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De Opkomst Van De Mangacultuur in België

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De Opkomst Van De Mangacultuur in België KU Leuven Faculteit Letteren Blijde Inkomststraat 21 bus 3301 3000 LEUVEN, BELGIË De opkomst van de mangacultuur in België Een subcultuuronderzoek Lora-Elly Vannieuwenhuysen Masterproef aangeboden binnen de opleiding master in de Culturele Studies Promotor dr. Charlotte Pylyser Academiejaar 2014-2015 134.862 tekens Abstract Manga and anime, which are Japanese comics and animation respectively, have become very popular in Belgium in a seemingly short amount of time. Mainstream storechains have started selling Japanese fan objects, comics conventions attract more visitors each passing year, and local fan communities like cosplayclubs gain new members on a daily basis. Aside from this apparent popularity, a full-fledged Belgian subculture has formed around these Japanese media, in which the concept of fandom plays a central role. This master’s thesis tries to answer how these media have gained so much popularity in such a short time, and what has triggered this boom. The starting point of this text is Club Dorothée: a French children’s television emission that ran in the ‘80s and ‘90s. This is followed by an overview of the history of anime- and mangafandom in Belgium, in which topics such as Dutch manga translations, illegal fanmade publications, and local television planning are discussed. Once these questions are answered, this thesis gives an analysis of the subculture that has formed around these media. This analysis is based on Henry Jenkins’ theories on fandom, as this subculture comprises several different fandoms, and on Dick Hebdige’s classic subculture theory (which Hebdige originally wrote on the Punk subculture but which can be used as a base for general subculture research). One essential part of this analysis is the comparison between the two different generations of mangafans in Belgium, which I refer to as the Club Dorothée generation and the Pokémon generation. At the end of this thesis, several cultural phenomena that are typical for the Belgian mangasubculture are described, such as cosplay or convention culture. Due to time constraints, this research is focussed on Flanders rather than Belgium as a whole, but Wallonia also has a crucial role to play in these events. 1 Index ABSTRACT ........................................................................................................................................................ 1 1. INLEIDING ................................................................................................................................................ 3 2. WERKMETHODE ....................................................................................................................................... 3 3. WAT ZIJN MANGA EN ANIME? ................................................................................................................. 4 4. ANIME EN MANGA IN BELGIË .................................................................................................................. 7 5. OPKOMST VAN DEZE SUBCULTUUR ......................................................................................................... 9 5.1. HET CHRONOLOGISCHE ONTSTAAN VAN DE BELGISCHE SUBCULTUUR ROND MANGA ................................................. 9 5.2. THEORETISCH KADER EN DE TOEPASSING ERVAN OP DE BELGISCHE CASESTUDY ...................................................... 21 5.2.1. Henry Jenkins en fandomtheorie ................................................................................................. 21 5.2.2. Dick Hebdige en subcultuurtheorie ............................................................................................. 32 5.3. CULTURELE UITINGEN VAN DE MANGASUBCULTUUR ......................................................................................... 42 5.3.1. Scanlations en fansubs ................................................................................................................ 42 5.3.2. Conventies ................................................................................................................................... 43 5.3.3. Cosplay ........................................................................................................................................ 44 5.3.4. J-music ........................................................................................................................................ 46 5.3.5. J-Fashion ..................................................................................................................................... 48 5.3.6. De talenkennis ............................................................................................................................. 49 6. CONCLUSIE ............................................................................................................................................. 50 7. ZELFEVALUATIE ...................................................................................................................................... 51 8. BRONVERMELDING ................................................................................................................................ 52 9. BIJLAGEN ............................................................................................................................................... 55 9.1. INTERVIEW MET MICHAEL TRECKELS – 28 MAART 2015 .................................................................................. 56 9.2. INTERVIEW MET ANDREAAS FIROIU – 2 MAART 2015 ...................................................................................... 75 9.3. E-MAILCORRESPONDENTIE MET JELLE DE SWERT OP 28 EN 31 MAART 2015 ....................................................... 79 2 1. Inleiding Manga (Japanse stripverhalen) is enorm populair geworden in België op een verbazend korte tijd, maar dit is niet altijd het geval geweest. Toen ik twaalf jaar geleden als prille puber begon met verzamelen, moest ik naar het verre Brussel trekken om met mijn zuurverdiende zakgeld Franstalige boekjes aan te schaffen. Manga en anime waren fenomenen waar het grote publiek wel al eens van gehoord had, maar waar men niet erg bekend mee was. Iedereen had wel een jonger familielid die Dragon Ball Z of Sailor Moon keek, was wel eens een pornografische tekenfilm tegengekomen in de videowinkel of kende misschien wel iemand die jaarlijks van F.A.C.T.S. (een pop-cultuurconventie te Gent) thuiskwam met meer dan enkel Star Wars figuurtjes. Manga als cultureel fenomeen echter had nog geen vaste plaats gevonden in onze leefwereld. Ondertussen is het 2015 en zijn evenementen als Made in Asia of Atsusacon enorm populair aan beide kanten van het land, kent België een eigen cosplay community en verkoopt zelfs Fnac Nederlandstalige manga. Mijn onderzoeksvragen zijn: waar komt deze populariteit vandaan? Wat heeft deze boom getriggerd en hoe is deze verlopen? Wat houdt de subcultuur die zich rond deze media heeft gevormd precies in? Ik zal proberen om deze vragen op te lossen door te kijken naar de ontstaansvoorwaarden van een subcultuur of fandom. Gezien de gelimiteerde tijd die ik heb voor het schrijven van deze masterproef zal ik mij focussen op Vlaanderen voor zover mogelijk. Dit is een gemis gezien de mangacultuur eerder is begonnen in Wallonië dan in Vlaanderen, maar anderzijds ook een troef omdat de fangemeenschappen van beide landsdelen volledig van elkaar gescheiden zijn en eerder stroef contact met elkaar hebben. Met deze masterproef probeer ik om de Belgische mangahype in kaart te brengen. Ik ga op zoek naar de oorsprong van de subcultuur rond J-Culture1 en breng de evolutie ervan in kaart tot op heden. Daarna zet ik de culturele fenomenen waarmee deze hoofdzakelijk gepaard gaan op een rij. 2. Werkmethode Ik zal proberen om de gestelde vragen op te lossen door te kijken naar de ontstaansvoorwaarden van een subcultuur of fandom. Hiervoor zal ik voornamelijk de theorieën van Henry Jenkins en Dick Hebdige toepassen. Daarnaast zal ik interviews gebruiken om een beeld te krijgen van de huidige situatie in België. Ook zal ik magazines over de mangawereld in België en de Nederlandstalige markt 1 Een veelgebruikte benaming om de Japanse popcultuur weer te geven. 3 raadplegen zoals Mangaheuvel en A Belgian J-Culture Magazine. Tevens zal ik beroep doen op een eerdere masterproef van de hand van Communicatiestudente Sofie Smeets uit 2009, waarin zij het mangafenomeen in Vlaanderen en Nederland vanuit een statistisch perspectief bekijkt.2 Ten slotte maak ik ook gebruik van de Koppen-documentaire3 getiteld Anime, welke over de fascinatie voor anime en manga bij Belgische jongeren handelt. Deze reportage werd door Celine Willmore gemaakt en uitgezonden op 9 april 2015. In functie van deze masterproef heb ik twee interviews afgenomen. Mijn eerste contactpersoon is Michael Treckels, Belgisch mangakenner en voormalig uitbater van de Penguin Village winkel te Leuven.4 Deze heeft mij uitgebreid verteld over de opkomst van manga en anime in België en over de subcultuur zelf. Daarnaast heb ik gesproken met Andreeas Firoiu, huidig leider van CosplayCloud en centraal figuur in de Belgische cosplay-gemeenschap.5 Beide interviews zijn achteraan in de bijlage van deze masterproef opgenomen. 3. Wat zijn manga en anime? Voordat we deze subcultuur beter kunnen leren kennen moeten we eerst de fenomenen waar zij rond draaien definiëren. Het woord manga betekent letterlijk “komische prent”.6 Het medium is te plaatsen in de traditie van de komische afbeeldingen die reeds in de elfde eeuw opkwam, maar kende haar
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