The movie “Shall We Dance? ” by Nipponese manager Masayuki Suo is an of import illustration of the cultural displacement in Japan. Because of the movie. the Western tradition of dance hall dance was popularized in the former rigid and formal society of the Japanese. Western civilization has found a place in modern Japan. “Shall We Dance? ” helped with the transmutation of Japan from the stiff modus operandis and beliefs to a more relaxed and unworried environment.
In understanding this transmutation. it is of import to recognize the type of civilization the Japanese enjoyed before the film’s release and what the Nipponese civilization is like now. after the movie opened the eyes of many Nipponese work forces and adult females. Harmonizing to the Japan Ballroom Dance Federation. in Japan dance hall dancing first became popular in 1868. Get downing in 1912. several dance halls opened in major metropoliss. However. dance hall dance was shortly associated with big amusement such as strip shows and in 1925. kids were prohibited by jurisprudence from come ining dance halls or dance studios.
The image of dance hall dancing began to better when dance competitions began to be held after World War II. Since so. dance hall dance was accepted by some. nevertheless. most Nipponese work forces and adult females frown upon it. Ballroom dancing’s image improved even more with the release of “Shall We Dance? ” . Following the success of the movie and telecasting shows having famous persons dance hall dance. the jurisprudence about kids and dance was revised in 1998 to relieve dance studios. ( Yomiuri Shimbun/Daily Yomiuri ) It is clear that the Japanese have ever had a formal. stiff and structured civilization.
Marriages were arranged and twosomes. even when married. found it black and abashing to even keep custodies in public. From the beginning of the movie. this idea was put into the viewer’s head with the quotation mark: “In a state where married twosomes don’t go out arm in arm. much less say ‘I love you’ out loud. intuitive apprehension is everything. The thought that a hubby and married woman should encompass and dance in forepart of others is beyond abashing. ” ( First Scene. “Shall We Dance? ” ) Even as the spectator is introduced to Mr. Sugiyama. the chief character. it is clear that he is embarrassed to step foot into the dance studio.
As the narrative progresses. Sugiyama is even embarrassed to state his married woman that he is taking dance hall dancing lessons. He keeps it a secret from her until she finds out herself through a private investigator. The movie speaks to the cultural displacement of the Japanese. At the beginning of the movie. Sugiyama was embarrassed to be taking dance lessons. At first. he would non even admit it to himself that he really wanted to dance. He convinced himself it was merely because of the attractive dance teacher. Mai. that he was taking lessons. It was non until Sugiyama realized that one of his colleagues. Mr.
Aoki. was taking lessons at the same dance studio that Sugiyama began to loosen up and bask the dance. Still. Sugiyama kept his dance from his household. He was still embarrassed even though he liked dancing. The existent turning point in the movie was when Sugiyama was at work. and a group of his colleagues were doing merriment of Mr. Aoki for dance hall dance. Sugiyama stood up for Mr. Aoki. stating his colleagues that if they have ne’er tried dance hall dancing. they should non state anything bad about the dance or anyone who patterns it.
When Sugiyama found out that his married woman knew about his dance. he quit his lessons. Even his dance spouse could non acquire him back into dancing. It was non until Sugiyama’s girl insisted that he learn his married woman how to dance that Sugiyama realized that he still loved dance hall dance. He eventually accepted his love of dancing when he attended Mai’s farewell party and danced the last dance with her. This transmutation of Mr. Sugiyama is symbolic of the transmutation of the state of Japan from structured and formal to loosen up and fun-loving.
Bing so near to the opposite sex. as is required when dance hall dance. was looked down upon in Nipponese civilization. It was black and abashing. The formal life style and the embarrassment and shame for dancing in Japan has been get downing to alter for the past decennary or so. Younger Nipponese professionals have become fascinated with Western civilization and by the glamor of Hollywood. However. a immature coevals is normally accepting of a new manner of life. The exceptionally interesting displacement was when the middle-aged Nipponese public began to go attracted to ballroom dance.
( Business Wire ) This was apparent in “Shall We Dance? ” . Mr. Sugiyama was in his early mid-fortiess when he discovered the joy of dance hall dance. He was a typical citizen ; he had a married woman and kid and had merely bought a house that he had worked hard for. It must be admitted that. at first. Mr. Sugiyama was non at all interested in dancing. but in the immature and attractive dance teacher. However. when Mai accused him of merely taking lessons to acquire to her. Sugiyama decided to go on taking lessons. recovering some of his award. After a piece. he began to bask dance hall dance.
It breathed a breath of life back into the humdrum of holding a household and being an comptroller. Harmonizing to Tokiko Oba’s article. “Shall We Dance? / Ballroom Dancing Catches on with Children. ” . as a direct consequence of this movie’s positive portraiture of the dance manner. kids have begun to bask dance hall dancing. In the yesteryear. it was illegal for kids to come in a dance studio. All of that is get downing to alter as grownups realize the positive effects of dance hall dance. Children were surprised by dance hall dance and the adults’ consent to it. Ballroom dancing. to kids. was ever perceived as “…
something grownups would make in a romantic ambiance. ” ( Oba ) Ballroom dance is besides an option in schools alternatively of taking a 12-hour judo physical instruction class. It has been suggested that dance hall dance is good for socialising. Socializing is an of import portion of human development. and since dance hall dance is done with a spouse. it forces one to socialise with another. ( Karatsu. 419 ) Ballroom dance is besides considered a athletics because of its competitory nature. In the new millenary. dark nines in Japan began to execute karaoke alternatively of dance hall dance.
When this alteration was made. ballroom dancing began to be envisioned as elegant once more and began to be taught as a athletics. ( Karatsu. 424 ) This movie was non merely relevant to the Japanese. but besides to Americans. It is a narrative that Americans can appreciate ; the transmutation of a adult male from a lifeless. dull adult male into an easygoing. fun-loving adult male. This type of self-transformation is normally what drives a narrative that speaks to Americans. ( The Denver Post ) Overall. this movie had an intigral function in the Nipponese public’s credence of dance hall dance.
Dancing is a merriment aerophilic exercising that can be practiced by anyone. The Japanese are traveling into modern times by accepting this peculiar manner of dance. It is besides a great testament to a movie and its shaper of the power of one voice. ? “Bliss in the dance hall: flirty dance. ” U. S. News & A ; World Report 123. n2 ( July 14. 1997 ) : 63 ( 1 ) . General OneFile. Gale. Columbia College Library ( Chicago ) . 18 Dec. 2008 hypertext transfer protocol: //find. galegroup. com. emils. lib. colum. edu/itx/start. make? prodId=ITOF. ? Karatsu. Rie. “Cultural Absorption of Ballroom Dancing in Japan. ” Journal of Popular Culture 36.
3 ( Winter2003 2003 ) : 416. Humanities International Complete. EBSCO. Columbia College. Chicago. IL. 17 Dec. 2008 hypertext transfer protocol: //emils. lib. colum. edu/login? url=http: //search. ebscohost. com. emils. lib. colum. edu/login. aspx? direct=true & A ; db=hlh & A ; AN=9545723 & A ; loginpage=Login. asp & A ; site=ehost-live. ? Moore. Brian. “It’s more than dance ; it’s a athletics ; FACEOFF ON THE BALLROOM FLOOR. ” The St. Petersburg Times ( St. Petersburg. FL ) ( July 20. 2001 ) : 1. General OneFile. Gale. Columbia College Library ( Chicago ) . 18 Dec. 2008 hypertext transfer protocol: //find. galegroup. com. emils. lib. colum. edu/itx/start.
make? prodId=ITOF. ? Shall We Dance? Dir. Masayuki Suo. 1996. VHS. Miramax. 1997. ? “Shall We Dance? American Ballroom Dancing Takes Big Strides in Japan and Italy. ” Business Wire ( Oct 26. 2004 ) : NA. General OneFile. Gale. Columbia College Library ( Chicago ) . 17 Dec. 2008 hypertext transfer protocol: //find. galegroup. com. emils. lib. colum. edu/itx/start. make? prodId=ITOF. ? “Shall We Dance? / Ballroom Dancing Catches on with Children. ” Yomiuri Shimbun/Daily Yomiuri ( March 25. 2006 ) : NA. General OneFile. Gale. Columbia College Library ( Chicago ) . 17 Dec. 2008 hypertext transfer protocol: //find. galegroup. com. emils.
lib. colum. edu/itx/start. make? prodId=ITOF. ? “Stylish ‘Shall We Dance? ‘ Sensitive. Optimistic Film’s Lessons are Universal. ” The Denver Post ( Denver. CO ) ( July 18. 1997 ) : F-02. General OneFile. Gale. Columbia College Library ( Chicago ) . 17 Dec. 2008 hypertext transfer protocol: //find. galegroup. com. emils. lib. colum. edu/itx/start. make? prodId=ITOF. ? Westbrook. Bruce. “Steps in a New Direction ; Nipponese Director challenges Culture with Hit ‘Shall We Dance? ‘” . The Houston Chronicle ( Houston. TX ) ( July 13. 1997 ) : 11. General OneFile. Gale. Columbia College Library ( Chicago ) . 17 Dec. 2008.