge Daniels and Dr Fabio Gygi for their insightful and critical comments and encouragement on my first-year reports. My sincere thanks also go to the following institutions for financial support and assistance in making my project come to life: Honjo International Scholarship Foundation, Department of Japanese studies at the University of Cambridge, The Great Britain Sasakawa Foundation, Aoi Foundation, Japan Foundation Endowment Committee, International Soroptimist Kunitachi, Laura Bassi Scholarship and Downing College. This research might have never happened without the 3 financial aid of these organisations. I especially thank Ms Kawashima Itsuko in Honjo International Scholarship Foundation for giving me warm-hearted support for four years. I am especially indebted to those who helped me to carry out my fieldwork in Japan for their vital research support. Maro-san (Maekawa Hidemaro) not only gave me the connection to become a hostess but also empowered me through our long-term comradeship. Minako-san and Katakura- sensei were the key people who enabled me to work as a hostess. Especially, Minako-san was always caring to me whenever I was vulnerable. Sayuri-mama taught me how to survive in a competitive society as a woman. Ami-san took care of me as my sweet sister-hostess. Iwamatsu- sensei offered me many opportunities to deepen my knowledge of listening and to expand the network for my fieldwork. Members of Fukuro, Trust, Hanamizuki, Hope and Rhythm warmly welcomed me to participate in their active listening projects and gave me many intellectual hints. Although I cannot write their real names here, I can easily recall individual members’ smiling faces and their benevolent and humble attitudes in my heart. Nakajima-san kindly organised a trip for my fieldwork and I learnt from her talented listening. Reiko-san showed me an occasion where listening goes beyond the extent of verbal exchanges. I also thank her for encouraging me to believe in myself. Nobody has been more important for me in the completion of this project than my friends, mentors and family. I wish to give special thanks to my friend Julian Sedgwick, who helped my English and constantly reminded me of the importance of never giving up on my dreams. I also would like to thank the following friends: Isabel Sedgwick, Jotis Baronus, Falk Parra, Heather Phoon, Sakshi Aravind, Aleya Marzuki, Di Yan, Nick Timmons, Greg Gakis, Rodrigues Almeida, Josie Hughes, Kaede Sakata, Loren Held, Dan Levy, Wayo Matsushima, Robert and Big Dave in Downing College, and my dog Fūta for the language help, emotional support and empowerment with coffee, chocolate and laughter. I also thank my mentors, Iwakuni Shūichi, Shiono Yonematsu, Shibusawa Juichi, Andō Jukō, Shimizu Yuichirō, Yoshino Nahoko, Sawahata Masanori, Tominaga Tomoyoshi and Fujii Kazuhiko for drinking a lot with me, and encouraging me to proceed with my pursuit. Finally, I would like to thank my parents, Shirota Takafumi and Michiko, for all their wholehearted support throughout this challenging PhD journey and for believing in me both in good and bad times. 4 Contents ABSTRACT .............................................................................................................................................................. 2 ACKNOWLEDGEMENT ............................................................................................................................................ 3 CONTENTS ............................................................................................................................................................. 5 FIGURES ................................................................................................................................................................. 6 GLOSSARY OF KEY JAPANESE WORDS .................................................................................................................... 7 CHAPTER 1. INTRODUCTION ................................................................................................................................ 11 1.1 WHY STUDY LISTENING? ........................................................................................................................................... 11 1.2 THE DEFINITION AND PREMISES OF LISTENING ............................................................................................................... 16 1.3 METHODS AND ETHICS ............................................................................................................................................
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