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Takechanpoo wrote:.
i would support them on big-picture
Takechanpoo wrote:they apparently went excessive on this case. .but you guys should watch the whole flow
racially inappropriate things about yellows, which never be allowed on black and hispanic, are overlooked and tolerated in public and the stereotypes are reproduced on an enlarged scale. japanese are insensitive about this kind of issues. and instead chinese and the other asians do it.
i would support them on big-picture
Takechanpoo wrote:probably they are still just students and just just are doing trial and error.
Samurai_Jerk wrote:matsuki wrote:Getting upset over the word "oriental" is the same as getting upset over "western(er)"...
I remember when using the word "oriental" suddenly became racist. I was in junior high and referred to someone as oriental in front of my Chinese-American friend. She told me it was "Asian" and it was racist use oriental. She claimed it had roots in the term "disoriented." I knew that was bullshit and wondered why it couldn't mean "oriented" but knew better than to argue with her. She also used to get mad if a guy held a door for her and she ended up going to a performing arts high school.
matsuki wrote:
"My wife is Chinese, my children are half.
Mike Oxlong wrote:matsuki wrote:
"My wife is Chinese, my children are half.
No way he said it like that.
matsuki wrote:Might have been "half Chinese" but same difference, no?
Mike Oxlong wrote:matsuki wrote:Might have been "half Chinese" but same difference, no?
Definitely would have been that, or part Chinese, or have Chinese blood in their veins...some such American iteration. Makes the story more real, vous ne pensez pas? I'm assuming you understand a little Freedom.
Samurai_Jerk wrote:Takechanpoo wrote:probably they are still just students and just just are doing trial and error.
Which is even more reason for people to tell them to STFU.
Early experimental colour photographer Etheldreda Laing
"Two girls in Oriental costume" (1908)
Via telegraph.co.uk/culture/photography...
Fifteen years ago I visited Nishijin, Kyoto’s famed kimono manufacturing quarter with my then host family. I had just finished reading Yasunari Kawabata’s “The Old City,” a novel steeped in Kyoto’s kimono culture; its main character Chieko is the adopted daughter of a kimono merchant. I misunderstood the novel’s elegiac tone, and naively expected to see the Nishijin that Kawabata knew 50 years ago.
I got a rude shock. The district looked gutted, there were apartment buildings everywhere and only a few traditional dwellings and workshops in between. We passed a kimono merchant’s house that was being demolished. “There’s Chieko’s home,” I said.
We visited one kimono workshop and the owner kindly agreed to show us around. His family had owned the workshop for 140 years, he said, and now times were tough; customers were dwindling and nearby workshops were closing down. We saw a computer programmed jacquard loom, and on it there lay the answer to some questions I had in my mind — an exquisitely beautiful kimono obi worth $8,000.
Japan’s kimono industry has long been in decline. After 1945, Japanese women abandoned their role as bearers of Japan’s fashion traditions and embraced Western styles, and the market for high-end kimono is now collapsing as wealthy customers opt for cheaper, more casual fashion.
A recent Asahi Shimbun article explained that between 1982 and 2012 kimono sales declined from ¥2 trillion to one tenth of that figure, and kimono tailors’ numbers fell from 6,300 in 1984 to 1,351 in 2014.
[...]
For the Japanese tour, NHK commissioned some gorgeously embroidered uchikake like the one Monet’s wife wears in the painting, and patrons were invited to try them on and be photographed in front of the painting.
After the painting returned to its home in the Boston Museum of Fine Arts, it was exhibited again in late June with the kimono try-on sessions scheduled to continue into July as “Kimono Wednesdays” for American patrons.
Then something off-script occurred. A small group of young protesters, mostly Asian-Americans, came to the first Kimono Wednesday event with placards to protest its “Orientalism,” “racism” and “cultural appropriation” which they claimed was victimizing Asian-Americans.
The protesters created a Facebook page, “Stand Against Yellowface,” and posted sophomoric manifestos on Tumblr featuring tone-deaf karaoke of their hero: the Palestinian scholar Edward Said, author of “Orientalism,” a central text for postcolonial theory syllabuses in American liberal arts faculties.
[...]
Japanese-Americans, Japanese residents in the United States and their supporters counter-protested at the museum and on social media in vain. Counter-protesters pointed out that very few of the protesters were Japanese, and that they had no right to dictate what counted as racism or cultural appropriation against Japanese or Japanese-Americans. They complained that the protesters had chosen the wrong event to protest against with their parochial identity politics agenda.
[...]
Japanese social media briefly lit up in exasperation and bewilderment. People were mystified that anyone could accuse a kimono try-on event of being racist or imperialist. Few comprehended the identity politics assumptions driving the protesters. Some right-wing nationalists assumed they were anti-Japanese Chinese and Korean agitators.
Perhaps for the mainstream Japanese media and for many fashion commentators such a controversy is of little concern, being just another inexplicable skirmish in America’s culture wars. But it is more than that; if casual yukata styles are to attract foreign consumers who are also sensitive to social justice issues, a clear message needs to be communicated to them by Japanese supporters of the industry.
That message, recently iterated to me by an employee at the Nishijin Textiles Center in Kyoto, is this: Anyone can appropriate and creatively modify kimono styles whenever and however they like.
This message should be broadcast to counter those who misguidedly oppose the appropriation of Japan’s fashion traditions by “the West.” Japanese are not the West’s victims, and the kimono industry is ill-served by obsessions about Orientalism and politically correct “understanding.”
Kaori Nakano, a professor of fashion history at Meiji University put it to me this way: “Cultural appropriation is the beginning of new creativity. Even if it includes some misunderstanding, it creates something new.” It may be the key to the future of kimono fashion.
inflames wrote:a handmade kimono (MSRP: 3,000,000 yen)
Young people aren't overly interested in it
inflames wrote:The distribution system is fucked up - basically it goes through a ton of middlemen, and in the end the manufacturer gets very little.
Bearded Men in Silky Kimonos' is a Pin-Up Calendar For Lovers of Hirsute Men
Broadly | Nov. 16, 2015
Kate Cooper-Owen came up with the idea when staying at a friend's house. Her friend's boyfriend sidled into the kitchen in the morning in a silken robe: "It had this beautiful cherry blossom pattern on it," she remembers. "It wasn't a kimono in the strictest sense, but it was such a amazing look. I pretty much said on the spot, 'This should be a calendar.'" Just over a year later, the 2016 calendar is now in the pre-order phase, shot by fashion photographer Woland...more...
Some students at Oberlin College in Ohio are outraged that some of the Asian dishes served at the school are not authentic enough, which they say amounts to cultural appropriation.
[...]
Tomoyo Joshi, a Japanese junior, said that the undercooked rice and absence of fresh fish in the school's sushi is a sign of disrespect.
“When you’re cooking a country’s dish for other people, including ones who have never tried the original dish before, you’re also representing the meaning of the dish as well as its culture,” Joshi stated. “So if people not from that heritage take food, modify it and serve it as ‘authentic,’ it is appropriative.”
Samurai_Jerk wrote:Japanese student learns how to be a real American college kidSome students at Oberlin College in Ohio are outraged that some of the Asian dishes served at the school are not authentic enough, which they say amounts to cultural appropriation.
[...]
Tomoyo Joshi, a Japanese junior, said that the undercooked rice and absence of fresh fish in the school's sushi is a sign of disrespect.
“When you’re cooking a country’s dish for other people, including ones who have never tried the original dish before, you’re also representing the meaning of the dish as well as its culture,” Joshi stated. “So if people not from that heritage take food, modify it and serve it as ‘authentic,’ it is appropriative.”
Yokohammer wrote:Japanese words like typhoon
Samurai_Jerk wrote:Japanese student learns how to be a real American college kidSome students at Oberlin College in Ohio are outraged that some of the Asian dishes served at the school are not authentic enough, which they say amounts to cultural appropriation.
[...]
Tomoyo Joshi, a Japanese junior, said that the undercooked rice and absence of fresh fish in the school's sushi is a sign of disrespect.
“When you’re cooking a country’s dish for other people, including ones who have never tried the original dish before, you’re also representing the meaning of the dish as well as its culture,” Joshi stated. “So if people not from that heritage take food, modify it and serve it as ‘authentic,’ it is appropriative.”
Yokohammer wrote:Samurai_Jerk wrote:
Tomoyo Joshi, a Japanese junior, said that the undercooked rice and absence of fresh fish in the school's sushi is a sign of disrespect.
Of course that goes the other way too, so all adopted western words must be pronounced to perfection by the Japanese. And for god's sake, corn on pizza is an affront to all Italians! Sutoppu za cultural appropriation!
Samurai_Jerk wrote:Yokohammer wrote:Japanese words like typhoon
Not so fast. The etymology of typhoon isn't clear but it's definitely not Japanese in origin.
kurogane wrote:he is integrating
Tomoyo Joshi is currently a senior majoring in Gender Sexuality and Feminist Study.
[...]
Even now, I am all too familiar with the privilege, opportunity, and power that this English provides me. Writing these words, thinking about language, in English, pains me, especially because I’m not sure if I could write this as accurately and concisely in Japanese. But I think I’ve come to terms that I will never really be “fluent enough”; I will constantly feel frustrated, one way or another. But what both languages have given me is more words to be myself, and so, while this is not a conclusion of any sorts (and in an attempt to provide a meaningful conclusion to this post) I know that I will always struggle with language and identity.
Samurai_Jerk wrote:kurogane wrote:he is integrating
She you patriarchal white scum.Tomoyo Joshi is currently a senior majoring in Gender Sexuality and Feminist Study.
[...]
Even now, I am all too familiar with the privilege, opportunity, and power that this English provides me. Writing these words, thinking about language, in English, pains me, especially because I’m not sure if I could write this as accurately and concisely in Japanese. But I think I’ve come to terms that I will never really be “fluent enough”; I will constantly feel frustrated, one way or another. But what both languages have given me is more words to be myself, and so, while this is not a conclusion of any sorts (and in an attempt to provide a meaningful conclusion to this post) I know that I will always struggle with language and identity.
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