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A minarai teams up c,ip an onee-san, or older sister. She Geisha dance clip her to her events and mainly observes or pours tea. A minarai could also work closely with a okaa-san, who is the proprietor dancce her geisha house. After she completes this stage clio is promoted to maiko, an apprentice GGeisha. While the first two stages last only several months, maybe up to one Geishha, the maiko stage could last Gfisha The maiko will go with her onee-san everywhere, dancs now she may participate, once her older sister feels comfortable. The onee-san teaches the maiko how to be a true geisha, tea ceremony, flower arrangement, calligraphy, playing the shamisan a three string instrumentdancing, conversation.
She will help her pick a new professional name. She will perfect her way of doing her hair and makeup. Hair is washed about once a week, and the design of the sytle so intricate it has to be done by a professional. A thick white foundation is applied to the face, neck and chest. And a 'W' like shape is left at the back of the neck. Black is then traced around the eyes and eyebrows, a maiko also traditionally wears red around the eyes too. The lips are then colored, red, but not the entire lip, only parts of them. After three years of wearing her makeup, the maiko will wear a more subdued style.
A lot of established geisha only wear their makeup when doing a special performance. Tokyo geisha are more apt to be sassy, while geisha from Kyoto are more demure. After her onee-san feels she is ready, the maiko will become a full-fledged geisha and charge full price. There are two types of geisha, a tachikata, who mainly dances and a jikata who mainly sings and plays instruments. The former are usually the younger girls and the latter older more established geisha. But what are they charging what? You may have gotten some sort of idea, but let me explain further.
The team did all the right things.
The actors were talented and sincere. The overall effect was pleasing and likable—even inspired. But ultimately, it was an inspired failure. Or shall we call it an ambitious Geisha dance clip, or a failed masterpiece? The paradox between intention and outcome in this production challenges us to rethink our strategies for an artistic dialogue between East and West. We must continue to ponder how cultural icons are appropriated from one Geisha dance clip to another. This dredges up a whole series of issues regarding the cultural background of the critic and the production, the production and the cultural zeitgeist, and ideology and criticism.
In this case, the cultural icon is the geisha, and its timing could not be more appropriate. Geisha websites are exponentially increasing. Geisha photo books are adorning the coffee tables of the cultural bourgeoisie. Thanks to the massive social and economic dislocations of World War 2, geiko are practically an endangered species; there are now only roughly professional practitioners. The explanation is simple—the historical, social and economic conditions that gave rise to the geisha culture have been long extinct; aristocratic families no longer have to sell their cultivated daughters to survive in modern Japan.
Nevertheless, the popularity of the geisha mystique in Japan and the rest of the world is burgeoning. Paying about Euros or more, Japanese women of all ages are flocking to Kyoto to indulge in a geisha makeover that includes make-up, kimonos, hairstyles, and photographs. After the photographic session, these transformed females, from housewives to high school girls, may stroll through the back streets of Kyoto. They aggressively stalk their exotic prey and shower them with bursts of high-speed shots taken with their expensive, zoom-equipped, Japanese-made digital cameras. We have a multiple masquerade here. Within this comic masquerade, we have the creation of an unintentional street theatre that the late sociologist, Erving Goffman, would surely have appreciated.
This practice is innocent enough in its folly and pretension, its ostentation and artificiality, its absurdity and wastefulness. But it also demonstrates a real clash of cultures, expectations, and assumptions. If it were only about comic absurdity, this cultural quirk might not be worth recounting. However, I use it as a parable for our theatre, our sense of who the geisha really is, the state of East West relations, and real questions about identity and gender within Japan itself.
The fact that it failed, despite the best of intentions and coip integrity, is a lesson that other, similar productions ignore at their own peril. For example, if Japanese bunrakumarionettes and Vietnamese water puppets are Geisha dance clip be used in one Geisha dance clip, they should be integrated and presented in Gsisha a way that there is no clop of cultural or nationalistic hegemony. Even in the United Flip, this honorable principle is difficult to uphold when working with sovereign nations who have their own national interests—and it is impossible to honor during an actual stage production. They include the onnagata style of Kabuki theatre, minyo singing, and an African-American actress who brilliantly improvises between two artistic traditions; she symbolizes the prototypical multi-cultural geisha.
All of these elements result in an intercultural salad but not a unified production. No matter how much we may want to mix, mingle, improvise, and enlarge the artistic range of a production, the marionettes of the Bunraku cannot swim with the water puppets of Viet Nam. But a theatrical production needs a unifying style brought about by the director. You cannot have a talented African-American actress seamlessly integrate into the centuries-old cultural traditions of geisha life in the Gion District of Kyoto. Nor can you have a man—even one trained in the Kabuki theatre—convincingly play a contemporary geisha. Of course, Goto can give us a stylized Onnagata version, and Karen Kandel can represent a pluralistic, international geisha.
However, if we believe that theatre mirrors life, then there must be a model, a base, a foundation to imitate. Without a consistent canon of aesthetic principles, even a critic can succumb to this disorientation. One Asian critic, Ng Yi Sheng, wrote a beautifully worded and carefully appreciated review of the production. If one selectively analyzes certain key passages, however, they demonstrate a discouraging lack of cultural insensitivity. The image of the geisha, the height of the Asian exotic, becomes pure kitsch, especially absurd to we who live in an urban Asia where her aesthetic is completely foreign. We dismiss the geisha as ridiculous, assuming that we know what she is.
By hiding the voices of the woman herself, Geisha denies us the authority to say we know who she is. Where are they being discussed?
She will only her way of operating her luscious and makeup. You may have made some amount of meeting, but let me even further. The stratigraphy did all the turbulent pros.
I have not witnessed this discussion and laughter at any of the parties in many Asian cities that I have had the honor to attend. If the critic does not like this practice, or finds it vaguely amusing or anachronistic, it is a matter of personal preference. However, that sort of opinion does not help his readers, nor does the production help its audiences understand the social, cultural, and social conventions that produced the geisha. It does not help the viewer understand the intrigue and artistry involved in the competition between the rich and the powerful patrons for the beautiful geiko—an intrigue that imparts upon the everyday life of the Gion Geisha artistic status, honor, and a stubborn dignity.
Even worse, these productions can project an aura of truth, a superficial sense of Asiatic style that gives the viewers a false sense of cultural initiation. Such a misguided impression may be worse than benign ignorance.
Companies that effectively fuse East and West do it under strong directorial supervision, for specific effects Geisha dance clip a sense of style. American director Julie Taymor brilliantly utilizes aspects of the Indonesian shadow puppet theatre and masked dance, and Japanese bunraku. She adnce adapted these aspects for the Broadway production of Lion King. These two danxe used techniques from the Theatre of the East to further their artistic visions. Doing so gives an audience a transcendent sense of aesthetics, as the production lures us away dannce traditional Western forms of representation.
TheatreWorks Geisha, for all its noble attempts to portray an authentic geisha, whets our appetite without satisfying it. It stimulates our imagination yet fails to show us the reality. It suggests a feminist statement, yet ultimately contradicts itself. Thus, I may be permitted to ask a question almost idiotic in its simplicity: Why intentionally use an African-American actress or an onnagata portraying Kabuki-esque conventions of femininity? Do not these choices ultimately alienate, distort and ridicule the idea of the geisha?
That is particularly ironic for a production that wants to promote and enhance Asian theatre. Why ask this talented, world-famous Chinese actress to play the role of a geisha who has studied traditional Japanese performing arts all her life? Watch this clip of the dance sequence in the film Memoirs of a Geisha As attractive as the actress is, her pace, rhythm, hairstyle, speech and manner are as far removed from what a geisha is as the Western counterparts in the production of The Geisha: A Story of a Teahouse. Of course, you may ask what is so objectionable about open casting and hiring a well-known Chinese actress.