Term Paper on "Origin of Geisha"

Term Paper 4 pages (1599 words) Sources: 4

[EXCERPT] . . . .

Western civilization has long held an interest, no more a fascination, in the Orient, and during much of modern western history the interest has been surrounded by limited images of cultural practices accompanied by preconceived notions about culture and identity. There is no greater example in the western tradition of Orientalism, which included much romanticizing as well as prejudice, than the image and assumptions surrounding Geisha. Geisha in the western tradition is a mostly visual image that surrounds a very particular Japanese icon, but perception in the western tradition includes the idea that Geisha is a sexual entity or a high class prostitute, where as in reality Geisha is a respected and skilled performer. (1) In short the perception of the Geisha in the western tradition is based on a very short period of time and antiquated ideas surrounding the exploitation of these women, an exploitation that almost regardless of the circumstances did not equate Geisha with prostitution. Modern Geisha as well as many in the Japanese culture resent the implication that Geisha are prostitutes and this occurs frequently in fictional and nonfictional western media representations of Geisha. (2)

A geisha can be summarized as a person to "perform" arts, unlike hostess or prostitute. The geisha's identity consists in "performing" so-called traditional Japanese arts. Besides the way of dressing, the geisha practices dance- and music. In addition, she shows her performance at banquets and gives public performances. (3)

According to Mariko Okada, the image of the Geisha has been fundamentally misrepresented in western tradition as one that is fundamentally, dark, mysterious and involved sexuality, where as Geisha were skilled and trained in "traditional" performing arts. " Whoever wants to become a geisha is registered as a student of this school. Until she stops working as a geisha, she must keep going to the school. The school provides classes in Japanese classical dance, varieties of Japanese classical music, calligraphy, Japanese painting, flower arrangement, and tea ceremony. These subjects belong to supposedly traditional Japanese culture and a geisha is expected to show her skills in these arts." The reputation and notoriety of the Geisha was rooted in her ability to perform these skills at private banquets as well as public performances, all of which were contributory factors to her success as a performer. The private lives of Geisha are just that, private and the spilling over of her image as a geisha and her duties as a geisha into private live had more to do with either the period in which she lived and worked as well as the rigors of her training than they had to do with illicit or secretive acts. (4)

Geisha as Skilled and Educated Performer

Limiting the western cultural representation of Geisha is essential to a better understanding of what a Geisha actually is. First of all, Geisha is a relatively modern construct dating back only to about the 1700s

1750-1751 saw the beginnings of the new class emerge from Kyoto and Osaka -- the so-called "geiko." Geiko originally were men, derived from the previously known group of Taikomochi. These men had been around entertaining in various ways since the Kwambun era (1661-1672), but had been solely male until the first female geisha, Kikuya from Fukagawa, appeared. (5)

The role of the geisha went through periods of extreme regulation, in its early years as standards were ruled into law for various regions. Rules were developed to separate geisha from their customers and reduce their potential for competition with courtesans and prostitutes. (6) It is therefore clear from very early on that Geisha were not prostitutes and though sexual acts for money did occur this was not the ideal of the profession. As more education became the norm and as prostitution became less and less favorable as a legitimate profession Geisha were even more separated from such. (7) In a sense what they did share with prostitutes was the region of the city where they were relegated to live and be educated, called gay quarters, sections of town that were set aside originally to limit illicit establishments in the rest of towns and cities, where many performers and others lived and worked. (8)

Okada also points out that the image and control of Geisha, as well as how they performed and where, like any other social profession changed with the times and was often utilized in the later periods, i.e. during the silk trade and later as a very esteemed and public representation of Japanese culture for outsiders and tourists. The profession was adapted to meet the needs of the military, politicians and business and served the function of creating iconic images of "traditional" Japanese culture. (9) Geisha have become an iconic symbol of Japanese culture and to some degree the social state has been contrived to meet the needs of a modernizing nation at various stages of its existence. Yet, nothing is more contrived that the western idea that the Geisha is a prostitute. Many controversies have erupted, mainly as a response to western media presentations of Geisha, a great example being the hugely successful film Memoirs of a Geisha, based on the book by the same name by Arthur Golden (1997). When the film was marketed in Japan and China, "most of the controversies centred [sic] around, or wrongly identifying, Geisha as the Asian counterpart of (Western) prostitute." (10) This concept is sadly enduring as are many other misrepresentations of the Geisha in modern western culture.

In truth the history and even modern reality of the geisha has very little to do with prostitution or sex for money as like with any other profession that was eventually relegated to women the utilization of sex for money as a legitimate or illegitimate practice wavered with the social norms, customs and laws of the period. As pointed out by the author of a book on the Asian Mystique, Prasso points out that like any other profession conventions have changed over time. When it was acceptable for very young girls, eleven or twelve to enter into a profession, outside of their family home this was the practice and young girls entered the geisha world at this time, becoming apprentices when they were about fourteen and full fledged geisha by 17 or 18, yet modern child labor laws stress that girls cannot enter apprenticeships until age 17 and cannot work as Geisha until eighteen. (11) We must also remember, when taking any social identity out of context that historically speaking the same things happened through the history of our own culture, and at one time convention said it was acceptable for a young girl or boy to enter service in another's home at age 11 or 12, and sometimes even younger. It was also acceptable during certain periods of western history for there to be a legitimate prostitution trade, that was considered a legal and viable solution for a woman, even a married woman or a woman who would be married in the future to sell her body for extra money without repercussions. The same can be said of any culture, yet there is a persistent idea that Geisha are prostitutes, even though this is no more the case than it would be true to say that most low income single women in America are prostitutes.

Conclusion

The development and origin of the Geisha as an Icon of Japanese culture has been furthered by Western fascination with the position, but it must also be said that the western tradition is one that exemplifies ideas of antiquated social and cultural norms. Geisha, as they existed in the 1700s and as they exist today were vulnerable to all the exploitation of the periods in which they lived. This does not go without saying that acts of prostitution did not occur in the… READ MORE

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