4/02/2010

Eta and Burakumin

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Eta and Burakumin

eta 穢多 (えた) "filthy mass" , burakumin
the "untouchables" of the Edo period
die Unberührbaren


burakumin (部落民, Literal translation: "small settlement people")
hamlet people

In the feudal era, the outcast caste were called eta (literally, "an abundance of defilement" or "an abundance of filth").
Some burakumin refer to their own communities as "mura" (村 "villages") and themselves as "mura-no-mono" (村の者 "village people").

They are a Japanese social minority group. The burakumin are one of the main minority groups in Japan, along with the Ainu of Hokkaidō, the Ryukyuans of Okinawa and the residents of Korean and Chinese descent.





The burakumin are descendants of outcast communities of the feudal era, which mainly comprised those with occupations considered "tainted" with death or ritual impurity (such as executioners, undertakers, workers in slaughterhouses, butchers or tanners), and traditionally lived in their own secluded hamlets and ghettos.

They were legally liberated in 1871 with the abolition of the feudal caste system. However, this did not put a stop to social discrimination and their lower living standards, because Japanese family registration (Koseki) was fixed to ancestral home address until recently, which allowed people to deduce their Burakumin membership. The Burakumin were one of the several groups discriminated against within Japanese society.

Other outcast groups included the
hinin (非人—literally "non-human") (the definition of hinin, as well as their social status and typical occupations varied over time, but typically included ex-convicts and vagrants who worked as town guards, street cleaners or entertainers. )

In certain areas of Japan, there is still a stigma attached to being a resident of such areas, including some lingering discrimination in matters such as marriage and employment.
© More in the WIKIPEDIA !



. WKD : kojiki 乞食 beggar .


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quote
Kan Takayuki suggests that senmin were seen as religious people possessing a special talent which enabled them to interact with the mystical world. Some senmin were also called hafurinotami because they performed hafuri ritual duties. They were untouchable because of some ambiguous feeling involving both fear and reverence. Because of these special powers, senmin could have been a political threat to the Japanese Emperor, a living god and the master Shinto-priest who was supposed to have the same mystical powers. The symbolic power of the purity of the Emperor was enhanced by degrading the senmin class. The Emperor was in the highest position and the senmin were at the lowest in a kind of bipolar religious status.
In order to enhance the Emperor’s religious power, senmin were placed under the direct control of the Emperor or some other powerful clans.
Gradually the Shinto concepts of imi (taboo) and kegare (pollution) became linked to the Buddhist prohibition on taking any life.
source : www.iheu.org/untouchability


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In rural Japan, small settlements and hamlets are also called BURAKU until nowadays.
I live in a hamlet with eight neighbour families, each in turn becomes the "hamlet head" (burakuchoo) for one year, even my husband, when it is our turn. This does not have any negative meaning.


The Class System of Edo
mibun seido 身分制度 (みぶんせいど) Klassensystem

At the end of the Edo period, there were about 6-7% samurai, 80-85% farmers, 5-6% merchants and craftsmen, 1.5% priests for Shinto and Buddhism and 1.6% Eta and Hinin.

shinookooshoo 士農工商 Shinokosho
the four social classes of
warriors, farmers, craftsmen, and merchants


source : blog.katei-x.net/blog


. WKD : The Class System of Edo .


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quote : From the Gutenberg Project
Tales of Old Japan
by Algernon Bertram Freeman-Mitford


THE ETA MAIDEN AND THE HATAMOTO
Once upon a time,
some two hundred years ago, there lived at a place called Honjô, in Edo, a Hatamoto named Takoji Genzaburô; his age was about twenty-four or twenty-five, and he was of extraordinary personal beauty. His official duties made it incumbent on him to go to the Castle by way of the Adzuma Bridge, and here it was that a strange adventure befel him.

There was a certain Eta, who used to earn his living by going out every day to the Adzuma Bridge, and mending the sandals of the passers-by. Whenever Genzaburô crossed the bridge, the Eta used always to bow to him. This struck him as rather strange; but one day when Genzaburô was out alone, without any retainers following him, and was passing the Adzuma Bridge, the thong of his sandal suddenly broke: this annoyed him very much; however, he recollected the Eta cobbler who always used to bow to him so regularly, so he went to the place where he usually sat, and ordered him to mend his sandal, saying to him:

"Tell me why it is that every time that I pass by this bridge, you salute me so respectfully."


GENZABURÔ'S MEETING WITH THE ETA MAIDEN


When the Eta heard this, he was put out of countenance, and for a while he remained silent; but at last taking courage, he said to Genzaburô,
"Sir, having been honoured with your commands, I am quite put to shame. I was originally a gardener, and used to go to your honour's house and lend a hand in trimming up the garden. In those days your honour was very young, and I myself little better than a child; and so I used to play with your honour, and received many kindnesses at your hands.
My name, sir, is Chokichi. Since those days I have fallen by degrees info dissolute habits, and little by little have sunk to be the vile thing that you now see me."

When Genzaburô heard this he was very much surprised, and, recollecting his old friendship for his playmate, was filled with pity, and said, "Surely, surely, you have fallen very low. Now all you have to do is to presevere and use your utmost endeavours to find a means of escape from the class into which you have fallen, and become a wardsman again. Take this sum: small as it is, let it be a foundation for more to you." And with these words he took ten riyos out of his pouch and handed them to Chokichi, who at first refused to accept the present, but, when it was pressed upon him, received it with thanks.

Genzaburô was leaving him to go home, when two wandering singing-girls came up and spoke to Chokichi; so Genzaburô looked to see what the two women were like. One was a woman of some twenty years of age, and the other was a peerlessly beautiful girl of sixteen; she was neither too fat nor too thin, neither too tall nor too short; her face was oval, like a melon-seed, and her complexion fair and white; her eyes were narrow and bright, her teeth small and even; her nose was aquiline, and her mouth delicately formed, with lovely red lips; her eyebrows were long and fine; she had a profusion of long black hair; she spoke modestly, with a soft sweet voice; and when she smiled, two lovely dimples appeared in her cheeks; in all her movements she was gentle and refined.
Genzaburô fell in love with her at first sight; and she, seeing what a handsome man he was, equally fell in love with him; so that the woman that was with her, perceiving that they were struck with one another, led her away as fast as possible.

MORE is HERE
source : www.gutenberg.org



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Buddhists are not allowed to eat meat of animals with four legs.
The custom of eating meat from four-legged animals in Japan, especially beef, became more popular after the Meiji restauration.
Before modern times, beef was not eaten, only the hides of cows were used for drums and other items.

. WASHOKU
Eating Meat in Japan
 


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Haiku by Kobayashi Issa


えた村の御講幟やお霜月
eta mura no okoo nobori ya o-shimotsuki

in the Eta village
there is a Buddhist banner -
this frost month


Frost Month (shimotsuki)
the eleventh lunar month, now November


. . . . .


えた町も夜はうつくしき砧哉
eta mura mo yo wa utsukushiki kinuta kana

in the outcasts' village too
a lovely night...
pounding cloth


. kinuta 砧 (きぬた) fulling block  



. . . . .


えっ太らが家の尻より蓮の花  
ettara ga ie no shiri yori hasu no hana

outcastes' houses --
behind them nothing but
lotus blossoms

Tr. Chris Drake


This hokku is from the 6th month (July) of 1822. I take it to be a strongly positive hokku indicating that Issa feels this outcaste village beside a pond or lake is paradoxically able to give humans in general a vision of the Pure Land on earth. The so-called Eta or "Much Filth" class was the lower of the two outcaste classes in Issa's time, placed below the Hinin or "Non-Human" class, which was not hereditary and which could sometimes be escaped from. The Eta or Ettara, the colloquial term used by Issa, were considered by the authorities and most people to be not only unclean but somehow spiritually "polluted," and after the establishment of the shogunate, they were rigidly separated from the rest of society and forced to live in ghetto-like villages or areas of towns and cities. The standard legal formula was that the life of one ordinary person was worth the lives of seven outcastes. Forbidden to farm, they were forced to do "dirty" jobs that were generally looked down on, such as hunting, butchering, tanning, leatherworking, cremation, gravedigging, public sanitation work, low-level police work, and guarding and executing prisoners. They also did gardening and landscaping, though that hardly seems "polluting."

Five hokku earlier in his diary, Issa uses the traditional Buddhist image of the "lotus in the mud," and in this hokku as well he implicitly invokes purity amid filth and mud, though in a somewhat unusual way. This is because, I think, he knows that Shinran, the founder of the True Pure Land school of Buddhism, refused to use the name Eta and spoke only of "those who had done bad deeds" -- a class of people he eventually expanded to include all of humanity in the present age, though he knew most people didn't want to admit their membership. Since no humans are perfect, Shinran asserted, it is those who have admitted to doing bad deeds who are most loved by Amida, since they are existentially dependent on Amida to guide them to the Pure Land and believe in Amida with a degree of sincerity and intensity that people who seek to improve their karma by themselves by doing good are unable to feel. As Issa also knew, the overwhelming majority of outcaste families believed in Amida and prayed at a True Pure Land "Eta temple" nearby or in the midst of the ghetto. If Shinran had been alive in Issa's time, when discrimination was minutely codified and ghetto boundaries were more rigid than in Shinran's time, he would probably have praised outcaste communities highly as being deeply loved by Amida. In contrast, the True Pure Land upper clergy in Issa's day mostly cooperated with the shogunate in its policy of strictly segregating the outcastes.

It is Shinran's view that Issa seems to hold: the fronts of the rundown houses in the village are not imposing, but what spreads out behind them is. The houses are near the edge of the water, and behind them stretches out a pond covered with lotus blossoms. The contrast is strong, and the sight beyond the back of the houses is transcendent, so I take Issa to be suggesting that the people in the village, with whom he has probably spoken a bit, have in their own way come close to discovering the Pure Land on earth, although most people in the "ordinary" world, with their mud-spattered eyes, see only "filthy," untouchable people in the village. By implication, the mud in the traditional Buddhist metaphor is the rigid class system which treats some of the most devout and sincere believers in the land as nothing more than unclean semi-humans. The outcastes' houses seem to mark the border separating not only front from back but appearance from reality, and the true spiritual level of the villagers, though many of them are forced by their jobs to kill and skin animals or break other Buddhist injunctions, is something lotus-flower-like that can give a careful observer like Issa a temporary vision of what the Pure Land must be like.

Three years earlier, in the 5th month (June) of 1819, another version of this vision appears:

koukou to eta ga yajiri no shimizu kana

how far it spreads,
the pure water behind
the outcastes' houses 


If you take the trouble to look beyond the front of the outcastes' houses, you can see an expanse of pure water just beyond them that seems to suggest to Issa the clear water said to flow in the Pure Land. A pure spring seems to flow into a pure pond that seems to spread out with no limit in sight. Perhaps the feeling of width, almost vastness (koukou), comes from the purity and naturalness Issa feels in the devout outcaste people who live there. They must seem more sincerely open to Amida than most people he meets.

Chris Drake



七夕やよい子持たる乞食村
tanabata ya yoi ko mottaru kojiki-mura

star festival --
in the beggar village
they're all good kids

Tr. Chris Drake


This early autumn hokku was written in 1826, probably in the 7th month (August), a month before Issa married his third wife. Issa's only surviving child, a girl, was born after he died. A version in a letter sent by Issa during this month has the second line as: yoi ko mochitaru.

Issa doesn't use the word, but he seems to be talking about a ghetto village for people of the Hinin outcaste class. Unlike the Eta outcaste class, the Hinin class was not hereditary, though it was hard to get out once you were in it. It was composed mostly of people who had committed what were considered moderately serious crimes, with incest being one of the most common, along with people who could not support themselves and who no longer had relations with any relatives or were alone and sick or were runaways from their families. Many had become beggars, but the authorities didn't allow independent beggars.

Ordinary beggars were forced to join a Hinin ghetto in a city or a segregated village in the country, as in this hokku. Each ghetto had a headman with many assistants, and they negotiated with the local authorities and found work for able members, who did various cleaning and public sanitation jobs as well as working as low-level policemen and prison workers, etc. They did many of the same jobs that Eta did, such as leatherworking, but they were more vulnerable to being laid off, since they didn't have traditional guild rights, as the hereditary Eta class did. Actors and street performers were good examples of Hinin who were sometimes able to make enough money to rise out of the Hinin class. Those who were weak or had no skills, however, continued to be beggars, with the difference being that they had to get permission from and report their earnings to the local Hinin boss.

Issa seems to have visited a Hinin village near his hometown at the time of the 7/7 star festival, known as Tanabata. In his various hokku about outcastes, Issa often stresses that there is no basic difference between outcastes and non-outcastes, and this hokku is no exception. The children of the village must be playing games all day and night and making festival decorations and shapes from paper or straw, and those of them who can write with a brush express their wishes on strips of paper that they hang from the limbs of small bamboo trees that stand in front of people's houses. The children know the legend about this night, according to which the weaving woman star and the oxherd star, normally separated by the Milky Way, will be able to meet once a year on this night if clouds don't cover the sky, and perhaps they worry as kids will about what will happen to the lovers if it rains.

To Issa the kids in the village show just as much creativity and give off just as much positive energy as kids do in every other village, and he seems to be grateful for festivals like the star festival, when the social distinctions of a rigid class system can be mostly ignored, at least temporarily. Issa's use of yoi, 'good, nice, superb,' covers a wide range of meanings, but probably at root he is stating that all human beings are born good, even if some may be burdened with restrictions due to social class, poverty, or karma (though Issa usually isn't a strong karmic determinist, since the compassion and love of Amida and the believer are stronger than karma). Probably Issa is hoping that many of these children will use their best instincts to escape from the Hinin class when they get a little older. Issa himself surely feels kinship with the children, since he signed the preface to a collection of his work in 1811, the My Year's Collection (Waga haru shuu), with the name "Issa, Boss of the Beggars of Shinano."



The picture shows boys in Issa's time writing wishes or perhaps simple poems that they will tie to the limbs of a cut bamboo tree, which serves as a ritual decoration linking earth and heaven.

Chris Drake



. Tanabata 七夕 Star Festival .


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shizu 賎(しず)身分の低い者 a person of low standing,
meeserly, vulgar, despicable
vulgar, mean ...
of low social status 身分・社会的地位が低い
poor mazushii 貧しい。misuborashii みすぼらしい

賎 (also as adverb iyashii )


senmin 賎民 (賤民) humble [lowly] people [folk]
despise people (as opposed to the ryoomin 良民, the good citizens)
Pöbel; Gesindel; Lumpengesindel; Plebs ; Canaille.
sogar die Unberührbaren

gesen no tami 下賤の民 people of low birth, humble origin
. . . . .gemin 下民

kawaramono 河原者 "people living at the banks of rivers"
(including travelling actors)

People were also divided into 5 subgroups
ryooko 陵戸・ kanko 官戸・ kenin 家人・kumehi 公奴婢・ shimehi 私奴婢
mehi, dohi 奴婢 means servant
Knecht; Gesinde; Hörige ; Diener.

. . . . .

鬼は賎の目に見えない
oni wa shizu no me ni mienai

demons are not visible to lowly people

. . . . .



花は賎の目にも見えけり鬼薊
hana wa shizu no me ni mo mie-keri oni azami

these flowers can be seen
even with the eyes of lowly folks -
demon thistles

Matsuo Basho

Tr. Gabi Greve : Thistle Haiku
Read a discussion of this haiku.

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賎の子や稲摺りかけて月を見る
shizu no ko ya ine surikakete tsuki o miru

this child of low folks -
after husking rice
it looks at the moon
Tr. Gabi Greve


Peasant children
hull rice
gazing at the moon.
Tr. Thomas McAuley


A peasant’s child
husking the rice, pauses
to look at the moon.
Tr. Makoto Ueda


Husking rice,
a child squints up
to view the moon.
Tr. Lucien Stryk



A farmer’s child
hulling rice arrests his hands
to look at the moon.
Tr. Nobuyuki Yuasa



a poor peasant boy
husking rice, he pauses now
to gaze at the moon

source : www.tclt.org.uk



We have the same kanji 賤 in this word

. yamagatsu 山賤(やまがつ) woodcutters  
lumberjacks

Read this entry with another haiku by Matsuo Basho.


- Kashima Kikoo 鹿島紀行 - A Visit to the Kashima Shrine -
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


MORE - kodomo 子供 child, children -
. Matsuo Basho 松尾芭蕉 - Archives of the WKD .


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3 comments:

Anonymous said...

In through the bombed-out window
a leaflet floats.

This in our modern times...

Women, men, children
drumming out the bandits --
percussion pots and pans

Saša Važic

http://europasaijiki.blogspot.com/2010_03_01_archive.html

sakuo said...

Gabi san thank you for your kind comment on Eta.
Your explanation is very understandable.I was born before World War in country side, so I know well about Eta and discrimination in daily life.
Your reference is perfect, I think you wrote this item on the base of your real feeling.
You have done good achievement.

sakuo.

anonymous said...

There's quite a few translations there, Gabi. Very interesting to review them and ponder.
D.