Journal 6: Folk Tales and Films

Journal: Japanese Folk Tale

After reading a few iterations of The Old Man and the Cherry Blossom Tree and becoming curious as to the origins of the story, I discovered that each version of the story emphasizes various aspects of Japanese culture and I feel that, with every iteration, the function of the narrative shifts ever so slightly. In some versions, the old man shares his gold with the entire village, illustrating that altruism is to be expected in the world and emphasizing the value of community. It is our place to look out for one another and to do what is right for the community.  

In another version of the story, the neighbor is sent away to prison for his crimes, but he returns to his village a better man. In one version, the old men make amends and become friends, coming together in remembrance each year on the anniversary of Shiro’s death. These versions would suggest that the world consists of both good and bad people, but that there is always room for change and to better oneself after making a mistake or committing violence. Additionally, our place is to be a person willing to change, or be stuck in our old, sometimes negative, ways.

In some versions, the old man sits with the body of Shiro all night long showing respect for the dead. Shiro can sometimes talk to the kind old man in some versions and even after death, instructs the old man to make something useful from his tree, indicating a belief in life after death. To this end, the story seeks to tell that our place in the world is determined by a higher, supernatural power. As a result, we must act in accordance with this power and accept the hand we have been dealt. When acting in the world, we must be mindful of the higher power guiding us.

What I found interesting across the various iterations of the story is that the kind old man never retaliates against his neighbor. To this end, the folk tale teaches us to value forgiveness. The renaming of the old man by the prince is significant in that the kind old man not only gains wealth, but also honor and prestige. He is reborn. He is no longer a commoner and is raised in social rank, which affords privilege and wealth. This is of tremendous significance, as in ancient Japan, there was very little upward mobility between the social classes. In this way, the story functions as a way of telling us that good deeds result in rewards. As to our place in the world, we can choose to be someone whom seeks to do good deeds for the sake of doing them – being kind because it is the right thing to do. To that end, we should be humbled by the gains of our altruism and to be responsible with what we have been blessed with. When evaluating what goes on in the world, we must be willing to do what is right when the time comes.

Blog: Sumo Do, Sumo Don't

Suo Masayuki’s Sumo Do, Sumo Don’t is a serious comedy with a well-executed and engaging plot. A university sumo club has only one member, Aoki. His admiration of sumo and its traditions is sadly not matched by his ability in the ring. Through a variety of means a university professor, Dr. Amayama, manages to recruit other members. The main character, Shuhei, a skinny high school student who just wants to graduate and get a job on the strength of his family name, gets an offer from Dr. Amayama into taking part in the university's failing sumo club in order to save it and to fill Shuhei’s credits, as he has repeatedly skipped class. The eventual recruits are a lovable group of outcasts that include a chubby nerd who is Catholic; Shuhei’s younger brother, Haruno (a wannabe professional); a female student, Masako, who loves to cook and looks out for the team; and a cocky British international student, George Smiley. Despite various trials and tribulations involving disastrous losses to other teams and even a grade-school sumo camp group, these ‘misfits’ manage to bond together as a cohesive group. They develop the dedication to training and hard work which is necessary to win for themselves and each other. 

Sumo wrestling has existed in Japan for over 2000 years, and it is regarded as an important symbol of Japanese cultural identity. Sumo was originally performed as part of a religious ceremony in trying to ensure that the harvest was bountiful and was eventually transformed as entertainment for the Imperial Court. One of the defining features of sumo for the Japanese is its adherence to ancient traditions. Wrestlers, dressed only in loincloth (mawashi), enter the ring (dohyoo), and toss salt into the air to purify the ring. Throughout history, women have not been allowed to enter the ring. It is believed that their presence will defile the sanctity of the ring. Foreigners are attracted to the rituals and traditions of sumo, some of whom have been very successful. The success of these foreigners has brought to the surface tensions between Japanese and foreign attitudes to sumo.

Two other themes are developed by director Suo Masayuki. Firstly, cultural differences between East and West are reconcilable and resolvable. British wrestler, George, initially displayed an unfavorable attitude towards the traditions of sumo. This is exemplified by his refusal throughout the film to wear a loincloth—in the tradition of sumo. In a final bout he changes his mind. On leaving Japan, he thanks his colleagues for helping him to understand and appreciate ‘Japanese spirit’. Secondly, Sumo Do, Sumo Don’t fundamentally challenges the role of women in a traditionally male-dominated sport. This film (probably) constitutes the first example of not only a woman entering, but also wrestling in a ‘sacred male domain’. Masako, disguised as a man, wrestles for the club following an injury to a fellow wrestler in the final tournament match. Overall, this is an entertaining film and is highly recommended. It provides an interesting commentary on Japanese youth, relations between different cultures, the changing role of women and the Japanese way of life.