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torontocomics · 8 years ago

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Toronto Public Library and The Beguiling present

TCAF 2017 – The Toronto Comic Arts Festival

@ Toronto Reference Library, 789 Yonge Street Professional Development: Friday, May 12, 8:30am-5pm Saturday, May 13, 9am-5pm Sunday, May 14, 10am-5pm Free to attend www.torontocomics.com

TORONTO, CANADA — We here at the Toronto Comic Arts Festival are pumped and excited to announce our initial Featured Guests and Events for TCAF 2017! With over 400 cartoonists from more than 20 countries on their way to Toronto this May, we’re getting ready celebrate the very best in comics, graphic novels, bandes dessinées, and manga! Prepare yourself for a week of readings, launches, and art events culminating in a massive, FREE two-day exhibition at Toronto Reference Library, May 13 and 14, 2017! Tell your friends!

Every year the Toronto Comic Arts Festival showcases Canada’s incredible comics talent on a world stage by promoting some of our best and brightest creators and publishers, and inviting the attention of the global cartooning community. The 2017 programme builds on our previous successes, with a continued commitment to offer more engaging programming, in multiple formats, focusing on compelling and challenging work being made across the world. Art sales and exhibition, increased programming, and gallery shows are once again at the core of the 2017 programme.

Featured Guests of TCAF 2017 include:

Pénélope Bagieu is a bestselling graphic novel author from France. Her editorial illustrations have appeared all over the French media. She blogs, drums in a rock band, and watches lots of nature shows. Pénélope is returning to TCAF in support of California Dreamin', her latest English-translation from First Second Books!

Katherine Collins is the acclaimed creator of the comic strip Neil the Horse, which ran in Canadian Newspapers from 1975 - 1982. It subsequently appeared in fifteen comic book issues from 1983–1988. Collins is attending TCAF in support of The Collected Neil the Horse, debuting at TCAF 2017 from Conundrum Press.

Guy Delisle is best known for his travelogues about life in faraway countries: Burma Chronicles, Pyongyang, and Shenzhen. In 2012, he was awarded the Prize for Best Album for the French edition of Jerusalem at the Angoulême International Comics Festival. Guy is returning to TCAF to present Hostage from Drawn + Quarterly.

Jeff Lemire is an award-winning writer and artist of the acclaimed literary graphic novels Essex County, The Underwater Welder, The Nobody, Sweet Tooth, and Trillium. He gained greater acclaim in 2016 as the artist of Secret Path, in collaboration with Gord Downie. Jeff is returning to TCAF in support of the collected A.D.: After Death, as well as his latest graphic novel, ROUGHNECK. He is also a TCAF 2017 Poster Artist!

Gary Panter made his mark in the ’80s as head set designer for the successful kid/adult TV show Pee Wee’s Playhouse, a job which brought his jagged art and surreal cartoon ideas into the homes of America and bagged him two Emmy Awards. His notable underground comics works include Jimbo, Adventures in Paradise, Jimbo's Inferno and Facetasm. He's returning to TCAF to present Songy of Paradise, published by Fantagraphics.

Gengoroh Tagame is a Japanese manga artist who specializes in gay BDSM erotic manga, many of which depict graphic violence. However, he is returning to TCAF to debut the English-language translation of My Brother's Husband with Pantheon. This is a decidedly less violent and erotic story for all audiences, which was awarded an Excellence Award at the 19th Japan Media Arts Festival in 2015.

Jillian Tamaki is an illustrator and cartoonist based in Toronto. She is the co-creator along with her cousin Mariko Tamaki of the award-winning graphic novels Skim and This One Summer. Jillian's other works include Gilded Lillies, Indoor Voice, and the Eisner Award-winning SuperMutant Magic Academy. She is returning to TCAF to debut her latest collection, Boundless, from Drawn + Quarterly.

Marcelino Truong is an illustrator, painter, and author. Born the son of a Vietnamese diplomat in 1957 in the Philippines, he and his family moved to America (where his father worked for the embassy) and then to Vietnam at the outset of the war. He attended the French Lycee in London, then moved to Paris where he earned degrees in law at the Paris Institute of Political Studies, and English literature at the Sorbonne. Marcelino is coming to TCAF for a Canadian tour of his first book, Such a Lovely Little War: Saigon 1961-63.

Ngozi Ukazu is the creator of Check, Please!, an online graphic novel whose printing campaign remains the most funded webcomics Kickstarter ever. She graduated from Yale University in 2013 with a degree in Computing and The Arts, and received a masters in Sequential Art in 2015 from the Savannah College of Art and Design.

Special Programmes: NBM Turns 40!

TCAF is very excited to host a special celebration of the 40th Anniversary of NBM Publishing! In addition to a wide range of programming highlighting their diverse author range, and their 'Papercutz' brand of children's material, NBM will join in welcoming some wonderful creators for the 2017 Festival:

Sandrine Revel is a prolific French creator of graphic novels. She has published more than ten graphic novels in France, as well as a successful line of children's comics. She's won an award for her work for young readers at the Angoulême International Comics Festival, and the French Artémisia award, which recognizes female comics creators. Sandrine is coming to TCAF for a Canadian tour of Glenn Gould, A Life Off-Tempo from NBM Publishing.

Rick Geary is the author of the famed Treasury of Murder series, which is now up to 18 volumes. His work has appeared in the National Lampoon, Heavy Metal, Dark Horse Comics, MAD, Spy, Rolling Stone, The Los Angeles Times, and American Libraries. His children's comic Society of Horrors ran in Disney Adventures magazine from 1999 to 2006. He is attending TCAF 2017 in support of his latest collection from NBM Publishing, A Treasury of XX Century Murder Compendium I.

Metaphrog is the Franco-Scottish duo of Sandra Marrs and John Chalmers. Their Louis series has received critical acclaim and multiple award nominations, including three Eisner Awards. They are the winners of The Sunday Herald Scottish Culture Awards 2016 for Best Visual Artist. Metaphrog are attending TCAF to present The Little Mermaid from Papercutz, NBM Publishing's all-ages line of comics for kids!

Staff and representatives from NBM Publishing will also be on hand at TCAF 2017, including co-founder Terry Nantier.

New Programmes for 2017

TCAF 2017 will also play host to a number of great focus programmes this year, including:

The 10th Anniversary of Toronto's own Koyama Press

The 25th Anniversary of Image Comics

Several excellent gallery and other special presentations highlighting German, Italian, Japanese, UK, and Canadian & American Comics Creators

Two robust streams of programming for both Kids and Young Adults!

Information about these programmes will be unveiled throughout February and into early March.

Much More To Come!

There are more than 400 Canadian and International cartoonists participating in the 2017 Festival, and many more wonderful Featured Guests to be announced!

The details of returning programs including the CSSC-SCEBD Academic Conference, Library & Educator Day, Word Balloon Academy, Comics X Games, and more will be announced through February and March. Visit TCAF online for up-to-the-minute updates.

Website: www.torontocomics.com Twitter: @Torontocomics Facebook: www.facebook.com/TorontoComics Tumblr: torontocomics.tumblr.com

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MEDIA

Please include in your listings. The Toronto Comic Arts Festival 2017, Saturday May 13, 9am-5pm, and Sunday May 14, 10am-5pm, @ Toronto Reference Library, 789 Yonge Street. Attendance is FREE to the public. Select guest bios and images are available upon request. Please send all inquiries to [email protected].

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SPONSORS & PARTNER ORGANIZATIONS

The Toronto Comic Arts Festival would not be possible without the assistance of our sponsors and partners, including presenting sponsor Toronto Public Library and primary sponsor The Beguiling Books & Art.

TCAF is produced with the support of the City of Toronto through the Toronto Arts Council.

We would also like to acknowledge funding support from the Ontario Arts Council, an agency of the Government of Ontario.

We acknowledge the support of the Canada Council for the Arts, which last year invested $157 million to bring the arts to Canadians throughout the country.

Nous remercions le Conseil des arts du Canada de son soutien. L’an dernier, le Conseil a investi 157 millions de dollars pour mettre de l’art dans la vie des Canadiennes et des Canadiens de tout le pays.

TCAF would like to thank Conundrum Press, Drawn & Quarterly, Fantagraphics Books, First Second Books, NBM Publishing, Penguin Random House Canada, and the Consulate General of France in Toronto for the support of the artists and programmes mentioned in this announcement.

Sponsorship opportunities for TCAF 2017 are still available, please contact us at: [email protected] for more info.

#TCAF 2017 #Conundrum Press #Drawn and Quarterly #Fantagraphics #First Second #NBM Publishing #Penguin Random House Canada #pénélope bagieu #Katherine Collins #Guy Delisle #Jeff Lemire #Gary Panter #Gengoroh Tagame #Jillian Tamaki #Ngozi Ukazu #Sandrine Revel #Rick Geary #Metaphrog

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wittybitchesmag · 8 years ago

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New Post has been published on https://www.wittybitches.com/2017/01/the-science-of-cute/

The Science of Cute

On 14 April 2016, a 6.2 magnitude earthquake hit Japan’s southernmost island of Kyushu, toppling buildings and sending residents rushing into the streets. Hundreds of aftershocks – one an even stronger 7.0 quake – continued for days, killing 49 people, injuring 1,500 and forcing tens of thousands from their homes.

News spread immediately around the globe on social media.

“Earthquake just happened,” Margie Tam posted from Hong Kong. “R u ok kumamon?”

“Are Kumamon and his friends safe?” wondered Eric Tang, a college student.

“Pray for Kumamoto & Kumamon,” wrote Ming Jang Lee from Thailand, a phrase that would be repeated thousands of times.

Kumamoto is a city of 700,000 in a largely agricultural province in southwestern Japan.

But what, or more precisely who, is Kumamon? And why in the wake of an immense natural disaster did concern for earthquake victims focus on him, specifically?

That’s a bit more complicated.

◊◊◊◊◊◊◊

It is 12 March 2016, one month before the earthquake. Kumamon bounds onto an outdoor stage at the opening event of his birthday party in Kumamoto. About 150 guests – mostly women – cheer, clap and whistle.

What makes something so irresistibly cute that you need to touch, cuddle or play with it?

Kumamon waves and bows. He is about 1.5 metres tall, with black glossy fur, circular red cheeks and wide, staring eyes. He’s dressed for the occasion in a white satin dinner jacket trimmed in silver and a red bow tie.

One woman in the crowd holds a Kumamon doll swaddled in a baby blanket. Another has dressed her doll in a grey outfit matching her own. She says it took her a month to sew. A number of fans have pasted red paper circles on their cheeks to mimic his. Those in the first row arrived at 3am to snag their prime spots to greet the object of their intense though difficult-to-explain affection.

“Actually, I have no idea why I love him so much,” says Milkinikio Mew, who flew from Hong Kong with friends Lina Tong and Alsace Choi to attend the three-day-long festival, even though Hong Kong is holding its own birthday party for Kumamon. She slept in, showing up at 6am for the 10am kick-off, so had to settle for a seat in the last row.

Kumamon is… well, he’s not exactly a cartoon character, though he does appear in a daily newspaper comic strip. He’s not a brand icon either, like Hello Kitty, though like her, he does not speak and, also like her, his image certainly moves merchandise.

He’s not sexy, but when the Empress Michiko met Kumamon – at her request – during the imperial couple’s visit to Kumamoto in 2013, she asked him, “Are you single?”

But what is Kumamon? Well, he’s sort of a…

But first, the big moment is here. A birthday cake is rolled out, and the crowd sings ‘Happy Birthday’. Then presents. A representative from Honda, which has a motorbike factory nearby, gives him its Kumamon-themed scooter. An Italian bicycle maker unveils a custom Kumamon racing cycle. Plus a new exercise DVD, on which Kumamon leads the workout.

More than 100,000 products feature Kumamon’s image, from stickers and notebooks to cars and aeroplanes

The Italian bicycle is not for sale, yet. But the other two items are, joining the more than 100,000 products that feature Kumamon’s image, from stickers and notebooks to cars and aeroplanes (a budget Japanese airline flies a Kumamon 737). When Steiff offered 1,500 special edition Kumamon plush toys at $300 each, they sold out online in five seconds according to the German toymaker. Last year Leica created a $3,300 Kumamon camera, a bargain compared to the solid gold statue of Kumamon crafted by a Tokyo jeweller, which retails for $1 million.

So what is he then? Kumamon is a yuru-kyara, or ‘loose character’, one of the cuddly creatures in Japan that represent everything from towns and cities to airports and prisons. The word is sometimes translated as ‘mascot’, but yuru-kyara are significantly different from mascots in the West, such as those associated with professional sports teams, which tend to be benign, prankish one-dimensional court jesters that operate in the narrow realm of the sidelines during game time.

Kumamon has a far wider field of operation as the yuru-kyara for Kumamoto Prefecture (a prefecture is like a state in the USA or a county in England). He has become more than a symbol for that region, more than merely a strategy to push its tourism and farm products. He is almost regarded as a living entity, a kind of funky ursine household god (it is perhaps significant that the very first licensed Kumamon product was a full-sized Buddhist shrine emblazoned with his face). He hovers in a realm of fantasy like a character from children’s literature, a cross between the Cat in the Hat and a teddy bear.

Image courtesy of © Kumamoto Prefectural Government

Kumamon has personality. “Cute and naughty,” Tam explains, later, when I ask what about Kumamon made her care about him enough to be concerned immediately after the earthquake.

She wasn’t alone. After the April quake, Kumamon’s Twitter feed, which has nearly half a million followers and is typically updated at least three times a day, stopped issuing communications. With a thousand buildings damaged, water to the city cut, a hospital jarred off its foundations, and 44,000 people out of their homes, the prefectural government, which handles Kumamon’s business dealings and appearances, had more important things to do than stage-manage its fictive bear.

But Kumamon was missed.

“People are asking why Kumamon’s Twitter account has gone silent when the prefecture needs its mascot bear more than ever,” the Japan Times noted on its Facebook page on 19 April.

Into the vacuum came hundreds, then thousands of drawings, posted by everyone from children to professional manga artists, not only from Japan, but from Thailand, Hong Kong, China. They waged an impromptu campaign of drumming up support for earthquake relief using the bear, which stood in for the city itself and its people. Kumamon was depicted leading the rescue efforts, his head bandaged, lifting stones to rebuild the tumbled walls of Kumamoto Castle, propping up tottering foundations, enfolding children in his arms.

“Ganbatte Kumamon!” many wrote, using a term that means something between ‘don’t give up’ and ‘do your best’.

What is happening here? Kumamon is kawaii – the word is translated as ‘cute’, but it has broad, multi-layered meanings, covering a range of sweetly alluring images and behaviours. Not only does kawaii encompass the army of Japanese mascots, but a world of fashion that has adult women dressing as schoolgirls and schoolgirls dressing as goth heroines or Lolita seductresses, giving rise to ero-kawaii, or erotic kawaii, a mash-up of cute and sexy.

We eagerly spend fortunes on cute avatars – Kumamon earned $1 billion in 2015, Hello Kitty four or five times that – without ever wondering: What is cute? What about it causes us to open our wallets and our hearts? Is appreciation for cuteness hardwired in human beings? What does it say about our society? Is what it says good or, possibly, could cuteness harbour darker facets as well? These are questions being mulled over by a potential new academic field, ‘cute studies’.

And where do our concepts of cuteness originate? That one is easy. The primal source of all things cute is found in every country, in every city and town, every neighbourhood and close to every block in the world. You may have the template for all the cuteness in the world right in the next room and not even realise it.

Soma Fugaki’s dark eyes sparkle as he scans the opening night crowd at Blossom Blast, a feminist art show at the UltraSuperNew Gallery in Tokyo’s hip Harajuku district. Drinks are poured, music pulses. But Soma doesn’t dance or even stand. He’s a baby. Just five months old, Soma squirms in the arms of his father, Keigo, who gazes lovingly into his son’s face.

“Everything about him is a reflection of myself,” Keigo says, “a cartoon version… That has to do with how much I think he’s cute. I stare at him all the time. He looks like me. It’s my features, but exaggerated: bigger cheeks, bigger eyes.”

Babies are our model for cuteness. Those last two details – big cheeks, big eyes – are straight out of Konrad Lorenz’s Kindchenschema, or ‘baby schema’, as defined in the Nobel Prize-winning scientist’s 1943 paper on the ‘innate releasing mechanisms’ that prompt affection and nurture in human beings: fat cheeks, large eyes set low on the face, a high forehead, a small nose and jaw, and stubby arms and legs that move in a clumsy fashion. And it doesn’t just apply to humans: puppies, baby ducks and other young animals are covered by Lorenz’s theory.

Lorenz’s paper is the ur-document of cute studies, but did not produce an immediate reaction among the scientific community. He was a Nazi psychologist writing during wartime, exploring their loathsome eugenic theories – a reminder that the shiny face of cuteness invariably conceals a thornier side.

For decades, scientists focused on what babies perceive, what they think. But in the 21st century, attention turned to how babies themselves are perceived, as cuteness started taking its first wobbly steps toward becoming a cohesive realm of research.

Seeing cute creatures stimulates the brain’s pleasure centre

Experiments have demonstrated that viewing cute faces improves concentration and hones fine motor skills – useful modifications for handling an infant. A pair of Yale studies suggest that when people say they want to ‘eat up’ babies, it’s prompted by overwhelming emotions – caused, one researcher has speculated, by frustration at not being able to care for the cute thing, channelled into aggressiveness.

These emotions are triggered chemically, deep within the brain. Experiments hooking up volunteers to magnetic resonance imaging (MRI) scanners have shown how seeing cute creatures stimulates the brain’s pleasure centre, the nucleus accumbens, causing a release of dopamine, in a way similar to what happens when eating chocolate or having sex.

Women appear to feel this reaction more strongly than men. While biologically this is explained by the need to care for infants, society’s larger embrace of cuteness has led academics in gender studies to wonder whether cute culture is the sugar pill that sexism comes in – training women to be childlike – or whether it could instead be a form of empowerment in which young women take control of their own sexuality.

More recent experiments have tried to separate cuteness from its biological roots to see if there are general aesthetic standards that can make an inanimate object ‘cute’.

In a study at the University of Michigan in 2012, visual information expert Sookyung Cho asked subjects “to design a cute rectangle by adjusting the size, proportion, roundness, rotation, and color of the figure”.

What she found supported the idea that “smallness, roundness, tiltedness, and lightness of color can serve as determinants of perceived cuteness in artifact design”. It mattered, she found, whether the person designing the rectangle was in the USA or South Korea. Cuteness is nothing if not culturally specific, and that itself has become a rich focus of inquiry.

Cuteness is so associated with Japan that the actual country – mile after mile of unadorned concrete buildings alternating with rolling green fields and periodic densely packed cities – can come as something of a surprise. The Tokyo subway is jammed with hurrying businessmen in dark suits, rushing women in paper masks, racing kids in plain school uniforms. Cute characters such as Kumamon can be hard to spot, and to expect otherwise is like going to America and expecting everyone to be a cowboy.

Still, there are pockets of cuteness to be found: tiny yuru-kyara charms dangling off backpacks or peeking from posters or construction barriers in the form of baby ducks.

But not everywhere – not even in most places.

Even in Kumamoto during Kumamon’s birthday weekend. Exit from the Shinkansen bullet train at Kumamoto station and there is nothing special on the platform, not so much as a banner – not until you take the escalator down and catch a glimpse of the enormous head of Kumamon set up downstairs, along with a mock stationmaster’s office built for him. The train station shop is filled with Kumamon items, from bottles of sake to stuffed animals including, somewhat disturbingly, a plush set that pairs him with Hello Kitty, the wide-eyed bear directly behind the kneeling kitty in such a way as to suggest… well, you wonder if it’s deliberate.

In the city, his face is spread across the sides of an office building, with birthday banners hanging from the semi-enclosed shopping arcades that are a feature of every Japanese city.

Six years ago, Kumamoto wasn’t known for much. There is an active volcano, Mt Aso, nearby, and a 1960s reproduction of a dramatic 1600s-era castle that burned down in 1877. Kumamoto residents believed there was nothing in their city that anyone would want to visit. The region is largely agricultural, growing melons and strawberries.

But in 2010, Japan Railways was working to extend the Shinkansen bullet train to Kumamoto, and the city fathers were eager for tourists to use it. So they commissioned a logo to promote the area, hiring a designer who offered a stylised exclamation point (their official slogan, ‘Kumamoto Surprise’, was a bright spin on the fact that many Japanese would be surprised to find anything in Kumamoto worth seeing).

The exclamation point logo was a red blotch, resembling the sole of a shoe. The designer, seeking to embellish it, and knowing the popularity of yuru-kyara, added a surprised black bear. Kuma is Japanese for bear. Mon is local slang for ‘man’.

Paired with a mischievous personality – Mew calls him “very naughty” – Kumamon made headlines after Kumamoto held a press conference to report that he was missing from his post, having run off to Osaka to urge residents there to take the train. The stunt worked. Kumamon was voted the most popular yuru-kyara in 2011. (Japan has a national contest, the Yuru-kyara Grand Prix, held in November. The most recent one was attended by 1,727 different mascots and nearly 77,000 spectators. Millions of votes were cast.)

A few Kumamoto officials resisted Kumamon – their concern was he would scare off potential tourists, who’d worry about encountering wild bears, of which there are none in the prefecture. But the Kumamoto governor was a fan and cannily waived licensing fees for Kumamon, encouraging manufacturers to use him royalty-free.

Rather than pay up front, in order to get approval to use the bear’s image, companies are required to support Kumamoto, either by using locally manufactured parts or ingredients or by promoting the area on their packaging. It’s as if Mickey Mouse were continually hawking California oranges.

The side of the box of the Tamiya radio-controlled ‘Kumamon Version Buggy’, for instance, has photos of the region’s top tourist destinations. In one of the songs on the exercise DVD released on Kumamon’s birthday, as he leads his fans through their exertions, they grunt, “Toh-MAY-toes… straw-BEAR-ies… wah-TER-melons” – all agricultural products that are specialties of Kumamoto. Go into a grocery store and Kumamon smiles from every punnet of strawberries and honeydew wrapper.

There is a tacit agreement to never allude to anything as crass as him being a man in a bear suit

The bullet train began service to Kumamoto on 12 March, so that date is now used as Kumamon’s official birthday. He was there to greet the first scheduled train, a moment recreated during his birthday fest.

Fans line up to hug him, often reaching back for a lingering last touch as they’re led off to make way for the next waiting fan. There is a tacit agreement to never allude to anything as crass as him being a man in a bear suit, to, if not accept Kumamon’s reality, pretend that he exists.

In 2014, Kumamon gave a news conference at the Foreign Correspondents’ Club of Japan, where his title was given as ‘Director of PR’. The journalists posed respectful questions. “How many staff do you have to help you out with your activities?” one asked. The answer – “We have about 20 staff members in our section” – was delivered by one of those subordinates, Masataka Naruo, who enjoys telling people that Kumamon is his boss.

Shopping in Kumamoto the day before the start of the celebration, Mew and her friends wear Kumamon T-shirts and carry Kumamon backpacks. The three women show their discoveries to each other. They own a lot of Kumamon products already. Why buy more? What makes Kumamon so special? “Because he’s very cute,” says Tong, in English.

Being cute isn’t always enough, however.

For every Kumamon, for every popular yuru-kyara, there are a hundred Harajuku Miccolos. A five-foot-tall yellow-and-brown bee, Harajuku Miccolo stands on the pavement, celebrating Honey Bee Day by finishing up three hours of loitering in front of the Colombin Bakery and Café, greeting passers-by – or trying to. Most barely glance in his direction and do not break stride, though some do come over and happily pose for the inevitable picture. There is no line.

Harajuku Miccolo is cute yet obscure, the common fate for most yuru-kyara. The city of Osaka has 45 different characters promoting its various aspects, who must fend off periodic calls for them to be culled in the name of efficiency; one administrator piteously argued that the government officials who create these characters work hard on them and so would feel bad if they were discontinued.

Harajuku Miccolo is trying to avoid that fate.

“He is not a success yet,” admits one of his handlers, distributing cubes of the café’s trademark honey cake. “Many are not as successful…”

“…as Kumamon?”

“We’re trying…”

Nobody is cute in Shakespeare. The word did not exist until the early 1700s, when the ‘a’ in ‘acute’ was replaced by an apostrophe – ’cute – and then dropped altogether, the sort of truncation for which frenetic Americans in their restive colonies were already notorious.

‘Acute’ came from acus, Latin for needle, later denoting pointed things. So ‘cute’ at first meant “acute, clever, keen-witted, sharp, shrewd” according to the 1933 edition of the Oxford English Dictionary, which doesn’t suggest the term could describe visual appearance. This older, ‘clever’ meaning lingers in expressions like “don’t be cute”.

The newer usage was still being resisted in Britain in the mid-1930s, when a correspondent at the Daily Telegraph included ‘cute’ on his list of “bastard American expressions”, along with ‘OK’ and ‘radio’. Not only is ‘cute’ unknown before 1700, but Lorenz’s Kindchenschema is largely absent from visual arts before the 20th century. Even babies in medieval artworks are depicted as wizened miniature adults.

Cute images of the kind we’ve become accustomed to began showing up around 1900. While purists fussed, popular culture was discovering the bottomless marketability of cute things. In 1909, Rose O’Neill drew a comic strip about ‘kewpies’ (taken from ‘cupid’) – preening babylike creatures with tiny wings and huge heads, which were soon being handed out as carnival prizes and capering around Jell-O ads (to this day, Kewpie Mayonnaise, introduced in 1925, is the top-selling brand in Japan). Cuteness and modern commercialisation are intricately linked.

Still, kewpies followed the lines of actual human anatomy more or less, the way that Mickey Mouse resembled a real mouse when he first appeared on film in 1928. A half a century of fine-tuning made him much more infantile, a process naturalist Stephen Jay Gould famously described in his ‘biological homage’ to Mickey. Gouldobserved that the mischievous and sometimes violent mouse of the late 1920s morphed into the benign, bland overseer of a vast corporate empire.

Today, about $5 billion worth of Hello Kitty merchandise is sold annually

“He has assumed an ever more childlike appearance as the ratty character of Steamboat Willie became the cute and inoffensive host to a magic kingdom,” Gould writes.

In Japan, the national fascination with cuteness is traced to girls’ handwriting. Around 1970 schoolgirls in Japan began to imitate the caption text in manga comics – what was called koneko-ji, or ‘kitten writing’. By 1985, half of the girls in Japan had adopted the style, and companies marketing pencils, notebooks and other inexpensive gift items, like Sanrio, learned that these items sold better when festooned with a variety of characters, the queen of whom is Hello Kitty.

Her full name is Kitty White, and she has a family and lives in London (a fad for all things British hit Japan in the mid-1970s).

The first Hello Kitty product, a vinyl coin purse, went on sale in 1974. Today, about $5 billion worth of Hello Kitty merchandise is sold annually. In Asia, there are Hello Kitty amusement parks, restaurants and hotel suites. EVA Air, the Taiwanese airline, flies seven Hello Kitty-themed jets, which carry images of Hello Kitty and her friends not only on their hulls, but throughout their cabins, from the pillows and antimacassars to, in the bathroom, toilet paper emblazoned with Hello Kitty’s face, a detail which an observer does not need to hold a doctorate in psychology to wonder about.

“If your target is young women, it’s saturated,” says Hiroshi Nittono, Director of the Cognitive Psychophysiology Laboratory at Osaka University, talking about the market for cute products in Japan. That is certainly true. In an effort to stand out, some yuru-kyara are now made intentionally crude or semi-frightening. There is the whole realm of kimo-kawaii, or ‘gross-cute’, epitomised by Gloomy, a cuddly bear whose claws are red with the blood of his owner, whom he habitually mauls. Even Kumamon, beloved as he is, is still subject to a popular internet meme where his works are revealed to be done “For the Glory of Satan”.

Exploring the subculture known for doll-like make-up, bonnets and petticoats.

Because the practice of putting characters on products is so prevalent, and subject to resistance, Nittono, a placid, smiling man who wears an ascot, has been working with the government on developing products that are intrinsically cute. He asks to meet, not at his apartment or at an academic office, but at the Ministry of Economy, Trade and Industry in Hiroshima, where he is finishing up an academic post.

For the past few years, Nittono and the government have been collaborating to develop cute items, a few of which are laid out on a table: a squat make-up brush, a bowl, a brazier, a few medallions and tiles. Given the mind-boggling array of cute merchandise available at shops in every mall around the world, it is not an overwhelming display of the ingenious synthesis of academe and government.

Nittono’s group is exploring how cuteness can be used as a device to draw people toward products without blatant branding.

“We use kawaii for such sentiment, feeling – kawaii things are not threatening, that is the most important part, small and not harmful,” says Nittono. “A high-quality product is somewhat distant from the customers; it looks expensive. But if you put kawaii nuance on such products, maybe such items can be more approachable.”

“If you have something cute, then you want to touch it, and then you see the quality of it,” adds Youji Yamashita, a ministry official.

Objects can also be unintentionally kawaii. With her husband Makoto, Date Tomito owns Bar Pretty, a tiny side-street tavern in Hiroshima. Six people would be crowded sitting at the bar. Makoto comes in from the market bearing a small plant in a yellow pot, a present for his wife.

“This is kawaii,” Date says, holding the plant up, elaborating. “There are lots of different meanings for kawaii: ‘cute’, ‘small’, ‘clumsy’. Some things just have a cute shape.”

She stresses something about kawaii: “It’s never bad,” she says. “I never use kawaii in an ironic way. Kawaii is kind of the best compliment around Japanese people, especially girls and women. They really like kawaii stuff and things.”

Single women in their 30s are sometimes referred to as ‘leftover Christmas cake’

Perhaps not all women. Just as Barbie’s measurements have drawn critique from feminists and scholars, so Hello Kitty has caught the interest of academics, especially in Japan, where the progress of women has lagged far behind other industrial nations. With girlishness a national obsession – Japan did not ban possession of child pornography until 2014 – and its most popular female icon lacking a mouth, if cuteness does become a separate academic field, then much credit has to be given to the feminist pushback against what Hiroto Murasawa of Osaka Shoin Women’s University calls “a mentality that breeds non-assertion”.

At the UltraSuperNew Gallery opening attended by Soma and his father, guests watch a woman in a frilly white miniskirt draped in white feathers with fuzzy leggings and an enormous yarn bow atop her head, her face painted white with a red flower on each cheek and blue dots running down her nose. She kneels in the gallery window, dabbing at a teal and yellow painting that closely resembles finger-painting writ large.

Her professional name is Gerutama, and she insists that, despite appearances, she is definitely not kawaii. She is a ‘live painter’. Some Japanese of both sexes reject kawaii – ‘fake’ is a word often used. But they are in the minority. Japanese women still live in a culture where single women in their 30s are sometimes referred to as ‘leftover Christmas cake’, meaning that after the 25th – of December for cake, birthday for women – they are past their expiration date and hard to get rid of. Nobody wants either.

Those surgical masks worn in public? Yes, to avoid colds, pollution and allergies. But ask Japanese women, and many will say that they wear them date masuku – ‘just for show’. Because they didn’t have time to put on their make-up, or because they don’t consider themselves cute enough, and they want a shield against the intrusive eyes of their crowded world. In a German study of 270,000 people in 22 countries, Japanese people came last in being pleased with how they look. More than a third of the country, 38 per cent, said they were “not at all satisfied” or “not very satisfied” with their personal appearance.

“Kawaii is sickening,” says gallery-goer Stefhen Bryan, a Jamaican writer who lived for a decade in Japan and married a Japanese woman. “Kawaii is especially babylike. If a woman acts like an adult in Japan, it’s an offence. Their self-esteem is nothing in this country. It’s all under the aegis of culture. It’s low self-esteem en masse.”

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Joshua Paul Dale pauses to remove his shoes at the entrance to his large – well, large for Tokyo – light-filled apartment in the Sendagaya section of the city. Dale, 50, a cultural studies scholar on the faculty at Tokyo Gakugei University, is the driving force for the creation of cute studies.

Neil Steinberg explores why, for certain robots, cuteness has its advantages.

Part behavioural science, part cultural studies, part biology, the field is so new it hasn’t had a conference yet.

Dale was the first to assemble academic papers into an online cute studies bibliography, a list now containing over 100 publications, in alphabetical order from C Abidin’s ‘Agentic cute (^.^): pastiching East Asian cute in Influencer commerce’ in the East Asian Journal of Popular Culture to Leslie Zebrowitz et al.’s ‘Baby talk to the babyfaced’ in the Journal of Nonverbal Behavior.

Dale’s latest step has been to edit the East Asian Journal of Popular Culture’s special cuteness issue, published in April 2016. “The articles collected in this issue demonstrate the flexibility of cuteness as an analytical category, and the wide scope of the insights it generates,” he states in the introduction.

One inspiration is ‘porn studies’, now with its own quarterly

Cuteness has not yet emerged as an independent scientific field – Dale estimates that only a few dozen academics worldwide focus on the topic – but he’s hopeful that it is in the process of happening. Dale says one inspiration is ‘porn studies’, now with its own quarterly, created after academics united to focus on a topic they felt cultural researchers were neglecting out of misplaced squeamishness. A distinct field encourages exploration.

Hiroshi Nittono contributed to the East Asian Journal’s special issue. Nittono, who authored the first peer-reviewed scientific paper with ‘kawaii’ in its title, postulates a “two-layer model” of cuteness: not only does it encourage parental care of newborns, first, but once a baby moves into toddlerhood and begins interacting with the world, cuteness then promotes socialisation, a pattern Dale sees reflected in the aborning field.

“It’s interesting because it’s inherent in the concept itself,” Dale says. “Cute things relate easily to other things. It kind of breaks down the barriers a little bit between self and other, or subject and object. That means it invites work from various fields. It’s interesting to get people together from different fields talking about the same subject.”

Not that you need an academic conference to do that. Japan has uniquely embraced cuteness as a reflection of its national character, the way tea ceremonies or cherry blossoms were once held up as symbolic of Japanese nationhood. In 2009, the government appointed a trio of ‘cute ambassadors’, three women in ribbons and babydoll dresses whose task was to represent the country abroad.

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Humanity has always embraced household gods: not the world-creating universal deity, but minor, more personal allies to soften what can be a harsh and lonely life. Not everyone has the friends they deserve or the baby they’d cherish. Often people of both sexes are alone in the world.

Teddy bears exist because the night is dark and long and at some point your parents have to go to bed and leave you. There is real comfort in cuteness.

“Filling in an emotional need is exactly where kawaii plays a significant role,” writes Christine R Yano, a professor of anthropology at the University of Hawaii at Manoa and the author of Pink Globalization: Hello Kitty’s trek across the Pacific.

“Even in America, journalist Nicholas Kristof has written of an ‘empathy gap’ in today’s society,” states Yano. “He points to the place of objects that may be considered promoters of ‘happiness’, ‘solace’, ‘comfort’. When a society needs to heal, it seeks comfort in the familiar. And often the familiar may reside in ‘cute’. Witness the use of teddy bears as sources of comfort for firefighters in the wake of NYC’s 9-11. So I see kawaii things as holding the potential as empathy generators.”

Kumamon is a power station of empathy generation. In the weeks after the Kumamoto earthquake, Kumamon was so necessary that in his absence his fans simply conjured him up themselves, independently, as an object of sympathy, a tireless saviour, an obvious hero.

Three weeks after the 14 April earthquake, Kumamon visited the convention hall of the hard-hit town of Mashiki, where residents were still sleeping in their cars for protection as 1,200 tremors continued to rumble across the area. The visit was reported on TV and in the papers as news, as if a long-sought survivor had stumbled out of the wreckage alive.

The children, many of whom had lost their homes in the earthquake, flocked around him, squealing, hugging, taking pictures. Their friend had returned.

This article first appeared on Mosaic and is republished here under a Creative Commons licence.

Featured image: Pixabay/WB Mag

#cute #Japan #Japanese culture #Kawaii #Kumamon #stuff ladies like according to men #Culture Wars #Featured

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