Hyōjō o kakusu [表情を隠す]

Masking Facial Expressions by CEJames & Akira Ichinose

In karate-jutsu for Self-defense, Jiko bōei no tame no sora shujutsu [自己防衛のための空手術], we are tsught and trained in the application of methodologies to deal with violence. In truth, SD is also about avoidance and deescalation for the martial aficionado must do their utmost to not resort to the use of their physical skills but rather make use of the psychological. Detecting an adversary as you travel down the path to conflict and violence the body language and facial micro-expressions of the potential adversary sre the keystones to avoidance, AND, your body language and facial micro-expressions are your first line of defense snd most effective deterrent. The messages you send through body and facial communications are critical. The following will provide the student in learning and use of Hyōjō o kakusu.

The phrase “Hyōjō o kakusu” (表情を隠す) translates literally to “to hide one’s expression”, and it touches on a deeply ingrained aspect of Japanese social behavior and aesthetics. This practice intersects with the cultural values of restraint, harmony, and ambiguity in communication, and it manifests in traditional and contemporary Japanese art, theater, literature, and everyday social interactions.

1. Cultural Foundations of 表情を隠す (Hiding Facial Expression)

A. Tatemae and Honne (建前と本音)

• Tatemae: the public façade or the behavior one displays in social settings.

• Honne: one’s true feelings and desires.

This dichotomy is central to Japanese interpersonal relationships. The act of hiding one’s facial expression is a physical embodiment of maintaining tatemae, especially in situations where revealing one’s inner emotions might disrupt group harmony (wa, 和).

📘 Reference: Lebra, Takie Sugiyama. “Japanese Patterns of Behavior” (1976). University of Hawaii Press.

Explores how emotional restraint supports societal harmony.

2. Hyōjō o Kakusu in Traditional Japanese Arts

A. Noh Theatre (能)

• Noh masks obscure the actor’s facial expression entirely.

• Subtle shifts in head angle change how the mask appears emotionally—this aligns with the aesthetic of yūgen (幽玄), the beauty of subtlety and mystery.

📘 Reference: Zeami, translated by Thomas Rimer. “On the Art of the Noh Drama”

Zeami, a seminal Noh playwright, emphasized emotional restraint and minimalism.

B. Ikebana (Flower Arranging) & Sumi-e (Ink Painting)

• These arts emphasize minimalism, negative space, and subtle emotion rather than overt expression.

• They reflect the philosophy of ma (間), or meaningful silence/space, resonant with emotional withholding.

📘 Reference: Addiss, Stephen. “The Art of Zen” (1989).

Discusses how Japanese aesthetics favor understatement and the unseen.

3. Expression Control in Social Etiquette and Language

A. Aizuchi (相槌) and Ambiguity

• In conversation, Japanese people often use vague, indirect language and maintain neutral expressions to avoid confrontation or offense.

• The goal is emotional control, often maintained with facial neutrality.

📘 Reference: Hall, Edward T. “The Silent Language” (1959).

Examines high-context cultures like Japan where communication relies heavily on non-verbal cues.

B. Smile as a Mask

• In Japanese society, smiling is often used to conceal discomfort or sadness, not necessarily to convey happiness.

• This is a cultural form of hyōjō o kakusu in daily life.

📘 Reference: Davies, Roger J. & Ikeno, Osamu. “The Japanese Mind: Understanding Contemporary Japanese Culture” (2002).

Includes a section on “The Japanese Smile” as a mask.

4. Contemporary Cultural Representations

A. Manga and Anime

• Characters are often drawn with exaggerated expressions, but moments of emotional restraint (e.g., looking away, hiding behind hair) are significant.

• Some genres (e.g., slice of life, iyashikei) emphasize emotional undercurrents and subtle expressions.

B. Fashion and Subcultures

• Kigurumi and Gyaru-moji involve concealing identity and expression, sometimes literally using masks.

• In Shironuri fashion, the white-painted face serves as a deliberate concealment of individuality and emotion.

5. Psychological and Philosophical Implications

• Emotional suppression in Japanese society has both positive functions (social harmony, mutual respect) and negative consequences (emotional stress, mental health suppression).

• Philosophically, it aligns with Zen Buddhist teachings about detachment and not clinging to transient emotional states.

📘 Reference: Kuroda, Toshio. “The Development of the Kenmitsu System as Japan’s Medieval Orthodoxy”

Offers insights into how Zen philosophy influenced cultural aesthetics, including emotional reserve.

6. Modern Criticism and Reflection

• Some Japanese authors and artists critique hyōjō o kakusu as emotionally repressive.

• Writers like Haruki Murakami use emotionally distant characters to explore themes of alienation and introspection.

📘 Reference: Strecher, Matthew Carl. “Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki”

Discusses how Murakami’s characters reflect and critique Japanese emotional reticence.

Conclusion

表情を隠す (Hyōjō o kakusu) is not merely about suppressing emotion—it is a rich cultural practice, deeply woven into the fabric of Japanese aesthetics, ethics, and social order. It reflects a preference for subtlety, harmony, and introspection—values that are expressed across both high art and daily life.

Read also the section on Masking Body Language, etc.!