Geisha: Western Misconceptions vs. Japanese Cultural Reality

Introduction: Orientalism and the Western Image of Geisha

Western civilization has long held an interest — indeed, a fascination — in the Orient. For much of modern Western history, that interest has been surrounded by limited images of cultural practices accompanied by preconceived notions about culture and identity. There is no greater example of Orientalism in the Western tradition — which included both romanticizing and prejudice — than the image and assumptions surrounding the Geisha. In the Western tradition, the Geisha is primarily a visual icon, but Western perception includes the idea that she is a sexual entity or a high-class prostitute, whereas in reality the Geisha is a respected and skilled performer. (1)

In short, the Western perception of the Geisha is based on a very short period of time and on antiquated ideas surrounding the exploitation of these women — an exploitation that, almost regardless of circumstances, did not equate Geisha with prostitution. Modern Geisha, as well as many people within Japanese culture, resent the implication that Geisha are prostitutes, an implication that appears frequently in both fictional and nonfictional Western media representations of Geisha. (2)

A Geisha can be summarized as a person who "performs" arts, as distinct from a hostess or prostitute. The Geisha's identity consists in performing so-called traditional Japanese arts. Beyond her distinctive manner of dress, the Geisha practices dance and music, and she presents her performance at banquets as well as in public performances. (3)

Geisha as Skilled and Educated Performer

According to Mariko Okada, the image of the Geisha has been fundamentally misrepresented in the Western tradition as something dark, mysterious, and sexual, whereas Geisha were skilled and trained in traditional performing arts: "Whoever wants to become a geisha is registered as a student of this school. Until she stops working as a geisha, she must keep going to the school. The school provides classes in Japanese classical dance, varieties of Japanese classical music, calligraphy, Japanese painting, flower arrangement, and tea ceremony. These subjects belong to supposedly traditional Japanese culture and a geisha is expected to show her skills in these arts." (4) The reputation and notoriety of the Geisha were rooted in her ability to perform these skills at private banquets as well as public performances, all of which were contributory factors to her success as a performer. The private lives of Geisha are just that — private — and any spillover between her public identity as a Geisha and her personal life had far more to do with the period in which she lived and worked and the rigors of her training than with illicit or secretive acts.

Limiting the Western cultural representation of Geisha is essential to a better understanding of what a Geisha actually is. First, it is worth noting that the Geisha is a relatively modern construct, dating back only to approximately the 1700s. The years 1750–1751 saw the beginnings of a new class emerge from Kyoto and Osaka — the so-called geiko. Geiko were originally men, derived from the previously known group of Taikomochi. These men had been entertainers in various forms since the Kwambun era (1661–1672), but had been solely male until the first female Geisha, Kikuya from Fukagawa, appeared. (5)

The role of the Geisha went through periods of extreme regulation in its early years, as standards were codified into law for various regions. Rules were developed to separate Geisha from their customers and to reduce their potential for competition with courtesans and prostitutes. (6) It is therefore clear from very early on that Geisha were not prostitutes. Although sexual acts for money did occur in some cases, this was not the ideal of the profession. As education became more normalized and as prostitution became less and less viable as a legitimate profession, Geisha were separated even further from such associations. (7)

Origins, Regulation, and Separation from Prostitution

In one respect, what Geisha did share with prostitutes was the area of the city to which they were relegated to live and be educated — the so-called "gay quarters," sections of town originally set aside to limit illicit establishments in other parts of cities, where many performers and others lived and worked. (8)

Okada also points out that the image and control of Geisha — as well as how they performed and where — changed with the times, as happens with any social profession. In later periods, during the silk trade and beyond, Geisha were utilized as a highly esteemed and public representation of Japanese culture for outsiders and tourists. The profession was adapted to meet the needs of the military, politicians, and the business world, serving the function of creating iconic images of "traditional" Japanese culture. (9)

Conclusion

The development and origin of the Geisha as an icon of Japanese culture has been furthered by Western fascination with the position, but it must also be said that the Western tradition is one that exemplifies antiquated social and cultural norms. Geisha, as they existed in the 1700s and as they exist today, were vulnerable to all the exploitation of the periods in which they lived. This is not to say that acts of prostitution never occurred within the profession, but they occurred no more and no less than they did in any other profession of the day and were not assigned as the defining identity of the individual.