Death & Rebirth

Without realising it, it has been a while :)

I spent most of the past year travelling, reading, having fun and mainly, doing (my small-scale university) research on feminist issues (domestic violence and currently feminist criminology). There's much work to do atm but I find it easier to focus on some matters now. I would normally be moving to France for short-term studies by 2010, but cancelled it in order to complete my bachelor studies as soon as possible.

So after this small and entirely useless info I'd like to announce to the very few and much loved people who read this blog that LFI will be back shortly :) I'm trying hard to gain a sturdier academic background so that these small reviews are well-written, possibly including bibliographic references. I always check on them, correcting from whole paragraphs to grammar mistakes I fail to spot even after many re-readings. I'm still learning and I wish to learn with you.

Thanks

R.

Seirei no Moribito: a matriarchy myth via a feminist reading

If you’re looking for a nice anime to watch, this might be a good choice for you. It’s the story of Balsa, a woman bodyguard, and the little prince Chagum, whom she’s sworn to protect, set in a fantasy Japanese past.

Two women in SnM

Let’s begin with the basics: characters. In this anime we have two impressively (and unexpectedly convincing) female leads: first, Balsa. She’s a strong, independent woman, excellent warrior and also intelligent and wise. I can’t think of her as a ‘man character in disguise’. The fact that she’s not an object of sexual appeal as women are often portrayed in visual arts does not make her asexual. She’s rather a person, than a (womanly) woman. She also outwits many of the male characters of the series, who respect her power though want her out of their way. She’s clearly a heroine with her own faults and mistakes but nevertheless a person one could look up to.

Secondly, there’s Torogai, the shaman, a capricious elder with strong powers over earth and its spirits. She’s the leading figure of the ‘Earth Party’ [see next paragraph] and the main source of wisdom for our protagonists. I find interesting the fact that she’s not clad in the calm, saintly countenance we usually see wise people portrayed. She’s lively, always exploring and jumping around, and commanding, sure of her authority, though more in a family way.

The matriarchy myth

No one ever says the word matriarchy, but the symbols are too obvious for me to ignore. The story can also be interpreted as a fight between upper and lower classes, past and future. Mainly, it’s the opposition between nature and civilization. The fact that for ‘nature’ we have motherly figures all over the place, and for ‘civilization’ primarily one solid figure of male authority (chiefly the master of star gazers, secondly the emperor) and the whole opposition is represented via the ‘Sky Party’ (star-gazers of the emperor) and ‘Earth Party’ (folk shamans) makes me see other hints too.

The story focuses around the water spirit, one that star-gazers view as harmful and try to eliminate. Actually, history was written wrongly. It’s a benevolent spirit, one that people intentionally exiled in order to establish their authority over other people. Does this remind you of something?...

Motherhood in SnM

Really, it’s cramped with mothers. And you damn enjoy it, since it’s hidden subtly throughout the story, with no implications of hysteria abound having a baby and other society-born complexes. All ‘mothers’ have the common goal of protecting the water spirit. Chagum’s mother, Balsa, Torogai, even the mother of the spirit herself. Eventually, earth and her own symbols (like a ‘cloud in the shape of a breast’ etc). The peaceful figure of Tanda reminds us that fatherhood is not excluded, in fact, it’s needed.

*

I chose to view SnM this way, and loved it. Most people might see simply the opposition earth-sky, nature-technology. Still, the way this is depicted makes it more important to me. I’ve been recently accused of being ‘politically correct’ of saying that no matter what you say, it is important how you phrase it. This means to me that art is all about how, not what. I might want to talk about the greatest thing in the world, but I’m entirely inapt to do so. And then comes someone else with actual skill, and writes a poem about it, or draw a painting. Isn’t the second one more of a (better) artist than I am? Good intentions are not appreciated, the actual work is what counts. This doesn’t mean that something I reject might be acceptable if depicted in a politically correct way; I’d still reject it. But it does mean that if something I reject is depicted in an aesthetically appealing way, I might think of it as a good piece of art, though I’d still reject its essence.

No matter how you choose to interpret SnM, I believe you will find it a well-written and enjoyable story. I saw parts of myself in there; I think you’ll find some of yours too.

R.

Time for a break

I never updated LFI very often, but now I'm afraid I have no time at all.
I've taken up various projects (reviewing for other sites, translations etc) and I'd also like to take care a bit of my studies in the following couple of months. I guess that this little personal project has to be set aside for a while. It pains me, but this doesn't mean this is the end of this blog. Whenever I find the time and the interest I'll definitely post here :)
Thank you,
R.