Sunday, September 07, 2008

Mysterious life of some beautiful Japanese women - remembering Geisha


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Some of the irresistible pictures flashing into the mind while thinking of Japan were of the girls beautifully cladded with traditional Japanese cloths, having a bunch of cloths at her back, the face almost like white washed, lips reddened like hibiscus flower, the bunched hair tied at her back attractively and walking as if her legs are tied.

This terribly beautiful Japanese woman images persisted and dominated my thoughts of Japan while I was in India. The other image was of westling men with huge physical figure.I always wondered how these giant wrestlers and beautiful women make a perfect combination in a wonderful part of the earth – Japan. I was not knowing that these beautiful women are called geisha in Japan. To my surprise now, It was after almost three months of stay in Japan, I came to know about the term geisha and became interested to read more about such wonderful entertainers of Japanese culture.

Geisha are entertainers, skilled in singing, dancing, story telling, and flirting with customers, Geisha were conversationalists employed at parties and other social affairs to entertain men in a male dominated Japanese society.

The Japanese word Geisha consists of two kanji, 芸 (gei) meaning art and 者 (sha) meaning person or and the translation of geisha into English would be artist or performing artist.

Another term used in Japan is geiko, a word from the Kyoto dialect. Full-fledged geisha living in Kyoto are called geiko. This term is also commonly used in the region to distinguish geisha practiced in traditional arts from prostitutes who have co-opted the name and attire of geisha.

Often there is a confusion between geisha and prostitutes. Prostitutes wear the bow of their sash, or obi, in front of their dress- kimono. Geisha wear their obi at the back. A full time geisha usually had the luxury of a professional aide to help them in the difficult process of dressing; their clothing is made up of several layers of kimono and undergarments, and an obi is more than a simple band of cloth. Dressing could take over an hour, even with professional help. Prostitutes, however, had to take off their obi several times a day, so theirs were far less complex, and tied at the front for ease of removal and replacement.

Geisha are expected to be strictly entertainers and not engage in sex business, but the distinction between entertainment and sex has always not been maintained precisely and some of them became the mistresses of men who purchased their contracts from the masters who held them in bondage. In old times, eventhough the Tokugawa government directed the geisha not to engage in prostitution, the problem and mysterical confusion of geisha and the prostitutes persisted.

Interestingly there remains some confusion, even within Japan, about the nature of the geisha profession. Geisha are frequently depicted as expensive prostitutes in Western popular culture. Geisha are entertainers, their purpose being to entertain their customer, be it by reciting verse, playing musical instruments, or engaging in light conversation. Geisha engagements may include flirting with men and playful innuendos; however, clients know that nothing more can be expected. In a social style that is uniquely Japanese, men are amused by the illusion of that which is never to be. Geisha do not engage in paid sex with clients.

Apprentice geisha are called maiko. It is the maiko, with her white make-up and elaborate kimono and hairstyle, that has become the stereotype of a geisha to the outside world, ratther than the original geisha. A woman entering the geisha community does not have to start out as a maiko, having the opportunity to begin her career as a full geisha. In fact, a woman above 21 is considered too old to be a maiko and becomes a full geisha upon her initiation into the geisha community. However, those who do go through the maiko stage enjoy more prestige later in their professional lives.

Young women who wish to become geisha now most often begin their training after completing junior high school with many women beginning their careers in adulthood. Geisha still study traditional instruments like the shamisen, shakuhachi (bamboo flute), and drums, as well as traditional songs, Japanese traditional dance, tea ceremony, literature and poetry. By watching other geisha, and with the assistance of the owner of the geisha house, apprentices also become skilled in the complex traditions surrounding selecting and wearing kimono, and in dealing with clients.

Kyoto is considered by many to be where the geisha tradition is the strongest today, including Gion Kobu. The geisha in these districts are known as geiko. The Tokyo hanamachi of Shimbashi, Asakusa and Kagurazaka are also well known.

In modern Japan, geisha and maiko are now a rare sight outside hanamachi. In the 1920s there were over 80,000 geisha in Japan, but today there are far fewer, estimated to be from 1,000 to 2,000.

Young girls were sold into the geisha life by their families until the mid-20th century and were often subject to the ritual of 'mizu-age,' whereby their virginity was sold to the highest bidder. Such practices were eradicated after World War II and the geisha profession went into a steady decline.

Although the profession of geisha has declined greatly in modern times, some geisha have been successful working in the political world. These geisha are engaged to entertain at parties of leading politicians, where the sake (Japanese alcohol) flows freely and some times in important political negotiations are conducted. Although geisha are supposed to remain silent about what they hear at these affairs, it is interesting that the leading political parties tend to patronize their own groups of geisha. Political canvassing and eaves dropping business is not limite to some countries and Japan is not an exception !

An article about Japanese geisha can not be concluded without mentioning MEMOIRS OF A GEISHA.

Arthur Golden’s best selling novel – memoirs of a geisha depicts a world where appearances are paramount; a world where a girl's virginity is auctioned to the highest bidder; where women are trained to beguile the most powerful men; and where love is scorned as illusion. It is a unique and masterpiece work of fiction, at once romantic, erotic, suspense at the same time unforgettable with haunting memories.

In ‘memoirs of a geisha’, Nitta Sayuri tells the story of her life as a geisha. The story begins from a poor fishing village in 1929 when, Sayuri, as a nine year old girl with unusual blue gray eyes, has taken from her home and sold into slavery to a renowned geisha house. The readers witness her transformation of her life as she learns the rigorous arts of the geisha: dance and music; wearing kimono, elaborate makeup and hair; pouring sake to reveal just a touch of inner wrist; competing with a jealous rival for men's solicitude and the money that goes with it.

Thursday, September 04, 2008

Ukiyo-e Japanese woodblock prints or woodcuts and paintings

Ukiyo-e , meaning -pictures of the floating world is a genre of Japanese woodblock prints or woodcuts and paintings produced between the 17th and the 20th centuries, featuring motifs of landscapes, tales from history, the theatre and pleasure quarters. It is the main artistic genre of woodblock printing in Japan.

The floating world (ukiyo) refers to the impetuous urban culture that bloomed and was a world unto itself. Although the traditional classes of Japanese society were bound by numerous strictures and prohibitions, the rising merchant class was relatively unregulated, therefore "floating." (pictures and headings from wikipedia)

The immediate precursor of the Ukiyo-e was the genre painting, that flourished in the late 16th and 17th centuries. It is debatable what criteria should be used to distinguish the earlier genre works from the ukiyo-e, eventhough one major difference is in the fact that the former were painted by members of the aristocratic schools such as the Kano~, whereas the ukiyo-e were done by townsman artists.


The establishment of ukiyo-e as an independent art form was to great extent the work of Hishikawa Moronobu who was the son of a Kyoto embroiderer. He grew up in the ancient imperial capital Kyoto and moved to Edo where he perfectly captured in visual form, Edo's vital and and engaging spirit. Throughout the Tokugawa period, the art of ukiyo-e remained, first and foremost the art of Edo.

Moronobu possessed two qualities apart from his natural artistic ability, that made him a successful pioneer in ukiyo-e. He had an intimate and personal interest in townsman life and he was assertive to demand recognition as an independent artist.

Moronobu's great innovation was the make shift of painting to Woodblock printing. The earliest ukiyo-e done by Moronobu and others were simply black and white prints known as 'primitives'. Slowly artists began to have colors generally red or reddish brown and green painted in by hand on their prints. The multicolored print, known as nishiki-e or brocade picture necessitated cooperation from three people - the artist, the wooblock carver, and the printer and became a joint artistic endeavor.

From the beginning, ukiyo-e artists were interested in two subjects - Women of the pleasure quarters and kabuki actors. Throughout the Tokugawa period the overwhelming majority of prints they produced were of these two subjects of nightlife. The ukiyo-e representations of pleasure women and actors usually stress the sensual and erotic, in contrast to the earlier genre paintings in which people were for the most part portrayed objectively and with little infusion of emotion on the part of the artist.

Many artists of the ukiyo-e school are noted for their depiction of feminine beauty. But the most celebrated among them is Kitagawa Utamaro. Utamaro-san's typical beauties are long and willowy and have about them a languid and sensual air, often portrayed in great intimacy, with one or both breasts opened and with hair and clothing casually displayed.

Utamaro san in his celebration of the beauty of the female body, represented something new in the Japanese cultural tradition. Until this age of townsman culture and establishment of the artistic theme of erotic love, the Japanese had devoted little attention to the human body, either male or female, as an object of beauty.

One of Utamaro san's contemporaries was a mysterious genius Toshusai Sharaku. He did mostly kabuki actors. The less-well-known sōsaku hanga movement, literally creative prints, followed a Western concept of what art should be: the product of the creativity of the artists, creativity over artisanship.

Traditionally, the processes of making ukiyo-e — the design, carving, printing, and publishing — were separated and done by different and highly specialized people (as was also traditionally the case with Western woodcuts. Sōsaku hanga advocated that the artist should be involved in all stages of production.

The movement was formally established with the formation of the Japanese Creative Print Society in 1918, however, it was commercially less successful, as Western collectors preferred the more traditionally Japanese look of shin hanga.

Ukiyo-e are still produced today and are influential in many ways, inspiring, for example, manga and anime.

Wednesday, September 03, 2008

Popular Japanese music and Stage performances


Japanese music is the highly eclectic musical culture of the Japanese islands. Over the years, Japan has borrowed musical instruments, scales, and styles from many neighboring areas.

Japanese music to a great extent evolved through the centuries in conjunction with the literature. This was particularly true from the medieval period on, when music was used as an accompaniment both to plays of the no~ theatre and to the reactions of itinerant storytellers, who strummed their lutelike biwa as they chanted excerpts from such works as The Tale of the Heike.

Probably, the first public performance of Western music in Japan in modern times was the playing by Perry's naval band during its visit to Edo in 1853. And as in the case of the conversion to Western style clothing, it was the Japanese military that led the way in the adoption of Western music.

It was in the public schools, that the most important measures were taken to advance knowledge and appreciation of Western music among the Japanese.

The pop/rock music scene has gone through a few different stages over the years. The rockabilly sounds of the late 50's became popular in the cities of Japan just after they revolutionised the US music scene. Young guys and girls flocked to see the stars of the day do their best impersonations of Elvis and Gene Vincent at the Western Festival in Tokyo in Februaury 1958.

I could read in Japan zone that Think about it - Sony Music Entertainment is one of the biggest record companies in the world; Yamaha is the largest manufacturer of musical instruments in the world; Japan has the sixth-largest population in the world; the music industry generates billions and billions of dollars worldwide every year. Yet how many Japanese artists have had a No. 1 hit in the US or European charts? One. Yes, one - and that was way back in 1963 (Sukiyaki by Sakamoto Kyu).

I could see the list of popular singers who have established themselves in the Japanese music world - Glay, Hamasaki Ayumi, Fukuyama Masaharu, Kitajima Saburo, Komuro Tetsuya, Morning Musume, Utada Hikaru, Go Hiromi, The Alfee, Matsuda Seiko, hitomi, Hotei Tomoyasu, Yazawa Eikichi and the list go on....

I could not see the name Hasegawa Shingo. Infact I was searching for his name in the list of top performing singers in Japan. This is beacause, many days, after taking my lunch at McDonalds or KFC, I have seen Hasegawa Shingo san performing at Ito Yokado. For me, a new comer in Japan, his songs, eventhough without knowing the meaning of what he sing, sounded good. His performance is also attractive and he pulls the crowd.
Ladies are especially found great fan of Hasegawa Shingo. Sometimes he whirls a towel to the audience and many are crazy to catch it and keep it with them. When I searched in google for his name, I could see one result in ebay with this caption - Find more items similar to: Import - HASEGAWA, SHINGO- YUBAENOMACHI/YOGIRINOKUTSUOO See all items in: Music > CDs

I am not sure, whether he is the same Hasegawa shingo san or not. If any of the readers know, please share it with me.


Hasegawa Shingo san performing at Ito yokado. He pulls the crowd and keeps them with him throughout the show. He knows the necessary stage tricks to cheer up his audience.

Music loving Japanese people are interested to watch his shows hosted at Ito Yokado. I have seen atleast a couple of times and many times missed his shows. He take care to shake hands of his audience and one day I also had that opportunity. Over the period, it has become usual practice for me to watch his performances at Ito Yokado.
Hasegawa Shingo is one of the known performing artist, who dance well and take his audience along with his music. His ability to dance and sing makes him a popular figure in the shows. He looks young, though I have no previous experience of introduction with Hasegawa Shingo san.

Music loving Japanese people encourages him throughout his performance by clapping and singing along with him. People enjoy him performing and he enjoy them listening and watching him and many time I enjoy both Hasegawa Shingo san and the public watching him.

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