Abstract:During the mid-1870s, fearing the legal innovations of a “civilized” state, geisha and their employers recast Tokugawa-era practices of civic engagement and educational attainment in the language of enlightenment. Proprietors built schools intended to transform geisha into productive and moral mothers, and geisha donated to local educational institutions and suggested that their own studies would lead to self-sufficiency and freedom. These efforts associated geisha with the values of productivity and enlighten… Show more
“…In encountering the captivating subtleties of these women's recorded voices, it is easy to gloss over the fact that much of their musical repertory is steeped in symbolism that idealises floating-world gender relations which seem flatly sexist by modern standards. Neglecting the complexities and contradictions of this historical context serves to obscure the stark history of Japanese sexual exploitation of women (including geisha), both domestically and abroad (Iwasaki, 2002;Masuda, 1957;Matsugu, 2006;Norma, 2016;Stanley, 2012;Stanley, 2013). How these social conditions influenced musical sound is far from straightforward, but the unique vocal qualities found in a popular song by the last geisha kashu (Gōda, 2019a) suggests just how important such considerations can be.…”
Section: Koga Masao and Ryūkōka: Hanamachi Inspirationsmentioning
This paper examines the emergence and disappearance of Japan’s geisha kashu recording stars over the course of the 20th century, delving into their extensive body of audio recordings, which includes songs by some of Japan's most important early popular composers. Clarifying the distinction between geisha and the geisha recording stars, this paper traces the relationship between “traditional” Japanese musical forms (specifically, the complex of short shamisen songs long associated with geisha) and the popular genres that also comprised the geisha stars' repertoire. While historical audio media provide a valuable resource for scholars and fans alike, unconscious habits and unexamined discourses of listening may lead to the replication of orientalist and sexist stereotypes—and ultimately a superficial experience of the music. As a corrective to such tendencies in audience reception, this paper gives an overview of the key cultural and historical contexts of the geisha recording stars, including their contributions to the careers of several of well-respected composers. Attending to the sometimes difficult circumstances faced by geisha recording stars (and their geisha sisters) may rectify the image of these critically neglected women artists, ultimately providing a necessary counterpoint to the predominance of male musicians and male-centred musical genres in the Japanese canon.
“…In encountering the captivating subtleties of these women's recorded voices, it is easy to gloss over the fact that much of their musical repertory is steeped in symbolism that idealises floating-world gender relations which seem flatly sexist by modern standards. Neglecting the complexities and contradictions of this historical context serves to obscure the stark history of Japanese sexual exploitation of women (including geisha), both domestically and abroad (Iwasaki, 2002;Masuda, 1957;Matsugu, 2006;Norma, 2016;Stanley, 2012;Stanley, 2013). How these social conditions influenced musical sound is far from straightforward, but the unique vocal qualities found in a popular song by the last geisha kashu (Gōda, 2019a) suggests just how important such considerations can be.…”
Section: Koga Masao and Ryūkōka: Hanamachi Inspirationsmentioning
This paper examines the emergence and disappearance of Japan’s geisha kashu recording stars over the course of the 20th century, delving into their extensive body of audio recordings, which includes songs by some of Japan's most important early popular composers. Clarifying the distinction between geisha and the geisha recording stars, this paper traces the relationship between “traditional” Japanese musical forms (specifically, the complex of short shamisen songs long associated with geisha) and the popular genres that also comprised the geisha stars' repertoire. While historical audio media provide a valuable resource for scholars and fans alike, unconscious habits and unexamined discourses of listening may lead to the replication of orientalist and sexist stereotypes—and ultimately a superficial experience of the music. As a corrective to such tendencies in audience reception, this paper gives an overview of the key cultural and historical contexts of the geisha recording stars, including their contributions to the careers of several of well-respected composers. Attending to the sometimes difficult circumstances faced by geisha recording stars (and their geisha sisters) may rectify the image of these critically neglected women artists, ultimately providing a necessary counterpoint to the predominance of male musicians and male-centred musical genres in the Japanese canon.
“…However, it would be an intrinsic misunderstanding to merely interpret geisha as sexual workers. The "Edict for the Liberation of Geisha and Prostitutes" promulgated in 1872 that categorized geisha as "female entertainers" instead of prostitutes, providing them legal support and freedom of residence (Stanley, 2013). Geishas are known for their beauty and artistic practice.…”
Section: Introductionmentioning
confidence: 99%
“…Geishas are known for their beauty and artistic practice. Instead of selling their bodies, they owned "a minimal level of artistic accomplishment" (Stanley, 2013). Most geishas undergo years of training to become eligible to work at a professional geisha house, including but not limited to practices of shamisen, traditional Japanese dance moves of Mai, and gestures as simple as sitting and standing still.…”
This paper touches on the theme of geisha in both Japanese and Hollywood Cinema from 1954 to 2007 and analyzes both the film language and social and historical settings of the cinematic work. By discussing the history of geisha and depiction of geisha in various films, the paper discovers the broader significance of film in the cultural and diplomatic relationship between countries during the post-war era.
“…Well known as a country where small girls were sold by their parents to become Geisha , or 芸者, human trafficking in Japan has a long history, especially as it relates to women (Stanley, 2013). Japan has since become notorious for trafficking women from Asian countries, such as Thailand, Indonesia, and the Philippines, in which human traffickers have enticed women through false promises of better jobs and lives in Japan (Kamino, 2007).…”
Even though Japan has become notorious for trafficking women from other countries, advocacy networks among non-governmental organizations (NGOs) are forming. Such networks can potentially bring about changes in policy, further advance responses to victims, and stem the flow of exploited people to Japan. This study examines how advocacy networks are forming in Japan to address human trafficking both within Japan and between Japan and other nations. Findings show the unique conditions influencing the emergence of such networks, as well as mounting challenges NGOs face as network members, especially in working with NGOs outside of Japan.
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