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Kobutori Jisan

The first old man told him where he encountered the tengu trio, how he joined in the dance, and how they had decided to reward him for a good performance.

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The next day, he set out to do just that. As the first old man had told him, he found the tengu trio the forest. One, two, three tengu, dancing to an entrancing beat. He dashed out to join them, dancing with as much bravado as his old muscles could muster, thrashing and hopping as wildly as his bones would allow.

You can wear it as a symbol of pride! The trio of tengu flew away, leaving him with the curious proof of approval from such whimsy creatures.

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THE CHILD GODS (ENGLISH) Animation of Japanese Folktale/Fairytale for Kids

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Create a free website or blog at WordPress. Like this: Like Loading Ranting Crow Says:. In the Disney version, adorable male critters with magical abilities and a fairy godmother come to the aid of a good-hearted girl abused by a mean stepmother and two nasty stepsisters. The motif of a young woman achieving her dreams of love or success is often associated with the Cinderella title. This is a talent contest held irregularly every three to six years there have only been six winners since It is only when a winner becomes successful that the subsequent contest is held.

Only when she has achieved her dream is it meaningful for the next Cinderella to be chosen. The winner may be selected from as many as 30, contestants. Beauty may be an abstract idea, but the beauty industry is invested in presenting it as a commodity that anyone may acquire through participation in their regimens.

The story was originally published as a novel Takemoto, , and licensed overseas under the name Kamikaze Girls. Viewers in Japan are accustomed to seeing aesthetic salon Cinderella beauty contests promoted in magazines, on subway signs, and on television. The theme of total beauty transformation is often expressed through symbolic icons such as the Princess, Cinderella, or the J-Pop Diva. For example, salon advertisements have often featured GirlPop celebrities such as Amuro Namie and Hamasaki Ayumi as spokesmodels.


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Customers are also invited to compete in salon-sponsored contests that celebrate their beauty progress towards these beauty ideals. The Cinderella of the aesthetic salon is of particular interest as an individual who has achieved total beauty self-transformation. Takano Yuri Beauty Clinic is one of the most successful of the national chain salons, with shops throughout the nation.

The goal of the salon is to help customers to change their appearance, not to provide a restful or rejuvenating time out. The new customer is precisely measured, with details entered onto a form that will provide evidence of change later in the process. At Takano Yuri Beauty Clinic the client has calculations made of the bust, waist, hips, thighs and calves.

Each segment is given individual attention as an area of potential progress towards the Cinderella ideal.

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Donald Keene Center of Japanese Culture

The story of Takano Yuri herself has elements of Cinderella-like success as someone who overcame a history of skin problems to eventually become a recognised beauty specialist. Struggling in her younger days to understand her bad skin, she read about French facial treatments and used this information to develop her own product line in the early s. In time her aesthetic salons were repackaging and promoting the hottest spa trends from around the world. Another beauty contest, the Miss Japan Grand Prix, also uses this term. In the Aesthetic Cinderella Grand Prix, the woman who loses weight most dramatically within a three-month period becomes the winner.

During the evaluation process, they give a speech in which they celebrate their accomplishments. Once she has embarked on her Cinderella journey, the contestant must keep vigilant track of her progress by recording weight loss in diet journals or diaries, and by graphing weekly and monthly results.


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The Takano Yuri beauty contestant ranks her feelings of hunger or fullness on a scale of zero to ten before and after each meal, as well as recording the number of times she has chewed her food. The twenty-one year-old winner, Miss Shimazu, talked about how she was an exchange student in the United States for a few years, and because everyone there is obese, she was not aware of her own heaviness Yurist, , p. Once she returned to Japan she suddenly noticed how slim other women were. She began treatments at Takano Yuri Beauty Clinic, including the algae treatment and the G5 treatment, in which the body is massaged with an electromassage machine.

Aesthetic Cinderella Grand Prix. Takano Yuri Beauty Clinic brochure, Message to All the Cinderellas A powerful appeal of the Cinderella story is its claim to egalitarianism — all eligible maids may attempt to wear the glass slipper. In the European Cinderella tale, only one woman can wear the glass slippers, which once enclosing her feet transform her into a true princess. The basis for the salon message is found in a key scene in the Disney Cinderella movie.


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When Cinderella wonders if she can go to the royal ball, she is made fun of by her stepsisters. Yet Cinderella insists that all unmarried maidens may attend the event. In the precincts of the salon, any woman, no matter how old she is, can become a Cinderella. Indeed, salon brochures and promotional materials sometimes feature middle-aged Cinderella-tachi. Any woman may become Cinderella if she works hard enough, has self-discipline, and pays for salon treatments. Feminists and critics sometimes represent beauty contests as a tussle between inner and outer beauty, but the Takano Yuri salon has brilliantly fused these into one struggle.

For example, shops often use this metaphor in advertisements to alert customers to the expiration of their sale periods. In other words, sales, dreams and beauty rest all have expiry dates. It has also been used by companies to refer to their internet down-time from after midnight to the following morning.

Some people use it to mean the very last train scheduled for the evening that they must take to get home. Cinderellas in aesthetic salon photos are never accompanied by adoring male partners. This trait is true for other media in the beauty industry as well. See Miller, Once they reach their goal, Cinderella-tachi speak about what they are able to do with their new bodies Yurist, , p. Feminist critiques of the beauty industry in Japan have tended to focus on the unrealistic visual models of ultra-slim, sexualised and cosmetically-enhanced women used to sell treatments and products.

But the discourse of egalitarian access to self-transformation has also been a powerful and equally insidious theme. In order to adhere to a belief in self-improvement and the optimistic dream of change, consumers willingly disregard the manifest fakeness of so many of the treatments and products that are sold. The Walt Disney version of Cinderella followed the basic folktale in which magic allows anything to happen. In place of an ornate gown and feet in glass slippers, the Japanese salon princess uses her slimmed body itself as the primary marker of her new status.

The embellishments of her state are secondary to the new body; thus she stands in her magenta swimsuit rather than in a ball gown.

Japanese folktales

Similar to the Miss America contest, the Aesthetic Cinderella Grand Prix also had its birth as a purely promotional event. Instead of drawing visitors to Atlantic City for summer fun and spectacle, Takano Yuri draws individual women into the salon for the hard work of beauty transformation. Rather than captivating a prince, salon contestants strive for individual beauty attainable through both self-discipline and the magic of the salon.

Slim Beauty House also awards overseas trips and cash to the winners.

Kobutori Jisan

The use of Cinderella in beauty advertisements is quite common. Consider the Cinderella Beauty Cupping apparatus, a device used to achieve weight loss. There is even a page for the Cinderella Boy who has cosmetic surgery. Making oneself attractive to potential partners should also be considered a possible motivation for individual consumers, but the discourse used in advertising rarely makes this the central message. In some cases the linking of Cinderella with romance is presented with a humorous twist Figure 2.

The linking of Cinderella with romantic fantasy is also discussed by Wakakuwa Midori, a gender studies professor and art historian who asked her female students to write essays about what Cinderella meant to them. The trials of Cinderella. This is similar to the premise of the Akizuki comic mentioned above, in which a marriage prospect is not seen as an end in itself but rather as a stepping stone to material gain.