Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. He usually writes for DYWeekend, the paper’s arts and leisure section. You can follow Tom’s blog at tokyotombaker.wordpress.com.
He recently interviewed Azby Brown, author of “Just Enough,” a book that describes how Japanese people 200 years ago (including the million-plus residents of Edo, which was the world’s largest city at the time) led environmentally sustainable lives. Here is an excerpt:
Most of the details are of purely historical interest. It is unlikely, for instance, that you will ever need to stitch a thatched roof onto your house with a wooden sewing needle the size of a spear.
However, the larger patterns that emerge from the details are of vital interest today. A farmer’s thatched roof could be made of rice straw, making good use of a by-product of food production. The same straw also was used to make rope, sandals, bags or mats. And when those items were worn out, they could be composted or mulched to help grow more rice, or they could be burned as fuel, incidentally creating ash that could be sold to the makers of ceramics, dyes and other products.
Brown calls this an example of “the zero-waste ideal.” But it wasn’t just farmers living close to the land who approached this ideal. Even urban Edo recycled almost everything and wasted almost nothing. “It was a self-policing system, because nearly every waste product had economic value for someone else,” Brown writes.
“Waste product” in this context means more than just rags, scraps and ash. Even the contents of the city’s toilets had economic value, with farmers paying for the privilege of hauling “night soil” away to make compost for their fields. Urine was collected separately, to extract ammonia and other useful chemicals.
Brown thinks these are practices to which the modern world would do well to return, especially in the present era of “alarming topsoil losses.” Unfortunately, the “yuck factor” keeps such resources from being utilized.
“I don’t know if you’ve ever seen…a composting toilet,” Brown said in the interview. “The compost that comes out is absolutely inoffensive. You really would think it was peat moss. You would not know what it was. There is almost no smell. [The problem is] the idea more than anything else.”
The use of night soil as farm fertilizer actually promoted public health in the Edo era, Brown writes. Because waste was collected and hauled away, it stayed out of the urban groundwater supply, helping to spare Edo from the deadly cholera epidemics that often swept large Western cities of the time.
Job: New AET needed in Shintoku (Hokkaido)
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Via the Hokkaido JETs Yahoo listserv:
The Shintoku BOE is looking for an applicant to fill one of its two Assistant English Teacher (AET) positions. The town is looking for someone who can help the Japanese teachers with the Eigo Note. The successful applicant will also help teach at 2 junior high schools, design and teach a children’s conversation class and coordinate a yearly English/holiday party with the town’s other AET.
Application deadline: June 18th
Position begins: August 1st
WIT Life #96: ヒューストンの日本庭園
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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.
The hot, humid weather down here in Houston certainly takes its toll on the body, but I was able to enjoy a morning run this weekend with one of the participants in my group (By the way, this fellow runner is also a former interpreter, and I would highly recommend her Japanese-only very entertaining blog). Our destination was Hermann Park located just off of the Rice University campus, and when we arrived and did some exploring we were able to find a Japanese garden! (日本庭園 or Nihon teien)
It was authentic in all respects, with manicured paths and a large tea house in the back. We took respite in the shade and Read More
J-DOC: JLPT 2010 – Lessons from the past and recommendations for the future!
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J-DOC, C-DOC, and K-DOC are recurring features written by Friend Of JET, Jon Hills, who maintains the blog for Hills Learning (www.hillslearning.com). Hills Learning is a NY-based 
language learning services company offering customized and personal Japanese, Chinese, and Korean language learning options.
Japanese Class listing can be found at: Japanese Classes or Japanese Classes Online
So it’s about that time of year where students are thinking about and preparing for the JLPT (The Japanese Proficiency Exam). Preparing for the exam this year will be different than last year, there have been a lot of changes to the exam. This article explores the Japanese proficiency exam with personal accounts of past failures and successes, and how this relates to the JLPT 2010.
For those readers who are not sure what I’m talking about by the “1-kyu” in the title of this article, there are 5 levels of the Japanese proficiency exam in 2010. 5-kyu is the beginner level, where as 1-kyu is the highest level.
Last year’s 1-kyu exam was quite difficult… (Click JLPT FAQ for the rest of the article)
Job: Translation/Writing/Editing with JAPANiCAN (Tokyo)
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Thanks to JET alums and JAPANiCAN employees Bryan Reynolds and Brian Blanchard for sending this job listing to JetWit:
JTB GMT WEB販売部 JAPANiCAN営業チーム 求人情報
【Job Summary】
Job type Back office
Career level Mid-career
Contract type Fixed-term contract staff
Contract period End of June 2010 – 31 March 2011
Contract renewable a maximum of 4 times. After initial contract period, subsequent contracts will be for a period of 1 year.
*The decision to renew a contract will be based on job performance and results achieved under the previous contract, and will only occur with the consent of both parties.
Location Tokyo Shinagawa-ku
English level Native
Japanese level Business
Salary JPY 2,800,000 – 3,000,000/year
Requirements Native level English, currently residing in Japan
Able to begin work by end of June 2010
【About us】
JAPANiCAN.com is an online travel booking site for foreigners planning to travel around Japan. We provide a wide range of travel services and hospitality that has been built and integrated on top of the history of the JTB Group, one of Japan’s biggest travel companies. Our website is available in English, Korean and Chinese (traditional and simplified).
Our division has a culturally diverse staff and is a very friendly environment.
We are currently looking for native English speakers to join our Translation/Writing/Editing staff.
Read More
How to Present Yourself to a Publisher or Agent at a writers conference
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Laura Popp (Mie-ken, 2009-Present) is a current JET who writes fantasy and science fiction for children and young adults, and is an occasional playwright/film maker. Her short work includes a short story titled “In theShadow Realm” and a documentary she made in Malawi. To read about her amazing adventures all over Japan, go to her blog at laurajanepopp.blogspot.com. (And check out the Authors/Books section of the JetWit Library for a list of more writers in the JET-o-sphere.)
Tired of submitting queries to agents and editors and simply getting form rejection letters or worse, NO RESPONSE? Wondering if they`re even bothering to read your stuff? Frustrated by wanting to submit to publishing houses that only receive submissions from agents and “referred” writers? Consider meeting publishers and agents at a conference!
Recently I returned from a writers` conference in my home in Oklahoma and came back with some great success stories to tell. Even better than the wonderful presentations on writing, polishing and marketing were the opportunities for networking and industry contacts. One literary agent asked me for the first fifty pages of my middle grade novel Dargon, another agent requested a proposal for my young adult novel Treasure Traitor, and a publisher from Simon and Shuster asked to see the full manuscripts of BOTH. A travel publisher also requested a proposal for a non-fiction travel-essay book on Japan, and best of all, a Christian magazine publisher accepted one of my stories on the spot! Of course, most of these are just birds in the bush, if you will, but they are certainly a good start.
So how did you do it? you may be wondering. Well, let me tell you…
Do your homework
Many conferences post information about editors and agents who will be attending in advance. Research them and pick the ones that look like they may be interested in your completed fiction projects or non-fiction ideas. Note that most agents and publishers will ONLY consider finished fiction works and proposals for non-fiction articles and books.
Try to make an appointment
If you have the option to make an appointment, Read More
More JETAA Iron Chef — Now in Sydney
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Here’s a message from the JETAA group in Sydney, Australia about their Sushi Iron Chef Event —
Event reminder – JETAA Sushi Iron Chef this Saturday!
Will you be the JETAA Iron Chef?
That’s right – the JET Alumni association is having a cook-off! Iron Chef style!!
All former JETS and folks interested in Japan are invited to attend!
Without giving too much away, sushi will be rolled, Japanese music will be played, and yes, there will be Iron-Chef like exaggerated commen…tary, hmmms…and ahhhs from judges and fun prizes to be had!
Please come along and bring your friends (RSVP plz)
Cost per head is the low low price of $15
The location is 64 Lawrence St Alexandria
(http://www.facebook.com/l/1026a;maps.google.com.au/maps?hl=en&q=64+Lawrence+St+Alexandria&um=1&ie=UTF-8&hq=&hnear=64+Lawrence+St,+Alexandria+NSW+2015&gl=au&ei=2j7rS7S0LorGrAewlazYCQ&sa=X&oi=geocode_result&ct=title&resnum=1&ved=0CBkQ8gEwAA)
Nearest train station is Erskineville. Street parking is available.
Looking forward to seeing you there!!
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.
As reported at Sakura Matsuri earlier this month, cosplay (costume play) is a growing trend among youthful patrons of public Japan-related gatherings. Last year, New York’s Japan Society hosted its first-ever cosplay party as part of its KRAZY! exhibition dedicated to anime, manga and video games. The event was a sold-out success, drawing nearly 500 fans who expressed their visual zeal (not to mention their tailoring abilities) for the more contemporary facets of Japanese culture. This year’s edition, fittingly titled Cosplay Party 2.0, kicks off Saturday, May 15, and is expected to top last year’s inaugural event.
The day promises a chance to meet and mingle with other cosplayers, nonstop musical entertainment by cosplay DJ Ruby Red, a photo booth, free admission to Japan Society’s current exhibition Graphic Heroes, Magic Monsters and a full-tilt costume competition, hosted by Uncle Yo and judged by World Cosplay Summit 2009 Team USA along with guest judge and Japan Society artist-in-residence Hiroki Otsuka. During the party, Japan Society’s theater will host New York’s big screen premiere of the anime film Evangelion 1.11: You Are (Not) Alone.
WITvid #7: “I Feel Good”
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WITvid is a periodic series by Peter Weber (Saitama-ken 2004-07), the JET Program Coordinator in San Francisco.
Oh man, it’s been awhile since I’ve posted a WITvid, but I came across this one and had to share. It’s a throwback to the the early 90’s the the early years of the JET Program. Timothy Beagley aka julesvegas (Kitashigayasu 1991-’92) presents a complication Enkai video set the sounds of the Godfather of Soul. Looks like not much has changed as far as Enkais go.
Enjoy!
Interview with ‘Beetle Queen Conquers Tokyo’ Director Jessica Oreck
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The film Beetle Queen Conquers Tokyo explores the history and mystery of the development of Japan’s love affair with bugs, underscoring ancient philosophies that will shift Westerners’ perspectives. JQ Magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) talked with producer/writer/director Jessica Oreck on the eve of the film’s New York premiere for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Would you describe this film as a documentary, or something else?
I try not to label films too methodically. Some of my favorite “narrative” films are not “documentary” but certainly seem more honest than films based on facts. So I guess I’ll just keep it simple and call it a movie.
Have you always had an interest in insects and Japan? What made you want to go there to capture these images personally?
I have loved insects since I was a little girl, so when I stumbled onto the Japanese enthusiasm for the same ostracized order, it felt like it was meant to be. I studied filmmaking, biology and ecology in university; I knew I wanted to make films about ethnobiology, so this was the perfect film with which to start.
The Japanese concept of mono no aware (which describes the awareness in the transience of things) is invoked early on in the film. Was this the original thesis before filming, or did this thread to traditional concepts develop later in the process?
I did extensive research before traveling to Japan, and I laid out a 17-page essay that included pieces of Japanese history and philosophy I hoped to incorporate into the film. Mono no aware was just one of the many ideas that were intricately tied together within the architecture of the film as I initially envisioned it. I knew it would be part of the film’s foundation, but as the editing process progressed and I continued to refine the essay and skim off outer details, the concept of mono no aware became more and more pronounced. In this way, editing the footage and writing and editing the narration was a very organic process.
Were there any older Japanese-made films tackling this subject that you watched for reference?
As far as I know there are no other films that address this subject in particular. There are some fantastic Japanese films that have a lot of bugs in them—one of my favorites being Woman in the Dunes. But I think the Japanese film that I watched most often while making Beetle Queen was Kon Ichikawa’s Tokyo Olympiad. That movie is infinitely perfect to me.
Several scenes in the film depict Japanese children’s love of insects. Were the ones you filmed typical of that kind of interest, or were they more passionate than most about this? How would you define Japanese kids’ relationship with the insect world compared to American kids’?
A Japanese child’s relation to insects isn’t that different from an American’s child connection—if you catch them young enough. Most young children don’t have an innate fear of bugs (from my experience watching thousands of them pass through the butterfly vivarium at the American Museum of Natural History). It isn’t until they see dad flinch or mom scream that they learn disgust or fear. What’s different with a Japanese child is that they are encouraged to explore the insect world. They keep them as pets, their dads take them on insect collecting trips, and they travel halfway across the country to watch the fireflies emerge at dusk. I am generalizing, of course, but the phenomenon is, by and large, quite widespread.
In comparison, I believe that a Westerner’s view of the natural world is, in part, dictated by the cultural heritage of what I call the Judeo-Christian syndrome, through which we see the world as a linear chain of progress that culminates in the human form and bestows the power of control to the animals with the least sense of balance. However, I think an individual’s understanding of the natural world is still mostly directly absorbed through the behavior of the people they admire, and that that is why this connection to insects continues to thrive in Japanese culture.
The author and anatomist Dr. Takeshi Yoro is the only person interviewed on-camera for this film. How did you discover him, and were there any other experts or authorities whom you considered speaking with?
Dr. Yoro is a famous guy in Japan, so everywhere we went people asked if we had plans to interview him. Eventually we just decided to call him and, miraculously, he said he would be happy to be interviewed. It was never my intent to have talking heads, but so many of the things that Dr. Yoro said felt like pure poetry—he ended up being the key to some of my favorite parts in the movie.
Generally, what kind of support did you receive from the Japanese people you worked with and filmed? What was their reaction to an American filmmaker exploring what seems to be a uniquely Japanese interest?
Everyone was happy to have us, though they were often confused about why we were making this film. We got a lot of, “What? They don’t sell beetles in America?”
What should more Americans be aware of with respect to the insect world?
Well, I hate to limit the film’s impact to the insect world. To me, the film is about much more than bugs. I have had the opportunity to observe a myriad of reactions. Plenty of people have been surprised by the loss of their fear, or by newfound knowledge, or a novel appreciation for beauty in unanticipated facets of their life. But my favorite story is of a World War II veteran who approached me after a screening of Beetle Queen. He said something to the effect of, “For fifty years I have thought of the Japanese as my enemy. And in the past hour and a half, you have changed that.”
Are there any plans to screen the film in Japan?
Not yet! But we are always looking for opportunities!
Beetle Queen Conquers Tokyo runs from May 12-18 at New York’s Film Forum, with Jessica appearing at screenings on May 12, 14 and 16. Visit www.beetlequeen.com for more info, and sign up for the mailing list at info@beetlequeen.com.
Job: Festival & Exhibition Director at the Center for Asian American Media
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The Center for Asian American Media (CAAM) , the organization behind the SF International Asian American Film Festival (SFIAAFF), is looking for a festival & exhibition director to lead its public programs and film festival.
The ideal candidate is an experienced manager and programmer who has a vision for Asian American media, is highly motivated and resourceful, and brings a sense of creativity and adaptability. The position requires strong management, oral and written communications skills, as well as a breadth of knowledge and experience in film, video, or media arts, exhibitions, live events, or other public engagement programs. The Festival & Exhibitions Director is part of CAAM’s program team and a larger management team for the organization.
- Duties:
- Create artistic and overall vision and plan for year-round programming
- Work with Director of Programs on vision and goals for SFIAAFF
- Hire, train, and supervise department and specific Festival seasonal staff
- Hire & supervise program curators as needed
- Develop and manage department budget
- Event scheduling and program slotting
- Cultivate and maintain effective filmmaker & distributor relations
- Manage venue and partner organization relations and contract process
- Develop relationships with key film festivals & film industry contacts
- Contribute to development of annual Festival marketing & website plan
- Work with Development & Communications Director and Publicist to generate key press messaging and releases
- Work with Development & Communications Director to identify, solicit, and maintain sponsors for SFIAAFF and other events
Desired Qualifications:
- Demonstrated success in arts programming
- At least five years of experience in management within a non-profit or event production setting
- Strong vision and strategic thinking as well as a commitment to continuous improvement
- Notable communication ability particularly in public presentations and written communications
- Excellent organizational and project management skills
- Flexible to change and resourceful in meeting challenges
- Ability to lead and thrive in fast-paced environments, managing multiple personnel and projects
- Strong managerial skills, particularly in supervision and building effective teams
- Ability to cultivate meaningful relationships with media makers, supporters, industry representatives, and funders.
- Capacity to take initiative, build consensus and to work effectively cross-departmentally
- Deep understanding of Asian American communities and media arts field
- Compensation: Salary commensurate with experience. The position is full-time, exempt, salaried, and includes excellent benefits.
Position open until filled. First round interviews to begin mid-April. Early applications encouraged.
To apply, please send résumé, cover letter, and salary history to:
Festival & Exhibitions Director Hire
Center for Asian American Media
145 Ninth Street, Suite 350
San Francisco, CA 94103-2641
Or by email: karyin [at] asianamericanmedia [dot] org
My wonderful wife Wynne Wu passed away on April 23, 2010 after living with metastatic breast cancer for 4 years. As a result I have not been actively managing the JetWit site recently and not consistently responding to emails (though I have been forwarding job listings I’ve received on to Machiko Yasuda who has been posting them). Additionally, other JetWit contributors have been extremely helpful in keeping the site going, and for that I am greatly appreciative.
For more information about Wynne you can read her blog, which I’ve been updating, at http://wenren.wordpress.com.
-Steven Horowitz (Aichi-ken, 1992-94)
Attention Portland JETS — It’s time for Iron Chef
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The Portland JETAA Chapter has invited us to join in their annual Iron Chef Competition!
Date: Saturday, May 15th
Time: 4pm to 8pm-ish
Location: Portland!
The Iron Chef event is a potluck event to enjoy cooking and eating Japanese food. Everyone brings Japanese food they prepared at home to compete in 3 categories: side dish, main dish, and dessert. Three judges will taste each of the dishes and then pick the best dish and runner up in each category.
This year Portland has added a Seattle vs. Portland category. We will pick one person to represent us and make a dish using this year’s ingredient, Sensei Sauce . The owner of Sensei Sauce will actually be coming by to judge our part of the competition!
Some people are planning to go just for the 15th, but others may stay overnight on Saturday. If any of you would like to stay over but don’t have somewhere to stay, let us know. Portland has generously offered to ask their members to host us.
The 15th is coming up soon!
So please email social@pnwjetaa.org ASAP if you are interested in coming.
The RSVP deadline is next Wednesday, May 12th. We are going to limit our group size to 20 people, so spots will be first come, first served.
We’re really excited about the competition and hope many of you will come too!
Interview with Author Bruce Feiler
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JQ Magazine editor Justin Tedaldi (Kobe-shi CIR, 2001-02) spoke with JET alum and Learning to Bow author Bruce Feiler (Tochigi-ken, 1987-88), who will be appearing tonight at Barnes & Noble on the Upper East Side to promote his new book The Council of Dads. (Visit Examiner.com for complete details.) The full-length interview will appear in the next issue of JQ, out later this month.
What made you want to write Learning to Bow?
It kind of grew out of a series of letters I wrote home of the “you’re not gonna believe what happened to me” variety. And when I went back to Savannah six months later, everywhere I went, people said, “I just loved your letters,” and I said, “Have we met?” It turned out that my grandmother had copied them, and they got passed from person to person—they went viral in the 1980s, if that’s the word—and I thought, wow, if that’s interesting to me and to these other people, I should write a book about it. It really was the sense that this story from this point of view wasn’t being told. In the 1980s, you couldn’t pick up a newspaper without reading an article about Japan or education, and the fact that here was a book that combined both, but had some sense of humor, I just think it was the right book at the right time, and I’m amazed and touched that, so many years later, for a lot of people, it’s the first book they read when they go to Japan…This was before the Internet, before e-mail, before blogs. The world seemed much bigger than it is today.
Have you returned to Japan since your time there as a teacher?
That’s a really good question, and the answer is no. I’ve kind of been to every place around it, but I’ve never been back to Japan. I keep looking for the right assignment, because I really want to go back and kind of write something, but I haven’t been back.
What kind of outlook did you take back home with you from your time in Japan?
People go to Japan today and they call me up, which still happens from time to time. I say the same thing that I’ve said for decades now, which is: don’t go over to Japan trying to change it, thinking that you know better. Go there trying to understand. I think that that essential way of experiencing another culture is by not going in as a sort of a haughty Westerner, looking down on it, but actually jumping into the deep end, completely immersed in yourself, befriending the people, and opening yourself up to the culture. That way of living is the thing that I would take from my experience, and pass on to my daughters today.
Have you thought about writing another book about Japan?
Sure, I would like in my life to go back and revisit that. I mean, we’re coming up on 25 years since I was living and working in Tochigi, and I would love the opportunity to go back, walk those streets, seek out friends, maybe some of those students, and use that as a prism to talk about how Japan has changed in the last quarter-century. I think that would be a great privilege, and if anybody reading this wants to send me on assignment, I’m ready to accept.
What was your best and worst memory of Japan?
I’d say my best memory was climbing Mt. Fuji, and the worst memory was…trying to fit my feet into the free giveaway slippers at Japanese schools.
Yeah, those are tough.
[Laughs] I haven’t thought about that in a long time.
JQ Magazine editor Justin Tedaldi (Kobe-shi CIR, 2001-02) sums up the weekend-long annual event in Brooklyn. Originally published for Examiner.com.
“Today is a perfect kickoff for the historic months to come,” said New York’s Ambassador and Consul General of Japan Shinichi Nishimiya at the top of the 29th annual Sakura Matsuri Cherry Blossom Festival at Brooklyn Botanic Garden held the weekend of May 1 and 2. The historic months the ambassador referred to reach back 150 years, when a samurai envoy marched down Broadway in 1860 as part of the first Japanese diplomatic mission to the U.S. and Japan, which will be reenacted in June to celebrate the occasion.
For Japanese, springtime means hanami, a custom associated with enjoying the beauty of sakura (cherry blossoms), typically as part of an outdoor party in flower-viewing spots across Japan. While BBG’s sakura were already past their peak bloom before the event due to unseasonably warm weather, tens of thousands of people were still expected to attend over the weekend, according to Kate Blumm, BBG’s communications manager.
The dozens of performances, cultural exhibitions, art displays, and foods on tap at Sakura Matsuri—not to mention the brilliantly sunny weather—more than compensated for the lack of pink on the trees. After remarks from other speakers including Brooklyn Borough President Marty Markowitz, New York’s own Soh Daiko taiko drum ensemble hit the Cherry Esplanade Stage for a surging performance, followed later by classical and Okinawan dance, a martial arts demonstration by World Seido Karate, and a samurai drama representing the more traditional facets of Japan.
But Sakura Matsuri sported more than just time-honored acts. “We’ve ramped up the anime, J-pop, and manga sort of things,” said Blumm, noting that organizers have “been drawing a completely new crowd since we started J-Lounge. It’s been a big hit.” Located in BBG’s Osborne Garden, J-Lounge became a Mecca for young people with an interest in more contemporary Japanese pop culture. In addition to its manga and anime artist alley, other showcases included anime stand-up comedy, music and dance performances, and a guest appearance by Pokémon voice actress Veronica Taylor, who gave voice to characters created by Brooklyn-based graphic novel artist Misato Rocks!
“For me, it’s all about the contrasts,” explained Blumm, observing Sakura Matsuri’s blend of old and new. “Being immersed in a spectrum of cultural elements, the patrons become part of the festivities.” The most obvious example of this was the multitude of visitors engaging in cosplay, or costume play, a performance art of dressing in elaborate costumes (typically designed by the cosplayer) inspired by characters in Japanese popular fiction.
Cosplay began in Japan, but now enjoys a devoted following among young Americans, usually at anime and comic book conventions. The fact that more cosplayers have been popping up at Japan-themed gatherings like Sakura Matsuri was not lost on BBG: some of J-Lounge’s top attractions included “high tea” for lady cosplayers, a performance by artist/singer Mario Bueno, and the “Iron Cosplay” competition.
“We do this about two to three times a year,” said attendee Michelle Kwon, who with her two friends resembled characters from the anime and manga series Lucky Star, about a group of pastel-haired schoolgirls. “It’s great being able to recognize other characters that we like from animation. We’ve taken probably hundreds of pictures today.”
Some cosplayers were able to draw crowds of their own based on their costumes. Attendee Ferdinand Garcia and his three friends went as a Naruto-inspired ninja warrior clan, and received an unusual photo request from a patron: “We posed for a lady from Albania who was carrying this fish around with her,” Garcia said. “She wanted to take pictures of this fish in all these different places.”
Some criticized the cultural mash-up, Attendee Natsumi Onodera from Tokyo said the event was “not traditional, so I’m afraid non-Japanese people might misunderstand the culture.” Her friend Sachie Hayashida from Fukuoka was blunter: “There’s no Japanese people here,” she said. Both of them are currently studying abroad in New York, and were invited to Sakura Matsuri by one of the performers.
Brooklyn resident Kate Russell, a first-time visitor, enjoyed the variety between kimono and cosplay.
“It was great. I liked the classic cultural events and ceremonies, but also the modern, like seeing all the characters,” she said. “I will come again next year, because I want to see the cherry blossoms.”
For a full schedule and list of performers and events, visit Brooklyn Botanic Garden’s website.
