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Asia and Asian peoples have typically been portrayed by western culture to fit certain perceptions. Stereotypes and pre-ordained ideas about Geisha have been created due to many reasons. These reasons are misrepresentation in Hollywood and film, a culturally western gender-based male language as the dominator of language, a lack of esthetic-cultural appreciation and understanding from foreign males who encountered geisha, and finally the confusion between the geisha and prostitute districts and what curtails as a true geisha. Orientalism, which is a western style for dominating, restructuring, and having authority over the Orient, by placing limitations on it and defining it as the “Other” (Said, 3, 1979), has influenced the creation and strengthening of the submissive, exotic, and decadent geisha. Unfortunately these romanticized images continue to persist and are used to give false understandings of the geisha.
Geisha are defined as arts people who study classical Japanese music and dance, perform music and dance for parties, and are registered officially with a central office. (Foreman, 34, 2005, Prasso, 200, 2006) The combined proficiency at music and dance with a sense of elegance, tact, and grace that wins the respect and admiration of patrons. (Groemer, 159, 2009). They were high-end performers, and could not be afforded as entertainers by the common people. They are expected to be witty, flattering, excellent conversationalists, and have to endure long years of strict training in traditional dance or in playing the shamisen, a three-stringed instrument (Struck, 2000) Only those who were very rich could pay for the accompaniment of a Geisha. Overall, the Geisha should be interpreted as performers, just like in the west, ho...
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...tude of “geisha” that cannot be pinpointed down to a certain set of characteristics and attributes. For these reasons, the geisha have been romanticized and misrepresented. Therefore, when it comes to describing geisha, one should not make wide-sweeping statements on the group as a whole. And that the geisha are actresses selling an image, and therefore the way they display themselves while working does not transcend into their individual or necessarily defines who they are as a person. As a result, it is safe to say that anytime there is a statement made about a people group, we should question the sources and influences that have shaped the statement. And At the same we should remember that people are individuals and though they may fall under a group category, they themselves have characteristics that will not fit into the mold or stereotypes made upon the group.
Ukiyo is a culture that strives to live a strictly pleasure-seeking routine. The largest flaw in this way of life, as Saikaku points out, is that its superficial nature forces people to live lives as meaningless and fluffy as its name, the “Floating World,” suggests. It is shallow in the physical sense, in that it focuses primarily on “beautiful” external appearances, and in the metaphorical sense, whereby individuals never really make deep-seated connections to anyone because of their addiction to finding these so-called pleasures. One particular character that Saikaku satirizes to embody this superficial nature of Ukiyo is the old, rotting woman found on the verandah in the episode of “A Monk’s Wife in a Worldly Temple.” He cleverly employs situational irony with this character to prove his point, as it is expected for the archetypal old woman to pass moral lessons to the younger generation. By the character’s own, sorrowful admission she claims that she “can’t forget about sex” and is going to “bite right into” (Saikaku 614) the protagonist; completely the opposite of what the audience expects her to say. This satire highlights the extent to which the Ukiyo lifestyle socially conditions individuals; the old woman is so far gone down that path that she no l...
The job of a geisha is to display perfection, quietness, passive and demure qualities. Since a geisha’s beauty is half of what will determine her success, some have to work harder than others. Some geishas took...
Throughout history artists have used art as a means to reflect the on goings of the society surrounding them. Many times, novels serve as primary sources in the future for students to reflect on past history. Students can successfully use novels as a source of understanding past events. Different sentiments and points of views within novels serve as the information one may use to reflect on these events. Natsume Soseki’s novel Kokoro successfully encapsulates much of what has been discussed in class, parallels with the events in Japan at the time the novel takes place, and serves as a social commentary to describe these events in Japan at the time of the Mejeii Restoration and beyond. Therefore, Kokoro successfully serves as a primary source students may use to enable them to understand institutions like conflicting views Whites by the Japanese, the role of women, and the population’s analysis of the Emperor.
American pop culture recently received flak for cultural appropriation. Artists such as Katy Perry and Selena Gomez were criticized for superficially incorporating Asian images into their music. However, cultural appropriation and cultural tourism – and its consequences – are commonly seen in relation to traditional culture; this lack of attention towards visual representation of modern Asian subcultures – in relation to Asian Americans – dismisses the potential impact of these images. A visual analysis of Avril Lavinge’s “Hello Kitty” and Gwen Stefani’s appearances with the Harajuku Girls reveals that the use of Japan’s Harajuku subculture in American pop culture perpetuates Asian American stereotypes. Specifically, these acts contain characteristics of the submissive “lotus blossom” stereotype and the invisibility that comes from this stereotype. These characteristics result in an insidious formation of race; Avril Lavinge and Gwen Stefani’s cultural tourism constructs the concept of an American that excludes the Asian body through contrasts between themselves and the background Asian body. This racial formation relies on the idea that the two artists have become part of the Harajuku culture, yet they are clearly distinguishable from the homogenized Asian body.
Other research has devoted to unveiling the origins and the development of their stereotyping and put them among the historical contextual frameworks (e.g., Kawai, 2003, 2005; Prasso, 2005). Research has shown that those stereotypes are not all without merits. The China doll/geisha girl stereotype, to some degree, presents us with a romanticized woman who embodies many feminine characteristics that are/ were valued and praised. The evolving stereotype of the Asian martial arts mistress features women power, which might have the potentials to free women from the gendered binary of proper femininity and masculinity. Nevertheless, the Western media cultural industry adopts several gender and race policing strategies so as to preserve patriarchy and White supremacy, obscuring the Asian women and diminishing the positive associations those images can possibly imply. The following section critically analyzes two cases, The Memoirs of a Geisha and Nikita, that I consider to typify the stereotypical depictions of Asian women as either the submissive, feminine geisha girl or as a powerful yet threatening martial arts lady. I also seek to examine
The geisha of Japan were more than entertainers they were a part of the bigger picture of the Japanese society from the early 1600s to today, their role as an entertainer for men was respected at a point in which man that had time with geisha were praised and they were even respected by the wives of the clients. One of the most significant historical contexts of geisha in Japanese society is the empowerment of women, they were the only women in the history to create a set of norms and social tradition for themselves, and the group of women to have control of men. Geisha are the representation of Japanese tradition and
Living with their traditional Chinese culture in American society, these eight Chinese-American women suffer the problems of cultural conflicts in compliance with their gender. Asian women were looked at as being "positive, subservient, compliant, quiet, delicate, exotic, romantic and easy to please" (Mulan). They are nicknamed "China dolls" or " lotus blossoms", which are sexually loaded stereotypes of Asian women. These stereotypes discriminate against women by degrading their worth as people. By men taking advantage of their obedience and submissiveness they are showing that these women are not valued and that they have no voice. Judith Butler responds to these roles by saying, "Gender is an act, a performance, a set of manipulated codes and costumes rather than a core aspect of essential identity". By the middle of this century, Chinese women had been playing this manipulative, subservient role for m...
In Arthur Golden’s Memoirs of a Geisha, Sayuri demonstrates that when the forces of fate and free will come into collision, the lack of determination to grasp control of one’s life will lead to a
In the best-selling novel entitled Memoirs of a Geisha by Arthur Golden, Golden examines the secret world of the geisha. Contrary of what is often believed, geisha are far from being prostitutes; they are more accurately High-class Japanese entertainers. Arthur Golden shows the reader a completely different look on life in looking into the lives of geisha in mid-twentieth century Gion and sends a very strong message distinguishing the geisha and the prostitutes.
What is a geisha? Translated into English the word Geisha literally means "arts person" or the "one trained in arts" which is exactly what Geishas are. When some people think about Geishas they assume they are prostitutes when in reality, they are performers. Geishas are taught by their elders on entertainment ways such as: ways of dancing, playing an instrument, and how to make pottery. In Japan some prostitutes have called themselves Geishas in order to get themselves more "customers." One way that is easy to distinguish which one is which is by looking at their obi over their kimono, Geishas tie theirs in the back and Japanese prostitutes tie it in the front. Often the prostitutes were called "Geisha girls" or "Panpan girls." Becoming a Geisha isn’t as easy as it sounds. You have to go through extensive training to get everything to look beautiful and perfect. Usually to become a geisha, a girl must find and be accepted into an okiya, and the mother of the house (okasan) must agree to pay for her training. Typically it takes about 6 years at a kaburenjo to become a Geisha. The six years are spent studying the arts of entertainment, such as: music, dance, tea ceremony, language, and hosting. During the years the Geisha will live in the okiya she has bee...
Culture can be defined as “the customary beliefs, social norms, and material traits of a racial, religious, or social group that are transferred, communicated or passed along” (Webster). Culture is the glue that holds people together in times of peace and war, and can eventually lead to the emergence of cosmopolitan civilizations. In the book “Memoirs of a Geisha” by Arthur Golden, we experience the life of geisha-in-training in an okiya in Gion, Kyoto’s geisha district, during the 1930’s and 1940’s. The path of becoming a geisha is very hard, and takes a long time. In the end, the geisha grow up to know various forms of entertainment, which aid her in the entertainment of mainly male guests. Though
The first performers that resembled geisha in the recorded history of Japan, were called saburuko (Szczepanski, 2014). This Japanese performer’s name is translated into “those who serve”. The saburuko’s main tasks were to wait on tables, make conversation, and entertain, which sometimes was by selling sexual favors (Szczepanski, 2014). Saburuko of the higher-class danced and entertained at elite social events. Ordinary saburuko entertainers were often daughters of families left poor in the social and political disturbances of the seventh century, historians call this time of commotion the period of the Taika Reform (Szczepanski, 2014).
Geisha’s are effectively known to be introduced by the Japanese tradition. They are mainly known as female entertainers or courtesans who went through five years of training and sometimes beyond. Their skills and training includes performing diverse kinds of arts which can also be referred to it as a specific kind of art like playing classical music, dancing and playing games. They mainly focus on their conversation or communication skills in order to amuse their male customers, particularly because they need to make their customers happy and content. In the modern-day world Geisha’s not only work for the amusement of their male customers but also for their female patrons. It is known that people particularly from the old age often visit Japan
Orientalism is essentially the perceptions that Westerners have that distort and exaggerate the people, lives, and culture of the Middle East (Maira, 2008: 320). In Orientalism, the person defining the “Other” tends to benefit from that definition, whether it be viewing the Other a negative light and assuming oneself to be above it, or viewing the Other in a positive light and identifying oneself with that (Shay & Sellers-Young, 2003: 31). Belly dance, in turn of Orientalism, is derived from fallacious notions about the Middle Eastern culture that were implemented in the west to elucidate belly dance as a practice of the western world (...
Concisely, dance, instruments, and music have all played a strong meaningful part in helping describe the Japanese literal meaning of Kabuki, “the skill of song and dance”. Without the help of musical instruments and the dance techniques used in Kabuki theatre, the literal meaning of “Kabuki” would be misunderstood and lost in translation. Through these critical and valuable aids, the staging of this production wouldn’t be able to demonstrate the vast variety of abilities in the visual and sung performance.