The Global Cult(ure) of Hatsune Miku
by Alex Leavitt — Annenberg School for Communication & Journalism, University of Southern California
April 29, 2011 – 00:00
On March 9, 2010, thousands of Japanese music fans attended Miku’s Giving Day, a concert for a singer that isn’t human.
The female diva is Hatsune Miku, a virtual idol created by Japanese software company Crypton Future Media, for their proprietary voice synthesizer, VOCALOID2. While not the first Vocaloid, Miku and her voice appeared in Crypton’s "Character Vocal Series" in 2007 and boosted the software to national attention in Japan. Over the next few years, Hatsune Miku would become an international cultural phenomenon.
Crypton’s strategic approach to the Vocaloid franchise relies on a delicate balance between copyright and fan production. The company relaxes its hold over intellectual property to allow creators to utilize the software for both free and commercial purposes (such as selling musical CDs). For the Japanese contents industry in particular, this approach — what Lawrence Lessig, in Remix, has called a "hybrid economy" — is novel and therefore precarious, particularly in light of recent economic woes. But Crypton has embraced doujin creators who produce thousands of songs with promotional videos that gain extreme popularity online (each garnering millions of views) in Crypton’s Piapro community, but more so on sites like the Japanese video portal Nico Nico Douga . Vocaloid producers have even seen national success within Japan, such as the 11-member Supercell, who signed with Sony Music after reaching #4 on the Oricon music charts. Beneficial to Crypton, all the fervor around Vocaloid feeds back into consolidating the software as a salient cultural artifact and of course a commercial success.
Vocaloid represents a modern case study for globalization and "open-source" culture. But what about Japanese identity? Hatsune Miku’s aesthetics remain entrenched in local visual pop culture, otaku subculture, and Japanese idol performances dating back to the ’80s. Yet with the Internet, Miku has reached hundreds of thousands of international fans, and song-videos produced by Japanese musicians that are uploaded to Nico Nico Douga (where you need to know Japanese to view them) are frequently reuploaded to YouTube to reach the international fandom. While international fans gaze at the Japanese artists that popularize the franchise, Crypton must challenge traditional Japanese approaches to content production and distribution.
 Asahi Shimbun documentary with examples.
The untranslated video was chosen because of its popularity on YouTube (please check out the comments and annotation links). I encourage you to rewatch it translated.
No one has reviewed this post… but you need to login to submit feedback
- Craft Cultures Online - Can they be "global"?
- "Genki Dama Saves the World": Japanese Popular Culture, Globalization, and Relief Efforts
- Beyond the Script: What Format Adaptations Tell Us about the Global Circulation of Culture
- Jack Black, Yo Gabba Gabba, and Kid-Cult Appeal
- The Promises and Challenges of Fan-Based On-Line Archives for Global Television