Chinese migrants now constitute the largest group of registered 'foreigners' in Japan, with over 600,000 documented in 2006. This is the result of an intersection between the Chinese government's drive for educational and economic success, and Japan's flexible student visa labour system. It is the product of a 'normalization' of mobility amongst young mobile Chinese. Based on 20 months fieldwork in Tokyo, Japan, I explore the ways in which the decision to move is experienced as mundane, and how it is negotiated as a form of 'everyday practice.' Through this lens, this article posits multiple relationships between mobility, its limits and how this relates to mobile people's sense of place in the world.
Chinese migrants are currently the largest group of non-Japanese nationals living in Japan. This growth is largely the result of educational migration, positioning many Chinese in Japan as student-migrants. Based on 20 months’ ethnographic fieldwork in Ikebukuro, Tokyo's unofficial Chinatown, this paper explores the ways in which the phenomenology of the city informs the desire for integration amongst young Chinese living in Japan. Discussions of migrant integration and representation often argue for greater recognition of marginalised groups. However, recognition can also intensify vulnerability for the marginalised. Chinese student-migrants’ relationship to Ikebukuro's streets shows how young mobile Chinese in Tokyo come to learn to want to be “unseen.” Largely a response to the visual dynamics of the city, constituted by economic inequality, spectacle, and surveillance, the experiences of young Chinese students complicate the ways we understand migrants’ desires for recognition and integration.
The flâneur acts as a key figure for understanding the relationship between the individual, modernity and the city. A reference to dandy young gentlemen, who walked, performed and loitered within the arcades of late 19th-century Paris, the flâneur has transitioned from a literary and theoretical figure to one used in mobile urban ethnographies. The flâneur, traditionally male, is a figure of pedestrian mobility whose sensorial and mobile engagements with the urban landscape generate distinct forms of creative practice. For this reason, the flâneur has been invoked in relation to the methods and experiences of the ethnographer, who moves and takes note in similar ways. This paper conducts a review of extant literature on the flâneur in ethnographic research, which shows a strong connection between this key figure and its ties to a European tradition dealing with Anglo-European (post)modernities. It has also inspired a range of methodological innovations in urban ethnography more broadly. Finally, through the case of Tokyo, the paper asks the question of who is drawn to flânerie and who is deterred from it, demonstrating how the transgressive potentialities of flânerie are only desirable for some.
Theorizations of celebrity often contend with questions of the constructed nature of star persona. This is more so the case when discussing divas in Japan, as they are subject to a wide range of gender regimes that mould the ways in which their persona is produced and consumed. Contemporary forms of transnationalism in East Asia, however, have created media flows and fan bases that provide new opportunities for Japanese female celebrities to reconstruct their star personas, transcending their celebrity status in Japan. Focusing on the case of Aoi Sola, a Japanese adult video actress turned celebrity, this article demonstrates how transnational East Asian flows problematize our static theorization of celebrity. Sola's interactions with her Chinese social media fan base have afforded her a cosmopolitan persona that has been celebrated as a cultural bridge between China and Japan. At the same time, her star persona leaves her vulnerable to reinscriptions into transnational politics as played out in everyday media flows. This dynamic is best demonstrated in Sola's attempts to quell anti-Japanese sentiment in China as well as in her efforts to reinscribe her star persona using nostalgic associations of cultural similarity and a shared past. Based on analyses of Sola's celebrity trajectory from adult video to online Chinese mediascape Diva, this article suggests that contemporary star persona status is better understood in terms of gender, movement and 'meshworks'
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