Weaving in Greek and Japanese myths and their adaptations.

What is it about?

Since ancient times the art and technology of weaving have been closely associated with women's gender and sexuality as well as with the telling of stories. In Greek mythology, Arachne is a young woman whose confidence in the artistry of her weaving offends Athena, the daughter of Zeus and goddess of wisdom and weaving. To punish this girl, the goddess turns her into a spider. Akaiko, on the other hand, is a minor character in the Japanese mythology who meets Emperor Yūryaku, and waits for him for eighty years, remaining unmarried and weaving. This chapter examines adaptations of these two stories of women weavers. "Araginu," a play written by Shiga Naoya in 1908, is based on the story of Arachne, but adds a young man as the love interest of a jealous goddess. Ariyoshi Sawako wrote three adaptations of the Akaiko story (a short story, a modern play, and a script for traditional dance) in late 1950s, each empowering the aged weaver Akaiko by giving her laughter: what was recorded as Akaiko's tears in the ancient texts was indeed her laughter directed at the equally aged emperor. Using feminist theories and comments (e.g. A.S. Byatt and Wakakuwa Midori), the essay clarifies the stark contrast between Shiga and Ariyoshi in their ways of handling women's art, gender and sexuality in their adaptations.

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Why is it important?

The metamorphosis of Arachne was subject to further disempowerment (and sexualisation) of the young woman in some later works such as Gustave Doré's illustration. Shiga's "Araginu" takes a different way to diminish the artistic power of the eponymous girl. Ariyoshi's adaptations showcase the empowerment of forgotten women and their art through adaptations.

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