UlasanAnime.com – Live viewings in Japan are typically vibrant events where audiences actively participate by cheering and performing “calls” in sync with the performances. This is a customary way to engage with concerts being screened in movie theaters, distinct from personal viewing at home or a casual party atmosphere.
However, a noticeable difference exists among American fans. Many are unfamiliar with or do not practice these traditional calls. During an Aqours performance at AX, for instance, only a small fraction of the audience, estimated at less than 25%, engaged in calls. Similarly, at an Aqours 2nd screening in New Jersey, participation was almost non-existent, with only a few individuals attempting calls during specific songs.
The absence of calls isn’t inherently a problem, but it becomes one when American fans selectively adopt certain aspects of Japanese event culture without fully understanding or integrating them. This often results in a blend of behaviors that don’t quite harmonize. The typical attendee at these screenings, often in their early twenties, may lack the knowledge or experience to fully grasp the cultural nuances.
Calls are the primary method to channel excitement during anime idol performances. They involve vocal participation, singing or shouting along with the music, and are distinct from simply waving penlights. While glowsticks are a bonus, the core of the engagement lies in vocal calls. In America, this concept is often misunderstood, with some even likening it to a rave. Synchronized calls can create a powerful and engaging experience, especially for songs designed for call-and-response. The lack of widespread call participation in the US is likely due to a scarcity of individuals actively teaching and leading these traditions in public, as Blu-rays and live viewings alone may not fully convey the impact of in-person calls.
Mastering calls allows one to participate in “yakkai” in the intended, more enjoyable, and safer manner, fostering a more authentic discussion around the practice as it exists in Japan.
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The reality of yakkai isn’t strictly dictated by rules or a singer’s preference for cheering versus silence. It’s a matter of etiquette, not just unspoken rules, but a courtesy extended to fellow attendees. While context-sensitive, the underlying reasons for these practices run deeper than a simple description might suggest. Understanding this requires an immersion in Japanese live events, as it’s a cultural aspect difficult to fully convey through writing alone without prior familiarity.
Consequently, it’s perhaps unreasonable to expect the average American fan attending a live viewing to fully grasp these nuances without having experienced a Japanese live concert firsthand. For young adults and teenagers, their current engagement, while perhaps different, is generally acceptable. They adapt within their understanding and expectations.
Ultimately, attendees at US live viewings have a degree of freedom in their participation, provided it remains within reasonable bounds and shows consideration for others. Being mindful of those around you is a valuable addition to the experience.
There are, however, simple guidelines to follow. For instance, engaging in activities like a “party train” in a dark movie theater is ill-advised due to the risk of tripping and causing injury. Such incidents have been observed at live viewings and represent a behavior that staff would likely intervene in due to liability concerns.
Furthermore, throwing objects like lights, king blades, or glowsticks in a movie theater is also prohibited. While less dangerous than tripping, it’s a basic safety precaution that should be obvious. It’s not necessarily “yakkai” but rather dangerous, and there are more appropriate ways for groups to express enthusiasm without negatively impacting the perception of Aqours fans.
Being considerate of others is a fundamental rule. Not everyone in attendance may be as enthusiastic, and showing consideration can enhance the experience for all. While personal enjoyment is important, attendees should weigh the trade-offs. After all, a live viewing is a delayed experience of a concert that could have been attended in person, a reality often overlooked when considering the cost of travel.
The “live viewing yakkai” issue, while seemingly a first-world problem, highlights a desire for complete fandom engagement. This desire is prevalent in communities beyond Vocaloid and Love Live, where fans wish they had such events to discuss and critique.
In Japan, “yakkai” behavior can range from disruptive to outright inappropriate. An example of this was a person who, in a loud “yakkai voice,” shouted nonsensical remarks during a song, leading to a physical altercation. While physical violence is an overreach, the individual’s disruptive behavior during a solemn moment was acknowledged as deserving of consequence. The author posits that American “yakkai” behavior is less extreme due to a general lack of public coordination among fans. Standing out as “yakkai” is easier in a uniform crowd, but difficult when everyone is acting chaotically. In essence, when everyone is “yakkai,” no one truly is.
The recommendation is to focus on calls instead of excessive or disruptive behavior. Leading calls, participating in them, and encouraging others to learn them is encouraged. Japan’s continued inclusion of calls in songs stems from their cultural significance and enjoyment. American fans are urged to learn these calls, which are freely available and often do not require a penlight. As more people become familiar with calls, they can evolve, filling the space that disruptive “yakkai” behavior might otherwise occupy and guiding fans toward more appropriate expressions of enthusiasm. Those who advocate against disruptive behavior at screenings but are unfamiliar with typical “yakkai” practices likely do not fully understand the concept.
¹ It’s worth noting that some Canadian fans encountered by the author demonstrated knowledge of calls, particularly for games like IM@S. The author couldn’t comment on the broader Liver community in Canada.
