It’s no secret; I love anime. I mean, if I didn’t love it, I damn sure wouldn’t be here, right? But sometimes I need to take a step back and ask myself why I love it so much. More specifically, why is anime so frigging addictive? What is it about Japanese animation, compared to Chinese animation, or United States animation, or German animation, that compels legions of fans to publicly masquerade as their favorite characters, outfitted in painstakingly constructed cosplay (with accessories to match!) How is it that anime has become a worldwide obsession, spanning countless social demographics and national boundaries? Isn’t ‘anime’ simply the Japanese loanword for ‘animation’?
A Cultural Experience
Yes and no. Linguistically, ‘anime’ means nothing more than ‘animation’ and connotes no special significance or meaning beyond that of its Western counterpart. ‘Anime’ may sound more chic (and less childish) than ‘cartoon’, but when you get right down to it, there really isn’t a substantial difference between the two.
As a technique, the earliest Japanese animation has its roots in Western animation, with greats like Osamu Tezuka producing imitative works that adhered rather strictly to canonical animation standards (those established by its pioneers) long before putting their own twist on things. Animation took root in Japan as a markedly non-ethnocentric art form, and the very first Japanese-animated films share little resemblance with the modern style we have gathered to exalt. (In fact, for those of you who may be wondering why a monstrous animator like Masao Maruyama would agree to produce Sutichi (the Japanese version of ‘Lilo & Stitch’) with such alacrity, Maruyama-sensei shamelessly admits that it is because Tezuka is one of his major, major influences.)
Nevertheless, ‘anime’ is not a term to be taken lightly. From a modern standpoint it implies much more than ‘cartoon’ or ‘animation’. Enormous eyes and bombastic hairdos are the trappings of a 70 year-old confluence of Japanese filming, cinematography, voice acting, comic art, storytelling, theatrics, and history—a panorama of cultural traditions.
The Japanese have mastered the as-yet-nameless science of deconstructing, rebuilding, improving and assimilating alien technology into their own legacy. Hence, not one modicum of foreign culture that has earned the veneration of the Japanese people will remain completely free of their eccentricities. Like any other apparatus of foreign origin, animation is simply another medium for the expression and propagation of the Japanese mythos. It has been ‘Japanified’ to satisfy their ends. So is anime just animation? Not by a long shot.
Again I ask, what makes anime special? Animation, in and of itself (just the technique, hypothetically removed from all regional influences), harbors no significant appeal for the typical fan. After all, just because otaku are obsessed with Japanese animation doesn’t imply that their obsession encompasses other types of animation.
Even imitations don’t quite cut the mustard. Uproot it, export it, edit and dub it, or stylistically emulate it (as we gaijin are so prone to do with our webcomics), and the result is nothing more than a plastic rose—the visage sans the fragrance. *Something* is missing. For better or worse, the reality is that if it’s not from Japan, then it’s not really anime. So let’s assume that neither the technique nor the appearance alone can be credited for anime’s distinctiveness. If neither cannot, then what can?
The answer is culture. Taken in sum, anime is a cultural experience. It’s not just the drawing style or the language. It’s also the cold barley tea, the orange summer sky brimming with the chirps of cicadas, schoolgirls dressed in the standardized, sailoresque uniforms, karaoke, the quirks of conversational Japanese; look closely at any anime and you will find that peculiarities teem. Anime is fecund with cultural expression down to the minutest detail. Some of these tidbits are so deeply embedded in Japan’s historical tradition that they easily assume the function of motifs, transforming brief scenes into cultural microcosms and conveying years upon years of significance in mere seconds. Take the following tune for example:
Tooryanse
Chances are many of you have encountered this song before. I first noticed it in Bugīpoppu wa Warawanai Boogiepop Phantom several years prior, and then heard it again in Bleach and Death Note. Naturally, I thought it was an obscure reference to shinigami (notice the trend in titles), until I heard it a fourth time in Mahou Tsukai: Natsu no Sora, an anime clearly not associated with death gods. Then came the realization that traffic lights, not shinigami, were the common thread linking these incidences. So, I decided to do a bit of research.
The name of the tune is Tooryanse. Its purpose in the aforesaid context is to alert visually impaired pedestrians that it is safe to cross at a traffic stop. The song is actually a warabe-uta (traditional children’s song; nursery rhyme) that belongs to a game rather similar to “London Bridge Is Falling Down.” Two people form an arch with their hands and arms and sing this song while the rest of the players pass under the arch. When the music stops, the person stuck beneath the arch is ‘caught’, and trades places with one of the arch-members. Like that, the game continues, round and round. At a traffic stop, it works much the same way. It is safe for the blind to cross until the music has stopped.
The song’s story is thought to be a depiction of a “civilian and a guard” at a checkpoint; while the kind of checkpoint remains unclear, the historical Japanese tradition of celebrating third, fifth and seventh-year birthdays (Shichi-Go-San) strongly suggests that it portrays a family entering a castle shrine to pray for their child’s good health and longevity. Children of these ages were considered especially prone to calamity, particularly since the child mortality rate was much greater in the past. So, having grand celebrations for children of these ages has become a widely-acknowledged tradition.
The ambiguity of the song’s meaning suits it nicely for symbolic juxtaposition in dramatic context. To dispel any pesky suspicions that Tooryanse is added simply for authenticity, here is a translation of the lyrics:
“Let me pass, let me pass
What is this narrow pathway here?
It’s the narrow pathway of the Tenjin shrine
Please allow me to pass through
Those without good reason shall not pass
To celebrate this child’s 7th birthday
I’ve come to dedicate my offering
Going in may be fine, fine, but returning would be scary
It’s scary but
Let me pass, let me pass
“Let me pass, let me pass
Here is the underworld’s narrow pathway
It’s the narrow pathway of the demon’s shrine
Please allow me to pass through
Those without sacrifice shall not pass
To bury this child at age 7
I’ve come to offer my services
Living may be fine, fine, but going back would be scary
It’s scary but
Let me pass, let me pass”
References in Popular Culture
Tooryanse can be seen and heard in numerous anime and manga. It appears in episode #04 of Boogiepop while Touka Miyashita and Kazuko Suema are having a conversation on a busy street. Outwardly Miyashita appears to be a normal girl, but in reality her alter ego is the Boogiepop shinigami. Throughout the series she carries a duffle bag containing Boogiepop’s robe and staff, and sub-consciously ‘changes’ into Boogiepop as the situation calls for it.
During this scene, although she doesn’t change clothes, her alternate personality briefly bubbles to the surface and offers Suema a bit of a advice about not clinging onto the past, implying that it is a dangerous habit. This is especially apt advice for Suema, whose obsessive fascination with criminology and the paranormal (due to a difficult childhood incident) has led her to meddle with the sinister forces manipulating the city, forces much too powerful for her to handle. Boogiepop’s advice: keep going, and don’t look back.
Tooryanse can be heard near the beginning of episode #30 of Death Note, during a random child’s monologue about how Kira has reduced the crime rate and changed Tokyo (for better or for worse?) The symbolism here is not obvious, but it is forceful. The tune continues to play in the background while scenes of traffic lights are interlaced with images of people walking and fearfully chattering about Kira. An interesting note: judging from his voice, the narrating child could be five or seven years old. Coincidence…?
The tune can also be heard in episode #18 of Black Lagoon (#07 of The Second Barrage.) Here is the a (presumably) exhaustive list of the remaining titles, pulled from the Tooryanse Wiki:
The Animatrix - in the short film “Beyond”
Serial Experiments Lain
Pom Poko
Nocturnal Illusion – mentioned by the main character
Pride(episodes 5 and 8 )
Earth Girl Arjuna
Hand Maid May
Ping Pong Club
Ichigo Mashimaro
Chakushin Ari 2 – sung by the blind lady named Shu-Mei Gao.
Paranoia Agent
Magical Pokaan – 10 seconds worth at 15:11 in episode 12.
Dennō Coil
Amatsuki – Episode 1
Pokemon – Episode 352; a version rewritten to be about the Pokemon Yajiron is sung more than once.
A better understanding of the Japanese culture would facilitate interpreting Tooryanse’s use as a recurring motif in anime. Nevertheless, I believe it is rather clear that there is something there. Few things are coincidental, unintentional, or unconscious, as far as art is concerned.
16 Comments
This is one of the reasons why I am into Japanese anime and/or pop culture, whatever you prefer. Although i cant claim to have a wide knowledge of various cultures, I do feel Japanese culture is rather unique. Things like Tooryanse, how often do you hear that elsewhere? I agree even in anime, everything might as well scream Japanese culture in your face, because thats what it is. Indeed, my infatuation with Japanese culture for example, is not so much due to anime. I prefer to sum it up with the word “Unique”. ^^
@Maipeisu: You’ve forgot to mention “Beyond”, from Koji Morimoto (animator in Akira) and one of the short films of the Animatrix project. Tooryanse is heard several times during the movie and it hints for the change of view about reality that the main girl has when she wanders an area of the “world” that’s glitched.
One of the best movies of the Animatrix, along with The Second Renaissance, A Detective Story and Program.
Edit: Oh wait, YOU DID referenced it…but considering it’s a key element of the short film, you should had developed more aboit it :-p
I first noticed Toryanse in Dennou Coil. It works so perfectly considering that Dennou Coil uses almost everything mentioned in the song: children, pathways, the risk of being unable to return and of course it plays at a crosswalk. After that I realized I’d heard the haunting tune elsewhere, probably for the first time in Lain.
I think here in the US the crossing tune is usually either beeping or birds chirping. Which is not quite as interesting…
@Saggitarius (Sagittarius?): I couldn’t agree more ^^ In fact, I think the thing that preserves my interest in anime is the fact that it has been sort of a gateway to learning about Japanese culture for me. If I wasn’t infatuated with Japanese culture as a whole, I cannot say for certain that I would love anime as much as I do…
@Extrange: Sorry sir, I haven’t seen the Animatrix. Good call though, it sounds like Beyond used Tooryanse pretty extensively.
@Ibrevis: This post was originally intended as a collab with Lelangir, and when I was talking to him, I think he mentioned that Dennou Coil’s use of Tooryanse was pretty strong. The examples I came up with play on more obscure connections.
I lurk around this blog a lot and really only read about new episodes or some of the fun features and I rarely comment cause I normally don’t have much to say.
This was an interesting post and it got me really thinking about why I’d become so obsessed with anime as well. While I don’t think that it has to do completely with the “dooryway to Japan culture” that you can get, I know that that is one of the reasons why I feel that anime is so great. There’s another reason as to why I like anime so much, but indeed, there is so much you learn and recognize in anime after watching so much about it.
The first time I remember hearing Tooryanse was way back in elementary school when in my (American) third grade class we did a little cultural presentation. This song was included in Japanese and we even played something similar to the game that was mentioned above. But until recently when watching Amatsuki’s first episode did I realize that I’d heard the same song before.
As far as Japanese culture is concerned, I really have learned a lot from anime about it, especially about the school system and whatnot. School uniforms, shoe lockers, the emphasis on club activities… And then I’ve also noted how much food is emphasized in anime (and manga) a lot. And then there’s the way people address each other… Geez, I’m such a fangirl.
Japanese culture really is very unique and I like how well it is presented in anime (and manga).
This clearly one the elements that attract someone to anime:it’s a different culture with different coes, in other words it’s exostic.
But I honestly don’t think it’s the only one.There are other elements.For exemple, until the 2000s anime was probably one of the few tv experience offering a coherent plot over 26 episodes and six months.
If your into sci-fi or fantasy, it’s also with novels one of the few mediums that can satisfy your needs.
And the list could probably go on and on.
Why is Japan the best in anime?
The same reason European soccer, Brazil’s mens soccer team, and the US movie industry produce the best in their own fields: a group of people make a conscious choice to put all their heart, effort, and focus into one thing, and make it into an artform.
As for the great detail of culture in anime: population density and paying attention.
Honestly, the first time I ever heard Tooryanse was when I was waiting to cross the street just outside of Kyoto JR station. I can’t believe I’ve never noticed this tune in anime before. You’ve done a great article, and now I finally know what the name of this tune is!
I say this with the utmost respect, only a true otaku can write… this entry.
@Zeusirae: Good point, I remember I watched my first anime back in ’92 or ’93 on the Sci-Fi channel because Cartoon Network just wasn’t doing it for me anymore ^^. I was yearning for something next-level. Anime really filled that niche for me, and I think the general level of intensity that anime can achieve as a ‘cartoon’ remains one of the big draws. To me, it combines fiction and visual art in an extremely meaningful way. I don’t remember ever seeing much U.S. animation that did that.
@Dm: The best of everything has to come from somewhere, indeed ^^ However, I’m not sure that a general consensus would agree that the best animation is from Japan. Same thing goes for U.S. movies — perhaps the U.S. has larger production budgets and produces superior films, but I know from experience that many people abhor Hollywood movies.
As a science, I don’t understand animation very well, but if you compare your average anime to your average, say, ‘Western’ cartoon — from an animator’s standpoint, each has its strengths and weaknesses. Same thing applies to manga and U.S. comics (Marvel, etc.)
We have to remember, too, that anime still caters to a niche audience (Japanese fans included.) I truly believe that what really makes anime special runs far deeper than technical prowess. Perhaps it’s style…
@Asuka: I hope to visit Japan sometime soon! Glad I could put a name to a face for you. This tune has been bugging more for YEARS!
@13: Takes one to know one
Strangely, the first time I heard the tune I immediately recognized it as a crossing tune, and, as such, never really thought much more about it.
The fact that it might be symbolic doesn’t surprise me, of course, as anime is full of those types of things, even down to the birthdates of its characters at times (despite the anime itself never really telling us their birthdate!), but certainly I never considered it to be. This is the real reason I read anime blogs, I think, to find out what other people noticed that I haven’t.
Great read.
Nice somebody gave Osamu Tezuka his dues. God of Manga gotta get paid, playa.
As for what I do when I encounter Anime, read manga or try and draw manga pictures of my own, is try and comprehend the narrative and what it is trying to say through a Japanese lens. I also read Japanese novels and have found Japanese storytelling modes to be fascinating indeed, their whole concept of what a plot is varies so much and yet there is a unity to it that isn’t the same as the Chuck Palahniuk or Terry Pratchett or Neil Gaiman novels I love so much.
it’s in Boogiepop Phantom too in the background ^^
when i heard that on bleach i remembered that it sounded like the DDR song Tooryanse (a dance mix anyway). I thought it was creepy but I found out it was just a street light thing. How weird, however I hear you don’t hear it in tokyo. Only in like Kyoto.
I absolutely love Tooryanse… Fascinating that it’s played at traffic lights, though with the translation that does make sense. Does anyone know which Bleach episode it was played in? I’ve been watching it lately but hadn’t noticed that Tooryanse was in there…
For more Tooryanse try Lucky People Center’s “Akashingo” song. The song is used in a documentary made by the same collective called “International”. Note that Akashingo means “red sign”. See here:
http://www.youtube.com/watch?v=zqCEE9jovTU
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[...] glorious moment. And while we are on the topic of glorious moments, anyone who happened to read my Touryanse editorial can now add another bold-faced submission to the list of pop culture references I pulled [...]
[...] glorious moment. And while we are on the topic of glorious moments, anyone who happened to read my Touryanse editorial can now add another bold-faced submission to the list of pop culture references I pulled [...]
[...] (reference image – taken from Tooryanse – Cultural tidbits website) [...]