Exploring English-Japanese Culture

This essay explores the rich cultural patterns of Japan, focusing on the concept of Yokai, their origins, and their influence on modern Japanese culture. It discusses various types of Yokai, their representations in folklore, and their impact on contemporary art forms such as tattoos and animation. The paper highlights the evolution of these supernatural beings from traditional beliefs to their current status in popular culture, emphasizing their significance in Japanese identity and cultural practices.

Running head: ENGLISH-JAPANESE CULTURE
ENGLISH-JAPANESE CULTURE
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Introduction
The cultural patterns of Japan has changed significantly over the millennia, from nation’s
prehistoric Jomon period and further ranging to modern cultural patterns. Bainbridge (2014) has
noted that these cultural patterns tend to absorb influences from Asia, Europe and North
America. Yokai are identified as a section of supernatural monsters, spirits and demons in
Japanese folklore. According to Inaba (2015), the term ‘yokai’ is comprised of kanji for
bewitching, attractive, misfortune, ambiguity and apprehensive. Comprehensive studies of
Suzuki (2019) have noted that Yokai typically possess animal attributes primarily based on
kappa which draws similarity to turtle or tengu which has wings, yet others appear significantly
human. The word “Yokai’ is an amalgamation of the characters 妖 (yō) which means
attractive, bewitching, misfortune and the other hand the word 妖 (kai) relates to anonymity
and wonder. As per the studies of Bainbridge (2014), Japanese folk tales is regarded as a
combination of diverse ethnicities and cultural patterns with a significant base in the folk beliefs
of secluded tribal populaces living on the areas of Japanese islands. These customs have been
customized by Shinto and afterward by Buddhism thus integrating components derived from
Chinese as well as Indian folklore. The following research paper will evaluate the cultural
patterns by shedding lights on their traditions, festivals and beliefs.
Discussion
Yokai’s Origin
The Edo period ranged from 1603 to 1868 had experienced exceptional and unmatched
booming of art, music, and literature in Japan. Jensen, Ishii and Swift (2016) have noted that

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ghost stories and narratives regarding gigantic creatures, monsters and strange phenomena from
all arenas of Japanese cultural patterns have experienced a significant flow in recognition.
Folklorists and artists such as Toriyama Sekien had integrated the mythical bestiaries.
Moreover, Martinez (2015) has noted that these artists and folklores have obtained the oral
traditions and cultural patterns of pastoral Japan for utilization by the increasing urban populace
and further amalgamated a few novel behemoths into the cultural combination. These cultural
amalgamations initiated as gatherings of highlighted documents and eventually extended into
multi-volume exemplified encyclopaedias of eccentric tales as well as mystical narratives.
Research conducted by authors on Yokai tradition has revealed that Toriyama’s The Illustrated
Night Parade of One Hundred Demons established the platform for other performers that led the
yokai tradition to significantly emerge (Yasui, 2017). It has been noted that the Yokai culture
rapidly prolonged into every facet of Japanese philosophy ranging from fine talent to high theatre
and from noble ghost story-telling associations to low class bawdlery. On the other hand,
Bainbridge (2014) has shed light on the period when Yokai shifted from the popularity during
the Meiji restoration, after Japan underwent speedy modernization process in its society,
traditions and culture. Yokai culture had been severely abandoned as a remnant of a superstitious
and upsetting past. According to Jensen, Ishii and Swift (2016), subsequent to World War II,
manga artist Shigeru Mizuki rediscovered their fascination and magnetism and further re-
introduced Yokai cultural patterns to a contemporary Japan. In recent times, the inspiration of
yokai can be observed in varied characteristics of Japanese beliefs, which can range from manga
and anime, extend to video games, product labels, and further on Japanese currency.
What are Yokais?

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Tengu- Tengu also known as the 妖妖, "heavenly dog have been identified as a form of legendary
creature that can be found in Japanese folk religion and further considered as a type of Shinto
god (kami) or yōkai (supernatural beings). However, according to Martinez (2015), while Tengu
derived their identity from a dog-like Chinese demon (Tiangou), the tengu name have been
initially considered to acquire the forms of birds of prey and have been traditionally depicted
with human as well as avian distinctiveness. Some of the earliest representations of tengu tend to
appear in Japanese picture scrolls related to Tenguzōshi Emaki (妖妖妖妖妖妖) that has been painted
in the year 1296 (Jensen, Ishii & Swift, 2016). These pictures tend to takeoff prominent priests
by bestowing them the hawk-like beaks of tengu demons. Tengu have been recognized as bird
monsters which show the capacity to attain human forms. However, in the views of Whitsed and
Wright (2016), while they are recognized to be dangerous, develop the role of protectors of
forests and mountains.
Kappa- Kappa has been typically identified as aquatic reptilian humanoids that inhabit the rivers
and streams found at various parts of Japan. The Kappa has been viewed as river monsters based
on giant salamanders. However, in the view of Yasui (2017) they can show certain problematic
characteristics but also exhibit good characteristics. They have been recognized to get pleasure
from good sumo wrestling matches.
Obake-In the Hyakki Yagyo Emaki from the Muromachi period, yōkai who have been
considered as umbrellas could be perceived, but in this emaki. According to authors, it had been
a humanoid yokai which merely had an umbrella on its head, and thus had a different appearance
in comparing to resembling a kasa-obake (Suzuki , 2019). However, Obake have been regarded
as terms for creature that comprise the ability to develop into human forms.

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Yamauba- Yama-uba has been recognized as a yōkai which resembles an old woman, typically a
dreadful one. According to authors at certain times, yamauba identity has been formed when
young women who face accusations of criminal activities or immoral actions run away into the
wilderness and tend to live in separation thus transforming gradually over significant period as
they tend to age (Jensen, Ishii & Swift , 2016).
Understanding Ghost Month and Pudu Rites
The seventh lunar month has been conventionally regarded as Ghost Month. Authors
have noted that the Ghost primarily comprised of two major festivals namely Taoist and
Buddhist who have been worshiping the dearly departed. The Chungyuan Festival has been
regarded as a part of the Taoist tradition (Bainbridge, 2014). On the fifteenth day of realms of
Heaven and Hell along with the sphere of the living tend to remain open whereby Taoists and
Buddhists will perform cultural practices and traditions and further absolve the pain and anguish
of the deceased. Comprehensive studies of Yasui (2017) have mentioned that in accomplishing
rituals, Buddhists as well as Taoists hold ceremonial practices in order to reduce levels of pain
and sufferings from ghosts. Furthermore, it has been noted that in the Buddhist tradition, the
Ghost month has been seen as the time of Ullambana Festival, which sheds light on
Buddha’s empathy in yielding salvation for the besieged souls existing in hell.
On the other hand, the Pudu rite has been categorized into two vital parts which reflects
on inviting the ghosts, offering them food, reciting sutras and afterwards aiming to get alleviated
from the presence of ghosts. In the view of Scheid and Teeuwen (2015), appealing the ghosts
chiefly entails opening the ghost gate and further inviting the wandering spirits to arise from the
underworld into the light. Furthermore, as per studies conducted by Jensen, Ishii and Swift

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(2016), one of the most striking characteristics of Pudu rite depends on communal worship that
has been performed throughout the seventh moon, particularly during the second half of moon. It
is during this phase, when local communities indulge in performing Hokkien, Cantonese or
Teochew operas. Moreover, authors have mentioned that some rural communities show
proficiency in performing Chinese operas. According to Inaba (2015), these communities who
indulge in these performances belong to the urban class having financial resources and seek
sponsors among speech group associations or an established temple. However, it is during this
time an individual can view which section or division of a town establishes Chinese ritual
community, as each celebrates its own Zhongyuan Festival.
Tattoo culture amongst Yokai
According to Yasui (2017), embedded in Japanese folklore, several Yokai tattoos reflect
severe fear as well as enchantment in individuals. Japanese tattoos have received substantial
attention from Japanese, since they have been entrenched into cultural patterns and convictions
of Japan. In the view of Martinez (2015), although these tattoos have been perceived to be highly
beautiful including multifaceted mythological accounts and typically utilize vibrant, attractive
colours, the themes and components of these tattoos tend to draw significant variance with each
other. However, there can be identified certain tattoos themes which have specifically gathered
attention through its distinctiveness and peculiarities. Yokai recognized as spirits and ghosts of
Japanese mythology have been significantly depicted through tattoo, although many could
distinguish among them. Conversely, regardless of the gap in understanding Japanese tattoos
there can be identified some of the highly prominent Yokai tattoos which have underlying factors
and background related to them (Whitsed & Wright , 2016).

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Yerei- Yurei has been recognized as spirits of the deceased and comprises of several
subcategories. Ohtsuka, Natsuko and Toshiyuki (2016) have cited the example of Hitodama-the
floating, fireball-like spirits of the departed. There can further be identified cultural patterns of
Onryo, which tend to be regarded as unforgiving or implacable spirits of the deceased. These
deceased beings have been considered to possess the capacity of causing harm and hardship and
disaster to the living (Hill, 2014).
Tengi- Comprehensive studies of Foster (2015) have noted that Tengu tattoos culture amongst
Japanese has received considerable attention in recent times. Tengu in Japanese traditional
practices reflect similarities with goblins and undertake fearful appearances, thus have been
considered to be evil. According to Yasui (2017), subsequent to the expansion of Buddhism to
Japan, the fundamental intention of Tengi shifted to be dynamic defenders of Dharma. As a
result, authors have suggested Tengu tattoo to be vital representatives of the competence to alter
individuals’ lives for enhancements. Studies of Whitsed and Wright (2016) have claimed that in
recent times, Tengi tattoos have received huge attention for renowned tattoo artists such as Dan
Sinnes, whose work significantly focused on Yokai culture and traditions.
Yokai culture in Animation
Several Japanese anime and manga narratives emphasized on Japanese folklore,
reimagining narratives for a modern audience and further comprise of references to illustrations
of supernatural creatures or yokai (Bainbridge, 2014). As in Western culture and traditions,
yokai cultural patterns which can be explained as monsters, spirits or demons have been
recognized as enriched source of material for existing pop culture narratives, particularly in
narrations in science, fiction, fantasy, action in addition to adventure genres. Tolbert (2015) has

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noted that several websites as well as books intended for non-Japanese follower record the
references to folktales as well as yokai in well-liked manga and anime in order to help make
them reachable to overseas audiences. Furthermore, Spurgiasz (2015) have mentioned that the
catalogs of yokai, such as animations created by Sekien and other artists through the Edo period
have constituted one of the most creative and innovative animation purposed for Japanese
fictions of several kinds. However, Martinez (2015) has argued that Sekien’s contribution to the
accepted understanding of Yokai relies on his ambiguous set of principles by shaping thoughts in
codices. Yasui (2017) has noted that, during the Meiji period that started from 1868 to 1912 had
sustained folklore which have been intrinsically associated with romantic ideas of nationalism.
On the other hand, authors have argued that through the facilitation of cultural patterns of Yokai
which has been incorporated in facets of contemporary culture with recently invented cartoon
characters such as renowned cartoon character Hello Kitty which successfully reflect power,
influence as well as creative potential of Yokai culture and animation.
Conclusion
Hence to conclude, the nature of Yokai cultural patterns into animation, tattoos,
traditional practices along with other traditions have facilitated scholars to use in contemporary
popular culture narratives. It has been noted that the modular nature of several yokai and the fact
that several are not attached to any particular narrative facilitate them to be used flexibly in
several kinds of stories, whether Mizuki and creates variations like Takahashi. It has been noted
that folklores have shaped oral traditions as well as cultural patterns of conventional Japan for
consumption by the rising urban population and further combined original monsters into the
cultural amalgamation. These cultural amalgamations developed as gatherings of highlighted

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scrolls and gradually spread into multi-volume have demonstrated records of eccentric tales
along with supernatural stories.

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