“…While norm constructivism (Berger, 1998;Finnemore & Sikkink, 1998;Legro, 1997) emphasizes the internalization (or lack thereof) of norms among political actors, the repertoire approach rather suggests that it is in the very activation of instruments in networks that agency takes place. Moreover, critical constructivist approaches (Gustafsson, 2015(Gustafsson, , 2019Hagstr€ om and Hanssen, 2016;Hanssen, 2020;Suzuki, 2015;Yennie Lindgren & Lindgren, 2017) are predominantly concerned with differentiation processes, how actors construct identity -Selfin constant negotiation vis-a-vis its Others, which is helpful for understanding how policies, practices and instruments become 'conceivable' in a political community (see Doty, 1993;Holland, 2011;Rumelili, 2004). When it comes to repertoires, however, the concern is to situate the activation and promotion of this particular instrument -ODA-manas part of the broader family of instruments, and to illuminate the continuity of Japan's foreign policy repertoire in the face of a rising China and deteriorating public finances at home.…”