Earthquake Support Event: WE ARE HERE – Little voice and art 311 Japan (NYC)
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Posted at the request of CLAIR New York:
WE ARE HERE – Little voice and art 311 JAPAN is an exhibition of messages from Japanese children of areas affected by the disaster as well as photos of the area. The exhibition is being held at the AIGA Gallery in New York on 22nd St and 5th Avenue in Manhattan from today through May 20. They are also collecting messages from visitors to those children.
WIT Life #167: Japan and War as Seen Through the Lens of Film
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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.
Recently I had the chance to see two films from 2010 that examine the issue of Japan and war. One was Anpo: Art x War which was screened at Columbia University last week, and the other is Caterpillar currently being shown at the IFC Center through this Thursday. The former is a documentary directed and produced by Linda Hoaglund, and the latter is a film made by the director Koji Wakamatsu of United Red Army fame (shown at Japan Society a few years ago and coming to IFC later this month).
Anpo uses a mixture of paintings, photos, anime, films and music by Japanese artists to Read More
Event: Two Artists, Two Expressions
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Author Suzanne Kamata (Tokushima-ken, 1988-90) who also serves as the Publicity Assistant for the Society of Children’s Book Writers and Illustrators in Tokyo, shared the following:
The Society of Children’s Book Writers and Illustrators presents
Two Artists Two Expressions
Colored Pencil Workshop with Katsuya Takahashi and Daniel Schallau
Time: Saturday, May 21, 2011, 6:30-8:30 p.m.
Place: Tokyo Women’s Plaza, Audiovisual Room
5-53-67 Jingumae, Shibuya-ku, Tokyo
(by the Children‘s Castle and United Nations University;
for a map see www.scbwi.jp/map.htm)
Fee: SCBWI members 1,000 yen; nonmembers 1,500 yen
RSVP: Please reserve by May 20 by sending an e-mail to info@scbwi.jp
This event will be in English and Japanese.
Please join us for an evening workshop led by two master colored pencil children’s book illustrators followed by Q&A.
Katsuya Takahashi will introduce and demonstrate the basic properties and techniques of colored pencils that give his illustrations a unique look and feel. In the second half of his workshop, everyone will have the chance to experiment with the techniques that Takahashi has shared. Please bring a set of twelve or more colored pencils, some paper and an eraser.
Daniel Schallau will focus on the techniques he uses to draw cool winter scenes. Have you ever wondered how to draw snow in night scenes? Just use white? Think again. Schallau’s secrets might surprise you. This part of the workshop will offer the opportunity, for those interested, to try out some of Schallau’s tips. Please bring a range of blue colored pencils and yellow, orange and red pencils. Paper and pencil sharpeners will be provided.
Katsuya Takahashi (http://homepage3.nifty.com/katz-t/) Born in Kyoto, colored pencil artist Katsuya Takahashi studied in the Faculty of Art at Kyoto Seika University. After graduation, he became a freelance illustrator, and his work has been widely recognized in newspapers, books, magazines, and commercials. “Hyper burnishing” is how he describes his colored pencil technique. The rich hues and luminous glow of his illustrations are the result of deep layers of colors. Now a resident of Tokyo, he has held exhibitions every year since 1998. Takahashi works both in Tokyo and the Kansai area and is the author/ illustrator of the picture book, Hora utaga kikoeruyo (Listen, I Hear a Song; Builder Buch).
Daniel Schallau (www.danielschallau.com) After working for various architecture firms in the U.S., Daniel Schallau traveled to Tokyo where he now works as an English teacher and an author/illustrator. People often find it difficult to believe his drawings are actually created with colored pencils, insisting instead that they must be done with a computer. His picture book Come Back Soon (Houghton Mifflin Harcourt) was published in 2009. Schallau specializes in intricately drawn worlds inhabited by elephants, penguins, whales, bears, snowmen, rabbits and more.
JapanGanbare: Messages of encouragement and support through manga art!
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A thoughtful approach to supporting Japan through original and creative images by manga fans:
Send a message of encouragement and support through your own manga art!
漫画を使って日本を応援しましょう！
WIT Life #157: Bye Bye Kitty!!!
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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.
Last week I had the opportunity to attend the opening for the Japan Society’s newest exhibit, Bye Bye Kitty!!! The title refers to opposition towards the domination of Japan’s kawaii-ness, the idea of cuteness that has become Japan’s major export as represented by Hello Kitty. It features 16 artists, many of them quite young and not household names, and their interpretation of this concept. I was particularly drawn in by the intricacy of the works of 38-year old Manabu Ikeda, whose pen and ink masterpieces were incredibly detailed and required several minutes of close examination to take in all of their elements.
Equally interesting was the large-scale Read More
Art in the (Japanese) Social Sphere
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Thien-Kieu Lam is an artist who is producing Bound in Japan. Bound in Japan is a community book art project that aims to promote awareness about diversity in Japan and enhance intercultural understanding by engaging native and non-native residents in the creation and sharing of book art.
Here, Kieu discusses the motivation behind Bound in Japan. To read the full article, which includes her insights on the power of the individual and a guide to turning a personal vision into reality, check out the blog Shinpai Deshou.
Japan, quite frankly, was an unexpected twist in my life. As an ethnic Vietnamese American who graduated with a degree in fine arts and a second major in Mandarin Chinese, I certainly had my sights on Asia, but Japan was always on the periphery. Japan didn’t really register on my radar until I was a college senior facing that daunting question mark: THE FUTURE. I had always dreamed of living abroad, and one day a friend suggested that I apply for the Japan Exchange and Teaching (JET) Program. I did and it was a fateful decision. It was the beginning of a lifelong relationship.
After three years of teaching English in Kagoshima and four years of working at the Embassy of Japan in Washington, DC, I’m ready to take this relationship to a different level. I’m going back to my roots—the arts—and crossbreeding it with social activism.
My parents are immigrants. I know very well the kind of challenges my parents have faced and continue to face during these thirty odd years. I myself have faced similar challenges while living in Japan. I had never expected to fall in love with Japan. It made me think about what it would be like if I chose to settle there, to make Japan my new—and permanent—home.
Every time I go to Japan, it doesn’t feel like I’m traveling. It feels like going home. I have numerous Japanese friends, and for the most part, I can confidently navigate the physical and social geography. But that doesn’t mean it’s easy to live in Japan.
Japan has been a mostly homogenous society for centuries. It hasn’t had to think much about the less than 2% of the population who are non-native residents. And it shows. There’s a lack of integration. A lack of infrastructure. Even now, immigration policy continues to take a backseat despite the steady increase in immigration over the years. Despite the fact that opening up immigration is one of the few viable solutions to the current challenges presented by Japan’s changing demography. Lots of words are being said, but where’s the action?
Local communities are taking matters into their own hands. There are many organizations whose mission is to assist foreign residents with language, culture, and legalities and who seek to enhance intercultural understanding. This makes me very hopeful. I believe that any sort of social change will begin locally at the grassroots level. It has to begin with public consciousness.
Art can play a role in this. Art, after all, is about expression. It’s a way to communicate. This is the goal of Bound in Japan. Participants will be able to engage in an educational and enjoyable activity that allows them to share their stories with others. Through the process of creating art about their experiences in an adopted homeland and the act of sharing it with others, there are many opportunities to learn about each other, to start new dialogues, and to engage in community building.
Bound in Japan is a collaborative art project. Its success depends on the active participation of the community. This success can be defined as the personal enrichment of individual lives as well as the enrichment of an entire community.
I know that there are many people like me, who love and consider Japan a home. There are many ways you can support Bound in Japan. A project like this requires a significant budget. Consider making a donation to the Bound in Japan IndieGoGo campaign. Know of an organization in Japan that would like to participate in the project? Let me know. Are you living in Japan right now and would like to take part in Bound in Japan? I would love to hear from you.
Learn more about Bound in Japan: http://boundinjapan.com
Contact Kieu: tknlam@gmail.com
Follow Kieu and Bound in Japan on Twitter: @KieuLam
Info courtesy of Diana Lee, President of AsianInNY.com. Diana is handling performances for the 32nd Asian/Pacific American Heritage Festival in New York.
The Asian/Pacific American Heritage Festival is a free, day-long celebration of Asian/Pacific Americans. On May 8th, 2011, from noon-6pm, performing groups from the New York tri-state area will take the stage in front of an audience of over 8,000 in Union Square, Manhattan.
We are currently seeking submissions for:
- Performances from artists and companies working in music and/or dance including folk, traditional, and contemporary expressions.
- Must be appropriate for a family oriented 20-30 minutes performance on an outdoor stage.
The event has a history of high media coverage featured in the New York Times, Newsday, the Village Voice, Time Out magazine, NY1 News, and many ethnic papers.
We will have a merchandizing table for performers who participate in this festival to sell their items or place their promotional materials (flyers/posters).
To submit registration or auditions for performances, please visit our registration site at: http://bit.ly/etkYAP
Deadlines:
Performances Submissions: Friday, February 18, 2011
For more information regarding the festival: www.capaonline.org
If you have any questions, please don’t hesitate to contact me here or at info [at] ASIANinNY.com.
Thank you,
Diana Lee
VP of Performance of APA Heritage Festival
WIT Life #152: Kaga Maki-e
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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.
Recently I had the opportunity to interpret for a delegation from Kanazawa that was here to promote the city in general and especially its ancient craft of 蒔絵 (maki-e), a lacquerware technique that uses silver and gold powder. This art form actually originated in Kyoto which has its own style known as Kyo Maki-e, but the Kanazawa version is called Kaga Maki-e, Kaga referring to the area of Kanazawa where it originated. This picture, courtesy of fashion blogger Alice Chin, shows two delegation members at the ribbon cutting ceremony for the new Kaga Maki-e display.
On the left is native New Yorker and long-term Kanazawa resident Evelyn Teploff-Mugii, a designer who has modernized the thousand year old maki-e process to make breathtakingly beautiful accessories. Her Evelyn Claude line will be offered in the US for the first time. To her right is Read More
By Thien-Kieu Lam (Kagoshima 2003-2006), an artist who is producing Bound in Japan. Bound in Japan is a community book art project that aims to promote awareness about diversity in Japan and enhance intercultural understanding by engaging native and non-native residents in the creation and sharing of book art.
Pull open the covers and rows of “flags” pop up in salute! And thus Hedi Kyle’s invention became known as the flag book. With so many pieces, it looks complicated but is relatively easy and fun to assemble. The flag book structure was the focus of my second demo class which met during November and December of last year.
My five dedicated participants are all former residents of Japan. One is a native Japanese, and the others had either taught in Japan or studied there. Over the course of five sessions, the participants created a model of the structure, did writing exercises to generate content, and produced the final product.
Two of the books can be seen in the above picture. Erin’s book (left) focuses on the contrast between the calm and chaos she found in Japan, and Danielle’s book (right) indulges in her love of Japanese onomatopoeia and is accompanied by English haiku.
To see more photos from the class, go to the Bound in Japan blog.
WIT Life #145: Manga studies
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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.
Coming off of yesterday’s post, I was surprised to find an article about manga and animation in this morning’s New York Times. It discusses how over the last decade, various programs that have evolved for formally studying these arts are attracting international students. The courses are offered only in Japanese which presents a bit of a challenge, but dedicated students see them as the key to advancing “their careers in animation, design, computer graphics and the business of promoting them.” The Japanese animation companies interviewed in the article said Read More
JET alum seeks funding for “Bound in Japan,” a community book art project
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Via the JETAA DC email list, information about an interesting project created by Kieu Lam (Kagoshima-ken, 2003-06):
Dear Fellow JETs and Friends of Japan,
I am writing to let you know about Bound in Japan, a community book art project that I am producing.
I am a former JET and, like so many of you, have come to love Japan and consider it a second home. As you are aware, establishing a new life and community in Japan presents many challenges, and opportunities for exchange amongst native and non-native residents are important. Bound in Japan will offer a unique opportunity for this kind of engagement.
I plan on going to Japan in the summer of 2011 and will be teaching book art workshops for mainly non-native residents. These participants will create original book art about their experiences living in Japan, and this book art will be organized as an exhibition. Through this creative process, Bound in Japan aims to promote intercultural exchange and understanding in a Japanese society that is slowly but steadily becoming more multi-ethnic.
In order to make the book art workshops widely accessible and to incorporate as many voices as possible, these workshops will be offered at no cost to participants. It is necessary to raise funds to cover expenses for workshops and the exhibition as well as travel and living expenses in Japan. Read More
Yes, New York has Japanese belly dancers, too
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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.
Nahoko Sugiyama discovered her niche at an early age. As a little girl growing up in Tokyo, she imitated the moves of the Japanese idols she saw on TV. As a teenager, a penchant for clubbing set the foundation to become a dancer, and in her twenties she took up Oriental (belly) dance, Quickly becoming a popular draw through professional appearances, she decided to make a career out of this exotic form of expression.
Moving to New York in 2006 for more in-depth training, Sugiyama joined the Mosaic Dance Theater Company a year later. “One of my teachers in here is a choreographer for this company, therefore I joined it,” she explains. “We have a wide range of Middle Eastern dance numbers, not only Oriental dance, which makes us unique. We focus on theater shows, [and] have big theater shows both in New Jersey and New York every year.”
This Friday, she will perform at Manhattan’s Arena Event Space with six other dancers as part of the Alternative Belly Dance Show.
This Weekend at Japan Society: STEIM Electronic Music Lab
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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.
From Yellow Magic Orchestra to Cornelius to the current wave of chiptune artists inspired by classic 8-bit video games, Japan has a rich legacy of electronic music whose influence continues to grow in the age of globalization. Seizing this trend, New York’s Japan Society will close out its spring 2010 performing arts season with a concert by STEIM (Studio of Electro-Instrumental Music) and related events on May 7 and 8.
Based in Amsterdam, STEIM is “the natural course of what we have presented under the category of ‘music,’” said Yoko Shioya, Japan Society’s artistic director. “In fact, there are many internationally active and acclaimed Japanese musicians and composers in this area, and that is why I started to make the program of this genre several years ago.”
The envoys of this sonic summit are Takuro Mizuta Lippit, STEIM’s artistic director, originally from Japan; Yutaka Makino (Japan/Germany), a musician and artist who works in the convergence of sound, science and architecture; ABATTOIR (U.S./Netherlands), a duo comprised of American cellist/vocalist Audrey Chen and Dutch musician/composer Robert van Heumen; digital media composer Yannis Kyriakides (Netherlands) and guitarist Andy Moor (U.K./ Netherlands) of the legendary Dutch punk band The Ex; and dj sniff (Japan/Netherlands), the performer alter ego of Takuro Mizuta Lippit.
“Put it this way,” said Shioya, “the layer of the musicians and composers in electric music in Japan is very thick—therefore, many types of musicians emerge…Japanese musicians in this genre have been quite influential in the international music scene.”
The program kicks off the night of Friday, May 7 with the Artist Talk + Demo, with STEIM artists Yutaka Makino and dj sniff discussing the process of crafting their sounds and sharing their perspectives on the latest international collaborations in electronic music. Japanese sound poet Tomomi Adachi rounds out the panel. Also, a free STEIM Mobile Touch Exhibition on May 7 and 8 will allow visitors the opportunity to make music on some of the artists’ instruments.
Saturday, May 8 showcases STEIM’s Workshop for Youth for ages 10 to 18, giving them a chance to learn more about their methods and test drive some of the instruments themselves. The night’s centerpiece is the Electronic Music Lab concert, a one-time only performance.
What will it all sound like? According to Shioya, “The music you will hear in STEIM’s concert is music which may make some people wonder, ‘Do you call it “music”’…? But…the definition of ‘music’ can be varied, and many Japanese musicians are not intimidated by the conventional perception of ‘music.’
This program shows that this genre of music—improvisational and experimental—is truly borderless.”
STEIM: Electronic Music Lab takes place Friday, May 7 and Saturday, May 8, with complete schedule and ticket information here. Japan Society is located at 333 East 47th Street between First & Second Avenues. Tickets may be purchased by calling the Box Office at (212) 715-1258 or in person at Japan Society (M–F / 10 AM–4:45 PM). For more info, call (212) 832 -1155 or visit www.japansociety.org.
Yoshiko Chuma returns to the 92nd Street Y Harkness Dance Festival March 19 to 21 with the New York premiere of Hold the Clock, the latest installment of her ten-year project, Page Out of Order. To celebrate the 92nd Street Y’s 75th anniversary theme, Past-Future-Now, Chuma, who has appeared at the Harkness Dance Festival in 1995 and 2001, invited three artists she admires to create a 7-minute piece to be integrated into the final presentation of the work: Ursula Eagly, Jon Kinzel, and Rie Ono. Chuma will appear in each of these artists’ new works. The evening will also feature performers Mina Nishimura, Jun Kim, Catherine Galasso, Yuko Mitsuishi, and Ryuji Yamaguchi, singer Sizzle Ohtaka, and sound designer Kohji Setoh. For more info click here.
March 19-21, 2010
Fri & Sat, 8 pm; Sun 3pm
Tickets: $15
Tom Baker interviews “Coraline” Oscar nominee
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Tom Baker (Chiba-ken, 1989-91) is a staff writer for The Daily Yomiuri. A big part of his beat is the Pop Culture page, which covers manga, anime and video games. You can follow Tom’s blog at tokyotombaker.wordpress.com.
He also writes about movies. Here is his interview with stop-motion animator Henry Selick, whose film “Coraline” is a nominee for best animated feature in the Academy Awards to be presented on March 7:
When the nominees for best animated feature film are read out at the Academy Awards ceremony in Hollywood next month, there will be one computer-graphic animated film (Up), two traditional 2-D animated films (The Princess and the Frog and The Secret of Kells) and two stop-motion films (Fantastic Mr. Fox and Coraline).
“I feel very lucky to have lived long enough to still be making films in this era,” Coraline director Henry Selick told The Daily Yomiuri in Tokyo last week. His two previous features, Nightmare Before Christmas (1993) and James and the Giant Peach (1996) came out before the Oscars introduced an animated feature category in 2001.
Coraline has already won several other prizes, including an Annie animation award for Japanese production designer Tadahiro Uesugi.
Coraline, based on a novel by Neil Gaiman, is the story of a young girl who discovers a secret passage to an alternate universe where all the things that annoy her in the real world have been changed. But like a gingerbread house in a fairy tale, this seemingly delightful place turns out to be a trap from which she must escape.
Read the rest of the article here.
