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Manji

Irshad Manji (born 1968) is a Ugandan-born Canadian author, educator, and advocate for reform within Islam, recognized for promoting ijtihad—independent reasoning—to challenge literalist interpretations, tribal loyalties, and authoritarian tendencies in Muslim doctrine while reconciling faith with individual liberty and human rights.^[1]^[2] Her seminal work, The Trouble with Islam Today (2004), an international bestseller translated into over 30 languages, critiques the suppression of dissent, gender disparities, and historical revisionism in Islamic scholarship, urging Muslims to prioritize empirical scrutiny over uncritical adherence to tradition.^[1]^[3] Manji, who fled Uganda with her family in 1972 amid Idi Amin's expulsion of Asians and later naturalized as Canadian, was expelled from her madrasa at age 14 for questioning doctrinal inconsistencies, an experience that shaped her lifelong commitment to moral courage amid conformity.^[4] She founded the Moral Courage Project (now College), an initiative training individuals in ethical dissent and dialogue to bridge divides, and has held academic roles including professor of leadership at institutions like New York University.^[5]^[1] Additional books, such as Allah, Liberty and Love (2011) and Don't Label Me (2019), extend her arguments against identity-based polarization, earning accolades like Oprah's inaugural Chutzpah Award for boldness and an Emmy nomination for her PBS documentary Faith Without Fear.^[1]^[3] As an openly lesbian Muslim, Manji has encountered violent backlash, including physical attacks on associates and book bans in countries like Malaysia, from Islamist hardliners who view her as heretical, while also drawing fire from secular critics for perceived inconsistencies in her pro-Israel stances or selective secularism.^[6]^[7] These disputes underscore her role in sparking global debates on reforming Islam without abandoning it, often positioning her as a dissident voice against both religious orthodoxy and progressive accommodations of extremism.^[1]^[8]

Symbolic and Religious Uses

The Manji Symbol (卍)

The manji (卍), a left-facing variant of the ancient swastika symbol, traces its origins to archaeological evidence from the Indus Valley Civilization circa 3000 BCE, including seals unearthed at sites like Harappa that depict the motif as an early geometric emblem.^[9] In Vedic literature, such as Rig Veda 1.89.6, the associated term svasti denotes well-being and prosperity, with the symbol's four bent arms empirically interpreted as representing the cardinal directions, seasonal cycles, or eternal motion, signifying auspiciousness and the continuity of life independent of later reinterpretations.^[10] This form predates organized religious codification, appearing on pottery and ornaments across prehistoric Eurasian contexts, consistent with diffusion via Indo-European migrations rather than isolated invention.^[11] Across Hinduism, Buddhism, and Jainism, the manji and its right-facing counterpart evolved as sacred markers of divinity and fortune; in Hinduism, it invokes cosmic order (ṛta), while in Jainism it symbolizes the soul's liberation, and in Buddhism—particularly East Asian traditions—the left-facing manji denotes the Buddha's footprints, the heart's auspicious turning, or the Dharma's eternal spread.^[12] These meanings derive from the symbol's geometric balance, empirically linked to solar or directional motifs in artifacts spanning millennia, without reliance on narrative mythology alone.^[13] In Japan, the manji entered Buddhist iconography by the 6th century CE via continental transmissions and solidified during the Heian period (794–1185 CE), adorning temple roofs, gates, and artifacts as a prophylactic against misfortune and indicator of sacred space.^[11] It persists in practical uses, such as marking Buddhist sites on modern maps and signage, reflecting unbroken continuity in denoting spiritual centers and good auspices, distinct from administrative or weapon contexts elsewhere.^[11] Folklore attributes to it warding properties, grounded in observed patterns of temple placement and ritual efficacy over centuries. The manji maintains empirical separation from the 20th-century Hakenkreuz adopted by the Nazi Party in 1920, which features a consistent 45-degree tilt, right-facing orientation in black against a white circle on red, and lacks the upright, variably oriented forms of pre-Christian Eurasian examples; the latter's distribution aligns with archaeological strata from the Bronze Age onward, underscoring independent cultural lineages rather than derivation.^[11] ^[13] This distinction is verifiable through comparative artifact analysis, prioritizing material evidence over symbolic conflation.^[11]

Manji in Sikhism

The manji system in Sikhism refers to an administrative division akin to a diocese, designed to organize the growing Sikh community and disseminate the teachings of the Gurus. Established by Guru Amar Das, the third Sikh Guru, during his tenure from 1552 to 1574, it divided Punjab into 22 territorial zones, each overseen by a dedicated preacher or sikhni (female preacher) who sat on a wooden cot, or manji, to instruct congregations in Sikh doctrines.^[14] This structure emphasized direct propagation of gurbani (Guru's word) and fostered local autonomy, enabling the faith's expansion amid a predominantly Hindu and Muslim populace.^[15] Each manji holder was responsible for appointing granthis (scripture readers), maintaining dharamsalas (early worship places that evolved into gurdwaras), and collecting offerings to support communal welfare, thereby institutionalizing Sikh religious practice beyond the Guru's physical presence. The system's inclusion of women in leadership roles, such as Bibi Bhani for one manji, underscored Guru Amar Das's reforms against caste and gender hierarchies, with preachers selected for piety rather than lineage.^[14] Over time, the manjis integrated with the masand system introduced by subsequent Gurus, where representatives collected dasvandh (one-tenth offerings) and relayed community reports, but corruption among masands led Guru Gobind Singh to abolish the institution in 1699, reverting to direct Khalsa oversight.^[16] The decentralized nature of the manji framework contributed to Sikh organizational resilience during Mughal persecutions in the late 17th and 18th centuries, allowing localized leadership to sustain teachings and mobilize sangats (congregations) even as central figures faced execution.^[14] For instance, under Banda Singh Bahadur's campaigns from 1709 to 1715, surviving manji-inspired networks facilitated recruitment and governance in newly captured territories like Samana and Sirhind, where Sikh administration replaced Mughal rule until renewed crackdowns.^[17] This adaptability prefigured later evolutions into semi-autonomous jathas and doctrinal centers like taksals, preserving Sikh identity without rigid hierarchy, though colonial British records from the 19th century noted the system's dilution into informal village-level roles post-misls.^[18]

Historical Uses

Manji Era (1658–1661)

The Manji era (万治), a nengō or Japanese era name, commenced on July 23, 1658, succeeding the Meireki era and concluding on April 25, 1661.^[19] It occurred during the reign of Emperor Go-Sai (1655–1663), who formally proclaimed the new era name as per imperial tradition.^[20] At the time, effective governance rested with the Tokugawa shogunate under Shogun Tokugawa Ietsuna (r. 1651–1680), the fourth shogun and eldest son of Tokugawa Iemitsu, whose minority rule involved regency oversight by senior retainers like Sakai Tadakatsu.^[21] This period unfolded amid the Edo period's broader stability, yet was shaped by the immediate aftermath of the Great Meireki Fire of January 1657, which razed approximately 60% of Edo (modern Tokyo), destroying over 16,000 buildings including parts of Edo Castle, and resulting in an estimated 30,000 to 100,000 deaths from flames, smoke, and collapses.^[22] Reconstruction efforts prioritized urban rebuilding, with the shogunate enforcing stricter zoning, wider streets, and relocation of warehouses away from residential areas to mitigate future risks. In 1658, early in the era, authorities restructured firefighting by forming specialized all-samurai units dedicated to Edo's defense, marking a shift toward organized prevention following the fire's exposure of inadequate responses.^[22] The era's end and transition to Kanbun on April 1661 adhered to conventional nengō practices, where changes typically aligned with yin-yang divinatory calendars for propitious timing rather than tied to regnal shifts or upheavals—unlike later imperial one-era-per-reign norms post-1868.^[20] No significant shogunal reforms or cultural milestones, such as major poetry compilations, are distinctly recorded for these years, reflecting the era's brevity and continuity within Tokugawa administrative consolidation.^[19]

Manji as an Okinawan Weapon Variant

The manji sai, also known as nunti sai, is a specialized variant of the traditional Okinawan sai trident weapon, distinguished by its side prongs (yoku) extending in opposite directions to form an asymmetrical configuration resembling the manji symbol.^[23]^[24] This design enhances its utility in kobudo for trapping and redirecting edged weapons, such as katanas, by allowing the opposing prongs to hook and leverage blades from multiple angles during close-quarters combat.^[25] Originating from adaptations of Chinese influences introduced via trade routes to the Ryukyu Kingdom between the 14th and 19th centuries, the manji sai evolved as a practical tool for self-defense in an era of weapon restrictions imposed after the 1609 Satsuma clan invasion, prioritizing mechanical advantage through torque and binding over direct strikes.^[26]^[27] Typically forged from iron or steel, the manji sai features a central monouchi prong for thrusting or blocking, flanked by the reversed yoku guards that differ from the symmetrical prongs of standard sai models; this asymmetry facilitates disarming techniques by catching sword edges between the prongs and the shaft, exploiting leverage to control an opponent's weapon without relying on superior strength.^[28] Lengths generally measure 45–55 cm, with the prongs sharpened for hooking and the handle wrapped for grip, reflecting Ryukyuan craftsmanship adapted for peasant or guard usage against armed incursions.^[29] In training, practitioners emphasize fluid rotations and entanglements, as demonstrated in preserved kata sequences that simulate blade-trapping scenarios, underscoring the weapon's causal effectiveness in redirecting momentum rather than absorbing impacts.^[25] The manji sai's transmission persisted through lineages like Matayoshi kobudo, where master Matayoshi Shinko (1888–1947) incorporated it after observing examples in China and learning techniques from instructors such as Agena Chokubo and Kingai Sensei, documenting its forms in early 20th-century dojos and texts that preserve Ryukyu-specific applications.^[24]^[30] These methods, distinct from mainland Japanese adaptations, focus on integrated self-defense against longer blades, with verifiable kata like manji sai no kata still taught in Okinawan dojos today, highlighting its role in countering historical threats from samurai enforcers through precise, physics-based redirection.^[31] Unlike its symbolic counterparts, the manji sai's design prioritizes empirical combat utility, as evidenced by biomechanical analyses in kobudo manuals favoring its superior hooking geometry for de-escalating edged confrontations.^[32]

Arts and Entertainment

Literature

Jun'ichirō Tanizaki's novella Manji, serialized in the magazine Kaizō from 1928 to 1930, centers on a destructive quadrangle of obsessive attachments among upper-class residents of Osaka, involving the married woman Sonoko Kakiuchi, her husband the lawyer Tokito, the manipulative artist and model Mitsuko, and the physician Watanabe.^[33] The narrative unfolds through Sonoko's confessional recounting, detailing her initial infatuation with Mitsuko during art lessons, which escalates into mutual deception, tattooing rituals symbolizing possession, and failed suicide pacts driven by erotic fixation and jealousy.^[34] This structure highlights causal chains wherein unchecked desires erode rational self-control, leading to mutual entrapment without resolution, as Mitsuko orchestrates alliances that bind the participants in cycles of betrayal and dependency.^[35] The work probes bisexuality and aesthetic eroticism not as isolated traits but as amplifiers of human vulnerabilities to possession and illusion, set against the backdrop of early 20th-century Japan's urban elite navigating Western imports like individualism and artistic bohemianism alongside residual familial duties.^[36] Tanizaki draws from observable social upheavals in the Meiji-Taishō transition, where rapid modernization loosened traditional marital and social constraints, fostering environments ripe for hedonistic pursuits that precipitate personal disintegration rather than liberation.^[37] Empirical patterns in the plot—such as the progression from aesthetic admiration to self-destructive acts—illustrate how aesthetic ideals, when pursued without boundaries, causally link to emotional ruin, a recurring motif in Tanizaki's oeuvre reflecting prewar Japan's tensions between imported freedoms and inherited hierarchies.^[38] Manji contributed to Japanese literary modernism by exemplifying introspective psychological realism amid cultural flux, influencing subsequent explorations of identity and desire in works attuned to the era's empirical realities of social atomization.^[39] Tanizaki's depiction of obsession as a quasi-natural force overriding volition underscores a first-principles view of human psychology, where innate drives, unchecked by custom or reason, yield predictable outcomes of entrapment, diverging from romanticized narratives of fulfillment.^[40]

Film and Media Adaptations

The 1964 film Manji, directed by Yasuzō Masumura and starring Kyōko Kishida as Sonoko and Ayako Wakao as Mitsuko, adapts Jun'ichirō Tanizaki's novel through a lens of escalating psychological obsession and interpersonal deceit, with Masumura employing stark visuals and confined spaces to heighten tension among the protagonists' entangled relationships.^[41] ^[42] The screenplay by Kaneto Shindō emphasizes the causal dynamics of desire and jealousy without overt moral judgment, contributing to its reception as a provocative exploration of human compulsion that drew scrutiny for erotic elements amid Japan's post-war censorship standards.^[41] Subsequent adaptations include the 1983 version directed by Hiroto Yokoyama, which intensifies the kleptomania and sexual intrigue motifs through performances by Kanako Higuchi and Haruna Takase, focusing on the rapid escalation of a love triangle involving blackmail and impotence.^[43] A 1998 direct-to-video rendition by Mitsunori Hattori features explicit lesbian scenes with leads Kaori Sakagami and Rinko Mayumi, prioritizing sensory immersion over narrative subtlety and sparking debates on boundaries of adaptation fidelity in Japan's adult-oriented media market.^[44] The 2006 film by Noboru Iguchi further amplifies betrayal and obsession, with Chôei Takenaka and others portraying the core quartet's descent into ritualized dysfunction, often critiqued for its graphic content yet praised for sustaining Tanizaki's unflinching causal examination of relational pathologies.^[45] The 2023 iteration, helmed by Kishū Izuchi, updates the premise for contemporary audiences while retaining the novel's focus on forbidden attraction's destructive ripple effects.^[46] These Tanizaki-derived films have collectively faced conservative backlash in Japan for their unvarnished depictions of sexuality, leading to historical censorship discussions and limited theatrical runs, though they maintain cult appeal evidenced by repeated remakes and festival screenings that underscore enduring interest in desire's empirical drivers over didactic resolutions.^[41] A separate 2022 documentary titled Manji, directed by Adam Weissman and Yousuke Kiname, chronicles Rev. T.K. Nakagaki's international campaign to restore the manji symbol's ancient connotations of peace and auspiciousness in Buddhist and other traditions, predating its 20th-century Nazi appropriation.^[47] The film includes interviews with global Buddhist leaders and displays of historical artifacts, highlighting Nakagaki's efforts—spanning over three decades in the U.S.—to educate on the symbol's counterclockwise orientation and non-violent origins through lectures and exhibits.^[48] It has screened at festivals, promoting dialogue on cultural reclamation without endorsing politicized reinterpretations.^[47]

Music

The Suzuki Manji M-20 is a 10-hole diatonic harmonica introduced in 2009, named after the company's founder, Manji Suzuki, and designed to replicate the tonal warmth of wooden-bodied models using advanced composite materials for enhanced durability and resistance to warping.^[49] Its phosphor bronze reeds and ergonomic cover plates have established it as a preferred instrument in blues and folk genres, where players value its responsive bending capabilities and projection without the maintenance issues of traditional wood.^[50] The model's innovation lies in its ABS resin-phosbronze composite body, which achieves a wood-like resonance while offering superior airtightness and longevity, contributing to its adoption by professional harmonica players seeking reliability in live performances.^[51] Ustad Badruddin Manji Khan (1888–1937) was a prominent Hindustani classical vocalist of the Jaipur-Atrauli gharana, trained under his father, Ustad Alladiya Khan, who formalized the style's emphasis on intricate taan patterns and rare ragas derived from dhrupad traditions.^[52] As a key early exponent, Khan's performances exemplified the gharana's technical virtuosity, including rapid scalar passages and bol-baant improvisation, helping sustain the oral transmission of complex compositions during the interwar period when colonial influences disrupted traditional patronage systems.^[53] His contributions, though limited by his early death, reinforced the lineage's canon through familial teaching, influencing subsequent generations in preserving Jaipur-Atrauli's distinct bol-alaap structure amid evolving musical recording technologies.^[54] Evita Manji is a Greek electronic musician producing genre-blending works that fuse club rhythms, baroque pop elements, and experimental sound design to explore themes of mortality and environmental decay.^[55] In 2021, Manji founded the independent label myxoxym, releasing singles such as "OIL/TOO MUCH" and "EYES/NOT ENOUGH," which demonstrate layered synth textures and distorted vocals characteristic of Athens' underground scene.^[56] These tracks highlight Manji's approach to sonic innovation, integrating field recordings and modular synthesis for immersive, non-linear compositions that prioritize atmospheric depth over conventional structures.^[57]

Notable People

Irshad Manji

Irshad Manji is a Ugandan-born Canadian author, educator, and advocate for Islamic reform, born in 1968 in Kampala to parents of Indian descent.^[58] Her family fled Uganda in 1972 amid Idi Amin's expulsion of Asians, resettling in Canada where she became a naturalized citizen.^[4] Openly identifying as a lesbian Muslim, Manji has drawn on personal experiences of marginalization within orthodox communities to critique rigid interpretations of Islamic doctrine, emphasizing empirical scrutiny of texts over unquestioned adherence.^[5] Manji gained prominence with her 2003 book The Trouble with Islam Today, published initially in Canada, in which she calls for reviving ijtihad—independent reasoning in Islamic jurisprudence—to challenge literalist dogmas that she argues foster intolerance and stifle inquiry.^[59] The work critiques post-9/11 apologetics for extremism, attributing causal roots to selective scriptural misreadings rather than external factors alone, and advocates parsing Quran verses for principles like justice over tribal loyalties.^[60] She founded Project Ijtihad (later evolving into the Moral Courage Project at New York University) to foster dialogue among youth on ethical reasoning and reform, certifying mentors to promote independent thought amid polarized debates.^[61]^[62] Her advocacy has sparked controversies, including accusations of apostasy from conservative Muslims who view her push for ijtihad and acceptance of homosexuality as heretical deviations.^[63] Manji counters such claims by grounding defenses in direct Quranic exegesis prioritizing universal ethics, rejecting tribal enforcement of orthodoxy. While praised by progressive circles for advancing inclusivity, her insistence on free speech and causal critique of Islamist ideologies aligns her with defenders of Western liberties, highlighting tensions between reformist individualism and communal conformity.^[64]

Rizwan Manji

Rizwan Manji (born October 17, 1974) is a Canadian actor of Ismaili Muslim heritage whose parents immigrated to Toronto from Tanzania.^[65] He gained prominence for his recurring role as Ray Butani, an enthusiastic real estate agent and jack-of-all-trades, in the CBC/Pop TV comedy series Schitt's Creek from 2015 to 2020.^[66] ^[67] Manji's portrayal emphasized the character's optimistic demeanor and entrepreneurial spirit, earning him a nomination for a Canadian Screen Award for Best Guest Performance in a Comedy Series.^[68] The role sparked public debate over his use of a slight Indian accent, which Manji defended as reflective of his own cultural background rather than exaggeration, arguing for the need for three-dimensional South Asian characters over caricatures.^[69] ^[70] Early in his career, Manji appeared in smaller roles in films such as Charlie Wilson's War (2007), where he played a dramatic supporting part amid the story's geopolitical intrigue, and Transformers (2007).^[71] His breakout in television came with the role of Rajiv Gidwani, a bumbling manager, in the NBC sitcom Outsourced (2010–2011), which highlighted cultural clashes in an Indian call center setting. He later recurred as the eccentric inventor Tick Pickwick in The Magicians (2017–2018) and as Jamil in the HBO Max series Peacemaker (2022).^[71] With over 50 credits across film and television as of 2023, Manji's work has contributed to greater visibility of South Asian actors in North American media, often through comedic lenses that draw on immigrant family dynamics without relying on reductive stereotypes.^[71] Manji has faced observations of typecasting, particularly in roles as doctors or foreign professionals, as noted in analyses of his filmography.^[72] However, he has countered this by selecting parts that allow for character depth, such as in Mustache (2023), where he explored more serious emotional terrain in a coming-of-age story.^[73] His comedic approach, informed by personal experiences as a second-generation immigrant, prioritizes authentic portrayals over formulaic diversity quotas, emphasizing merit through consistent output in both ensemble comedies and supporting dramatic features like The Dictator (2012).^[74] ^[71]

Other Notable Individuals

Madatally Manji (1918–2006) was a Kenyan entrepreneur of Indian descent who founded House of Manji, East Africa's largest biscuit manufacturer, starting from street vending biscuits in Nyeri's Karatina Market as a teenager.^[75]^[76] He established the company's factory in Nairobi's Industrial Area, inaugurating Kenya's first domestic biscuit production in the early 1950s under British colonial rule, which expanded into a pan-African brand through persistent market expansion despite initial capital constraints and competition from imports.^[77] His success exemplified disciplined risk-taking in post-colonial African commerce, though the enterprise faced challenges like supply chain disruptions in emerging markets.^[78] Manji Fukushima was a Japanese table tennis player who secured gold medals in men's singles, doubles (with Hiroshi Takahashi), and team events at the 1963 Asian Table Tennis Championships in Manila. His achievements highlighted technical precision and endurance in an era when Japanese athletes dominated the sport amid national training regimens emphasizing repetitive drills, though international competition remained limited by travel and geopolitical barriers.^[79] Evita Manji is a Greece-based electronic musician known for experimental productions, including the 2024 posthumous collaboration "Berlin Nightmare" with SOPHIE on the album SOPHIE, featuring distorted synths and vocal manipulations that extended SOPHIE's hyperkinetic style.^[80]^[81] Active in Athens' underground scene, her work post-2021 has involved remixing and partnerships blending PC Music influences with raw analog textures, demonstrating adaptability in niche electronic genres.^[82]

Popular Culture References

In Manga and Anime

Manji functions as the protagonist in Hiroaki Samura's Blade of the Immortal, a seinen manga serialized in Kodansha's Afternoon magazine from June 1993 to December 2012 across 30 volumes. Depicted as a jaded rōnin from the early 17th century, Manji acquires immortality after a battle wound introduces regenerative parasites called kessen-chū, enabling rapid healing from fatal injuries. Weary of endless existence, he vows to a mysterious nun to kill 1,000 evil men for a chance at true death, a redemption arc that begins when he agrees to safeguard Rin Asano, whose parents were slain by members of the rogue Itto-ryu swordsmanship school led by Anotsu Kagehisa.^[83]^[84] The story's core revolves around Manji's confrontations with Itto-ryu disciples, blending historical feudal Japan settings with supernatural endurance to probe immortality's toll. Combat sequences prioritize anatomical precision and momentum over stylization, drawing from real-world biomechanics to depict dismemberment, blood loss, and tactical counters, fostering a grounded portrayal of violence's consequences rather than glorified heroism. This approach underscores themes of cyclical retribution, where Manji's unkillable nature perpetuates conflict without resolution, echoing the futility of vengeance amid unending regeneration.^[85]^[86] Serialized achievements include the 1997 Excellence Award at the Japan Media Arts Festival, recognizing its innovative paneling and narrative depth. By May 2019, circulation exceeded 7.5 million copies in Japan, bolstering its status in the seinen demographic through unflinching anti-hero dynamics—Manji's cynical pragmatism and moral ambiguity have informed later works, such as Masashi Kishimoto's character designs in Naruto. Adaptations encompass a 2008 anime by Bee Train covering initial volumes with 24 episodes emphasizing Manji's isolation, and Takashi Miike's 2017 live-action film starring Takuya Kimura, which compressed arcs into 140 minutes of hyper-kinetic battles while preserving the manga's gore-heavy realism.^[87]^[88] Critiques often highlight the series' graphic content, including explicit mutilations and psychological trauma, as subverting pacifist tropes prevalent in period fiction by insisting on violence's raw, unromanticized mechanics—Samura's intent, per interviews, was to confront readers with empirical brutality over sanitized action. This intensity drew polarized responses, with some praising its challenge to escapist norms and others decrying the excess as desensitizing, yet it solidified Blade of the Immortal's role in elevating mature, consequence-driven anti-heroes within anime and manga exports.^[89]^[90]

Symbolic Usage in Media

In Japanese media, the manji—a left-facing swastika symbol representing eternity and prosperity in Buddhist iconography—appears frequently in its traditional form, such as on temple maps in anime episodes or game worlds, without evoking Nazi connotations domestically. For instance, early Pokémon games and trading cards in Japan included manji motifs on regional maps or badges to denote spiritual sites, predating and differing from the right-facing, tilted hakenkreuz adopted by Nazis in 1920.^[91] Similarly, anime series like Tokyo Revengers (2021) incorporate the manji in the Tokyo Manji Gang's emblem, drawing from its auspicious cultural role, though this upright depiction contrasts sharply with Western associations tied to Holocaust imagery.^[92] Global distribution platforms have imposed alterations, reflecting Western sensitivities over historical distinctions, often resulting in reduced cultural fidelity. In the 2010s and 2020s, localizations of Japanese titles for services like Steam frequently pixelate or replace manji symbols on in-game maps or UI elements to comply with hate symbol policies, as reported by developers facing mandatory edits for international approval; this practice has drawn criticism for erasing authentic Eastern semiotics without evidence of intent.^[93] Proponents of preservation, including Japanese cultural advocates, contend such censorship stems from ignorance of the symbol's 2,500-year Asian precedence over its 20th-century European perversion, prioritizing context over blanket prohibitions.^[94] Opposing views from sensitivity advocates invoke potential trauma triggers for survivors' descendants, yet empirical differentiation—via rotation direction and cultural embedding—supports non-equivalence, as Nazi usage inverted traditional orientations for militaristic ends.^[95] Ahead of the 2020 Tokyo Olympics, debates intensified over manji usage on tourist maps, where proposals to replace temple markers with pagodas aimed to preempt foreign misinterpretation, sparking backlash from over 5,000 petitioners who decried it as cultural capitulation.^[95] The controversy subsided without wholesale removal on official Japanese cartography, emphasizing explanatory signage for visitors instead, underscoring tensions between global optics and indigenous continuity. Surveys of Japanese respondents consistently show minimal Nazi linkage, with most viewing the manji solely through Buddhist lenses, in contrast to tourist polls highlighting Western imprinting.^[96] Reclamation initiatives in media include documentaries like Manji (in production as of 2022), which follows Buddhist priest Rev. TK Nakagaki's efforts to restore the symbol's peaceful Asian heritage through public education and artifact displays, countering post-1945 stigmatization.^[47] Such works highlight archaeological evidence of manji ubiquity in pre-Nazi Asia—from Indus Valley seals (circa 2500 BCE) to Japanese temple architecture—advocating contextual reclamation over erasure to preserve causal historical lineages.^[48]

References

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Irshad Manji, is a renowned Muslim reformer and Professor of Leadership at New York University. Available as a speaker through Chartwell Speakers Bureau.
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Irshad Manji is on a mission to heal divides. Learn about her story and unique strategy to build unity in our polarized times.
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[27]
Kobudō – Okinawan weaponry
Kobudō history: One popular theory is after the Satsuma samurai clan of mainland Japan invaded Okinawa, they created a law (or continued a previous Okinawan ...
[28]
THE SAI - History Behind the Weapon - Time to be United! - kwunion
Feb 3, 2025 · Sai became much more famous and popular as a weapon of self-defense after the skill was demonstrated in Budokan (Tokyo) in 1970.
[29]
Origin of the Manji Sai - Isshin - Concentration the Art
Jul 13, 2020 · The manji sai is a metal truncheon resembling the shape of a swastika (See Weaponry of Ryukyu Kobudo). Although the manji sai has had a long ...
[30]
[PDF] Matayoshi Kobudo - Kodokan Boston
Sai. The sai techniques taught in the Matayoshi system stem from those taught to Mata- yoshi Shinko by Agena Chokubo. A set. This is just very difficult to ...Missing: Yamanni | Show results with:Yamanni
[31]
Matayoshi Kobudo Kodokan Manji - Bushikan
It has been actively practiced in Okinawa as a martial art for a long time. This technique was handed down to the late Shinko Matayoshi Sensei by Kingai Sensei ...Missing: Yamanni Ryu
[32]
The True History & Origins of Traditional Kobudo
Ryukyu Kobudo is the term used for the ancient art of Okinawa Weaponry. The oldest documented history for Kobudo is believed to be around 1762.
[33]
[PDF] Manji in Liliana Cavani's Interno Berlinese - BUNRON
... Tanizaki Jun'ichirō's. (1886–1965) best known and more intriguing works. Initially serialized for the general magazine Kaizō (“Reconstruction”) between 1928 ...
[34]
Girls' Culture (Sho¯jo Bunka) in Tanizaki's Manji - jstor
In the novel's orig- inal serialization from 1928 to 1930 in the magazine Kaizo¯ (Restructure, 1919–1955), Tanizaki did not use dialect at all until the third ...
[35]
Book Review # 427: Quicksand - The Pine-Scented Chronicles
Apr 29, 2023 · Kyuemon, a cunning merchant, built the family's fortune but it was mishandled by Tanizaki's father, Kuragorō who was not as skilled a merchant ...Missing: summary | Show results with:summary
[36]
Tanizaki Jun'ichirō: Quicksand | World Literature Forum
Nov 23, 2008 · As described this seems almost a ghost story, a tale of something from outside which enters lives and consumes them. Clearly also this is a ...Missing: plot | Show results with:plot
[37]
Japanese Modernism and The Jazz Age - Asian Art Newspaper
Feb 15, 2020 · Japanese writer Junichiro Tanizaki (1886-1965) chronicled the rise of modernity and sexual freedoms among young people in Japan during the ...
[38]
(PDF) Tanizaki Jun'ichirō's Modern Girls: Reversing the Role of ...
This research explores moga's (Japanese modern girl) representations in Tanizaki Jun'ichirō's (1886-1965) literary texts.
[39]
[PDF] MODERNITY AND TANIZAKI JUN'ICHIRŌ'S STYLE REFORM - Cogito
While on the surface appearing to have shifted to an older version of Japan in response to the advancing wave of modernity, Tanizaki was in effect.
[40]
reading of Tanizaki's serial novel Manji (1928-1930), highlighting ...
Japanese national language along with Tanizaki's personal concerns about the movement's negative impact on Japanese language. As Cronin argues, the ...
[41]
Film Review: Manji (1964) by Yasuzo Masumura - Asian Movie Pulse
Sep 28, 2024 · Junichiro Tanizaki's novel of the same name has been frequently adapted, but if there is one worth seeking out amongst them all, it's this one.
[42]
Swastika (1964) - IMDb
Rating 6.8/10 (1,265) Swastika: Directed by Yasuzô Masumura. With Ayako Wakao, Kyôko Kishida, Eiji Funakoshi, Yûsuke Kawazu. A childless housewife falls in love with a beautiful ...
[43]
https://www.imdb.com/title/tt0227028/
[44]
Manji (Video 1998) - IMDb
Manji is a 1998 drama/romance video, 1h 20m long, directed by Mitsunori Hattori, starring Kaori Sakagami, Rinko Mayumi, and Daisuke Shima.Missing: adaptation | Show results with:adaptation
[45]
https://www.imdb.com/title/tt0781422/
[46]
Manji (2023) - IMDb
Rating 6.1/10 (101) A bored married woman falls for a fellow art student, the young and beautiful Mitsuko. The relationship develops and starts to affect and involve their ...Missing: Hirokazu Kore- eda
[47]
Manji - The Film Collaborative
MANJI follows Reverend TK Nakagaki, a Japanese Buddhist priest living in America for the past thirty-five years, as he travels the globe on a mission: to ...
[48]
The Daily Heller: A Film About the Sign and Symbol Known as Manji
Jun 10, 2022 · Adam Weissman and Yousuke Kiname discuss their new documentary about one of the most spiritual and holy of Japanese emblems.
[49]
Suzuki M-20 Manji A « Richter Harmonica - Musik Produktiv
Rating 5.0 (3) When the Suzuki M-20 Manji Harp appeared in 2009, it soon set a new standard in the blues harp area. This harmonica was named after the Suzuki founder Mr.Missing: history | Show results with:history
[50]
M-20 Manji - Suzuki musical instruments
The highest sound and durability. A new material body reproducing a wooden body and a classic style without fading produce the highest sound and durability.Missing: history endorsements
[51]
Suzuki Manji M-20 – Diatonic Harmonica, Key of C
Why am I recommending the Suzuki Manji to you today (…after 20 years of almost exclusively endorsing Hohner Harmonicas)? It's kind of like driving a Ferrari.Missing: history material
[52]
Oriental Traditional Music from LPs & Cassettes - rudraveena.org
Mar 28, 2019 · ... Atrauli-Jaipur gharana of which Alladiya Khan is considered as the pioneer. But it was not this ustad, but his two worthy sons, Manji Khan ...
[53]
Ustad Alladiya Khan And The Rise And Rise Of The Jaipur Gharana
Jun 25, 2016 · Ust. Alladiya Khan-saheb lived to the ripe age of 91 and saw the roots of the Jaipur gharana take firm hold, in the minds of music lovers. They ...
[54]
Ustad Alladiya Khan (10 August 1855 - Facebook
Aug 9, 2019 · Khansahab's brother helped grow the Jaipur-Atrauli Gharana after Khansahab's demise. Ustad Manji Khan, the first son, died early in 1937, so it ...
[55]
Evita Manji - nr.world
Feb 19, 2024 · Her music is a mixture of contemporary club music, baroque pop, and experimental sound design which she uses to explore themes of death, grief, ...Missing: key | Show results with:key
[56]
Evita Manji - SHAPE+
In 2021 Evita launched their platform myxoxym, releasing the singles “OIL/TOO MUCH” and “EYES/NOT ENOUGH”, as well as curating the first edition of the ...Missing: genre label key works
[57]
Evita Manji - Spandrel? · Album Review RA - Resident Advisor
Manji is part of a new wave of underground club music producers in Athens, headed up by artists like hyperpop producer BABYNYMPH and labels such as Trial & ...Missing: key | Show results with:key
[58]
Irshad Manji | Author - LibraryThing
Canonical name: Manji, Irshad ; Birthdate: 1968 ; Gender: female ; Nationality: Canada ; Birthplace: Uganda ...
[59]
(PDF) Trouble with Islam Today by Irshad Manji - ResearchGate
Aug 27, 2018 · The Trouble with Islam Today was first published in Canada by Random House in 2003. At 234 pages, it is a semi-autobiographical account of Manji's life.
[60]
A 'Muslim Refusenik' in Pursuit of Reform in Islam
Sep 13, 2004 · A 'Muslim Refusenik' in Pursuit of Reform in Islam ... Irshad Manji is the founder and director of the Moral Courage Project at New York ...
[61]
Project Ijtihad (Irshad Manji) - Explorers Foundation
Project Ijtihad is the the foundation I've launched to develop the world's first leadership network for reform-minded Muslims. The radio interview that Leif ...
[62]
About Moral Courage
Irshad Manji, founder of Moral Courage College, smiles to camera. IRSHAD MANJI FOUNDER & CEO. BIO. Moral Courage® College equips people worldwide to turn ...
[63]
The Muslim refusenik - The Globe and Mail
Sep 20, 2003 · People are taught that their faith, being perfect, is superior to all others, and those who question it are accused of apostasy. In this ...
[64]
World: 'Muslim Refusenik' Irshad Manji Urges Thoughtful Piety
May 15, 2007 · Irshad Manji is a Canadian journalist and Muslim author of the international bestseller "The Trouble With Islam Today: A Muslim's Call For Reform In Her Faith."Missing: advocacy | Show results with:advocacy
[65]
Rizwan Manji — The Movie Database (TMDB)
Manji was born in Toronto, Canada where his Indian parents had immigrated to from Tanzania. His family is Ismaili Muslim, and he states that his religion is ...
[66]
'Schitt's Creek' actor Rizwan Manji defends his South Asian ... - CNN
Dec 30, 2020 · When he was cast in “Schitt's Creek,” Manji said, producers gave him free rein to develop Ray – there was no direction on if he had an accent.
[67]
'Schitt's Creek' star Rizwan Manji defends his character's Indian accent
Dec 30, 2020 · Actor Rizwan Manji starred as salesman Ray Butani in “Schitt's Creek. ... Read more: Our complete coverage of Emmy nominee 'Schitt's Creek'.
[68]
Calgary expats Agam Darshi, Rizwan Manji find acclaim and ...
May 14, 2021 · Calgary expats Agam Darshi, Rizwan Manji find acclaim and controversy with Canadian Screen Award-nominated roles.Missing: typecasting | Show results with:typecasting
[69]
https://www.vanityfair.com/hollywood/2020/12/schitts-creek-ray-rizwan-manji-south-asian-accent
[70]
'Schitt's Creek' star Rizwan Manji critiques character, defends accent
Dec 30, 2020 · On the Emmy-winning breakout comedy, which ended its six-season run earlier this year, Manji played recurring character Ray Butani, a jack-of- ...Missing: nominations | Show results with:nominations
[71]
Rizwan Manji - IMDb
He is an actor and producer, known for The Dictator (2012), Charlie Wilson's War (2007) and Transformers (2007). He has been married to Taslim Manji since 12 ...Missing: Emmy | Show results with:Emmy
[72]
Typecasting / Actors - TV Tropes
Rizwan Manji 's filmography is primarily made up of playing doctors. James Marsden had the misfortune of being typecast as the Romantic Runner-Up, the ...
[73]
'Mustache' Review: Imran J. Khan's Coming Of Age Comedy Comes ...
Mar 16, 2023 · The industry usually acknowledges Manji as a comic actor with a range spanning “simpering” and “foolish.” “Mustache” gives him the chance to ...Missing: typecasting criticisms<|control11|><|separator|>
[74]
<em>Outsourced</em>'s Rizwan Manji Aspires to Be the Next Jack ...
Sep 12, 2010 · He rejects fears expressed by some critics that the show is racist. "NBC has screened Outsourced for many people in the Indian community, and ...Missing: typecasting | Show results with:typecasting
[75]
House of Manji: How Nyeri Hawker Created Biscuits Culture in ...
Dec 16, 2021 · As Madatally Manji, an Indian immigrant born in 1918, opted to venture into hawking at Karatina Market, little did he know that his decision ...
[76]
Madatally Manji: The First Man to Manufacture Biscuits in Kenya
Dec 3, 2023 · House of Manji (HOM) was set up in Industrial Area and was officially inaugurated by then governor of Kenya, Evelyn Baring.
[77]
Biscuit Baron Who Strove for Economic Freedom – Madatally Manji
Sep 14, 2006 · He was the first man to manufacture biscuits in Kenya, being the founder and chairman of House of Manji. Also, he brought into the country the ...
[78]
Madatally Manji - Khoja Wiki
The man who founded East Africa's biggest biscuit manufacturer “House of Manji”, Madatally Manji started out, at the tender age of 13 year as a lowly retail ...
[79]
List of Asian Table Tennis Championships medalists - Wikipedia
Men's doubles ; 1963, Manila · Japan Manji Fukushima · Japan Hiroshi Takahashi ; 1964, Seoul · Japan Koji Kimura · Japan Ken Konaka · Japan Hiroaki OhhashiMissing: Games | Show results with:Games
[80]
Dal-Joon Lee - US Table Tennis Hall of Fame
... Asian Games in Indonesia; #3 Jung-Kil (or Gil) Park, Lee's teammate (who in the Singles eliminated Ogimura 25-23 in the 5th); and #4 Manji Fukushima. Park ...
[81]
Listen to Two New SOPHIE Songs | Pitchfork
Jul 24, 2024 · Two new songs from the posthumous SOPHIE album have been released. One of the songs, “Berlin Nightmare,” features Athens-based musician Evita Manji.
[82]
Hear Two More Sophie Songs From Upcoming Posthumous LP
Jul 24, 2024 · The two new tracks are “One More Time” featuring Popstar and the electro-pop instrumental “Berlin Nightmare,” a collaboration with Evita Manji.
[83]
Listen to SOPHIE's New Posthumous Single, "Berlin Nightmare" - EDM
Jul 24, 2024 · Listen to SOPHIE's New Posthumous Single, “Berlin Nightmare”. Featuring SOPHIE's former girlfriend Evita Manji, the track will appear on the ...<|control11|><|separator|>
[84]
Manji | Blade of the Immortal Wiki - Fandom
A swordsman who was cursed by worms that give him immortality, Manji goes on a journey to get rid of his immortality and bodyguards the orphan Rin Asano.Missing: notable | Show results with:notable
[85]
Blade of the Immortal (Manga) - TV Tropes
Blade of the Immortal originally ran from 1993 to 2012, published in Kodansha's Monthly Afternoon seinen magazine. ... Anti-Hero: Manji was a violent thug before ...
[86]
Blade of the Immortal: Brutally Beautiful - Women Write About Comics
Mar 5, 2018 · Of course, it helps that no wound can kill Manji thanks to some pesky immortality inflicted upon him. ... violence and its actual brutal impact.
[87]
Classic Fantastic: Blade of the Immortal - No Flying No Tights
Jun 17, 2020 · It is the mid-Tokugawa era in Japan, and wandering samurai Manji's body is infested with healing worms that make him extremely difficult to kill ...Missing: details | Show results with:details
[88]
Blade of the Immortal | Research Starters - EBSCO
A classically trained artist, Samura has been praised for his realistic drawings of the human body and his use of perspective. His character design is ...<|separator|>
[89]
The 51 Best Seinen Manga Anyone Should Read - RehnWriter
Sep 2, 2024 · Here you'll find quiet psychological breakdowns like Oyasumi Punpun, samurai epics such as Blade of the Immortal and Shigurui, sprawling ...
[90]
What Are The Main Themes In Blade Of Immortal Manga?
Sep 13, 2025 · The protagonist, Manji, grapples with his immortality, which serves as both a curse and a blessing. His world is filled with violence and ...
[91]
Blade of the Immortal review – spectacular corpses and an undead ...
Dec 7, 2017 · Takashi Miike's surreally violent action movie based in Hiroaki Samura's long-running manga may not be his best work but is brutally dramatic.Missing: criticisms graphic<|control11|><|separator|>
[92]
RED-FACED NINTENDO PULLS 'NAZI' POKEMON - New York Post
a Japanese symbol of good luck that pre-dates the Nazi swastika by thousands of years — appeared only on Nintendo's Japanese- ...
[93]
Buddhist Swastika Removed From Anime Tokyo Revengers - Kotaku
Jul 21, 2021 · The manji symbol (卍), the Buddhist swastika, appears on the Japanese-language manga title and throughout the original anime. It has been ...<|separator|>
[94]
The Real Reason Swastikas Keep Getting Removed ... - YouTube
Jun 19, 2017 · This video will go into what exactly the issue is and why these symbols keep getting removed from games.Missing: Steam manji
[95]
https://www.bbc.com/news/world-asia-35349619
[96]
Japan's plan to drop swastikas as temple symbol sparks backlash
Jan 19, 2016 · A proposal to stop using swastikas to identify temples on Japan's tourist maps because it is confusing tourists sparks an angry backlash.
[97]
Japan to remove swastikas from maps as tourists 'think they are Nazi ...
Jan 18, 2016 · Swastikas could be erased from Japanese ... survey revealed that most tourists associate it with Nazi Germany instead of Buddhist temples.