Comparison of China and Japan - Essay Example

East and Asian Cultures Comparing Chinese Courtesans and Japanese Geishas Introduction China and Japan are cultural powerhouses not only in East Asia but also undoubtedly across the entire word. Close similarities between the rich cultural heritages between the two Asian countries add flavor to their exclusive characteristics that cannot be found anywhere else in the world. Some ancient legends explain the similarity witnessed between the cultures from a perspective that one begot the other; Japan from China (Tang para.2). However unverifiable that is, the Chinese female courtesans and Japanese Geishas provide a channel to identify how related the two cultures are in terms of practice and manifestations. Music, dance, art and several other traditional practices passed between generations characterize the Chinese Courtesans and Japanese Geishas as discussed below. Chinese Courtesans A movement of female arts performers with unique cultural bond passed and observed from one generation to the next thrived and established in china tracing back to the 2500s. A deep artistic tradition based on a ritual or religious-strict practice involving women from a young age formed the rich foundation of the courtesan movement. Entertainment theme of intent for the engagement of the artists dominated the initial foundations of the ritual movement until negative connotations and misuse of the culture emerged. Despite the fact that the name associated with the culture almost associates with the negative stereotype that affected the culture later, Yueji performers represented Chinese music, entertainment, poetry, and calligraphy (Iroke para.5). The Chinese courtesans became prominent cultural icons in the society and their performances were nearly entirely reserved for the powerful men and leaders in china. The notoriously exploitative regime in china for the female culture is perhaps the Ming Dynasty whose conservative outlook was contradicted by selfish rulers (Cass 12). Eventually, misuse of the culture through exploitation of the women performers became entrenched in the culture that prostitution and the culture represented a similar social vice. The authorities in China banned the culture and the art practices they observed in the society as a result of the social seriousness that prostitution presents to the Asian society. Japanese Geishas Similar to the rich East Asia attachment to culture, the Japanese women art and entertainment ritual passed from one generation to the other is synonymous with the Japanese cultural prominence. Initially seen as a noble and honorable female participation to culture and entertainment, parents would encourage their young daughters to enroll to the movement. The Geishas acted as role models for the young Japanese women and girls who joined the culture as novices. Rituals and intense training in music, art and entertainment upholding high cultural standards attracted the attention of every person in the Japanese society. With special cultural attires designed for different classes of progression between the novices or the Maiko and for the Geishas it is possible to identify a rich cultural practice among the female Japanese artists in this culture. The Obi and the Kimono and their design details distinguishing the class and authority of the artists show a well-articulated culture richly entrenched in the culture. Comparison Despite the fact that the two female cultures represent two distinct nationalities in the East Asia region, many striking similarities show the importance of culture in the region. Apart from being Asian in origin and expression, the art forms practiced by the cultures trace back to the oldest entertainment and ritual practices still in existence on the entire world (Brown and Iwasaki 3). The highly social organization of the culture presented an important role of the female artist in the society leading to the transformation of the entertainment attributes in East Asia since their establishment. In a highly patriarchal society in which the cultures are practiced, the elevation of the status of the women dating as far as the Ming Dynasty was an indication of a positive future of gender parity. However, both societies developed negative stereotypes on the role of the artists, with the Yueji and the Geisha suddenly representing illegal sex industry. Exploitation of the artists by powerful political regimes and eventually leading to sexual activity in both societies painted the women artists as brothel players. Similarly, the negative public perception on the female artists in Japan and China has contributed to the low enrolment of girls into the practice of the culture. In view of the significance of low enrolment, for new young women into the female entertainment cultures, the decline of the two entertainment and cultural riches is predictable. The once attractive entertainment and cultural heritage of the women artists in East Asia therefore seems destined to a sudden death, despite the rich history that they represent (Kawaguchi 86). Political Interference Due to the political context that the East Asian cultural background offers to various sociocultural and economic practices, Chinese and Japanese cultural heritage seems similar in terms of political orientation. Since ancient East Asia civilizations, state machineries and resources have taken a direct position on art and entertainment. Political policies in the Japanese civilization in terms of cultural, religious and social practices had a defining role in the state of the evolution of their practice. Among the most dominant themes in Japanese performing art and entertainment, political leadership and preference in such practices determine the proliferation and sustenance of particular practices. Political might and militarism during the war time era Japan imposed strict rules on what the society had to follow. It is during these periods that the preference of Geisha entertainment over other arts made the society to uphold the culture among the Japanese womenfolk. Japanese elders’ statesmen had a strong influence in society choices, which could have had a direct influence on their cultural practices (Shillony para.1). Similarly, the Chinese had a vital political infiltration into their social practices including art and entertainment. Chinese cultural heritage and their political heritage over the years demonstrated in their modern political scene shows deep political patronage over the society. In view of the political culture set in the country, it would be difficult for an art movement such as for the female courtesans to continue without political interference (Iroke para.3). Negative Stereotype As mentioned above, the role of strong conservative cultural practices in East Asia define how the masses view a particular topic of social importance. Coupled to a close political monitoring for various social activities, it is difficult for culture in the region to survive a mistake without a strong emotional following. A few indecent artisans spotted in the two female art movements led to an umbrella treatment for the artists. Strong cultural opinions in East Asia are likely to kill the two movements due to intolerance to social and cultural vices. Perhaps, the strong views against the art movements are associated with the slow death of the movements as they are today against expectations. By treating every artist as a prostitute due to the strong cultural feelings against such a vice explains the role of culture in generation of stereotype. Whereas the Geishas in Japan survived for a little longer time than the Chinese courtesans, the exact impact of negative stereotyping on both movements needs to be established. Rituals and Attires Perhaps the strongest indication that the East Asian cultural heritage particularly for women had a strong presence in the past is the attire exhibiting the art as worn by the remnants today. A strict ritual practiced in the graduation of the women through the art system also expressed during the changing of attire to advanced levels also bears witness of the seriousness of the original movement. Despite the dark times ahead of the two cultures, women in East Asia have a reason to pride in their role in the conservation of their respective cultures (Kawaguchi 12). Within the context of a rapidly changing cultural environment on the global platform, the unique attire worn by the few remaining artists such as the Geishas will always carry a strong message about East Asia. Works Cited Brown, Randle & Iwasaki, Mineko Geisha: A life, New York, NY: Atria Books, 2002. Print Cass V. Baldwin Dangerous women: Warriors, grannies and Geishas of the Ming, Lanham, MA: Rowman & Littlefield Publishers Inc., 1999. Print Iroke, Madama “Chinese Comparisons and Counterparts to Japanese Geisha,” last updated16 January 2012. Web http://irokehouse.wordpress.com/2012/01/16/chinese-comparisons-and-counterparts-to-japanese-geisha/ (Accessed 30 April 2012) Kawaguchi, Yoko Butterfly’s sisters: The Geisha in western culture, New Haven, CT: Yale University Press, 2010. Print Shillony, Ben-Ami. “Politics and Culture in Wartime Japan,” 7 May 2012, Web. http://www.historytoday.com/gordon-daniels/politics-and-culture-wartime-japan (Accessed 7 May 2012) Tang, Petra “Comparing the Chinese and Japanese Cultures,” 8 July 2012. Web http://www.helium.com/items/1105658-comparing-the-chinese-and-japanese-cultures (Accessed 30 April 2012) Read More