UlasanAnime.com – The concept of “yakkai” in the context of Japanese fan culture, particularly at live events, is a complex and often debated topic, reflecting a blend of cultural differences and evolving fan practices.
At its core, the discussion around being “yakkai” delves into philosophical principles regarding audience participation and etiquette at performances, rather than strict guidelines. The overarching sentiment, often summarized as “do what you want, just don’t cause trouble,” frequently translates to observing and adopting local customs.
Wotagei, a form of dancing performed by idol fans, is a prominent example of this evolving fan activity. Similar to cosplay photoshoots where fans might add visual effects, wotagei is a fan-driven expression of enjoyment, with dancers moving to the music because they wish to.
This phenomenon, however, is relatively recent. The roots of organized cheering, a mainstream manifestation of the calls and dances seen at Japanese idol events and anime/game concerts, can be traced back to post-war Japan and the rise of organized sports. Modern professional baseball games in Japan often feature elaborate cheering sections, akin to a Dallas Cowboys game where the audience mirrors the actions of the professional cheerleaders.
The complexity arises when these practices are applied to live music events, which have millennia-old traditions. Performing a wotagei-like call at a traditional Noh play would be incongruous, highlighting the novelty of such fan activities. The question of whether bringing a whistle to an idol show is appropriate, for instance, is a point of contention, despite its historical use by cheerleaders at sports games in the 80s and 90s (a practice now discouraged).
For a typical live show, such as an indie band performance in Manhattan, the default audience behavior is to enjoy the music, perhaps by nodding along or dancing subtly. While crowds can get dense, the expectation is not to adhere to specific penlight movements or timings, unlike the more structured participation seen in idol events. The “encore” call is perhaps the only universally recognized audience interjection.
It’s crucial to distinguish between wotagei and “calls.” Wotagei is a dance style, while calls are specific vocalizations or actions intended to cheer on the performers within a particular context. Both have historical precedents, but it’s the latter that requires navigation at events. This is comparable to audience participation at sporting events, like clapping or standing during specific moments, which, while not mandatory, is often done out of respect for the cultural context or the significance of the moment.
The author posits that the baseline for acceptable behavior involves not being disruptive. Some audience members are bothered by those who remain passive, while others find excessive yelling and disruptive behavior problematic. There exists a wide range of acceptable actions that can be performed without causing offense, requiring only common sense.
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This principle applies universally. The energetic atmosphere during a Super Bowl halftime show, for example, thrives on audience participation, a stark contrast to a classical concert where standing for extended periods would be unusual. Similarly, a Japanese rock band performing at a convention might ideally elicit a more dynamic audience response than a seated, passive crowd.
At the heart of any live music performance lies a connection between the performer and the audience, a fundamental element that sustains the practice of live music and draws large crowds willing to pay for in-person experiences.
In summary, audience behavior can be categorized into three layers: culturally acceptable actions, context-sensitive actions, and the actions expected in the moment to enhance the performance. The ultimate goal is to avoid being “yakkai,” or bothersome.
Basic etiquette includes not throwing objects at performers and generally not disturbing them or the staff. Exceptions might exist, like throwing flowers after a figure skating routine, but refraining from such actions is always safe.
The next level of complexity involves what constitutes a nuisance to fellow audience members. In a mosh pit, for instance, there’s an understood level of acceptable physical contact. Dedicated “yakkai areas” at festivals or concerts allow for more uninhibited participation, much like oil and water remaining separate. However, in larger venues, pleasing everyone becomes impossible, leading to gray areas. While some lean towards a “do as you please as long as no one gets hurt” American sensibility, there’s significant debate about even mild actions like “cycloning” at live viewings or jumping at events like IM@S, which are commonplace elsewhere. Ultimately, each individual must make their own judgment.
A further layer involves personal preferences regarding specific calls, chants, or even appropriate color choices, a topic that could be explored extensively but is beyond the scope of this discussion.
It’s easy to be labeled “yakkai” even when one’s actions seem acceptable. Certain calls or moves, while fun, might be considered “yakkai” at some events but not others, making it challenging to participate in advanced fan activities without risking such a label.
However, the core meaning behind “don’t be yakkai” is a simple plea to avoid excessive, annoying behavior that detracts from the enjoyment of others. Just as trolling can be fun for the perpetrator but unpleasant for the recipient, engaging in disruptive behavior is inappropriate if it ruins the experience for others.
Some jokingly suggest that being a foreigner in Japan inherently makes one “yakkai” to some degree due to language barriers, physical differences, and cultural unfamiliarity. While many foreigners strive to learn and adapt, it’s not always possible to please everyone. The author believes it’s acceptable to bring imported cultural attitudes to Japan as long as they are respectful and convey passion. If this leads to being perceived as “yakkai,” so be it.
