JQ Magazine: The Steady Riser – A Conversation with Tokyo Musician Nelson Babin-Coy
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“The Japanese market is a very unique market; it’s very closed. It is kind of frustrating when I try to introduce Western ideals in my music or introduce how I feel live music should be enjoyed at gigs or live venues. If you want to dance, dance. If you want to move, move.” (Lisa (paint with stars) www.paintwithstars.com)
By Sheila Burt (Toyama-ken, 20010-12) for JQ magazine. Sheila recently returned to America after living in Japan for three years (two years in Namerikawa with JET and one year at a private school in Ehime-ken). She is currently looking for a job and welcomes all leads. View more of her work at www.sheilaburt.com.
The first time Tokyo-based musician Nelson Babin-Coy visited Japan, he was a 15-year-old high school student from the suburbs of L.A. who knew next to nothing about Japan. Interested in learning more about Japanese music during his stay in Gunma Prefecture, he started listening to what other teenagers his age were into, including the idol group Morning Musume. Yet when he first heard one of the band’s songs, he cringed a bit. “I wasn’t disgusted, but I was like, ‘This is music in Japan?’,” he laughs.
Thankfully, his host sister introduced him to the Battle Royale theme song by Dragon Ash, and he was hooked. The two weeks Babin-Coy spent in Gunma were enough to give him a new dream to follow. He wanted to live in Japan, though he had yet to figure out the how and what to do.
“I love Japanese music and lyrics,” he says. “I think Japanese artists are more artistic in the way they form their stories.”
Now 28, Babin-Coy is a rising singer-songwriter who primarily sings in Japanese and works with several native artists trying to break into the Western market. He has toured the mainland three times with his band, nothing ever lasts (currently on hiatus).
JQ Magazine: JQ&A with Manga Translator Zack Davisson on Shigeru Mizuki
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“All of JET is fond memories for me. I loved it. Kansai was the perfect area. Nara, Osaka, and Kyoto were all in easy reach so I had the best of everything. I lived in ancient and traditional Japan, but had wild and modern Japan nearby anytime I wanted. I did everything I could possibly do, went everywhere, tried everything—it changed my life.” (Courtesy of Zack Davisson)
By Julio Perez Jr. (Kyoto-shi, 2011-13) for JQ magazine. A bibliophile, writer, translator, and graduate from Columbia University, Julio is currently seeking opportunities with publications in New York. You can follow his enthusiasm for Japan, literature, and board gaming on Twitter @brittlejules.
A scholar, author and translator of Japanese folklore and ghost stories, Zack Davisson (Nara-ken, 2001-04; Osaka-shi, 2004-06) joined the JET Program in 2001 with some basic Japanese knowledge and a strong desire to learn much more. After spending five years on the program, he remained in Japan to acquire a master’s degree in Japanese studies while writing freelance and translating for Osaka University.
The theme of Japanese ghosts running through Davisson’s writing and translation dovetails the interests of manga legend Shigeru Mizuki, who is famous for the classic series GeGeGe no Kitaro. Mizuki is equally well known in Japan for his autobiographical works about his experiences as a soldier during World War II. A great fan of Mizuki, Davisson now contributes to publisher Drawn and Quarterly’s English adaptations of Kitaro and is the translator of the first volume of Mizuki’s historical manga Showa 1926-1939: A History of Japan, released last month in North America.
In this exclusive, expansive interview, Davisson discusses his time on JET, the significance of Mizuki’s supernatural and historical works, and the unique methods and madness of manga translation.
How did you first become interested in learning the Japanese language, and how long have you been studying it? For aspiring translators who are still studying, do you have any advice about textbooks, programs, or techniques?
I actually became interested when I was about 10 years old and my mother took me to see Seven Samurai at a local art theater. I was hooked pretty early—if I you look at my class pictures from that time I am wearing ridiculous Japan t-shirts. I took Japanese in high school when it was offered as a foreign language, but there were only four of us in the class, so it was cancelled—no one was interested in learning Japanese back then. This was the ’80s, so there was no “Cool Japan.” That pretty much ended my language studies for a while.
Decades later when I went on JET, I was useless language-wise. I thought I knew more Japanese than I did, but really just the set phrases and greetings. I was determined to leave JET functionally bilingual, so I just studied as hard as I could from day one, eventually getting my master’s degree in Japan.
My only real advice for people is to go to Japan, and talk and read and practice as much as humanly possible. There is no substitute for immersion and experience. I always say I learned more Japanese at my local bar, the 100 Club, than I did doing my MA. Talk, talk, talk. Read, read, read. Use Japanese as a living language, don’t just study it as an abstract. And, of course, marry a Japanese person. That’s a huge advantage!
When and where were you posted for JET? Could you talk a bit about your time there and what you remember fondly?
I started JET in…I think 2001. Crazy to think it was more than 10 years ago, because it doesn’t feel that way. I was unusual in that I was a 5-year JET that worked in two prefectures. I did three years in Nara and then two years in Osaka. I don’t know if they still allow you to do that. I was one of the first in my prefecture to get that contract extension, and even then there were only two of us allowed to do it.
As for fond memories…all of JET is fond memories for me. I loved it. Kansai was the perfect area. Nara, Osaka, and Kyoto were all in easy reach so I had the best of everything. I lived in ancient and traditional Japan, but had wild and modern Japan nearby anytime I wanted. I did everything I could possibly do, went everywhere, tried everything—it changed my life. And my career; I got started in writing and translating doing articles for my prefectural newsletter, then moved on to publishing magazine articles for Kansai Time Out and Japanzine. And now I have my Shigeru Mizuki translations out and my book, Yurei: The Japanese Ghost, coming next year. I owe all that to JET and the people I met on JET.
In what ways did you become involved in your community?
I wasn’t a big community person, other than I threw myself into every matsuri I could. I was fascinated with Shinto festivals, especially the big, loud, and dangerous ones. Anything fueled with alcohol and adrenaline. I did the Okayama Hadaka Matsuri four times and brought the magic sticks out twice. I carried this massive mikoshi in a little village in Nara every year. In Osaka, I carried these giant, flaming torches in the Taimatsu Matsuri for my town. I loved the primal nature of these matsuri, the physicality and closeness to the gods—it’s something we’ve completely lost in the U.S. In our quest for safety and comfort we’ve lost something intangible. Something Joseph Campbell would have recognized and appreciated.
Other than that, I was a regular at a local bar, the 100 Club in Osaka. A different kind of community, but that was another life changer. I’m still friends with my pals from the 100 Club and we even got matching tattoos. Not quite as sweet as volunteering at the local children’s eikaiwa, but there it is.
JQ Magazine: Book Review – ‘Life in Japan: The First Year’
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“Edison’s artistic talent captures Japan’s essence and his autobiographical account is honest and direct. JET Alumni will be able to follow his story and find many of their own experiences and thoughts represented within his work. From his first encounter ordering a hamburger to his dissatisfaction with being a glorified babysitter, his tone and pace keeps the reader hooked.” (Big Ugly Robot Publishing)
By Lana Kitcher (Yamanashi-ken, 2010-12) for JQ magazine. Lana is the business development associate for Bridges to Japan. To read more about Lana’s adventures in Japan and New York, visit her blog at Kitcher’s Café.
Victor Edison is a young man who remembers always having some Japanese influences present throughout his life. His family hosted a Japanese exchange student during his childhood, and he was fascinated by anime and manga from a young age. After graduation he found himself working a job he didn’t really want that wasn’t really going anywhere. A friend that was working in Japan at the time encouraged him to apply to be an English teacher and all he could respond to this was, “why not?”
Published by Nagoya-based Big Ugly Robot Press, Life in Japan: The First Year is a bilingual graphic novel written and drawn by Edison about his first year working for an English language school in Mie Prefecture. With little previous knowledge of the Japanese language or customs, he travels blindly to his new home armed only with his enthusiasm and determination to succeed, his ultimate goal to one day become a full-time artist.
His first choice was to work in Tokyo, simply because that was all he knew. After his interview with “Noba,” he soon learns that he has been offered a position in Mie, and accepts.
He starts work at an English conversation school located in a semi-rural area. While the majority of the clients were adults and young adults, the teachers often had to “teach” toddler classes as well. Because the school was located in a shopping mall, many parents would drop their kids off at the English school to fit in some uninterrupted shopping time. The teachers quickly learned that the child classes were thinly disguised babysitting sessions.
JQ Magazine: 2013 JETAA Oceania National Conference Spotlights Sister City Relationships
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Hiromi Hakuta, assistant director of CLAIR Sydney, addresses alumni at the JETAA Oceania National Conference, Brisbane, Nov. 2013. (Courtesy of Hiromi Hakuta)
By Eden Law (Fukushima-ken, 2010-11). After the JET Programme more than fulfilled its promise of “an experience of a lifetime,” Eden returned to Sydney, Australia, where he joined the JETAA New South Wales chapter to take advantage of the network and connections available to undertake projects such as an uchiwa design competition for the Sydney Japan Festival. He also maintains the JETAANSW website and social media. Other than that, he’s a web designer and a poet, gentlemen and raconteur.
One of the best things about being a member of JETAA is the community, and over the weekend of 15-17 of November, the Oceania community of JETAA got together for our annual antipodean regional conference. For those of you up north who don’t know, JETAA Oceania comprises of five Australian chapters (the state chapters of Queensland, New South Wales, Canberra, the uber-chapter of South Australia-Victoria-Tasmania, Western Australia) and three New Zealand chapters (South Island, Auckland and Wellington). Representatives from Sydney’s CLAIR office (Tsuyoshi Ito, Hiromi Hakuta and Julien Ansart) attended as observers of the proceedings. This year, JETAA Queensland played host in Brisbane, the northern capital that looks to Asia and is close to the Gold Coast, a favoured destination for young Japanese looking for sun, surf and sand. Appropriately, we had our first lunch meet on Friday at MOS Burger, the famous Japanese fast food chain whose only non-Asian presence internationally is right in Brisbane.
JETAA Oceania was invited to attend the Welcome Back Reception for returning JETs at the Japanese Consul General’s home in Brisbane on the Friday night, a chance of course for us to network and hobnob with the cream of Brisbane’s Japanese cultural community. And after the reception finished (early, predictably), JETAA kicked on in town for a night out (hint: it’ll always involve karaoke—usually lots of obscure Japanese songs sung by that one quiet serious person who turns into a blurry, hip-thrusting maniac).
The first day of the conference began on Saturday, early (for some, too early) at our hotel and Laura Tasharofi, president of JETAA Qld, began proceedings by explaining the theme of this year: Australia-Japan sister-city relationships. As explained by Hakuta-san, of all countries, Japan has the most links in Oceania, with 108 sister city relationships in Australia and 44 in New Zealand. Therefore, the potential for JETAA to get involved is great, and the conference’s objective is to find ways to participate and be more prominent in our local communities. To start discussions and provide ideas and examples, two guest speakers, Ross Humphreys and Barry Hancock, were invited who are respected members of the Brisbane community and its influential sister city relationships.
JQ Magazine: JETAA USA Earthquake Relief Fund Aids Recovery
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Taylor Anderson Memorial Fund founder Andy Anderson (center) with members of the JET Alumni Association of New York at Columbia University, Oct. 30, 2013. (Courtesy of JETAA New York)
By C-M Daeley (Saga-ken, 2008-2011) for JQ magazine. C-M is a poet, rap lyricist, and travel enthusiast currently working as an English teacher in Tokyo. For a look at some of his other writing, poetry and lyrics, check out his blog at http://spikedaeley.wordpress.com.
With today’s 24-hour global news cycle, it is sometimes difficult to keep even the most severe events in public memory. The Great East Japan Earthquake that struck on March 11, 2011 has not received much recent coverage in global news, but the issues faced by those still rebuilding remain monumental. Fortunately, there has been significant international aid from a number of sources, one of which is the JETAA USA Earthquake Relief Fund. This grant has raised almost USD $90,000 and has been used to provide seed funding to assist grassroots programs in areas severely impacted by the earthquake.
Due to the complex nature of fund allocation, this article will focus mainly on projects and programs directly supported through JETAA funds. However, it is significant to note that the Earthquake Relief Fund was only one of several avenues used to bring aid to the region and that, to date, roughly $500,000 has been raised through JET-affiliated groups and organizations worldwide. Jim Gannon (Ehime-Ken, 1992-94), current executive director at the Japan Center for International Exchange in New York, and Jessyca Livingston (Hokkaido, 2003-06), one of the three JETAA USA Country Representatives serving during the immediate aftermath and current JET Program coordinator at the Consulate-General of Japan in Denver, spoke about some of the initiatives the Earthquake Relief Fund has helped support.
“It is very difficult to give a concise yet comprehensive picture of what the JETAA funds have done,” Gannon explained. “The best way to describe it is that they have played a catalytic role in supporting some key projects in the early stage that have been supported by a range of others in more generous fashion once they proved their merits. JETAA cannot take full credit for all of the successes, but it did play an important role in getting things moving.” He also noted, “The real heroes are these incredible people from Tohoku who have championed these projects, the inspirational young people who have relocated to Tohoku to help operate them, and those who have been shuttling back and forth from Tokyo and elsewhere to help formulate and drive these initiatives.”
After a national discussion and several rounds of voting in each of JETAA USA’s 19 chapters, a final decision was made about how the fund should be allocated. “In the end, it was very obvious that chapters found it important to support education-related efforts in those areas most affected,” Livingston said.
“The Wind Rises is a combination of everything that makes Studio Ghibli as we know it today. It also adds several new elements which make this film dynamic and, some say, controversial.” (Touchstone Pictures)
By Alexis Agliano Sanborn (Shimane-ken, 2009-11) for JQ magazine. Alexis is a graduate of Harvard University’s Regional Studies—East Asia (RSEA) program, and currently works as an executive assistant at Asia Society in New York City.
Written and directed by Hayao Miyazaki, The Wind Rises is like no Studio Ghibli movie I have ever seen. No. Wait. It’s like every Ghibli movie I have ever seen. You want fantasy? You got it. You want airships à la Castle in the Sky or Nausicaä of the Valley of the Wind? You got it. You want deliciously portrayed food? You want nostalgic scenery from bygone days of Tokyo or picturesque European towns? You got that, too. The Wind Rises is a combination of everything that makes Ghibli as we know it today. It also adds several new elements which make this film dynamic and, some say, controversial.
One of the most differentiating factors is that The Wind Rises is the only full-length feature to focus on an actual historical figure—Jiro Horikoshi, the designer of the Mitsubishi A5M, a fighter aircraft of World War II. Granted, Miyazaki used his artistic license to embellish the narrative—but he does that only to make things more beautiful and fantastical. (And that’s why we love Miyazaki, right?)
Watching The Wind Rises, you feel repeatedly—and indeed the entire plot more or less focuses on—Japan’s desperation to achieve modernity according to “Western standards.” But modernization was not a smooth road, and Miyazaki makes that message clear. Despite the beautiful veneer, the crux of this film lies in the frustration of a country and its people. Economic deflation, poverty, and limited resources repeatedly arise as roadblocks. (This may explain part of the reason for its amazing popularity in Japan. Frustrations, impatience and desperation exist within every generation.) Yet, as Jiro is reminded, even with setbacks and disappointments, one must live on and progress despite it all.
JQ Magazine: JQ&A with Marco Lienhard, Artistic Director of Taikoza
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“I always seem to discover new things and different aspects of the music when teaching people from different backgrounds. When trying to explain some of the music, some things seem to come back to mind that were deep inside myself.” (Courtesy of Marco Lienhard)
By Rashaad Jorden (Yamagata-ken, 2008-10) for JQ magazine. A former head of the JETAA Philadelphia Sub-Chapter, Rashaad currently studies responsible tourism management at Leeds Metropolitan University. For more on his life in the UK and enthusiasm for taiko drumming, visit his blog at www.gettingpounded.wordpress.com.
Marco Lienhard has been involved in Japanese music for more than 30 years, first as a member of Ondekoza and then as the artistic director of Taikoza. When building his reputation as a professional taiko player in Japan, Lienhard also mastered the shakuhachi, eventually peforming at four major shakuhachi festivals around the world. He is also the founder of shakuhachi and koto group the East Winds Ensemble.
Lienhard has also released several albums, and his music can he heard on the score of the Nintendo Wii games Red Steel and Red Steel 2. His music has also appeared on ESPN, the History Channel and PBS. In this exclusive interview, Marco discusses his efforts to expand taiko’s global audience, the biggest influences in his career, and his personal highlights among 6,000 performances (and counting).
Where are you originally from and what sparked your interest in Japan and its traditional music?
I originally came from Switzerland, the French part. I went to Japan when I was 18 on some exchange program. I was very interested to go to Japan, but did not know much about it. Once there, I discovered the shakuhachi and the taiko. I had been studying the flute, but that sound of the shakuhachi just was amazing and I decided to study the instrument and master it. The first time I heard it was when I saw Ondekoza. There was taiko, too, and that was just so exciting to see. I did not know that I could play taiko too, but the flute seemed more approachable at the time.
I joined Ondekoza a few months later thinking I would stay just a few months, but it turned into 18 years.
For me, the sound of the shakuhachi was what drew me into it, though I fell in love with the traditional art forms as well. I enjoyed the theater as well as the music. I would go see two to three plays a month, noh or kabuki.
What drew you to taiko in the first place and to become a performer? What are the most important lessons it has taught you?
When I went to Japan, I had been studying piano and flute for many years. To become a performer was just a natural progression from studying with Ondekoza and becoming a member of the group. One thing led to another—studying with them and getting into the whole practice and running aspect of the group.
Marathon running was part of the training, and before long I was running marathons. I joined in August but by November they had me run a full marathon. My first performance was in January for the Imamiya Ebisu Festival on Dotonburi Street in Namba, Osaka. Once I started performing, I got the bug and just wanted to get better at it and study the shakuhachi as well. I was the only one who studied the shakuhachi so I was put on stage very quickly. Taiko has taught me a lot. It is sort of a college or university if not more—a life lesson.
Mr. [Tagayasu] Den, who was the founder of Ondekoza, [influenced] what taiko is now. He was a great influence in the development of modern taiko, though he never really played taiko. He was the brain and the force behind the group. He would lecture us on everything. He would turn a book into lessons for us to learn and apply to stage or performing or taiko. His vision as a director also influenced me on staging of a show
You were a professional taiko player in Japan. How does one become a professional taiko player?
While I was in Japan, I joined Ondekoza and as a member of Ondekoza I studied and later performed professionally with Ondekoza, traveling around the world to perform. At the time, Ondekoza and taiko groups were still not that popular and they did not yet have an apprenticeship system. As a member, you learned the repertoire and practiced with the regular members until you were at their level and were performing among them. It took me about four months before I had my debut on shakuhachi, and taiko drummer Den, the director of Ondekoza, is the person who would decide who was playing and what instrument.
JQ Magazine: 2013 JETAA National Conference in Minneapolis Recap
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JETAA USA National Conference participants in Minneapolis with former Vice President of the United States Walter Mondale, Sept. 26, 2013. (Courtesy of Yeu-Li Huang)
By Yeu-Li Huang (Yamanashi-ken, 2007-2010) for JQ magazine. Yeu-Li is the current chapter secretary of the JET Alumni Association of the Southeast (JETAASE).
MINNEAPOLIS, Minn. – The JET Alumni Association of Minnesota (JETAAMN) hosted this year’s USA National Conference from Sept. 26-29 with assistance from the Ministry of Foreign Affairs (MOFA) and the Council of Local Authorities for International Relations (CLAIR). Attendees included delegates from all 19 JETAA USA chapters, as well as representatives from CLAIR, MOFA, and the Consulate General of Japan at Chicago.
Each national conference spotlights particular challenges facing the JETAA community. This year was no different, as critical topics included continuation of the JETAA national initiatives, common issues facing JETAA chapters, membership outreach, and collaboration between JETAA chapters and other Japan-related organizations.
Thursday, Sept. 26
The conference got underway with an evening reception at the restaurant Crave, featuring former Vice President of the United States Walter Mondale as a special guest. A native Minnesotan, Mondale was also the U.S. ambassador to Japan from 1993-96. In his speech, Mr. Mondale praised the work that the JET Program has done in building personal relationships between Japan and the U.S., and called for “JETers” to continue fostering those ties.
JQ Magazine: JQ&A with Producer Jeron Moore on ‘The Legend of Zelda: Symphony of the Goddesses’
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Producer Jeron Moore on Symphony of the Goddesses: “We cater to all ages. You’ve got to remember that Zelda is 27 years old now. We’re seeing fans spanning three generations buying tickets to the show.” (Andrew Craig)
By Vlad Baranenko (Saitama-ken, 2000-02) for JQ magazine. Vlad is an avid photographer.
F. Scott Fitzgerald famously said, “There are no second acts in American lives.”
Fortunately, there are Second Quests.
Over 25 years after the blockbuster Nintendo video game series first hit the scene bearing its namesake in honor of Fitzgerald’s wife, The Legend of Zelda: Symphony of the Goddesses returns for an encore run in some of North America’s most distinguished theater halls (including, for the first time, a pair of dates in Mexico). Presented by Jason Michael Paul Productions, the show—currently on tour through December—presents the very best of Zelda’s lush symphonic scores paired with a live orchestra and visual effects.
In this JQ exclusive, producer and lead creative Jeron Moore sounds off what’s new about the show, the experience of working with Nintendo to bring the ultimate live experience to fans, and the evolution of Link throughout the saga’s rich history.
What was the inspiration for this installment of the show?
Well, if you’re a Zelda aficionado, you’ll recognize the term “Second Quest” from the New Game+ mode from the original 1986 entry, The Legend of Zelda, on the NES. It’s a mode you’d unlock once you defeated the game, and what it did was reorganize the game a little bit, made the dungeons a bit harder, made the items a bit more challenging to find, made the bosses a bit more difficult to defeat. We’ve taken the idea of visiting familiar places while encountering new challenges and applied that to the Second Quest, which has been revamped to include a half hour of new material while keeping all of the classics that make The Legend of Zelda what it is.
What surprises can we expect from the Second Quest?
They wouldn’t be surprises if I told you! But I will hint that we’re celebrating the 20th anniversary of a particular, very special handheld title. We’ve also finally included some music from one of the most recent Zelda games, which we steered cleared of with the first season program. And at the request of Mr. Eiji Aonuma, you can also expect to see a fully revamped Wind Waker segment, featuring gorgeous visuals from the game’s recent HD release on the Wii U. The Wind Waker has never looked better.
How did the idea for format of the show come about? The large screen, the orchestra?
It’s simple. There’s just nothing classier than a large orchestra tuning up, then performing powerhouse symphonic interpretations of your favorite music, no matter the genre. For The Legend of Zelda, we wanted Symphony of the Goddesses to be as accessible as possible. There’s nothing worse than sitting in a room and feeling left behind because you didn’t walk in with a prerequisite knowledge of the material. The music undoubtedly stands on its own, but incorporating visuals opens it up and informs the entire audience of context, not just those who’ve played the games before. Of course, being the fans that we are, we’ve carefully edited the footage into an entertaining narrative that, we feel, makes sense. With that, we’re able to hit on many of the important moments universally adored by fans, so yeah—lots of inside jokes, but we try not to let anything fall flat.
JQ Magazine: Australia Unfolds Its 17th Japanese Film Festival
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The new Dragon Ball Z: Battle of Gods hits six cities in Australia as part of its 17th Japanese Film Festival continuing in October through December. (Dragon Ball Z Production Committee)
By Eden Law (Fukushima-ken, 2010-11). After the JET Programme more than fulfilled its promise of “an experience of a lifetime,” Eden returned to Sydney, Australia, where he joined the JETAA New South Wales chapter to take advantage of the network and connections available to undertake projects such as an uchiwa design competition for the Sydney Japan Festival. He also maintains the JETAANSW website and social media. Other than that, he’s a web designer and a poet, gentlemen and raconteur.
Like a springtime wave of hanami Down Under, the 17th Japanese Film Festival began showing in staggered releases nationally in Australia, blooming first in Broome in late September, before displaying a full bouquet of film delights in the major metropolitan areas of Sydney and Melbourne. This is the first time that the festival has launched a national program, ranging from a mini ensemble of three films for small towns like Broome and Cairns, to a behemoth 33 new films and five classics in major cities like Melbourne and Sydney, which means the festival will run from 17 Sep to 8 Dec as it tours around Australia. Many of the new films will be shown for the first time in Australia (aw, you spoil us, Japan Foundation, you really do!). In addition, at this time of writing, the five classics will be shown for free, allowing even the most penniless hipster to get a gander and drop a casual mention at the right fashionable dinner parties.
With so many new films, many of which aren’t known outside of Japan (trust me, I’ve Googled this), how will you know which to watch and be informed like the sophisticate that you no doubt are? Well, for a start, check out the screening schedules for all the films in your (nearest) city. But fret not, gentle reader, for I shall explore some of the selections on show.
Based on a True Story
Documentaries and dramatisations based on true stories feature strongly in this year’s program. A Boy Called H, which won Special Prize at the Moscow International Film Festival 2013, is based on Kappa Senoh’s best-selling autobiography about growing up in World War II-era Kobe. Closing some of the larger programs, Fruits of Faith is based on a novel inspired by a true story of a fruit grower who tries to achieve the impossible dream of the perfect crop of organic apples, despite skepticism and threat of bankruptcy. Reunion, based on a journalist’s accounts, is an illustration of how individuals strive to retain their humanity and compassion in the face of unrelenting misery and death in the wake of the Tohoku disaster. Leaving no eye dry at last year’s Montreal Film Festival, it’s a good way to see if life has yet to crush all feelings out of your bitter husk. And for anyone who has ever treasured a truly good bowl of ramen (especially after a long night of clubbing in Tokyo—the Japanese equivalent to our 4 a.m. kebab), the documentary The God of Ramen will inspire not just food lovers, but anyone who’s ever had an all-consuming (hah!) passion.
JQ Magazine: Book Review – ‘Three Scenarios in Which Hana Sasaki Grows a Tail’
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JET alum Kelly Luce’s first published collection of fiction, Three Scenarios often utilizes magic realism to tell stories that take place in Nippon. (A Strange Object)
By Rashaad Jorden (Yamagata-ken, 2008-10) for JQ magazine. A former head of the JETAA Philadelphia Sub-Chapter, Rashaad currently studies responsible tourism management at Leeds Metropolitan University. For more on his life in the UK and enthusiasm for taiko drumming, visit his blog at www.gettingpounded.wordpress.com.
As mysterious as Japan seems to be, there are numerous occurrences in the country that leave you amazed.
Enter Kelly Luce (Kawasaki/Tokushima-ken, 2002-04). The JET Program alum’s first published collection of fiction, Three Scenarios in Which Hana Sasaki Grows a Tail (which is also the title of one of Luce’s stories) often utilizes magic realism to tell stories that take place in Nippon.
Three Scenarios contains ten stories and the first one, titled “Ms. Yamada’s Toaster” (which previously appeared in the anthology Tomo), tells the tale of a toaster that can predict one’s death (the toaster even predicted the death of Ms. Yamada’s husband by popping out a piece of bread three days before he suffered a heart attack). In other stories in Three Scenarios, a teenage girl disappears during karaoke and a stone is haunted by a demon.
While there may be times in Luce’s stories that Japan may seem inconsequential, the “it could only happen in Japan” moments make her stories came alive. For example, in “The Blue Demon of Ikumi,” a foreigner woman who was considered a demon because a child died under her care is set to be executed (she eventually escapes). In “Wisher,” people make seasonal wishes at a fountain’s stone steps, such as students and parents praying before entrance exams in autumn and during summer for travel. And in the above-mentioned “Ms. Yamada’s Toaster,” some villagers wish to make the toaster a deity.
JQ Magazine – Book Review: ‘The Way of Taiko’
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“Those who want to learn more about taiko, whether they are novices in Japanese drumming or have been playing for several years, will be amazed by the rich history and culture of the genre.” (Stone Bridge Press)
By Rashaad Jorden (Yamagata-ken, 2008-10) for JQ magazine. A former head of the JETAA Philadelphia Sub-Chapter, Rashaad currently studies responsible tourism management at Leeds Metropolitan University. For more on his life in the UK and enthusiasm for taiko drumming, visit his blog at www.gettingpounded.wordpress.com.
Many JETs—myself included—have been drawn to taiko because we love the sound emanating from the drums and want to partake in something traditionally Japanese. But what do we really know about taiko?
For those looking to expand their knowledge of Japanese drumming, Heidi Varian’s The Way of Taiko (now available in a new edition from Stone Bridge Press) is a great way to go. Varian, a member of the San Francisco Taiko Dojo, introduces readers to the history and contemporary culture of the music that is a symbol of Japan to many.
Varian calls taiko the “heartbeat of Japan,” and that’s appropriate because the drum was a method of gathering townspeople or letting them know about any impending danger, in addition to being used to celebrate festivals. Like seemingly everything that’s considered an integral part of Japan, taiko has an enormously long history clouded in mystery (it actually may not have originated in Japan), but Varian explores it.
She not only examines taiko’s beginning and its importance in ancient Japan, but how taiko appeared in traditional Japanese theatrical forms like noh and kabuki. She also writes about how taiko gained a foothold in the United States—the first documented taiko drum appeared in San Francisco in 1910—and its pioneers (such as Seiichi Tanaka and Kenny Endo) on this side of the Pacific. Varian also doesn’t also live in the past when talking about taiko, as she raises important issues about its future.
JQ Magazine Seeks Writers for Fall 2013!
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Visit JQ magazine online at http://jetaany.org/magazine.
As we head into fall, JETAA New York’s JQ magazine continues to provide content with an ever-expanding array of articles, interviews and features (see our recent stories here). We’re now looking for new writers, including recent returnees and JET vets, from all JETAA chapters worldwide for posting stories via our host at the global JET alumni resource site JETwit.com. (Scribes are also encouraged to join the JET Alumni Writers group on LinkedIn.)
Below are story ideas grouped by JET participants and alumni (JET World) and those more on Japanese culture (Japan World). And if you’re a JET or JETWit contributor from anywhere in the world with a story idea of your own, let us know!
Click “Read More” below for our fall 2013 ideas pitch package, and contact JQ editor Justin Tedaldi (magazine [at] jetaany [dot] org) to sign up for stories.
Now, JQ is looking for additional help behind the scenes! Our editor (celebrating his fifth anniversary at the helm in November) is seeking a capable assistant to help with the posting, social media sharing and story assigning across all JETAA chapters. If you’re a wiz with WordPress, Facebook and Twitter, and enjoy all forms of Japanese arts, events and media, reach out to Justin. Thanks and yoroshiku!
JQ Magazine: JQ&A with Tom Byer on Life in Soccer, Japan
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“I believe we may see Japan win a World Cup within my lifetime, and I certainly think they will be the first Asian team to do so. They are the type of team that the current world powers would not like to have in their group during a WC tournament.” (Courtesy of K.K. T3)
By Lyle Sylvander (Yokohama-shi, 2001-02) for JQ magazine. Lyle has completed a master’s program at the School of International and Public Affairs at Columbia University and has been writing for the JET Alumni Association of New York since 2004. He is also the goalkeeper for FC Japan, a New York City-based soccer team.
Tom Byer (a.k.a. Tomsan) is an American soccer coach who has lived in Japan for nearly 30 years. The first professional American soccer player in Asia, he has been a major figure in Japan as a coach and educator. In fact, many people in Japan see him as a major catalyst behind the country’s rising status as a global soccer power. Byer is responsible for increasing soccer’s popularity and teaching fundamental skills to hundreds of thousands of children, including many of the nation’s most celebrated players. In the process, he has become a well-known media personality and has even extended his influence to China, where he signed a contract with the Chinese Football Association to be a technical director for youth teams.
Where are you from? Was soccer popular there when you were growing up?
I was born in the Bronx, New York City. I grew up in Rosendale, Ulster County, Upstate New York. Soccer was just becoming popular when I was a kid. I first started playing baseball and changed over to soccer after my brother and his friends started to play. But soccer was still a very minor sport.
How did you end up living and working in Japan?
I was introduced to Hitachi FC, which is currently playing in the J-League as Kashiwa Reysol, back in 1986 because my college coach at Ulster County Community College had some connections here. So I had a short stint with them, which gave me experience in Japanese soccer. And when I hung up the playing boots I decided to get into youth development. I also did many things on the U.S. military bases for kids playing soccer.
Can you tell us about your company T3, which aims to educate Japanese schoolchildren about soccer?
My company is called T3—the T stands for “Tom” and the 3 for “san,” Tomsan, because I am known by Tom-san throughout Japan from my appearances on daily television for 13 years. The name of the TV corner was, “Tom-san’s Soccer Techniques.” We try to help every child we come in contact with to “realize their potential.” We are technical specialists helping kids, coaches and parents understand the importance of developing technique. I have performed over 2,000 events for more than 500,000 people over the years. I established another company which I headed up for 16 years which established over 100 soccer schools throughout Japan. It’s difficult to find almost any player in Japan today who hasn’t been influenced in some way regarding our activities. This means either they’ve grown up watching my daily TV corner, read the monthly KoroKoro Komikku manga, or have played in one of our 100 schools, camps, or bought our DVDs or books.
JQ Magazine: Book Review – ‘Gadget Girl: The Art of Being Invisible’
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“As Gadget Girl is geared toward young adults (or more specifically, teenage girls), it is an easy read. But you get the sense that because of its diverse set of characters, it would make a good TV drama.” (GemmaMedia)
By Rashaad Jorden (Yamagata-ken, 2008-2010) for JQ magazine. Rashaad worked at four elementary schools and three junior high schools on JET, and taught a weekly conversion class in Haguro (his village) to adults. He completed the Tokyo Marathon in 2010, and was also a member of a taiko group in Haguro.
Sometimes, we’re just trying to find out where we belong.
That’s certainly the case with Aiko Cassidy, the teenage protagonist of JET Program alum Suzanne Kamata (Tokushima-ken, 1988-1990)’s latest novel, Gadget Girl: The Art of Being Invisible. The 15-year-old daughter of a renowned sculptor, Aiko wants to develop her own identity, instead of being known as Laina Cassidy’s muse and suffering from a disability (cerebral palsy). Aiko has been secretly working on manga titled Gadget Girl, and she dreams of becoming a world famous manga artist—which would enable her to visit her father in Japan.
But instead of heading to the Land of the Rising Sun, Aiko is off to France for several days, as Laina has won the grand prize at the prestigious Prix de Paris. Although she’s still receiving the “Laina Cassidy’s muse” treatment, the City of Light does open up a new world for Aiko. For one, she develops a crush on a waiter named Hervé at the café she frequents. Aiko is also introduced to the spot where he parents met but more importantly, she learns the reason why her father is absent from her life.
Inspired by the movie The Song of Bernadette, Aiko and Laina head to Lourdes, where Aiko dreams of being cured. Instead, she hears a woman whisper “Forgive,” and Aiko uses that as a call to repair broken relationships in her life.
