“And the Soul Shall Dance” is a play that takes place in Southern California in 1935, in and around two small farms in the Imperial Valley. It provides a glimpse into the Asian-American culture. It presents an interesting comparison between Asian and American cultural norms and expectations. The characters in this story represents two distinct generations: The Issei (Japanese born Americans) and Nisei (children of the Issei). The conflict between the Japanese and American way of life is portrayed through the longings of the Muratas for their homeland. This conflict is embodied in an even deeper sense through the actions of Emiko. The reality is that they must remain in America due to economic considerations.
The following is a brief description of the main characters in the play:
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Murata: 40 year old Issei farmer; he is a good husband father, and friend; although down on luck, maintains dignity and positive outlook
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Hana: Issei wife of Murata; loyal and even tempered; desires to return to Japan but is realistic about financial situation.
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Masako: 11 year old daughter of the Muratas; represents Americanized values, sometimes to the displeasure of her parents
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Oka: 45 year old Issei farmer; neighbor and friend to Muratas; arrival of his daughter deepen an already bitter marriage with his second wife
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Emiko: 30 year old wife of Oka; sister of Oka’s first wife; sent to Oka as a punishment for her dishonorable behavior; lost in a fantasy world of her youth
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Kiyoko: 14 year old daughter of Oka; her arrival elicits deep resentment and jealousy from Emiko; Kiyoko represents traditional Japanese values
The vocabulary and the readability of this play may be difficult for some students. Lessons will be developed to assist in concept formation.
Background Information:
There was much prejudice against Japanese-Americans in America, even before the war. The author Wakako Yamauchi says, “You just tried to live quietly and not call attention to yourself.” (Berson 128) The play details several instances of this. The play also shows prejudice of a more domestic kind, the very chauvinistic attitude of the Japanese men toward women. This is most clearly embodied in the character of Oka in relation to Emiko. The author states, “I didn’t consciously decide I was going to write the play from the point of view of women, but that was one of the things I wanted to show, that feeling we had; ‘You can step on us, but you haven’t got us yet!’” (Berson 130)
A Synopsis of “And the Soul Shall Dance”
The play begins with a conflict between the Muratas and their daughter Masako. She burns the bathhouse down as a result of her carelessness. Her parents admonish her but are quick to forgive. In fact, they are unemotional about it.
The smoke of the fire attracts the attention of their neighbor Oka. He rushes over to the farm to assist. He offers the use of his bathhouse on his farm.
This encounter leads to the revelation that Oka is on the way to sell his only horse. He needs the money to send for his daughter, Kiyoko, from Japan who he has not seen for many years.
This leads to a deeper revelation that Oka had been married many years before to a woman named Shizue. Shizue was the sister of his present wife, Emiko, and the real mother of Kiyoko. He also mentions that Emiko was sent from Japan by the parents at the time of Shizue’s death as a “replacement” for Shizue.
The family takes Oka up on his offer to use his bathhouse. They bring with them sake and their Victrola. When they arrive at the house, they are warmly greeted by Oka but Emiko makes little effort to be sociable. She remains detached. She only becomes somewhat animated when she is reminded of her youth in Japan by the music of the Victrola. “She becomes wrapped in nostalgia and memories of the past.” (Berson 142)
Everyone goes outside except Emiko. Masako plays a song called, “The Soul Shall Dance”. This draws Emiko outside where she begins to sing along with the record. She becomes almost lost in the dreams of Japan. She reveals to Hana that her parents were very strict. They didn’t like her singing, her dancing, and her preferred lifestyle. It was extremely taboo for proper women to act this way in Japan.
Oka is embarrassed by his wife’s actions. This incident is the catalyst that vents all his pent up frustration and rage concerning Emiko. He confronts her with the knowledge of her former life as a “tainted” woman. He also confronts her with his first wife’s death. He blames Emiko and her family for this. Even after all these accusations, Emiko is still not repentant and vows to return to Japan to live her former life.
Kiyoko arrives from Japan. Oka is very proud. Emiko is disturbed by her arrival. This after all, is her sister’s daughter. She is very cold to Kiyoko. The Muratas are very kind to her except for Masako. Masako initially dislikes Kiyoko for a variety of reasons. She appears to be too grown-up, too conservative, too shy, and especially too “ Old World”.
Kiyoko witnesses the deterioration of the relationship between Oka and Emiko over the course of several months. They begin to drink heavily and become physically abusive. Finally, one night, Kiyoko seeks out comfort from the Murata family. Masako now begins to realize the miserable situation that Kiyoko is in. She initiates steps towards forming a relationship with Kiyoko.
Tentatively at first, Masako begins to become protective of Kiyoko. She understands Kiyoko when other students at school do not. Masako makes light of this, but her father Murata, sees the significance of this growing relationship.
This story culminates around two main ideas. The first is that Emiko has been stealing money from Oka in the hopes of returning to Japan. Oka has discovered this money and spent it on his daughter. Emiko knows now that finally she will never return to Japan. This is the final stab in her “heart”.
The second idea that concludes the story is the developing relationship between Emiko and Masako. She sees in Masako as a reflection of her own soul. The final scene of the play belongs to Emiko and Masako. Masako stares at Emiko as “she breaks into a dance, laughs mysteriously, turns round and round acting out a fantasy.” (Berson 173-174)
I would approach the reading of this play using one, 45 minute period per day, three times a week. The study of the play would be completed over the course of about three weeks. All study of this play concentrate on readings and analysis, revolving around the important elements of a play (see rationale).
Sample Lesson 1:
Students will be given a list of Japanese vocabulary words/sayings from the play “And the Soul Shall Dance”. They will be given Japanese-American materials to investigate the terms used in the story. The students will write out the correct meaning. To evaluate the students understanding of the terms, the students will write a short story of their own. They will integrate the Japanese vocabulary words/sayings within the story.
Recommended Japanese Vocabulary Words/Sayings:
Issei, Nisei, shikata ga nai, baka, furoba, yoshi, detchi-boko, Kago no Tori, kitchigai, natori, washi baka ni shite, kaire, kuso, jora, saru shibai, aho, pakkai
Sample Lesson 2:
In the play, “And The Soul Shall Dance”, the characters illustrated the use of body language as a means of non-verbal expression. The following activity will be useful in helping students to get more in touch with their physical selves in relation to their environment.
Activity:
Pantomime
For this activity, there should be at least five students. One person starts by getting into the middle of the circle; he should decide on a piece of machinery he wishes to pantomime (idea cards with written directions or illustrations may be helpful; also, coaching is essential).
Once he has decided, he will select one part of that machine and move his body as if he were that part. For example, if he decides to be a clock he might stand in the middle, bend down and swing both hands as if he were the pendulum on a large grandfather clock. After this first person begins to move, the other people in the group join in the center when they think they’ve figured out what the machine is. Each person pantomimes a different part (again, coaching is essential here). There should be no talking, although sounds are sometimes helpful (clapping hands for the tic-toc of the clock, etc.). When all or many (your call) of students are involved and moving together (or moving), stop and see if the students were thinking of the same machine; then find out what they were doing to imitate a particular part. This activity is fun and will generate lots of energy. Try repeating at least three or four times with a different person beginning each time.
Processing Questions:
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1. When did you know what the machine was? How many parts (persons) were needed before you knew?
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2. How did your part move? Would anyone else do that movement differently?
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3. How did your movement affect other people’s movement? How did other people’s movement affect yours?
