Curriculum Vitae Makoto Fujimura
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Jazz at Lincoln Center with Wynton Dave Liebman Explained from His Seat at Jazz at Marsalis Fêted Mccoy Tyner and Charles Mcpherson Kitano’S Bar (Apr
new york @ nigHt To provide healthcare and disaster relief for needy Jazz these days can be found most anywhere, from musicians, Wendy Oxenhorn and the Jazz Foundation hallowed concert hall to basement dive bar screaming o f of America must repeatedly replenish the non-profit’s fire-code violations. But perhaps the best place to hear FrEeDoM Sound coffers. The 17th annual “A Great Night in Harlem” creative musicians is in the company of other creations, benefit, held at the Apollo Theater on the anniversary like an art gallery or bookstore. There is an analogue of Martin Luther King’s 1968 assassination (Apr. 4th), between the notes and lines being generated by the could have been a somber occasion, but the mood was instruments and the colors and textures of a painting celebratory. Harry Belafonte (not present), Tony or sentences and themes of a novel. This synergy is Bennett and the late Hugh Masekela were honored for what drove local jazz journalist and all-around lifelong commitment to humanitarian causes, each an enthusiast Luigi Santosuosso to form a partnership agent for political change through music. Indeed, in with Rizzoli Books, one of the city’s most charming his remembrances of Belafonte and King, erstwhile purveyors of print. His series is in its ninth month and Civil Rights activist/ambassador Andrew Young fills a need for afternoon jazz appropriate for both quoted Paul Robeson: “Artists are the gatekeepers of aficionados and families striving to become so. On the truth.” The music, casual but passionate, scripted yet first gorgeous weekend of 2019, a large crowd came to freeform, reinforced the political spirit. -
Spring 2007 Newsletter
Dance Studio Art Create/Explore/InNovate DramaUCIArts Quarterly Spring 2007 Music The Art of Sound Design in UCI Drama he Drama Department’s new Drama Chair Robert Cohen empa- a professor at the beginning of the year, graduate program in sound sized the need for sound design initia- brings a bounty of experience with him. design is a major step in the tive in 2005 as a way to fill a gap in “Sound design is the art of provid- † The sound design program Tdepartment’s continuing evolution as the department’s curriculum. “Sound ing an aural narrative, soundscape, contributed to the success of Sunday in The Park With George. a premier institution for stagecraft. design—which refers to all audio reinforcement or musical score for generation, resonation, the performing arts—namely, but not performance and enhance- limited to, theater,” Hooker explains. ment during theatrical or “Unlike the recording engineer or film film production—has now sound editor, we create and control become an absolutely the audio from initial concept right vital component” of any down to the system it is heard on.” quality production. He spent seven years with Walt “Creating a sound Disney Imagineering, where he designed design program,” he con- sound projects for nine of its 11 theme tinued, “would propel UCI’s parks. His projects included Cinemagique, Drama program—and the an interactive film show starring actor collaborative activities of Martin Short at Walt Disney Studios its faculty—to the high- Paris; the Mermaid Lagoon, an area fea- est national distinction.” turing several water-themed attractions With the addition of at Tokyo Disney Sea; and holiday overlays Michael Hooker to the fac- for the Haunted Mansion and It’s a Small ulty, the department is well World attractions at Tokyo Disneyland. -
Asian Cultural Council 2018 Annual Report TABLE of CONTENTS
asian cultural council 2018 annual report TABLE OF CONTENTS 1. Message from Chairman & Executive Director 2. Board of Trustees 3. Partner Foundations 4. Messages from ACC’s Asia Directors 8. 2018 Program Overview 12. Public Programs & Partnerships 14. 2018 Grantee Highlights 20. 2018 Grants 22. JDR 3rd Award 24. BHR Award 26. Global Anniversary Celebrations 36. 2018 Events around the World 37. Donors 40. Financial Summary 42. Staff Cover: Ethnomusicologist Susie Ibarra The Wooster Group performing The recording a sound test on Easton Glacier, WA Town Hall Affair in Japan AT THE HEART OF ACC is a celebration of meaningful connection across borders. We believe that bringing people together from seemingly disparate backgrounds to discover commonality and appreciate differences is what creates a global consonance and commitment to a shared future. By empowering artists, scholars, and arts professionals to travel and pursue life- changing experiences in Asia and the U.S., we enact our core belief that cultural exchange is the most powerful WENDY O’NEILL MIHO WALSH tool we have to build a more harmonious world. Chairman Executive Director In 2018, ACC celebrated 55 years of work in cultural exchange, our investment to date of $100 million in direct grant-giving, and support for exchange opportunities to artists and scholars in Asia and the U.S. We showcased our brilliant alumni and gathered our ever-expanding global network of friends at our 55th Anniversary Gala in New York, where we honored John D. Rockefeller 3rd Award recipient Shen Wei (ACC 1995, 2017) alongside longtime ACC supporters and leading philanthropists David and Susan Rockefeller, who announced a $1 million endowment gift from the Estate of David Rockefeller, Sr. -
Some Notes on John Zorn's Cobra
Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come. -
Illustration and the Visual Imagination in Modern Japanese Literature By
Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature By Pedro Thiago Ramos Bassoe A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor in Philosophy in Japanese Literature in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Daniel O’Neill, Chair Professor Alan Tansman Professor Beate Fricke Summer 2018 © 2018 Pedro Thiago Ramos Bassoe All Rights Reserved Abstract Eyes of the Heart: Illustration and the Visual Imagination in Modern Japanese Literature by Pedro Thiago Ramos Bassoe Doctor of Philosophy in Japanese Literature University of California, Berkeley Professor Daniel O’Neill, Chair My dissertation investigates the role of images in shaping literary production in Japan from the 1880’s to the 1930’s as writers negotiated shifting relationships of text and image in the literary and visual arts. Throughout the Edo period (1603-1868), works of fiction were liberally illustrated with woodblock printed images, which, especially towards the mid-19th century, had become an essential component of most popular literature in Japan. With the opening of Japan’s borders in the Meiji period (1868-1912), writers who had grown up reading illustrated fiction were exposed to foreign works of literature that largely eschewed the use of illustration as a medium for storytelling, in turn leading them to reevaluate the role of image in their own literary tradition. As authors endeavored to produce a purely text-based form of fiction, modeled in part on the European novel, they began to reject the inclusion of images in their own work. -
The Piano Equation
Edward T. Cone Concert Series ARTIST-IN-RESIDENCE 2020–2021 Matthew Shipp The Piano Equation Saturday, November 21 2020 8:00 p.m. ET Virtual Concert, Live from Wolfensohn Hall V wo i T r n tu so osity S ea Institute for Advanced Study 2020–2021 Edward T. Cone Concert Series Saturday, November 21, 2020 8:00 p.m. ET MATTHEW SHIPP PROGRAM THE PIANO EQUATION Matthew Shipp Funding for this concert is provided by the Edward T. Cone Endowment and a grant from the PNC Foundation. ABOUT THE MUSIC David Lang writes: Over the summer I asked Matthew Shipp if he would like to play for us the music from his recent recording The Piano Equation. This album came out towards the beginning of the pandemic and I found myself listening to it over and over—its unhurried wandering and unpredictable changes of pace and energy made it a welcome, thoughtful accompaniment to the lockdown. My official COVID soundtrack. Matthew agreed, but he warned me that what he would play might not sound too much like what I had heard on the recording. This music is improvised, which means that it is different every time. And of course, that is one of the reasons why I am interested in sharing it on our season. We have been grouping concerts under the broad heading of ‘virtuosity’–how music can be designed so that we watch and hear a musical problem being overcome, right before our eyes and ears. Improvisation is a virtuosity all its own, a virtuosity of imagination, of flexibility, of spontaneity. -
Asian Americans and Creative Music Legacies
UC Irvine UC Irvine Previously Published Works Title Asian Americans and Creative Music Legacies Permalink https://escholarship.org/uc/item/7hf4q6w5 Journal Critical Studies in Improvisation / Études critiques en improvisation, 1(3) Author Dessen, MJ Publication Date 2006 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Critical Studies in Improvisation / Études critiques en improvisation, Vol 1, No 3 (2006) Asian Americans and Creative Music Legacies Michael Dessen, Hampshire College Introduction Throughout the twentieth century, African American improvisers not only created innovative musical practices, but also—often despite staggering odds—helped shape the ideas and the economic infrastructures which surrounded their own artistic productions. Recent studies such as Eric Porter’s What is this Thing Called Jazz? have begun to document these musicians’ struggles to articulate their aesthetic philosophies, to support and educate their communities, to create new audiences, and to establish economic and cultural capital. Through studying these histories, we see new dimensions of these artists’ creativity and resourcefulness, and we also gain a richer understanding of the music. Both their larger goals and the forces working against them—most notably the powerful legacies of systemic racism—all come into sharper focus. As Porter’s book makes clear, African American musicians were active on these multiple fronts throughout the entire century. Yet during the 1960s, bolstered by the Civil Rights -
Uemura Shoen FINAL Aug 4
Press Release 2021.08.04 Kyoto City KYOCERA Museum of Art 1st Anniversary Exhibition Uemura Shoen July 17 (Sat), 2021 – September 12 (Sun), 2021 As one of its 1st anniversary exhibitions, the Kyoto City KYOCERA Museum of Art is presenting a retrospective exhibition of Uemura Shoen (1875-1949), a leading Nihonga painter and major figure in the Kyoto modern art scene. This exhibition, nearly 50 years since the Museum’s 1974 retrospective commemorating the 100th anniversary of Uemura’s birth, includes two designated Important Cultural Properties: Jo-no-mai (Dance Performed in Noh Play) (1936, Tokyo University of the Arts) and Mother and Child (1934, National Museum of Modern Art, Tokyo), as well as paintings from museums and private collections nationwide. With over 100 paintings, including Flame of Jealousy (1918, Tokyo National Museum), Lady Komachi Washing Away a Poem (1937, Tokyo University of the Arts), and Scene from the Noh Play Kinuta (1938, Yamatane Museum of Art), the exhibition offers visitors a comprehensive overview in Kyoto of the work of this groundbreaking female Kyoto artist, from her earliest to her late paintings. Uemura Shoen and the Kyoto City KYOCERA Museum of Art Uemura Shoen’s paintings occupy a particularly important position among the large number of modern Kyoto Nihonga paintings in the Kyoto City KYOCERA Museum of Art collection. The Museum’s 10 Uemura paintings include The Flowers of Life (1899) from the artist’s early period and her final painting Evening in Early Summer (1949). For the 100th anniversary exhibition in 1974, Uemura Shoen’s son Uemura Shoko, also a Nihonga painter, selected forty-seven major paintings as well as sketches and notebooks for showing. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
Nihonga Beside Itself: Contemporary Japanese Art's Engagement with the Position and Meaning of a Modern Painting Tradition
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals... Nihonga Beside Itself: Contemporary Japanese Art’s Engagement with the Position and Meaning of a Modern Painting Tradition Matthew Larking Introduction The term nihonga (Japanese painting) is usually posited in opposition to that of yōga (Western-style painting). While yōga was characterized by the use of oil paints and also watercolors, incorporating the various movements of predominantly European modernism from nineteenth century Realism, Impressionism, Fauvism, Cubism and so on, nihonga was the umbrella term grouping together a host of pre-modern schools of painting such as the Kanō, Tosa and Maruyama and Shijō schools, ostensibly fusing them into a modernized form of traditional Japanese painting that retained the use of conventional mineral pigments and their binding agent nikawa, in addition to painting formats such as the hanging scroll and folding screen, and subject matters such as paintings of famous localities, history, myth, religion and the ‘beauties of nature’ (kachō fūgetsu). The terms nihonga and yōga were institutionalized in educational institutions from the late nineteenth century and exhibiting institutions such as the national juried exhibition, the Bunten (renamed the Nitten in the postwar period) from 1907. The distinction between nihonga and yōga remains a critical one in such institutions today as well as in the registration of works in a museum’s collection and their subsequent display and contextualization. The revival of nihonga in contemporary art in the 1980s was contemporaneous with the ‘new painting’ movements of the same decade in Germany, Italy, England and America under a variety of terms such a ‘new image painting’ and ‘neo-expressionism’.1 Many of the early artists came out of the nihonga course at the Tokyo University of the Arts and included Saitō Matthew Larking is Assistant Professor, Faculty of Global and Regional Studies, Doshisha University, Kyoto, Japan. -
Japan's National Imagery of the “Holy War,”
SENSÔ SAKUSEN KIROKUGA (WAR CAMPAIGN DOCUMENTARY PAINTING): JAPAN’S NATIONAL IMAGERY OF THE “HOLY WAR,” 1937-1945 by Mayu Tsuruya BA, Sophia University, 1985 MA, University of Oregon, 1992 Submitted to the Graduate Faculty of the School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Mayu Tsuruya It was defended on April 26, 2005 and approved by Karen M. Gerhart Helen Hopper Katheryn M. Linduff Barbara McCloskey J. Thomas Rimer Dissertation Director ii Copyright © by Mayu Tsuruya 2005 iii Sensô Sakusen Kirokuga (War Campaign Documentary Painting): Japan’s National Imagery of the “Holy War,” 1937-45 Mayu Tsuruya University of Pittsburgh, 2005 This dissertation is the first monographic study in any language of Japan’s official war painting produced during the second Sino-Japanese War in 1937 through the Pacific War in 1945. This genre is known as sensô sakusen kirokuga (war campaign documentary painting). Japan’s army and navy commissioned noted Japanese painters to record war campaigns on a monumental scale. Military officials favored yôga (Western-style painting) for its strength in depicting scenes in realistic detail over nihonga (Japanese-style painting). The military gave unprecedented commissions to yôga painters despite the fact that Japan was fighting the “materialist” West. Large military exhibitions exposed these paintings to civilians. Officials attached national importance to war documentary paintings by publicizing that the emperor had inspected them in the Imperial Palace. This study attempts to analyze postwar Japanese reluctance to tackle war documentary painting by examining its controversial and unsettling nature. -
Eve LOH KAZUHARA Ruptures and Continuity in Pan-Asianism: New Insights Into India-Japan Artistic Exchanges in the First Half of the Twentieth Century
Eve LOH KAZUHARA Ruptures and Continuity in Pan-Asianism: New Insights into India-Japan Artistic Exchanges in the first half of the Twentieth Century PhD student, National University of Singapore, Singapore. [email protected] In the first half of the twentieth century, India and Japan embarked on a series of intellectual and artistic exchanges from 1901 to the 1930s. The beginning of these exchanges is often recounted in the meeting of Okakura Kakuzō (1863–1913) and Rabindranath Tagore (1886–1941) and revolves around their successors, namely Yokoyama Taikan, Hishida Shunsō and Abanindranath Tagore. The narrative histories of these personalities overshadow other Japanese artists and their activities in India. In this paper, I propose to consider these other artists and their place in the Japan-Bengal exchanges. The discussion will consider the biographic narratives of these artists and centreon their activities and artworks, primarily in seeing how they differed from the afore-mentioned artists. In my view, the artistic affiliation of these artists pre-India, together with their ideological distance from Okakura’s Pan- Asianism, influenced their activities and reception of their work post-India. One of the motivations behind my paper was trying to situatethe artists who went to India, particularly those who have been mentioned albeit brieflyin both Japanese and non- Japanese sources. There were also instances of encountering works on India and Indian themes by nihonga (Japanese-style painting) artists and that made me wonder if there was a deeper or wider connection to other artists. My initial task was to collate as much information on the Japanese artists’ visits asthere was no detailed listing anywhere.