Western Cultural Elements in Chinese, Japanese and Indonesian Cultures - Essay Example

Running Head: Western Cultural Elements in Chinese, Japanese and Indonesian cultures Student Name: Instructor Name: Course: Date Abstract: Western culture has greatly influenced Japanese, Indonesian and Chinese science, technology, issues, political systems, language and modern entertainment, including music, film, television programmes. The outcome is a complex set of cultures that are distinct from original indigenous cultures. This essay discusses some of the ways Western cultural elements have been incorporated into the popular cultures of China, Indonesia and Japan, How these elements interact with Asian cultures and the acceptance of Western cultures in Asia. Introduction Western culture refers to the dominant values and practices that emanate from Western Europe. The concept of western popular culture became more clearly defined and incorporated into the Asian popular cultures after the World War II. Popular culture consists of beliefs, practices and objects that form part of a cultural group’s everyday life. This may hence include language, mass-consumed cultures, such as books, newspapers, films or philosophies that are appreciated by many people (Thao, 2012). At present, Chinese-, Japanese- and Indonesian-Western cultural relations is at the highest peak. This is since the popular cultures of the Asian nations and the Western cultural group today have closer ties and understanding at different levels of the society than any other time in human history. In any case, some sections of these cultural groups still show resistance to the Western cultures. There, the acceptance of the Western cultures has not been without criticisms. There are different ways in which Western cultural elements have been integrated into the popular cultures of China, Japan and Indonesia. Language Western domination of most areas of the world has left behind a legacy of Western popular cultures. Western languages are spoken predominantly across the globe. This is because of Europe’s past colonization of Asia, Africa and the Americas. Over the past half-a-century, English has been a premier international language. English is spoken by nearly 500 million people. However, more people speak Chinese Mandarin. In any case, the acceptance of dominant popular cultures such as forms of language is a critical step towards assimilation. This is consistent with the Assimilation theory. With regard to Japan, China and Indonesia, the use of English as Lingua Franca only happened over the last two to three ‘global generations.’ Nearly three decades ago, David Crystal (1985) observed frustrations over inadequate information on the number of English Speakers across China. In the modern-day Chinese culture, more Chinese cultural group have adopted English as Lingua Franca than any other time in History. China has increased the use of English in educational institutions resulting in more Chinese learning English at a tender age (Loubere, 2010). In Japan, the most important Western popular culture that had the most influential impact was Dutch learning, or Rangaku. Others included the science and culture of Spain and Portugal called Namban bunku. Adoption of these cultures started as early as 1543 (Numata, 1964). Although there may not be any specific data that assesses the percentage of the English Chinese Speakers, it is evident that the Japanese and Chinese cultural group is rapidly becoming practised in English, which points to further interaction with the Western culture. However, some theorists have noted that language assimilation should be referred as being both ‘loss of mother tongue and language ability.” Therefore, the acceptance of the Western language is moderate (Meissner, 2006). This is Because, while some Chinese, Japanese and Indonesian cultural groups are improving their proficiency in speaking English, there is no evidence suggesting that the three cultural groups have lost command of their indigenous languages. Therefore, the Japanese and Chinese cultural groups’ current level of language assimilation can be categorised under acculturation with a possibility of full acceptance in future (Loubere, 2010). The renaissance of Chinese History after 1979 cannot be divorced from language as an element of cultural identity. Chinese linguists such as Xiao Tianzhu, Shen Xiaolong and Shen Xiaolong have even claimed that Chinese language is one of the clearest and concise languages in the world, which is also one of the easiest to learn. There have also been claims that the Chinese grammar is the closest language to mathematics and perhaps the best international language. In which case, the theory of superiority of the Chinese has resisted the adoption of Western languages such as English. The most applicable theoretical explaining the incorporation of Western cultural group languages by the Japanese, Indonesian and Chinese cultural group assimilation theory, which postulates that incorporation of different cultures depends on the minority group’s acceptance of the dominant culture, where as the cultural assimilation depends on the dominant cultural group’s acceptance of the minority cultures (Loubere, 2010). Elements of Music The cultural homogeneity can further be questioned by looking at the musical cultures of different Asian nations and how they have fused with the Western music. Popular music has been integral to the spread of Western cultures. Indeed, much of popular culture elements such as fashion and language have been spread by Western-style music. Its acceptance and adoption in Asia has however been equivocal. China has showed impartial acceptance of some form of Western-style music. China made its first contact with the Western music in the 1600s when an Italian Jesuit played spinet in China. By the end of the 19th century, several European musical instruments could be used to sing Chinese songs. In the 20th century, business and intellectual classes started learning Western music in Shanghai (Deschênes, 2004). In 1999 when the Chinese Republic replaced the court, the government initiated European-styled music in China. The Cultural Revolution that was led by Jian Qing, Mao’s wife, represents one of the greatest upheavals in the Chinese history. At the end of the revolution in 1976, all national music had to show some compliance with the Western-styled music (Deschênes, 2004). Thereafter, a number of Chinese musicians and composers emigrated to the West. Among them include the legendary pipa player called Liu Fang who immigrated to Montreal. Indeed, the writing style of most modern-day Chinese composers such as Tan Dun is well described as hybrid, since it’s a fusion of Western and traditional Chinese music (Davison, 2009). This reflects the assimilation theory. Japan has in away adopted both the assimilation and cultural pluralism theory. In Japan, Western music has been met by mixed reaction since time immemorial. Western-style was largely unappreciated until 1853 when the country opened up to the world. Today, Western music continues to be deeply embedded in the Japanese culture with classical music concerts today flourishing in Japan (Nuss, 1996). One of the most accepted Western music is the Beethoven’s music. Japanese acceptance of the Western music goes as far back as within the Meiji Period (1862-1912) when German artists introduced Beethoven’s music, which became the most valued source of entertainment in Japan in the years preceding the World War II. In fact, in 1879, the Japanese government instated cultural Westernisation following the creation of Ongaku Torishirabe Gakari (Music Investigation Committee) in (Davison, 2009). The Japanese perspective largely reflects assimilation theory, where strove to adopt dominant cultures (Brannen, 1992). Although Western music has met remarkable acceptance in China and Japan, the same cannot be said of Indonesia. Slow acceptance of Western-style music has been experienced in Indonesia. Indeed, Indonesia is home to a range of music styles from the Islands of Sumatra, Java and Bali (Laskewicz, 1994). The most popular music is the gamelan. The Indonesian government has particularly been proactive in promoting Balinese music. This certainly affected the way the Indonesians view the Western culture. In 1965, a leading Indonesia pop group called Koes Plus was jailed in for playing Western-style music. In any case, the fact remains that Balinese popular music has several elements of the Western music. Indeed, given the predominance of Western music across the globe, the Balinese youth have found it necessary to fuse popular traditional music with Western music. The Balinese youth have to integrate Western-styled music if ever they have the hope of globalising their music. Much of the influences have originated from MTV. Indonesia’s perspective largely reflects Kallen’s cultural pluralism theory, where groups strive to maintain their individual identities, hence enabling theory social differences to persist over time. Elements of Films/Movies Japan has showed acceptance of Western popular culture in form of films. Indeed, by 1917, Western films were already being imported into Japan. Japanese legendary film makers such as Akira Kurosawa were inspired by the Western-themed films to become a script writer in 1926. Japan was exposed to more western films after 1945, when westernization intensified in Japan. Young Japanese made adopted American lifestyles through the American films (Semsel, Xihe and Hong, 1994). Indeed, several ties have been witnessed between the Japanese and Western films. For instance, the Rashamen films were primarily developed to strengthen the ties between the Japanese and the Americans. Even though the two countries bear separate cultures, much of the Japanese culture was influenced by the Western films. Nevertheless, films made in the West reflected Japanese philosophies (Numata, 1964). The Chinese film industry has been largely characterized by censorship of the Western films, at least until 1979 after the China Cultural Revolution. It is critical to note than Western films, including those that had been shot in China, such as “The Thief of Baghdad,” was banned in 1924. A number of other Western imports banned include “Death Over Shanghai" and “Shanghai Express. These slowed the adoption of various other elements of Western culture such as films. The Chinese film industry adopted the cultural pluralism theory, as it aimed to maintain its distinct film cultures (Meissner, 2006). Western films have experience a slow adoption in Indonesia, even though the first films to be showed in the country in 1900 were Western. Domestic film production started in 1911. Among the first films produced in the country included Loetoeng Kasaroeng, a silent film in 1926. The film was however much influenced by Western cultures. After independence, the Sukarno government applied its nationalistic policies to flush out Western purposes included films. Consequently, foreign films were banned. Various governments thereafter have strictly regulated the Western films. Indeed, in 20111, the significant increase in tax on foreign films made it virtually impossible to access foreign films, such as the major box offices from Europe and the United States. In any case, the Indonesian youth have resorted to purchasing pirated DVDs, which are entered into the country from Singapore. Like in China, the Indonesian film industry adopted the cultural pluralism theory, as it aimed to maintain its distinct film cultures. Conclusion In conclusion, for a long time, there has been a trend of steadily rising global interconnectedness. Consequently, deep-rooted popular cultures in Indonesia, Japan and China have integrated Western cultures as a result experiencing a degree of homogenization. However, as Japan and China has showed almost impartial acceptance of Western cultures consistent with the assimilation approach, Indonesia has aimed to censor much of the Western cultures in preference for its traditional cultures. This is consistent with the cultural pluralist theory. References Brannen, M. (1992) ,"Cross-Cultural Materialism: Commodifying Culture in Japan", in SV - Meaning, Measure, and Morality of Materialism, eds. Floyd W. Rudmin and Marsha Richins, Provo, UT : Association for Consumer Research, Pages: 167-180. Davison, C. (2009). Beethoven’s Image and Music in Japan’s Adoption of Western Classical Music and Practices. Retrieved: Deschênes, B. (2004). "Where East meets West: contemporary Chinese music." La Scena Musicale, Vol. 9 No. 5,. Retrieved: Thao, E. (2012). The Emergence of the Korean Popular Culture in the World. retrieved: Laskewicz, Z. (1994). Popular Music and Integration: New Performance Forms in Bali. Retrived: Loubere , N. (2010). "Is China Conforming to a Westernized Global Culture? An Assimilation Theory Analysis of Chinese-Western Cultural Relations." Graduate Journal of Asia-Pacific Studies, Vol. 7 No. 1, pp.70-83 Meissner, W. (2006). "China's Search for Cultural and National Identity from the Nineteenth Century to the Present." China Perspectives, p.51-54. Retrieved: http://chinaperspectives.revues.org/3103 Nuss, Steven. (1996). "Westren Instruments, Japanese Music: Issues of TExture and Harmony in Minoru Miki's Jo no Kyoku." Theory and Practice. Vol. 21, pp.167-187 Semsel, S. Xihe, C. & Hong, X. (1994). Film in Contemporary China: Critical Debates, 1979-1989. Santa Barbara, Ca: ABC-CLIO, Read More

In Japan, the most important Western popular culture that had the most influential impact was Dutch learning, or Rangaku. Others included the science and culture of Spain and Portugal called Namban bunku. Adoption of these cultures started as early as 1543 (Numata, 1964). Although there may not be any specific data that assesses the percentage of the English Chinese Speakers, it is evident that the Japanese and Chinese cultural group is rapidly becoming practised in English, which points to further interaction with the Western culture.

However, some theorists have noted that language assimilation should be referred as being both ‘loss of mother tongue and language ability.” Therefore, the acceptance of the Western language is moderate (Meissner, 2006). This is Because, while some Chinese, Japanese and Indonesian cultural groups are improving their proficiency in speaking English, there is no evidence suggesting that the three cultural groups have lost command of their indigenous languages. Therefore, the Japanese and Chinese cultural groups’ current level of language assimilation can be categorised under acculturation with a possibility of full acceptance in future (Loubere, 2010).

The renaissance of Chinese History after 1979 cannot be divorced from language as an element of cultural identity. Chinese linguists such as Xiao Tianzhu, Shen Xiaolong and Shen Xiaolong have even claimed that Chinese language is one of the clearest and concise languages in the world, which is also one of the easiest to learn. There have also been claims that the Chinese grammar is the closest language to mathematics and perhaps the best international language. In which case, the theory of superiority of the Chinese has resisted the adoption of Western languages such as English.

The most applicable theoretical explaining the incorporation of Western cultural group languages by the Japanese, Indonesian and Chinese cultural group assimilation theory, which postulates that incorporation of different cultures depends on the minority group’s acceptance of the dominant culture, where as the cultural assimilation depends on the dominant cultural group’s acceptance of the minority cultures (Loubere, 2010). Elements of Music The cultural homogeneity can further be questioned by looking at the musical cultures of different Asian nations and how they have fused with the Western music.

Popular music has been integral to the spread of Western cultures. Indeed, much of popular culture elements such as fashion and language have been spread by Western-style music. Its acceptance and adoption in Asia has however been equivocal. China has showed impartial acceptance of some form of Western-style music. China made its first contact with the Western music in the 1600s when an Italian Jesuit played spinet in China. By the end of the 19th century, several European musical instruments could be used to sing Chinese songs.

In the 20th century, business and intellectual classes started learning Western music in Shanghai (Deschênes, 2004). In 1999 when the Chinese Republic replaced the court, the government initiated European-styled music in China. The Cultural Revolution that was led by Jian Qing, Mao’s wife, represents one of the greatest upheavals in the Chinese history. At the end of the revolution in 1976, all national music had to show some compliance with the Western-styled music (Deschênes, 2004). Thereafter, a number of Chinese musicians and composers emigrated to the West.

Among them include the legendary pipa player called Liu Fang who immigrated to Montreal. Indeed, the writing style of most modern-day Chinese composers such as Tan Dun is well described as hybrid, since it’s a fusion of Western and traditional Chinese music (Davison, 2009). This reflects the assimilation theory. Japan has in away adopted both the assimilation and cultural pluralism theory. In Japan, Western music has been met by mixed reaction since time immemorial. Western-style was largely unappreciated until 1853 when the country opened up to the world.

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