Japan-US  Creative  Arts  Fellowship,
Online Residency Handbook

Last updated: July 23, 2010

Compiled by Christopher Blasdel
Artistic Director,, the International House of Japan

    IMPORTANT: NECESSARY FORMS REQUIRED BY IRS BEFORE DEPARTING THE US FOR JAPAN.
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Click any of the Table of Contents headings to go directly to that topic.

Table of Contents

Introduction

General Conditions of the Grant

Final Report

Preparing for Departure

Arriving in Tokyo

The International House of Japan

Orientation

Setting up House

Going about Your Work

The Language

The People

Money

Travel

Medical Problems and Health Insurance

Clothing

Advice on Schools in Japan and Survival Tips for Life with Small Children

Miscellaneous Notes

Appendices

Helpful Telephone Numbers and Web Sites

Japan's National Holidays

Outline of the responsibilities of the I-House toward the USJFC Creative Artists Exchange Fellows

Contacting us

Introduction

This handbook is intended for fellows of the Japan-US Creative Artists Exchange Fellowship Program. This program, sponsored jointly by the Japan-US Friendship Commission, the NEA, the Japanese Agency of Cultural Affairs (Bunkachô) and the International House of Japan, Inc., allows five US-based mid-career artists to spend five months in Japan studying Japanese culture and its manifestations in their particular fields.

Here you can find basic information about the responsibilities of the grant, how the stipend works, tips for getting set up in Japan and other pertinent information to help make the most of your time in Japan. The information here is general, but whenever possible we've added url links to the text. If you need more information about a certain topic, click the link and you will go the appropriate web site. Please note that, obviously, in doing so you will also leave this site. Use the back button on the browser to return. The links are also listed in the appendix.

GENERAL CONDITIONS OF THE GRANT:

These are the conditions of the grant, a copy of which you have probably already received.

A. Grantee agrees to spend five months in Japan without lengthy interruption except for unforeseen emergency. If Grantee is to be absent from Japan for more than ten consecutive days, Grantee must seek clearance with the Commission's office in Washington first. If Grantee is absent from Japan for more than ten days, Grantee's allowances will be suspended until Grantee's return. If Grantee spends a period of longer than six months in Japan, it is mutually understood that time will be the responsibility of the Grantee.

B. All dollars awarded pursuant to the Agreement shall be expended in the United States. All yen awarded pursuant to the Agreement shall be expended in Japan. Neither currency may be converted to the other or any other currency.

C. The activities financed for this Fellowship are expected to be carried out exactly five months following Grantee's departure for Japan.

D. The Grantee shall submit a program report describing and evaluating the activities undertaken pursuant to this Agreement within ninety (90) days of the completion date of the Agreement, or at such times as requested by the Commission.

E. The Grantee shall use United States flag carriers for international travel and less than first class accommodations for all travel supported under this Agreement.

F. During the period of this Fellowship, Grantee may not be concurrently receiving any other fellowship award.

G. During the period of this Fellowship, Grantee may not work for pay.

H. No person in the United States shall, on the grounds of race, color, creed, sex, national origin, age, disability, sexual orientation, political preference, labor organization/or non-affiliation, marital status, or parental status be excluded from participation in, be denied the benefits of, or be subjected to discrimination under any program receiving Commission assistance.

FINAL REPORT

All Creative Artist Fellows must provide a final report on his or her residency within 90 days of the completion of the grant. There are no rules or guidelines concerning the length, style or content of the report. We ask that you submit it, if at all possible, in electronic form so we may, with your permission, post it to our website.

Many artists have inquired as to what they should write. This is completely up to the individual artist. Some artists have kept dairies and used them as the basis for the report; some have submitted copies of lectures or presentations they gave while in Japan. Other artists have outlined their salient experiences in a few pages and sent them in with photos, reproductions, DVDs or CDs of their works. Some have been very personal and introspective in their writing, while others deal primarily with the process of detailed, dispassionate observation. We welcome any format.

We also appreciate any observations you might have on how the program might be made better for future artists.

This report is vital to the continuation of this unique fellowship. It is the testimony of each individual artist that speaks to its success and helps insure that funding will continue.

A copy of the report should be sent to the Japan-US Friendship Commission in Washington DC, the NEA and the International House of Japan, as follows:

Preparing for Departure

Japan is an amazing country where one can experience a mixture of the traditional and the contemporary, the East and West, freedom and restriction. Compared to Western countries, Japan and its people have evolved from a completely different cultural, linguistic and geographical backgrounds, yet as urban centers, Tokyo and other major cities of Japan share much in common with other great cities of the world.

Japan is not necessarily an easy culture to step into and even harder to understand (at least in the common Western way of "understanding"), but the amount of preparation you undertake before arriving and the effort you make once arrived will do much to determine the quality of your stay. This pamphlet provides a few details about the workings of the fellowship, what to expect upon arrival, and generally how to set up house in Japan and plan your stay.

Artists in the United States tend to congregate in New York. Likewise, the majority of artists coming to Japan choose to remain in Tokyo, which is the center of most artistic activity, both contemporary and traditional. Furthermore, the International House of Japan, which acts as advisor and curator of this fellowship, is located in Tokyo and is best able to assist those artists who remain in that city. Nonetheless, this fellowship contains absolutely no strings or conditions on location, and artists should determine for themselves where they should stay. The suggestions and hints given here are more or less applicable throughout Japan. For those who have lived previously in other countries or traveled extensively, these notes may seem redundant, but these pages were designed to make your transition easier and to lessen the intimidation of moving to Japan.

There are currently a great many publications available about Japan ranging from very scholarly, detailed studies, insightful personal reflections, helpful hints for the newly arrived to the official and non-official tourist guides. A look in the local library or on Amazon.com will yield a listing, but here we recommend a few books which are helpful, if you can find them. If you are unable to locate them in the US, they might be available in Japan.

• Tokyo, A Bilingual Atlas, Kodansha Inc. A detailed map of Tokyo written in both in romaji (Romanized letters) and kanji (ideographs). The index contains addresses and telephone numbers of embassies, hotels, etc. There is also a version for the whole country: Japan, A Bilingual Atlas ("Nihon Nikakokugo no Atorasu").
• Your Life in Japan, (Volume 1 Daily Life, Volume 2 Leisure) Japan Times, Ltd. This book gives basic but important information for first-timers in Japan.
• Japan, The New Official Guide, The Japan Travel Bureau. A revised edition of one of the most respected and complete guidebooks.
• Japanese for Busy People, Association for Japanese Language Teaching, Kodansha Int. A thorough yet easy to use introduction to the basic of Japanese speaking, reading, and writing.
• Japanese Literature, An Introduction for Western Readers, Donald Keene, Tuttle Books.
• A Reader's Guide to Japanese Literature, Thomas Rimer, Kodansha International.
• A Lateral View, Donald Richie's collection of essays providing a sensitive insight into the workings of the Japanese society and interpersonal relationships (by the way, any book by Donald Richie on Japan is worth reading) .
• Japanese Aesthetics and Culture, A Reader, edited by Nancy Hume, SUNY. This collection contains 12 essays by leading scholars covering literature, noh, kabuki, martial arts and modern sensibilities.
• Art Space Tokyo--an Intimate Guide to the Tokyo Art World, Chin Music Press, Seattle--Tokyo. As the title suggests, this book provides detailed information to a number of distinctive Tokyo galleries through interviews with the gallery directors and art critics.
• G 12 Twelve Gallery Owners, Interviews written by Hiroyasu Yamauchi, Tokyo Chizu Publishing Co. Ltd. This guidebook, also taking the form of interviews with gallery owners, covers some of the more avant garde galleries that the above book leaves out.

Major book stores that have extensive English language sections include Maruzen in Nihonbashi across from the Takashimaya Department Store on the Ginza subway line, and the Kinokuniya stores in Shinjuku and Shibuya. The area around Jimboucho and Kanda is a publishing center and contains hundreds of book stores, specializing in new or used books. Many of these stores also sell English language books. Nadiff in Shibuya, On Sundays in Kita Aoyama and the Aoyama Book Center in Roppongi and Aoyama next to the United Nations University carry a varied selection of foreign art and photography books. Art and stationary supplies can be picked up at Lapis in Roppongi or Seikaido in Shinjuku.

As a Japan-US Creative Arts Fellow, your work here involves cultural exchange.  Therefore you must obtain, before coming to Japan, a visa enabling you to engage in "cultural activities." This type of visa is valid either for six months up to a year (depending on what the local consulate gives you). The Commission and Bunkacho will provide the necessary papers for obtaining the cultural visa, but you need to begin the process several weeks before your departure. Please note that on this grant it is NOT possible for you to enter the country with a Tourist Visa, nor will you be eligible for the Japan Rail Pass.

If you are travelling with a companion who is family (spouse or children), they will be able to enter on your visa, but you must apply for this status as well. If your companion is not related by marriage or blood, he or she can enter the country without a visa (obtaining a Tourist Visa upon entry), but their stay will be limited to three months (after which they will have to leave the country and re-enter). We have had limited success with a same-sex partner obtaining an accompanying visa, but it seems to depend upon the understanding of the individual consulate.

Soon after your selection as a Creative Arts Fellow, the I-House will send you a questionnaire requesting information about your work, activities, any special needs or problems you might have. You will also be asked if you would like to reserve a room near the International House for the initial days of your stay. Most artists stayat the I-House for the first few days, as they usually need time to recover from jet-lag and acclimatize themselves to the enormity and complexity of Tokyo. It would be helpful if you could let the I-House know your arrival plans as soon as possible. You should keep in mind that time-wise, Japan is one day ahead of the United States. Your arrival date in Japan will be one calendar day after your departure from the US.

Shipping: Previous artists have used both the postal service and private shipping companies to send extra luggage to and from Japan. Air Postal rates are very expensive, and surface mail is slow. Yamato Kuro Neko (Black Cat) has offices in the US and can arrange shipping to and from Japan at reasonable rates.The stipend does not cover shipping from Japan.

Arriving in Tokyo

Most of you will be arriving at Narita Airport, which is about an hour and a half outside Tokyo. Narita has two terminal buildings, but the arrival process is the same for both. Unfortunately, the airport itself is so far away that essentially only heads of state and ambassadors get met at the airport, so you're on your own. Don't despair, the transportation folk at the airport usually go out of their way to help first time arrivals at the airport, and it usually turns out to be a very simple though time-consuming process. What follows is a detailed outline on how to get from the airport to the International House of Japan, assuming you will be staying there for the first few days. The Narita Airport site is also veery helpful inproviding detailed information for arrivees.

After deplaning you will go downstairs, past the quarantine checkpoint (just say you don't have any communicable diseases), past the immigration officers (who will check to see you have the right kind of visa and finger print you), to the luggage pick-up, and then through customs.  All in all, this process is quite simple, compared to many American ports of entry.  Shopping carts are provided for heavy suitcases. After customs, there is a money-changing desk. If you haven't brought yen from the states, take the opportunity to change at least $100 at this time. You can change more later, but you will be getting a sizeable advance on your grant within a few days. (The exchange rate at Japanese banks is the same anywhere in Japan, though hotels tend to charge more.)

At the end of the arrival lobby are a row of luggage handlers' desks. For a reasonable fee, they will ship your heavy bags and packages to the I-House or any other destination. As the luggage will usually arrive the next day, this service is highly recommended. It means you won't have to lug the large cases by yourself into Tokyo.

There are several ways to get into Tokyo from the airport, but if you are even thinking of taking a taxi to Tokyo, be forewarned that it might cost up to $200! That leaves the trains and buses. The following methods are the recommended ways to travel to Tokyo from Narita. The URL links will provide fares and times.

The Narita Express (NEX) is the fastest and most comfortable way to arrive at Tokyo station, taking just one hour and costing about 3000 yen. Trains leave on the average every 30 minutes during the day. You need to buy a reserved ticket before you board, but there is a JR desk at the arrival lobby where you can obtain schedules, reserve a seat and purchase a ticket.

Keisei Railways operates the Skyliner, which runs from Narita to Ueno. Ueno is a little further away from Roppongi than Tokyo Station, and for this reason we recommend the Narita Express. If you go to Ueno, however, you can take the Hibiya subway line to Roppongi.

If you prefer buses (or arrive at off-hours when the train doesn't run), right outside the customs door is the "Airport Limousine" desk (with signs in English) where a bus leaves for the Tokyo City Air Terminal (TCAT) every 15 minutes. The fare is slightly less than JR, but if the traffic is bad (and it usually is), the bus can take over 2 hours to reach Tokyo. Whether you arrive at the TCAT or Tokyo station, you should take a taxi to the International House in Roppongi. Hand the driver the map that is reproduced here, or, if you don't have the map, just say "Kokusai bunka kaikan, Roppongi." The taxi fare should be around 3000 yen. Don't worry about being cheated. Most taxi drivers, and most Japanese as well, are very honest and conscientious.

One marvelous thing about Japan is that there is no tipping of taxi drivers, waiters, or bell-persons. One last thing about the taxi--the driver controls the opening and closing of the passenger door, and he doesn't like it if you try to help. When you alight from the taxi, ask for a receipt (reshiito or ryôshûsho). Such expenses are reimbursable from your professional funds, and you should get into the habit of asking for receipts.

The International House of Japan

The International House is a highly respected, private non-profit membership organization dedicated to furthering understanding between cultures. With its own endowment and support from foundations, corporations and individuals, the I-House sponsors various academic and cultural programs and activities, fellowships, scholarships, conferences and research. The grounds contain a hotel, conference rooms, a beautiful Japanese garden, restaurants and a small English language library, all of which are available for exchange scholars, researchers, artists and members. The library maintains a collection of recent English language works on Japan in the area of the social sciences, humanities and arts. As a Creative Arts Fellow, you are eligible to join as a library member. The librarians will help you locate any books which may not be at the I-House library. The area around the I-House, Roppongi, is high-fashion and a mecca for models, thrill-seekers and night clubbers. Not exactly quaint old Japan, but it is convenient to the rest of the city and a good place to start. 

The Program Department, which is in charge of your fellowship, is open only on the weekdays during regular office hours and is closed on national holidays (see appendix for listing of Japanese national holidays). It will be helpful if you keep this in mind when planning your arrival. 

Map

Address:
11-16, Roppongi 5-chome, Minato-ku, Tokyo 106-0032, Japan

Phone/Fax Numbers:
Program +81-(0)3-3470-3211/+81-(0)3-3470-3170
Information/Reservation +81-(0)3-3470-4611/+81-(0)3-3479-1738

Directions:

Subways

1.  Hibiya Line, Roppongi Station (Exit No. 3) 10 minute walk
2.  Nanboku or Oedo Lines, Azabu Juban Station (Exit no. 7), 3 minute walk.

Buses

From Shibuya or Shinbashi
Bus No. 1 (for Shinbashi Station) Get off at Roppongi 10 minute walk

Orientation

The International House, or IHJ, is your host and 'window' into Japan and will help with the mundane but necessary aspects of life and getting started with your fellowship. They maintain on their staff experts in the arts scene in Tokyo to help facilitate meeting and exchanges with people in your field.  IHJ Artistic Director Christopher Blasdel is a part-time staff member who is active in the music scene in Tokyo. Arts Program Associate Manami Maeda joined the IHJ staff as a part-time assistant in August, 2003. These two help the artists in both professional and everyday matters. Although the I-House has built up an extensive network of artistic connections, thanks in large part to the contacts made by previous fellows, it is helpful if you can bring names of people you specifically want to meet or have had previous contact with. The day after you arrive (depending on the day of the week and whether or not it is a national holiday), you will have an orientation with the I-House artists' assistance staff. They will explain the grant and the financial arrangements and give you the first installment of the grant. Other necessities, like registering as an alien, opening a postal office or bank account, ordering calling cards (meishi) and other daily problems will also be covered. Housing will also be discussed as well as any other problems or questions you might have. Please refer to the list in the appendices below for a description of the responsibilities of the I-House toward the artists (e.g. what we can and cannot do for you). 

Within 90 days of your arrival, you must, as an "alien," register at the local ward or city office where you have decided to live. You will need to take your passport and two passport-size photographs for the identification card they will make for you (like in the US, coin-operated photo booths are available for identification photographs). You must carry this card with you at all times (if you have the card, it is not necessary to carry your passport). Recent changes in the law require that you have an alien registration card (or proof that you have already applied for one) before you can open a bank account.

Setting Up House

Your first order of business, after recovering from jet-lag, will be to find a place to live. This usually happens smoothly, but it takes some time and effort. It seems to take about a week or ten days for most artists to find a place. Of course, the most important decision in the whole process is deciding whether to live in Tokyo or locate somewhere else. The majority of the artists choose to live in Tokyo, but those who choose to live elsewhere--Kyoto, Kyushu, or in the countryside--have had quite memorable experiences. Some fellows have used the grant to do extensive travelling around the country, but even in such cases they have found a need for a place to return to and store baggage while away.Unfortunately, most of the housing contacts the I-House maintains are centered in Tokyo, so if you decide to live outside the greater Tokyo metropolitan area you will be mostly on your own.

Tokyo apartment prices vary according to location, space, building quality and environment. Prices within the center of Tokyo are outrageous but become more reasonable the further out you travel. Some artists have found wonderful, spacious places in nearby suburbs which are reasonable and not too far away from Tokyo. You will have to consider how often you need to commute into Tokyo.

There are several possibilities in apartment searching: going to a realtor, word of mouth or personal introduction, or classified ads. Often apartments are available because a previous artist is vacating, or word of a vacant apartment comes into the I-House office. Not a few of the artists have arranged housing before they arrive through their own Japanese friends. If you go through a realtor, you have a better choice but will have to pay a realtor's fee, key money (usually a non-refundable two month's worth of rent which is given to the landlord for the 'privilege ' of moving in) and a refundable deposit. Some realtors offer apartments that waive the key money; so you should check with them.  Most realtors, however, require at least a year contract, so this is usually not an option.

There are also short-term furnished rental apartments (called weekly or monthly manshons) available without the keymoney or realtor fees. Several of the artists have opted for these kinds of lodgings. They are small but clean and furnished with the basics: bedding, kitchen utensils, TV, video, telephone, etc. Once you arrive, the I-House staff will let you know about the availability of apartments or introduce you to a realtor and help you hunt. We have listed a few of these short-term apartments in the appendix below. The various free classified ad magazines mentioned aboveand newspapers sometimes lists reasonably priced apartments.

Of course, once you have found the temporary house of your dreams, don't be surprised to have to pay. Tokyo land prices, though down from the bubble inflated days of the 1980's, are still very high. You are provided with a monthly housing allowance of 100,000 yen. This is helpful but not always sufficient, especially if you are here as a couple or with a family. Most fellows pay about 150,000 yen for 2 or 3 small rooms. The place may not be furnished, so that takes another 75,000 yen + for necessities. The railway transportation system is excellent, but if you live on a bus line, keep in mind that they stop running early, usually around 10 PM.

As mentioned above, the I-House has few housing resources outside of Tokyo. Quilt-maker Ellen Oppenheimer, whoresided in Kyoto during the summer-fall season of 2003, wrote a few suggestions about finding an apartment and living in Kyoto.

Local phone calls in Japan are charged per minute, so you don't want to park your modem on the Internet, unless you have cable Internet or an ADSL line .

Most everything in the way of utensils and kitchen tools can be found in Japan. Almost all neighborhoods have hardware stores, and inexpensive utensils can be purchased at supermarkets or the ubiquitous 100 Yen Shops. You might want to bring any particular appliance or items which you feel you cannot do without, but keep in mind your amount of luggage and also the fact you will probably acquire considerable amounts of goods during your stay and shipping to the US from Japan is very expensive.

Local 'mom and pop' restaurants scattered throughout the city are very good and inexpensive, as they cater to students and singles who eat out every day. It is oftentimes cheaper to eat out at one of these places than to purchase a lot of food and cook for just one person. There is much variety in the food here, including a large availability of European and ethnic foods.

Vegetarians fare well here, but avoiding fish products may not be so easy. Nonetheless, an increasing number of organic vegetarian restaurants are opening up.

Japan is still in the dark ages concerning smoking in public places, although it has improved somewhat in the last few years. An increasing number of restaurants include non-smoking tables, but they are still in the minority and usually ineffective because smokers still puff away at nearby tables. The family restaurants like Dennys (much more upscale than their US counterparts) or Royal Host have roomy non-smoking sections along with kid menus. Hotels, although expensive, also are likely to have no-smoking sections. Starbucks have revolutionalized the cofffee shop scene in Japan with delicious, reasonably priced coffee and completely non-smoking shops. Check out these sites for a list of no smoking restaurants: No Smoke Tokyo, Kin-en Style.

Going about Your Work

While on the fellowship, you're essentially on your own when it comes to meeting people and getting on with your work. You were chosen for this fellowship partly because you appeared independent enough to get things done without a lot of support. Although the I-House and its staff will help arrange meetings and facilitate your work, and the Bunkachô or American Embassy might take an interest in your work, no one will act as your manager, promoter, or secretary. If you are interested in meeting a lot of people here, try to find out as many names as possible before coming. Ask other fellows who've been here (see address list of previous grantees) and the ones in Japan now.  While the staff at the the International House will share whatever contacts they have, there may be none in your particular field. It cannot be stressed how important is laying this sort of groundwork. Leave no stone unturned, because, more so than any other country, Japan runs on a "whom you know" basis. Most Japanese artists are warm and open, and once contact is made and trust established,they are usually willing to open their world and acquaintances to you--though it might take more time than you initially suspect. Tell your Japanese friends the things you would like to see and do; they are understandably proud of their culture and will go out of their way to help you.

The arts scene in Japan is somewhat of a paradox. The highly refined and artistic aspects of the traditional culture give rise to a fertile avant-garde art scene, but public and private support of artists and musicians, especially young, contemporary artists, is almost non-existent. In spite of this lack of general support, however, there is a very thriving arts/music scene, both traditional and contemporary. Grantees have taken classes in noh, butô, traditional dance, tea ceremony, calligraphy and shakuhachi; just to name a few. Most teachers are more than willing to share their time and expertise with a foreign artist, but one can't expect to go too far with any of the traditional arts in Japan during a five-month visit, and very few artists or performers, especially those in traditional fields, speak English. The experience of taking lessons in a traditional art or craft can be invaluable, however, as an integrating part of your own work.

If you want to collaborate with a Japanese artist or theater group with whom you have a connection, try to arrange it before you come. Some artists have been disappointed because the time here is too short to arrange extensive collaborations. On the other hand, many of the artists have laid the groundwork for future collaborations during their six-month stay.

You cannot work for profit while in Japan, but you are encouraged to give readings, performances, or showings of your work (you may accept travel and per diem remuneration from the sponsoring insitutions). When you come, you should bring portfolios and examples of your work in as many media forms as possible: CDs, DVDs, slides, publications, reviews, etc.

The American Cultural Attachè and the staff of the US Department of State at the American Embassy are always interested in knowing about visiting American artists, and you should consider making contact with them soon after you arrive. They may be able to arrange performances, exhibitions, or presentations at the American Centers in Tokyo and other major Japanese cities. If you are interested, mention this early since planning can take a while.

Mr. Dale Largent
Program Development Officer
Cultural Section, U.S. Embassy
1-10-5 Akasaka
Minato-ku, Tokyo, 107-8420

Tokyo Tel: 3224-5242; Fax: 3588-0749

largentda@state.gov

In 1987, the I-House set up an Artists' Forum series where the fellows can show/ perform/read their work and meet as many local artists as possible. The I-House will, upon request, arrange a forum for you during your stay in Japan, as it will help you make contacts and share your work with other artists. The Artists' Forums have presented such diverse artists as film-makers, musicians, mime artists, video artists, computer musicians, poets, visual artists, and craft-artists. Be thinking of the kind of presentation you might want to make. Participation in the forum is not mandatory, but it is a good way to widen your contacts.

The Language

The bad news: for those who speak Indo-European languages as their native tongue: Japanese is a difficult language. You know this if you've already begun language classes. The good news is that all Japanese have had at least six years of schooling in English, so you are unlikely to starve or get hopelessly lost. Japanese language training, however, centers on reading, writing, and university entrance examination abilities, so they usually don't feel too competent in conversation. If you're really in trouble, try writing things down. Learning the katakana and hiragana syllabary alphabets before you come makes it much easier to read signs and generally get around.

Any effort that you make to speak Japanese will be met with the utmost kindness, if not somewhat overabundant praise. If at all possible, take some Japanese classes before arriving; the grant allows for a fair amount of language training in the states, and it is best to use it. Even a two-week Berlitz intensive course will be helpful. The language book, Japanese for Busy People, recommended above, seems one of the best all around language primers. Once here, you will be able to take Japanese language classes as part of your professional expenses. Spouses or partners can usually take for a reduced rate if you have classes together. Continuing your studies of the language once you come here is highly recommended. A knowledge of the language gives depth to your experience of the Japanese culture.

The People

It is impossible to reduce any culture into a paragraph, or try to predict how any one person will react to being here. Perhaps the most meaningful way to experience the culture and pick up the language is to make friends. This may seem elementary, but it is the creation of personal relationships with individuals in Japan that will determine the quality of your stay. You will meet people through your work, or at your favorite eatery or drinking place, or through your children, if you bring them. People here are fascinated with foreigners, and many want to make contact, though they may seem, by Western standards, to be at first overly shy. They will try their beginning English on you, and you your beginning Japanese on them. It is a wonderful experience. In Japan, it is easy to live a rarified existence and associate only with other foreigners, or Japanese who are integrated into the foreign community. Although these internationally-experienced Japanese and the expatriate community in Japan contain people who know the ropes and can be of immense help in providing guidance and advice, the experience of making friends with Japanese who don't particularly stand out or who speak only Japanese is a rich and rewarding.

Living and travelling in Japan is quite different from living and travelling in America , Europe or even other Asian countries. The views, both of the landscape and society, are fantastic. The blend of an incredibly long historical tradition and modern super-power status gives Japan an atmosphere unique to the world. People are paradoxically fascinated with foreigners yet remain ethno-centric.

The general notion is that the Japanese are a homogeneous race. That is false. There are important minorities of other Asian nationalities (Korean, Chinese, etc), and even minorities of other races (the Ainu, for example). The official dialect, culture, education system, and central government are very homogeneous and centralized, however, for both good and bad. The trend toward homogeneity makes anyone who isn't Japanese feel like an outsider, even though people may be very friendly toward you. Japan is very much an "insiders" culture, consisting of groups and cliques who have created a network of cozy relationships with each other. The feeling of being exclude is not only felt by foreigners, but by many Japanese as well.

The word for foreigner is gaikokujin, or literally, "outsider." This is often shortened to gaijin, and non-Asian foreigners in Japan tend to hear this word a lot. It is not pleasant to be constantly reminded that one is an "outsider," especially when one works hard to assimilate the culture, language and make Japanese friends. On the other hand, the Japanese have a label for everyone, for example omawari-san for the policeman, oyakusho-san for the bureaucrat and unten-san for the driver. To the Japanese gaijin is just another label describing the most salient aspect of a person. There is a place even for the outsider in this society.

As for the problems of outsiders, however, artists are exceptions and tend to be a special class unto themselves in any society. On the surface, this may make the Japanese artists you meet seem more open and international, and this might or might not be the case. You will probably feel uncomfortable from time to time; just accept that as part of the process and try to avoid the critical, judging habit which is so easy for Americans here to fall prey to: "Why do they do things this way? It would be much easier to..."

Asian Americans , although racially like the Japanese, will experience different problems, but will still be considered as gaijin or outsiders. They might be expected to speak the language better than a non-Asian American, however.

Traditional sex roles tend to be clearly defined in Japan (it is still a very male-dominated society, though slowly changing), but then again, the artists tend to be different. The Japanese are more reserved than Americans, and at first shyness may seem like coldness. While in Japan, one has to suspend their cultural habits and language and learn new ones.

One aspect of the Japanese art world, and all of Japanese society, is that vertical relationships tend to be much stronger than horizontal ones. That is, there is much exchange of information and friendship between teachers and students of the same genre, but very little cross-genre collaboration. A dancer is not very likely to know a painter, etc. This is slowly opening up, but still discouraging for those used to a varied artistic community. Keep in mind, however, that it is the participation of such artists like yourself in the Japanese art scene which will bring about a more eclectic and fertile artistic community in the long run.

One of the beautiful aspects of this fellowship is that you are not required to produce. You needn't create any work of art or music, nor undertake any significant goal-oriented projects. All that is asked of you is that you write a simple report on how you spent your time in Japan. This report will be used to evaluate the program for future artists and funding possibilities. Therefore, this six months is a period, essentially, for observation; for taking time out of a busy schedule for an entirely new and expanding experience. Most of the artists find that the six months go by very quickly, but the experiences garnered during the residency take months or even years to fully ripen and come to fruition in their art. Observation, listening, and receptivity are the keywords to penetrating Japan.

Money

The truth about Tokyo is that it can be one of the most expensive cities in the world, depending on how you use your money and how you shop. The grant is sufficient but not luxurious, especially if two or more are living together on one grant. The initial expenditures can be daunting, but again it is a matter of how well you can get the feel for prices here, realize when you're getting a good deal, and know how to handle your money. The good news, however, is that years of deflation in Japan has actually brought down prices, so that many goods and services--like clothing or eating out--in Japan are now cheaper than in New York, and certainly cheaper than Wetsern Europe. It is all a matter of relativity.....

You are allowed $1000 for shipping and storage before you come. When you arrive, or up to a week later depending on week-ends and holidays, you will be given an initial outlay of 1,800,000 yen, broken down as follows:

Three months living expenses (in yen):
400,000 @ month X 3 = 1,200,000

Three months housing allowance:
100,000 @ month X 3 =    300,000

Three months professional expenses:
100,000 @ month X 3 =    300,000

Total:      1,800,000

Sounds like a lot, right? Out of this, though, you must pay your initial hotel bill, your apartment start-up costs, as well as any on going expenses for three months. 100,000 yen is allotted monthly for professional expenses, so you must save all your receipts for professional purchases, performances and travel. You will be given detailed instructions on what will or will not be reimbursed, but realize that the money doesn't cover expenses related to any performing you might do here, nor does it cover expenses for 'hardware' like cameras, videos, etc, which you could pick up in the states. Also, professional expenditures over 50,000 yen must be approved first by the Commission.

After the first three months are over, you will be given the remaining two months worth of stipends.

Remember, the grant doesn't provide special funds for shipping your effects back to the US, and shipping charges beyond your two suitcases are very expensive and have strict limitations. Keep this in mind when you come; you might want to keep your baggage to a minimum.

After you have completed your alien registration with the local ward office, the I-House will set up a bank account for you at the Post Office, which has many branches all over the country where you can make free automatic cash withdrawals with your cash card and PIN number. Banking hours for the post office are from 9:00 am to 4:00 PM, but the machines operate until 9:00 PM. on weekdays and from 9:00 AM to 5:00 PM on Saturdays and Sundays. For a small service fee you can withdraw money from your postal account at Citibank cash machines, which are open 24 hours a day, though located only in major urban areas. Instructions for the teller machines will be provided. Learn the process of coaxing money from these machines, as not all have English instructions written on them, and it's confusing! The I-House will give you the final two months of your stipend after you have been here three months.

You will be exempt from Japanese taxes since you will be here on a US grant. You will have to pay US taxes on the stipend portion of the grant, however. The IRS now requires that you apply for a residency certificate, which means that you are an official tax-paying resident of the US and are therefore exempt from paying Japanese income taxes. BE SURE TO APPLY FOR THIS CERTIFICATE WELL BEFORE YOUR DEPARTURE. For more information, please refer to the following sub-site, here. If you are a taxed resident of a third country, you will have to get the equivalent form from your local tax office.

Japan is still a cash-based society. Personal checks are not accepted in Japan, but credit cards (VISA, Master Charge, American Express, etc) have become quite common. Keep in mind, however, thatif you use your dredit card the bill will be changed into dollars and mailed to your American address. 

Travel

This is a wonderful country to explore. The train system is superb, with frequent service to almost anywhere you might want to go. The average delay is 54 seconds, so expect the trains to leave on time. However, the same efficiency and magnitude of the system can make your first visit to the station frightening and confusing. Here are some clues.

JR (Japan Railways), the former national rail system, is divided into six corporations: JR Hokkaido, Jr East, JR West, JR Shikoku, JR Tokaido and JR Kyushu. each one serving a different geographical area of Japan.

Tokyo and the Northeast are serviced by JR East, which also runs the numerous JR commuter trains in and around Tokyo. The main commuter line, the Yamanote sen (sen=train line) makes a complete circle around Tokyo, taking about an hour. Generally, the subways are within this circle, and the private lines operate outside the loop. Tickets for both train and subway are sold at machines, near the entrance. First, you find on the systems map your destination and the fare. You put your money in (any amount) and push the appropriate amount. Your ticket and change, if any, will automatically come out.

In general, the train and subway lines here are separated as to color. The Yamanote line is green, Chuo Line orange, Sobu Line yellow, etc. In addition, the subway stations in Tokyo are all numbered, so if you can't remember the name of the station you can ask by number.

You must pay separate fares for the different lines (one fare for JR destinations, one for subway destinations, one for private line destinations, etc). Life is much easier if youcarry English subway maps with you. When in doubt ask, in Japanese if possible, but in English if all else fails. All stations names are written in English somewhere (unless you're really out in the sticks). If you are uncertain on which track to board your train, ask any station attendant. Wickets are automated and will punch your ticket when you enter the system and collect it when you leave. Even the Japanese get confused about fares, so if there's doubt, buy the cheapest ticket and pay the remainder when you get off. There are automatic fare adjustment machines near the exits that will tell you how much more to pay.

As of March, 2007, a single pre-paid IC card can be used to ride all the JR lines, private lines, subways and buses in Tokyo. This card, called PASMO or SUICA, is available at any station for a refundable 500 yen deposit fee and can be recharged whenever it runs low. The PASMO is highly recommended, since you won't have to fumble for change or try to figure out the byzantine fare structures each time you ride. There is a similar prepaid card used in Osaka called or ICOCA .

For longer distances, buy tickets at the "green" window or a travel agent. The easiest way to do this is to write down your destination and indicate whether you want katamichi (one-way) or oufuku (round trip). Express trains (kyuukou) and limited express trains (tokkyû) require special surcharge tickets, as does the Shinkansen super express. At largeJR stations there are automated ticket machines--with english guidance--where you can purchase reserved, long distance train tickets.

If you need help in making a reservation, or anytime you're stuck and need English language help in a hurry, you can call the Japan Travel phone service between 9:00 am and 5:00 PM, every day (see listing at end of pamphlet). They are very helpful and will go so far as to tell you exactly what to say to get the ticket, or even talk to the station master themselves.

There are many types of accommodations in Japan, from high-class Western hotels to tiny, family-run Japanese style inns called minshuku. The minshuku are very economical and a nice way to experience rural Japan. The I-House can help make hotel or minshuku reservations. In the larger sities there are inexpensive hotels called "Business Hotels," which cater to the businessman-traveller. They are small and simple, but what they lack in luxury and space they make up with very reasonable prices.The Japan Travel Bureau can also help you locate accommodations fitting your budget and needs.

Generally, you pay per person, not per room in Japan. Also, you don't have to be a 'youth' to stay in Japanese youth hostels, so if that appeals, get a membership card from the Youth Hostel Association before you come, or get an international guest card from the national headquarters in Tokyo. One note: only the more expensive hotels provide towels for their guests. It is best of you bring your own. Neither are washrooms are equipped with towels. That is why Japanese always carry clean handkerchiefs.

The street system in Tokyo was designed in such a way that invading hordes would be confused and unable to locate the central castle. It was very effective. Even taxi drivers get routinely lost. Tokyo, for all it hugeness, really only consists of numerous villages grown together in a great urban sprawl. Each village has its own bank, shopping street, station, local government, and community flavor. It takes a long time to get anywhere in Tokyo, though, so allow more time than you think it should take.

Medical Problems and Health Insurance

Terms of the fellowship require that you are covered by some sort of medical insurance while in Japan, and you must submit proof of coverage. Below are some companies that offer travel/overseas health insurance. This is a listing for your convenience only: we can't recommend a particular company nor can we be aware of what they offer. You may also want to do an Internet search on your own. And be sure to read the details--often the coverage is limited.

GlobalHealth.jp
International Medical Group (IMG)
Interglobal in Japan
Legend Travelers LLC
Global Health Insurance
Globasurance
International Health Insurance

In order to qualify for the Japanese National Health insurance coverage, you must possess a valid year long visa (most of the artists on this program arrive with visa good only for six months). You can access information about the national plan here:
http://www.kokuho.or.jp/english/index.htm
http://www.htia.org/e/info/health_i.html

Over the counter medicines, including vitamins, are readily available in Japan, but they are labeled differently from the US, and imported items, like aspirin, antihistamines, Alka-Seltzer and body lotions, are much more expensive than in the US. Some over-the-counter drugs in the U.S. require a doctor's prescription in Japan. If you are taking prescription drugs, it is best you bring averything you need during the residency.

On the positive side, medical services here are good and reasonably priced. Consultation with doctors, especially in the larger hospitals, usually involve long waits, however, and you need to search to find hospitals whose staff can speak English.

The staff at the I-House will be able to introduce you to doctors or hospitals should the need arise. A clinic nearby the I-House, Tokyo Medical and Surgical Clinic, is staffed by doctors and nurses who speak fluent English. They will complete your insurance claim forms without charge and sent to you within a week after the consultation.

In addition to hospitals and Western medical practices, there are many traditional Eastern health practices available; shiatsu, acupuncture, and herbal medicine. These alternative practices are not covered by insurance.

HIV infection has spread in Japan, as in every other country. Since the condom is the main method of contraception in Japan, high-quality condoms are readily available, but, like clothing, Japanese sizes tend to be, well, smaller.

Clothing

Temperatures over most of Japan range from extremely cold in the winter to extremely hot in the summer, so keep this in mind when packing for your fellowship. For summer stays, cottons and short-sleeves are the most appropriate wear for the Japanese hot and extremely humid summers. The city streets in summer are like ovens, but public spaces trains, buildings, offices, etc. tend to be over-cooled, so some sort of simple jacket or wrap is recommended for air-conditioned spaces. Winter in Tokyo is relatively mild, but an overcoat and sweaters are needed. If you live in the countryside it can become much colder. Spring and Fall are the most pleasant times of the year, but the temperature can vary significantly during these periods. You should consult a guide book for average temperatures and general weather conditions throughout Japan, but the climate in Tokyo tends to parallel that of Washington D.C.

The fashion industry in Japan is on par with the best of Paris and Italy. Clothes are well-made and very attractive. Unfortunately, if the high prices don't deter you, the lack of appropriate sizes will. Japanese sizes are smaller than Western sizes and items like shoes, socks and shirts with sufficiently long sleeves can be hard to find, though with the advent of discount clothing stores like the ubiquitous Uniqlo, shopping has become much easier and prices more affordable. Since footwear is removed in Japanese homes, the condition and cleanliness of your socks will be apparent. As the average Japanese body size has increased over the years, clothing sizes have also become larger, but it is still difficult to locate standard American large-size clothing. 

Advice on Schools in Japan and Survival Tips for Fellows with Small Children

Some fellows bring along their children to share the experience of living in Japan, and we are often asked about the availibility of Japanese schools, either international or local, where children can enroll for short periods. There are a number of International Schools in Tokyo and other large cities that will accomodate the needs of short-stay students, but tuition tends to be expensive. Some public schools will allow temporary matriculation, but in such situations language can be a problem. The International House cannot take on the responsibility of locating or contacting schools for the fellows, but if you are interested in enrolling your child in an international school, you may want to refer to the following publication: Guide to International Schools in Japan. The site Tokyo for Kids also has a section on international schools and much other practical advice for living in Japan with children.

Betsy Dowd, a 1992 Fellow, wrote the following essay on bringing small children to Japan, and it has proved helpful for many subsequent artists who have brought their children.

Miscellaneous Notes

If you search enough, you can probably find anything you want or need in Japan, but some Western goods tend to be quite expensive. Listed here are some items that previous artists wished they had brought and other information of which you should be aware:

1. Stationary for writing thank-you notes, a must in this society.

2. Small gifts. Gift-giving is an integral part of the workings of this society. The gifts needn't be expensive, but be prepared to give and receive a variety. Souvenirs with local color, liquor, T-shirts, novelties are all appropriate, as are prints, postcards, tapes, CDs. or other examples of your work. Don't forget wrapping paper!

3.  Voltage here is 100 v, which means that any American appliance will run on Japanese current without a transformer, albeit somewhat slower. The plugs are the same shape. Personal computers (Macs etc.) can also be run here just as you do at home, and spare parts are readily available. USA-made fax machines are operable in Japan.

4. If you want to rent a car here, we recommend getting an international driver's license at AAA before you come. The steering wheel is on the right, as in England. If a child is riding, child seats are mandatory.

5. The Japanese postal system is highly efficient and fast. They have a wide range of services from letter and package carrying, banking serives, international money transfers and various insurance plans. Their informative website in English details their services and prices: http://www.post.japanpost.jp/english/index.html

6. Some of the incoming artists have inquired about bringing their pets to Japan. Although it is possible, it is not easy. The law varies with the type of pet, but in the case of dogs, you will need USDA paperwork certifying that your dog is vaccinated against rabies and disease free. If you don't have this documentation they won't let the dog in, period. Furthermore, even with the paperwork, the dog will be quarantined at the airport for a period of 14 to 180 days, during which time you will have to pay an agent to take care of the animal or travel every day to Narita to feed it yourself. For more information on importing animals, please refer to the Japanese quarantine procedures at the following website. http://www.maff-aqs.go.jp/english/index.htm. You should also keep in mind that many apartment and condominium owners will not rent to tenants with pets, so if you travel with an animal your living choices may be limited.

Appendices

Helpful telephone numbers and Web Sites

Institutions:

Online museum, art, music guides:

• Tokyo Journey (http://www.asahi-net.or.jp/~by3s-fet/english.htm) This rather funky site provides some suggestions for a few walking tours of Tokyo.

Tourist & Living Information:

• Sakura House (http://www.sakura-house.com/) A monthly efficiency apartment rental agency.
• Monthly Chintai (http://www.monthlychintai.com/en/ )A monthly efficiency apartment rental agency.
• Tokyu Relocation (http://www.tokyu-relocation.co.jp/monthly/e/) These tend to be a bit fancier and pricier
• Kimi Information Center( http://www.kimiwillbe.com/) a site with reasonable apartment and accomodation listings for many areas in Tokyo, some without key money.
• Tokyo Tourist Information Center (TIC)                    03-3502-1461, 03-3201-3331
• Kyoto Tourist Information Center (TIC)                     075-371-5649
• Narita Tourist Information Center                              0476-34-6251
• TIC Outside Tokyo or Kyoto (toll-free, from Western Japan)             0120-444-800
• TIC Outside Tokyo or Kyoto (toll-free, from Eastern Japan)               0120-222-800
• The JAPAN WEB GUIDE's FAQ of Japan: (http://thejapanfaq.cjb.net/). This offers some very useful information, especially for the first-time visitor to Japan, on a variety of topics, including the usage of eletronic equipment in Japan, customs proceedures, setting up house and other topics. Some of the information is slightly outdated but for the most part current.
• Escapeartist.com (http://www.escapeartist.com/japan/japan3.htm) This site is geared towards those coming to work in Japan, but it contains a lot of basic information and useful links.
• Hyperdia Japan Homepage (http://www.hyperdia.com)
  -This amazingly helpful site will give you the departure and arrival times between any stations in Japan, along with the quickest routes, fares and platform numbers. It is invaluable for planning travel within Tokyo or around the country. Searchable in both English and Japanese. Some other sites which do the same are:
• Tokyo Subway Map (http://www.tokyometro.jp/global/en/index.html) is a very useful subway map for Tokyo and geneeral information about the reticulated rail system underneath Tokyo.
• Town Page site (http://english.itp.ne.jp).provides comprehensive, detailed information about how to get by in Japan. (http://english.itp.ne.jp).
• Japan Travel Bureau (http://www.jnto.go.jp/)                     03-3201-3331
• Japan East Railways (http://www.jreast.co.jp/e/index.html)  03-3423-0111
• Japan West Railways (http://www.westjr.co.jp/english/global_top.html)
• Narita Airport (http://www.narita-airport.or.jp/airport_e/index.html)
• Townpage (http://english.itp.ne.jp/) 
  -An English telephone directory (yellow pages only) for Japan
• Schauwecker's Guide to Japan (http://www.japan-guide.com/)
  -About 200 pages with illustrated, general information about most aspects of modern and traditional Japan. Sections include: Arts and Crafts,
  Computer, Current News, Entertainment, Etiquette, Food, History, Language, Living in Japan, Politics, Regional, Religion, Sports, Tourism, Tradition
  and Transportation.
• Japan Postal Service (http://www.post.japanpost.jp/english/index.html)

Online Maps There are many online maps available. While they are only provided in Japanese, it is fairly simple to use if you know the address of your destination. In addition to a Japanese Map site,

Magazines, Newspapers, Book Stores

Internet Service Providers

Japan's National Holidays

(When the holiday falls on a Sunday, the following Monday becomes the holiday)

January 1 (Ganjitsu) / New Year's Day

Second Monday in January  (Seijin-no hi) / Adult's Day

February 11  (Kenkoku Kinen-no hi) / National Founding Day

March 20 or 21 (Shunbun-no hi) / Vernal Equinox Day

April 29 (Midori-no hi) / Greenery Day (Late Shouwa Emperor's birthday)

May 3 (Kenpô Kinenbi) / Constitution Memorial Day

May 4 (Kokumin-no Kyûjitsu) / National People's Day

May 5 (Kodomo-no hi) / Children's Day

July 20 (Umi-no hi) / Marine Day

August 15 (O-Bon) / This is not an official holiday, but many Japanese take several days off during mid-August to visit their ancestral homes.

September 15 (Keirô-no hi) / Respect-for-the-Aged Day

September 23 (Shûbun-no hi) / Autumn Equinox Day

Second Monday in October (Taiiku-no hi) / Sports Day

November 3 (Bunka-no hi) / Culture Day (Former Emperor Meiji's birthday)

November 23 (Kinrô Kansha-no hi) / Labor Thanksgiving Day

December 23 (Tennô Tanjôbi) / Present Emperor's birthday

Outline of the responsibilities of the I-House toward the USJFC Creative Artists Exchange Fellows:

The fellows on this program are basically on their own, and our main objective at the International House of Japan is to help facilitate the fellowship and make sure that artists have the support and assistance they need to work smoothly in this culture, but there are limits to what we can do. Previous fellows have mentioned that it would be helpful if the I-House's responsibilities toward the fellowship artists were made clearer so they could know exactly what to expect. We enjoy the interaction with the artists and try to do as much as we can. For that reason, each individual artist is treated on a case-by-case basis, according to their needs and time. However, below are listed some examples of what the I-House can and cannot do for the artists who come to Japan.

Things we can do for the artist

1.        Answer specific questions or concerns before arrival. Make reservations at the I-House and hold parcels or cases sent in advance to Japan.

2.        Provide a comprehensive orientation upon arrival, including explanation and payment of the grant monies, assistance in opening a bank account, filing for Japanese tax exemption on behalf of the artist, application for I-House library card, explanation of Artists' Forum, respond to any questions or provide advice on living in Japan and ordering business cards for the artist.

3.        Assist in the search for housing. Provided the artist has contacted us in advance with his or her needs, we will do what we can to help find suitable housing and try to line up several possibilities before the artists' arrival.

4.        Provide general letters of introduction, in Japanese, explaining the nature of the grant and briefly introducing the artist.

5.        Assist in making contacts and introductions. Although the artist should do their best to make contacts on their own, oftentimes it helps to have an official organization, like the I-House request meetings and interviews on the artists' behalf.

6.        Set up an Artists' Forum, if requested.

7.        Be available for consultation on matters ranging from the arts to daily living and respond to any emergency situations (personal, medical, etc.) and be available for emergency help.

Things we cannot do

1.        Act as agent or secretary for the artist, including helping the artist to set up any commercial contacts or profit making activities.

2.        Act as translator or interpreter on the artists' behalf (except for official events like the Artists' Forum).

3.        Guarantee housing. The I-House makes no promises or guarantees housing for the artist, nor can they act as guarantor for rental contracts (houshô rentai nin).We cannot sign a housing contract on the artists' behalf.

4.        Provide professional assistance or support to the spouse or partner of the JUSFC artist.

5.        Legal support or responsibility in the event of illegal activity on the part of the artist.

Contacting us

Address:
The International House of Japan, Inc.
11-16, Roppongi 5-chome, Minato-ku, Tokyo 106-0032, Japan

Phone/Fax Numbers:
Program +81-(0)3-3470-3211/+81-(0)3-3470-3170
Information/Reservation +81-(0)3-3470-4611/+81-(0)3-3479-1738

E-mail:

This pamphlet was written by Christopher Blasdel, based on an original drafted in 1986 by Susan Spencer and Nancy Karp.