「じゃじゃ馬ならし」 (Jaja Uma Narashi)
“Taming a Wild Horse”
One of the things I notice as we get deeper into Ballroom e Youkoso is the surprising extent to which it’s a creature of shounen habit. That’s both a good and bad thing, depending on which which tropes are in ascendancy in any given moment – but more so than when it began, I realize this is a very traditional sports shounen. We’ve had a number of sports anime in the last few years which take on unusual topics – karuta, kabuki, etc. – but I think Welcome to the Ballroom may be the most loyal to the basic form and structure of the genre.
I’ve also been surprised by the extent to which the gender politics of ballroom dancing have become a front-burner theme in “Ballroom”. By its very nature this sport invited such exploration but for a while there, it looked as if it was largely going to get superficial treatment. That’s not the case now, though, as trying to decide what the roles of the boy and girl should be is very much central to Tatara’s development as a dancer. He and Chinatsu did finish second in their novice competition and make the vital jump to D-Class, but the dysfunction of their partnership is not lost on either of them. So much so that Tatara decides to take some time practicing seperately – I think both to clear his head and to tackle his own perceived deficiencies with fewer distractions.
In order to pursue this goal, Tatara-kun seeks out Kiyoharu’s help – ultimately his mother Marisa’s help, in fact. Her “sly” comment clearly got under his skin, and Tatara longs to understand what it means, exactly. Again, this is where the subtleties of competitive dance are a bit of a mystery. Is Tatara “wrong” in believing a partnership should be just that, a partnership? It seems like such a common-sensical and progressive notion but as Marisa-san reminds him in no uncertain terms, in the eyes of the sport it is wrong. Only the male is listed on the form as an “athlete”, and the partner is basically not even looked at by the judges until the finals. In truth, only one of the couple is actually a “partner”, and that’s the female – the other is the leader. That’s not what we think of as partnership in the muggle world, but that’s dance.
To emphaisze this disconnect, we meet the man who won the novice competition last week – Kugimiya Masami (Sakurai Takahiro – always a pleasure to have him do his Cat Sidhe voice). He’s one of Marisa’s students and only a “novice” only because he’d missed time with an injury. Kiyoharu describes him as the “opposite type” of leader from Tatara, and he’s just that both in terms of style and substance. Tatara-kun clearly dislikes what Kugimiya represents, and when Marisa pairs them off for a practice run, while he gets a taste of Kugimiya’s assertive skill as a leader, in no way does it strike Tatara as something he wants to emulate himself.
Sengoku’s return for the Japan Open (one of the largest competitions in Japan, held at the Budokan in Tokyo), allows Ballroom e Youkoso to show off one of shounen’s rather less appealing tendencies. This is a true international competition, including top dancers from places like Europe – and the winner is former world champ Vassily Trucachev (Sengoku places 3rd, revealing both how far above other Japanese dancers he is, and how far Japan still has to go to catch up to the world). The encounter with Trucachev after the competition has the stench of juvenile homophobia to it, all too common in shounen still, even if less so than a decade or two ago. It’s not Ballroom’s finest moment to say the least, and best quickly forgotten in hopes it won’t be repeated.
Ironically the best moment of the episode comes on the heels of that misstep, as Tatara joins Sengoku on the trip home from the Budokan. Here he reveals that he’s going to join the Hyodo Dance Academy, which of course means leaving the Ogasawara studio. This makes perfect sense, for all the reasons Tatara points out (and which Tamaki-san herself asserted to him). Sengoku is a full-time competitor who travels the world and doesn’t really have the time to teach (and he’s a lousy teacher anyway, if we’re honest), and Ogasawara isn’t really equipped to handle students with top-line aspirations. But the emotional side is still hard – Sengoku was an aniki figure to Tatara in his brusque way, and Ogasawara took him in basically for free. This was a split that probably had to happen, but that doesn’t mean there’s no pain involved.
I suspect there will be pain involved in Tatara and Chinatsu’s trip to Shizuoka, too. Tatara has signed them up for a Grand Prix event without telling Marisa-sensei (and indeed, against her direct advice and instruction). Tatara is understandably impatient to start keeping what he sees as a promise with both Kiyoharu-kun and Shizuku-san, but he and Chinatsu are clearly not ready for this – and I suspect those more experienced dancers at the Grand Prix are going to lay a world of hurt on the pair of them. The question isn’t so much the likely result, but whether that sort of result will end up helping or hurting Tatara’s development as a leader, and their development as a couple.
Yes, i too think the Impatience of Tatara here will kill his path for now.. Or the Anime Team is rushing to fast forward with him
Where are his Moves from the Tenpai Cup? All was wrong? Then only the Girl moved the Pair into the Finales?
is that all for nothing?
*Their trip is to Shizuoka, not Shikoku
I actually thought Kugimiya’s lead looked fun and if I was Tatara I would try to emulate that as much as possible. I guess that’s not in his character though and that’s kind of disappointing.
It’s worth coming to grips with the fact that the Japanese have their own unique brand of negative stereotyping of homosexuality. Homosexuals in Japanese anime are almost always rather extreme and clownish. Rarely do you ever get a serious and nuanced treatment.
Look at “Puri Puri Prisoner” from One Punch Man, for example. That kind of treatment is pretty par for the course, to be honest. No idea when or how that might change.
Their handling of racial stereotypes is usually pretty brutal too, and meets everything you’d expect from a racially homogeneous culture that – when you get beneath the polite exterior – is rather unapologetically chauvinist.
Yeah, there’s just elements of this show that I don’t like. Though a good part of it is something inherent to the sport or how the story represents it. It does feel incredibly backwards in terms of thinking. For a sport that actually does involve a partnership to basically ignore one half of that partnership feels off.
Though that’s been something there in the story from the beginning. When we first saw Hyodo’s performance it was clear. No one cared about Shizuku or noticed her. It was all him. And when the Hyodo injury fiasco happened it was Shizuku who was seen as wrong for being justifiably pissed at Hyodo hiding things from her. In the end it was Shizuku that had to pull back and I don’t really recall Hyodo ever really being treated like or acting like he was wrong.
At least Tatara doesn’t seem to be embracing that mindset. But all he can do is work within the frame of the system. He’ll have to bring up his own ability so he can get to the part of the competition that the judges start to notice there are two dancers in a team.
And yeah the really juvenile treatment of that top foreign athlete was pretty sad.
I bet there are other “Dance floor” styles, where both has the same rights. In a Waltzer the Woman is just the flower? But in Salsa or other rhythmics, where both has to be in Sync and such.. Is this more Tatara’s dance floor?
but… Do the Partner play along?
I am now okay with Tatara’s and Chinatsu drive for the Grand Prix. My Guts are telling me the timing is now right. I hope the other fans will like the pacing, too
Also, it is me or this they “fixed” the long Necks or did i got used to them that i do not notice them anymore? Also their new Sensei drawing lines changed a bit, but it is okay for me