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Grand Sumo
The World of Sumo as a Mirror of Japanese Society
06 January 2002

I. Introduction

Utchari. Katasukashi. Isamiashi. These words are commonly used to describe events in the world of Japanese politics. However, these are actually terms that originated from sumo. Sumo is not only Japan's national sport, it is also the most ancient and can be said to be truly, originally Japanese. This paper is written under the assumption that analyzing the development and characteristics of sumo is one way of analyzing the development and characterisitcs of Japanese society in general and its internationalization (or the lack thereof) in particular. A look at the foreign rikishi (lit. "strong man", a sumo practioner) who have entered the world of sumo and how they were treated may serve as a window to understanding how foreign workers in Japan are regarded as a whole.

Click to enlarge photo

Ring entrance ceremony by the Juryo level rikishi. In the middle wearing the red keshomawashi (ceremonial apron) is an American rikishi, Sentoryu.
Click to enlarge photo.

A. Background of this Paper

There are probably literally a million and one ways to analyze Japanese society through the study of one of her ancient traditional arts. It seems that the most commonly used framework of analysis used by non-Japanese is Zen Buddhism. A visit to any library would yield book upon book of Japanese cultural studies that parallel Zen with the present traits of the Japanese people. Japanese psychology in particular is seldom studied without some reference to Zen. Another commonly used standpoint is Shinto, the "way of the gods." Not surprisingly, Bushido ("way of the warrior") is also used quite often, especially by the Japanese themselves. The Japanese penchant for suicide is sometimes explained as a remnant of the practice of seppuku (ritual disembowelment or "harakiri") done by dishonored warriors of centuries back. In a book titled Bushido: The Soul of Japan by Nitobe Inazo (Tokyo: Tuttle, 1969), the author claims that understanding bushido is a must for understanding the Japanese mind and heart. Bushido is said here to be the unwritten code of laws governing the lives of the Japanese and is the key to the answers as to why certain feudalistic ideas and customs prevail in Japan, economically modernized as it is. Westerners, for their part, have shown such a fascination with bushido that in the bubble years of the 80s, when the Japanese economy seemed invincible, many Westerners seemed unable to help themselves from writing books on management, economic strategy, business techniques etc supposedly based on the ways of the samurai.

Analyzing the Japanese via a traditional art is far from new, and sumo, also a form of bushido and which is actually older than any other Japanese martial art, could very well qualify as a framework of analysis. Another exotic pop psychology blatter, one may accuse, but nevertheless its merits are quite clear.

So why sumo?

First, as mentioned earlier, sumo is hands-down the oldest Japanese sport. Of course it is not assumed that the oldest is necessarily the best mirror of a nation's soul, but as the next chapters will describe, the development of sumo is so closely intertwined with the development of Japanese society as a whole that the study of sumo history is almost a complete study of general Japanese history. Not to mention the fact that if one is a sumo fan, the tedious memorization of jidaikubun (historic eras) and all the names of the historic figures and major events in Japanese history becomes much more fun when seen through the eyes of sumo. Second, sumo is Japan's national sport, considered to be some kind of cultural treasure, and is therefore watched over, fussed upon and fiercely protected by the guardians at its gates (that is, the top brass of the Nihon Sumo Assocation), patronized by the rich and powerful Japanese conglomerates, given plenty of air time by the media, promoted by the government, and blessed by the royal family's annual January tournament visit. Third, sumo is the most public among Japanese sports. By public we mean that it is the only sports organization that prioritizes charity events and other welfare activities. Sumo is also very public and grassroots in that it takes its tour all around the country, from Hokkaido to Okinawa, giving every Japanese the opportunity to watch and cheer for the athletes at close range. Fourth, as an irony, sumo is the least international among all the Japanese traditional sports. Karate, judo and even jujitsu are extremely popular all around the world and have won huge followings of both practitioners and spectators, but sumo is seen as an exotic cultural entity that is as far away as another galaxy, and those who want to play have to come to Japan and become Japanese. This characteristic makes sumo a mirror of Japanese society more than ever, since it is a sport that is entirely Japanese and quite reactionary in a sense, and yet at the same time has all the trappings of modernity and the latest technology.

Historic sumo artifacts

Some of the sumo-related historic artifacts that can be found in the Sumo Museum at the Ryogoku Kokugikan (national sport arena) in Tokyo.

B. Objectives

Given the above background, this research aims to
1. Draw a parallel study of Japanese history and sumo history as the basis for certain assumptions regarding the viability of using sumo as a framework of analysis of Japanese society;
2. Categorize certain Japanese social traits and characteristics and compare them with that of sumo;
3. Take a look at several foreign rikishi who revolutionized sumo, and study their impact on the sumo world, how they were treated by this world, and their failures and successes. These will then be used to draw a general sketch of Japan's road to internationalization and the Japanese's response to the foreign migrants and their success/failure and acceptance/rejection in Japanese society.
4. Draw a conclusion from the above and include an analysis of the future prospects of sumo as an international sport, and in parallel, the prospects of Japan as a nation more receptive (for better or for worse) to foreign migrants.

C. Scope and Limitation

Unfortunately, this paper is entirely library-based. There are no interviews with rikishi or people involved with sumo, since my schedule as well as my shyness did not allow me to meet with these people. Not only that, it is extremely difficult for foreigners who are not members of the press to hold interviews with rikishi or oyakata (stable master), and given my lowly status and lack of press credentials, I found it impossible to get in contact with the right people.

Furthermore, while this paper treats the section on internationalization in considerable detail, only generalities are used in the section paralleling Japanese societal traits with that of sumo, since a detailed presentation would result in an unacceptably long paper.

Hoshitango

Hoshitango (right) of Argentina throws down his opponent.

D. Assumptions

This paper assumes that analyzing the development and characteristics of sumo is one way of analyzing the development and characteristics of Japanese politics and society in general, and postwar diplomacy and internationalization in particular. This assumption rests under the claim that sumo, more than any other Japanese traditional art or sport, represents what is and is not Japanese.

With regard to terminology, it is assumed that the reader possesses a general knowledge of sumo terms and popular rikishi. However, English equivalents are provided in parenthesis after most Japanese terms.


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Note: The historic artifacts illustration above was scanned from the Sumo Museum's brochure. This tiny but highly interesting museum can be found in the Kokugikan (National Sport Arena) at Ryogoku, north of downtown Tokyo.