AFP: “Tarento Rola changing DNA of Japanese pop culture”. I wish her well, but the hyperbolic hype is not warranted
AFP: In celebrity-obsessed Japan with its conveyor belt of 15-minute stars, fashion model and “talent” Rola is blazing a meteoric trail at the forefront of a galaxy of mixed-race stars changing the DNA of Japanese pop culture. Turn on the TV and there’s no escaping the bubbly 24-year-old of Bengali, Japanese and Russian descent—she even dominates the commercial breaks. A marketing gold mine, Rola smiles down celestially from giant billboards, her wide eyes and girlie pout grace magazine covers and she even greets you at vending machines. But Rola, who settled in Japan when she was nine, has done it by turning the entertainment industry on its head, her child-like bluntness slicing through the strict convention that governs Japanese society.
JPN_GUY: The positive reaction to mixed-race models is certainly better than not wanting them on screen. It’s “anti-racist” and to be welcomed. To a certain extent, I guess it does show Japan is becoming more open and tolerant. But like most things, it’s not that simple. For one thing, all these women are stunning beautiful. Everyone loves a good-looking girl. We knew that already! But not all mixed race people in Japan could, or even want to be, celebrities. Kids like mine just want normal lives. They might want to be a lawyer, a pilot, a shipbuilding engineer or a dental technician. As I said, the high visibility of mixed-race people in better than being vilified and ignored, for sure. But it’s also a sign of fetishism, and a refusal to see mixed race people as just “one of us”. Celebrities are “special” by definition. Ironically, that’s why visible minorities have less difficulty breaking into this field.
DEBITO: Of course, most “tarento” blaze and then fizzle without making any real impact, least of all “changing the DNA Japanese pop culture” as this article and its pundits claim. Rola in particular does not seem to be consciously promoting any increase in social tolerance of “haafu” — she’s just doing her thing, entertaining with a new (or actually, not all that new, but for now fresh-sounding) schtick as an ingenue. Of course. That’s her role as an entertainer. This has been the role of so many other entertainers, including the Kents (Kent Derricott made his pile and returned to the US to buy his mansion on the hill in Utah for his family; Kent Gilbert did much the same and lives in Tokyo with a residence in Utah as well), Leah Dizon (remember her?, already divorced from the Japanese guy who made the baby bump the speed bump in her career; she’s trying to make a comeback in Japan while based in Las Vegas), Bob Sapp, Chuck Wilson, and many, many more that I’m sure Debito.org readers will recount in comments below.
Sadly, none of these people have really made or will make a long-term impact on Japan’s mediascape. The best long-seller remains Dave Spector, who is a very, very exceptional person in terms of persistence and media processing (not to mention stellar language ability), but even he makes little pretense about being anything more than an “American entertainer” for hire. Other impactful persons I can think of are Peter Barakan and perhaps these people here. So it’s not non-existent. But it’s not powerful enough to permit “Doubles” to control their self-image in Japan, either.
I wish Rola well. I hope she continues to make the media splash she’s making. But the overhype can be fatal for many an entertainer when people eventually tire of her current incarnation. Even if Rola becomes “successful” by revamping her act to become more substantial, she’ll just be as subsumed and co-oped as Miyazawa Rie or Becky is. Or as forgotten as Leah Dizon within a few years. Let’s hope not, and let’s hope that she becomes a long seller. But I doubt it. Because the ingenue trail she is blazing (or rather, is being blazed for her by her agents) of the “sexy-baby-voice tarento” genre has never really allowed for that.