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Female Transmission of Memories in Okinawan Literature in the 1970S and 1980S Erumi Honda University of Massachusetts Amherst

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Female Transmission of Memories in Okinawan Literature in the 1970S and 1980S Erumi Honda University of Massachusetts Amherst University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2010 Hearing Voices: Female Transmission of Memories in Okinawan Literature in the 1970s and 1980s Erumi Honda University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the East Asian Languages and Societies Commons Honda, Erumi, "Hearing Voices: Female Transmission of Memories in Okinawan Literature in the 1970s and 1980s" (2010). Masters Theses 1911 - February 2014. 432. Retrieved from https://scholarworks.umass.edu/theses/432 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. HEARING VOICES: FEMALE TRANSMISSION OF MEMORIES IN OKINAWAN LITERATURE IN THE 1970S AND 1980S A Thesis Presented by ERUMI HONDA Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2010 Asian Languages and Literatures Program Department of Languages, Literatures, and Cultures HEARING VOICES: FEMALE TRANSMISSION OF MEMORIES IN OKINAWAN LITERATURE IN THE 1970S AND 1980S A Thesis Presented by ERUMI HONDA Approved as to style and content by: _______________________________________ Doris G. Bargen, Chair _______________________________________ Reiko Sono, Member _______________________________________ Jina E. Kim, Member ____________________________________ Amanda Seaman, Director Asian Languages and Literatures Program Department of Languages, Literatures, and Cultures ____________________________________ Julie Candler Hayes, Chair Department of Languages, Literatures, and Cultures ACKNOWLEDGMENTS It is a great pleasure to acknowledge my advisor, Doris G. Bargen, for her thoughtful and patient guidance on all stages of this project. Her tireless support provided me with the encouragement to believe in what I attempted to do and continue the endeavor. I would like also to express my sincere gratitude to the members of my committee, Reiko Sono and Jina E. Kim, for their warm encouragement, insightful and helpful comments, and suggestions on every paper I submitted to them, including the various versions of my thesis. I would like to extend my gratitude to my undergraduate teachers both at Kansai Gaidai University and Union College, especially Richard Berger, Tamarah Cohen, Fumihiro Koezuka, Joyce Madancy, and Lori J. Marso for their constant support and encouragement that made it possible for me to pursue my academic interest at the graduate level. I am deeply grateful to all of my friends both in the U.S. and Japan, and also those who are in other parts of the world, whom I met during the course of my undergraduate and graduate studies. Their friendship has provided me with the strength to meet new challenges and also helped me to stay focused on my research when the going got tough. Also, special thanks go to my sanshin (Amami/Okinawan stringed musical instrument) teachers in Japan, Shunya Hata and Miki Ogawa, and their students for giving me a hearty welcome while I was in Japan in the summer of 2009 and sharing their invaluable insights on various topics, including Okinawan culture. iii I owe the deepest gratitude to my family. My parents have always believed in me and generously enabled me to follow my desires to learn and explore new possibilities. From the depths of my heart comes gratitude also to my brother, whose way of life as a strawberry farmer has been a great inspiration and encouragement to me, as he has proven that a strong will makes its way. My special thanks go to Christopher Davis, who has always stood by me and made available his support in a number of ways from the initial to the final stage of my research. This thesis would not have been possible without his cooperation and support. Last but not least, I wish to express my appreciation to all those who supported me in any respect throughout my studies toward the completion of the project at the University of Massachusetts Amherst. iv ABSTRACT HEARING VOICES: FEMALE TRANSMISSION OF MEMORIES IN OKINAWAN LITERATURE IN THE 1970S AND 1980S MAY 2010 ERUMI HONDA, B.A., KANSAI GAIDAI UNIVERSITY AND UNION COLLEGE M.A., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Doris G. Bargen In this thesis, using Ōshiro Tatsuhiro’s “Meiro” (Maze, 1991) and Nakandakari Hatsu’s “Hahatachi onnatachi” (Mothers/Women, 1984) as primary sources, I have pursued two main questions about postwar Okinawan literature: the question of how memory is transmitted, along gender lines, about a traumatic past through the generations and the question of yuta operating as transmitters, and anchors of cultural identity under the threat of foreign influence. Both “Maze” and “Mothers/Women” address the issue of postwar Okinawan identity in the face of an influx of new ideas and practices by portraying Okinawan women’s struggle to find their identity. These two stories reveal the link between women’s spiritrity and the construction of Okinawan postwar identity. In doing so, they demonstrate how the Okinawan religious view of women as spiritual and religious figures have inspired Okinawan authors to construct narratives of postwar Okinawan society and Okinawan people’s lives therein. v CONTENTS Page ACKNOWLEDGMENTS ................................................................................................. iii ABSTRACT.........................................................................................................................v CHAPTER INTRODUCTION ...............................................................................................................1 1. WOMEN IN THE RELIGION OF OKINAWA .....................................................6 Official Female Religious Practioners.....................................................................7 Private Female Religious Practioners ....................................................................10 Female Shamanic Figures in Japan............................................................10 Becoming Yuta ...........................................................................................11 The Role of Yuta ........................................................................................12 Yuta : Respected or Rejected?.................................................................................14 The Suppression of Yuta in the Ry ūky ū Kingdom ....................................16 The Assimilation of Okinawa and Yuta Regulations.................................17 The Subjugation of Yuta During the Taish ō Period...................................23 Yuta in Wartime Okinawa..........................................................................25 Yuta in Postwar Okinawa...........................................................................32 2. VOICES FROM SACRED SPACES ....................................................................36 Author: Ōshiro Tatsuhiro.......................................................................................37 Literary Production in Postwar Okinawa...............................................................38 Ōshiro Tatsuhiro’s Works on Yuta ........................................................................41 Ōshiro Tatsuhiro’s Perspectives on Yuta ...............................................................44 Story: "Maze".........................................................................................................45 Yuta as a "Scapegoat" ................................................................................48 Yuta and the Issue of Land Loss ................................................................50 The Loss of Sacred Spaces in "Maze" .......................................................60 Postwar Okinawa as a Place of "Collision" ...............................................65 Yuta Practices as Acts of Registance .........................................................67 Yuta and the Issue of Identity.....................................................................72 vi 3. VOICES FROM THE PAST .................................................................................84 Author: Nakandakari Hatsu ...................................................................................86 Story: "Mothers/Women" ......................................................................................87 Memory Transplant....................................................................................89 The Act of Collective Recollection............................................................91 The Challenge of Memory Consumption ..................................................94 Intergenerational Relationships in Okinawan Fiction................................97 Transmitting Memories across Generational Boundaries........................103 CONCLUSION................................................................................................................108 BIBLIOGRAPHY..........................................................................................................1118 vii INTRODUCTION The well-known Okinawan author, Ōshiro Tatsuhiro, once wrote in his personal accounts on his activities of literary production in postwar Okinawa. Since the early stage of the postwar period in the 1950s, he “had always had
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