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After her first return to Japan in 1922, one critic in a mainstream national newspaper exclaimed as follows: Welcome the homecoming of Ms. Miura Tamaki—the genius, the extraordinary talent of the music world! Show respect to the only Early Lessons in Globalization | 29 world-class artist our country has produced! . We are indebted to Ms. Tamaki, who introduced Japanese culture to the world, who brought us the sympathy of innumerable people in many countries . 46 Miura’s success was thus seen as the nation’s success.

Tainted art cannot be in the service of the world. . Once a woman has wedded a husband, she should help her husband and manage the household and never dream of leaving that family. . I am sure that you have responsibilities and obligations to the music world. Yet those cannot be so great that you need to fulfill them by leaving your husband. How do you intend to teach others when you don’t value young women’s chastity? Can you remain a music teacher in this way? . I am afraid that this inci- 30 | Chapter 1 dent of yours [the divorce] will have an effect on the world of music and ultimately corrupt Western music.

In addition to crafting Cio-Cio-San’s character, Miura also voluntarily performed the role of the typical Japanese woman created by Western Orientalism. 35 Miura seemed to have accepted such casting, however, as the quickest route to an international audience. In fact, Miura seemed to gain proficiency in mastering the ways to please her Western audience as her international tour progressed. She typically dressed in a kimono when appearing in front of a Western audience, even though by that time Japanese women of her social status commonly wore Western clothing.

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