Sukeban Explained

Sukeban
Yearsactive:1960s–1970s
Country:Japan
Influenced:Seinen manga,[1] Pinky Violence films,[2] all-girl Bōsōzoku gangs[3]

is a Japanese term meaning, and the female equivalent to the male in Japanese culture. The usage of the word refers to either the leader of a girl gang or the entire gang itself,[4] and is not used to refer to any one member of a girl gang.[5]

The word was originally used by delinquents, but has been used by the general population to describe the subculture since 1972. were formed as a direct result of male gangs' refusal to accept female members, consequently the term has come to refer to the massive movement that brought feminism to public attention at a time when men of the yakuza were thriving.

reportedly first appeared in Japan during the 1960s, presenting themselves as the female equivalent to the gangs, which were composed mostly of men. During the 1970s, as gangs began to die out, girl gangs began to rise in number. Gangs were initially small groups of girls sneaking cigarettes in school bathrooms, but eventually grew in numbers, as did their level of criminality. These gangs were commonly associated by violence and shop-lifting. Gangs ranged in size from Tokyo's United Shoplifters group, comprising roughly 80 members, to the Kanto Women Delinquent Alliance, rumored to have had around 20,000 members. Criminal activities and violence of the girl gangs in Japan reached such a high that sketches used to identify them in Japanese police pamphlets in the 1980s described aspects of their fashion as "omens of downfall".

Characteristics

Appearance and other signifiers

The common signifiers of include brightly-dyed or permed hair, in colours of either blonde or light brown.[6] Members of also modified their school uniform by wearing coloured socks, rolling up their sleeves and lengthening their skirt, which were sometimes decorated with gang-affiliated symbols, kanji and/or slogans. The long skirts were a rejection of the popularity of the miniskirt, which had become popular in the 1960s during the sexual revolution. Though their skirts were long, often cut their shirts to expose their midriffs. Converse sneakers were also another addition, and their clothes often had handmade modifications, including badges and buttons. They wore very little make-up and sported thin eyebrows. Adding to these features, usually wore surgical masks, and often carried with them razor blades, bamboo swords and chains, which could be concealed under their skirts.[7] [8]

The style of the sukeban have been interpreted as a rebellion against traditional gender norms, sexism, and the objectification of women, while, more specifically, the length of their skirts has been read as a reaction to the sexual revolution.[9] [10] [11]

Codes of Conduct and similar attitudes

girls followed strict rules and codes of conduct within their gangs. Each gang possessed a hierarchy as well as their own means of punishment; cigarette burns were considered a minor punishment for stealing a boyfriend or disrespecting a senior member. were reported to engage in activities such as stimulant use, shoplifting, theft, and violence, but if arrested, could be charged with the lesser offence of "pre-delinquency".[12] Stimulants use often included sniffing paint thinner or glue.[13]

Media and cultural influence

In the 1970s and 1980s, became popular characters in manga.[12] characters could also be seen in manga publications., Tales of Yajikita College and were three popular series that had a mostly cast.[14]

Pink film director Norifumi Suzuki made the first films in the seven-film Girl Boss series. He also started the four-film Terrifying Girls' High School series (1971–1972) featuring characters. Both series featured prominent Pinky violent actresses Reiko Ike and Miki Sugimoto, as well as former beauty queen Reiko Oshida. On December 6, 2005, Panik House company released a four-disc region-1 DVD collection surveying films entitled The Pinky Violence Collection. These films challenged traditional constructions of gender and female sexuality in postwar Japan.[15]

Japanese crime writer Jake Adelstein said with regards to :

See also

Bibliography

Notes and References

  1. Web site: Schmidt-Rees . Hannah . Sukeban - The Forgotten Story of Japans Girl Gangs . Perspex . 11 April 2024 . 16 February 2019.
  2. Web site: Gravili . Mattia . SUKEBAN: Japan's 70s Delinquent Girl Gangs . Yokogao . 11 April 2024 . 27 December 2023.
  3. Web site: Healy . Claire Marie . Remembering Japan’s badass 70s schoolgirl gangs . Dazed . 11 April 2024 . 5 November 2015.
  4. Web site: The Japanese Slang Jiko.
  5. Yonekawa, Akihiko. Beyond Polite Japanese: A Dictionary of Japanese Slang and Colloquialisms, 2001, pages 26–27. .
  6. Web site: 2 August 2018. 1970's Sukeban Subculture: Japanese Delinquent Gangs. 1 December 2021. japadventure.com.
  7. Web site: Webb. Beth. How Vicious Schoolgirl Gangs Sparked a Media Frenzy in Japan. 1 December 2021. vice.com.
  8. Web site: 18 July 2019. The True Story Of Sukeban: Violent Girl Gangs Of '70s Japan. 1 December 2021. groovyhistory.com.
  9. Web site: Healy . Claire Marie . Remembering Japan’s badass 70s schoolgirl gangs . Dazed . 11 April 2024 . 5 November 2015.
  10. Web site: Gravili . Mattia . SUKEBAN: Japan's 70s Delinquent Girl Gangs . Yokogao . 11 April 2024 . 27 December 2023.
  11. Web site: Schmidt-Rees . Hannah . Sukeban - The Forgotten Story of Japans Girl Gangs . Perspex . 11 April 2024 . 16 February 2019.
  12. Book: Cherry, Kittredge. Womansword: What Japanese Words Say about Women. Kodansha International Ltd.. 1987. 4-7700-1655-7. First mass market edition, 1991. 17-14 Otowa 1-chrome, Bunkyo-ku, Tokyo 112. 51–52. Christmas Cake Sweepstakes: Girlhood to Wedding. paperback.
  13. Web site: Everyday. Vintage. October 18, 2018. Sukeban: 20 Amazing Photographs Capture Badass Girl Gangs in Japan From the 1970s and 1980s. 1 December 2021. vintagenewsdaily.com.
  14. http://okazu.yuricon.com/2004/03/03/yuri-mangayuri-anime-sukeban-deka/ Yuri Manga: Sukeban Deka Review
  15. Alicia. Kozma. Pinky Violence: Shock, awe and the exploitation of sexual liberation. Journal of Japanese and Korean Cinema. 1 January 2012. 1756-4905. 37–44. 3. 1. 10.1386/jjkc.3.1.37_1. 147655347 .