We can work on Sour Strawberries: Japan’s Hidden “Guest” Workers

Please watch the film and choose TWO of the following questions to answer: Watch the documentary: Sour Strawberries: Japan’s Hidden “Guest” Workers (2008) https://886232.kaf.kaltura.com/media/Sour+Strawberries/1_zym5gkso/150992151

This film consists of three chapters: 1. Nikkeijin Workers; 2. Debito Arudo in Shinjuku & Ultranationalist Rallies; 3. Union Activist Torii and Three Chinese Trainee workers 1. Based on the experiences of Nikkeijin workers (Peruvian & Bolivian workers), how are they seen or how they see Japan or Japanese people? How are Nikkeijin workers treated in contrast to Japanese people and other foreign workers?

  1. Debito Arudo (a Japanese citizen) walks through Kabuki-cho in Shinjuku and sees the sign of “Japanese Only.” He challenges a manager of a night club in front of the sign. What is it going on here? Explain it concisely.
  2. What were three Chinese “trainees” working conditions at a strawberry farm? What were their experiences?
  3. What are the various Japanese views or attitudes toward foreign workers? E.g., Kono Taro ’s (former Vice-minister of Justice and Lower House representative), Inoue Hiroshi’s (director of International Affairs of the Japanese Business Federation), Upper House counselor, Marutel Tsurune (DPJ)’s view toward Japan, Ultra-nationalists, the Japanese union activist Torii Ippei, the Japanese employer at Narita Airport, and the Police (airport)

Sample Solution

In any case, the essential focal point of consideration on this development is towards the end from not long before practice 133 through the end. Here, Shostakovich includes an ever increasing number of accidentals, taking the melodic example he states in the metal and constantly moving it upward. Since different instruments are playing an ostinato that doesn’t change keys, this includes a degree of odd disharmony that causes it to appear as if the piece is moving more remote away from a good consummation. It isn’t until practice 134, where the metal plays the rehashing three note thought process from the earliest starting point of the piece that we begin to get some feeling of the piece going to a rhythm. The backup gets increasingly more blustering all through this segment until the piece closes with harmony hits on the bass drum and timpani underneath a booming D significant harmony. The last development of the orchestra is a walk played in a brisk beat. The walk was a worthy type of social authenticity.>

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In any case, the essential focal point of consideration on this development is towards the end from not long before practice 133 through the end. Here, Shostakovich includes an ever increasing number of accidentals, taking the melodic example he states in the metal and constantly moving it upward. Since different instruments are playing an ostinato that doesn’t change keys, this includes a degree of odd disharmony that causes it to appear as if the piece is moving more remote away from a good consummation. It isn’t until practice 134, where the metal plays the rehashing three note thought process from the earliest starting point of the piece that we begin to get some feeling of the piece going to a rhythm. The backup gets increasingly more blustering all through this segment until the piece closes with harmony hits on the bass drum and timpani underneath a booming D significant harmony. The last development of the orchestra is a walk played in a brisk beat. The walk was a worthy type of social authenticity.>

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