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Running head: GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 1
IAT206w Media in Cultures
Sensory Ethnography and Netnography Analysis of Golden Gai:
The Ad Hoc Third Place in the Shinjuku Ward of Tokyo
Breanne R. Lewis
Simon Fraser University
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 2
Unknown. (N.A.). Golden Gai from Above. [digital photograph]. Retrieved March 1, 2017 from
http://www.wattention.com/wp-content/uploads/2015/11/DSC00649_50_51-2.jpg
Introduction and Thesis Statement
The neighbourhood of Golden Gai resides just east of Shinjuku station in the
Shinjuku ward of Tokyo, Japan. Simply walk east from Shinjuku Station to discover
narrow alleys, buildings double-stacked and crushed together, and an air of adventure:
a rare reprieve of old Japan that has survived since the early 1900’s, a neighbourhood
born from prostitution and vibrant bars (figure 1 + 2). However, cramped architecture
and simple survival are not what make this neighbourhood fascinating, rather it’s the
thriving community that lives here today. Many know Japan as a conservative,
homogenous, and corporation driven country where a common maxim warns that “the
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 3
nail that sticks up gets hammered down” (Bestor & Hardacre. 2004). Considering the
economic boom of the 80’s lead by tech and luxury companies like household names
Sony, Suzuki, and Honda, it is clear that Japanese people work hard .
Figure 4-7: Sozzled Salarymen. Izismile. 2014.
But it is important not to forget that they also play hard - figure 4-7 illustrate my
point, these salarymen schmoozed and partied until late last night, and sights like this
the next morning are fairly normalized (Demetriou, D. Jun 11, 2014.). Golden Gai is a
popular spot for these salarymen, among others, and a pervasive aspect to Japanese
society. Indeed, Golden Gai is the perfect antithesis to Japan’s normally conservative
mind set; it has survived Yakuza arson, the earthquake of 1923, constant threats of
demolition by the government, and its culture and history are richer for it. This is a
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 4
tight knit, microcosm of a less traditional side of Japan; misfits like otaku, foreigners,
and artists find shelter and a rare sense of belonging and comfort here, nestled next to
the largest red light district in Tokyo — Kabukicho. This unique area is an attraction for
tourists, business men, locals, and celebrities alike despite its initially shanty town
appearance. The 200 bars scarcely fit 2-6 patrons, and no more than 2 people can walk
side by side through its 6 narrow alleys (figure 3). The government, on the other hand,
only sees a fire hazard, and not the rich, cultural breeding ground that stands out as a
cultural milieu in Tokyo’s expansive nightlife - known for being wild (Demetriou, D. Jun
11, 2014.). Golden Gai is a resilient, inspiring, heterotopia in a deeply homogenous
society whose government is attempting to destroy it, and it is worthy of preserving not
only for it history, but for its cultural influence on artists and individuals seeking a
particular “third place” - a term in architecture used to describe social places outside
the home or workplace. According to Oldenburg, the third place is important for civil
society, democracy, civic engagement, and establishing feelings of a sense of place for
individuals (Oldenburg, R. 1989.). I conducted a ethnographic analysis utilizing a blend
of netnography and sensory ethnography concerning entrances and advertising,
participant-only case studies of english speaking photographers and bloggers, another
case study of artists and media Golden Gai has influenced, and interpretation of the
interviews of the bar owners (also known as “mamas”) done in 2012 by Jorge Almazán
and Nakajima Yoshinori in tandem with my own netnography case studies.
In order to begin breaching the heterotopia of Golden Gai, some analysis of the
people that used to live here (as well as those that currently live here which will be
elaborated on later) is vital in reaching an understanding of this space and the threats
aimed towards it. A solely synchronic analysis, a analysis of only a small slice of time,
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 5
is not sufficient to describe Golden Gai, instead a short Diachronic Analysis, an
analysis over a long period, is necessary.
According to architect Peter Gluck, historian Henry Smith, and architectural
critic Koji Taki in their MOMA exhibition Shinjuku: The Phenomenal City on display
from December 16, 1975 to March 7, 1976, Shinjuku is a city made with no large public
projects and no planning authorities (Para 3. Dec 17, 1975.). Essentially, after the city’s
initial integration into Tokyo City in 1920, the urban development that occurred here
was a “constant process of ad hoc solutions to particular problems by a vast number of
participants, both public and private” (Para 3. Gluck + Smith + Taki. Dec 17, 1975.). In
other words, the generations of people that lived here were in charge of the
neighbourhoods development based solely on their personal needs and behaviours;
they embedded themselves into their environment in personal touches and layers that
created the fabric that holds Golden Gai together. In fact, that is part of what makes
Japanese architecture, and even Japanese design as a whole so unique - the attention
to both the old and the new, the natural environment, and simple, precise execution
(Para 7-9. Columbia University. March 2017.). There was no master plan. There was no
committee of only government hired workers deciding urban development based on a
scale model about the minutia and harmony of the city. They did not look down on the
city, they lived in it and decided things from a street level.
At least, that’s how it was before 1968. The City Planning Act was promulgated in
June 1968 and enforced in June 1969; the government decided that as long as a space
was considered “healthy and cultural urban lifestyles and functional urban activities”
under their definition, the space would be “secured”. So long as an area fit into this
definition, it would not be drastically changed or destroyed. The government’s
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 6
motivation in implementing this Act was to maintain a healthy balance between the
agriculture, forestry, technology, and other industries business growth with the cultural
urban lifestyles that already exist. Fair enough, the economy was booming in Japan, it
experienced strong economic growth in the second half of the 20th century until the
crash in 1990, so they needed the space to accommodate this growth. In reality,
compared to other governments like those in North America, this act is incredibly
thoughtful and sensitive to the interwoven cultures that exist in Tokyo. For example,
Chicago’s building code is among the toughest in America, and anything done to a
structure other than tearing it down and building a new one is not permitted - it’s why
Chicago is now largely derelict and abandoned buildings, a veritable cultural and urban
wasteland (Rottenburg, D. May 1, 1980. Para 48.).
However, that does not mean Japan is a perfect example of cultural equality. The
culturally sensitive rules led to extreme ways of breaking them - including the
government hiring Yakuza arsons to destroy old building to make way for
redevelopment. The arson attacks in 1980’s, were largely successful in destroying all of
the old buildings — except for Golden Gai. The people that lived there at the time kept a
night watch shift that prevented the Yakuza from succeeding until the government
eventually accepted their partial victory and gave up on destroying the remaining
neighbourhood. That is, until April 2016 when a fire with an unknown cause struck the
neighbourhood once more and destroyed 4 buildings, roughly 500 sq. feet (Japan
Times. April 12, 2016.).
Given that the people that lived here made life possible and unique for the
people that currently live here, either by weaving themselves into the environment or
ensuring the neighbourhoods very survival despite redevelopment attempts, I assert
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 7
that the diachronic nature of this neighbourhood that makes it what it is today, and can
not be ignored. It is vital to keep this in mind in order to understand why the current
attempts at redevelopment are so insulting. It is also why the recent fire, believed to be
caused by trespassing, 66-year old Hiroshi Haruna, is easily believed to be a modern
Yakuza arson attempt that mimics the attempts back in the 1980’s (The Japan Times.
April 13, 2016. + Para. 10. Phro, P. April 13, 2016.).
Key Concept One: Thresholds and Signage [Sensory Ethnography/Netnography]
{embedded video}
Ricci, G. (July 2, 2012.) Shinjuku Golden Gai. [Youtube video]. Retrieved February 12, 2017 from
https://www.youtube.com/watch?v=nSm_lBqXcTc
Sarah Pink defines sensory ethnography as involving and including the senses
in ethnographic research and representation, in order to “[reach] out towards an
altogether more sophisticated set of ideas through which to understand what
ethnography itself entails” (Pink. 2013.). I plan on observing the expressive doors and
signage of the area along with the sounds, implied smells, and implied feelings via the
video and images collected (video and figure 8-11) .
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 9
Figure 8: Golden Gai Signs and entrances. Powell, D + Jurgen and Mike. 2011-present. From SHOOTTOKYO.com and http://tokyo.for91days.com/the-seedy-pleasures-of-east-shinjuku/.
In Golden Gai, there is very little real-estate for advertising, so owners appear to
rely on their entrances and loud music to draw in customers and convey the vibe and
aesthetic of the bar. That, mixed with the smell of food and liquor would surely be
enough to enamor and draw someone in.
In the case of Araka, the red stairway above, the walls are lined with fur. There is
a video in the next key concept that shows a visitor rubbing his hands and face against
it out of curiosity as he ascends. The area is a veritable sensory overload, and it is
incredibly effective at drawing in customers. The same group also noted the strange
sign that explained there was no cover charge for english speakers, but locals had a 700
yen cover charge, which is rare. Indeed, the typical sentiment aligns more with figure 9
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 10
below, where only japanese speakers are welcome. Although I was unable to find
images, I found comments and blogs that described bars that did not allow “ichigen”
(first timers) and only allowed regular, local customers.
Figure 9: Golden Gai Signs and entrances. Powell, D + Jurgen and Mike. 2011-present. From SHOOTTOKYO.com and http://tokyo.for91days.com/the-seedy-pleasures-of-east-shinjuku/.
In fact, most of the area looks more like the below figure 10 with very little
english writing to be seen. The bars that dissuade foreigners may seem racist when
juxtaposed so starkly to the ones catering to foreigners, but in reality it’s more rude for
foreigners to not learn the language of the land they are visiting. I spoke of finding a
“third place” before, and while it applies to customers, it also applies to the bar owners.
The mamas likely want to build a particular community or atmosphere, and with such
limited space (5 to 6 seats total), it is prudent to be picky about clientele.
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 12
Figure 10: Golden Gai Signs and entrances. Powell, D + Jurgen and Mike. 2011-present. From SHOOTTOKYO.com and http://tokyo.for91days.com/the-seedy-pleasures-of-east-shinjuku/.
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 13
Figure 11: Golden Gai Signs and entrances. Powell, D + Jurgen and Mike. 2011-present. From SHOOTTOKYO.com and http://tokyo.for91days.com/the-seedy-pleasures-of-east-shinjuku/.
The collection of signs and entrances in figures 8 + 11 show the variety to be
found between each bar, from contemporary to kitschy, Rap to Punk to Blues, Kabuki to
knock-off Chinese to Western influenced, Golden Gai seems to have it all. The variety
definitely plays a part in helping visitors find their third place, along with providing a
chaotic harmony, where each bar balances the others around it and make the streets
alone feel warm and enticing — there’s a reason the place has become something of a
tourist trap ().
There seems to be a large amount of music themed bars, one such bar is called
HOD Punk Bar (HOD Punk Bar. 2016.) and is pictured twice. The bar always plays punk
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 14
music from both national and international artists - in a video by Irwin Wong, a friend
of his gets excited when he recognizes The Dead Kennedy’s playing, the bar keep nods
enthusiastically and he repeats “this is awesome” several times within a short period of
time. He barely speaks with the bar keeper or his friends, partially due to a language
barrier and the volume of the music, but it doesn’t stop him from simply enjoying the
atmosphere created by the posters and foul language plastering the walls, familiar
music, taste of beer, and enjoying like-minded company.
On a more final note for this topic, it is notable that no matter what the theme is,
and how extreme the decor becomes, all of the signs and entrance ways are spotless.
With such a small space to work with, it’s not wonder the owners keep the space
pristine, and contradicts the initially “dirty” vibe visitors get from the shanty-town
styled old buildings.
Key concept Two: English Speaking Photographers and Youtubers [Netnography]
{embedded video}
Wong, I. (Nov 17, 2016.) Golden Gai Guys - Session 1. [Youtube video]. Retrieved February 12, 2017 from
https://www.youtube.com/watch?v=nSm_lBqXcTc
{embedded video}
DogaTV [username]. (June 5 , 2016.) Shinjuku Golden Gai. [Youtube video]. Retrieved February 12, 2017 from
https://www.youtube.com/watch?v=VDhUbVlOAm0
These two videos provides an average tourist experience and knowledge when
visiting Golden Gai. Most of the guys in video only speak english, and most of them
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 15
seem pretty awed by the whole vibe of the places although some have visited before.
Lewis, B. (February 14, 2017.) Shoottokyo search [screen capture]. Retrieved from
https://shoottokyo.com/search?q=golden+gai
The above website belongs to an employee of Youtube, Dave Powell. He moved to
Japan in 2001 and took up photography as a fulfilling hobby. Powell is exceptionally
good at capturing the small details.
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 16
Lewis, B. (February 14, 2017.) Tokyo for 91 Days website [screen capture]. Retrieved from
https://tictokyo.wordpress.com/2016/03/18/memory-lane-down-shinjuku/
Another photography site, this time a pair named Jürgen and Mike, from
Germany and the USA. They travelled Japan for 91 days and documented the whole
thing. This pair is also excellent at capturing the vibe of places, although they aren’t as
detail oriented or subject focused as Powell, they also captured some lovely moments.
While analyzing these sources I focused on 3 main topics: the importance of
finding the third place, the importance of communicating with bar keepers and owners,
and awareness of turmoil and threats to the area.
I noticed that 3 of the 4 participants were drawn to the bars that pertained to
their interests or cultures; For 91 Days photographers were interested in the general
area, but did not document any visits to the interiors of the bars and were the only
outlier. The Photographers Bar was mentioned in two of the cases, which is only
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 17
natural considering all of my participants are interested in either video or cameras
considering their hobbies.
There was also a clear overlap between finding the third place and being able to
communicate with the bar keepers. Being largely english speakers, the bars that
welcomed or catered to english speakers and created western vibes were the most
frequented, including HOD Punk Bar, Araku, and Albatross, two of which have english
websites as well. The third place, in this case, was most clearly attained by finding
places that reminded the participants of home, and gave them a break from trying to
speak a second language - in the Golden Gai Guys video, it received the highest ratings
(although their rating system seems mostly arbitrary), but specifically the highest in
foreigner friendliness. Another notable comment came from the Golden Gai Guys who
were shocked by the lack of cover charge for foreigners and the charge of 700 yen for
locals - most of the area is clearly restricted from english only speakers and more
catered towards regulars and locals.
The most knowledgeable participant about turmoil in the area appeared to be
the host from DogaTV. In his video he mentioned that part of the area might be torn
down due to construction for the upcoming 2020 olympics, but he only seemed to be
aware of it and knew no details. He also seemed entirely aware of the threats of the
nearby Kabukicho and Golden Gai itself; in response to a commenter that believed all of
Japan to be safe he responded:
“Yea that's why all over Kabukicho there are signs in Japanese warning people
about this exact thing. Kinda strange that they would put signs on every street post
warning about how certain clubs will lie about the drink prices, charge double what
they originally say, (worst case) drug you. But nah your right, they must just be making
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 18
those announcements warning people on the intercoms for fun”. The participants that
frequented the bars, and were not merely doing a single tour of the area or only
experiencing it visually, were more educated on the problems of the area, likely
because the DogaTV host had built relationships with the bar keeps - he specifically
comments fondly on the quality of the workers at Albatross, for example.
A similar quality was found in Powell when compared to Jurgen and Mike. The
frequent close ups and portraits that appear on his website are far more intimate than
the ones found on For 91 days. His images contain a certain punctum, that particular
something that draws the eye and engages the viewer, that theirs lack All are talented
photographers, but the attention Powell has is likely owed to the years he has lived in
the area compared to their mere 91 days.
Key concept Three: Influenced Artists and Intertextual Media [Case Study]
Blade Runner and Lost in Translation - possibly Gojira and what it was supposed
to represent (slow government action, dissatisfaction among residents. Reflected today
where a protest took place. Relate back to recent government protests and new more
“liberal” political parties - Your Party.
Key concept Four: Integrating InTech’s Ethnography Analysis
The owners are what keep Golden Gai thriving and open, and I want to know
more about why and how they do it. Some bars only let regulars in, no foreigners or
newcomers (also known as “ichigen”), but how sustainable is that and why is it worth
it?
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 19
Conclusion
Golden Gai is an honest, concise representation of low brow Japanese culture. It
serves a purpose, it gives a voice to those who disagree with the current cultural norms
of Japan and practically shouts the less polite aspects of Japanese society that the
general public would rather keep quiet about. This nature survives and protects itself
in the form protests to conserve the area — the proposed Zaha Hadid Olympic Stadium
for the 2020 games was cancelled in order to protect Yoyogi Park, a large chunk of
Golden Gai, and part of Kabukicho. Golden Gai stands as a gathering place of creative,
wild minds and inspired the aesthetics of movies like Blade Runner and Lost in
Translation, provided a safe place for those who are feeling homesick or in need of
some positive psychological motivation via like-minded people, stimulating sensory
overloads that keep the streets from ever becoming boring, and an edge of old school
thinking that is slowly dying out as the mama’s age and retire. While Golden Gai might
not be around forever, it will always be a place that other communities should aspire to
be like: honest, warm, stubborn, and just a little unexpected
GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 20
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GOLDEN GAI ETHNOGRAPHY AND CULTURAL PRESERVATION 23
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