Transculturality As a Method on the Example of Visual Kei

Klaudia Adamowicz Jagiellonian University in Kraków, Poland Transculturality as a Method on the Example of Visual Kei Abstract The aim of this paper is to present the theory of transculturality treated as a method of researching Japanese contemporary culture. According to Wolfgang Welsch the essence of transculturality lies in transcultural networks which are built based on the category of fascination, presence and proximity. As I show on the example of visual kei, these terms are especially relevant in reference to Japanese culture which seems to be transcultural in its structure. Describing the characteristics of visual kei I show the way in which local elements are linked with foreign ones leading to the creation of a new network combining the elements from both of them, at the same time bearing a brand new quality. Presented example can be a starting point for future considerations in the field of Japanese culture. This paper’s problem arose when preparing for Students and Young Schol- The main topic of the conference was to show manifold methodologies whichars Conference can be used in Asianin Asian Studies studies. which The wasimportance held in ofPoznań the issue in May lies 2014.in the fact that the array of possible methods has not yet been established. The aim of this article is to examine the theory of transculturality treated as - ests concentrate on Japanese contemporary culture I decided to show the methoda scientific using method the example to study of Japanese visual kei culture.. As so As far my too own little academic attention inter has been paid to visual kei - sibility of showing the meaning and essence of this still unknown Japa- nese phenomenon. , the significance of my research also lies in the pos Klaudia Adamowicz 12 - The paper has been divided into three parts. The first one deals with culturethe definition which canof transculturality be perceived as mostly transcultural based on in itsWolfgang original Welsch’s structure. the In theory. lastThe sectionnext part of refersthe following the discussed study issuethe phenomenon to the specificity of visual of Japanese kei will be regarded as a clear illustration of the earlier conclusions. Put together, these results suggest that transculturality can be used as an effective method in researching Japanese culture. Transculturality This part of the study will examine the concept of transculturality. Another term bearing the similar meaning is ‘transculturation’ which was coined by a Cuban anthropologist Fernando Ortiz. Even though both terms have a similar meaning, I will not analyze it here in more detail as it lies out- side of my area of interest at this point. However, it is worth mentioning thethat word the term ‘transculturality’ ‘transculturality’ as my was considerations first used by will Wolfgang apply to Welsch the area who of referred it to the field of aesthetics. I have also decided to continue using Herder’saesthetics conception and related of fields. culture. According to this old theory, cultures were homogenous,Welsch starts national his reflection in its nature with and the ethnic criticism boundaries of Johann between Gottfried’s them were easy to identify. To describe it Herder used the metaphor of spheres which meant that different cultures are unable to communicate with one another and a mutual understanding is beyond their reach. The only way of contact that may exist between them is clashing without the possibility criticism goes towards not only Herder’s theory of national cultures, but alsoof exchanging towards interculturality or mixing (Welsch or multiculturality. 2002: 85–86). WhatIt stems is more from Welsch’sthe fact that according to Welsch, all such theories perceive culture as autono- Now we come to the essence of Welsch’s theory which is based on the assumptionmous islands of instead transcultural of transcultural networks. networks Those networks (Welsch do 1998: not run200–203). by national borders, but are created transnational leading to the existence of a new diversity. Every network is built from diverse components, and in turn various meanings can be attached to each of the components, creating manifold configurations. Therefore the new diversity does not emerge Transculturality as a Method on the Example of Visual Kei 13 from the difference between national or geographical areas, but is caused In transcultural networks the relationship between cultures is sub- jectedby the todistinction change. Theybetween are transculturalno longer divided networks as in (WelschHerderian 2002: theory, 87). but noted that this hybridisation does not effect in chaotic mixing, but rather amixed mutual – becoming interpenetration inner-contents resulting or insatellites forming for new each inner other. structures It should and be relationships between networks. What is more, networks are involved in - stead their dynamic nature forces them to the constant transformation the process of continuous change. They never reach their final form, in All these changes in the way in which we understand and interpret cultures(Welsch 1998:and their 203ff). relationships can be properly expressed in the already - - ingmentioned of transition. term –The transculturality. aim of transculturality Its linguistic lies structure in transcending suggests the the border mul oftiplicity traditional of culture, culture but theories what is moreby showing important the –ways it also in includes which differential the mean cultures tend to transgress one another to build transcultural networks. What is more, Welsch suggests that this kind of interpenetration is not the phenomenon that emerged lately, but was already present in the historical cultures. Surely the scale of diffusion was smaller as because of a less ef- - tioning that the theory of transculturality is not concentrated on showing thefective change flow of of culture information relationships, (Welsch but2002: the 86ff). way of However, understanding it is worth these men re- when discussing the Japanese culture which according to Welsch tends to belations transcultural – both in thein itspresence, origin. andThis in tendency the past. orThis even is especially characteristic meaningful is not something that appeared recently as an effect of excessive contact with the West. On the contrary - it was already visible in the process of creating the Japanese culture that is now perceived as traditional and Japan-distinctive (Welsch 2002: 90ff). Therefore, here we reach part two of this paper. Transculturality of Japanese Culture As mentioned above, the essence of transculturality lies in the change of interpreting cultures not in the way they create their mutual dependence. It is especially true in reference to transculturality of Japanese culture, because it seems that even if the term ‘transculturality’ may be new, the Klaudia Adamowicz 14 Japanese culture was as transcultural in the past as it is today. The new way of culture perception allowed to get sight of its inner nature and the mechanism of action. When considering Japanese culture we should be conscious that it is impossible to analyze its structure and characteristic without the sim- ple fact that it was always closely connected with other Asian cultures; especially China and Korea, but also India. After the opening of Japan to lier Asian waves. The cultural components which are considered Japanese arethe inWest fact in very XIX often century of foreign European origin and and American their Japaneseness influences joined lies in ear- the often so different from the original one that we can without a doubt con- way they were transformed and then adapted. The final product was very Sergei Arutyunov indicates ways in which the foreign elements are transformedclude about its by Japanese non-European nature (Welschcultures. 2002: Japan 86ff). can be treated as a very clear example of this process. Components can be either subjected to mutual mechanical penetration or synthesis. Other way of treating foreign elements may consist in adopting it and then using in a traditional way. Without going into details we can conclude that it is very rare that foreign elements remain in their clear form; mostly they are transformed and as - ticle I will refer to all these three methods. a resultEven they in the gain beginning a new quality you can (Arutiunow go as far as 1984: to claim 296ff). that Later Japanese in this have ar not created anything new. However, they have created a better and more Ryousuke Ouhashi who said that the constant and stable essence of Japa- nesesophisticated culture does version not exist.of everything It can rather (Welsch be compared 2002: 96). to the Welsch water quoted which can be adopted to the shape of varied containers it is poured into (Welsch Apart from the lack of essence of Japanese culture it is also worth men- tioning2002). that differential and seemingly contradictory components can co- exist accordingly. Adopting the new element from foreign culture does not mean that the old one must be deleted. Different styles and models processcan be actual of transculturation, at the same level which – instead in sequence of being consisted contradictory of deculturation they can complement one another (Welsch 2002). Ortiz indicated the stages of the process should be understood as a creation of new cultural phenomena bearing(the loss the of signspreviously of all elements actual elements) that took partand inneoculturation. its course (Romanowska The latter Transculturality as a Method on the Example of Visual Kei 15 because Japanese can successfully execute the neoculturation without 2013: 144). An attempt to refer these stages to Japan can end in a failure, understandthe preceding Welsch’s deculturation. statement All thatcomponents Japanese can culture easily can create be treated one fluid, as beingbut the transcultural still distinct inculture. its nature. Having This this might reflections easily inlead mind, one we to caninfer easily that Japanese culture is also especially well prepared for the increased degree of transculturality that is present in the contemporary culture (Welsch - ty for all Japanese culture researchers.

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