UBC LIBRARY BLOGGERS

Welcome to our blog series exploring Japan-related materials from our Open Collections! This week, we begin with Part 1, where we delve into the fascinating world of kamishibai plays from the private collection of Dr. Sharalyn Orbaugh, Department Head and Professor of Modern Japanese Literature and Popular Culture at UBC’s Asian Studies.

While our previous blog posts gave an introduction to these plays and touched on the artwork and illustrations briefly, this week we will explore in greater detail how these plays were tailored not only for children but for various audiences (Curtis, 2023).

For people at homefront

In her book Propaganda performed: Kamishibai in Japan’s fifteen-year war (2015), Dr. Sharalyn Orbaugh, discusses how some kamishibai plays during wartime were crafted as propaganda tools specifically targeting people at homefront. One example from our collection is Tsume moji 爪文字 (Fingernail Writing), which is based on a true incident during the Pacific War.

Cover of Tsume moji 爪文字(Fingernail writing)

Tsume moji tells the story of a Japanese troop on a Solomons island, where a kesshitai 決死隊 (suicide squad) is tasked with capturing Babudabi Hill at all costs. Despite being outnumbered, the kesshitai successfully reaches the hilltop but endures relentless bombing by enemy planes for weeks, nearly wiping them out (Orbaugh 2015, p. 183):

Sponsored by the Army, Tsume moji became immensely popular upon release (Orbaugh 2015, p. 183), possibly because it includes emotional moments to amplify the soldiers’ dedication and the magnitude of their sacrifice. For instance, Commander Fujita, despite severe injuries, orders a gyokusai 玉砕 (suicide charge) against enemy forces, instructing soldiers to prepare mementos for their families, emphasizing their commitment to the war effort (Orbaugh 2015, p. 183):

 
Commander Fujita instructing a soldier on what to write in his memento before the final suicide missions

The play concludes with a scene showcasing the fingernail inscriptions on Babudabi Hill, symbolizing loyalty to the emperor and the crucial role of airplanes in the war effort:

The words “てんのうへか　ばんざい　ヒカウキ　ヒカウキ” were inscribed into the rock by fingertips before the soldiers set off on their missions. Translated literally, it means ‘Long live the Emperor, airplanes, airplanes”.

As Orbaugh argues (2015, p. 183), Tsume moji aimed to emphasize the soldiers’ sacrifices and tried to rally civilian support for the war effort by increasing aircraft production and encouraging military enlistment. Therefore, the play’s primary audience is people at home despite its Solomon Islands setting.

Kamishibai plays for women

Orbaugh (2015) also discusses in her book how kamishibai plays targeted at women to convey two main messages: promoting savings, encouraging girls to express their pure-hearted love of the nation to soldiers. One such example is the kamishibai play titled Haha wa manzaishi 毋は漫才师 (My mother was a manzai performer). While the title suggests the perspective of a daughter, Orbaugh argues in her book that this kamishibai play speaks directly to adult women (2015, p. 142).

Cover of Haha wa manzaishi 毋は漫才师 (My mother was a manzai performer)

The protagonist, Akita Senko, is portrayed as a devoted wife and mother in the play. She meets her demise while entertaining troops in China, showcasing her unwavering commitment to the wartime cause.  Throughout the narrative, we witness how Senko navigates her roles as a mother, wife, and person showing patriot loyalty to her country.

A war scene with Senko and Manzo hiding from the bullets.

Towards the end of the play, the focus turns to the Senko’s daughter, Nobuko. In the final scene, a military representative informs Nobuko of her mother’s death. He praises Senko’s bravery and encourages Nobuko to follow her mother’s example. Here are excerpts from the military representative’s messages to Nobuko (translated by the author of this blogpost):

Military Representative: “Your mother went to the frontline and encountered the enemy. Alongside the soldiers, she worked diligently and eventually, your mother made an honourable death in battle. Your mother was truly an outstanding Japanese woman. She has become a deity. As a child of Japan who has such an honourable mother, please continue to study hard and become a great person who can live up to your mother.”

The last scene of the play shows Nobuko bursting in tears, mourning her lost mother:

Orbaugh (2015) concludes in her book that while the play suggests that Nobuko may carry forward her mother’s legacy, it leaves her future ambiguous, focusing solely on Nobuko mourning. Hence, it is evident that the emphasis of the play is on Senko’s sacrifices, urging other young women to follow in her example.

Kamishibai for farmers

Farmers are another key audience for kamishibai plays (Orbaugh 2015, p. 204). During wartime, there were kamishibai plays that specifically aimed to bolster farmers’ resilience and dedication. These plays often portrayed farmers as embodying essential wartime virtues, encouraging them to persist in their crucial role of providing food for the nation despite challenges. One example is Okome to heitai お米と兵隊 (Rice and Soldiers) which were crafted to resonate with agricultural communities by emphasizing the importance of agricultural productivity in sustaining the war effort (Orbaugh 2015, p. 258).

Cover of Okome to heitai お米と兵隊 (Rice and Soldiers)

The opening scene of the play shows a lieutenant holding his food container in both hands, bowing carefully, which prompts the village chief to inquire the reason for his gesture.

The lieutenant explains that he picked up this habit on the battlefield and begins to reminisce about his experiences. Subsequent scenes portray him recalling his time in China, where the troops express their hunger for food and their profound appreciation upon finally receiving some onigiri (Japanese rice ball):

Here is the translation of the lieutenant’s speech expressing their appreciation for the onigiri from Orbaugh’s book (2015, p. 81):

Lieutenant Osawa:

“The fact that we have such good rice to eat here on the battlefield is entirely thanks to the citizens on the home front.

We get to eat this excellent rice precisely because the citizens on the home front are enduring the difficult lives, putting up with such things as replacement foods and inferior imported rice.
Moreover, in growing this rice for us, they are not defeated by the fact that they lack sufficient fertilizer and sufficient manpower; the noble farmers who labor so hard on the home front are working for our sake.

When you think of the spirit of those on the home front, don’t you feel that you have to express your thanks to them before you can possibly eat? Salute your food with the same solemn feeling in your hearts as when you hear the order “Present Arms!” and then eat.”

“Salute!”

–

As explained in Orbaugh’s book “this play’s main function is blindingly obvious: to inspire farmers to produce as much as possible for the soldiers” (2015, p. 259). From this scene, it is evident how the play aims at compelling farmers to endure hardships and perform their vital work in supporting soldiers on the battlefield.

We hope you’ve found this exploration of the different types of kamishibai plays in the open collections enjoyable and informative, and that you now have a better understanding of the content within these fascinating works!

Thank you for reading.

References:

Curtis, P. (2023). Japanese Studies Spotlight: Performing Nationalism in UBC’s Kamishibai Propaganda Plays. LibGuides at North American Coordinating Council on Japanese Library Resources. https://guides.nccjapan.org/homepage/news/news/Japanese-Studies-Spotlight-Performing-Nationalism.

Orbaugh, S. (2015). Propaganda Performed: Kamishibai in Japan’s Fifteen-Year War. Brill. https://doi.org/10.1163/9789004249448.