`This is a copy of the Wota Master Guide by Midnight Aerie
Beginner's guide to basic concert calls/chant (wotagei) w/ vid samples Index
Introduction
Idol Glossary
Chant/Call
Furi (Waving motions)
Lesser Common Chant/Call (Indie Idol)
Hands-free Furi (No Penlight or Glowstick)
Wotagei (Dance)
Conclusion
1. Introduction
Here is a guide I’ve constructed that will hopefully be of use for those who are interested in participating in this idol ritual. I've made a smaller guide last year before and it's now updated with this. For this guide, I’ll dive into both the general and uncommon ways of chanting and movements of your arms in a concert, as well of touching a little bit on the idol dance itself, wotagei. Keep in mind this guide is nothing official or even the terms, some and a lot of those names I come up with are just on the spot to give it a label. Chants/calls and wotagei are a continuing growing fan creation and those participating can use them in whatever way they deemed fit for a song. Part 5-7 of the guide is not necessary if you only want to learn the basic general crowd participation of a concert.
2. Idol Glossary
Wota: Idol Fan
Wotagei: Dance performed by an idol fan
Oshi(men): Idol waifu
DD: “daredemo daisuke”, An idol fan who favors many (applies to both groups and members)
TO: “top otaku”, an wota leader that leads the chant/call
Cyalume: Glowstick
UO: "Ultra Orange", glowstick
Penlight: LED glowstick
KB: Popular brand of penlight.
Happi: coat
Hachimaki: headband
Bosozoku Jacket: Japanese biker jacket
Ita Bag: Heavily decked out bag of your favorite idol
3. Chant/Call
Know when it is appropriate to perform chants or not; it is established by the tone of the music if it deemed fit to chant or not.
A. Hai Chant Repeatedly chant hai (with and when the beat begins); used during instrumental breaks and or a follow up to a PPPH. There are some cases where some songs uses a Hai Chant within its chorus, usually it’s either just using two or four hai consecutively.
B. Seno Call Used to setup into another chant/call, “seno > (chant)”. Depending when it’s used will determine what next chant is to follow up with. During Pre-Chorus: Hai Call Combo > PPPH During Chorus: Fuwa Chant
C. Hai Call Combo Demonstration Sample Two regular hai called then followed by four faster hai, “Hai! Hai! HaiHaiHaiHai”.
D. PPPH Demonstration Sample A follow up to a Seno Call during the pre-chorus by repeatedly chanting, “Oooh > Hai”. Then followed up with a Hai Chant before entering the chorus of the song. *Keep in mind not all songs will initialized into a PPPH with a Seno Call or finish a PPPH with a Hai Chant.
E. Fuwa Chant Chanting Fuwa four times consecutively; a Seno Call follow up during the chorus, “fuwafuwafuwafuwa”.
F. Standalone Fu Chant Video Example @1:04, @1:15, @1:25, and @2:11 Unlike other chant/call that uses the fu in its combos. The standalone fu can be used in various ways that allow this chant to infuse itself with the music. It may appear anytime throughout a song.
G. Lyric Chant Video Example Essentially, knowing the song in order to shout out phrases from the lyrics itself or as the backup vocals similarly like responses.
H. Chorus Combos There are various types of chorus chant/call. Depending on the song can determine which combo or if any needed one can choose from.
Combo 1 (Most Common)
Part A: Oooh > FuFu
Part B: Seno > FuwaFuwaFuwaFuwa
Example of Chorus Combo 1
Combo 2
Part A: FuFu
Part B: FuFu
Part C: Seno > FuwaFuwaFuwaFuwa
Example of Chorus Combo 2
I. Structure Breakdown for Chant/Call
Instrumental Break: Hai Chant
Verse: None
Pre-Chorus: Seno Call > Hai Call Combo > PPPH > Hai Chant
Chorus: Chorus Combo
4. Furi
Rule of thumb, make sure the furi flows with the music and its beat. The pacing of these moves can be adjusted to fit the timing of the music (aka..speeding up or slowing down).
A. Standard Furi Demonstration Sample Action: Repeatedly raising and then lowering. There are various setups of doing this furi, just go with whatever you feel most comfortable with and as long the steps are the same. When: Hai chants, instrumental break, verses, etc. A versatile type of furi depending on the song and can modify the pacing to fit the speed.
B. Romeo Demonstration Sample Action: Pointing at performer. When: Choruses, or whenever chanting fu, seno, phrases, etc. A versatile type of furi depending on the song and can modify the pacing to fit the speed. Overtime, through observation and practice you'll pick up the timings for different pacing of the romeo in a single chorus itself.
C. Fuwa Furi Demonstration Sample Action: Wag or spin above When: Whenever chanting fuwa
D. PPPH Furi Demonstration Sample Action: Keep hands and arms below before launching hands above. Similar to a standard furi but with more lag into raising. During the “Oooh” chant of the PPPH is when the arms remains below before raising the arms right on the “hai” part. When: PPPH
E. Kecha Video Example Action: Extend arms out slowly with an initial dip in motion before raising both hands. It looks like a more graceful version of the Romeo. When: No beats, slow music, ballads, etc..
F. Wiper Demonstration Sample Action: Swing hands left to right (vice versa). When: When performer suggests it
G. Wheel Demonstration Sample Action: The spinning of your hands together to emulate a wheel. When: Not normally used at all but can be used for fast paced choruses or build up of the PPPH.
H. Structure Breakdown for Chant/Call
Instrumental Break: Standard
Verse: Standard
Prechorus: PPPH
Chorus: Kecha
5. Lesser Common Chant/Call
The lesser common chant/call are used in smaller performances, such as indie idol groups, etc. It has some similar chants to the general chant/call but with some small tweaks and a lot more chant participation.
A. Name Chant Video Example The name chant is simply the chanting of a performer’s name or nickname. It could be used after a single performer has sang their part in the song, much more easier to execute when there's a break in between lines.
B. Named PPPH Demonstration Sample The Named PPPH is the PPPH remodified with the chanting of the name instead. Just like the PPPH it is used in a similar fashion like a pre-chorus. The PPPH chant is “oooh > hai”, with the Named PPPH instead will swap out the “oooh” with a performer’s name/nickname. It must be a single performer singing in order to chant their name, the name should be 2-3 syllabus with emphasis on the first syllabus, for example “ri~ppi” or “mi~morin” and repeat.
C. Standalone Chants In some songs or people would include shouting phrases or chants like “soresoresore” or “haihaihai”, etc. These could be from the song itself or just something added by a participant that feels it can work with the music.
D. Hai Seno Call Same as the Seno Call but instead sets up specifically into a Hai Call Combo and with the addition of saying “hai” so it would like such, “Hai-Seno! Hai! Hai! HaiHaiHaiHai”. This call is used in the middle of a chorus.
E. The Mix The Mix is an alternative and more dynamic way of doing the Hai Chant. There are three main mixes and some fan-made ones out there. There are cases where some fans would pull out boards with fan-made mixes to allow other audience members know what kind of mixes or even other chants to shout. Each main mix is used in a specific order and are initialized with a Mix Opener. One can add the “urya” call into their Hai Chant to add more style and it’ll come out like this “urya hai urya hai”. For those who wouldn’t mind learning more and spending about 10 minutes watching a guy talking about the Mix’s origin check this video out…
Video Here!
Mix Opener Demonstration Sample Hai Hai Hai Hai > Aaah > Jya Jya > (Mix) Standard Mix (Instrumental Intro) Taiga > Faiya > Saiba > Faiba > Daiba > Vaiba > Jya Jya Japanese Mix (Second Instrumental) Tora > Hii > Jinzou > Seni > Ama > Shindou > Kasen (Tobi-jokyo) [Note] The Japanese Mix can end with either “Kasen” or “Kasen tobi-jokyo”. If using the former finisher the word should have more emphasis and if using the latter than it should be shouted altogether consecutively nonstop, “kasen-tobi-jokyo”. Ainu Mix (Instrumental Outro) Chape > Ape > Kara < Kira > Rara > Tusuke > Myohontusuke > (Performer Names) [Note] The Ainu Mix can end with the performer names by chanting their names. Works better if it’s for a group and the order of the names chanted are in unison with other chant participants.
Linking Multiple Mixes If the instrumental break is long enough, one can add in two or even three mixes back to back consecutively. In the same order of the Mix is original used for. If linking mixes, use the Mix Opener once instead for each mix performed in that one single link.
Changing the Pace of the Mixes Demonstration Sample A mix can be sped up or slowed down to fit the beat of the music. Or even in combination with linking multiple mixes. For example, one can start with a normally paced mix before linking with two more mixes that are sped up.
F. More Chorus Combos Demonstration Sample
Part A: Oooh > FuFuuu
Part B: FuwaFuwa [Note] This is a common used chant for indie idols. There is huge emphasis on the second “Fu” for part A. Essentially that “Fu” overlaps the original “seno” call and two fuwa and instead fnishes off with the remaining two fuwa from what’s left of the Fuwa Chant. Another common follow up chant to this combo will be Hai Seno Call.
6. Hands-free Furi
No penlight or glowstick? Not a problem. Those tools are not required or even necessary when one wants to participate in chants, furi, and wotagei. This part of the guide is under the assumption that you have already read or know how to perform the general chant and furi. Easily, you can just perform the regular furi as if you have a penlight or glowstick with your hands instead. Below I’ll explain how to use clapping as a form of furi.
A. Standard Furi Demonstration Sample Clap your hands instead of raising your arms above. Do not raise or lower arms, just clap.
B. Romeo Demonstration Sample Like the standard but instead clap at both moments for both the part of raising and lowering movements. Basically…double time!
C. Fuwa Furi Raise both hands, palms open, close together, above your head, facing the performer then do a small raise the roof gesture for each fuwa.
D. PPPH Demonstration Sample Basically the actual PPPH wotagei dance move itself. Have your right hand clap your left hand once, then switch side, have your right hand clap your right hand twice a little bit faster, and finish off with raising your right arm up into the air.
E. Kecha Demonstration Sample Have your arms already extended out then close in for a clap and then slowly move both hands apart from each after the clap. This move can be done while your body is facing vertically or leaning backward matrix style. Can add some flair to it with wrist rotations.
G. Oshimen Jump Video Example Jump and point then repeat when your favorite performer is having their solo moment during a verse or pre-chorus. This move is distracting as you can get in the vision of others.
H. Furicopi Video Example This is probably the most difficult type of furi, it is the mimicking of the performer’s dance, which would require prior knowledge of knowing the dance of the song. When done correctly and in unison with multiple participants makes a synchronizing dancing audience look pretty legit compared to an air of lit colors.
I. Mix Furi Video Example This is just the hand and arm movements performed when doing the mix. First, I’ll display both the Mix Opener and a Mix itself to give a visual structure.
Aaah > Jyaa Jyaa > [Mix…] > Last word in the Mix… Pretty much most of this furi is done with the hands facing up. During the “aaah” part you will raise your arm then clap before the “jyaa jyaa” part. When chanting the mix you lower the arm and perform a soft hammering motion for every word until the last. When shouting the last word you will raise the arm back up again. When done correctly, it’ll look like you’re trying to channel your inner wota spirit. When performing the mix in a group, collectively everyone involved will be in a circle with their arms towards the center and now it’ll look like a ritual summoning.
7. Wotagei
Wotagei is a form of dance created by wotas to perform with music. The dance involves mainly the usage of arm movement and in usually the fixation of the legs in position. This dance is not necessary to learn but is another way to participate in the idol culture. Wotagei have evolved into a flashier style and accumulated fan-made creation over the course of the past couple years, indirectly creating two generations of wotagei.
Traditional Wotagei Traditional Wotagei is the OG of wotagei. It has the established base moves to what the current generation of wotagei based its style around. The traditional style does not necessarily require the use of cyalumes or penlights. This style is not as relevant as newer generation of wotas prefer the latest era of wotagei.
Example of Traditional Wotagei
Modern Wotagei Modern Wotagei is the newly evolved style of wotagei that is both flashier and with the inclusion of accumulated fan-made moves that continues to add into its pool set. This form of wotagei has remodify and added more into the based moves of the traditional. This particular wotagei is usually performed with penlights or cyalumes, essentially it looks like fire dancing. Fans may choose to add creativity for style and flair into the dance, similarly to other forms of dances like hip hop, fans utilizes the music and perform moves they deem may flow with the music.
Example of Modern Wotagei
Base Wotagei Moves OAD Mawari (Did no transit into Modern Wotagei) PPPH (Did no transit into Modern Wotagei) Rosario Romance
Demonstration of the Moves in the Traditional Wotagei Style Demonstration of the Moves in the Modern Wotagei Style
Implementing Wotagei into a song Similar to the way furi is used in a song, now instead uses wotagei moves in its place.
Instrumental Break: OAD
Verse: OAD
Pre-Chorus: Rosario
Chorus Part A: Special Move (ie: Thunder Snake) or Mawari (Traditional Wotagei)
Chorus Part B: Romance > Romeo (Only for Traditional Wotagei)
8. Conclusion
Don’t focus too much on being on point or correct, rather you should remember that you’re still there to enjoy the show. Overtime you’ll be able to grasp the idea on what to do and eventually know what can be used. Practice along as you listen to your favorite J-Pop or anison music, hell, why not try it out with western songs. Feel and flow with the music and its beats. There isn’t an official way of performing chants, furi, and wotagei for everything. Some people may choose to use a specific chant while others use something else completely, or even create their own variation or original idea altogether. It is not limited or restricted to simply a set of moves, it is an expanding creation that fans have brought up together. We all enjoy music so lets have fun with it and show our passion!
Idol versions of moshpits
Aqours Call Guide from @meguchiinyan
Anime Songs with chants built in!! Flip Flappers Gakkou Gurashi Hanayamata
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https://anisongparty.wordpress.com/2018/05/14/chikagei-101-part-1/
Chikagei 101 Part 1: Intro to Chikagei May 14, 2018 ~ anisongparty
Welcome to the first entry in a series called Chikagei 101: where we break down the most common song-specific audience interaction moves you are likely to encounter at anikura events. What is Chikagei?
Chikagei (地下芸) is a colloquial portmanteau of the words chika (地下) meaning ‘underground’ and wotagei* (ヲタ芸), referring to the synchronized chants, cheers, and movements of fans of idol culture. Thus, chikagei refers to underground or alternative variations of coordinated audience cheers and movements that would be seen at a typical idol concert, and form the foundation of crowd interaction at anikura events. Often times, these moves require much more space than you would be given at a concert and are generally far more energetic and rowdy, making them much more appropriate for a club setting.
Obviously, depending on the size of the venue, some chikagei moves may not be appropriate. That being said, larger venues are secured occasionally for the explicit purpose of enabling and encouraging wild and crazy chikagei moves that take up a ton of space. A good rule of thumb is to read and follow the crowd: after all, a lot of these moves only work when the majority of the room is willing and ready to participate!
As an example, one of the most popular and well-known chikagei moves is shown below: the move is called Namaste Snake (ナマステスネーク) and is performed prinicpally at the chrous of the song Rising Hope by LiSA: the first OP of The Irregular at Magic High School.
As a disclaimer, chikagei moves are extremely ephemeral and evolve over time quickly. Thus, we will try to provide updates to existing moves as necessary.
The following is a short list of songs and their respective chikagei maneuvers to kick off Chikagei 101! Song: DAYS of DASH Artist: Konomi Suzuki (鈴木このみ) Anime: The Pet Girl of Sakurasou (さくら荘のペットな彼女) Chikagei: Running
One of the oldest, simplest, and most intuitive examples of a staple chikagei move that nonetheless never fails to be hype: all you really need to do is start running at the top of the chorus with the lyric “Days of DASH” drops and don’t let up until the end of the chorus.
The most common variation is to have people line up as if competing in a relay – others will occasionally set up a piece of string or similar material to act as a finish line ribbon to dash towards. In venues where there is limited space, people may dash the length of the room, then turn around and dash back and repeat until the end of the chorus. In rare cases when there is even more limited space, people may simply jog in place. Song: Maware! Setsugetsuka (回レ！雪月) Artist: Hitomi Harada (原田 ひとみ), Ai Kayano (茅野 愛衣), and Yui Ogura (小倉 唯 ) Anime: Unbreakable Machine-Doll (機巧少女〈マシンドール〉は傷つかない) Chikagei: Maware (Form a giant circle with linked arms and spin the circle)
Another classic, intuitive staple, at least once you know that maware (回れ) can translate to “go around”. Simply put, link arms with everyone, forming a gigantic circle with the crowd in the lead up to the chorus and and soon as the chorus hits, start spinning the circle by sidestepping along with the crowd. Some people also like to sprint around the inner rim of the circle, while others prefer rolling along the ground like a log. Song: Rage on Artist: OLDCODEX Anime: Free! Chikagei: Swimming
Another fairly intuitive entry: simply lay on the floor during the lead up to the chorus and start dragging your body across the floor once the chorus hits. Requires plenty of room and may be painful if done incorrectly (e.g. on carpeted floors), though mimicking a backstroke instead of a front crawl may help mitigate the pain. Song: HAPPY PARTY TRAIN Artist: Aqours Anime: Love Live! Sunshine!! Chikagei: Human train
During the chorus, simply line up in a human train formation and start running: once again, simple and intuitive. One occasionally seen variation is to perform the human train in the lead up to the chorus, then stop and simply thunder snake during the chorus. Song: Aozora no Rhapsody (青空のラプソディ) Artist: Fhána Anime: Miss Kobayashi’s Dragon Maid (小林さんちのメイドラゴン) Chikagei: MV dance
More complicated than the previous examples, but no less intuitive, conceptually: simply perform Towana’s iconic dance moves seen during the chorus of the song’s official music video below. The dance itself is not terribly difficult to learn and is a lot of fun.
Note that the dance during the final chorus is slightly modified, but it’s rare to hear more than the first chorus of any given song during an anikura event. Song: Tottoko no Uta (ハム太郎とっとこうた) Artist: Hamuchanzu Anime: Tottoko Hamtarou (とっとこハム太郎) Chikagei: Hamtaro Circle Pit
Similar to the maware chikagei above, since the dominant motif in the Hamtaro opening is going round-and-round in a hamster wheel, the crowd will form up into a circular train formation and simply run around for the duration of the song. The calls that accompany the circle pit may be found in a call guide below and are derived from calls traditionally used at idol lives*. Tottoko no Uta (ハム太郎とっとこうた) Call guide (romanized lyrics, calls in parentheses)
Tottoko hashiru yo hamutaro sumikko hashiru yo hamutaro daisuki na no wa (HAI SE NO) himawari no tane (ORE MO) yappari hashiru yo hamutaro (TAIGA FAIYA SAIBA FAIBA DAIBA BAIBA JYA JYA) Tottoko mawaru yo hamutaro kassha wo mawaru yo hamutaro daisuki na no wa (HAI SE NO) himawari no tane (ORE MO) mawaru to ureshii hamutaro (TORA HI JINZO SENI AMA SHINDO KA-SEN) Tottoko nemuru yo hamutaro dokodemo nemuru yo hamutaro daisuki na no wa (HAI SE NO) himawari no tane (ORE MO) yappari nemuru yo hamutaro (CHAPE APE KARA KINA RARA TUSUKE MYOHONTUSUKE)
*For more information on wotagei and idol calls, see:
Idol 101: How to Do Calls and MIXes BECOMING A WOTAKU!! Idol 101
https://anisongparty.wordpress.com/2018/05/24/chikagei-101-part-2/
Chikagei 101 Part 2: Basic Calls and Moves May 24, 2018 ~ anisongparty Previous Entry
Chikagei 101 Part 1: Intro to Chikagei
As opposed to covering specific moves, this article serves as a guideline for the generic, general set of synchronized calls and movesets from the crowd typically heard at anikura events. Note that anikura crowds and atmospheres vary heavily based on the venue or event. For example, the crowd at MOGRA tends to skew more towards a traditional DJ club where the audience may simply sway and bounce to the beat. In contrast, events specifically geared towards celebrating chikagei such as すーぱーあにおん will typically take place in a large open venue such as a gymnasium or outdoor park, thus the crowds at these events are far more likely to go wild with calls and follow up with moves such as thunder snake for nearly every single song.
As with most live events in Japan, be sure to read the atmosphere of the crowd to determine if any or all of the following calls and moves are appropriate or not. When it doubt, follow the crowd!
Note that this article assumes basic familiarity with calls and cheers typically heard at idol concerts or anisong concerts known broadly as wotagei (ヲタ芸 ). If not, please feel free to brush up on the fundamentals with example tutorials such as the following:
BECOMING A WOTAKU!! Idol 101 Surviving your first Idolm@ster Live Idol 101: How to Do Idol Calls and Mixes
1. Clapping (aka OAD)
Clapping along with the beat of the song – typically, every other beat – during the A-melody.
At anikura events, clapping occurs almost 100% of the time during the A-melody, aka the first verse after the intro instrumental section. 3D idol fans may also know this move as OAD or Over Action Dolphin, but this simplified variant lacks most of the super-exaggerated movement of OAD: people may still alternate side-to-side for each clap, however. If there is a slower or faster portion of the intro, the crowd may alternatively clap on every beat: see the beginning of the Q&A Recital! clip listed below.
Fans of 2.5D idol (e.g. Love Live!, iDOLM@STER, Wake Up, Girls!) or major anisong artists typically know this portion of the song as the part where you simply move your penlights up and down to the beat of the song.
Trancing Pulse by Triad Primus – THE iDOLM@STER Cinderella Girls
Q&A Recital! (Q&A リサイタル!) by Haruka Tomatsu – Tonari no Kaibutsu-kun 2. PPPH
The unique chant typically heard during the B-melody leading up to the chorus.
Most people introduced to idol calls from the 3D, 2.5D, anisong worlds will know this move as either three claps (comprising the PPP part of PPPH) or as “oooooo hai”, but PPPH at anikura events tends to follow the underground (chika) idol scene, which is “oooooo → clapx2”. See the clip below at around 0:08.
sister’s noise by fripSide – A Certain Scientific Railgun S 3. Sakiclap
Slowly clapping in a manner such that you expose your palms outwards as you complete the clapping motion, like a blooming flower (hence where its name is derived from: 咲く (saku), meaning to bloom).
The sakiclap replaces what most concert fans know as kecha, which involves extending your arms towards the performer during the slow parts of songs. The timing is exactly the same as kecha, the clap is simply added at the end of the motion. Anikura crowds may sakiclap towards the DJ, similar to the way concert crowds kecha in the direction of the performer on stage.
Unlike concerts, it’s rare for a songs at anikura events to reach the C-melody of a song, so you tend to only see sakiclapping if there is a slow intro or A-melody. An example is shown below around 0:20.
Future Strike by Yui Ogura – ViVid Strike!
During slow parts of certain songs, high-speed (kousoku: 高速) clapping may alternatively be employed in lieu of sakiclap. See 0:24 of the clip below.
Happy Party Train by Aqours – Love Live! Sunshine!! 4. IETTAIGA
The iettaiga (also stylized as yeah tiger, イェッタイガー, 家虎) call has recently become something of a sticky and highly polarizing subject with regard to decorum and proper behavior at concerts, but the call itself is far more common and accepted at most anikura events. It will be typically shouted in the silence immediately before the chorus, if there is one. If the silence is particularly long, you may hear iettaiga faibo waipa or ie-ie-iettaiga in its place.
You can hear this in the sister’s noise video above at around 0:20 or in Sparkling Daydream below around 0:10. ie-ie-iettaiga can be heard in the Astrogation video below.
Sparkling Daydream by ZAQ – Chuunibyou demo Koi ga Shitai!
Astrogation by Nana Mizuki 5. MIX
Yet another controversial call that is accepted at most 3D idol concerts, but is polarizing when it comes to decorum at 2.5D or anisong concerts, MIX is also much more accepted at anikura events; however, it is not quite as common as the moves and calls outlined above. Since anikura events typically only play up until the end of the first chorus, it is rare to hear anything more than the Standard MIX, which is as follows:
TAIGA FAIYA SAIBA FAIBA DAIBA BAIBA JYA JYA
You can hear the Standard MIX immediately at the beginning of the clip below.
未来の僕らは知ってるよ (Mirai no Bokura wa Shitteru yo) by Aqours, Love Live! Sunshine!! Misc Moves and Calls Fuwa Combo
Those accustomed to calls at idol or anisong concerts will have doubtlessly noticed the omission of several key calls such as the Fuwa combo or the ‘Hai’ chant, but these calls are rarely heard at most anikura events since there is significantly more emphasis on freehanded clapping moves in the early part of a song and thunder snake during the chorus. Member Calls
Along the same line, there is a greater chance of hearing 3D idol variations of calls such as oshi/member calls (listen around 0:20 of the Mirai Boku clip above to hear the ORE NO~ oshi call) than to hear their 2.5D idol/anisong counterpart calls. See Member Calls in this article for more information. It is worth noting that these calls are still uncommon for anikura events. Furicopy
With the exception of particularly iconic dances such as in Aozora no Rhapsody, furicopy (the act of mirroring a performer’s hand, body, or dance movements) is notably rare at anikura events, simply because there is no performer to follow along with. In contrast, wiper (mirroring the performer’s back-and-forth hand waving motion) is still fairly common as the DJ can easily fill in for the role of the performer in this case. General Guidelines
As for general atmosphere and behavior, expect a far looser and laidback crowd; after all, you’re at a club event and not a concert where you’re confined to a tiny square of a seat, shoulder-to-shoulder with your neighbors. Anikura crowds generally tend to feature a lot more exuberant shouting, jumping, pointing at the DJ (similar to oshi pointing), hand/arm waving, and general swaying and swinging around (again, space-permitting) for any and all of the motions and maneuvers outlined above. Penlights and UOs, which are a core staple of concerts, are notably not as popular at anikura events, which again, aids in the ability to perform freehanded maneuvers.
In our next article, we will cover the final piece of the chikagei basics: the core move that defines contemporary anikura crowds: thunder snake!
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