My Book

BOOK TITLE: 

Let's Creativity! A Cross Cultural Comparison of Japanese and Canadian Creative Processes

  • WRITTEN BY: Yoko Kawabata
  • PUBLISHER: Exceet, Inc., Fukui, Japan. (28 November, 2005)
  • 142 pages, all in English
  • PRICE: $10.00 Australian dollars + Postage 
  • ON-LINE STORE: will come soon. Meanwhile, you can email me for inquiries and purchase through the 'CONTACT FORM' on the left.  

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SNIPPETS OF MY BOOK....

I was born and grew up in a small country town called, Fukui in Japan.  My initial dream was to become a professional baker in a big city Osaka in Japan......but I meserably failed....  

Feeling defeated, I went back to my hometown, and there I met my old high school friend, Masayo Kawaguchi who just came back from the U.S. with her American husband, Dan. Dan was a talented drummer and a vocalist and held live shows at an American-style bar called, CHOP. As Masayo and Dan didn't have a car, I was often asked to take them out to CHOP. 

.....It was a magic space that I had never seen before..... The pink neon signs and red lightings from the ceiling, a jukebox, a billiard table, the bare concrete walls and floor interior... Loud sound of live drumming, guitar sounds, heavy metal songs shouted in English.... A lot of English speaking foreigners were dancing, almost hitting each other as they jump up and down while screaming and drinking...  Everything was exotic, dazzlingly beautiful and cool, but except me who couldn't speak any word in English. I would say 'hello' to people around me, but they all suddenly get 'busy' so quickly. They suddenly have to go to the bathroom, or to talk to other friends who have been waiting over there..... No one was interested in or had the patience to talk to this Japanese girl who could hardly introduce herself in English. 

I felt bitter about it, and decided to study English by myself. I bought 6 different levels of textbooks for 'radio English conversation programs' every month. I recorded all 6 radio programs every morning, and listened whenever I could snatch some time everyday.  I listened all the programs and did the shadow-speaking every day. I was mad about learning English. I was hungry to learn more English, like a dried out sponge to absorb water. It was very intense 2 years of self-learning, but I never felt teaching myself English was hard--it was always fun and joyful. I became capable to communicate in English after this vigorous self teaching. As my English got better, I started to make some acquaintances, friends, close-friends, and even boyfriends. This became a big motivation for me to study English! :)

Then I started to often hung out at the Fukui Prefectural International Centre. There, I met a staff member, Shinsuke Funaki. Shinsuke studied at a university in Australia, and had some drama background.  He was looking for members for his new English musical performing group called, Fukui Theatre Company.  I had no theatrical background that time, but it sounded fun and I joined. The theatre group was consisted with 1 American man and a dozen Japanese people who have been studying English.  

I was late for the first meeting and all the popular parts were already taken by other members. There was little choice left for the role I could pick for The Sound of Music. It was either Elsa (beautiful but a snobby and mean mother-in-law) or Maria (charming lead actress who are loveable). Everyone was against me to pick Maria. But I also thought that Elsa's character would be more interesting to do anyway.  The show went well and it was absolutely amazing experience--I felt the sense of achievement and joy. It was nice feeling to celebrate our triumph with our trusted members. 

On our second production, a Canadian JET (Japan English Teacher), Ron Dick joined the group as a director. He had studied English and drama at the University of Edmonton in Canada. Ron introduced impro-based 'theatre sports' during our rehearsals. They were often fun games that made us laugh a lot, but the game also made us to focus and build trust among members. I fell in love with this amazing drama techniques. 

I was already 27 at that time.  Some high school friends were already married and having a few kids by that time.  But I wanted to go to a university in Canada and study drama. I had some saved up money but not that much. and I wasn't sure if it would be good idea to spend all my saving to study drama....I mean, DRAMA!!  Not accounting or business or  law, but drama! Will I get any job after I study drama? Is it really wise to spend all my saving for studying drama at 27? Am I insane? Am I crazy? But to make the matter worse, I only had enough money to study at an ESL school for a year--about 1,000,000 yen ($10,000). No money to continue my drama education at a university afterward.....  

I asked for an advise to my mentor Sakiko Kawase. I expressed my numerous concerns and worries about my money, future job, my age, etc.... Sakiko said with a big smile, "Yoko, you are still young! You have no husband, kids or old parents to look after yet. You may not have a lot of money when you are younger. But you have all the freedom and time to use for yourself! As you get older, you may have more money, but more responsibility as well. You will not be as free as you are now. Just go to Canada, and don't worry about money. Money will follow once you commit to your dream!" 

.....and it did.... My mentor Sakiko was right... 

.....Money always magically appeared from somewhere when I needed. I didn't have a lot of money to live luxuriously, but always enough money to continue my drama education in Canada....for 10 years.  It was just amazing how universe was supporting my dream.....    

In Canada, I started to study at an ESL school, which was attached to the 2 years college called, Grande Prairie Regional College. After a month of my arrival, I saw a drama audition notice on campus. I really wanted to try, but at the same time, I was very scared. I had never taken any drama audition before.  I was also worried to be laughed at my English. But anyhow, I wrote the audition date down on my day-timer.... 

On the audition day, I nervously hover about near the audition space.... I stayed there for long time, but I just could't gather my courage to entre the room. I eventually left home, feeling relieved...but regretted and felt defeated at the same time. "I came all the way to Canada to study drama, but I'm such a looser! I was so coward... I couldn't even enter the audition space...stupid stupid me!" Tears came down from my eyes.... 

2 months later, I saw another drama audition notice on campus. It was for a play called, Alias. This time, I declared everyone that I would take a drama audition. I told that to all my host parents, classmates and teacher in my ESL school. I did this so that I couldn't run away from the drama audition even if I would get really scared again. 

On the audition day, I was still scared and nervous, but I managed to entre the audition room. I saw all Canadians, but no one like me, a Japanese person who spoke English as a second language. 

My turn came, and I was given a script. I was asked to perform 'Amy' while someone else was doing another part. Without having any time to study the script beforehand, I really had no idea how I was supposed to act this role.  If English were my mother tongue, I would be able to quickly grasp my character as I read the script, I suppose. But for the me who just arrived Canada 3 months ago, it was beyond my ability to comprehend the meaning of all the sentences as I read. 

I did my best to talk laud and clear so that my voice would be audible at least. I didn't understand the relationship between the characters, personality, or anything at all really.... but I just kept reading the script as loudly as possible.  Without knowing what I was really reading, I kept walking around, moving my hand, a bit meaninglessly, I must say...just because I din't wanna just stand straight.... 

I still remember how I felt after I finished this audition! I was soooooooo HAPPY!!! It didn't matter whether I would get any role, or if I acted well. I just felt the sense of big achievement.  I was really proud of myself. I was skipping with joy as I was heading home. I had a beaming smile on my face.   

A week later, I received a call from the director Joe Amon. He said, "Congratulation, Yoko! You got Amy's part, the saloon prostitute. This role would require possible nudity or underwear to be shown on stage. Would you be able to do it?" 

I couldn't believe my ears...   I mean, I didn't understand a word on the script during my audition, but I got a part anyway!!!  The show was a big success. 

I eventually finished my ESL study after a year, and continued my drama education in the Grande Prairie Regional College. 

Then, I transferred to The University of Lethbridge where I met amazing dance/theatre teachers like, Betty Poulsen and Lisa Doolittle. 

I continued my Master's in Drama at The University of Calgary, and met my unforgettable mentor, Kathleen Foreman. Kathleen recently passed away due to her cancer, but this book was not possible to born without her support and love. I dedicate this book to Kathleen Foreman in token of gratitude.  Thank you Kathleen!! :)

You can read my original dissertation 'Creativity and Performance Creation' on-line. It's free. Visit at:  http://hdl.handle.net/1880/41652 
    
I edited the original dissertation later, and self-published this book 'Let's creativity! A cross cultural comparison of Japanese and Canadian creative processes'. On-line store will come soon. But meanwhile, you can email me for inquiries and/or purchase the copies by filling out the 'CONTACT FORM' on the left.  

PRICE: $10.00 Australian dollars + Postage.  

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BOOK SUMMARY

This book is based on my Master of Fine Arts (Theatre Studies) thesis, written for the University of Calgary, Canada. I researched in the theme "Creativity and Performance Creation" for my Master of Fine Arts in Theatre Studies degree. My main interest was to examine how creativity would play an important role in the creation process for artists, including performance artists. The following are the questions I explored in my MFA research:

  • What is creativity?
  • What is a creative process like?
  • How can an artist come up with more ideas for the project?
  • What is an original idea?
  • What is writer's block and why it happens?
  • How to prevent or get out of the writer's block?
  • There are different learning styles in Japan and Canada. Do they influence on the people's creativeity and originality?
  • Besides my scholarly research, I also created an original performance art piece. I recorded my own creative process and examined how I came up with the ideas.

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TABLE OF CONTENT

CHAPTER ONE: INTRODUCTION
Research Methods
Why Performance Creation?

Growing Up in Japan: Creative Influences
   Learning English—Mainstream Learning in Japanese Schools
   Learning English—By JET Teachers in Japan
   Learning to Bake—A Way of Learning in Japan
   Re-learning English in Japan—In My Own Way
   Learning to Act in English—Staging a Musical in Japan

Learning English and Drama in Canada: Creative Influences
   Learning to Act in a One-Act Play—As an ESL Student in Grande Prairie
   Learning to Act for a Main Stage Show—At the Grande Prairie Regional College
   Learning to Dance for a Choreographer—University of Lethbridge
   Learning to Create my Original Dance and Performance—University of Lethbridge


CHAPTER TWO: THE NATURE OF CREATIVITY
Mt. Fuji, Passion, and Dedication
What is Creativity?
Brain Function and Creativity
   Right Brain and Left Brain: Non-Verbal Mind and Verbal Mind
   Right Brain and Left Brain: Imaginative Mind and Critic Mind
   Right Brain and Left Brain: Inventive Mind and Computer Mind
Collaboration between the Spheres
What is an Idea?
Judging Ideas
Creative Blocks
Forcing an Idea
Discussing an Idea, without Actually Doing It
Play more like Children
Look Deeper
Best Conditions for Creativity
Gathering Raw Materials for Ideas
Conclusion


CHAPTER THREE: CULTURAL IMPACT ON CREATIVITY
Defining Japanese Art
Effort or Innate Ability?—Different Learning Styles in Japan and North America
The Methods of Instruction
Conformity in Japan and Individualism in Canada
Economical Use of Space in Japan and Luxury of Space in Canada
Improvisation—The Difference between Art in Japan and North America
Japanese Art and Improvisation
Stylized Form in Japanese Art and Free Improvisation in Western Art
Building Skills for Improvisation through Practice and Rehearsal
Personal Freedom in Japanese Art and Western Improvisation
Conclusion



CHAPTER FOUR: MY OWN CREATIVE PROCESS
Objective of the Creative Process Course
Midterm Performance Assignment for the Creative Process Course
Analysis of Two Performance Creation Processes
Ten-Minutes Solo Performance
   Preparation Stage
   ---A. Generating Ideas through the Class Exercise
   ---B. Generating Ideas through my Own Exploration
   Incubation / Frustration Stage
   Inspiration Stage
   Verification / Hypothesis Testing Stage
Group Performance Creation Process
Conclusion


CHAPTER FIVE: CONCLUSION

BIBLIOGRAPHY


APPENDIX: The Script of Er(l)ection Girl 



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BOOK REVIEWS

"This thesis reads in a clear and straightforward manner in the approach to the topic. There has been a through investigation of the topic both experientially and through the theoretical material.  Considering the candidate's position as having English as a second language, the literary competence is impressive.  This is obviously a work based on practical and experiential research which comes through in the treatment of the topic.  In other words, the writing is simple and straightforward as opposed to academic in tone which is refreshing but not academically rigourous.  This is a very original thesis given that it springs entirely from direct experience of artistic and creative pursuits and from the candidate's curiosity to deeply understand her own process and experience.  This research stands the candidate in a very strong position to continue to create and continue her research from a new level of understanding."  
--- Valerie Campbell  (Thesis examiner at the University of Calgary. Art professor at the University of Calgary) [Calgary, Canada]

"It is refreshing to read a paper that closely reflects personal experiences through art.  The honesty, humor, and playfulness in some situations moved me deeply. Many artists today hold knowledge, intuition and personal experiences as separate categories. Yoko's paper and performance bring these different categories together in one place which is the most difficult yet the most fruitful way of transforming experiences into valuable information.  Reflection, self-discipline, hard-work, self-exploration, courage, trial and error and even humility are admirable qualities, in association with a steep learning curve, which were demonstrated in her development in both Japan and Canada. Organisation, method of processing material and relevant references in the work (both thesis paper and performance) are interesting and convincing.  Clarity, composition and literary competence in the thesis are appreciated and acknowledged that the writer is a ESL background which displays an amazing hard-work and discipline. Initially, the paper is directed more toward a personal journey and development, but after three chapters on creativity, the argument leads to a smooth conclusion.  I was also moved by her understanding of perseverance and hard-work, which are successful ingredients in the process, and hopefully that the artist will carry on these wonderful characteristics. The Er(l)ection Girl has a witty and clever texture and a complexity of interpretation: humor, seriousness, cultural issuesauthenticity, playfulness are a very challenging combination. Everyone can enjoy performance and walk away with something interesting. Theoretical grounds of displacement, gender, cultural identity and hybridity are some of the layers of research and interpretations that enrich the reading of her work, and take the work to a more sophisticated dynamic."
---Kim Huynm (Thesis examiner at the University of Calgary, Drama professor at the University of Calgary) [Calgary, Canada] 


"Your analysis of the differences between Japanese and Canadian society are very perceptive. For one, there is your perception of differences in scale, size, and space. It may be hard to believe, but people in Grande Prairie are more obsessed with size than ever. Vehicles are so big most won't fit in a single parking spot. I call it an obesity epidemic; it applies to people, to vehicles, to just about everything. Just huge.  I think you've succeeded in making sense of the training to conformity in Japanese culture and the contrasting training to individuality in Canadian culture. Canadian society is at its most oppressive when it attempt to impose uniformity on its residents, in language, education, etc., so we try to make a virtue of necessity through the multiculturalism idea. Of course, there is really nowhere near as much individuality or freedom of choice as we pretend, just as there is nowhere near the conformity you might expect in Japanese society. Look at yourself, for example!I know that it's your life in these two very different societies that has helped you learn so much about yourself--with the help of a thesis to force you to think it through, of course! I hope you're finding ways of expressing yourself and making a living at the same time!"  
--- Laurie. Nock. ph.D, [Anthropology professor at the Grande Prairie Regional College / Canada]

"I really enjoyed your book. It was SO interesting to read about your experience and to think about my own (in reverse!). Your thoughts about the creativity in general were really interesting and your comparison between Japanese and Canadian approaches to artmaking were insightful and extremely informative for me. AND your performance script is witty and a beautiful expression on being "in-between." Thanks for sharing your ideas and personal experiences."  
--- Sarah Cunningham [Former JET teacher in Japan / New York, U.S.A]


"What I loved most about "Let's Creativity!" was how the author mixed her life story throughout the book, revealing the experiences the author went through and what she learned from them, both as an artist and a person. Her difficulties living and creating in a different culture ultimately lead her to a higher understanding of the creative process, and of herself."  
--- Hudson Hamilton [Former JET teacher in Japan / U.S.A]


"I just love it!  It's really insightful and I like the insights about multiple choice questions too! Creative thinking is being TRIED to be brought into schools around the world but they're a bit hopeless at it if you ask me haha. I learnt something straight away - the reasons why we have our addresses different - between the western world and Japan. That was REALLY interesting. I loved it also how you hadthe Erection/Election girl play at the end!" 
--- Jamie Banks [Author / New Zealand] 


"I am learning a lot from you. I can tell that you put so much love, time, and commitment into creating and writing your thesis. It's great."  
--- Rosary C, (Former drama student at The University of Calgary) [Calgary, Canada] 

"I read your book/thesis and I really, really like it !"  
--- Mireille Merza [New York, U.S.A.]

"カルガリー大学大学院の卒業研究として、クリエイティビティを生み出すプロセスと、日本とカナダ及び北米の芸術教育における文化的な差異をテーマに考察を展開した修士論文である。著者は演劇を専攻し、自らも舞台製作を手がけて舞台に立つパフォーマーである。学術論文というと先行研究や参考文献を基にした分析が一般的だが、本作の場合、著者自身の様々な体験が論文の題材として活用されている点が興味深い。しかも、論じられている内容は演劇だけに当てはまるものではなく、人間の創造的活動全般、日本とカナダの社会全体を視野に入れた広がりのあるものとなっていることに注視させられた。 第1章では、自身の生い立ちとカナダに留学するまでの経緯を語ると共に、クリエイティブな活動プロセスを調査するに至ったきっかけを解説、次いで、研究手法を提示して議論の下地作りを行う。 第2章では右脳と左脳の働きの違い、及びクリエイティビティが発揮される際の役割を取り上げていく。右脳の働きで生成されたアイデアが左脳によって洗練したものへと磨かれていくこと、スランプ状態において、単純作業中に不意にアイデアが浮かぶことがあるのは、左脳が作業に集中するため、右脳がその監視から開放される、というプロセスが論じられている。このアイディア生成の過程は、演劇や芸術には留まらず、仕事や学業などの中でも身近に体験できるものといえよう。また、このプロセスは4章でも著者自身の舞台製作体験を通じて実際に検証されており、理論と経験の相補的な関係が、論全体の説得力を高めていたことも評価したい。第3章では、日本とカナダの社会的相違を比較検証し、教授方法や習得方法、クリエイティビティのあり方に対する文化的影響が論じられる。中でも、即興にまつわる理論が非常に興味深い。確立した「型」の習得が重視される日本式の芸術に対し、カナダでは即興というスタイルが一般的である。一見、これらは全く正反対のアプローチのように感じられるが、即興のための反復練習やリハーサルの連続と日本式の模倣練習は、共に独自のスタイルの構築と緊張や自意識からの開放を究極の目的として、その基礎となる身体の自動性を獲得するためのものという指摘は新鮮であった。そして、この理論は更に展開され、練習によって獲得された身体の自動性=自由が、自己に対する自身と信頼を生み、それこそがクリエイティビティの発現には重要であると結論付けられる。文献による社会比較から始まり、歌舞伎や能、ジャズでの即興という事例、その中での異なる二つの教授方法を取り上げ、両者の相違から共通点へと結び付けていく論理展開は鮮やかで、クリエイティビティの源泉の探求には知的な興趣も感じられた。 英語を母国語とする人だけではなく、英語を外国語として読む読者にも、理解しやすい表現と内容である。また最初に述べたように、ここでのクリエイティビティは芸術活動にだけに留まらない。日々の仕事や学業、スポーツの中での試行錯誤にも当てはまり、読者自身の試行錯誤の家庭を客観的に分析する一助にもなるだろう。演劇論の枠を超えた比較文化論と人間の行動論としても示唆に富んでいる。"
--- Bungesha [Major publisher in Tokyo] / 株式会社文芸社(東京都、出版社)

"ヨーコさんから直接聞いた話が沢山ちりばめられていて、なんかエッセイ(日本でゆうところの)みたいだと思ったよ。"  
--- Taeko Endo [Former Fine Arts student at the University of Lethbridge / Yokohama, Japan]