Virtual World Japan

Flower and Willow: Building Community in a Virtual World Adam Bockler and Jessica Schroeder Supervised by Ed Lamoureux 5/4/09 Multimedia 444 – Field Research in Virtual Worlds Spring 2009

2 I. Abstract This paper is the result of a semester conducting ethnographic research in a geisha group in Second Life. We have found that this community of practice tends to focus primarily on building teamwork through coordinated behavioral action via timed dancing with other avatars. There are additional activities that resonate with similar patterns and tendencies. These sorts of actions lead to a sense of community and belonging in Second Life. This paper details the various activities and discusses their importance as well as laying out the research methods and study limitations. II. Introduction: Research Problem Introduction to Second Life The research we conducted took place inside of Second Life, a three-dimensional virtual world maintained by Linden Lab. Linden provides the basic framework – the software, server space, and network that produce the graphic appearance of land, sea, and air, the day cycle (in 6 hour sweeps), and essential tools for content creation. Linden Lab participates in the control of Second Life only in a very loose fashion. The terms of service (TOS) for the environment specifies procedures for moderating disputes between participants/residents and the company and among residents. However, most control is provided by the residents who own “property” as owners set most of the rules within the boundaries of their land. Large plots with multiple parcels are referred to as estates; individual plots are “sims.” Most content in Second Life is user-created – buildings, clothing, dwellings, and objects as well as animations, and so on. Second Life uses its own programming language (Linden Script) for coding animations.

3 Residents can enjoy Second Life for free, but arguably enjoy it more by paying to upgrade their accounts. Although all objects may be stored in one’s “inventory,” making full use of objects requires a place to “rez” them on land that the resident either rents or owns. Although one can rent land using a “free” account, land ownership requires that free accounts be upgraded to “premium” levels. Buying large or numerous land parcels costs real money. Residents can acquire numerous objects without cost. However, Second Life consists primarily of user-created content, so many residents sell their creations. These activities support the economy and encourage residents to spend money purchasing items that improve on the versions they might acquire without cost. Some residents maintain shops to sell their creations. Some make substantial contributions to their living via their work in Second Life. “Linden Dollars” can be purchased via credit card or brought in from a PayPal account (or similar online modality). For the community we studied, having a paid account was a plus in order to acquire various materials. However, a paid account was not a necessary requirement for joining the community. The community provided ways for participants to work and earn gratuities that could be used to pay any debts incurred during the training. The Community of Practice After examining a number of potential communities (during MM 333: Introduction to Field Research in Virtual Worlds) the decision was taken to study a group practicing geisha culture within Second Life. Both researchers were interested in the community because of a fondness for studying Japanese culture in general. One might take particular interest in this group if they appreciate art and/or storytelling. Second Life gives people the opportunity to portray a wide range of characters,

4 either singly or in multiple variations, as the avatar is nearly infinitely customizable. One can train to “become” a geisha in this virtual world, as long as the avatar is female. Geisha culture comes from Japan, however, numerous communities of practice in Second Life enable non-Japanese to experience geisha culture first hand. Geisha (GAY-shuh) are female artists in Japan, trained in music and dance. The selected community of practice trains geisha for participation in events they host throughout the week in addition to bigger events throughout the year. They attempt to model a real Japanese geisha district within this virtual world. For the purposes of our research, the real life aspects of this group were not considered. Our main concern was how they interact with each other in order to create and maintain this vibrant multicultural community inside a virtual world, without the “usual”/real world supports of heterogeneous geography, lineage, and biography. General Approach to the Research The study utilized a wide range of field research methods including participant observation, document analysis, and interviewing. The student research team (initially a three-person team) decided that two of the members would enter geisha training. This required one male student to take on a female avatar. This student was able to begin the training and stay for a time, and then withdrew from the training mode to do additional observational research. The second student, who remained in the training the longest, is female. The third student, a male, was to conduct research outside the training process and sites. However, that student eventually dropped the class, so did not make significant contributions to the study/findings. Definitions

5 Because of the heavy influence of Japanese language on this community, there are several terms to define. This particular group used a Kyoto dialect in keeping with their ideology of this location’s real-life Japanese counterpart. This preference was given to the other members of the group through a notecard (one of the principle ways to exchange written information in Second Life) that specified conduct and honorifics. Each trainee were given a series of informational notecards at the start of training. •

Geisha – female artists versed in music, dance, and conversation

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Shikomi – the lowest stage of geisha training. Shikomi keep a relatively low profile, but play key roles in being somewhat of a hostess and learning how to dance.

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Ozashiki – these are multi-weekly events held several locations throughout the area. Shikomi had several duties here that are discussed later. A minarai (or higher) rank would be the performer. Patrons are welcomed to attend for a night of relaxation.

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Okasan – head trainer; also referred to as “mother” or “mama”

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Okiya – the school where geisha train

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Greetings and Sayings Konnichiwa – good afternoon Oyasumiyasu – good night Konbanwa – good evening Ookini – thank you Hai – yes

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Ranking System

6 Shikomi, Minarai, Maiko, Geisha •

Honorifics – Despite listing several honorifics, most of the avatars we encountered used only a few. -san: Mr., Mrs., Miss or Ms. (informal) – is used for a foreigner of the community. -han: Is only used for anyone in the Geiko community -chan: This attachment is used for someone who is a child, younger than you or of lower rank. If you are a maiko, you would call a minarai-san, chan.

III. Methods Qualitative Research Methods: Ethnography We decided early on that we thought we could get our best look at this community by actually training to become geisha in Second Life. Participant observation yielded a tremendous amount of insight that probably could not have been gained as an “outside” observer. Jessica used her regular avatar, while Adam created a new female avatar. In order to provide us the opportunity to examine the culture better, we also used interviews – both formal and informal. We collected all text and imagery provided to us by the group, which mainly consisted of background information, but also included information on upcoming events. Our observations took place regularly during weekly dance lessons and ozashiki, with some extra time spent looking at rehearsals for different scheduled events. The ozashiki were not always on a regular schedule due to difficulties with the group maintaining an amount of people who could host these ozashiki, so in the beginning there

7 were a few no-shows. The ozashiki were events that we were able to observe, with the dance lessons and event rehearsals in areas where only shikomi could attend. Sampling Strategies Our sampling strategies featured scheduling research so that we could observe the several events held throughout the week (rather than focusing on set or patterned time frames). Several different types of events were researched, including regularly scheduled classes, staff meetings, and holiday performances/celebrations. Of course, because of our individual schedules, both of us could not always be present at the same event or at the same times. Data was collected mainly in February and March. Human Subjects Protection We maintained strict standards for human subjects protection. Our first assignment was to complete Collaborative Institutional Training Initiative (CITI) certification, which involved taking two tests and reviewing Bradley University’s own human subjects protection policies. Research protocols and the project itself was approved by the Bradley University Committee on the Use of Human Subjects in Research (BUCHSR) in order for our research to begin. We sent a human subjects protection (HSP) notecard to each subject from whom we wanted to collect data. The card described our identities, our activities, and how we planned to use the data we collected. All subject names were recorded as coded pseudonyms such as Person A, Person B, etc. Locations were also coded as Location A, Location B, etc., so as to protect both avatars and locations. We made sure the participant understood English clearly prior to signing an informed consent form. We gained permission to do research at the location from the landowner. In this

8 particular situation, the landowner was also the owner of the group. Researcher and supervisor (teacher) contact e-mail addresses and phone numbers were given in the HSP notecard in case a subject had a concern. No consent irregularities occurred; subjects voiced no special concerns; no unanticipated negative effects were noted. As part of the BUCHSR agreement, we were required to wear tags saying, “Learning to Research.” For this group, our tags needed to state we were shikomi. So, we ended up switching our tags saying we were shikomi and wore a heads-up display (HUD) stating we were learning to research. This display was worn at all times during data collection such that all subjects were aware of our research roles. IV. Findings Leadership At a traditional Japanese okiya, three members are in charge – one oversees the okiya itself, one oversees the teahouse, and another is the head geiko (geisha). For the group we researched, one member oversaw the okiya and teahouse, and she created an alternative (alt) avatar to be the head geiko. This is not necessary, though we believe it made her supervisory role easier for her in a variety of ways. Shikomi are the most basic level of trainees looking to become a geisha. In order to become a shikomi, a prospect needed to first fill out an application. The okasan looked over it, and after approving the prospect, requested a $400L fee. This fee covered some of the basic essentials the okasan gives out – hair, makeup, clothing, etc. The okasan then gave out notecards explaining some of how the okiya works, what was expected of them, the system of shikomi to minarai to maiko to geisha, and other modes of communication.

9 Shikomi were always female-based avatars. The other students of the okiya greeted each new member warmly, offering help or hugs to the newbie. The greetings and offers to help are part of a wider sense of community. Shikomi were not permitted to reside in the same place as the other members of the group. They were provided their own space with five prims (prims are the primative shapes used to build all objects in Second Life). Ranks past shikomi used a different space and are allotted twenty-five prims. While okiya space was provided, “living in it” was not required and some members opted not to reside there. This group proved to be a community through teamwork and coordinated behavioral action. They used coordinated dancing in an effort to create teamwork. Chores were divided among members of the okiya. Finally, the production of an ozashiki required lots of coordination and teamwork to be successful. The other events required more coordination between the minarai and maiko than anything else.

Dance After the avatars had a chance to get accustomed to the group, the process of building teamwork and coordinating behavioral action began. This was done between members of the okiya. One of the more challenging of these was the art of dance. When learning the dances, avatars carefully timed playing and stopping animations with each other. They were not performed with a HUD (doing so would “automate” the processes); instead, they were done using multiple animations together in a timed sequence, requiring careful coordination among performing members. The okasan was the person who took each shikomi to the place where they got the animations

10 needed for the dance. Timing the animations provided a sense of teamwork because the avatars needed to count in sync with each other to make it look like the dance was synced as well. If one avatar messed up the timing, the dance was thrown off. Our data indicate how the dance classes worked. The avatars typically selected an individual to time the beat and the others followed accordingly. Once the dance started (from a “3, 2, 1…go!”), the avatars kept counting seconds with the Mississippi method. The avatars then played an animation, and after X number of seconds, would stop it to play another one, and kept going back and forth between different animations at various times to put together a synchronized dance. The okasan judged and critiqued each dance. This person usually encouraged the shikomi with kind words and was nicer if they made a mistake. The older minarai or maiko was often more direct and somewhat more critical when making negative comments. Chores The shikomi had several other responsibilities spread throughout the area. In order to pass to the next stage of training, a shikomi must complete a certain amount of specified chores, The chores, required using the animation pose-balls they were attached to, as well as creating a text-based roleplay of their chore. These chores usually took only a few minutes to complete unless the shikomi was very extensive in her descriptions. Most of these chores were things a shikomi could complete on her own without another person, but chores such as assisting in dressing a maiko and preparing dinner needed another person. Other chores included scrubbing floors and walkways, cleaning shoes, fishing, washing clothes, and writing home to family.

11 Ozashiki & Other Events A shikomi served as something of a hostess, greeting and leading patrons to their seats before an ozashiki. They were also supposed to show the patron out the door once the ozashiki was over. During the ozashiki, they sat in the corner and out of the way of the minarai or maiko, who was serving tea or refreshments. Shikomi weren’t the only ranks held responsible to standards. Whenever a minarai (or higher) rank performed at an ozashiki, they were asked to send notices through the public group notice channel. At one point, a notice wasn’t written correctly – no time, date, or mention of who was performing. The okasan sent out a notice through the private okiya group stating, “you all suck at sending notices.” When asked about this particular notice, the sender seemed embarrassed for her mistake. However, an elder member tried to reassure her that there would be more opportunities to redeem herself. Shikomi were also required to attend other events hosted by their patron okiya. These events mimicked traditional Japanese holiday festivals celebrating various kami, or spirits. An example of this is the Baikaisai Festival, an event held to honor the blossoming of the plum trees, and to also honor the spirit of an old honored officer of Japan, Sugawara no Michizane. Baikaisai was mainly the maiko dancing and the minarai serving. Together, shikomi and the higher ranks produced an outstanding ozashiki.

12 V. Discussion

Building Community Through Teamwork and Coordinated Behavioral Action We learned that this community is built largely through teamwork and

13 coordinated behavioral action. Dance is a perfect example. The person leading the dance expected others to follow her and the expected a good leader. Coordinate action provided a good way for members of the okiya to get to know each other and work as a cohesive unit. Chores, done individually, do not represent teamwork. But on a wider scale, members often helped each other complete required tasks. In some cases, they have to work as pairs to complete chores. At other times, one might help another out if she has done a particular chore before. In the end, all members complete the tasks, having built community by completing the same requirements. We noticed that since the addition of chores in March 2009, minarai seem to be closer to each other than was previously the cases, as noted by some of the older members about relationships before the addition of these features.. It takes teamwork and coordination to produce an ozashiki or other event. No matter what event is taking place, all ranks are required to coordinate their action in order to create a successful performance. Limitations to our Research Plan There were several limitations to our research project. Initially, our class started out with three members. For whatever reason, our third partner (who was not involved with training) left the class. With that, a significant amount of potential data was lost. That student was tasked with investigating the various functions and cultural indications provided by the architectural layout of the community. Graphic displays are an important part of distinguishing virtual communities apart in Second Life. Loss of this information was damaging to the project.

14 Another limitation was time. One researcher was promoted from shikomi to minarai, but neither of us obviously was able to go the full stretch and become a fullfledged geisha in Second Life as the course of training usually takes up to two years. Even a 16 week semester is inadequate for fully experiencing the training process. Real world events sometimes hampered members’ participation in virtual world events. Planned activities were sometimes cancelled due to the inability of residents to be present. Our research focused on virtual world activities so when the real world intruded we excluded observations connecting the two realms. Additional research techniques would be required for studying relationships among real world and virtual world activities. VI. Summary After a semester of conducting ethnographic field research methods in Second Life, we discovered that for this community of geisha practice, senses of belonging and participation are built through teamwork and coordinated behavioral action. For the geisha community we looked at, this was achieved through timed dancing and work with other avatars during chores, and events.

15 VII. Appendix Human Subjects Protection Sample My name is (real name) / (avatar name), and I am an undergraduate student enrolled in a  research methods class (Multimedia 444: Field Research In Virtual Worlds) at Bradley University  in Peoria IL, USA, that is being conducted in Second Life.   Our projects feature observation of a “community of practice,” that is, a group of people doing  similar things in a cultural setting. Our study is of Geisha in Second Life. The purpose is to come  to understand the activities that construct and display a community of practice, in this case,  Geisha in Second Life. We will spend time observing and participating in training, support  systems, performances, and everyday social life in the community. We will observe behavior,  conduct interviews, examine public documents, and tour participation areas. My observations are  merely descriptive: I’ll take notes about what I see and hear and record transcripts of talk. and I  may summarize those notes in my paper, in class presentations to my classmates, or on my web­ blog about this research. The blog is found at: (blog link) I am asking for your permission to include you as a subject in this research [and for your  permission as landowner and venue operator].  One does not foresee risks or discomforts to you as a subject, as I will be merely observing or  interviewing here.  If at any time you feel you do not wish to continue as a subject, merely indicate so to me and I’ll  remove you and any data I’ve collected from/about you from my study without penalty to you.  We believe that by taking you and your community of practice seriously, we can come to better  understand ways of building community in Second Life. We will make our findings available to you  as a way for you to learn about how others see you, especially from technical/social scientific  points of view.  I will not record or publish either the SL or RL name of any avatar/person. Any observations about  avatars or recording of their talk transcripts would take place only after having obtained the  explicit permission of that avatar/person and would only happen after the name of the avatar had  been changed via secret coding scheme. I will ask you if I can have your permission to use your  talk as research data. Any pictures taken in SL, that serve as explanatory data and which might  include avatars, will be modified so that avatar names and identifying characteristics are  blurred/blocked.  We will also interview informants about the communities of practice that we are studying. These  conversations are, again, voluntary and only with the informed permission of the  avatar/person/informant. To avoid linking you personally to your responses with a written consent  your completing the interview (survey) will imply consent. We may copy out the chat transcript 

16 from our conversations/interviews. When we do, we will change/code your name so that there is  no recorded connection between you/your avatar and the data. You may choose to withdraw at  any time without penalty by simply telling me you wish to stop.   We are also gathering the permission of the land owner/venue operator to do this research on this  SIM.   This study has been certified as exempt from full committee review by the Bradley University  Committee on the Use of Human Subjects in Research (CUHSR 04e­09.). Documentation is on  file and available on request.  You may follow the progress of all of the studies in the class, including my portions, at: <  http://slane.bradley.edu/ell/444/bloglinks444_09.html>.  Presentation of the findings from the study serve as our gift to the communities of practice who  share time and knowledge with us; perhaps our perspectives will help residents more fully  understand and appreciate their activities.  If you have questions regarding the study, you can contact the BUCUHSR at 309 677­3877 or me,  in world or out of world via email at <(e­mail contact)>, or my teacher, Professor Beliveau in world  or out of world as Ed Lamoureux at <[email protected]>, 309­677­2378. You can contact the BU  CUHSR at .  Do you read English sufficiently well to understand this document?  Do you have any questions?  [Because you are a land owner and venue operator, do you agree that I may do research in this  location?] If you are a subject for observation and/or interview, do you agree that I may observe you as a  research subject during my study? _______________________________________________  May I use identity­cleaned transcripts of your conversation in my study?  _______________________________________________  Signature: _________________

17 Bibliography Boellstorff, Tom. Coming of Age in Second Life. Princeton: Princeton UP, 2008. Carroll, Betsy. “Building Trust in Virtual Teams.” Leading Virtually. 5 Dec. 2007. 29 Apr. 2009 . Glaser, Barney G., and Anselm L. Strauss. The Discovery of Grounded Theory: Strategies for Qualitative Research . Piscataway, NJ: Transaction, 1967. Kahai, Surinder. “Building Social Relationships in Virtual Teams.” Leading Virtually. 4 Sept. 2008. 29 Apr. 2009 . Kahai, Surinder . “What Leads to Effective Virtual Teamwork?” Leading Virtually. 29 Apr. 2009. 29 Apr. 2009 . Schatzman, Leonard, and Anselm L. Strauss. Field Research: Strategies for a Natural Sociology. Englewood Cliffs: Prentice-Hall, 1973. White, Brian A. Second Life: A Guide to Your Virtual World. Indianapolis: Que, 2008.