Oh, I see! moments
Travel Cultures Language

Teaching in Japan: A Cultural Encounter with Language

by Janine Boylan on December 3, 2012

The letter J symbolizing a cultural encounter with language while teaching in Japan (Image courtesy of Thinkstock)

What sound does the letter J make?

This Lesson Brought to U by the Letter J

After over a dozen years of formal “foreign language” instruction, I should be able to communicate in a language besides English with ease. But I can’t.

Sure, I have managed enough language to have ridiculous conversations like trying to explain, in Russian, why some Americans drink green beer on St. Patrick’s Day. And I’ve been able to ask, in Japanese, where to find baking soda in a grocery store. Unfortunately, those may be my greatest language accomplishments.

More typically, my cultural encounters with language seem to involve a lot of very puzzled looks.

The Sound of the Letter J

Fortunately, I do feel pretty comfortable with English. In fact I felt comfortable enough with it that I took a job teaching English in Japan. In my school, I was the only native English speaker. The other teachers had grown up speaking primarily Japanese, but they were quite fluent in English (thank goodness—they could answer all the questions I had about living in Japan).

So I felt confident when one of the other teachers asked me a phonics question: What sound does the letter j make?

I knew that there wasn’t an exact transferrable sound in the Japanese language so I could understand why there was a question about it. But, then again, this was someone teaching English, so why was she asking me this?

She explained that the school supervisor had told the teachers that the letter j makes the sound “joo” (rhymes with shoe), and they should not be teaching that the letter j makes the sound “juh.”

No, I explained, j says “juh.”

By this time, a group of teachers had formed around me. One cocked her head as if to challenge me, “Are you sure?”

In this cultural encounter, my confidence flickered. But, no, I knew the letter j was pronounced “juh.”

The Sound of Respect and Honor

The teacher circle scattered, but the whispers remained like ghosts. For several days, one or another teacher would graciously ask me again about the letter j and how to pronounce it. If the truth is questioned long enough, you begin to doubt it. Was I wrong?

Then, as if by magic, the questions suddenly disappeared. The letter j magically and confidently had the sound “juh.”

I’ll never know exactly what happened to make this change. I assume it was the work of the teachers. And, looking back, now I see that it wasn’t phonics or language that was the issue.

The unspoken issue in this situation was the Japanese value of respect and honor.

Questioning the supervisor’s knowledge might make him lose face, which may be one of the worst infractions in the Japanese culture. The situation needed to be handled tactfully so that the teachers could teach the correct lesson and the supervisor would not be embarrassed. The teachers knew this and must have handled it accordingly.

They also, wisely, did not take the headstrong American girl (me) directly to the supervisor to explain what sound the letter made. Instead, they continued to gently question me until the truth became clear—even though I felt like their motive was to change my mind about it!

At the Heart of Communication

I learned that a critical part of communicating in any language is learning what’s behind the words—the culture, the ideas, the traditions. Memorizing the sounds the letters make and how to form verb tenses is the easiest part of communication.

Although the j linguistic cultural encounter happened in another country in another language, this “Oh, I see” moment often helps me in my daily attempts to communicate. It’s important to consider not only what is being said, but what isn’t being said.

And, by the way, finding baking soda in a Japanese grocery store is a piece of cake.

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Image of the letter J courtesy of Thinkstock

A Cultural Encounter with Violence: Sicarios

by Meredith Mullins on November 29, 2012

International Fine Art Photography Winner
Unmasks Violence in Guatemala

The photograph that just won the Grand Prize in the 2012 International Fine Art Photography Competition is powerful, lyrical, rich in tones, and graceful in line.

As you look closer, a story begins to unfold. When fully understood, the image sends a spine-chilling message about the pervasiveness of violence in the world today and how easily it has come to be accepted as a part of daily life in certain cultures.

In so many countries, guns and killing are woven into the cultural fabric. Poverty, abundance of weapons, a legacy of violence, corrupt or dysfunctional law enforcement, war, revolution, drugs, gangs, and a reverence for the power of violence all contribute.

The Culture of Guatemalan Hit Men

Spanish photographer Javier Arcenillas titles his award-winning work “Red Note” after the police report issued daily in Guatemala that lists the violent crimes that have occurred. Arcenillas follows the trail of these alerts in Guatemala, Honduras, El Salvador, and Mexico—to tell the story of this growing violence.

The image is a part of his series called Sicarios—an even more chilling story of a culture of “hit men” or hired killers in Latin America.

The job of a sicario is one of the most popular and respected professions in these countries. Young people are seduced by the easy money and the instant respect. Sicarios are strong . . . and feared.

“When they hold their first gun, their childhood disappears, and their games become adult games. Their playground is the street, ” Arcenillas says. “But they rarely make it past 25 years old.”

The sicarios are usually from the poorer strata of society. Young killers train by shooting pets and learning to eliminate any feeling of guilt. They graduate by killing the homeless. Then, they’re ready to be full-fledged assassins.

The Real Story in Images

“These problems of violence cannot be solved with a camera,” Arcenillas says. “I can’t save the world with photographs. But I can aspire to heal it. My role is to tell a story in images . . . a real story. The truth.”

Too often, a culture accepts and glorifies violence (films, TV, video games, street-level struggles for power, or legal pleas of “self-defense” and “standing one’s ground”). The stage has been set. But the real-life dramas that play out every day are reaching catastrophic proportions in many countries.

Arcenillas’s photographs are troubling, moving, and deserving of our full attention. As he says:

“Let the sentence of the day be, ‘For once in my life, I need to listen.’ Indifference is the world’s evil.”

His photos reveal a haunting Oh, I see moment, as we come face-to-face with everyday violence. The images, hopefully, serve as a call to action.

How do we keep eight-year olds from wanting to be corner-boy drug runners or sicarios?

How do we keep kids from wanting to do just what their older brothers are doing?

How do we make sure a country such as Guatemala prosecutes more than 5% of its violent crime cases . . . or even just reports the crimes that are committed?

How do we implant a conscience in a culture . . . a conscience that makes it wrong to kill someone or to remain silent when someone is killed?

These are life-threatening, life-changing questions that need answers. Soon.

 Learn more about Guatemala

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A Cultural Encounter with Mexico’s Calacas

by Janine Boylan on November 26, 2012

Oaxacan artist Carlomagno Pedro Martinez, whose calacas (skeleton sculptures) provide a cultural encounter

Sculptor Carlomagno Pedro Martinez adding texture to a skeleton’s shawl
© Janine Boylan

Symbols Abound in Skeleton Sculptures of Oaxacan Artist

Sculptor Carlomagno Pedro Martinez leans over the wooden table and meticulously adds texture to the wailing skeleton’s shawl. Loose bones, skulls, and other skeletons are scattered on the table around him.

At a cultural exhibit of Oaxacan artists in the Bowers Museum (Santa Ana, California),  Martinez,  the featured sculptor,  is working with the unique black clay he brought from his hometown near Coyotepec in Mexico.

Once Martinez’s figures dry, he polishes details with a quartz stone and then, using a centuries-old technique, kiln-fires his creations to obsidian black with gleaming metallic-like designs.

Martinez began working with clay when he was just four years old. His artistic parents taught his siblings and him the craft. Over time he developed his own style, inspired by traditional Mexican symbols and legends.

This was not my first cultural encounter with calacas, Mexican symbols of the dead. I knew that in Mexico, death is not negative or frightening. Figures like these typically are meant to be a joyous way to honor ancestors.

Observing the Sculptures

Martinez’s sculptures appear to be simple representations of everyday life.

One of Martinez’s pieces shows five animated skeletons on a bench. They are enamored with a frolicking dog and his bones.  Martinez had carefully textured each shawl, curved each hand into a meaningful pose, and added precise expressions to each face.

Five abuelas, dog, and bone sculpture, providing a cultural encounter with Mexico's calacas (skeleton sculptures) by Oaxacan artist

Five figures, dog, and bone sculpture by Carlomagno Pedro Martinez
© Janine Boylan

In another sculpture, a skeleton lies on its stomach (or, more precisely, rib cage), joyfully studying a book. A wise owl perches at the skeleton’s eye level. They appear to be engaged in an intent discussion about what they’re reading.

Skeleton and owl sculpture, providing a cultural encounter with Mexico's calacas (skeleton sculptures) by Oaxacan artist

Skeleton and owl sculpture by Carlomagno Pedro Martinez
© Janine Boylan

Nearby is a parade: a bone, a skull, a dog, and a cross-legged skeleton. A large mask necklace hangs around the skeleton’s neck. The dog is joyfully wagging its tail.

Skeleton and dog sculpture, providing a cultural encounter with Mexico's calacas (skeleton sculptures) by Oaxacan artist

Bone, skull, dog, and skeleton sculpture by Carlomagno Pedro Martinez
© Janine Boylan

An ornate turkey hovers on a shelf over the skeletons. It seems a bit out of place, but this time of year, turkeys are still in season, right?

Turkey sculpture, providing a cultural encounter with Mexico's calacas (skeleton sculptures) by Oaxacan artist

Turkey sculpture by Carlomagno Pedro Martinez
© Janine Boylan

Digging Deeper into Mexican Symbols

Being curious, I asked Martinez about the turkey.

When a turkey fluffs its feathers, he explained, it is a symbol of day turning to night.

Oh! It had nothing to do with Thanksgiving. This Oh, I see moment prompted me to ask more questions: What about the owl?

There is a traditional Mexican saying, Cuando el tecolote canta, el indio muere (When the owl cries, the Indian dies.). The owl is a symbol of death, not wisdom.

And the five figures? The dog?

Martinez explained that each figure is an abuela (grandmother) and represents 100 years of Mexican history. The dog represents the political party, and the bone represents the policies and politics. It wasn’t a park scene, but a symbol of history and politics.

The mask necklace around the neck of the cross-legged skeleton?

That is life, hanging around the neck of an ancestor.

More Than Meets the Eye

Oh, I see! What I had brought to each of his sculptures was an appreciation of his talent in crafting them and a message based only on the surface of the cultural encounter. But when he explained the deeper symbolism of each one, I had a completely different response. Each piece was a novel of symbols that deserved a more careful read.

It was a clear reminder to me of how important it is to dig deeper and gain a wider understanding. Something that appears clear and simple may have a complex message. That’s a lesson I can apply daily!

As I was leaving, I passed by the table from a different direction.

Turns out there was even more to that turkey than I first saw. Another reminder to look at something from many angles!

Back of turkey sculpture, providing a cultural encounter with Mexico's calacas (skeleton sculptures) by Oaxacan artist

Back of turkey sculpture by Carlomagno Pedro Martinez
© Janine Boylan

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