Introduction for "I Am A Comedian"
Good evening, everyone. My name is Aiko Kojima Hibino, and I am a lecturer in the Liberal Arts Department at the School of the Art Institute of Chicago. It is my utmost joy to present I Am a Comedian, a documentary by director Fumiari Hyuga, here today.
I teach sociology courses, including one titled Globalizing Japanese Pop Culture, which I offer annually at both SAIC and DePaul University. In this course, we use products and phenomena of Japanese pop culture as entry points to critically examine issues in contemporary Japan and beyond. For example, by discussing Hello Kitty, we explore the concept of cuteness—or kawaii—through a gendered lens. In another case, by tracing the history of superhero and monster shows such as Godzilla, we examine geopolitics and nuclear discourse within the contexts of postcolonialism and post-imperialism, extending the conversation to questions of justice.
As such, one of the topics I address in the class is freedom of speech, along with the concepts of politicality and apoliticality. The peculiar nature of Japanese society in this regard stands in stark contrast to that of the United States, particularly when it comes to comedy. And that was how I came across the comedian Daisuke Muramoto and this film, I Am A Comedian, which features him.
Unlike in the U.S., where political satire and social commentary are mainstream forms of comedy—as we see every night on late-night shows on major network TV—Japanese mainstream comedy centers on innocuous everyday observations, silly jokes, and slapstick.
One theory to explain this difference points to their differing origins: while Western comedy traces its roots to the court jester, Japanese comedy is said to have originated in ritualistic blessing performances. As such, comedic performances in Japan are generally expected to be cheerful and lighthearted in nature.
This may be true to some extent; however, it does not explain the whole picture. We often hear generalizations that Asians are culturally reserved and obedient, and therefore do not criticize authority. However, explanations that invoke “culture” as a kind of black box tend to obscure the structural conditions and historical processes that have shaped the current situation.
In the history of Japanese pop culture, political satire has existed in various forms—including poetry, cartoons, songs, and performance arts. Such expressions often flourished during periods of social change and democratic expansion.
I would like to emphasize that the current Japanese comedy scene—where almost no political satire is found in mainstream media—is largely a phenomenon of the past two decades, and especially the last ten years. This shift is, in part, the result of specific policies implemented by the conservative administration.
This is evident when we look at the World Press Freedom Index published by Reporters Without Borders. Among 180 countries, Japan ranked between 35th and 45th in the early 2000s. The ranking significantly improved between 2009 and 2012, rising to 11th place during the brief period when the Democratic Party of Japan—a center-left party—was in power.
However, after the Liberal Democratic Party (LDP)—a center-right party—regained power, the ranking quickly dropped to around 50th by 2013. When Shinzo Abe, who is one of the most nationalist right-winger among LDP politicians, assumed office, the ranking fell further, reaching its lowest point in history: 72nd in 2016. Since then, Japan’s position has remained at that low level.
And it was during that time that the protagonist of this documentary, I Am A Comedian, Daisuke Muramoto, rose to stardom as an aspiring and talented young comedian. In 2013, his comedy duo, Woman Rush Hour, won The Manzai—the most prestigious comedy competition in Japan—becoming the champions among 2,000 professional comedians. His early routines used to be based on daily life and personal observations, just like all other comedians in Japan. However, through the encounter with a community that was damaged by a disaster, his creative interest has shifted more toward social commentary. Yet, this shift was not welcome, nor even allowed in the mainstream TV, as it is too “political” and “inappropriate”. This documentary, I Am A Comedian, follows his personal and professional struggles and his journey to find his true artistic expression through comedy.
By the way, the United States has generally ranked between 40th and 50th in the World Press Freedom Index—except during the first two years of the Obama administration, when it rose to the 20th. Given the current political climate, that ranking is likely to drop significantly in the near future.
Yet, at the same time, we still have a strong culture of satirical comedy and creative expression that confronts power and empowers people.
I hope this documentary will spark the kind of conversation we need now more than ever. A panel discussion will follow immediately after the screening, so please stay with us until the end.
Now, enjoy the show.
