BoA, the Icon of Japan
An 18-year-old Korean miss by the name of BoA (pronounced close to bower) has gripped the imagination of the Japanese, gaining hearts and minds of the archipelago. She spends most of the time there singing and dancing, making a great fortune in the process, probably having the time of her life. Her pro-Japanese life style has been being contrasted with her retroactive motherland, where the ruling party and its government have been engaged in a belated national homework assignment to "liquidate the Koreans' collaboration activities" during the Japanese colonial domination.
She is an epitome of power shift of the new era. She has done an honorable shift--the shift from shell fires to friendly handshakes and from tirades of blame to melodious tunes. Not as an invading army but as a civilian of weaker sex, she has not seized the capital of the enemy country but made it to the grand stage of an allied nation. She stands out in the middle, taking the stage light, with audiences welcoming her in standing ovation.
She is not a fixture on the stage any more that her predecessors had been. She is every second on the move--vivace espressivo, vivace mosso. Lyrics are not inaudible in pitch volume or with some aid of gizmos. You find yourself out of breath whereas she is not. Choreography is rather flashy. When she holds her arms high up in the air, with her navel bare, her audiences arise in delirium. When she thumps the stage floor with her foot, her audiences roar with ecstasy. But, when she explores her own body up from bosom down 'oh oh' crevices, you find yourself gasping and blushing.
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