The alienation and rebellion of youth are among the most disturbing and perplexing aspects of modern urban life, especially to societies that derive security and pride from their traditional culture. James Stanlaw, in a companion piece to “Not East Not West, Not Old Not New: Trends and Genres in Japanese Popular Music” (Crossroads, November 1989), observes similarities between the rebellious self-expression of Tokyo youth and the traditions of dance in rural Japan.
The Editor
On Sundays groups of Japanese teenagers congregate in Tokyo's Harajuku district, an upscale boutique area next to the large Yoyogi Park. Many of them dance in choreographed unison in the middle of the street, usually in groups of about a dozen or so. Others play around in different ways. Many just come to hang out and watch each other and look fashionable, or to watch the tourists who have come out to watch them.
There are several notable groups that meet in the area, and most are identifiable by their costume. They are often called the rock and roll zoku (rock and roll tribe), a name which seems to have replaced the earlier amegura zoku, or American Graffiti tribe (a label presumably taken from the film American Graffiti). Their costumes consist of the usual garish garb worn by American 1950s pop stars, or Marlon Brando-style leather motorcycle jackets. Their music is any kind of 1950s or 1960s classic rock and roll. One of the most distinctive sights of the Harajuku is this group of dancing James Dean imitators gyrating to golden oldies.
Another kind of group, called the take-no-ko zoku, or the Bamboo shoot tribe, is also a dancing assemblage. They dress in elaborate bright-colored satin pajama-like costumes, accented with a variety of incongruous accessories such as little Mickey Mouse dolls, plastic flowers, beads, and loud headbands. Often these costumes may be adorned with writing in kna'ji (Chinese characters) or rooma-ji (roman letters). Unlike their rock and roll tribe equivalents, the music they dance to is contemporary, Western pop (such as Abba), rock, and jazz, or a Japanese equivalent. Their costumes and appearance are unisex, and it is occasionally difficult to distinguish boys from girls; both might be using tons of lipstick and makeup. Though they may not be doing twist like their rocker cousins, they also dance in unison in a highly ordered manner.
Among the take-no-ko zoku the number of males and females is approximately equal (with girls perhaps being in a slight majority). The rock and rollers, however, are heavily dominated by boys and there is none of the sexual ambiguity that is present in the bamboo shoot tribe. It is not unusual to see a group of a dozen boys doing the twist together. They may even help each other get their James Dean and Elvis Presley hairstyles just right.
The rock and roll tribes have their roots grounded in a real historical place: Their performances are based on what they believe the United States was like in the 1950s. Much time and money is spent trying to make their appearance perfect - the appropriate leather jacket or tuxedo is required for boys, a special “at the hop” party dress is needed by girls; the hair must be teased or slicked at just the right angles; the appropriate accessories, such as combs and a purse, are also a
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