The Imperatrix of Tokyo Reigns Forever: Koike is here to stay

Four seconds, after the counting of the ballots. That’s how long. 


Four seconds in, and Tokyo governor Yuriko Koike knew she had won the Tokyo gubernatorial election for the second term. Her aides said later that it was more like two and a half seconds; a historical, landslide victory with nearly 60% of the vote in her name. The other candidates were dead in the water before they realized what hit them. Koike’s contender candidate Taro Yamamoto, an actor turned politician whose ideas for government reform made significant waves in the Lower House elections last year but who lost to Koike by over 3 million votes, told the press: “Mt. Yuriko was higher than I thought. I just couldn’t climb over it.” 

If Yamamoto’s statement sounds rude or vaguely sexual, don’t worry – he probably intended it that way. Yuriko Koike was and continues to be, the first woman governor of Tokyo and her term in office has been defined by a lot of ruffled feathers in the male-dominated world of Nippon politics. Not just because she’s a woman, a fact which many older Japanese men still have trouble wrapping their minds around, but because Yuriko Koike has never ceased to remind everyone of her femininity.

It all seems a bit Marie Antoinette-ish. Let them refrain from everything. Let them stay home and  Zoom their lives away while wearing face masks in the clammy Tokyo heat. 

At age 67, Koike is well-preserved, perfectly coiffed and shod in a way that would earn applause from Carrie Bradshaw.  She never loses her cool, raises her voice or looks harried. Her thirst for designer hand-bags is legendary, and rumor has it she keeps a room designated solely for the purpose of storing her darlings. Other rumors swirling inside the corridors of the Tocho building, says that she’s an old-fashioned gal who got to where she is today, by sleeping around with the right men yesterday. Or that she often treats her male staff as if they were hosts working in her own private host bar. 


Ouch. That’s not nice, Yuriko-san,  considering you’ve been waging war on host bars since day one of the pandemic. Most of these bars are located on YOUR turf in Shinjuku ward and yet you refer to them as “places of the night” that must be “refrained (your favorite word)” from visiting more than a few times a year. It all seems a bit Marie Antoinette-ish. Let them refrain from everything. Let them stay home and  Zoom their lives away while wearing face masks in the clammy Tokyo heat. 

Excuse the tone – I’ve just read through Jotei (Queen) – Yuriko Koike, the unauthorized biography by Taeko Ishii that came out on May 29. As of July 6th, the day after Yuriko Koike won her second term, the book had sold over 200,000 copies. “It’s not a flattering portrait of Koike-san,” said Ishii in an online interview. “It’s frightening to think that ultimately, this woman won’t rest until she becomes the next Prime Minister. Who put her in this position? We all did. Japan put her in this seat of power. It’s the culture of old Japanese men, who will empower women only if they’re attractive and will bend to their will. It’s the culture of Japanese women who believe that women politicians are clean and selfless and will battle old men politicians on their behalf. The whole of Japanese society created Yuriko Koike, Tokyo governor.” 
Ishii’s book is densely researched, especially in regards to Koike’s past. The governor has an impressive CV – for a long time, she had told the press that she had graduated from the University of Cairo in Egypt, at the top of her class and was fluent in Arabic. Based on an interview with Koike’s old roommate in Cairo, Ishii writes that Koike quit the university after two years and only pretended to have graduated. Her knowledge of Arabic is sketchy at best, and that she had told this friend, “I’m going to write an autobiography but I won’t include you because then people will know I lied.” 


There are other examples of Koike’s brazenness. When victims of the Hanshin Earthquake back in 1995 came to her for help at her office, Koike started painting her nails, and then told them to leave. When the late Shigeru Yokota, father of Megumi Yokota who had gone missing when she was 13 years old, suspected of being kidnapped by the North Korean government, held a meeting with her present, Koike shed tears as she listened to his story. After it ended, she left and then came back for her precious handbag. Her words were, “Oh good, there it is. I thought my bag had been kidnapped!” 


Ishii calls Koike “a monster” but from Koike’s point of view, that title may have just as well have gotten her re-elected. Koike has thrived on negativity, in particular the sexist, ageist jibes aimed at her by fellow politicians and the public. Four years ago when she was running for governor, Shintaro Ishihara – himself Tokyo’s ex-governor, called her “an old woman with too much make-up. Who would vote for her?” In that instant Ishihara dug himself into a hopelessly deep grave, and Yuriko Koike won the election. 


This time around, it was former Livedoor CEO Takafumi Horie, who did the honors. Horie is he head of his own political party, and had called for a complete reopening of the metropolis plus an acknowledgment from the Tokyo metropolitan government that they had been mistaken in installing “severe” shutdown measures during April and May. To this end, Takafumi Horie sent three contenders into the gubernatorial race, but in total vain. His public image went down the tubes too, after he publicly called Koike “a piece of shit” when she called out for limited entry to Tokyo supermarkets, to avoid congestion at the cash registers. 


Ishii points out that Koike will be in power for as long as Japanese male politicians refuse to hold any meaningful political discussions with women in politics without resorting to gender issues, ageist issues and just plain mud-slinging. Koike may have showed these old men who’s in charge, hah! But after that personal triumph, she has left Tokyo staring into an abyss. She seems to have no real plans for the bad stuff: rising infections, the scaled-down but still expensive Olympics slated 12 months away, joblessness and bankruptcies and a floundering economy. What now, Yuriko-san? The answer surely, is not in your handbag. 

*Editor’s Note: This was originally published at “The Empress of Tokyo Reigns Forever” but Kaori Shoji, the author, had some misgivings. ‘As a Japanese, I’d prefer not to refer to anyone as Empress unless they’re a part of the Imperial Family. Which is why I used the word Queen instead.’ However, queen is not quite a proper translation for 女帝 (jotei) so we used the term Imperatrix instead which has a closer meaning to the title of the book about Ms. Koike, and sounds a little like Dominatrix, which is also a nice fit for Madame Koike.

Reflect on Racism, Diversity & Inclusion in Japan this Wednesday! (10am Japan time/Tuesday 6pm to 8pm USA/PST)

Is there really no discrimination or racism in Japan?

This is a question that the creators of Japan’s beloved feminist podcast, SuperSmashHoes Podcast, and writer Yukari Peerless decided it was high time to ask. In a time when racism and police brutality in the United States have drawn global interest in the Black Lives Matter movement and the problems of intolerance all over the world, it’s certainly a question worth asking. Join Reflection on Racism, Diversity & Inclusion in Japan to find out more. Much of the discussion will be in Japanese but hopefully accessible.

Super Smash Hoes Podcast, hosted by Erika X and Fahreen Budhwani, and Yukari Peerless working with other NGOs have invited a group of experts and Japan hands to discuss issues of discrimination and racism in the shadows of the rising sun. Panelists include award-winning documentary film maker Miki Dezaki, Japan’s first black idol and sex worker rights advocate Amina du Jean, and Aerica Shimizu Banks,an engaging public speaker on the topic of diversity and an advocate for women of color who has accomplished much in her career. The speakers will talk about their own personal experiences with racism, ignorance, and prejudice and how to combat it.

If you wish to join the livestream, you are requested to contribute ¥1,000 yen which will be donated to two anti-racism charities. One is the Anti-Racism Information Center. The Center is an NGO that combats hate speech and raises awareness of the problems with xenophobia and misconceptions about race in a civil society.The other group is Save Immigrants Osaka which supports foreign immigrants detained in Osaka immigration center. https://www.facebook.com/saveimmigrantsOsaka/

Date: Wednesday, June 24
Time: 10am – 12pm Japan time (6pm – 8pm PST Tuesday June 23)

The Format:
Round table discussion. It will be a “Webinar” on Zoom. The audience can watch but will be muted during the webinar. After the panel discussion, they will open up the floor and the audience can ask questions.

Admission: 1000 yen to a Paypal account. 100% to be donated to a charity.

Here is the registration link: https://bit.ly/June24reg

And while you’re here, for more on feminism, human rights, and subcultures in Japan, be sure to check out SuperSmashHoes podcast.

Singing The Terrace House Blues In Japan

They say it takes more than a death to change the world but perhaps that’s not true in the case of 22-year old Hana Kimura (木村花). She was a professional wrestler and one of the cast members of Terrace House, the now defunct reality TV franchise that first launched in 2012 and went on for eight seasons. For the uninitiated, Terrace House follows the relationship dynamics of three boys and three girls as they live as housemates in a posh seaside house with a terrace. Hana-chan as she was called, starred as herself – an up and coming wrestling star with pink hair who was eager to get ahead in the entertainment industry. In an episode aired on March 31st, Hana-chan unleashed her anger over a laundry mishap committed by a fellow (male) housemate. The two made up, but the whole thing exploded right in Hana-chan’s face.

Hordes of Terrace House fans posted Hana-chan hating comments – upwards of 300 a day – and many demanded that she either leave the show or die, immediately. It’s said that the Covid-19 induced isolation further drove Kimura over the edge. Alone in her home, she couldn’t help but read and obsess over the hellish comments on social media, directed straight at her. 

On May 23rd, Hana Kimura was rushed to the hospital after friends found her lying on the floor in her apartment, but it was too late. The details of her death have not been disclosed, but she left a note, apologizing to her friends and thanking her mom for “bringing me into this world.” Astonishingly, the anonymous cyber bullies who were at least partly responsible for her death resumed their bashing, accusing her of being ‘weak and needy’ and ‘not cut out to endure the hardships of working in the entertainment industry.” 

All that hate though, faded away after Fuji Television Network, the creator of the Terrace House franchise pulled the plug on the show five days after Hana-chan’s suicide. Minister of Internal Affairs and Communications Sanae Takaichi is now pushing for a law to hunt down those who post hate comments, and slap them with fines or worse. Even Prime Minister Abe has moved on the issue, remarking that “hateful comments on the Internet have the power to do irreparable damage, and they should be stopped, if possible.” Since then, things have been pretty quiet. Hana Kimura’s critics have seemingly disappeared off the face of the Net at least for now, and news commentators are continuing to express their ‘profound regret’ over her death. 

That said, a certain apprehension hangs in the air; it seems that the Abe Administration is milking the Terrace House tragedy to its own advantage. In the wake of the Covid-19 pandemic, PM Abe’s popularity has hit an all-time low and the belated delivery of two “Abenomasks” per household that he promised back in March, has become a running joke. It seems that most things he does these days is being ridiculed. The death of Hana Kimura may have been a welcome respite from having to deal with the social ills spawned by the lingering coronavirus, and the pile of political embarrassments racked up during the nation’s 49-day shut-down. Moritomo scandal, anyone? 

it seems that the Abe Administration is milking the Terrace House tragedy to its own advantage.

In the meantime, media pundits are pointing out that both the Abe Administration and the Japanese populace should have their minds on other, more relevant issues, like the racial protests tearing the US apart, and now raging in Europe as well. 


Political columnist Takashi Odajima observed in Nikkei Shimbun that the pandemic has afforded the US an opportunity to take a hard look at social injustice, while in Japan that same pandemic has given the government an excuse to cover things up. “In Japan, the government hides its scandals and inconvenient truths under the masks they insist on wearing,” he wrote. 

You don’t have to be a pundit like Odajima, to get that sinking feeling: once again, Japan lags way behind the west when it comes to grappling with stuff that truly matters, in spite of, or maybe because of, an ongoing pandemic. While we’re still wrapping our faces and panicking about the number of new infections cropping up in Tokyo (more than 10! How horrifying!), protesters across the Pacific are risking their lives for racial justice. The comparison is scathingly humbling. Gosh, we’re small. And scared shitless of direct conflict. 


Odajima pointed out that the Japanese are hopelessly bad at arguing a point,  or any form of adverse social interaction unless it’s done among family members. He’s right. The bad stuff happens mostly at home and behind closed doors. In some cases they continue for years before anyone finds out. There’s anonymous groping on trains, and faceless bullying on the net but public protests in broad daylight rarely occur unless the protesters are hiding their faces behind masks. This explains why Hana-chan got so much flack – she dared to express rage over public airwaves, in her own name. And though it’s been pointed out that the show’s producers obliquely coerced her to do so, many Terrace House viewers were too naive to see the difference between the ‘reality’ of reality shows, and real life. 


Maybe that’s just the way the Abe Administration wants it. Passive silence behind masks is vastly preferable to outright self-expression, in whatever situation. Imagine if the Japanese took to the streets to protest income inequality, the plight of temp workers, foreign laborers, and single mothers, domestic violence and rampant child abuse–just a few items off the top of an endless list?  


The truth is that at this point, the nation needs many more Hana Kimuras–brave enough to express anger and negative feelings without fear of being punished for it. Hopefully, we can do that better, once the masks come off.

Hana-chan, Japan needs you.

Japan’s Monster Mermaid Amabie is Here To Save You From COVID19! (Maybe)

People have different ways of dealing stress and fear, especially during a protracted battle with a worldwide pandemic. Some Japanese are claiming that superstition saved us (as opposed to the two cloth masks per person promised by Prime Minister Abe), along with praying at Shinto shrines and guzzling detoxifying green tea.

As fears over a Covid-19 ‘infection explosion’ very gradually recede in the rearview mirror, more people are in a mood to agree with these theories.

Your lucky lady

After all, rural and traditional Japan remained largely unscathed by Covid-19, and these are the areas where people routinely visit local shrines, carry omamori (お守り・talismans), ask for ‘oharai’ (お祓い) –which is the practice of having a Shinto priest chase out bad spirits and demons lurking in one’s immediate vicinity, and down a lot of tea after the ceremony.  If you get a Buddhist priest to do it, it’s yakubarai (厄払い). Add to that list, the drawing of an Amabie and posting it on social media. You may have just the armor needed for pandemic warfare. 


A what? An Amabie (pronounced ama-bi-eh) is a yokai (妖怪)which can be translated as apparition, phantom creature or monster. She has the appearance of a three-legged mermaid with a beak in lieu of a mouth and she’s been around since the mid-19th century, according to Edo-Period documents. Though the typical Japanese yokai is often grotesque and loves to play pranks on humans, the Amabie is a beach chick that emerges from the sea to foretell epidemics. If you carry around her picture, she can ward off mass contagion and the effect is doubled if you draw it yourself. A lot of people in Japan and elsewhere have tried their hand at drawing Amabie, and she now has a definite presence on social media, on #Amabiechallenge and others. 

Strangely enough, the Amabie has become a thing that may actually work. As of May 20th, the Japanese government has lifted the State of Emergency order for most of the nation, excluding the Tokyo metropolitan area. But the capitol city has been reporting less than 20 new infection cases for a week. Day care centers are talking about reopening as early as the 25th. Some local bars are welcoming customers again, even if masks are mandatory and draft beer is a thing of the past. Yes, the economy is in shambles and there’s nothing on TV but at least we’re seeing a light at the end of the tunnel. 

This isn’t the first time modern Japan has turned to superstition and yokai for solace and guidance. The late manga artist Shigeru Mizuki, creator of the mega hit yokai manga series  Ge ge ge no Kitaro (Spooky Kitaro) had always held that the yokai was what kept Japan from teetering over the edge into the abyss of disaster. Without their presence and powers, he said, the archipelago would just be a dreary sinkhole of greed and corruption. The yokai is a familiar figure in Japanese folklore, and some date back a thousand years. Some function as avatars for Shinto gods. Others do mischief and love to disrupt people as they go about their lives. The yokai can be friendly too, and will make good companions, as long as you respect tradition, revere nature and refrain from harming others. 


Mizuki hails from Tottori prefecture, a very traditional region that has racked up a total of three– count ’em three!–Covid 19 infection cases and zero deaths so maybe his take on the yokai was right. Mizuki’s own illustration of the Amabie has been posted on social media since mid-March, courtesy of Mizuki Production, and apparently this has been printed out and carried inside wallets or folded into omamori sachets. A friend of mine in Tottori reports that local reverence for Mizuki has soared, and the 800 meter long “Mizuki Shigeru Road” in his hometown of Sakaiminato, which is marked with yokaistatues and merchandise shops, has seen a lot of (masked) tourist action. These people hang out bv the various yokai figuresto take photos, and leave little notes of prayer for the pandemic to end. 

Shigeru Mizuki died in 2017 at the age of 93 but if he were around today, he would no doubt have had plenty to say about the government’s handling of the pandemic. Mizuki was a WWII veteran who lost an arm in combat in Papua New Guinea, and the harrowing experience shaped his views on authority and Japanese society. After the war Mizuki struggled to survive before settling down to write manga, which he continued doing right up until his death. For many years, he could barely make ends meet but his career took off when the Kitaro series hit prime time TV in the late 1960s. However, success didn’t turn his head or soften his judgement on what he saw as crimes committed by the Japanese government, be it throwing the nation into war, or going whole hog on nuclear energy. His manga was never cute or very accessible – they depicted the Japanese as desperate and conniving, with caricatured features like bad teeth, squinty eyes and terrible posture. His portraits of the typical Japanese male were so unflattering they resembled the Yellow Peril posters propagated by the US military during WWII. According to Mizuki, the only way these unattractive Japanese could achieve a slightly higher level of humanity, was to befriend a yokai

Mizuki’s drawing of the Amabie though, is soft and friendly-looking. She really does seem concerned about the welfare of this archipelago. It’s not a bad picture to carry around, especially in a time when everyone is masked and avoiding eye contact as if the very act of acknowledging another person is a risky undertaking. If a picture of a three-legged mermaid is going to make people feel better about each other, it should probably be framed and put up inside the Diet building. 

Unemployed in the Pandemic: First-Hand Accounts from Hello Work

by Farrah Hasnain

The COVID-19 outbreak has hit Japan hard as of late. Classrooms remain empty after spring break, restaurants begin to provide take-out, and factories stall upcoming projects. The number of workers who are predicted to lose their jobs due to the novel Coronavirus was projected in the upwards of 1,021 people last month, according to the Ministry of Labor. Prime Minister Abe did declare a State of Emergency on April 7th, and the Ministry of Finance announced that ¥100,000 would be given to residents (and eventually confirmed that foreign residents were included) but some experts argue that this declaration occurred too late.

While April would normally be the start of new jobs for many in Japan, this April seems to have an opposite turnout for most job-seekers. Lines outside of Hello Work* buildings all over the country would be twice as long as lines for masks outside of drugstores. Certain locations have also reduced the amount of staff members on-duty, causing longer waiting times at local Hello Work branches.

(Hello Work is an employment service center operated by the Japanese government, under the auspices of the Ministry of Health, Labor and Welfare. Its main role is to help connect job seekers to companies in need of skilled labor.)

In early April, I became a part of this statistic. My 6-month contract at a city hall in Osaka was not granted for renewal, and the job openings for tourism and English education in the area seemed to have vanished as the governor also declared a state of emergency. I decided to reach out to Hello Work to see if I was eligible for any benefits and to search for jobs through their system.

I arrived on a Thursday morning around 11AM. The line encircled the entire building and moved slowly. There was little distance between us and we stood outside of the building for about two hours. Bottles of hand sanitizer were available to use before entering the building. It reminded me of Disneyland for a brief moment.

 

Once I entered the Hello Work office, I was greeted by an energetic staff member. Everyone in the office, including the job-seekers, were wearing masks. We were told to sit two to three seats apart from each other, and the seats for the computer lab were 1 seat apart. There appeared to be no multilingual support at this Osaka branch. Many of the people in the room appeared to be elderly or recently graduated from university. Some of the job-seekers previously worked in factories or in retail.

After about an hour, it was my turn. Since my previous contract was only for six months, I was unable to receive any benefits. But the staff member who assisted me thoroughly searched and found about fifteen jobs that I could apply for. The process itself took about 10 minutes. I turned around and saw the computer lab filled to the brim with anxious job-seekers. Most of them has 0 search results, and the staff would try their best to experiment with different search entries to find a match.

 

 

Hello Work branches all over the country seem to be facing the same dilemma. For many newly unemployed residents in the Chubu region, they faced the most difficulty with their former employer. “I did not know much about the paperwork I needed to file for unemployment”, said Guillerme Okada. “At the factories, we were suddenly told that we couldn’t work anymore. I had to ask several of my friends first.” Okada had brought someone with him as an interpreter to explain to his Japanese supervisor that he needed to give documents for Okada to receive unemployment benefits. “It is a common issue with factory workers in this area. If I struggle to get legal documentation, I struggle to trust this system. I came with my interpreter to Hello Work, but there were two already available to help me. I had a lot of support from my community and from them during this time.”

Other employers would also push back start dates and avoid paying the contracted salary despite the legal 60% minimum requirement. Maria M., a Tokyo resident, would get last-minute notices and conflicting information about her start date and paycheck.

“I had already given my previous job a month’s notice and quit to start this new one. I was supposed to start during the first week of April but they changed it. It’s at a store so telework is impossible.”

About four or five days later, she was asked to Skype with the human relations chair. Her hiring date was moved to May 15th with no pay in advance. She contacted the labor bureau about her situation. “They confirmed that my company was responsible for me. My friends [who also worked at the company] said that they were receiving part of their salary in April. When I told my employer that I contacted the labor bureau, they quickly agreed to offer me part of my contracted pay.”

During these uncertain times, it may be difficult to navigate unemployment and economic stability on top of acquiring the basic necessities for surviving the pandemic. As the numbers of infected individuals steadily increase, the ratio of available job positions drop to its lowest level in three years. However, with the national and local government bringing out new sources of financial aid for individuals and businesses alike, there is room for growth in the economy and policy change.

 

Japanese study finds positive correlation between BCG vaccine and slowing down Coronavirus

For those of you who are very interested in the coronavirus in Japan

There are many reasons that the numbers have been low so far but why aren’t there more people ill and more people dying? A 100-year-old vaccine may be part of that answer.

“The Only Woman in the Room”/ How The Amazing Beate Wrote Equal Rights For Women Into Japan’s Constitution

Unanswerable questions of the year: Is Japan really going to war? Is Japan’s peacetime constitution going to be trashed by the ruling party and returned back to the Imperial Constitution, which did not give suffrage or equal rights to women?

TheonlyThis question will be on the mind and haunt your waking hours after reading “The Only Woman in the Room” by Beate Sirota Gordon. In this memoir, she takes us through the various events in her life made remarkable by the fact that in late 1945, she became a member on the US Occupation team that drew up Japan’s National Constitution. Not only was she the only woman in the room, she was just 22 years old.

Her passport said she was an American citizen, but Beate Sirota had lived for 10 years in Akasaka, Tokyo with her Russian Jewish parents (her father Leo Sirota was a celebrated musician from Vienna and a close friend of Kosaku Yamada). For the past five years, she had been in the US while her parents had been in detention in Karuizawa. The only way to catch a plane out of America and into a ravaged, defeated Japan to see them again, was to get a job in the army. Beate’s Japan experience and the fact that she could speak, write, and read with fluency got her that position.

“The Only Woman in the Room” is honest, plain and straightforward – written not by a professional author but an extremely well-bred, cultured woman who had forged a career for herself in a time when women – even in America – were expected to marry, have babies and sink themselves in domestic bliss. Or just sink. Across the Pacific, American women her age were sizing up future husbands at cocktail parties. Beate was commuting from Kanda Kaikan to Occupation headquarters and working on the constitution 10 to 12 hours a day. She often skipped meals, since food was scarce and the work was so pressing. Her male colleagues pushed themselves harder and put in more hours – and Beate mentions that she admired and respected them for that. Her tone is never feminist, probably because she comes from a generation told to revere males and elders. Besides, she grew up in Japan where women shut their mouths and looked down when a male spoke to them, and that was exactly what she did when she first landed in Atsugi and an official asked to see her passport.

On the other hand, though her tone is consistently soft and modest, her voice is clearly her own – and when it’s time to stand up for the Japanese and their rights, she apparently didn’t give an inch. What an ally the Japanese had in Beate, especially Japanese women whom she describes in the book and in interviews she gave later on: “Japanese women are treated like chattels, bought and sold on a whim.”

Rather than change the whole world, Beate wanted to contribute to the building of a modernized Japanese society. Rather than yell out for women’s’ rights and organizing feminist rallies, she sought to raise awareness about the historical plight of Japanese women and children. And just as earnestly, she wished to help her parents, in particular her mother, who was suffering from severe malnutrition. Beate wasn’t a saint nor interested in being one. Without meaning to, she came pretty close. Her prose is never condescending, nor does it brim with self-congratulations as in the case of many memoirs. She had a story to tell and she told it and as far as she was concerned, when the story was over there was no reason for fuss or lingering.

 

beate

 

After the army stint, Beate Sirota Gordon returned with her parents to the US in 1948, married a former colleague in the Army and later worked as the director of the Asia Society and Japan Society in New York. She continued to give interviews about her work on the Constitution but only because she felt that the peace clause (the controversial Article 9) had to be defended repeatedly. She venerated her parents and remained very close to her mother until her death, while raising a family of her own, because family and love were precious and she knew first-hand the tragedy of losing them.

What culminates from her memoirs is her selflessness. Helping others, being fair, and maintaining a striking modesty in spite of her many accomplishments were the defining factors of Beate’s life. She died in 2012 from pancreatic cancer, four months after the death of her husband Joseph Gordon. The Asahi Shimbun printed an extensive obituary on the front page, lauding her work and reminding the readers how the Constitution had protected Japan all these decades, for better or worse. Mostly for the better.

We in Japan tend to take the Constitution for granted. Many people remember and harp on the deprivation of the war years but few bother to recall the dismal details of everyday life before that. Women couldn’t go to school; they were expected to serve their parents and male siblings before marrying into households where she continued to serve and slave her husband and his clan. These women brought up their sons in the traditional way – which resulted in an unending circle of entitlement and arrogance for men, and toil and servitude for females. In poor families, parents sold off their children. Soldiers and military policemen detained ordinary citizens on the slightest suspicion and beat them during interrogation. They were responsible for committing unspeakable atrocities in China and Korea.

There was happiness, peace, equality, and respect in the Sirota household when Beate was growing up, but she knew too well how the average Japanese in Japan fared; how women and children were cut off from beauty, culture, or anything out of the familial box. She wanted a magic wand that would somehow change all that, and her idealistic, 22-year old mind told her that if she couldn’t get a wand, the Constitution was bound to be the next best thing. The task was daunting – she was working for peace and gender equality in a country steeped in tradition and ‘bushido’ feudalism. At this point in 1945, not even American women had gender equality and there she was, giving her all to ensuring that Japanese women would get that right. And just for the reason, there wasn’t nor has there ever been, anything in the American Constitution that resembles Japan’s Article 9.

At the end of the book is an elegy by Beate’s son and part of it goes like this: “Your legacy is the art of living in beauty and truth, of speaking up and out for what is right, and of finding our best selves and sharing them.”

 

What You Should Do When Your Employer Tells You “Don’t Come to Work” In Japan (because of the coronavirus)

“How will I eat without my salary?”

by Makoto Iwahashi

As of March 1st, Japan has already seen more than 900 people get infected by the deadly coronavirus. To avoid contributing to the spread, many businesses have decided to suspend operations; schools in some prefectures are closing for a couple of weeks. 

Naturally, you might wonder how you are going to survive all of March if your employer suddenly cancels some or all of your shifts. This has happened to a number of teachers already. Here is a guideline which summarizes everything you need to know to still receive your salary. 

If you were Hired by Board of Education and Teaching at Public Schools

If you are employed by a board of education, teaching language classes, or working for a public school in any way, you should contact your employer (it would most likely be the prefectural board of education) and ask whether you will still be guaranteed your March salary. Essentially, it’s up to your employer (board of education) whether to continue to pay for the classes you were forced to miss. The Tokyo Board of Education has decided that part-time lecturers/teachers would still be guaranteed the same amount they would have received even if schools are closed due to coronavirus. (授業がないと給与が払われない? 一斉休校による「非正規」教員への影響)

Remember, this particular rule only applies if you work for a public school and are employed by a board of education. Thus, assistant language teachers (ALTs) who are employed by dispatching agencies do not have to worry about contacting their local board of education. 

Everyone Else 

If you are NOT employed by a board of education, then this is what you have to know. Unless it is you who decided not to go to work, due to various reasons–such as the fear you might get infected commuting–you should still be paid for the time missed. It does not matter if you are working full-time or part-time, whether you work as a regular employee (seishain) or on a temporary, fixed-term contractor (hi-seiki), every worker has the right to receive the full amount. 

No matter what the reasoning behind closing operations temporarily, employers must pay at least 60 percent of your salary if they tell employees not to show up. Article 26 of the Labor Standards Act which states that “in the event of an absence from work for reasons attributable to the Employer, the Employer shall pay an allowance equal to at least 60 percent of the Worker’s average Wage to each Worker concerned during said period of absence from work.” 

For example, your March shifts had already been set, and you had ten days/shifts, 8 hours a day, in March, and your hourly wage is 2000 Yen, for a total of 160,000 Yen. Your employer canceled all of your shifts because of the coronavirus. You should still be able to receive at least 60 percent of that 160,000 Yen which is 96,000 Yen, according to the Labor Standards Act, no matter what your employer tells you or what the reason for closing the company operations. 

On top of that, 60 percent is the absolute minimum that your employer must pay to avoid being persecuted for violating the Labor Standards Act. You have the right to demand that your employer pay 100 percent of your missed salary since it was not your fault that you could not work. It might not be your employer’s fault that the coronavirus is spreading so rapidly and we are in a total chaos  (Japan Shows Coronavirus May Be a Gift—for Would-Be Dictators https://www.thedailybeast.com/japans-coronavirus-cruise-ship-debacle-shows-epidemic-can-be-a-gift-for-would-be-dictators?ref=author) , but what matters in receiving renumerations is that it was your employer (and not you) who told you not to come to work. 

In order to still receive your salary, make sure to keep track of your missed shifts (dates, hours) and calculate how much you ended up not getting paid. When your March payday comes, and you find out your employer did not bank transfer your March salary, then you can write a letter to your employer demanding that it pay your March salary. If your employer still decides not to compensate, then you can go to the labor standards office, which oversees the district where your workplace is (not where your company headquarters is) and have an officer investigate.

Or you can contact labor NGOs or labor unions for assistance. There’s a labor NGO called Posse, which is running a coronavirus hotline for foreign workers on March 4thfrom 5 pm to 8 pm, offering legal advice in English free of charge (WE ARE STARTING A CORONAVIRUS (COVID-19) HOTLINE FOR FOREIGN WORKERS! https://blog.goo.ne.jp/posse_blog/e/0125cd742806a2d9b201bbae5d7c29b1).

What if the company wants you to come, but you don’t want to show up?

You have two options. The first option is to use your annual paid leave. Article 39 of the Labor Standards Act guarantees ALL workers that you are entitled to receive at least a day of paid leave after working for the same employer for six months. If you work full time, then you should have at least ten days per year after six months of being employed by the same employer. The chart on page 42 tells you how many days of paid holidays you should have (https://www.hataraku.metro.tokyo.jp/sodan/siryo/29-5rodojikan.pdf) and you could have more if your contract states otherwise. You have the right to decide when you want to use your annual paid leave. It would be illegal for your employer to restrict you from using your paid leave.

The second option is to apply for a benefit called “shou byou teate kin (傷病手当金)”. You can receive a payment from your health insurance provider if you are sick and have to take more than three consecutive days away from work. You need to have missed your paycheck and have to have your doctor fill in the paperwork to receive a payment, which guarantees you get 67 percent of your monthly salary.

What if You Are Infected with Coronavirus during Work?

This might be the worst-case scenario, but if you are (or if you think you are) infected with the coronavirus during work, you should apply for workplace injury compensation (Industrial Accident Compensation Insurance is the official English translation of the Japanese term,  rosai 労災). It’s up to the labor standards office to determine whether your infection is work-related or not, but if it does so, you should receive free medical services, and 80 percent of your salary is guaranteed. For the 20 percent of your salary the insurance does not cover, you have the right to demand your employer to cover that part since it is a workplace injury. No employer can terminate a contract of an employee who is taking a leave due to workplace injury. 

See Ministry of Health, Labour, and Welfare: Industrial Accident Compensation Insurance Guideline for Foreign Workers 

https://www.mhlw.go.jp/new-info/kobetu/roudou/gyousei/rousai/dl/zentai/eigo2.pdf

So, What You should Do

So what should you do if your employer tells you not to come? First, you should make sure to keep track of how many days or hours you are forced to miss. If you use an online calendar in which your employer can delete your shifts easily, make sure to take a screenshot of your schedule before your shifts get removed. Then you should demand your employer to still pay for the time missed. If you are not sure about what to do, there are several NGOs and labor unions which you can contact in English. There’s Tokyo General Union (https://tokyogeneralunion.org/), which mainly organizes language school teachers, and there’s Posse (https://foreignworkersupport.wixsite.com/mysite/english), a labor NGO working on behalf of foreign/migrant workers.

(This post is based on the material published in the article written first in Japanese by a labor activist/researcher Haruki Konno. Some parts of the original material are modified. If you are looking for similar information in Japanese, please refer to the link below)

新型コロナでひろがる出勤停止  知っておきたい「休業時の生活保障」の知識https://news.yahoo.co.jp/byline/konnoharuki/202

Love In The Time Of Coronavirus

by Kaori Shoji

The Japanese have never been known for being warm, affectionate or touchy-feely but now it seems like everyone has wedged a hefty distance between themselves and other human beings. On TV, commentators are comparing COVID-19 to the AIDS scare of 30 years ago in the way it discourages people from physical contact, much less the exchange of body fluids. What a bummer. From casual hugs to love hotel trysts, direct contact just isn’t happening anymore and it’s taking a toll on our emotional well-being. Which is why you need to get to the theater this weekend to see Hatsukoi (First Love), if only as a reminder that even in this time of virus infestation, love can thrive – in a manner of speaking. 

Hatsukoi is filmmaker Takashii Miike’s latest, and the cute title is a foil for the utterly sinister events that unfold on screen. This stands to reason – Takashi Miike has built his own cinematic kingdom on the foundations on gore and violence for the last 35 years. Why would he stop now? At the press conference given at the FCCJ earlier this week, Miike joked that he came up with the title in the hopes that people will be lured to theaters, thinking Hatsukoi is a “genuine love story.” If so, they are in for a rude awakening. Hatsukoi is less about the 59-year old Miike mellowing in his advancing years than Miike confirming he still has what it takes to go full throttle on his triple fortes of murder, mayhem and decapitation. 

Having said that, Hatsukoi shows Miike in an uncharacteristically romantic mood, even occasionally favoring the love story factor over the blood-spewing brutality thing. As a result, Hatsukoi is much more palatable than Ichi the Killer: Miike’s 2001 landmark project that put his name on the Hollywood map. Both works share significant similarities – they’s set in Kabukicho, Shinjuku, where a yakuza turf war is raging. Both feature double crossing yakuza going at each other’s throats. And in both movies, the lead role is a sad underdog who never had a break in his life. In Hatsukoi, this is Leo Katsuragi (Masataka Kubota), a boxer whose day job is a busboy at a Chinese diner. Leo had been abandoned by his parents at birth and since then, he’s been licking the bottom of a very rotten barrel. That’s about to change however, when he meets a girl on the streets of Kabukicho – hence, the titular first love. 

Interestingly, Hatsukoi’s present day Kabukicho is a different town from when Ichi had stomped its streets. The yakuza have gone corporate and their street cred is way down, which means they must look for ways to co-exist with the Chinese gangster groups that have infiltrated Shinjuku. But old-school clan boss Gondo (Seiyo Uchino) would rather just go to war and kill them all. This doesn’t sit well with Gondo’s young underling Kase (Shota Sometani), who is weary of the clan’s outdated notions of yakuzahood. He’s looking for a fast exit, but not before he lines his pockets with the clan’s meth supply. Crooked cop Otomo (Nao Otomo) is looking for a cut in Kase’s profits, plus a free sex session with the clan’s whore Monica (Sakurako Konishi), forced to turn tricks to pay back her father’s debt. Monica is the focal point of the story as well as the eye of the clan wars shit storm, and in the process she inspires Leo to dream of a future with at least a semblance of personal happiness. They fall for each other, and you can see they’re very careful not to muck it up with anything sexual just yet – it’s the first time either of them have ever been in love. 
The big surprise, coming from Miike, is that Hatsukoi is also about female empowerment. Leo and the other males in the cast may be compelling but they never get off the rails of Japanese machismo and as such, very predictable. The women characters on the other hand, are definitely not the familiar cut-out victims from a typical yakuza movie (take your pick between willing sex kitten or giving mother martyr). First, there’s Becky as Juli, a hard as nails yakuza moll who supervises Monica. When her boyfriend Yasu (Takahiro Miura) – the clan’s accountant – turns up dead, Juli morphs into a raging, screaming avenger with a tremendous blood thirst. She won’t stop until she hunts down Yasu’s murderer, even if that precludes her own, violent death. And Monica, who starts out as the stereotypical victim – sexually abused by her father, then sold into slavery to repay his debts – matures into a person with her own agenda under Leo’s tutelage. In the end, she even gives the ole patriarchy a good, hard kick in the teeth. 

The flesh tearing, head-rolling bloodscapades of Takashi Miike is alive and well. But dig a little under the surface and you’ll see that maybe the filmmaker has changed, just as his beloved Kabukicho has altered beyond recognition. Far from the nonsensical blood-drenched antics of Ichi, it’s now a town where two young people can meet, fall in love and hold hands even as the world bleeds and falls apart around them. Under the current circumstances of virus angst, this particular love story is probably as good as it gets. 

This Sunday February 23: Paint The Town Lime With An Art Workshop and Fine Wine

Sunday Lime and Paint at Soul Food House

Are you looking for something to do that might help you meet people, create art, and perhaps get to know your date a little better? Then come Lime this Sunday.

“Lime”- A Caribbean word meaning “Hang out” or “a relaxed gathering”.

Add painting and you have “Lime and Paint.

Come join (Lee-Ann), hang out in a artsy colorful environment, learn a little about some amazing artists, and create your own art piece while enjoying drink of your choice

THEME: Teamwork

You’ll create your individual painting with a partner. Perfect for date/ friend/ family night.

If you wish to fly solo also doable.
Come make a new friend or bring one. A drink of choice as usual is included and after you may purchase others throughout the evening, mingle with people, paint, laugh and enjoy the artistic lime. Appetizers should be ordered at the start so they will be ready for the break. Thank you.

For those who don’t know Lee-Ann’s background, she’s been an artist at large for over a decade, specialized in glass art for nine years now, and has taught art for over 14 years in Japan. She’s warm and witty and a wonderful guide for would be artists and those who need to brush up.


Doors Open: 16:00 – Come in, Relax and meet new friends

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16:30 START- We will have a brief introduction on glass art and then get right into our creation.

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There will be a break in which you can get more drinks.

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Finish our masterpiece.
19:00/ 19:30 clean up and END but please feel free to stay and Lime a.k.a socialize

🦒

No experience necessary!

Masterpieces made in previous classes

Come Join The Fun! All the details for booking are below.

リーアンさんと一緒に黒人歴史月間の絵画を描いてみませんか?そして1日を楽しく過ごしてみませんか? 経験不要。

皆様の参加お待ちしております。

16:00から参加可能です

16:30時からセッション開始

BOOKING:
There are only 20 spaces so be sure to reserve your spot
SEND HER A MESSAGE with YOUR NAME, PAYMENT OPTION and CANVAS CHOICE
SEND YOUR PAYMENT (A/B/C) to Japan Post Bank or Shinsei
BY 2/18

If you have any questions please mail me at Lime And Paint

.
Once confirmed I will prepare the materials for you. We can’t confirm a spot until payment is made.

Japan Post Bank
Branch number 17730
Account number 9942301
ハスラム リーアン

SHINSEI BANK
Branch 柏 (Kashiwa)
Account number 0321491
Account Type 普通
Lee-Ann Haslam

【料金】大人 3 options. All include one drink ticket.
A. ¥5000 per Adult- includes a paint board/ canvas (your choice), paint, brushes etc. Just come as is everything will be provided.

B. ¥4000 per Adult- for those fellow artists who have their own brushes, paints and paint board/ canvas.

*kid friendly but please let me know so I can prepare.

⭐️

Discount available for parent and child and couples, please ask.

PLEASE NOTE

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Everyone is unique and each painting will reflect that. Let’s embrace it. Have fun, talk, laugh, Drink, create.

【内容】 Includes

・絵画レッスン ・ワイン(白、赤 etc…) The painting lesson with a glass of Red or White wine (or other alcohol of your choice from a list provided)
OR
・(コーヒー、お茶、ジュース etc… )For those drinking Non-alcoholic Beverages coffee, tea, juice etc…

・絵のお持ち帰り . Take home your own art piece

Any questions please feel free to message me.

*Strict no refund policy. You may attend the next event.

Any questions? Feel free to ask

Lee-Ann Haslam