Hokkaido JET Annual Musical Production Tradition Continues
Snow, Sea and Song
Hokkaido’s hills are alive with the sound of music, thanks to the efforts of its ALTs
By Caroline Cronshaw (Hokkaido, 2006-09) – Caroline is an amateur illustrator and instructor at the University New Brunswick in Saint John, New Brunswick, Canada. She has painted and designed posters for the HAJET Hokkaido Players’ productions for the past four years, and is currently working 2011’s poster as of this article. Her work can be seen at http://carrie-ko.deviantart.com.
Whether they choose to go to Hokkaido or not, several hundred new JET participants, some of whom have never seen a snowflake before in their lives, come to live on the northernmost island in the Japanese archipelago each year.
Hokkaido, with its vast tracts of wilderness and ghostly former coal mining towns, can cause even the most steadfast and Canadian of JETs to surrender to homesickness and cabin fever during its long and snowy winters. It’s those same cold and white expanses that probably inspired the Ainu peoples to come up with place names like Shiretoko – ‘the ends of the earth’. Indeed, it’s not easy being a homesick alien living in a half-buried BOE-owned hut in midwinter.
Thankfully, however, the ALTs of Hokkaido have come up with an unusual cure for the winter blues: musical theatre.
Since the mid-1990s, denizens of many Hokkaido communities have been witness to a mysterious caravan of vans and cars rumbling into town on a Friday night and parking in front of a local community centre or temple. These vehicles, laden with wooden planks and props, belong to none other than the members of the HAJET Hokkaido Players, an amateur theatre troupe comprised of JET participants from across the island. While some members do have experience in acting or stage production, there is no requirement except dedication and the desire to help bring international understanding to the people of Hokkaido. The troupe is partly administered by HAJET, the Hokkaido AJET chapter, and is entirely non-profit. If there is money left over or gained from performances, most of it is used to sponsor the Hokkaido English Challenge, an annual non-profit English-language summer camp program also organized by HAJET. The rest of the profit is saved for next year’s show.
Among the various Broadway staples the HAJET Hokkaido Players have performed are such familiar titles as West Side Story, Annie, Peter Pan, Oklahoma!, and Guys and Dolls. They also on occasion perform original works, such as 2009’s Alice in Japan, originally written by ALTs in Niigata. This year’s production will be an original play based on The Jungle Book (the Kipling novel, not the Disney adaptation). According to the Players’ current director, Melissa Golden, the production will incorporate elements of Bollywood cinema and traditional Indian costume, as well as make use of Lion King-style animal masks.
The Players start planning their productions early in the year, around the end of August when the newbies first arrive from overseas. Recruitment is usually done around early to mid September during the various welcome parties (with an island that big, you’d need to have several parties), and the first rehearsal is typically scheduled for later in the month or in early October. From that point onward, it’s full speed ahead, and anyone who can’t commit will be left in the dust. Despite the subject, it’s serious business.
Depending on the show and the wishes of the director, the English script is augmented with either lines in Japanese, framed scene-by-scene with Japanese narration, or both. This is to help audience members without English proficiency or previous knowledge of the play to understand what is going on. The Players also do their research in more pop culture-related subjects Read More
JET ROI: JET alum op-ed in Asahi Shimbun – The JET Program is a ‘triumph of soft power’
The below op-ed titled “POINT OF VIEW: The JET Program is a ‘triumph of soft power’” appeared in the November 5, 2010 edition of the Asahi Shimbun. It was written by three JET alumni with expertise in Japan-U.S. policy and relations:
- James Gannon (Ehime-ken, 1992-94) – Executive Director of the Japan Center for International Exchange (JCIE/USA) and author of the “Chopping Block” article.
- Michael Auslin – Director of Japan Studies at the American Enterprise Institute.
- Paige Cottingham-Streater – Deputy Executive Director of the Maureen and Mike Mansfield Foundation.
(Here’s the link for the original article on the Asahi Shimbun website: http://www.asahi.com/english/TKY201011040234.html)
POINT OF VIEW: The JET Program is a ‘triumph of soft power’
In its 23 years, the Japan Exchange and Teaching Program has brought more than 50,000 young foreigners to Japan, including over 25,000 Americans, to teach in the school system as well as to support international exchange activities.
Each of us grew to know Japan through our participation in the JET Program, and this experience has changed the direction of our careers and enriched our lives.
In fact, the JET Program has touched the lives of so many people who might otherwise not be exposed to Japanese society that it is regarded by many outside of Japan as the most successful public diplomacy initiative in the world over the last several decades.
Therefore, we were especially dismayed to learn that it has been criticized in the last round of the budget screening process.
Since it was launched at the height of Japan-bashing in the late 1980s, the JET Program has produced an extraordinary legacy.
On the one hand, we would like to think that it has been beneficial for Japanese students and communities. We have heard many stories about how students’ personal interactions in the classroom with JET participants have made English into a “living language” for them and helped motivate them to use English for communication rather than just as an exam topic.
We get the sense that, in our globalizing world, even students who never mastered English have benefited from their interactions with JET participants from countries they may never have thought much about before.
The JET Program’s least recognized contribution, however, may be its most important. This is the remarkable success it has had as a public diplomacy program. By exposing thousands of young professionals to Japanese society, it has built up deep person-to-person ties between Japanese people and an entire generation of non-Japanese from around the world.
In our country, the United States, the impact of this program on U.S.-Japan relations is quite extraordinary. It is no exaggeration to say that it has become an important pillar of the bilateral relationship.
As they grow older, former JET participants have started to take important posts in government, business, and civil society, bringing their personal networks and a deep appreciation of the importance of strong U.S.-Japan relations to their everyday work.
In the U.S. government, for example, JET participants have worked on the frontlines of U.S.-Asia relations in the White House, the State Department and other agencies. Two JET alumni even ran for the U.S. Congress–Rob Cornilles, who ran on the Republican ticket in Oregon, and Dan Seals, a Democrat from Illinois.
Similarly, when one looks at the emerging generation of Japan experts in American academic circles and think tanks, it appears that the majority are graduates of the JET Program, many of whom may have otherwise taken a very different direction in their studies and careers.
This is true of the grassroots organizations that sustain U.S.-Japan relations, too. At least 4 of the 40 Japan-America Societies in the United States are headed by former JET participants.
In evaluating the contributions of the JET Program, it is important to keep in mind the role it is playing in strengthening the foundations of Japan’s engagement with the rest of the world and the world’s engagement with Japan. People who are immersed in Japanese communities tend to develop a lifelong connection to Japan, and we are just starting to reap the rewards of this far-sighted program.
In our rapidly changing world, where it is critical for countries to project an active global presence and where a robust U.S.-Japan partnership on a wide range of issues has become even more important, the connections built by the JET Program are an invaluable asset.
The JET Program has been a triumph of soft power. We are so grateful for the opportunity that has given us and believe that continuing the JET Program–and further strengthening it–is important for Japan and all of its friends around the world.
New York’s Japan Society hosts design summit, MUJI minds
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Architecture, interior design and innovative household items take center stage at Japan Society in November through its upcoming lectures The Design Difference and America Meets MUJI.
For The Design Difference, Japan Society’s U.S.-Japan Innovators Network will gather architecture and design visionaries Yoshiharu Tsukamoto of Atelier Bow-Wow and John Peterson of Public Architecture to exchange ideas in a bid to help solve some of the world’s most vital social problems. Moderated by Designers Accord’s globally recognized innovator Valerie Casey, The Design Difference is part of the Innovators Network’s two-day exchange program in partnership with Designers Accord, Common Ground Community and the Brownsville Partnership, and GOOD magazine.
In its 30 years of existence, celebrated retailer MUJI has made an impact as a global standard for goods of simplicity, practicality and sustainable design. True to its name—shorthand for mujirushi, or “no brand,” reflecting its lack of labels or elaborate packaging—MUJI is mighty, with over 100 outlets outside of Japan. InAmerica Meets Muji, internationally acclaimed designers Naoto Fukasawa, Kenya Hara and John Maeda discuss the concepts behind the creation, design and essence of MUJI.
Along with Jasper Morrison, Fukasawa and Hara are the co-authors of the new coffee table book MUJI. Published by Rizzoli New York, the tome explores through illuminating essays and hundreds of photos MUJI’s inner workings via its founding principle to develop new and simple products at reasonable prices by making the best use of materials while minimizing their impact on the environment. For the MUJI faithful, Fukasawa and Hara will be on hand after Wednesday’s talk for a special book signing reception.
Click here to read the rest of the article.
JET ROI: NY’s Consulate-General of Japan, JET alumni make mighty combo
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
For over two decades, the Consulate-General of Japan in New York has led the way in scouting, screening and sending young Americans to Japan for work opportunities under the government initiative known as the JET Program. But the consulate also plays an active role by working with the program’s returnees in the JET Alumni Association of America’s New York chapter (of which this writer is also a member) to continue advancing Japanese culture in America through numerous events and activities.
“I have been working on the JET Program as program coordinator for the past four years, and my most enjoyable moments doing this job have always related to JETAA NY,” said Noriko Furuhata of CGJ. “The wonderful members of JETAA NY give me their continued support on selection interviews, pre-departure orientations, recruiting and career forums, and more. I have always been very impressed with their enthusiasm promoting the JET Program and Japan-related events and activities.”
The members, whom Furuhata calls “true ambassadors for U.S.-Japan relations,” serve as good citizens and are keen to keep their connection to Japan strong while also doubling as a source to CGJ for alumni news. Steven Horowitz is JETAA NY’s professional outreach and development chair and a board member as well as the founder of JetWit.com, an online resource for the JET community.
“The consulate has been very instrumental in helping us communicate with the Japanese press,” he said. “Especially with regard to demonstrating the return on investment that JET and JETAA has and continues to provide to Japan. For the JETAA National Conference in New York this past August, they encouraged Japanese media to attend, which gave JET alumni chapter representatives a chance to share their views and experiences.”
Click here for the rest of the article.
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Fifth generation Japanese American Jake Shimabukuro has been recording music since the late ’90s. At age 33, he’s earned comparisons to Jimi Hendrix and Miles Davis on the ukulele, and will release his latest album, Peace Love Ukulele (Hitchhike) in January. After playing high-profile shows like the Asian American Music Festival in Los Angeles earlier this month for his national tour, the artist answered some questions prior to his upcoming gig at New York’s Highline Ballroom on Oct. 25.
Tell us about Peace Love Ukulele. Do you have a few favorite songs? Why?
Peace Love Ukulele is an album compiled of songs that I hope will bring joy and happiness to listeners near and far. I hope the emotions expressed in the music will connect people and make them realize that we all feel the same things—we just express them differently. I believe music is the greatest gift, and the ukulele is the friendliest way to present that gift to the world. A few favorite tunes on the album include “143,” a song inspired by the pager code 143, which simply means I love you; “Go For Broke,” a song written for the Japanese American veterans who served in World War II; and “Bohemian Rhapsody,” one of my all-time favorite classic rock tunes.
How does this album differ your last studio album?
The new CD, Peace Love Ukulele, is my first independent release. I had a lot of fun putting things together for this album. I really took my time with this one and tried to present the ukulele in ways that were fresh and exciting.
What do you hope people take away from your music?
I hope listeners experience the same joy that I’m experiencing when I’m strumming the ukulele. The ukulele is probably one of the easiest instruments to play. Anyone can pick it up for the first time, learn a couple chords and immediately start strumming songs. It’s so relaxing. I always tell people that playing the ukulele is like an entire yoga session in one strum.
Read the rest of the interview here.
Interview with Japanese indie rockers The Suzan
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
The Suzan is a quartet of Japanese indie rock gals who call New York their home. Bounding between gigs in their native Tokyo and NYC, they’re now prepping a new album, Golden Week for the Poco Poco Beat. I caught up with the group (Saori, vocals and guitars; Rie, guitars and keyboards; Ikue, bass; NICO, drums) in advance of the band’s area shows this week for NickyDigital.com’s CMJ Showcase and Pitchfork.com’s #Offline Festival.
How did The Suzan form?
The Suzuki sisters, Rie and Saori, began making tracks in 2003. After they sent their demos to a Japanese indie label and that label released their songs, the owner of the label told them to organize the band to play shows. Then NICO and Ikue joined.
What does your name refer to?
It is the sisters’ nickname.
The band’s music is an eclectic mix of Western styles. Who are your biggest influences?
The Beatles and Wolfgang Amadeus Mozart.
Earlier this month we’ve had famous Japanese groups like X Japan, Vamps and Puffy AmiYumi playing New York. Did you and your friends get to see any of these shows? What are your feelings about the warm reception these artists have received in the States?
Ikue: Me and my friends didn’t see these shows. I think what they are doing is a good way to show Japan’s recent musical culture (Visuals, animation, etc.). Their ways to approach this are different from ours, though.
At the same time, it’s been difficult for any Asian band to achieve mainstream success here. What are The Suzan’s goals as a group?
NICO: I don’t believe THE SUZAN is an Asian band. We are a worldwide band that was just born in Asia.
Saori: I think it’s difficult to achieve mainstream success for Asian people. But we can do it! This is our goal.
Read the rest of the interview here.
Kaiju Big Battel to rumble at NY’s Royal Flush Festival
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
There’s pro wrestling, and then there’s Japanese monster wrestling.
Kaiju Big Battel brings its unique brand of intergalactic smackdown to Warsaw Friday, Oct. 15 as part of Royal Flush magazine’s annual art, film and rock & roll festival, culminating in their Book 7 release party at Brooklyn’s premiere music venue.
Prepare for sheer drama in the ring and gut busting laughs when the heroic fighters of Kaiju take on the evil monsters of Dr. Cube’s posse in Kaiju Big Battel Presents: Save the Kaiju! This telethon style “fundraiser”—their only New York performance of 2010—promises to demolish at least one city and wipe out some extraterrestrial trash on the side, all for a good cause.
Such epic entertainment fits the Royal Flush Festival perfectly. Running through Oct. 18, showcases included a signing from fellow horror and monster movie auteur Rob Zombie at New York’s Forbidden Planet and a diverse lineup of films and concerts at Highline Ballroom and Knitting Factory.
Read the rest of the article here.
Interview with Satoshi Okamoto of the New York Philharmonic
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Japanese native Satoshi Okamoto is a double bass player for the New York Philharmonic, a position he has held there since 2003. Prior to that, he was a member of New York City Ballet Orchestra for one year and an assistant principal of the San Antonio Symphony for eight years. Last September, he performed at the New York Philharmonic’s Opening Gala Celebration for its169th season with Music Director Alan Gilbert and Wynton Marsalis’s Jazz at Lincoln Center Orchestra for the U.S. premiere of the latter’s Swing Symphony. I caught up with Okamoto following the performance to learn more about what it’s like to play with an esteemed ensemble.
What were your impressions of this year’s Opening Gala, and what was your favorite thing about it?
I thought it was very successful. The orchestra played very solidly. It was quite a high quality performance. Mr. Marsalis’s music was really nice, too. I always wish for more contemporary composers to use existing rhythm patterns to write music, like the Baroque era. In his piece, there were a lot of those: Charleston, Kanasas City swing, New Orleans parade marches, bebop, and so on. The orchestra was nicely woven into a jazz style music. If I can wish more, it would be nicer and more creative if there are more classical elements in the piece, because it’s a little like big band music played by an orchestra.
What’s it like working with musical director Alan Gilbert and Wynton Marsalis?
I know Alan from my school days in Juilliard. He was conducting the pre-college symphony where I was a ringer (helper). I always have a great time playing under his baton. For me, it comes very natural to synchronize with his music, I would say, more than any other conductor. I don’t really know Mr. Marsalis.
As a musician, what’s the difference between working with an orchestra in Japan compared with New York?
I have never been a regular member of Japanese orchestras, so maybe it’s not totally fair for me to make a comparison. But I think New York has more of an advantage to attract great musicians worldwide. Like the NBA or MLB, you often have to reach outside of your country to grab the best players. Even though Japanese orchestras are becoming international, it’s still harder for them to get the first class players from overseas compared to the New York Philharmonic, which is in a great position to attract the best players around the world. As a result, I’m surrounded by truly amazing musicians and you can’t have this kind of experience except only a few places in the world. I am enjoying it and really appreciate it.
Read the rest of the interview here.
Justin’s Japan: Interview with Yoshiki of X Japan
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
After 25 years of recording and 30 million discs sold, the biggest rock group in Japanese history is finally come coming to New York. X Japan, the pioneers of the elaborate “visual kei” movement, launched themselves with a glam-meets-metal look and sound that instantly set them apart from the pack. After selling out the 55,000-seat Tokyo Dome a record 18 times in its career, X Japan will take Roseland Ballroom Sunday. Band leader/drummer/pianist Yoshiki shared his thoughts with me on breaking America and recording a new album.
For your current North American tour, what are you looking forward to doing in New York and the other cities in the U.S. and Canada?
Do the best X Japan shows EVER. (Love)
Your forthcoming album is going to be almost entirely recorded in English. Since many popular musicians have experienced plummeting CD sales, what are the goals with the new record?
Quality and quantity secondary!
Who is your label in the States? How did you choose them?
We are in the middle of closing the deal. If we come to an agreement, we may be able to announce the label and distributor at the New York show.
Read the rest of the interview here. Click the button below to visit X Japan’s U.S. homepage.
Asahi newspaper column offers perspective on the value of JET Programme to Japan
The following is a synopsis/loose translation of Bill Breer’s recent op-ed piece about the importance of the JET Programme to Japan which appeared in the My Viewpoint column of the Asahi newspaper from October 1, 2010. Breer is the former Japan Chair at the Center for Strategic & International Studies.
I thought it was worth sharing with the JET alum community as it provides some rather helpful perspective on the value to Japan of the JET Programme and the JET Alumni Association.
In this world of ongoing globalization, the JET Program is a daring, unique effort to open up the world to students in Japan. It is the Japanese government’s most successful program, and no other country has been able to create a citizens’ exchange initiative like it.
The many young people who have participated in the Program from the world’s leading English-speaking countries have come to like Japan, have learned the language, come to know the people and culture, and have gone on to become the “Third Wave” of Japanese scholarship.
The “First Wave” developed from the mid-19th century as art collectors worked with Japanese artists and merchants to build the great collections at the Boston Museum of Art, the Freer Galleries in Washington, DC, and others, entrancing Americans with Japan’s beauty and culture and producing the first research on Japan.
The “Second Wave” came out of the tragedy of the Second World War, as the US government trained thousands of soldiers in Japanese language for the war effort. These people came home with a deep interest in Japan and created the base of scholarship into Japan’s history, culture, economics and politics at the great universities. These men include Edwin Reischauer at Harvard, James Morley, Donald Keene, Edward Seidensticker and Herbert Passin at Columbia, and John Hall at Yale.
Now, the JET Program, begun in 1987, has given birth to a new generation. These people have an entirely different perspective on Japan and the Japanese people. Many of them have a fondness for Japan and are instrumental in conveying that to people in their home countries. Furthermore, many have gone on to become educators conducting further research on Japan, and this piques their students’ interest in JET. Over 20 ex-JETs work at the US Embassy in Tokyo, and many more work in business in New York, London, and other major cities. They are all passionate “Japanese ambassadors”, conveying the message that Japan is an outstanding country with a rich history and culture.
America has the Fulbright Program and England the Rhodes Scholarships, but Japan should be proud of its JET Program as the most successful example of a government youth exchange program. JET is the advance guard of Japan’s “internationalization”, whose participants have changed the Japanese people’s perceptions of “gaijin” and then gone home to become lifelong friends of Japan.
Japan could still use “friends” like these, couldn’t it?
Here is the original column:
Interview with ‘Assholes Finish First’ author Tucker Max
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
In 2006, Duke Law School grad Tucker Max published I Hope They Serve Beer in Hell, a real life roundup of his drunken, sexual misadventures that unexpectedly shot him to the top of the New York Times Best Seller list and cemented him as the leader of the “fratire” (male chick lit) literary genre.
Following last year’s release of the film version of IHTSBIH, Max is back with a new digest of debauchery, Assholes Finish First. The book’s launch this week kicked off a coast to coast 34-date signing tour, and I spoke with the controversially hilarious author about his interest in Japan and future plans.
What kinds of things do you enjoy about Japanese culture?
Well, obviously, I love Japanese food. My favorite TV show of all time, without exception, is Iron Chef. Not the stupid American version; Iron Chef Japanese, like, the real one; the one that was on in Japan…my DVR for years was set to record almost every single Iron Chef episode. I can talk to you about Battle Porcini, when [Chef Masaharu] Morimoto did the porcini crème brûlée…the original Iron Chef is, quite literally, along with The Wire, my favorite TV show of all time.
Have you ever been to any of Morimoto’s restaurants?
I actually know Morimoto pretty well. Like, in a total weird coincidence, his restaurant in Philadelphia, Morimoto’s…the GM of that place for a couple of years was my buddy Paul Ardaji. So Paul knew that I loved Iron Chef Japan; he brought me in one night [with] Morimoto and we had dinner. And Morimoto, for whatever weird reason, like, we kind of hit it off and became friends. And Morimoto actually did a charity event with me in New York.
And this is a true story…this [is] actually going into my third book; it’s not in the second book. But Morimoto and I—it was basically like we were supposed to be, like, celebrity bartenders, and so of course everyone wanted us to mix, like, cool shots and stuff…so we did it like Iron Chef. He would have them pick an ingredient so people would bring, like, nacho chips over from the kitchen, and then he would make a shot with nacho chips that was, like, amazing…we got fu*kin’ plowed. Anyway, long story short, one guy over there got belligerently drunk, and he got into kind of like into a scuffle with one of the bartenders who worked there, and ended up getting me and him kicked out of my own charity event…I could not have been, like, more happy that I got kicked out of something with Iron Chef Japan when I’m not Japanese; it was the best.
Read the rest of the interview here.
Tom Baker covers the 2010 Tokyo Game Show
Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. As another example of JET ROI, he is one of at least four former JETS to have been on the newspaper’s staff in recent years. He usually writes for DYWeekend, the arts and leisure section. You can follow Tom’s blog at tokyotombaker.wordpress.com.
Earlier this month he covered the Tokyo Game Show, Japan’s biggest video game industry trade show. His story focused on new motion-sensing control systems from Sony and Microsoft, and also on innovative games by indie creators such as Minori Yokota (shown in the photo). Here is an excerpt:
Some of the freshest and most radically creative offerings at this year’s Tokyo Game Show were part of the Sense of Wonder night, a showcase for innovative indie games from Japan and overseas.
Minori Yokota, a graduate student at Kanagawa Institute of Technology, declared that he “hates” dating simulation games, which surprised the audience who watched him demonstrate a game called Love Press++: Massage for Your Truelove that he developed together with Prof. Akihiro Shirai and fellow student Taisuke Yamashita.
The game uses a Wii balance board to represent the torso of an imaginary woman, whom the player massages. As Yokota pressed and kneaded, a recording of a voice actress sighed, squealed and cooed–until he rubbed her the wrong way, when she scolded him for his clumsiness.
Humor of a blacker sort was seen in Ulitsa Dimitrova, a German cartoon simulation of the life of a homeless child, while MusicMineSweeper is a whimsical Japanese game that makes music based on the semirandom patterns players create in the popular Minesweeper game.
Players of Record Tripping, by American creators John and Dan Bell, use the scroll wheel of a computer mouse to scratch a record, deejay-style. Then, the same motion is used to contol the rotation of other round objects, such as a windmill, a clock face and safe’s combination dial, with each phase of the game having a different objective.
The youngest presenter was 17-year-old Mahdi Bahrami from Iran, whose elegant Everything Can Draw! uses lines to trace the paths of moving objects. He said he was inspired to create it in geometry class.
Such games might seem to offer hope in a sequel-swamped gaming world, but when a member of the audience asked Bahrami if he intended to pursue a career in video games, the whiz kid gave a one-word answer: “No.”
Read the full article here.
WIT Life #126: Dominance of video games and shared waters
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WITLife is a periodic series written by professional Writer/Interpreter/Translator Stacy Smith (Kumamoto-ken CIR, 2000-03). She starts her day by watching Fujisankei’s newscast in Japanese, and here she shares some of the interesting tidbits and trends together with her own observations.
Today’s NYT has two articles about Japan’s technology and relations with China. In the former, Hiroko Tabuchi discusses how the country’s once dominance of video games has been overtaken by Western game developer advances. The one exception is Nintendo, who has found great success with its Wii, but other companies are struggling in terms of economic resources and cultural understanding of what appeals to the international market (There is a growing gap in game styles between Japan and the West). Interestingly enough, in order to appeal to a global audience some video games are being written in scratch in English as opposed to relying on awkward translations from the original Japanese. The questions remains as to whether Japan can still produce star characters who can become the next Mario or Sonic.
On the political side, the second article talks about a dispute between Read More
Interview with JET alumna/’Food Sake Tokyo’ author Yukari Sakamoto
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Tokyo-born and American-raised JET alumna Yukari Sakamoto (Chiba-ken, 1989-1990) is a professional chef, sommelier, and writer who has spent much of her life in both the U.S. and Japan. Released earlier this year, her debut book Food Sake Tokyo is the ideal guide for indulging in the best of Tokyo dining and drinking, whether you’re a first-time visitor or a Japanophile foodie keen on discovering new favorites.
How were you approached to write this book as part of the Terroir Guides series?
I contribute to Food & Wine magazine and my travel editor there at the time, Salma Abdelnour, told me about the publisher The Little Bookroom. She praised their travel guides and thought my book would find a good home there. My agent, Lisa Ekus, sent my proposal to The Little Bookroom, and the publisher, Angela Hederman, embraced it immediately. The Little Bookroom has a series of foodie travel guides called the Terroir Guides, and my book was a perfect fit—like Cinderella’s glass slipper. I have heard how difficult it is to find a publisher who will accept a book proposal, and I am blessed to have found the perfect home.
In the introduction to your book, you write that the popularity of the Slow Food movement has created a renewed appreciation for kyodo ryori, or local foods. How long has this movement been going on, and what started it?
The Slow Food movement has been popular for a long time. What has been extremely popular in the last few years are “antenna shops.” These regional shops represent prefectures from around Japan that feature local produce, beverages, and foods. For example, the Okinawa Washita shop in Ginza has a basement filled with awamori (the local shochu), including rare brands hard to find outside of Okinawa. The first floor has tropical fruits and vegetables and local specialties like shimadofu, a dense tofu, and shikuwasa, a citrus juice. I cannot say for sure what started it, but there are several contributing factors. Food safety scares and mislabeling of imported product have encouraged more consumption of local products. Popular food and travel programs promote regional specialties. And, there are an increasing number of ambassadors, like the governor of Miyazaki [Prefecture], Hideo Higashikokubaru, who enthusiastically promote Miyazaki products like wagyu, mangoes, etc. I am always impressed at the number of customers at antenna shops. I often go out my way to shop at antenna shops to pick up rare shochu, hard to find miso, or pickles.
There are more than 100,000 restaurants in Tokyo. How did you pare it down to the ones listed in the book?
First of all, I focused on restaurants that represented a particular cuisine. And then I narrowed down the list based on geography, leaning toward easy to find restaurants, or those included in one of the areas covered by the book. I have lived in Tokyo for eight years and ate out a lot while there. Tokyo is a great dining city, especially for solo diners.
Read the complete interview here.
WITLife is a periodic series written by professional Writer/Interpreter/Translator Stacy Smith (Kumamoto-ken CIR, 2000-03). She starts her day by watching Fujisankei’s newscast in Japanese, and here she shares some of the interesting tidbits and trends together with her own observations.
Today’s NYT has a flurry of articles about Japan’s politics and economy. First of all, PM Kan survived the challenge to his leadership and handily defeated Ozawa with 721 votes to his 491. Everyone can breath a collective sigh of relief knowing that the PM will not be changing yet again.
On the economic side, Hiroko Tabuchi gives us two articles about the strong yen and its implications. One discusses the measures the government has taken to weaken it, intervening in foreign markets for the first time since 2004. The other talks about how the strong yen has provided an opportunity for Japanese companies to go a shopping spree purchasing foreign companies, such as Rakuten’s recent acquisition of Buy.com. Happy reading!