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ELEVENPLAY 7:00Pm, January 27, 2018
HAMMER THEATRE CENTER PRESENTS INTERNATIONAL MULTIMEDIA DANCE TROUPE ELEVENPLAY 7:00pm, January 27, 2018 SAN JOSE, CA (8 January 2018) – The Hammer Theater Center launches its new three-part ArtTech Series with mesmerizing dancers and drones illuminating the stage this January. Known for incorporating iPads, mapping technology, and even a complete fleet of 24 floating drones into its performances, Japanese multimedia dance troupe Elevenplay brings its distinct brand of stunning performance art to San Jose for an exclusive show. Featured in the opening act of Lady Gaga’s 2014 world tour, the group has performed extensively across Japan, Europe, and Mexico, and stolen the show on NBC ’s “America’s Got Talent,” an appearance called “incredible” and “so current” by judge Simon Cowell. Fellow judge Heidi Klum concurred: “I’ve never seen anything like this before…I thought I was on a different planet!” Elevenplay will perform for one night only 7:00pm, Saturday, January 27 at the Hammer Theatre Center, 101 Paseo De San Antonio, San Jose. The following two installments of the ArtTech Series will be presented April 13 and May 11. Package tickets for all three events are available now. For more information or individual tickets ($29-$46), the public may visit www.hammertheatre.com or call (408) 924-8501 . Elevenplay ’s high-tech component was formed from a joint venture with renowned Tokyo-based design company Rhizomatiks Research. Its first experiment in pairing drones and human dancers was titled “Drone-Augmented Amazingness,” featuring three dancers and three drones along with projection mapping. This was followed by “24 Drones,” created with the assistance of drone and light programmers, drone and light designers, and a motion capture system. -
Vol. II Institutions
JAPANESE STUDIES IN THE UNITED STATES DIRECTORY OF JAPAN SPECIALISTS AND JAPANESE STUDIES INSTITUTIONS IN THE UNITED STATES AND CANADA Japanese Studies Series XXXX VOLUME II INSTITUTIONS 2013 2016 Update THE JAPAN FOUNDATION • Tokyo © 2016 The Japan Foundation 4-4-1 Yotsuya Shinjuku-ku Tokyo 160-0004 Japan All rights reserved. Written permission must be secured fronm the publisher and copyright holder to use or reproduce any part of this book. CONTENTS VOLUME I Preface The Japan Foundation ................................................................................... v Editor’s Introduction to the 2016 Update Patricia G Steinhoff .............................vii Editor’s Introduction Patricia G Steinhoff ............................................................... ix Japan Specialists in the United States and Canada ..................................................... 1 Doctoral Candidates in Japanese Studies ..................................................................791 Index of Names in Volume I ....................................................................................... 809 VOLUME II Academic Institutions with Japanese Studies Programs ............................................ 1 Other Academic Institutions with Japan Specialist Staff ....................................... 689 Non-Academic Institutions with Japanese Studies Programs .................................701 Other Non-Academic Institutions with Japan Specialist Staff ............................... 725 Index of Institutions in Volume II ............................................................................ -
Takemitsu and the Influence of "Cage Shock": Transforming the Japanese
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Creative Activity, and Performance - School of Music Music, School of Spring 5-7-2010 Takemitsu and the Influence of "Cage Shock": rT ansforming the Japanese Ideology into Music Mikiko Sakamoto University of Nebraska at Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicstudent Part of the Music Commons Sakamoto, Mikiko, "Takemitsu and the Influence of "Cage Shock": rT ansforming the Japanese Ideology into Music" (2010). Student Research, Creative Activity, and Performance - School of Music. 23. https://digitalcommons.unl.edu/musicstudent/23 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Creative Activity, and Performance - School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. TAKEMITSU AND THE INFLUENCE OF “CAGE SHOCK”: TRANSFORMING THE JAPANESE IDEOLOGY INTO MUSIC by Mikiko Sakamoto A Doctoral Document Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor Paul E. Barnes Lincoln, Nebraska May, 2010 TAKEMITSU AND THE INFLUENCE OF “CAGE SHOCK”: TRANSFORMING THE JAOANESE IDEOLOGY INTO MUSIC Mikiko Sakamoto, D.M.A. University of Nebraska, 2010 Advisor: Paul E. Barnes At the turn of the twentieth century, Toru Takemitsu (1930-1996) was regarded both domestically and internationally as a representative Japanese composer. He used elements of Japanese culture– music, gardens, and philosophy – in his music. -
Ebook Download Perfume Kindle
PERFUME PDF, EPUB, EBOOK Patrick Süskind | 304 pages | 11 Sep 2020 | Penguin Books Ltd | 9780241420294 | English | London, United Kingdom Perfume PDF Book Clinique Happy Perfume Spray. Let us know if you have suggestions to improve this article requires login. Sign In. They must also be formulated so as to avoid unacceptable alterations in the colour or consistency of the product. After the initial girly-girl explosion, expect a more sensual patchouli drydown. Philosophy Amazing Grace Eau de Toilette. Fever Eau de Parfum. A young profiler investigating a series of brutal murders traces events back to a small cadre of boys at a boarding school who experimented with manipulating people using human scents. Is Singular 'They' a Better Choice? Nakata's music blended digital instrumentation and the girls' heavily processed voices into a seductively maximalist barrage of techno, house, and synth-pop, while choreographer Mikiko fashioned the trio into a high-heeled stage-and-screen spectacle with intricately synchronized moves. Conscious Beauty. Gel Nail Polish. Tom Ford nordstrom. Hair Tools Guide. Test a Few Perfumes Out Finding your signature scent is like building a wardrobe. References to perfumery materials and even perfume formulas are found in the Bible. Gift With Purchase. Hair Makeup. A selection of words from the chillier parts of t Perfume Global Compilation "Love the World" Dior nordstrom. Roman Seliger 6 episodes, Christian Friedel Perfume Writer Today's Top Stories. This woody, green floral has a clarity and sharpness to it that feels feminine, but not frou-frou. Brands - A. Hair Removal. The subtle blend of white tea, sage, white iris, and musk smells softly inviting but not overpowering. -
Announcement of Award-Winning Works of the 16Th Japan Media Arts Festival the Award-Winning Works Have Finally Been Chosen from Our Record 3,503 Entries
The 16th Japan Media Arts Festival [Press Release] December 13, 2012 Announcement of Award-winning Works of the 16th Japan Media Arts Festival The Award-winning Works have finally been chosen from our record 3,503 entries. The 16th Japan Media Arts Festival Executive Committee has selected the Award-winners for the Japan Media Arts Festival who will receive prizes from the Minister of Education, Culture, Sports, Science and Technology. The Japan Media Arts Festival honors works of excellence in a diverse range of media – from animation and manga to games and media art. The festival is a comprehensive Media Arts (=Media Geijutsu ) event, providing an opportunity to appreciate outstanding works from all these categories. This year, a record number of 3,503 works had been submitted for the festival, including 1,502 works from 71 countries and regions around the world. More applications had been submitted for this, the 16th festival, than in any year since its inception in 1997. Through an exhaustive, impartial and objective screening process, winners of one Grand Prize, four Excellence Awards and three New Face Awards have been chosen in each of the 4 divisions (Art, Entertainment, Animation and Manga). In addition, four individuals have been selected to receive Special Achievement Awards in recognition of their outstanding contributions to the Media Arts field. At the Awards Ceremony on 12th February 2013, award-winners will be presented with Certificates and Trophies. The Exhibition of Award-winning Works, in which these works will be displayed, is to be held over 12 days from 13th to 24th February, 2013 at both the National Art Center, Tokyo (our main venue) and at other locations. -
Volume 7 [PDF]
ISSN 2435-6220 International Journal of Creativity in Music Education vol. 7 Special Issue: Music Education as a Bridge Between schools and Society Institute of Creativity in Music Education Tokyo Japan Chief Editor Yukiko Tsubonou Kaichi International University Editorial Board Patricia Shehan Campbell University of Washington Tadahiko Imada Hirosaki University Hiromichi Mito Meiji Gakuin University Tadahiro Murao Aichi University of Education, Professor emeritus Mayumi Oie Tokyo Woman's Christian University Ramon P. Santos National Artist for Music, University of the Philippines, Professor emeritus Ai-Girl Tan Nanyang Technological University, Singapore Hiroshi Yasuda Former Professor, Nara University of Education Robert Walker University of New England Jackie Wiggins Oakland University Michiyo Yoneno-Reyes University of Tokyo International Journal of Creativity in Music Education vol.7 ISSN 2435-6220 Published by the Institute of Creativity in Music Education 151-0071 1-26-2 Honmachi Shibuya-ku Tokyo, Japan © Institute of Creativity in Music Education Published 2019 International Journal of Creativity in Music Education vol.7 Table of Contents I. Special Issue: Music Education as a Bridge Between Schools and Society 1. Establishment of TAS Model and its Meaning in Music Education: Seeking New Partnerships in School Education YukikoTsubonou ..................2 2. Exploring TAS Model by Analyzing the Teachers’ Interview Kumiko Koma ....................15 3. Evaluation of Emotional Aspects of Students in Music Lessons Based on TAS Model Akihiko Nakamura ...............31 II. Peer-Reviewed Papers 1. The Emergently Interactive Process of musical Expression Production Between a Music Instructor and a Student Hiroshi Suga ...........................51 2. Various Effects inspired by Creating Music with Digital Audio Workstation Noriko Koyama ....................65 3. -
Exhibition Daito Manabe∽Rhizomatiks Research
News Letter, December 2018 Exhibition Daito Manabe∽Rhizomatiks Research 16th November 2018 – 14th January 2019 Venue: Kirishima Open-Air Museum, Kagoshima Prefecture 220 Koba 6340, Yusui-cho, Aira-gun, Kagoshima, 899-6201 Japan https://open-air-museum.org/en/ Daito Manabe’s artistic practice pushes computer programming to unexplored limits, consistently presenting innovative new approaches to heretofore conventional technologies. Throughout his prolific corpus of high-profile collaborations, Manabe has become an international name in diverse realms spanning design, art, and entertainment. The present exhibition represents Manabe’s first retrospective hosted by a domestic art museum, exploring his impressive oeuvre through an extensive display of extant performance pieces and behind-the-scenes documentation, as well as offering an unprecedented window into his most recent work. The Kirishima Open-Air Museum’s unique environment promises an unparalleled engagement with Manabe’s defining faculties of creativity and preternatural foresight. ARTIST Daito MANABE Tokyo-based artist, interaction designer, programmer, and DJ. Takahashi Shizuo by photo Launched Rhizomatiks in 2006. Since 2015, has served alongside Motoi Ishibashi as co- director of Rhizomatiks Research, the firm’s division dedicated to exploring new possibilities in the realms of technical and artistic expression with a focus on R&D- intensive projects. Specially-appointed professor at Keio University SFC. Manabe’s work in design, art, and entertainment takes a new approach to everyday materials and phenomenon. However, his end goal is not simply rich, high-definition realism by recognizing and recombining these familiar elemental building blocks. Rather, his practice is informed by careful observation to discover and elucidate the essential potentialities inherent to the human body, data, programming, computers, and other phenomena, thus probing the interrelationships and boundaries delineating the analog and digital, real and virtual. -
Japanese Artists in the United States, 1895-1955
Art across Borders: Japanese Artists in the United States, 1895-1955 Ramona Handel-Bajema Submitted in fulfillment of the requirements for the degree for Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 ©2012 Ramona Bajema All Rights Reserved Ramona Handel-Bajema ABSTRACT Art across Borders: Japanese Artists in the United States, 1895-1955 From the 1880s to the early 1920s, hundreds of artists left Japan for the United States. The length of their stays varied from several months to several decades. Some had studied art in Tokyo, but others became interested in art after working in California. Some became successful in the American art world, some in the Japanese art world, and some in both. They used oil paints on canvas, sumi ink on silk, and Leica cameras. They created images of Buddhist deities, labor protests, farmers harvesting rice, cabaret dancers, and the K.K.K. They saw themselves and were seen by others as Japanese nationals, but whether what they created should be called Japanese art proved a difficult and personal question. The case of Japanese artists in the United States during the first half of the twentieth century demonstrates that there is a national art – a Japanese art and an American art – but that the category is not fixed. A painting can be classified in the 1910s as Japanese, but the same painting can be included in a show of American art a few decades later. An artist can proclaim himself to be American, but can then be exhibited as a Japanese artist after his death. -
The Folk Music Revival Then and Now: Politics, Commercialism
THE FOLK MUSIC REVIVAL THEN AND NOW: POLITICS, COMMERCIALISM, AND AUTHENTICITY IN FOLK MUSIC COMMUNITIES IN THE U.S. AND JAPAN BY MIKIKO TACHI B.A., THE UNIVERSITY OF TOKYO, 1998 M.A., THE UNIVERSITY OF TOKYO, 2000 A.M., BROWN UNIVERSITY, 2002 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF AMERICAN CIVILIZATION AT BROWN UNIVERSITY PROVIDENCE, RHODE ISLAND MAY 2009 © Copyright 2009 by Mikiko Tachi This dissertation by Mikiko Tachi is accepted in its present form by the Department of American Civilization as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date___________ ______________________________ Susan Smulyan, Advisor Recommended to the Graduate Council Date___________ _____________________________ Paul Buhle, Reader Date___________ _____________________________ Jeff Titon, Reader Approved by the Graduate Council Date___________ _____________________________ Sheila Bonde, Dean of the Graduate School iii CURRICULUM VITAE Mikiko Tachi was born on January 30, 1976, in Tokyo, Japan. She attended the University of Tokyo, where she received her B.A. (1998) and M.A. (2000) in American studies. She entered the Ph.D. program in American Civilization at Brown University as a Fulbright scholar in 2000, and received her A.M. in 2002. She passed the preliminary examination and advanced to Ph.D. candidacy in December 2002. From April 2004 to September 2005, she served as research associate at the Graduate School of Arts and Sciences, The University of Tokyo, Japan. In October 2005, she was appointed as an assistant professor at the Division of International Languages and Cultures, Faculty of Letters, Chiba University, Japan, where she works as an associate professor from April 2007. -
A Critical Analysis of the Spiritual Therapy Phenomenon in Contemporary Japan
Spiritual Business? A Critical Analysis of the Spiritual Therapy Phenomenon in Contemporary Japan Ioannis Gaitanidis Submitted in accordance with the requirements for the degree of PhD The University of Leeds School of Modern Languages and Cultures East Asian Studies September 2010 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. i Preface and Acknowldegements My earliest memories of practising the Greek Orthodox religion into which I was born are those of fear. I still clearly remember standing behind the large door at the entrance of my grand-mother‘s house and crying as I refused to accompany my family to the church. The reason was neither some kind of demonic possession such as in the stories I encountered during my fieldwork in Japan, nor the deep aversion towards religious gatherings that I developed later in my life. The cause of my discontent was my fear of the fireworks thrown outside every Greek church just as the clock turns 12 on the night of the Great and Holy Saturday when Jesus‘s resurrection is welcomed with shouts of joy and congratulations among the Christians attending the service. My six-year old mind associated the deafening sound of the fireworks with church-going since, like most Greek families, we had been practising our religion only during the festive days of the Christmas and Easter holidays. -
Fujiimarimbadb.Pdf
No. Composer Title Date of Composing Date of Premiere Name of Concert Hall Name of Prefecture Country Performer Publisher Recording Marimba Fantasy, Xebec Music 1 Abe, Keiko Frogs 1958 1964 Ginza Yamaha Hall Tokyo Japan Keiko Abe (mar.) Studio 4 Productions Publishing Company Ltd. XECC-1004 Keiko Abe (mar.), Colombia Studio 2 Abe, Keiko Frog ~Orchestra Version 1958 1964 Columbia Studio Tokyo Japan No No Orchestra Marimba Fantasy, Xebec Music 3 Abe, Keiko Michi 1978 1979 U.S.A. Keiko Abe (mar.) Music for Percussion Publishing Company Ltd. XECC-1004 Schott Japan Campany Ltd. Marimba Fantasy, Xebec Music 4 Abe, Keiko Variations on Japanese Children's Songs 1982 1982 Austria Keiko Abe (mar.) (SJ050) Publishing Company Ltd. XECC-1004 Zimmermann Frankfurt Marimba Fantasy, Xebec Music 5 Abe, Keiko Dream of the Cherry Blossoms 1984 1984 Wurzburg Germany Keiko Abe (mar.) (ZM25100) Publishing Company Ltd. XECC-1004 6 Abe, Keiko Sea of Galilee for Six Mallets 1984 1984 U.S.A. Keiko Abe (mar.) No No Schott Japan Campany Ltd. Marimba Fantasy, Xebec Music 7 Abe, Keiko Wind in the Bamboo Grove 1984 1984 Michigan U.S.A. Keiko Abe (mar.) (SJ050) Publishing Company Ltd. XECC-1004 Schott Japan Campany Ltd. Marimba Fantasy, Xebec Music 8 Abe, Keiko Ancient Vase 1986 1986 Germany Keiko Abe (mar.) (SJ050) Publishing Company Ltd. XECC-1004 Schott Japan Campany Ltd. Marimba Fantasy, Xebec Music 9 Abe, Keiko Memories of the Seashore 1986 1986 Poland Keiko Abe (mar.) (SJ050) Publishing Company Ltd. XECC-1004 Xebec Music Publishing Marimba Fantasy, Xebec Music 10 Abe, Keiko Prism ~for Solo Marimba 1986 1986 Poland Keiko Abe (mar.) Company Ltd.