DOCSLIB.ORG

CONFERENCE ON-SITE ACTIVITIES All Sessions and Activities, Unless Otherwise Noted, Are Held at the Sheraton Seattle Hotel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
CONFERENCE ON-SITE ACTIVITIES All Sessions and Activities, Unless Otherwise Noted, Are Held at the Sheraton Seattle Hotel SCHEDULE AT A GLANCE 7a 8a 9a 10a 11a 12p 1p 2p 3p 4p 5p 6p 7p 8p 9p CONFErENCE ON-SiTE ACTiViTiES All sessions and activities, unless otherwise noted, are held at the Sheraton Seattle Hotel. For more information, visit janm.org/conference2013 expo Friday, July 5, 1 pm–5 pm WEDNESDAy, JULy 3 Saturday, July 6, 8 am–5 pm 2– 8p Registration The Expo is an opportunity to take a moment to review and reflect on the ConnectConference sessions through interactive, thought-provoking, and hands-on THUrSDAy, JULy 4 activities for all ages. Enhance your Conference experience as you further explore 9a–5p Bainbridge Island July 4th Celebration the issues surrounding democracy, justice, and dignity within the context of the 1:10p Seattle Mariners Baseball Game Japanese American story and your own cultural heritage and identity. (To be confirmed pending 2013 MLB schedule announcement in Fall 2012) Just for kids! In partnership with the Japanese Cultural & Community Center 2–8p Registration of Washington, the Expo features special activities for our young attendees ages FriDAy, JULy 5 5 to 12 years, including origami and storytelling. 7a–5p Registration Community Marketplace 8a–12noon Wing Luke Asian Friday, July 5, 1 pm–5 pm Museum of the Asian Pacific American Saturday, July 6, 8 am–5 pm Experience and International District Bus Tour (Ticketed) The Community Marketplace showcases community-based organizations and select vendors from across the nation. These invited exhibitors present the 1:30–3p Opening General Session with Keynote Address fascinating histories of their regional communities as well as their current 1–5p Community Marketplace and Expo projects and products of note. 3:15–4:45p Sessions 6:30–9p Screening and Discussion of Farewell to Manzanar with special appearance by Jeanne Wakatsuki Houston (Ticketed) SaturDAy, JULy 6 7a–5p Registration 7:30–8a Continental Breakfast Featured SpeakerS (partial listing as of 8/31/12) 8a–5p Community Marketplace and Expo Sybil Jordan 8–9:15a Opening Plenary Hampton, Ed.D. with Keynote Address Jeanne Wakatsuki 9:30–10:45a Sessions Houston Screening and discussion of Farewell to Manzanar 11–12:15a Sessions Tom Ikeda with special appearance by Jeanne Wakatsuki Houston pm– pm 12:30–1:45p Luncheon with Keynote Address (Ticketed) The Honorable Friday, July 5, 6:30 9 Daniel K. Inouye (Ticketed Event, proceeds will support JANM’s educational programming.) 2–3:15p Sessions Irene Hirano Inouye The 1976 made-for-TV filmFarewell to Manzanar, written by Jeanne Wakatsuki 3:30–4:45p Closing General Session and James Houston and directed by John Korty, was the first commercial film Craig Ishii 6–9p Dinner Banquet with Keynote Addresses by The Honorable Daniel K. Inouye, written, performed, photographed, and scored by Japanese Americans about the U.S. Senator, Hawai`i, and The Honorable Norman Y. Mineta (Ticketed) The Honorable World War II camp experience. Based on the book by Jeanne Wakatsuki Houston, Mike Lowry* who was just seven years old when her family was sent to live at Manzanar, it is SUNDAy, JULy 7 Mitch Maki, Ph.D. the story of one Japanese American family’s experience. Originally broadcast on 6:45a–7p Bainbridge Island Bus Tour primetime television but rarely seen for the past 35 years, the film is a modern (Ticketed) The Honorable Norman Y. Mineta classic about the effects of war on youth and the human spirit. JANM is pleased 9:30a–12noon Wing Luke Asian Museum of the Alan Nishio to present this historical film in a special Conference screening. Asian Pacific American Experience and Funding for the Farewell to Manzanar DVD project was provided by a grant from the California Nihonmachi Walking Tour (Ticketed) The Honorable State Library through the California Civil Liberties Public Education Program. Mary Schroeder* Additional support provided by the Orange County Nikkei Coordinating Council. Eric Yamamoto, J.D.* *invited Page 5 photo credits, left to right: Tracy Kumono, Tracy Kumono, Tracy Kumono, photo courtesy of NBCUniversal. CONFErENCE OFF-SiTE ACTiViTiES Bainbridge island 4th of July Celebration Bainbridge island Bus tour Special conference excursions have been tHurSday, July 4, 9 am–5 pm (Free/On your Own) Sunday, July 7, 6:45 am–7 pm* (Ticketed Event) arranged to enhance your visit to the Enjoy a traditional Grand Old 4th of July celebration that includes a 4th of July Journey through history as you discover the Japanese American experience on street fair with entertainment, food booths, arts and crafts, an antique car show, Bainbridge Island. The tour bus will take the ferry from Seattle to Bainbridge Island Seattle area and offer a glimpse into and a parade from 1 pm to 3 pm. Information and maps will be available at the where local Islanders will lead the tour to five key Island landmarks—Bainbridge the present-day Seattle Nikkei community Conference registration desk to help you plan your visit. Other suggested sites Island Japanese American ExclusionDiscove Memorial, Bainbridge Gardens, Suyematsu r and its history. Reservations are available to explore: Bainbridge Island Historical Museum and the Bainbridge Island Farm, Woodward Middle School, and Sonoji Sakai Intermediate School. on a first-come, first-served basis and Japanese American Exclusion Memorial. For more information on Bainbridge $70 per person (includes bus ride to and from Sheraton Seattle Hotel, ferry ride, and Island, visit www.bainbridgeisland.com. lunch). Space is limited; reservations on a first-come, first-served basis. space is limited. ADA accommodations *Due to weekend holiday traffic, the return time is an approximate arrival time and other special requests can be made at the hotel. at the time of your registration: Seattle Mariners Baseball Game JANM staff must be informed at tHurSday, July 4, 1:10 pm (To be confirmed pending 2013 MLB schedule announcement in Fall 2012) [email protected] by May 5, 2013. Wing luke asian Museum of the Wing luke asian Museum of the asian pacific american asian pacific american experience and experience and international district Bus tour nihonmachi Walking tour Friday, July 5, 7:30 am–12:15 pm (Ticketed Event) Sunday, July 7, 9:30 am–12 pm (Ticketed Event) Explore Seattle’s historic International District by bus and see where the Discover the historic sites of Seattle’s Japantown by foot. Brought to you by pioneers of this neighborhood lived. Learn about the lives of the area’s first The Wing, this tour introduces early life in Japantown and includes visits Chinese, Japanese, and Filipino immigrants and laborers and see how the to the Panama Hotel, Kobo at Higo Store, Nippon Kan Theater, and Kobe neighborhood has changed over time. The final stop will end with a tour of Terrace Park. The tour concludes at The Wing, with free time provided The Wing. afterwards to visit the museum, have lunch on your own, and shop in the $40 per person (includes bus ride to and from Sheraton Seattle Hotel and International District. lunch). Space is limited; reservations on a first-come, first-served basis. $25 per person (includes entrance fee to The Wing museum and tour.) Space is limited; reservations on a first-come, first-served basis. Note: tour walking distance is a leisurely one mile, with some uphill walking. Page 6 and 7 photo credits, left to right: JoAnn Hamamura, JoAnn Hamamura, JoAnn Hamamura, JoAnn Hamamura, JoAnn Hamamura, Julie Hanada, Wing Luke Asian Museum, JoAnn Hamamura, JoAnn Hamamura, JoAnn Hamamura, JoAnn Hamamura, JulieShare Hanada, JoAnn Hamamura, Julie Hanada, Julie Hanada. CONFErENCE SESSiONS BASiC iNTrO 5 the World War ii nikkei the part of the U.S. government. the art form continues to connect experience. This interactive Family members on this panel share people of different generations, presentation shares first-person All registered Conference participants experiences in the pacific rim 1 tangled routes to Japanese (Hawai`i, Latin America, Japan) their perspectives and the role the regions, and cultural backgrounds. recollections about childhood in a will be able to attend breakout Rememberpetitions played in the quest for This multigenerational panel shares concentration camp, in a free-zone american redress The issue of citizenship rights of While the usual narrative of Japanese redress. thoughts on the role of taiko in inland community, or in Japan. sessions scheduled on July 5 and 6. persons of Japanese ancestry who American redress focuses on the Nikkei activism and how it has shaped The sessions are organized into five resided in the Pacific Rim at the onset 9 16 roles played by the Japanese American Standing on principle individual identities. in My parents’ Words: topic areas of World War II remains an important Protest and dissent have historically —Basic intro, Speaking Citizens League (JACL), the National Issei Voices from department one. The panel focuses on the constituted a robust strain within 13 up!, dignity, youth-Friendly, Council for Japanese American revisiting the 1942 of Justice Camps experience of living under martial law, American history. This panel discusses and . Redress (NCJAR), and the National tolan Committee and the Prohibited by law from becoming Sessions in Japanese forcible removal, limited incarceration, the principled resistance by Coalition for Redress/Reparations Issei, Nisei, 1981 CWriC Hearings at naturalized U.S. citizens, select Issei The following are brief overviews of the and being stranded in a foreign and non-Japanese Americans during (NCRR), this panel explores the pacific northwest Sites were the first to be confined in country, among other topics. World War II. topics planned for each session and are significant role played by less- In 1942 the Tolan Committee Department of Justice camps following Japan’s attack on Pearl Harbor. During subject to change. For more detailed recognized groups and individuals and 6 World War ii and redress 10 pilgrimages’ progress: conducted hearings on the need to this panel sons and daughters share descriptions and panel speakers, illustrates the community-wide nature experiences of Japanese Manzanar, tule lake, exclude Americans of Japanese of the redress movement.
Load more

Recommended publications
  • Mertens 2000 Revised
    MERTENS 1 "Kokoro (True Heart)" by Velina Hasu Houston Summary: When Yasako and her family move to the United States, she struggles to adapt to American life while retaining Japanese culture in herself and her young daughter. Her husband decries her inability to acculturate yet expects her to conform to traditional Japanese family roles. When she discovers her husband's infidelity and must respond to his mistress' threats, Yasako believes the only way to preserve her dignity is oyako shinju (parent-child suicide). Activities for students: Pre-reading ** Japanese words/phrases found in the play bun-cha: evening tea bun-shin: Japanese belief that the child is a part of the mother -chan: used after a person's given name to express intimacy and affection; also used as a diminutive for children; (i.e. Kuniko-chan) kokoro: spirit; heart; mind kuro-ko: stage assistants who help actors with their costumes and props; they are usually dressed completely in black obon: Japanese summer festival during which people express their gratitude to their dead ancestors obon dori: religious folk dance that is done to comfort the spirits of the dead. People gather around a wooden platform at a temple or shrine which is decorated with lanterns and dance to the accompaniment of traditional drum and flute music. The dances differ according to MERTENS 2 locality, and today many modern or even foreign songs and dances have been introduced into the obon festival. okaasan: mother otosan: father o-manju: bean-paste filled bun oyaku shinju: parent-child suicide yukata: cotton summer kimono ** Cultural Defense - Group Activity (one class period) ** Objectives 1.
    [Show full text]
  • Transnational Feminist Theatre of Velina Hasu Houston Mariko HORI
    ISSN 1347-2720 ■ Comparative Theatre Review Vol.11 No.1 (English Issue) March 2012 Shaping a New Communal Identity: Transnational Feminist Theatre of Velina Hasu Houston Mariko HORI Abstract Velina Hasu Houston, a Los Angeles-based American writer, is often regarded as a multicultural or postmodern playwright because of the characteristics of her works written from her transnational or multiracial point of view, but she posits herself as a feminist writer, resisting the labels such as “multicultural artist” or “postmodernist” that may force every “ethnic theater” into “an artistic ghetto.” She creates works revealing struggles and frustrations of transnational, multicultural and multiracial women in the white male-centered society, dreaming of a new world community where they are treated equally and with respect. Houston challenges to accepted practices by exploring theatrical innovations in her pursuit of an identity that dissolves any border. In her most successful play, Tea, her her- oine, a ghost, who, having killed her husband and lost her daughter, committed suicide, crosses the border between this world and that world, listening to the interactions of four other Japanese women who are visiting her house. Scenes go back and forth; in some scenes five women enact the roles of their husbands and daughters. Such use of scenes defies chronological order; the use of geographically unfixed sets and multiple roles played by a single performer are features often seen in contemporary feminist theatre. She often re-envisions the gender relations of ancient myth and creates a new myth where individuals “transgress borders of nations and identity, forming new communities that often defy categorization.” Mina in The House of Chaos, based on the Medea myth, is a Japanese woman who defeats her husband and his male ally who conspired to drive her away to rob her of the firm she had inherited from her Japanese family.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Pluralistic Realities and Tenuous Paradigms: Critical Examinations of Race and "Normativity" in Japanese/American Multiethnic and Multiracial History Permalink https://escholarship.org/uc/item/4j3997h8 Author Ong, James Man Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Pluralistic Realities and Tenuous Paradigms: Critical Examinations of Race and “Normativity” in Japanese/American Multiethnic and Multiracial History A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Asian American Studies by James Man Ong 2014 © Copyright by James Man Ong 2014 ABSTRACT OF THIS THESIS Pluralistic Realities and Tenuous Paradigms: Critical Examinations of Race and “Normativity” in Japanese/American Multiethnic and Multiracial History By James Man Ong Master of Arts in Asian American Studies University of California, Los Angeles, 2014 Professor Lane Ryo Hirabayashi, Chair In both the US and Japan in recent decades, multiethnicity has become an increasingly significant phenomenon for Japanese/Americans. Though relative minorities in the past, mixed individuals have become an emerging demographic as successive generations of individuals of Japanese and non-Japanese ancestry have transgressed social barriers, ethnic racial boundaries and national divides, blending diverse ancestries and cultures into unique syntheses. While individuals
    [Show full text]
  • Show Me the Money Pacific Gitizen 9
    Newsstand: 25¢ $1.50 postpaid (U.S., Can.) I $2.30 (Japan Air) #29901 Vol. 136, No. 7ISSN: 0030-8579 National Publication of the Japanese American Citizens League (JACL) APR. 18-MAY 1, 2003 Census Shows Increase in Hapas; Playwright APAs React to Michigan Affirmative Action Houston Notes Growing Acceptance Among Asians Cases Going Before Supreme Court By MARTHA NAKAGAWA Southern California where she is By TRACYUBA final ruling will have a lot of gray undergraduate programs because Assistant Editor currently a professor of theater WriterlReporter area and the Supreme Court won't race and diversity factors and director of the playwriting rule completely in favor [ot} or allowed less qualified minority Personal account from interna­ program at USC's School of Asian Pacific Americans completely against the use of race students to get in ahead of them. tionally acclaimed playwright Theatre. across the country reacted to two in admissions. The tricky part is The court is expected to delib­ Velina Hasu Houston and 2000 highly scrutinized cases involv­ how much gray area they will erate over the next two months The event was co-sponsored by · Census data analyzed by the Asian USC's Asian Pacific American ing the University of Michigan 's allow through the language that and a decision may be rendered Pacific American Legal Center Student Services, USC Nikkei use of race as in late June. confirm that the Nikkei communi­ Association and the Japanese an admissions After six ty has evolved into a highly multi­ American Historical Society of factor in its law years of legal ethnic community.
    [Show full text]
  • English-Language Works by JAAS Members 1998
    The Japanese Journal of American Studies, No. 11 (2000) English-Language Works by JAAS Members 1998 The following citations and abstracts introduce recent publications and dis- sertations, written in English by members of the Japanese Association for American Studies, on topics related to American Studies. The works are list- ed in the order of articles in journals, articles in books, and dissertations. ARTICLES IN JOURNALS Asada, Sadao. “The Shock of the Atomic Bomb and Japan s Decision to Surrender—A Reconsideration.” Pacific Historical Review 67:4 (1998): 477–512. Microscopically examining Japan’s decision-making process in the days between the Hiroshima bomb and surrender in August 1945, this article critically reviews both American and Japanese historiography. A close study of the Japanese side of the pic- ture shows that the arguments of the “atomic diplomacy” thesis as advanced by Gar Alperovitz and Martin Sherwin are totally untenable. Fujita, Hideki. “Cannibalism in Tennessee Williams’ ‘Desire and the Black Masseur.’” Journal of the Faculty of Humanities (Toyama University) 29 (1998): 73–80. In “Desire and the Black Masseur,” Williams describes cannibalism as a sado- masochistic act in religious imagery and language, thereby revealing the significant link between the sensual and the spiritual. Cannibalism in this story represents a form of interpersonal union, one of Williams’s major thematic obsessions. Fujita Hideki. “Gender Strife in Tennessee Williams’ A Streetcar Named Desire.” New Perspective 168 (1998): 43–50. Williams’ A Streetcar Named Desire displays the intense gender struggle through the antagonism between two major characters, Stanley and Blanche. This play shows that 219 220 ENGLISH-LANGUAGE WORKS IN 1998 the power relations between the masculine and the feminine are inextricably connect- ed with questions of signification and sexuality.
    [Show full text]
  • In Velina Hasu Houston's Kokoro
    The Japanese Journal of American Studies, No. 11 (2000) Creating a Feminist Transnational Drama: Oyako-Shinju (Parent-Child Suicide) in Velina Hasu Houston’s Kokoro (True Heart) Masami USUI IINTRODUCTION Velina Hasu Houston’s play Kokoro examines the Japanese traditional practice of oyako-shinju, or parent-child suicide, in a transnational con- text. A 1985 oyako-shinju case in Santa Monica motivated Houston to do further research and ultimately complete Kokoro as a drama.1 On January 29, 1985, a 32-year-old Japanese woman attempted oyako-shin- ju with her 4-year-old son and her 6-month-old daughter at the Santa Monica seashore. Only the mother survived. Her 40-year-old husband, an artist and restauranteur in Chatsworth, had kept a Japanese mistress for three years. The couple had been married about eight years and had lived in the States for about six years when this incident occurred. Kokoro uses key facts from newspaper articles, such as the out-of-fashion Japanese practice of the wife’s bathing the husband’s legs, the wife’s insomnia whose symptom is a loss of hair, the wife’s journal and poet- ry written during her imprisonment in the Los Angeles County Jail, and a neighbor’s assistance with childcare. The 1985 oyako-shinju incident “certainly makes us consider how the Japanese culture can be judged in the States and also how deeply the frequency of oyako-shinju is related Copyright © 2000 Masami Usui. All rights reserved. This work may be used, with this notice included, for noncommercial purposes. No copies of this work may be distributed, electronically or otherwise, in whole or in part, without per- mission from the author.
    [Show full text]
  • UC Santa Barbara Electronic Theses and Dissertations
    UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Race and Role: The Mixed-race Asian Experience in American Drama Permalink https://escholarship.org/uc/item/9qv6d1mn Author Heinrich, Rena M. Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Race and Role: The Mixed-race Asian Experience in American Drama A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater Studies by Rena M. Heinrich Committee in charge: Professor Christina S. McMahon, Chair Professor Ninotchka Bennahum Professor Paul Spickard June 2018 The dissertation of Rena M. Heinrich is approved. ____________________________________________ Ninotchka Bennahum ____________________________________________ Paul Spickard ____________________________________________ Christina S. McMahon, Committee Chair June 2018 Race and Role: The Mixed-race Asian Experience in American Drama Copyright © 2018 by Rena M. Heinrich iii ACKNOWLEDGEMENTS I am deeply indebted to my committee members Drs. Christina S. McMahon, Ninotchka Bennahum, and Paul Spickard for their endless support, crucial mentorship, enthusiastic cheerleading, and abundant wisdom. I thank the faculty, the staff, and my colleagues in the Department of Theater and Dance for their generosity of spirit and their unwavering belief in my endeavors. I am especially indebted to Blythe Foster, Ming Lauren Holden, Yasmine M. Jahanmir, Kelli Coleman Moore, Rachel Wolf, and Rebecca Wear for looking after my children and making it possible to do this work. I thank the Department of Asian American Studies—faculty, staff, and fellow teaching assistants for their kindness, support, and good cheer. I thank my colleagues in the Department of History for their many hours of caring feedback.
    [Show full text]
  • Maternity in Velina Hasu Houston's Plays: TEA (1986), Kokoro (True Heart 1994), and Calling Aphrodite (2003)
    Bulletin of The Faculty of Arts, Vol. (45), No. (2) October 2017 Maternity in Velina Hasu Houston's Plays: TEA (1986), Kokoro (True Heart 1994), and Calling Aphrodite (2003). )*( Manar Taha Ibrahim Objectives: This paper sheds light on Julia Kristeva's concept of Maternity in Houston's plays TEA, Kokoro (True Heart), and Calling Aphrodite. It explores three stereotypes of the Japanese women registered in the Post-World War II history: the War Brides in TEA, the immigrant Japanese Woman/oyako-shinju mothers in Kokoro, and the Hiroshima Maidens in Calling Aphrodite. Houston in these plays emphasizes the strong tie between mother and child through all kinds of racial, social, and patriarchal discrimination they are subjected to. Velina Hasu Houston has been writing plays from her transnational, multiracial point of view since the beginning of her career. Born of a Japanese mother and an African - American father, she questioned the single monoracial identity and the racial black-and-white binary division established in the United States since the days of slavery. Her personal heritage and upbringing naturally placed her in a challenging )*( Researcher At English Department, Faculty of Arts, Sohag University. This paper is part of an M.A. thesis entitled : “Maternity in Velina Hasu Houston's Plays: TEA (1986), Kokoro (True Heart 1994), and Calling Aphrodite (2003)”, Supervised by Prof. Fawzia Ali Gadallah & Ismail Abdel Ghani and Samir Abdel Naeim - Faculty of Arts - Sohag University. 727 Maternity in Velina Hasu Houston's Plays: TEA (1986), Kokoro (True Heart 1994), and Calling Aphrodite (2003( position to a society that is based on multicultural communities.
    [Show full text]
  • Print Version (Pdf)
    Special Collections and University Archives : University Libraries Roberta Uno Asian American Women Playwrights Scripts Collection 1924-2002 25 boxes (9 linear ft.) Call no.: MS 345 Collection overview Roberta Uno was the founder and long time artistic director of the New World Theater at UMass Amherst, a theater in residence dedicated to the production of works by playwrights of color. Established by Uno in 1993, the Asian American Women Playwrights Scripts Collection contains manuscripts of plays, but also production histories, reviews, and articles, along with biographies and audio and videotaped interviews with playwrights. Among the individuals represented are Brenda Wong Aoki, Jeannie Barroga, Marina Feleo Gonzales, Jessica Hagedorn, Velina Hasu Houston, Genny Lim, le thi diem thuy, Ling-Ai Li, Victoria Nalani Kneubuhl, Nobuko Miyamoto, Bina Sharif, and Diana Son. See similar SCUA collections: Arts and literature Immigration and ethnicity Performing arts UMass faculty Women Background on Roberta Uno Born in Hawaii and raised in Los Angeles, Roberta Uno intended to study medicine when she enrolled at Hampshire in the mid-1970s, but grew increasingly interested in the theater. After graduation in 1977, she took a year off to explore playwriting before applying to medical school; however, that year turned into a career. Hired by the Office of Student Activities, Uno developed the idea of establishing a truly multicultural theatrical Coconut Masquerade postcard company, which launched in 1979 AS The Third World Theater Series, developed into the New World Theater, a theater in residence dedicated to the production of works by playwrights of color. Serving for 23 years as the Theater's artistic director and as professor of theatre at the University, Uno directed and helped produce dozens of plays by both new and established playwrights, many from outside the mainstream of university- affiliated theatrical companies.
    [Show full text]
  • Outside Mullingar at Theatreworks Encore Arts San
    ProgramCALLIGRAPHY.qxp_LayoutProgramCALLIGRAPHY.qxp_Layout 1 12/16/17 2/16/17 11:50 11:50 AM AM Page Page 3 3 CCaalllliiggrraapphhyy ProgramCALLIGRAPHY.qxp_Layout 1 2/16/17 11:50 AM Page 4 March 2017 About TheatreWorks Silicon Valley Volume 48, No. 6 Welcome to TheatreWorks Silicon Valley and our 47th season of award-winning theatre. Led by Founding Artistic Director Robert Kelley and Managing Director Phil Santora, TheatreWorks Silicon Valley presents a wide range of productions and programming throughout the region. Founded in 1970, we continue to celebrate the human spirit and the diversity Paul Heppner Publisher of our community, presenting contemporary plays and musicals, revitalizing great works of the past, championing arts education, and nurturing new works Susan Peterson for the American theatre. TheatreWorks has produced 66 world premieres Design & Production Director and 160 US and regional premieres. In the 2016/17 season, we add the world Ana Alvira, Robin Kessler, premiere of Confederates and four more regional premieres to our résumé. Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design TheatreWorks Silicon Valley’s 2015/16 season included the world premiere of Mike Hathaway the musical Triangle, as well as regional premieres of The Country House, Sales Director Hershey Felder as Irving Berlin, tokyo fish story, Cyrano, and The Velocity of Marilyn Kallins, Terri Reed, Rob Scott Autumn. Hershey Felder as Irving Berlin broke all our box office records, San Francisco/Bay Area Account Executives becoming the highest-grossing show in TheatreWorks’ history. In the course of the year, shows that debuted here were produced at theatres around the world.
    [Show full text]
  • FEBRUARY 14-16, 2013 Festival XLV LOS ANGELES THEATRE CENTER KCACTF 2013 - 1 KCACTF 2013 - 2 the Kennedy Center American College Theater Festival 45
    KC AC KENNEDY CENTER AMERICAN COLLEGE THEATER FESTIVAL TREGION VIII F FEBRUARY 14-16, 2013 Festival XLV LOS ANGELES THEATRE CENTER KCACTF 2013 - 1 KCACTF 2013 - 2 The Kennedy Center American College Theater Festival 45 Presents The Forty–Fifth Annual Region VIII Festival 2013 Arizona, Central and Southern California, Hawaii, Southern Nevada, Utah February 14 – 16, 2013 Los Angeles Theatre Center Hosted by Latino Theater Company Presented by The John F. Kennedy Center for the Performing Arts The Kennedy Center American College Theater Festival, part of the Rubenstein Arts Access Program, is generously funded by David and Alice Rubenstein. Additional support is provided by The Honorable Stuart Bernstein and Wilma E. Bernstein, Dr. Gerald and Paula McNichols Foundation, the National Committee for the Performing Arts, The Harold and Mimi Steinberg Charitable Trust, and Beatrice and Anthony Welters and the AnBryce Foundation. Gifts and grants to education at the Kennedy Center are provided by Adobe Foundation; Sandra K. & Clement C. Alpert; AnBryce Foundation; Bank of America; Bernstein Family Foundation; The Honorable Stuart Bernstein and Wilma E. Bernstein; Captial One Bank; Carter and Melissa Cafritz Charitable Trust; Centene Charitable Foundation; Citibank; The Charles Engelhard Foundation; Clark Charitable Foundation; Community Advisory Board; Mike and Julie Connors; CVS Caremark; DC Commission on the Arts and Humanities; Dr. Gerald and Paula McNichols Foundation; Fight for Children, Inc.; David Gregory and Beth Wilkinson; Harman Family Foundation; The Harold and Mimi Steinberg Charitable Trust; Harris Corporation; Hilton Worldwide; The J. Willard and Alice S. Marriott Foundation; The Jacob and Charlotte Lehrman Foundation; Mr. James V. Kimsey; The Kiplinger Foundation; The Kirstein Family Foundation; Natalie and Herb Kohler and Kohler Co.; Kenneth and Lucy Lehman; The Macy’s Foundation; Margaret A.
    [Show full text]
  • 2015 Velina Hasu Houston Cv 08192015
    VELINA HASU HOUSTON, Ph.D. Curriculum Vitae EDUCATION Doctor of Philosophy, Critical Studies in Cinema and Television (Minor: English), University of Southern California, School of Cinematic Arts, May 2000. Master of Fine Arts in Theater Arts – Playwriting (Minor: Screenwriting), University of California at Los Angeles, School of Theater, Film and Television; June 1981. Bachelor of Arts in Journalism and Mass Communications (Minors: Philosophy, Theatre), A.Q. Miller School of Journalism, Kansas State University at Manhattan; June 1979. Phi Beta Kappa EXPERTISE Playwriting, musical theatre (book and lyrics), opera (libretti), screenwriting, dramaturgy, critical studies in theatre and cinema (Asian American drama, multiracial/mixed race/multicultural/US-Japan studies). ACADEMIC HISTORY* University of Southern California, 1990-Present. Associate Dean of Faculty Recognition and Development, University of Southern California, School of Dramatic Arts, Los Angeles, 2007-Present. Professor of Theatre, Director of Dramatic Writing, Resident Playwright, University of Southern California, School of Dramatic Arts, Los Angeles, 2003-Present. Tenured 1996. Co-founder, Asian American Studies, University of Southern California Associate Professor, Resident Playwright, Director of Playwriting, University of Southern California, School of Dramatic Arts, Los Angeles, 1996-2003. Assistant Professor Tenure Track, Resident Playwright, Director of Playwriting, University of Southern California, School of Dramatic Arts, Los Angeles, 1991-1996. Visiting Assistant Professor, University of Southern California, School of Dramatic Arts, Los Angeles, 1990-1991. Affiliated Faculty, Gender Studies, University of Southern California, School of Dramatic Arts, Los Angeles, 1990- Present. Affiliated Faculty, East Asian Studies, University of Southern California, School of Dramatic Arts, Los Angeles, 1990-Present. Affiliated Faculty, Asian American Studies Program, University of Southern California, School of Dramatic Arts, Los Angeles, 1990-Present.
    [Show full text]