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Narrazioni Metropolitane Di Sciamani Nel Giappone Contemporaneo

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Narrazioni Metropolitane Di Sciamani Nel Giappone Contemporaneo Scuola Dottorale di Ateneo Graduate School Dottorato di ricerca in Lingue e Civiltà dell’Asia e dell’Africa Mediterranea Ciclo 28° Anno di discussione 2017 Narrazioni metropolitane di sciamani nel Giappone contemporaneo SETTORE SCIENTIFICO DISCIPLINARE DI AFFERENZA: L-OR/20 Tesi di Dottorato di Silvia Rivadossi, matricola 831154 Coordinatore del Dottorato Supervisore del Dottorando Prof. Federico Squarcini Prof. Massimo Raveri Dal sòc i ve fo li stèle Ai miei genitori «Quando io uso una parola» disse Humpty Dumpty con un certo sdegno, «quella significa ciò che io voglio che significhi - né più né meno.» «La questione è» disse Alice, «se lei può costringere le parole a significare così tante cose diverse.» «La questione è» replicò Humpty Dumpty, «chi è che comanda - ecco tutto.» Lewis Carroll, Alice nel paese delle meraviglie. Attraverso lo specchio INDICE Ringraziamenti 7 Introduzione 9 I. CONTESTUALIZZAZIONE 17 . Si gli “ii”: zii i ii i i 19 .. Dll gli “ii” ll zi i gi 20 1.2. Studi sugli “ii” i Gi 28 .. Tz gli i gli “ii” 36 . “Sii” “iii”: ilgi liià 38 2.1. Da tipo ideale a classe politetica 42 2.2. SAC: da Stati Alterati di Coscienza a Stili Adattati di Comunicazione 44 2.3. Neo-sciamanesimi 45 II. NARRAZIONI 49 3. Media e religioni: narrazioni di sciamani 51 3.1. Media e religioni 51 3.2. Narrazioni di sciamani: i casi di studio 57 3.3. Quale approccio alle narrazioni? 62 3.4. Quali differenze fra i media? 65 4. Casi di studio 71 4A. Narrazioni di sciamani nella letteratura: Konsento, Antena, Mozaiku 72 4B. Narrazioni di sciamani nei manga: Shaman King, Mushishi, Teizokurei Daydream 96 C. Nzii i ii ll’: Miko no inori, Last Departure, Kumano, Rei-Okuri 121 4D. Narrazioni di sciamani nei dorama: Trick 141 4E. Narrazioni di sciamani nella realtà online/offline: Shaman Sugee 168 III. TEMATICHE 197 5. Pratiche del/nel corpo 199 5.1. Costruire e praticare il corpo-mente 202 5.2. Far risuonare il corpo: musica, vibrazioni, parole 205 5.3. Utilizzare il corpo: desiderio sessuale e guarigione 208 5.4. Utilizzare il corpo: incanalare e veicolare messaggi ed energia 213 5.5. Corpo rituale 218 6. Mediazione e guarigione: tsunagaru 222 6.1. Mediazione fra mondi ed entità 223 6.2. Guarigione 229 6.3. Tsunagaru: il ruolo della figura sciamanica metropolitana 236 7. Ritorno alla natura: fra periferie e passato 241 7.1. Ritorno alla natura: reazioni alla contemporaneità 241 7.2. (Tra) Natura e tecnologia: (in)formazione e guarigione 248 7.3. Periferie dello spazio e del tempo 253 8. Conclusioni: rintracciare fili e nodi del discorso sciamanico 261 8.1. Narrazioni di sciamani metropolitani 261 8.2. Ricucire il tessuto urbano: movimenti e cultura della nuova spiritualità 269 8.3. Considerazioni finali 281 Bibliografia 289 Sitografia 304 Ringraziamenti Nel lavoro di questi ultimi quattro anni sono stata cresciuta, sostenuta, aiutata, spronata e in alcuni momenti consolata da molte persone, alle quali vanno i miei ringraziamenti. Senza la loro presenza questa tesi avrebbe sicuramente presentato molte meno sfumature. Vorrei ringraziare il mio supervisore, il professor Massimo Raveri, per l'estrema fiducia dimostrata e per avermi lasciato libera di sperimentare (e anche di sbagliare). Solo così ho potuto scoprire di avere risorse che non immaginavo e accrescere quelle di cui già ero consapevole. Rii il Iō Kimio, mio supervisore durante il periodo di scambio presso l'Università di Kyoto, per avermi consentito di partecipare ai suoi zemi di sociologia, importanti occasioni di confronto con diversi studenti. Ringrazio anche il professor Tanaka Masakazu e la professoressa Ishii Miho per avermi accolta all'interno dei loro zemi di antropologia che si sono rivelati momenti di dibattito e scambio importanti ai fini del mio percorso. Grazie ai professori Matteo Cestari e Sergio Botta per aver accettato di revisionare la bozza della mia tesi e per avermi offerto commenti e suggerimenti preziosi. Un sentito ringraziamento a Toshio Miyake e Marcella Mariotti che fin dai primi giorni di questo percorso si sono mostrati disponibili a guidarmi e consigliarmi. Grazie mille ai senpai Tatsuma Padoan, Andrea De Antoni e Giovanni Bulian per i consigli, il tempo e l'aiuto che hanno saputo donarmi in diverse occasioni. Grazie anche a Erica Baffelli per aver arricchito i miei punti di vista e le mie conoscenze con le sue prospettive, i suoi commenti e suggerimenti durante il 10th EAJS Workshop for Doctoral Students. Vorrei ringraziare il professor Gianluca Coci e la professoressa Allison Holland per la disponibilità e gentilezza con cui mi hanno inviato materiali importanti altrimenti difficili da ottenere. Questo lavoro non sarebbe potuto esis l iiili l’entusiasmo con cui Taguchi Randy, Sugee, Miu e Kevin Turner hanno discusso con me, rendendosi disponibili alle mie continue domande e indicandomi tematiche e collegamenti a cui non avevo pensato. A loro vanno i miei ringraziamenti. Grazie a i l i “sul campo” e che in modo più o meno coscio hanno contribuito alle riflessioni che stanno alla base di questa tesi. Grazie al “ i” (e anche al secondo) per tutto ciò che abbiamo condiviso: avete reso questo percorso più leggero e sorridente. Grazie soprattutto a Sara, Martina, Paolo, Giulia ed Elena. 7 Grazie anche ad Andrea, compagno di dottorato e di viaggio, per le lunghe chiacchierate e le numerose scoperte vissute insieme. Vorrei dedicare un ringraziamento particolare a Raissa, Marco ed Eugenio. Mi è impossibile riassumere in una frase l’i l’intensità di questi mesi di scrittura insieme… i quanto vi sono grata! Grazie ad Agraphia, a Noisli, a Ommwriter, alla Tecnica del Pomodoro, a PhD Comics e a tutti i mille libri e blog che mi hanno fornito suggerimenti per compiere al meglio questo percorso. Grazie a Marlies e a Victor per la forte amicizia che continua a legarci nonostante lo spazio e il tempo che ci dividono. Grazie ad Alice, Beatrice, Celeste, Fi, Ml S l’amicizia, la presenza costante e la pazienza. Un grazie speciale a Celeste per avermi disegnato un truciolo bellissimo, ad Alice per avermi sostenuto in ogni momento e da ogni luogo e a Bea, la mia terza sorellina, per avermi fatto ridere e piangere, per avermi più volte sfamata e per aver scelto di condividere molto con me. Grazie agli amici “dei balli” per i momenti di svago li ii “i ” i i fatto mancare il loro sostegno. Un ringraziamento particolare ai miei genitori, a Luca, a Elisa e a Francesca. Non è superfluo dire che senza il vostro continuo sostegno ed entusiasmo questo mio percorso non sarebbe stato possibile. 8 Introduzione The vision of another plane utterly different from our own, ambivalent, perilous and beyond our control, has faded. Instead the universe has become one-dimensional; there is i , il ki i l. […] The mystery and ambivalent peril which surrounded the holy has gone, and with it the barrier which divided sacred from profane. When the view of the other world fades, and its inhabitants dwindle to the predictable regularities called the laws of nature, the shaman and his powers are no longer needed.1 Nel 1975 Carmen Blacker – la più nota studiosa non giapponese di figure sciamaniche giapponesi – i l i l, ii ll’ii la progressiva scomparsa degli sciamani in Giappone. Tuttavia, come sarà reso chiaro in questa tesi, il discorso sciamanico è tuttora efficace, pur con necessari adattamenti e modifiche rispetto alle forme cui faceva riferimento Blacker. Ad eccezione di alcuni casi, anche gli studi più recenti sul tema si concentrano soprattutto sulle figure sciamaniche considerate come “iili” e situate nelle periferie. Viene così lasciata inesplorata la situazione nel centro del Paese – inteso in questa tesi soprattutto come Tokyo – dove sono comparse e stanno emergendo nuove narrazioni e immaginari della figura sciamanica creati e diffusi attraverso diversi linguaggi e media. Questa tesi, prendendo in esame cinque casi di studio, intende colmare in parte tale vuoto, indagando come viene costruita e narrata la figura sciamanica nel Giappone contemporaneo metropolitano. La rilevanza del presente lavoro sta quindi nel tentativo di dare visibilità ad aspetti e processi della narrazione della figura sciamanica che sono stati generalmente lasciati in ombra, mostrando allo stesso tempo la più ampia e intricata rete di relazioni in cui questi sono inseriti. In un secondo l’ii è ll i i l’ii l i l l ii nella contemporaneità del Giappone metropolitano. L’i iliato deriva principalmente dl ll’li, i il ll’li ll liii ll’tropologia dei media. Come sarà spiegato in dettaglio ll’i l il, il metodo che utilizzo è nello specifico quello della multi-sited 1 Carmen Blacker, The Catalpa Bow: A Study of Shamanistic Practices in Japan (London: Allen & Unwin, 1986), 315. 9 ethnography delineata da George Marcus che suggerisce di passare da un unico campo di indagine a «multiple sites of observation and participation that cross-cut dichotomies such as 2 “ll” “ll”, “lil” “”.» Il suo invito è a seguire le persone, gli oggetti, le idee e le relazioni nei diversi luoghi in cui questi appaiono e agiscono. Così facendo, sostiene Marcus, è possibile dar conto della complessità del fenomeno studiato, enfatizzando le connessioni e le relazioni fra i vari punti che lo costituiscono. Nll’ili i questo metodo mi accosterò a quanti hanno messo in luce le debolezze insite in esso e offerto lii ili l’ii. L’i i i l li i l i liil ll di questo lavoro. Pur scegliendo di seguire un determinato filo, ovvero la narrazione della figura ii, l ili i i ii, ii l’i i i stringe con altri elementi e alle particolarità proprie delle sue fibre, è necessario tener sempre presente la più ampia rete di relazione in cui essa è inserita.
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