The Jaguars - Zabadak! (they do a spirited version of the Monkees theme song, too)
Showing posts with label JAPAN. Show all posts
Showing posts with label JAPAN. Show all posts
Taboo
"Masami Kawahara presents Taboo ( タブー (禁断) a song from her 1970 album named Kokotsu (Ecstasy)" uploaded to YouTube by Nenuupharr
You can't be sure what's really happening but I don't think it's SFW.
Smiley Ohara & Skyliners
I don't have a clue what this is all about, but I like it. If anyone can enlighten me, please do.
update: this one's even better. I believe it's the same orchestra, and according to Babelfish it's The Peanuts.
update: this one's even better. I believe it's the same orchestra, and according to Babelfish it's The Peanuts.
In the Beginning, Woman Was the Sun: The Autobiography of a Japanese Feminist
By Hiratsuka RaichōTranslated by Teruko Craig
Columbia University Press
In the beginning, woman was truly the sun. An authentic person.
Now she is the moon, a wan and sickly moon, dependent on another, reflecting another’s brilliance.
...
The time has come for us to recapture the sun hidden within us.
These lines launched Seitō, a women's literary journal, in 1911 Tokyo. Hiratsuka Raichō was one of the founders, and she poured her emotions into this opening editorial. Her essay gave voice to frustrations felt by women across the nation, and is now considered part of the canon of Japanese feminism.
In the Beginning, Woman Was the Sun is Raichō’s autobiography. Teruko Craig has translated the first half of a four volume set, with her own summary of the latter half of Raichō’s life. The book can best be described as a memoir, with more focus on experiences than facts.
Raichō did not intend to become a feminist icon. An atypical young girl, she went fishing with her father as a child, and later fought for permission to enroll in one of the few women’s colleges. Throughout her youth, Raichō squirmed under the oppressive dictates of school and family, conventions we would designate now as patriarchal, though she was not thinking in such terms.
Raichō was given a remarkable amount of freedom for a young woman. She walked alone to and from school and pursued her own activities. Passionate about attaining spiritual growth, she studied Zen for years. Her interest in literature came late, but when it did she began poring through the classics of European thought.
It was a male friend who urged her to found Seitō, "Bluestocking," a literary journal dedicated to fostering women writers. Raichō’s original drive was to inspire women to become their authentic selves. She did not think in terms of men and women, but of people who were denying themselves spiritually.
Raichō became a primary manager of the operation, with a team of other young women, and the magazine remained independent during the majority of its run from 1911 to 1916. Those involved were dubbed "New Women" by the newspapers, and their every action was scrutinized. The editorial team constantly walked the line between asserting their rights to act freely and avoiding the condemnation of society and the government, which banned several issues.
Raichō narrates her memoir in the voice of a confident woman, never apologizing nor boasting. I felt as though she was sitting near me, telling the story simply because I had asked to hear it. She explains her motivations, even when they are not quite what one might expect from a feminist icon. It was only later in her life that Raichō began to fight for the special rights and responsibilities women have as women, particularly as mothers. She describes this as a maturation of view.
Much time is spent on Raichō’s relationships with other writers. Though I was interested in the other women participating in Seitō, there were so many of them that they began to run together. I am sure that, to someone more familiar with the movers and shakers of Raichō’s time, the names will have more meaning, and these insights into their characters will be a gift. Craig points out that as an oral narrative, the text “tends to be repetitious and digressive,” but I rarely found this to be an issue except for these tangential stories.
The only thing missing is more of Raichō’s writings. The preeminent “In the beginning…” essay is only excerpted, allowing tantalizing glimpses into Raichō’s mind without allowing the reader to develop a sense of her full meaning. I feel it would have been helpful to have more of what appeared in Seitō as well. As such, In the Beginning, Woman Was the Sun is not a one-stop-shop for learning about Japanese feminism. There is a good sense of history and the larger changes in Japanese society at the time, but only in relation to Raichō and her projects. Her motivations and intentions are explained, but her work is not allowed to speak for itself. Nevertheless, the book sheds light on a time and a place that few would think of as progressive in terms of women’s rights.
Review by Richenda Gould
The Japanese Wife
By Aparna Sen
Saregama Films
Here’s what I can muster for Aparna Sen’s film The Japanese Wife: I still don’t quite get it.
The Japanese Wife is not as simple as Madame Butterfly, but I think a similar analysis applies. This film was odd. The story is about this awkward (poor!) Bengali school teacher who is lifelong pen pals with an equally socially obtuse (relatively poor) Japanese woman. Neither of them speak English as a first language, yet they communicate, fall in love, get married, and live their lives (separately) through letters. There was no miscegenation happening.
Now what is the term for sub-empires orientalizing other sub-empires?
Every time Miyage, the Japanese Wife character, spoke there would be this ever so delicate music wafting in (gongs!) and all of a sudden, as if it were the elusive groundhog itself, would come her voice. Her tiiiiiny, high-pitched, broken-English voice. I have nightmares about this voice. Exotic yes, feminine definitely, little Miyage. Flutter flutter. "Miyage" to my knowledge, is a Japanese surname, not a first name. Miss!
A lot of The Japanese Wife was by the book. Like Snehamoy (the husband) being seen as a “race”-traitor/Japan-lover, so the plot line included the exotic Asian woman captivating Snehamoy enough for him to shun Indian women, specifically Sandhya (Raima Sen’s character), the beautiful young widow who (due to unfortunate circumstances) moves in with Snehamoy and his aunt. It’s best shown in a scene that takes on nationalistic proportions, where Snehamoy represents Japan in a village kite battle against the ultra-Indian kite team manned by the local teenage boys of Snehamoy's village.
So I figure, like the timing of M. Butterfly, Incredible !ndia, too, is going through major cultural-economic shifts. I mean look at the March Nuclear Agreement; thanks to the Obama Administration, India’s ascendancy as a "sub-empire" is firmly in place. Clearly Incredible !ndia’s capitalist growth and emerging status as world economic power (8.2% growth according to Asian Development Bank in 2010) is a discursive force in itself.
New India should exercise its growing machismo and brand its own Orientalism. But that’s not it! Bengali men are not exactly the epitome of machismo. Neither does India share in the post-WWII relations between the U.S. and Japan. India is expanding and the wave it’s expanding on is producing, circulating, and reinventing cultural practices and relations. So, it’s not as simple as saying that this example of fetishizing Japanese women is some sort of inherited or weird mimesis of nation-buildings past.
In a sense (and I feel like I’m sidestepping history, power, labour, etc.), the idea of the gaze is flexible. And employed by Indians. Just watch The The Japanese Wife. Or Chandni Chowk to China. Or the host of new Indian films featuring ethnically Asian characters.
Now the celibacy of Miyage and Snehamoy remains. Maybe Sen really is a genius and made it easy for us to see the symbolism in Snehamoy’s celibacy as a way of describing a postcolonial nation-in-process. Clearly India is not Empire-proper. Indian men are still symbolically emasculated, same as U.S. hegemony still exists. Or I mean, shoot, it really is all about miscegenation. And Indians are not ready for transnational-transracial love like this. You’ve got to preserve some Brahmin in there.
Shrugs.
Review by Nafisa Ferdous
Saregama Films
Here’s what I can muster for Aparna Sen’s film The Japanese Wife: I still don’t quite get it.
The Japanese Wife is not as simple as Madame Butterfly, but I think a similar analysis applies. This film was odd. The story is about this awkward (poor!) Bengali school teacher who is lifelong pen pals with an equally socially obtuse (relatively poor) Japanese woman. Neither of them speak English as a first language, yet they communicate, fall in love, get married, and live their lives (separately) through letters. There was no miscegenation happening.
Now what is the term for sub-empires orientalizing other sub-empires?
Every time Miyage, the Japanese Wife character, spoke there would be this ever so delicate music wafting in (gongs!) and all of a sudden, as if it were the elusive groundhog itself, would come her voice. Her tiiiiiny, high-pitched, broken-English voice. I have nightmares about this voice. Exotic yes, feminine definitely, little Miyage. Flutter flutter. "Miyage" to my knowledge, is a Japanese surname, not a first name. Miss!
A lot of The Japanese Wife was by the book. Like Snehamoy (the husband) being seen as a “race”-traitor/Japan-lover, so the plot line included the exotic Asian woman captivating Snehamoy enough for him to shun Indian women, specifically Sandhya (Raima Sen’s character), the beautiful young widow who (due to unfortunate circumstances) moves in with Snehamoy and his aunt. It’s best shown in a scene that takes on nationalistic proportions, where Snehamoy represents Japan in a village kite battle against the ultra-Indian kite team manned by the local teenage boys of Snehamoy's village.
So I figure, like the timing of M. Butterfly, Incredible !ndia, too, is going through major cultural-economic shifts. I mean look at the March Nuclear Agreement; thanks to the Obama Administration, India’s ascendancy as a "sub-empire" is firmly in place. Clearly Incredible !ndia’s capitalist growth and emerging status as world economic power (8.2% growth according to Asian Development Bank in 2010) is a discursive force in itself.
New India should exercise its growing machismo and brand its own Orientalism. But that’s not it! Bengali men are not exactly the epitome of machismo. Neither does India share in the post-WWII relations between the U.S. and Japan. India is expanding and the wave it’s expanding on is producing, circulating, and reinventing cultural practices and relations. So, it’s not as simple as saying that this example of fetishizing Japanese women is some sort of inherited or weird mimesis of nation-buildings past.
In a sense (and I feel like I’m sidestepping history, power, labour, etc.), the idea of the gaze is flexible. And employed by Indians. Just watch The The Japanese Wife. Or Chandni Chowk to China. Or the host of new Indian films featuring ethnically Asian characters.
Now the celibacy of Miyage and Snehamoy remains. Maybe Sen really is a genius and made it easy for us to see the symbolism in Snehamoy’s celibacy as a way of describing a postcolonial nation-in-process. Clearly India is not Empire-proper. Indian men are still symbolically emasculated, same as U.S. hegemony still exists. Or I mean, shoot, it really is all about miscegenation. And Indians are not ready for transnational-transracial love like this. You’ve got to preserve some Brahmin in there.
Shrugs.
Review by Nafisa Ferdous
Entangling Alliances: Foreign War Brides and American Soldiers in the Twentieth Century
By Susan ZeigerNYU Press
When men are shipped out to foreign locations to engage in wartime activities, it seems inevitable that they will become romantically and sexually involved with foreign women. In Entangling Alliances, Susan Zeiger explores this phenomenon, examining governmental, military, and societal responses to American soldiers’ desires for sex, companionship, and marriage while engaged in combat overseas. She argues that the changing ways Americans treated war brides over the course of the twentieth century demonstrates shifting American sensibilities regarding foreign policy, race, and gender. More than anything, because war brides involved an exchange of women across cultural and national boundaries, American discourse about war brides was ultimately about what constituted American manhood, men’s relationships with women, and the role of the nation in its relationship to other countries.
During World War I, the military preached sexual abstinence while devising methods to keep American soldiers and local women apart, in particular African-American soldiers and white European women. The army’s response to marriage requests vacillated until an official policy was handed down that marriage was a personal, not military, question. Meanwhile, domestic policy concerns in the U.S. triumphed over an internationally-oriented political outlook; xenophobia for newcomers was inevitable and Americans wondered if these foreign women could become good American wives. Though many predicted the demise of these marriages, evidence reveals that the majority made it.
In World War II, military policy differed depending on location. It encouraged marriage in Great Britain and Australia, both Allied countries with similar cultural backgrounds to white middle-class America. Likewise, American society welcomed these brides, suggesting that American women should emulate their domesticity and loyalty to husbands. Alternatively, the military encouraged prostitution, rather than marriage, in both Italy and the Philippines, while American society viewed these war brides as less desirable immigrants. Zeiger argues that both policies—encouraging prostitution or marriage—“shared... the intention to preserve and extend male control over women.” She also points out that though many of these local women showed independence and an assertion of personal freedom by going out with American men, sometimes against their family’s wishes, their stories “end with marriage and dependence.”
Race played a huge role in war bride stories post-WWII and throughout the Korean and Vietnam Wars. Congressional policy actively limited brides from Asian countries, outright barring Japanese spouses for several years, while all interracial couples faced social discrimination and, occasionally, found that their marriages were not legal when they moved from one state to another.
Zeiger argues that the conflicts in Korea and Vietnam saw the “demise” of the war bride as a phenomenon considered and debated by the American public. The military did not provide transport to war brides the way they did in WWI and WWII, and it actively encouraged prostitution rather than marriage, extending its WWII policy of creating red-light districts where prostitutes were regularly examined by medical officials and given “safe” ratings to prevent the spread of venereal disease. Korean and Vietnamese wives were not written about widely in the American press and they have not written about their post-war experiences in America, the way war brides from earlier eras have done. They have been, Zeiger writes, “all but invisible in American culture.” Demographic information suggests that these Asian war brides tend to be isolated, even in comparison to other Asian immigrants though they have sponsored family members to come to the U.S., unlike earlier war brides. Though Asian war brides were an untold story, there was a lot of media attention paid to the mixed-race children left behind in Vietnam and, sometimes airlifted out and brought to the U.S. Zeiger argues that the story of Amerasian children, and the efforts to bring them to the U.S. allowed Americans to re-conceptualize the war, seeing both Amerasian children and American soldiers as victims in the story. “The American nation becomes father and, also, paradoxically, child. Vietnam, the mother, the war bride, is not part of this reconciliation.”
Entangling Alliances is a compelling read, illuminating twentieth century social struggles encountered by men and women on both domestic and foreign soil over questions of gender, race, and nationality. Though Zeiger argues that the war bride phenomenon died out with the Korean and Vietnam wars, clearly, soldiers still took wives and fathered children with Korean and Vietnamese women. More recently, stories of male American soldiers marrying Iraqi women have been exploited in the media. Because Zeiger only covers the period from WWI up through the Vietnam War, she leaves a perplexing question unexplored: What has happened with female soldiers and local men in the conflicts that the U.S. has engaged in the last twenty years? Have female soldiers, like male soldiers, engaged in romantic and sexual conquests with non-U.S. citizens? I suspect their experience has been radically different than their male counterparts.
Review by Jessica Powers
Babies
Directed by Thomas Balmès
Focus Features
I just got back from seeing the documentary Babies. I have to say that it was great! Director Thomas Balmès followed four babies from four countries for a little over a year each. The movie is mostly without dialogue, except for the little bit of the parents' talking. It is mostly shot from the baby's level, and is organized by the developmental stages of babies' lives. This choice was a great way to highlight each culture and keep the movie flowing.
I really enjoyed seeing the differences in parenting and lifestyles. I found Ponijao, the baby from Namibia, to be the most interesting. The parenting style there was extremely community oriented, though men seemed to have no place in parenting there. This collective parenting made it hard to tell who the baby's mother was through much of the movie.
Bayar, from Mongolia, lives on a family farm. It's amazing to see how closely he grows up with the animals and how he is given a lot of freedom. It's also interesting that his parents seem to take a very removed roll. Although the mother is an active parent at times, Bayar tends to be left to his own devices or with a slightly older sibling.
Japanese Mari was raised in a very Western manner, with her mother taking her to prearranged play dates and having her interact with toys produced by the baby industry. In California, Hattie grows up with a ton of toys and books. She goes to organized baby-centered activities, but otherwise is very solitary. Out of all the babies' fathers, Hattie's seems to be the most involved in his child's life.
Babies does a great job of staying silent; there is no voice-over commentary or focus on the parents apart from when they are interacting with their child. That said, I think the filmmaker intended to create a discussion about parenting, but Babies could easily act as a way to create an Other by creating a divide between Western and non-Western worlds. Although it shows how babies are similar overall, cultural and economic divisions and not providing context and commentary makes it too easy to view those from non-Western cultures as outsiders.
When watching the film, it's hard to remember that these are sample sizes of one, which makes it easy to critique the parenting style of, say, the Japanese parents because there are more than a few scenes of Mari being crabby. But she could easily have colic or be teething or it could just be a result of her parents' individual style, not a reflection of Japanese society as a whole. Similarly, Babies makes it seem as though this Mongolian family is completely removed from parenting, when it could be the economic pressures they face that creates a need for both of Bayar's parents to work.
I noticed some negative reactions in the theater. The film shows breastfeeding, which elicited a small gasp from another patron, and there were also some inappropriate reactions to the children in two of the cultures who were regularly without pants. I think these reactions tell a lot about Americans biases, and how these negative views make natural choices difficult for many mothers.
Other than these few things, Babies was amazing. I'd definitely suggest it to anyone who has an interest in children or parenting. I would just make sure the person understands that these are glimpses into the lives of individuals, and while the people featured may represent a part of their culture, they are not necessarily representative of the culture as a whole.
Review by Cheryl Friedman
Cross-posted at Squirrely Mama
Focus Features
I just got back from seeing the documentary Babies. I have to say that it was great! Director Thomas Balmès followed four babies from four countries for a little over a year each. The movie is mostly without dialogue, except for the little bit of the parents' talking. It is mostly shot from the baby's level, and is organized by the developmental stages of babies' lives. This choice was a great way to highlight each culture and keep the movie flowing.
I really enjoyed seeing the differences in parenting and lifestyles. I found Ponijao, the baby from Namibia, to be the most interesting. The parenting style there was extremely community oriented, though men seemed to have no place in parenting there. This collective parenting made it hard to tell who the baby's mother was through much of the movie.
Bayar, from Mongolia, lives on a family farm. It's amazing to see how closely he grows up with the animals and how he is given a lot of freedom. It's also interesting that his parents seem to take a very removed roll. Although the mother is an active parent at times, Bayar tends to be left to his own devices or with a slightly older sibling.
Japanese Mari was raised in a very Western manner, with her mother taking her to prearranged play dates and having her interact with toys produced by the baby industry. In California, Hattie grows up with a ton of toys and books. She goes to organized baby-centered activities, but otherwise is very solitary. Out of all the babies' fathers, Hattie's seems to be the most involved in his child's life.
Babies does a great job of staying silent; there is no voice-over commentary or focus on the parents apart from when they are interacting with their child. That said, I think the filmmaker intended to create a discussion about parenting, but Babies could easily act as a way to create an Other by creating a divide between Western and non-Western worlds. Although it shows how babies are similar overall, cultural and economic divisions and not providing context and commentary makes it too easy to view those from non-Western cultures as outsiders.
When watching the film, it's hard to remember that these are sample sizes of one, which makes it easy to critique the parenting style of, say, the Japanese parents because there are more than a few scenes of Mari being crabby. But she could easily have colic or be teething or it could just be a result of her parents' individual style, not a reflection of Japanese society as a whole. Similarly, Babies makes it seem as though this Mongolian family is completely removed from parenting, when it could be the economic pressures they face that creates a need for both of Bayar's parents to work.
I noticed some negative reactions in the theater. The film shows breastfeeding, which elicited a small gasp from another patron, and there were also some inappropriate reactions to the children in two of the cultures who were regularly without pants. I think these reactions tell a lot about Americans biases, and how these negative views make natural choices difficult for many mothers.
Other than these few things, Babies was amazing. I'd definitely suggest it to anyone who has an interest in children or parenting. I would just make sure the person understands that these are glimpses into the lives of individuals, and while the people featured may represent a part of their culture, they are not necessarily representative of the culture as a whole.
Review by Cheryl Friedman
Cross-posted at Squirrely Mama
Nakigao (Crying Girl)
Amuse Soft Entertainment
You may have already heard about Nakigao (Crying Girl), a DVD released in Japan last month. It features eleven young Japanese actresses crying over real-life dramas they’ve had. And… that’s about it. The DVD is being marketed toward Japanese men, either for sexual or ego enjoyment purposes.
Given the wide rage of fetishes out there, especially when it comes to viewing women as victims or vulnerable, I’m not really surprised this DVD exists. But I’m really bothered by the lack of criticism it’s receiving from bloggers and news outlets, where it’s gotten any coverage at all. It’s been highlighted (in English-language blogs) as just one more “WTF, Japan” idiosyncrasy that also provides a fleeting glimpse into a gender status quo most Westerners take for granted.
Steve Levenstein over at Inventor Spot posted a somewhat cynical take of the DVD, but nonetheless concluded, “it seems that men in Japan need to have their 'conquering instinct' stoked up, and the way to do this is by watching beautiful women cry. Yep, in a nutshell: men feel stronger after experiencing the weakness of women. But hey—Japan is a different culture and Crying Girl just underlines that fact.” Levenstein notes, smartly or perhaps cheekily, that if a self-help tool for empowering men, which utilizes women as props to do so, were marketed in the U.S., “you’ll earn yourself a swift kick in the, er, nutshells.” Yet it’s okay to condone that dynamic in Japan? Maybe he didn’t feel empowered to take a feminist critique?
Posts didn’t ask questions about the deeper why of this DVD's existence, or whether they were doing something helpful or harmful by advertising it. Instead of being “culturally sensitive” (or culturally insensitive in a tongue in cheek way, which is what I think most of the blogs that posted about the DVD sought to be), such coverage is participating in the perpetuation of Western stereotypes about Japanese women as meek and submissive.
Most irksome to me is the surprising coverage this stupid DVD got into the May issue of Marie Claire. It was featured in the “Bulletin” section, which usually highlights items that are new, relevant, progressive, and pro-woman. Notes Marie Claire, “the film pitches itself as a self-help tool to empower men and stir up their ‘macho instincts’ by showing the ‘vulnerability’ of women.” Alongside informative and helpful bits about DC’s wack anti-prostitution initiative—which could get you arrested for carrying more than three condoms—and the fiftieth anniversary of the birth control pill (happy birthday, old friend!) was a toothless review-slash-apology for Crying Girls.
I think the author wanted to highlight it more as an oddity than anything else, but by not offering any kind of critique of the DVD, it came off as condoning, or presuming normative gender roles in Japan: “the sixty-three-minute sobfest promises that men won’t be able to resist the ‘pure tears and running noses’ and ‘sad sexy voices’ of the women reliving their misery. Whatever turns you on, right?”
It’s convenient to Otherize a taboo to make yourself feel more normal, but meanwhile child pornography and other disturbing fetishes are alive and well in the U.S. and all over the world. Marie Claire interviews a Japanese psychologist who confirms: “Japanese women are getting more powerful by the day, and men are experiencing a deep malaise of inadequacy.’ Anyone need a tissue?” And that’s where the article ends. Instead of making the newsy bit about how women in Japan are “getting more powerful by the day,” the story is the misogynistic prop that men need to make themselves feel better.
This is the exact same misreading of a potentially feminist storyline that I wrote about in January. The New York Times spun potentially good news—women are earning more—into an androcentric tale of female victimhood: men are marrying women for their money. Why does androcentrism seem to be more newsworthy than feminism? Is feminism a trope or something nowadays?
I don’t want to make a mountain out of a mole hill, but I wish that either this DVD wasn’t mentioned at all, or that, if it was, it was critiqued in a more thoughtful way. Instead of wasting ink describing how eleven women are crying to make businessmen feel macho, let’s use our 'ink' to talk about the under-sung work of Japanese feminists, and important regional groups like the Asia-Japan Women’s Resource Center.
If you’re thinking of ordering this ridiculous DVD, instead buy Broken Silence: Voices of Japanese Feminism. Then you’ll really learn something about the Japanese woman, as she speaks for herself.
Review by Jessica Mack
Cross-posted with Gender Across Borders
You may have already heard about Nakigao (Crying Girl), a DVD released in Japan last month. It features eleven young Japanese actresses crying over real-life dramas they’ve had. And… that’s about it. The DVD is being marketed toward Japanese men, either for sexual or ego enjoyment purposes.
Given the wide rage of fetishes out there, especially when it comes to viewing women as victims or vulnerable, I’m not really surprised this DVD exists. But I’m really bothered by the lack of criticism it’s receiving from bloggers and news outlets, where it’s gotten any coverage at all. It’s been highlighted (in English-language blogs) as just one more “WTF, Japan” idiosyncrasy that also provides a fleeting glimpse into a gender status quo most Westerners take for granted.
Steve Levenstein over at Inventor Spot posted a somewhat cynical take of the DVD, but nonetheless concluded, “it seems that men in Japan need to have their 'conquering instinct' stoked up, and the way to do this is by watching beautiful women cry. Yep, in a nutshell: men feel stronger after experiencing the weakness of women. But hey—Japan is a different culture and Crying Girl just underlines that fact.” Levenstein notes, smartly or perhaps cheekily, that if a self-help tool for empowering men, which utilizes women as props to do so, were marketed in the U.S., “you’ll earn yourself a swift kick in the, er, nutshells.” Yet it’s okay to condone that dynamic in Japan? Maybe he didn’t feel empowered to take a feminist critique?
Posts didn’t ask questions about the deeper why of this DVD's existence, or whether they were doing something helpful or harmful by advertising it. Instead of being “culturally sensitive” (or culturally insensitive in a tongue in cheek way, which is what I think most of the blogs that posted about the DVD sought to be), such coverage is participating in the perpetuation of Western stereotypes about Japanese women as meek and submissive.
Most irksome to me is the surprising coverage this stupid DVD got into the May issue of Marie Claire. It was featured in the “Bulletin” section, which usually highlights items that are new, relevant, progressive, and pro-woman. Notes Marie Claire, “the film pitches itself as a self-help tool to empower men and stir up their ‘macho instincts’ by showing the ‘vulnerability’ of women.” Alongside informative and helpful bits about DC’s wack anti-prostitution initiative—which could get you arrested for carrying more than three condoms—and the fiftieth anniversary of the birth control pill (happy birthday, old friend!) was a toothless review-slash-apology for Crying Girls.
I think the author wanted to highlight it more as an oddity than anything else, but by not offering any kind of critique of the DVD, it came off as condoning, or presuming normative gender roles in Japan: “the sixty-three-minute sobfest promises that men won’t be able to resist the ‘pure tears and running noses’ and ‘sad sexy voices’ of the women reliving their misery. Whatever turns you on, right?”
It’s convenient to Otherize a taboo to make yourself feel more normal, but meanwhile child pornography and other disturbing fetishes are alive and well in the U.S. and all over the world. Marie Claire interviews a Japanese psychologist who confirms: “Japanese women are getting more powerful by the day, and men are experiencing a deep malaise of inadequacy.’ Anyone need a tissue?” And that’s where the article ends. Instead of making the newsy bit about how women in Japan are “getting more powerful by the day,” the story is the misogynistic prop that men need to make themselves feel better.
This is the exact same misreading of a potentially feminist storyline that I wrote about in January. The New York Times spun potentially good news—women are earning more—into an androcentric tale of female victimhood: men are marrying women for their money. Why does androcentrism seem to be more newsworthy than feminism? Is feminism a trope or something nowadays?
I don’t want to make a mountain out of a mole hill, but I wish that either this DVD wasn’t mentioned at all, or that, if it was, it was critiqued in a more thoughtful way. Instead of wasting ink describing how eleven women are crying to make businessmen feel macho, let’s use our 'ink' to talk about the under-sung work of Japanese feminists, and important regional groups like the Asia-Japan Women’s Resource Center.
If you’re thinking of ordering this ridiculous DVD, instead buy Broken Silence: Voices of Japanese Feminism. Then you’ll really learn something about the Japanese woman, as she speaks for herself.
Review by Jessica Mack
Cross-posted with Gender Across Borders
Kissing the Mask: Beauty, Understatement and Femininity in Japanese Noh Theater
By William T. VollmannEcco
Full disclosure: I am an avid fan of William T. Vollmann's work and was excited to read this book. Vollmann often has strange and interesting things to say about women and gender relations, and his notorious interest in prostitutes (who feature prominently in both his fiction and non-fiction) may almost be labeled as an obsession. In his latest book, Kissing The Mask, Vollmann concentrates on the nature of femininity by viewing it primarily through the lens of the ancient, gorgeous masks of Japanese Noh theater. It is also a meditation on the idea of femininity as a staged performance.
Noh theater is far too complex to encapsulate in just a few sentences, and Vollmann himself often professes trouble in defining it thoroughly. At first glance, Noh seems a bizarre choice of medium through which to focus on femininity, as most Noh actors are male and men traditionally play the roles of women with the aid of costuming and masks. However, Vollmann directs his attention, and the readers', to the beautifully rendered Noh masks representing female characters. These become a metaphor for the “mask” of femininity that many women wear: makeup, jewelry, clothing, and other adornments that are more or less socially mandated.
Similarly, the elaborate and carefully orchestrated movements on the Noh stage are analogous to the “staged” femininity also involving complex, time-consuming, and money-burning ornamentation that often results in constricted and painful mobility. Vollmann is concerned with what “manifests” a woman as opposed to what a woman “is,” and in this endeavor he visits Japanese geishas and transvestites, both of whom could be said to wear the feminine mask. He digresses into history of what other cultures have traditionally considered “beautiful,” and manages to weave in thoughts about porn stars and artists' muses.
Vollmann readily admits that he perceives women as “the other,” and is fully aware of the fact that he is viewing women through the privilege of a male gaze. He waxes rhapsodic about female beauty throughout the text, basically elevating women on a very high and poetic pedestal, which made me slightly uncomfortable; when a person (or entire gender) is put up on a pedestal, it's a long way to fall. Vollmann appears to genuinely like and respect women, however, and my discomfort was minor and temporary. He also, as in his other nonfiction books, makes no pretense about being an objective observer; he is fully immersed as a character in his own true story.
Kissing The Mask is highly valuable as a look into the secretive, baroque, and intricate Japanese subcultures of Noh theater and geisha teahouses, with the author's personal study of staged femininity mostly as a bonus. Furthermore, it's enriched with William Vollmann's gorgeous and almost lyrical prose, plenty of photographs and drawings, several appendices with notes and chronologies, and a glossary for the many Japanese words and phrases liberally sprinkled through the material.
Review by Natalie Ballard
Kanamara Matsuri aka Giant Pink Penis Day 2010 !
The Kanamara Matsuri (Festival of the Steel Phallus, かなまら祭り?) is an annual Shinto fertility festival held in Kawasaki, Japan in spring. The exact dates vary: the main festivities fall on the first Sunday in April. The penis forms the central theme of the event that is reflected everywhere—in illustrations, candy, carved vegetables, decorations, and a mikoshi parade.
The Kanamara Matsuri is centered around a local penis-venerating shrine once popular among prostitutes who wished to pray for protection against sexually transmitted diseases. It is said that there are divine protections also in business prosperity and the clan's prosperity, easy delivery, marriage, and married couple harmony. There is also a legend of a sharp-toothed demon that hid inside the vagina of a young girl and castrated two young men on their wedding nights (vagina dentata). As a result, the young girl sought help with a blacksmith, who fashioned an iron phallus to break the demon's teeth, leading to the enshrinement of the item.
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Japanese TV - The Toilet Test !!!
Anyone who reads this blog knows that I am an unabashed fanboy for all things that crawl from the perverse minds of Japanese TV producers.This show reaches new territory for bathroom humor and humiliation(if you can actually humiliate a crash test dummy).
- All Rights Reserved 2010 - The Niles Lesh Project
Follow NILES LESH / MIENFOKS on TWITTER !
- All Rights Reserved 2010 - The Niles Lesh Project
Follow NILES LESH / MIENFOKS on TWITTER !
GISELE BUNDCHEN - Numero Tokyo
There is a reason that Gisele is the world's number one fashion model. This is one of her best shoots ever !
THE NILES LESH PROJECT - ALL RIGHTS RESERVED 2009
THE NILES LESH PROJECT - ALL RIGHTS RESERVED 2009
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