The Enigma of Gender Roles in Japan and the Takarazuka Revue

In my opinion, despite all the media that it exports to America and the whole world, Japan’s cultural personality is very hidden and confusing to even the well educated. I guess it is hard to really apply our sociological imagination, or our ability to connect the dots between group and individual actions and motivations, to a different culture like Japan.

The greatest difference that always seems at the forefront in my thought is American individualism versus Japan’s sense of duty, collectivism, and strict norms on public behavior. Another is the competitiveness and inflexibility of their educational system. There is also the perception of widespread xenophobia and racism in Japan, which may annoy or infuriate a Japanophile and make the idea of relocating very troubling.

Though these differences are great, I believe that one of the greatest areas of misunderstanding deals with the personality traits of Japanese women in a country seemingly defined by strict patriarchy and media portrayals of women that seem incredibly shallow compared to even Hollywood standards.  The stereotypes, ranging from the hyper super cute anime character to the shy, “better seen not heard” student, worker, or wife,  contrast  greatly against the dynamic roles often played by and lived by men in movies, business, and politics.

One recent example I discovered, which both entertains and illustrates just how much I don’t know about this area, is the Takarazuka Revue. The Takarazuka Revue is a theater company composed of an all female cast which was started in 1913 as a sort of response to there being no women in Kabuki (traditional Japanese all-male theater). Since its inception, the Takarazuka Revue has become a huge hit and draws millions of fans.

Japan Today had a detailed article that described the Revue as a “theatrical landmark” with “heavy makeup and sugary plot lines” where “enthusiasts, mostly women, wholeheartedly devote their money, time and energy to the troupe just like teen groupies chasing pop idols.”

The article later argues that the Revue’s success is tied to sexism. It quotes an expert on the subject:

So long as Japanese society continues to offer women fewer opportunities for self-determination than it offers men . . . Takarazuka will surely remain a popular medium which caters to the otherwise unfulfilled dreams of countless women, whether as performers or as fans, by affording them the chance vicariously to participate in a wider world not dependent upon their own sex, gender or ethnicity

- Leonie Stickland

It also explains why the actresses that only play male roles are more popular than the female role-players by saying  it “derives from the latter’s displeasure at being reminded of society’s low estimation of their own worth, and of the wiles to which women are expected to resort in order to flatter and serve others.”

However, other facts point out why this seemingly pro-woman theater is just another extension of Japanese patriarchy.

• The actresses are all from the Revue’s own school which is male run.
• All actresses are unmarried and it seems would have to quit if they got married.
• All actresses have to follow a code and “must not reveal their real name or age, or talk about their romances.”

All in all, it seems that this piece of Japanese culture has a hidden or perhaps just not easily recognizable dark side, but like many other shows, movies, anime, or games, these faults are far enough away from us personally that we can still find enjoyment in them. Despite being surrounded by a ton of middle-aged Japanese women (90 percent of their audience), I would love to one day see one of their shows.

The following videos portray some more information as well as examples showing the range and talent of the Takarazuka Revue.

An excerpt from the BBC documentary “Dream Girls” that also helped in the writing of this article:

The Phantom of the Opera:

Nintendo DS series Phoenix Wright: Ace Attorney:
(Take notice, there is a lot of pointing)