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BCA Voices - August 27, 1981 by Rev
The Newsletter of Ekoji Buddhist Temple alavinka Fairfax Station, Virginia - Established 1981 Vol. XXXIII, No. 7 July 2014 BCA Voices - August 27, 1981 By Rev. Kenryu Tsuji This month, we are changing the column up a little heat, it gave shelter to countless insects, even giving and including a poem by Rev. Kenryu Tsuji, former a part of itself to the hungry bugs. Ekoji Resident Minister and former Bishop of the Bud- And now, it is that time of the year. dhist Churches of America. According to Ekoji’s for- mer librarian, Valorie Lee, this piece “is one of Rev. But before it falls from its branch, it prepares for the Tsuji’s writings that may be the closest he ventured in future, for next spring, a fresh green leaf will shoot the direction of poetry. It originally appeared in the out from the same branch. In its twilight hours it Kalavinka and then was included in The Heart of the displayed to the world, without pride, without self- Buddha Dharma. Not titled in the Kalavinka, but re- consciousness, its ultimate beauty. quiring one for the book, I used the date of the Kala- vinka issue in which it appeared.” Does the human spirit grow more beautiful with each passing day? Or does it become more engrossed August 27, 1981 in its mortality by creating stronger hands of self- attachment? It is that time of the year. Is my life reflecting a deeper beauty as I grow older? A single red maple leaf performs a graceful ballet What karmic influences will I leave for the good of in the cool autumn breeze before it finally joins the the world? other leaves on the ground. -
Wadaiko in Japan and the United States: the Intercultural History of a Musical Genre
Wadaiko in Japan and the United States: The Intercultural History of a Musical Genre by Benjamin Jefferson Pachter Bachelors of Music, Duquesne University, 2002 Master of Music, Southern Methodist University, 2004 Master of Arts, University of Pittsburgh, 2010 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2013 UNIVERSITY OF PITTSBURGH Dietrich School of Arts & Sciences This dissertation was presented by Benjamin Pachter It was defended on April 8, 2013 and approved by Adriana Helbig Brenda Jordan Andrew Weintraub Deborah Wong Dissertation Advisor: Bell Yung ii Copyright © by Benjamin Pachter 2013 iii Wadaiko in Japan and the United States: The Intercultural History of a Musical Genre Benjamin Pachter, PhD University of Pittsburgh, 2013 This dissertation is a musical history of wadaiko, a genre that emerged in the mid-1950s featuring Japanese taiko drums as the main instruments. Through the analysis of compositions and performances by artists in Japan and the United States, I reveal how Japanese musical forms like hōgaku and matsuri-bayashi have been melded with non-Japanese styles such as jazz. I also demonstrate how the art form first appeared as performed by large ensembles, but later developed into a wide variety of other modes of performance that included small ensembles and soloists. Additionally, I discuss the spread of wadaiko from Japan to the United States, examining the effect of interactions between artists in the two countries on the creation of repertoire; in this way, I reveal how a musical genre develops in an intercultural environment. -
Copyright by Angela Kristine Ahlgren 2011
Copyright by Angela Kristine Ahlgren 2011 The Dissertation Committee for Angela Kristine Ahlgren certifies that this is the approved version of the following dissertation: Drumming Asian America: Performing Race, Gender, and Sexuality in North American Taiko Committee: ______________________________________ Jill Dolan, Co-Supervisor ______________________________________ Charlotte Canning, Co-Supervisor ______________________________________ Joni L. Jones ______________________________________ Deborah Paredez ______________________________________ Deborah Wong Drumming Asian America: Performing Race, Gender, and Sexuality in North American Taiko by Angela Kristine Ahlgren, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Dedication To those who play, teach, and love taiko, Ganbatte! Acknowledgments I would like to extend my heartfelt thanks to each person whose insight, labor, and goodwill contributed to this dissertation. To my advisor, Jill Dolan, I offer the deepest thanks for supporting my work with great care, enthusiasm, and wisdom. I am also grateful to my co-advisor Charlotte Canning for her generosity and sense of humor in the face of bureaucratic hurdles. I want to thank each member of my committee, Deborah Paredez, Omi Osun Olomo/Joni L. Jones, and Deborah Wong, for the time they spent reading and responding to my work, and for all their inspiring scholarship, teaching, and mentoring throughout this process. My teachers, colleagues, and friends in the Performance as Public Practice program at the University of Texas have been and continue to be an inspiring community of scholars and artists. -
Product Catalog
FILMS | VIDEOS | ANIMATION | EXHIBITS | PUBLICATIONS | MULTI-MEDIA | ARCHIVES VISUAL COMMUNICATIONS PRODUCT CATALOG 2013-2014 CONTENTS 03 | Welcome 04 | About Visual Communications 06 | Product Highlights 10 | Speak Out for Justice Volumes 14 | Armed With a Camera Volumes 20 | VC Classics 22 | Hidden Treasures Series 24 | Documentary 26 | Narrative 27 | Graphic Film/Animation 28 | Video 33 | Filmmakers Development Program 37 | Other Works 38 | Multi-Media 39 | Photographic Exhibitions 41 | Publications 42 | Resources 44 | Rental and Sales Info 46 | Policies Oversize Image Credits: Cover: PAGE 10: Roy Nakano; PAGE 43: From HITO HATA: RAISE THE BANNER (1980) by Robert A. Nakamura and Duane Kubo (Visual Communications Photographic Archive) ALL OTHER IMAGES APPEARING IN THIS CATALOG: Courtesy The Visual Communications Photographic Archive PRODUCTION CREDITS: Project Producer: Shinae Yoon; Editor: Helen Kim; Copywriter: Jerome Academia, Helen Kim, Jeff Liu, Supachai Surongsain; Design and Layout: Abraham Ferrer; Digital Photo-imaging intern: Allison Nakamura 02 WELCOME The visual heritage of Visual Communications can be seen in the more than 100 films, videos, and multimedia productions created since the organization’s founding in 1970. Beginning with vanguard works filmed in Super 8mm, Visual Communications productions have been distinguished by their unerring fidelity to the stories and perspectives of Asian America. As evidenced within this catalog, this policy has continued as Visual Communications’ productions have transitioned from film and video to digital formats. As well, the stories being told through our various offerings reflect the ever-changing landscape of the Asian American and Pacific Islander communities, and introduces us to filmmakers and voices who have come of age in the 22 years since the first edition of this catalog. -
532-8623 Gardena Bowl Coffee Shop
2015 NISEI WEEK JAPANESE FESTIVAL ANNIVERSARY 7 5 TH ANNUAL JAPANESE FESTIVAL NISEI WEEK Pioneers, Community Service & Inspiration Award Honorees Event Schedules & Festival Map 2015 Queen Candidates Nisei Week Japanese Festival 1934 - 2015: “Let the Good Times Roll” 2014 Nisei Week Japanese Festival Queen Tori Angela Nishinaka-Leon CONTENTS NISEI WEEK FESTIVAL WELCOME FESTIVAL ACKNOWLEDGEMENTS AND INTRODUCTION 2015 Sponsors, Community Friends and Event Sponsors ... 42 Festival Greetings........................................... 10 2015 Nebuta Sponsors ..................................... 50 Grand Marshal: Roy Yamaguchi ............................. 16 2014 Queen’s Treasure Chest ............................... 67 Parade Marshal: Kenny Endo................................ 17 Supporters Ad Index....................................... 104 Pioneers: Richard Fukuhara, Toshio Handa, Kay Inose, 2015 Nisei Week Foundation Board, Madame Matsumae III, George Nagata, David Yanai ........ 24 Committees, and Volunteers............................... 105 Inspiration Award: Dick Sakahara, Michie Sujishi ............ 30 Community Service Awards: East San Gabriel Valley Japanese Community Center, Evening Optimist Club of Gardena, Japanese Restaurant Association of America, Orange County Nikkei Coordinating Council, Pasadena Japanese Cultural Institute, San Fernando Valley Japanese American Community Center, Venice Japanese Community Center, West Los Angeles Japanese American Citizens League ........................ 36 CALENDAR OF EVENTS & FEATURES 2015 -
TAIKOPROJECT Study Guide
TAIKOPROJECT Study Guide For use with TAIKOPROJECT educational programs Steven Nguyen Mari Nakano Steven Nguyen Yuta Kato TAIKOPROJECT PO Box 825 Monterey Park, CA 91754 213 268-4011 [email protected] www.TAIKOPROJECT.com youtube.com/TAIKOPROJECT facebook.com/TAIKOPROJECT twitter.com/TAIKOPROJECT This Study Guide was initially developed as TAIKOPROJECT is represented by: part of the “Big Drum: Taiko in the United Kamstar Artist Management States,” an exhibition curated by the 415.776.5522 Japanese American National Museum. [email protected] INTRODUCTION It is now more important than ever to acknowledge the need for art education. The materials in this study guide are designed to give your class supplementary infor- mation and activities to enhance the student’s appreciation of the TAIKOPROJECT while instilling a broader base of knowledge and understanding of our society’s diversity through different cultural perspectives. America is a country of widespread cultural diversity. Music, and drumming, is a part of every culture, and its function in each culture is integral to its life and vitality. What is an African dance without the drummers? What would Irish music sound like without the dohbran (hand drum)? And what is a Japanese matsuri (festival) without the taiko? Much can be learned about different cultural traditions and lifestyles by experiencing its music. The TAIKOPROJECT performs contemporary Japanese American taiko drum- ming. It is an artform drawn from our Japanese ancestry, but nurtured in America by multi-generational Asian Americans in search of a voice for their dual-culture identity. Through the sharing of our music and stories, we share our pride in our heritage and culture, and encourage others to have pride in and explore their own cultural back- grounds, and those of others. -
Bodies in Motion: Gender, Identity, and the Politics of Representation in the American Taiko Movement
BODIES IN MOTION: GENDER, IDENTITY, AND THE POLITICS OF REPRESENTATION IN THE AMERICAN TAIKO MOVEMENT A THESIS SUBMlTI'ED TO THE GRADUATE DMSION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC MAY 2008 By Sarah Anne Carle Thesis Committee: Ricardo D. Trimi1los, Chair Frederick Lau Christine Yano ii We certify that we have read this thesis and that, in our opinion. it is satisfactory in scope and quality as a thesis for the degree ofMaster of Arts in Music. THESIS COMMITIEE ~4.~ Chair iii ©Copyright 2008 by Sarah A. Carle iv ACKNOWLEDGEMENTS Fieldwork for this thesis was carried out from May through August. 2007, in San Jose and Los Angeles. California, and Seattle, Washington. Financial assistance was provided by the Arts and Sciences Advisory Council and the Foreign Language Area Studies (FLAS) grant awarded by the Center for Japanese Studies at the University of Hawai'i. I am grateful to everyone who assisted me in my research, especially PJ and Roy Hirabayashi as well of the rest of San Jose Taiko, who were warm, welcoming, and responded enthusiastically to my many questions. My two years playing taiko in Mie prefecture, Japan, from 2003 through 2005, sparked my interest in taiko, and I would like to thank everyone from the group Som Daiko, especially Sbimamura-sensei, Yasuko, and Miwa. In Honolulu, my two years studying taiko with the Kenny Endo Taiko Ensemble provided invaluable insight into the world of American taiko. I am grateful to Kenny and Cbizuko Endo for their support, as well as the other members ofthe group for their support and friendship. -
2008–2009 Season Sponsors
2008–2009 Season Sponsors The City of Cerritos gratefully thanks our 2008–2009 Season Sponsors for their generous support of the Cerritos Center for the Performing Arts. Season 08/09 YOUR FAVORITE ENTERTAINERS, YOUR FAVORITE THEATER If your company would like to become a Cerritos Center for the Performing Arts sponsor, please contact the CCPA Administrative Offices at (562) 916-8510. THE CERRITOS CENTER FOR THE PERFORMING ARTS (CCPA) thanks the following CCPA Associates who have contributed to the CCPA’s Endowment Fund. The Endowment Fund was established in 1994 under the visionary leadership of the Cerritos City Council to ensure that the CCPA would remain a welcoming, accessible, and affordable venue in which patrons can experience the joy of entertainment and cultural enrichment. For more information about the Endowment Fund or to make a contribution, please contact the CCPA Administrative Offices at (562) 916-8510. Benefactor Morris Bernstein Linda Dowell Ping Ho $50,001-$100,000 Norman Blanco Gloria Dumais Jon Howerton José Iturbi Foundation James Blevins Stanley Dzieminski Christina and Michael Hughes Michael Bley Lee Eakin Melvin Hughes Patron Kathleen Blomo Dee Eaton Marianne and Bob Hughlett, Ed.D. $20,001-$50,000 Marilyn Bogenschutz Susie Edber and Allen Grogan Mark Itzkowitz Linda and Sergio Bonetti Gary Edward Grace and Tom Izuhara National Endowment for the Arts Patricia Bongeorno Jill Edwards Sharon Jacoby Ilana and Allen Brackett Carla Ellis David Jaynes Partner Paula Briggs Robert Ellis Cathy and James Juliani $5,001-$20,000 Darrell Brooke Eric Eltinge Luanne Kamiya Bryan A. Stirrat & Associates Mary Brough Teri Esposito Roland Kerby Chamber Music Society of Detroit Dr. -
Artistic Production and Cultural Identity in U.S. Immigrant and Diasporic Communities
Artistic Production and Cultural Identity in U.S. Immigrant and Diasporic Communities This report is the result of a research project commissioned by the Asia Society’s Cultural Programs and Performing Arts Department and made possible by a grant from The Ford Foundation. © December 2005 by Asia Society All rights reserved. Artistic Production and Cultural Identity in U.S. Immigrant and Diasporic Communities Table of Contents Introduction: Considerations for Support Strategies……………………………………………………………...2 Vanessa Whang with Rachel Cooper and San San Wong Overview of the Case Studies……………………………………………………………………………………….14 Seemin Qayum Executive Summaries of the Case Studies* Corridos and Community in Southern Arizona: Dynamics of Folk, Commercial, and Nonprofit Cultural Production………………………………….27 Maribel Alvarez FESTI-Andes and Beyond: Performing Identity in a Trans-Local (New York, New Jersey, Connecticut) Andean Immigrant Community……………………………….31 Cristian Amigo Natya Dance Theatre: A Bharatanatyam Dance Company within the Indian Community of the Greater Chicago Area……………………………………………34 Uttara Coorlawala Preserving Traditions, Creating Traditions: South Asian Performing Art Organizations in New York City………………………………………...37 Madhulika Khandelwal Cultural Intersections in Seattle, Washington: A Geographic Case Study…………………………………………………………………………………40 Susan Kunimatsu Creative Process/Creative Interchange: An Exploration of Senegalese Dance in Washington, D.C………………………………………………45 Hallie Stone Arts, Identity, and Healing in a Community in Transition: -
Community Anchors USA: Sustaining Religious Institutions, Social Clubs, and Small Businesses That Serve As Community Cultural Centers
Community Anchors USA: Sustaining Religious Institutions, Social Clubs, and Small Businesses That Serve As Community Cultural Centers Molly Garfinkel City Lore This project was supported in part or in whole by an award from the Research: Art Works program at the National Endowment for the Arts: Grant# 17-3800-7006. The opinions expressed in this paper are those of the author(s) and do not represent the views of the Office of Research & Analysis or the National Endowment for the Arts. The NEA does not guarantee the accuracy or completeness of the information included in this report and is not responsible for any consequence of its use. 1 Table of Contents Executive Summary …………………………………………………………………………………………....3 The Place Matters Approach …………………………………………………………………………….....6 The Effects of Rapid Change ……………………………………………………………………………….7 Methodology ………………………………………………………………………………………………………9 Sustaining Community Anchors ………………………………………………………………………....11 Section I: Sustaining Sanctuaries in a Shifting Society a. Holy Cross-Immaculate Heart of Mary Parish, Chicago, I.L.……………...11 b. Zion Lutheran Church, Baltimore, M.D…………………………………………...19 c. Senshin Buddhist Temple, Los Angeles, C.A…………………………………....26 Section II: Supporting and Sustaining the Mission and Core a. MQVN CDC’s VEGGI Farmers Cooperative, New Orleans, L.A…………...38 b. Trickster Art Gallery, Schaumburg, I.L………………………………….………..44 c. National Cambodian Heritage Museum & Killing Fields Memorial, Chicago, I.L. ………………………………………………………………………………….51 Section IV: Legacy Businesses a. Lil’ Dizzy’s Café, New Orleans, L.A. ……………………………………………......62 b. Arch Social Club, Baltimore, M.D. …………………………………………………..68 c. Tonalli Studio, Los Angeles, C.A..……………………………………………………79 Section V: Catalyzing Cultural Competence a. Frente Indígena de Organizaciones Binacionales (FIOB), Los Angeles, C.A……………………………………………………………………………90 b. Guardians Institute, New Orleans, L.A……………………………………………98 c. -
Ethnic Heritage and Language Schools in America. Studies in American Folklife, No
DOCUMENT RESUME ED 315 371 SO 020 576 AUTHOR Bradunas, Elena; Topping, Brett, Ed. TITLE Ethnic Heritage and Language Schools in America. Studies in American Folklife, No. 4. INSTITUTION Library of Congress, Washington, D.C. American Folklife Center. PUB DATE 88 NOTE 339p. AVAILABLE FROM Superintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 ($16.00). PUB TYPE Reports Descriptive (141) EDRS PRICE MF01/PC14 Plus Postage. DESCRIPTORS *Community Schools; *Cultural Activities; *Cultural Background; *Cultural Education; Elementary Secondary Education; Ethnic Groups; *Ethnicity; Ethnic Studies; Folk Schools; Participant Observation; Religious Education; Second Language Instruction IDENTIFIERS :thnic Heritage and Language Schools Project; *Ethnic Schools ABSTRACT This book reports the findings of the Ethnic Heritage and Language Schools Project undertaken by the American Folklife Center in 1982. Twenty-one researchers used participant observation to study ethnic schools in different parts of the United States. The project studied schools that correspond to Fishman's classification of ethnic education programs: (1) all-day schools, (2) weekday after-hours schools, and (3) weekend schools. Each survey fieldworker conducted research independently, under the direction of the project coordinator, using general interview guidelines. Thirteen fieldworker essays are reproduced in this report, covering schools affiliated with the following groups:(1) Cambodian, (2) Islamic, (3) Portuguese,(4) Korean, (5) Turkish,(6) Polish, (7) Buddhist, (8) German-Russian, (9) Lebanese/Arabic,(10) Greek, (11) Jewish/Hebrew, (12) Hupa Indian, and (13) Czech. The community-based ethnic schools studied demonstrate each group's perception of itself and its cultural legacy, and are examples of conscious transmission of cultural knowledge. Their curricula show what each community perceives as important components of their ethnic identity; language, religion and history are the focus of classes, with the most value normally placed upon language. -
Pacific Citizen, Aug
MID-YEAR CAMPAIGN . TAiKOCRAZE Support JACL with a Taiko art form con p.G.'s guide to Michael Hiroshima to per generous donation! tinues to increase Bay-alternative films form at the Long· in popularity. for the summer. Beach Jazz Festival. PAGE 2 PAGE 4 PAGE 9 PAGE 10 Since1929 ________~------~~-------------- INSIDE San Jose Sharks take Setoguchi in first round of ITIZEN NHL draft. The National Publication of the Japanese American Citizens League PAGE 7 MOCIEOC BI*DlSTRICT Musical Prodigy Hits All the Right Notes Marc Yu can capture the He practices up A Delicate Balance beauty of classical music to six hours a day or like a pro even before he until Chloe stops turns 7. him for a walk in the park or swim By LYNDA LIN ming lessons. He Assistant Editor also has a publicist and his own Web MONTEREY PARK-Six site. year-ol~ Marc Yu is like any other "He's just a nor child his age. He likes to kick soc mal six-year-old cer balls, swat ping-pong balls boy playing sports, and demolish opponents in a playing in dirt," she mean game of Hang Man. said, adding, "He But with cello in hand, Marc is loves the stage. He transformed. Eyes softly shut, his loves performing." For now, the fingers dance fluidly across the Youth speaker Vanessa DeGuia (back row, second from left), poses with world is Marc's strings and floods the room with JACL youth members during the recent Chicago MDC/EDC Bi-district. music by Johann Sebastian Bach stage.