DOCSLIB.ORG

Page 8 UJIIYE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Page 8 UJIIYE THE NATIONAL NEWSPAPER OF THE JACL June 20-July 3, 2014 THE SOLES OF J-TOWN Sneakers bring new foot traffi c into Little Tokyo. Page 8 UJIIYE TIFFANY : PHOTO Page 7 Page 12 Page 13 626 Night Market Visits A Personal Day With It’s Obon Time! Here’s a Downtown Los Angeles. Rinks Sano and Family Complete 2014 Guide. #3229#3235 / VOL. 158, No. 511 ISSN: ISSN: 0030-8579 0030-8579 WWW.PACIFICCITIZEN.ORG WWW.PACIFICCITIZEN.ORGMarch 21-April 3, 2014 2 June 20-July 3, 2014 COMMUNITY/LETTER HOW TO REACH US WASHINGTON UNION HIGH SCHOOL AWARDS Email: pc@pacifi ccitizen.org Online: www.pacifi ccitizen.org Tel: (213) 620-1767 Fax: (213) 620-1768 HONORARY DIPLOMAS TO NISEI STUDENTS Mail: 250 E. First St., Suite 301 Los Angeles, CA 90012 FRESNO, CALIF. — One of life’s were not awarded their diplomas in STAFF greatest moments is receiving a ceremonies with their classmates Executive Editor high school diploma, a moment as a result of their forced removal Allison Haramoto that signifi es the beginning of one’s and incarceration during World Assistant Editor future. For Nisei students attending War II. Tiffany Ujiiye high school at the start of World Honorary diplomas were Business Manager War II, that moment was taken also available posthumously to Susan Yokoyama from them when they were forcibly families. Production Artist removed from their homes and The Japanese Cultural and Marie Samonte taken to live in various internment Community Center of Northern camps. Although these students California led a statewide outreach Circulation might have received their diploma and educational campaign for Eva Ting in camp, they didn’t receive it from AB781, where more than 1,200 The Pacifi c Citizen newspaper (ISSN: 0030-8579) is published the schools they attended. Nisei were located and given an semi- monthly (except once in On June 6, Washington Union, opportunity to receive diplomas. December and January) by the a rural high school district at the As a result, belated honorary Japanese American Citizens southwest border of the Fresno, diploma presentations have League, Pacifi c Citizen, Receiving an honorary high school diploma during Washington 250 E. First St., Suite 301, Calif., city limits, paid tribute to been made all over California, Union High School’s graduation ceremony on June 6 were Los Angeles, CA 90012 those Nisei students that attended rewarding more than 500 diplomas Periodical postage paid at L.A., CA (from left) Hisaye Kanegawa Shiba, Sadako Mukai Sogioka, the school from 1942-45 by to Nisei or their families. POSTMASTER: Send address Kikuye Shinkawa Takanishi and Akio Mukai. changes to National JACL, 1765 awarding them honorary high In the Central Valley, diploma Sutter St., San Francisco, CA 94115 school diplomas. ceremonies have been held at Fifty Nisei students were found Edison High School, Caruthers JACL President: David Lin the California Nisei High School Diploma National Director: Priscilla Ouchida in the 1942 yearbook, and representatives for High School, Fowler High School, Clovis Project, along with the generous support of the P.C. EDITORIAL BOARD 44 out of the 50 Nisei students were contacted. High School, Sanger High School and Washington Union High School administration Carol Kawamoto, chairperson; Six living Nisei attended the graduation Reedley High School. Leona Hiraoka, EDC; Kevin and staff, in particular, Principal Derek Cruz. ceremony, with 21 confi rmed family members In 2009, AB 37 was passed and implemented Miyazaki, MDC; Roberta Barton, In 2004, AB781 (Leiber) was passed CCDC; Jim Duff, NCWNPDC; also attending as stand-ins for the Nisei by the California Nisei College Diploma mandating that all high school districts provide Gabrielle Nomura, PNWDC; Gil honorees unable to attend. Project to do the same for Nisei attending honorary retroactive diplomas to Nisei who Asakawa, IDC; John Saito Jr., The recognition was made possible through colleges and universities. ■ PSWDC; Kevin Mori, youth rep. SUBSCRIBE Get a one-year subscription of the Pacifi c Citizen newspaper at: www.pacifi ccitizen.org or call Letter to the Editor (800) 966-6157 ADVERTISE To advertise in the Pacifi c Citizen, Dear Editor, call (800) 966-6157 or e-mail: pc@pacifi ccitizen.org For a Japanese American, it has been very, very painful to watch the news these past few weeks. Those who knew Gen. Shinseki believed in LEGAL him, knew him to be an honorable man, a patriot, a veteran of the Korean War in which he served with distinction. No part of this publication may be There is no way to reverse the outcome, but surely there must be many like Mark Shields of PBS’ “NewsHour” who can give an accurate reproduced without the express portrait of Gen. Shinseki. permission of the Pacifi c Citizen. Editorials, news and the opinions Give them a chance to write about the insurmountable problems he inherited or the service to this country. expressed by columnists other than Sincerely yours, the national JACL president or national director do not necessarily refl ect JACL policy. Events and products Toshiko Nakamura Wilkinson advertised in the Pacifi c Citizen do not carry the implicit endorsement of the JACL or this publication. We reserve the right to edit articles. © 2014 Periodicals paid at Los Angeles, Calif. and mailing offi ce. JACL MEMBERS Change of Address If you’ve moved, please send new information to: National JACL 1765 Sutter St. San Francisco, CA 94115 Allow 6 weeks for address changes. To avoid interrup- tions in delivery, please notify your postmaster to include periodicals in your change of address (USPS Form 3575) COMMENTARY June 20-July 3, 2014 3 FTW: FOR THE WIN THE WAY OF THE WORRIER By Tiffany Ujiiye hy do you need to stay out so late?” my parents By two a.m. I came home to fi nd the kitchen lights on, my best friend, and after a few too many drinks, she was would ask me. “What are you doing? Where and sitting in front of my seat at the dinner table was incredibly intoxicated. are you going, and who will be there?” These a meal: a bowl of fl uffy white rice, udon noodles with At around 3 a.m., I decided it was time to head home so ‘Ware some of the questions I must answer before leaving my sprinkled green onions and a small plate of glad-wrapped I could make it to work on time the next day, and as the house, and because of this, I try to moderate my weeknight pepper chicken on a woven placemat with chopsticks and a designated driver, I asked if my friend wanted to leave. outings. Now, one might think that I resent my parents glass of water. The condensation on the glad wrap was still She looked straight into my eyes and said she was staying. for questioning my nocturnal habits at the age of 22, but foggy and mildly warm, meaning my mom had been up After all, it was her birthday weekend, and our friends at that assumption is wrong. I do not hate my parents for waiting for some time before plating my meal. the bar had offered to drive her home for me since they’d questioning me, their adult daughter. The milkshake and fries were still sitting in my stomach be staying longer. The reason for this is because I understand them. I’m not along with the guilt. If I had only texted her when I left I rolled my eyes, “OK, call me when you’re safe at saying that I know what parenting is, but I have a teeny tiny work, she wouldn’t have stayed up and prepared dinner home,” and we went our separate ways. clue at what it might be like. It’s a very small understand- for me. I felt horrible and loved at the same time. She never called. I sat in bed checking my phone periodi- ing, but it’s enough to make me step back and realize that And so that night, I had two dinners. cally, and at 4:30 a.m., I called her — with no answer. my parents are not enemy of the state No.1. Since then, I stopped having a short fuse with my parents The hours passed, and I must’ve nodded off because at One evening in my freshman year of college, I forgot to whenever they asked me where I was going or what I was 7 a.m., I woke up to fi nd no new messages. My imagination text my mom where I was after getting off work at 12:30 doing becase I understood that they loved me. Their texts, ran wild with teen dramas, car crashes and TV news a.m. My coworkers and I had a long night at the UCI Stu- calls and questions came from a good place. reporters from Channel 5. dent Center lifting tables and chairs for a banquet. Natu- Four years after fi nding my mom’s home-cooked meal, rally, we were hungry afterward and found ourselves at the I was out on another evening at the Commissary Lounge in >> See WORRIER on page 16 In-N-Out across the street for milkshakes and fries. Costa Mesa to meet a few friends for drinks. I arrived with FOR THE RECORD COMFORT WOMEN By John Tateishi n February, an article appeared in the L.A. Times and for recruiting comfort women for military brothels and came across mention of this issue of comfort women used on the Internet about the controversy surrounding a expressed the government’s apologies to the women. as sex slaves by the armies of Japan.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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:
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]