Paper short abstract:

The business etiquette training is one of the basic educations for the newly hired employees in Japanese companies. It is rites of passage because of the gateway for them to the business society. Japanese companies evaluate that the well trained businessmen themselves are the additional value.

Paper long abstract:

The business etiquette training is one of the vocational training which spreads widely in Japanese business society. This training program is supplied especially for the newly hired employees who are fresh from the school education. Therefore, it is also called "the social training" and considered as a gateway for the students to become a member in the companies. This is regarded as the one of today's Japanese rites of passage. In these days, this training is also applied for the job hunters and in the career education for the university students.

The business etiquette training is conducted strictly and hard by the specialized instructors. They instruct, for example, how to behave and talk with the honorific expression in business, the proper way of wearing the business suits, how to exchange the business cards, etc. Why Japanese companies consider such performances are so important? How does the skill become a driving force on business? I would like to introduce the case study through the participation observation as an instructor in the training course.

Paper short abstract:

In Edo Era there was a genre called egoyomi (picture calendar, or daishoureki) which informed ‘big month’ (30 days) and ‘small month’ (29 days) of lunisolar calendar. In Meiji Era hikihuda goyomi (commercial calendar) and ryakureki (simple calendar) became popular. Calendars made and distributed by companies flourished during the so-called period of rapid economic growth. I would like to examine calendar art from the perspectives of business and daily life.

Paper long abstract:

Art calendar is a calendar with art decoration such as picture, photo, illustration and design. In Edo Era there was a genre called egoyomi (picture calendar, or daishoureki) which informed 'big month' (30 days) and 'small month' (29 days) of lunisolar calendar, represented in Chinese characters, but also designed in pictures. Egoyomi became very popular in 1765 and paved a way to nishikie (multi-coloured ukiyoe printing) of Suzuki Harunobu, which is not well known among non-specialists. In early Meiji Era lunisolar calendar was abolished and replaced by solar calendar and egoyomi disappeared accordingly. Instead, hikihuda goyomi (commercial calendar) and ryakureki (simple calendar) became popular, but they have been paid little attention as art. These calendars, however, were produced abundantly by shops and companies for publicity and distributed to customers in the end of the year.

Calendars made and distributed by companies flourished during the so-called period of rapid economic growth. It is said that Shiseido produced 2.5 million wall hanging calendars and 6 million table calendars at its peak. There are many companies which use paintings of famous painters for their calendars. And these calendars are hung on the walls as interior decoration. Nowadays, there is a distinctive shift from 'calendars given' to 'calendars purchased'. In the latter case, personal taste towards natural landscapes and pets as well as art and designs can be seen in the store. On the other hand, for art museums, its own art calendar opens a new business chance for visitors.

Paper short abstract:

This paper examines the process of innovation in the Balinese fine art products that flourish in Ubud, one of the tourist spots in Bali, in the context of cultural tourism. Particularly, the paper takes a closer look to the orientation of art development and its education in Ubud.

Paper long abstract:

Tourism has partly transformed the orientation of Balinese culture from religion to economics. This is particularly so in Balinese arts as the most prominent forms of Balinese cultural products. While in the days before the coming of tourism to the island, art tended to change within the context of religion, contemporary change occurs in the garb of tourism and develops in a more dynamic and secular environment. This paper is going to look at the process of change and innovation in the Balinese arts in the context of cultural tourism.

As tourists have become wealthier and travel costs have been reduced, tourists have become more interested in remote societies and places to visit, increasing the demand for cultural tourism. It is important to recognize that continuous development of arts is necessary for the Bali tourism sector in order to cope with the growth of the contemporary tourism market, and promoting a more sustainable tourism in the region. Accordingly, this has stimulated the Balinese artisans to adjust their natural creativity to the market to provide the tourists with tourism goods they need for souvenirs. Particularly in Ubud, known as the heart of Balinese culture, this type of continuous development is expected to strengthen the place's position as an art center and a showcase for Balinese culture. However, crucial questions addressing their authenticity emerge. Although it is acknowledged that culture is dynamic and therefore no pristine culture exists, these questions are important in maintaining a balance in Balinese tourism and cultural developments.

Paper short abstract:

　　This paper focuses on several aspects of relations between fine arts and human nexus through an anthropological approach of business. 　　　1) Institutionalisation process of fine arts as “State’s Treasures”: 　　　2) Promotion process of Oriental “exotic cultures” into the world of fine 　　　　　arts in modern Paris: 　　This paper examines organizing process of modern art galleries and art merchants groups, and that of their human nexus functions and commercialization of art pieces through case studies of the 19th-20th century French fine arts world.

Paper long abstract:

This paper focuses on several aspects of relations between fine arts and human nexus through an anthropological approach of business.

　　1) Institutionalisation process of fine arts as "State's Treasures":

Which groups had searched and picked up pieces of fine arts like pictures, statues? And by which path did these works of art become cultural assets or national treasures? What sort of institutionalisation process existed? What kind of estimation standards functioned on the institutionalisation?

These questions, especially in the cases of Fine Art collections of Modern French museums and Art Galleries, are bringing light to the historical points of view on business anthropology of arts.

　　2) Promotion process of Oriental "exotic cultures" into the world of fine arts in modern Paris:　　In the cases of introducing master pieces of "Ukiyoe" from Japan to France in the 19th century, there were many kinds of "mediators" and "promoters" around"Ukiyoe " at every stage of circulation.

　　　This paper examines organizing process of modern art galleries and art merchants groups, and that of their human nexus functions and commercialization of art pieces through case studies of the 19th-20th century French fine arts world.

Paper short abstract:

This paper examines how Chilean film industry is developed through transnational exchanges. It explores the circulation of films and the articulation of overlapping social meanings at the international film festival circuit, following the journeys of Chilean films and films professionals across European festivals.

Paper long abstract:

Contemporary Chilean film industry, like other peripheral cinemas, depends

to a certain extent on its circulation through the international film

festival circuit, which is an active system that incorporates the

relationships between peoples and films, and peoples through films. By

travelling within the circuit, peripheral films accumulate symbolic

and economic value. At the same time, film professionals gain increasing

prestige through the fluid process of film circulation.

This paper is based on a multi-sited ethnographic fieldwork within the

Chilean cinematographic network, a group of film industry professionals

who exchange and promote Chilean cinema in the markets and screenings held

by film festivals. Following the journeys of Chilean filmmakers, producers

and sales agents through the circuit, the research addresses how these

professionals negotiate their creative practices in those

contexts; and how they deal with the conflictive double status of business

and art of peripheral cinemas.

Films circulation also contributes to reconfigure the image of a national

cinematographic industry. Transnational trajectories of film professionals

are entwined with an overlapping set of cultural meanings. Films do not

only express artistic value but also carry out ideas of a certain Chilean

aesthetic that are drawn on by film agents at the festivals,situating this

peripheral film industry in the world system.-

The paper upholds that the development of Chilean film industry is

fundamentally related to all the global interactions in which the film

professionals are involved. The meaning of national films is therefore

enacted through transnational practices of reception and exchange,

articulating glocal trends.