Kirsten Phillips strikes a Yosakoi pose.
By Sierra Soleil (Fukushima-ken, 2000-02) for JQ magazine. Sierra works at an ESL school in Manhattan. He enjoys teaching, writing, and riding his bike.
The first weekend of November marked the ninth annual Japan Arts Matsuri (JAM) in New York, this year at the Theater for the New City in the East Village. With about 30 volunteers and a handful of business sponsors, JAM put on an excellent show for roughly a thousand people over the three exciting days.
The entryway and lobby of the theater was crammed with tables selling everything from okashi and yakisoba to clothes and handicrafts, though most people in the know went directly for the Sendai miso cream puffs, and for good reason. There were even two carnival games: a simple one involving throwing a plastic katana at prizes, and an incomprehensible one where people poked little cookies with needles for some reason. Nearly every table was also raising money for earthquake/tsunami relief.
Every day of the three-day matsuri had music and dance performances, but Saturday was Talent Night, where performers could compete for a special invitation to perform at next year’s JAM. I wasn’t sure what to expect from Talent Night, which was good, because it was as wildly erratic as any cross-section of modern Japanese music and dance should be. The first act I caught was Robin’s Egg Blue, a cheerful acoustic pop group. They were followed by a band called Firesign, which was meant to be metal, though any spell they cast dissipated immediately when, as they left the stage, one of the emcees decided to reassure us that they were all very polite in person. After that there were modern and traditional dances, a gospel singer, a karaoke cover of Cee Lo Green’s smash hit (the “Forget You” version, of course), and a fascinating collaboration between a belly dancer and a beatboxer.
The show was billed as being like Amateur Night at the Apollo, and there was some resemblance. The acts were short, and before each intermission the audience chose their favorite via applause. Looking at the lineup, it occurred to me that JAM’s offering was a lot more diverse than anything I’ve seen at Amateur Night. One of the matsuri’s goals is to share Japanese culture with Americans, and the lesson to take from Talent Night is that culturally, the Japanese really are into everything. It also occurred to me that the power to vote by cheering for a performer we liked meant a lot less without the power to impeach them by booing.
I came to Talent Night specifically to meet with JET alumna Kirsten Phillips (Niigata-ken, 2005-08), a member of the Yosakoi Dance Project 10tecomai. The first impression she makes is everything a JET is supposed to be: energetic, cheerful, with a kind of wide-eyed enunciation that makes everything sound exciting. She went directly from teaching in Japan to teaching special education in New York, and it immediately seems like she would be good at it.
JQ Magazine: Film Review – Sion Sono’s ‘Cold Fish’ an Antisocially Acquired Taste
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“In the end, Sono really does ask us about our humanity, and what life is about. Sure, he takes the bloody, abusive, rape-filled path, but he does touch on some solid stuff. It’s a lot of big questions wrapped in a gory, misogynistic, boob-exposing gift box.” (Courtesy Salient Media)
By Rick Ambrosio (Ibaraki-ken, 2006-08) for JQ magazine. Rick manages the JET Alumni Association of New York (JETAANY)’s Twitter page and is the creator of the JETwit column Tadaima!
I was hungry, real hungry after work and was about 20 minutes early to the New York Museum of Art and Design near Columbus Circle to see the movie Cold Fish 「冷たい熱帯魚」, so I walked a block to Good Burger and grabbed an overpriced hamburger. As I arrived back to the museum, I sat next to Shree (name changed to protect the innocent) who was midway through a burrito. With minutes left before the movie started, we headed into the museum and down some wooden steps to the theater. Walking in I was pretty surprised; we were only accompanied by seven or eight other patrons. Little did I know that it was a blessing in disguise…fewer people to feel awkward around after the movie.
Oh yes, the movie. How do I write about Cold Fish? It’s a little difficult. I suppose I can do it like this:
Cold Fish is a film directed by the controversial Sion Sono (whose month-long, eight-film retrospective wraps this week at MAD) and stars Denden and Mitsuru Fukikoshi. The film is based on real murders that took place in Fukushima. The story begins well enough: A timid man named Nobuyuki (Mitsuru Fukikoshi) with a rebellious daughter (Hiraki Kajiwara) and a hot trophy wife (gravure idol Megumi Kagurazaka) is feeling disconnected and regretful. They own a tropical fish shop. Through an awkward circumstance they meet Mr. Murata (Denden) and his attractive wife (Asuka Kurosawa), both of whom also own a tropical fish shop.
From there, shit just gets weird. That’s the only way I can explain it, folks. And it wasn’t just because the film cut out four times while we watched it. (Apparently, there were Blu-ray issues…through most of the movie. The museum might want to buy a new player before they hold another festival.) Anyway, Mr. Murata decides to bring Nobuyuki on as a partner, but not before hiring his daughter at his shop and sleeping with his wife (who apparently enjoys rough treatment, to put it mildly).
As Nobuyuki is introduced as the new partner, the old partner finds himself exiting the business via a poisonous death. This is where things kick into the next gear, and Murata forces Nobuyuki to assist with the disposal of the body. The whole body disposal process is presented with great detail. I’m serious about this part—after watching this movie, I am fairly confident that anyone could make a dead body disappear.
The plot then dives deeper and deeper into the dark comedy that is Murata’s utter disregard for human life and the director’s utter disregard for your stomach. By the way, did I mention that this film is very graphically violent? If you aren’t into that kind of thing, find another show; this movie revels in its ability to test what you can deal with gore-wise. If you enjoy severed heads and genitalia being tossed around a bathroom, you’ve found your dream movie.
JQ Magazine: Concert Review – DREAMS COME TRUE in New York City
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(Courtesy Chimera R. Productions)
By David A. in Virginia, special to JQ magazine.
Japanese mega-band DREAMS COME TRUE (ドリームズ・カム・トゥルー a.k.a. ドリカム) made a very rare U.S. appearance at the Highline Ballroom in New York City on October 9, the first of two shows that sold out within days of their announcement in July. Many thanks to fanpage DCT Joy for notifying its members of this wonderful event. For those of us not in New York, Los Angeles, or Seattle, we otherwise might not have known about it.
At dusk, around 6:30, the line already was down the block for admission to the inconspicuous Highline Ballroom in Chelsea. On this unseasonably warm October Sunday evening, the anticipation was palpable, the “DCT Joy” bringing alive the night. One walks upstairs to the ballroom, spare and easy to navigate. The management asks those seated on the floor of the “pit” to stand so that the crowd can fill the room.
First of all, a big shout-out to Justin Tedaldi (Kobe-Shi CIR, 2001-02) at JQ magazine. This reviewer cannot thank you enough. Also, thanks to Reiko from the DCT organization for her kind words.
Prior to the show, the house PA played a recording of some of DCT’s most well-known melodies, such as “Ano Natsu no Hanabi” and “Ureshii! Tanoshii! Daisuki!”, performed on soft bells.
Promptly at 8:00, introductions were made first by a woman in Japanese, to great enthusiasm from the audience; then a man said, “New York City! Are you ready for DREAMS COME TRUE?!” “A theme of the WONDERLAND” played as the fifteen-piece band-and-dance ensemble walked on stage, followed by Masato Nakamura (中村 正人). Although the Highline Ballroom has a standing capacity of 700, with a few dozen dinner tables on the balcony, the roar from the crowd was as if they were in an arena. With the theme concluded, Miwa Yoshida (吉田 美和) arrived, with her hair tied back and wearing a loose-fitting, light pink outfit; and, with her familiar exclamation “DREAMS COME TRUE in WONDERLAND….!!!”, the band launched into a heavy version of “Nando Demo,” as the crowd danced, waved, and cheered, encouraged by Miwa in all of her boundless energy.
JQ Magazine Is Looking for Writers for Fall 2011!
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As the year winds down, JETAA New York’s JQ magazine continues to provide weekly content with an ever-expanding array of articles, interviews and features (for our recent stories, click here). Following our quarterly meeting in Manhattan this week, we’re now looking for new writers from all JETAA chapters worldwide to write and share more material that we can post online to the widest JET readership on the web through our hosts at the global JET alumni resource site JETwit.com.
Below are story ideas grouped by JET participants and alumni (JET World) and those more on Japanese culture (Japan World). If you’re a JET or JETWit contributor from anywhere in the world, we welcome your interest or extra story ideas! Contact JQ’s editor Justin Tedaldi (magazine [at] jetaany [dot] org) to sign up.
***JET WORLD***
JETAANY CAREER FORUM/WELCOME BACK RECEPTION (11/12)
We would like coverage of upcoming events in New York for any writers planning to attend.
JETs ‘RETURN TO TOHOKU’ SERIES
The Ministry of Foreign Affairs and the Japan Tourism Agency jointly organized an Invitation Program for JET Alums who worked as a JET in Iwate, Miyagi, Fukushima or Sendai-shi for 2 or more years to return to Japan as an ambassador. The goal of the program is to help promote the affected areas and do PR work on their behalf. From around the world, 14 JET alums were selected to return to Japan. Of those, eight were US JET alums. Visit the provided link to see their stories if you would be interested in doing a Q&A with one of them. Also, if you or other JETs are planning to return to help out in the wake of the devastation, we’d love to run an article so you can share your thoughts with other JETs around the world. www.jetaausa.com/tohoku-recovery/jet-alums-return-to-tohoku
‘ALONE IN THE KITCHEN WITH A RICE COOKER’ SERIES
We are running a new series on JETwit about solo cooking experiences while on JET (check out “Nattode,” the first piece in the series). Did you discover a new favorite comfort food in Japan, learn to cook a mouthwatering meal that you still serve today or accidentally buy something really weird only to discover (and reluctantly) eat it in your mansion? We want to hear about it!
HOLIDAYS IN JAPAN ANECDOTES WANTED!
This year, we’re bringing back seasonal holiday (from November through New Year’s) anecdotes from JET alumni around the world! If you have a strange, delightful (or both—we all do) short story to share about your holiday seasons past in Japan, we’d love to publish it.
JQ Magazine: Concert Review — Japan Society Hosts J-Pop Showcase with Yu Sakai and Cibo Matto
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Musician Yu Sakai brought his ecclectic talent to Japan Society Oct. 20. (Vlad Baranenko)
By Vlad Baranenko (Saitama-ken, 2000-02) for JQ magazine. Vlad is an avid photographer.
On Oct. 20, New York’s Japan Society held a sold out co-headlining performance by hometown heroes Cibo Matto and the Japanese singing sensation Yu Sakai in his international debut. Whether an aficionado of jazz, hip-hop, R&B or pop, the catchy synth beats of the girl duo and Yu Sakai’s melodic voice left an indelible impression on everyone in attendance.
Billed as J-Music Ride, the show opened with a set of fantastic vocal performances by Sakai. The breakout singer, whose professional music career kicked off in 2009 when his single titled “Story” became a radio hit, has quickly become one of Japan’s most admired artists, earning him the iTunes “J-Pop Best Album of 2010.” In June of this year, Sakai released his long-awaited album Yes!!, and those lucky enough to have attended the show (Yu Sakai’s only performance in the U.S.) were given an opportunity to sample many of the new tracks like “Train.”
Departing from the standard band format, the majority of instrumental sounds in Sakai’s pieces were recorded by the artist himself. At Japan Society, the artist would beatbox into the microphone to create a looping background rhythm, simulating a multi-layered chorus-like effect by sampling his own voice. He would then insert a fast paced piano tune, and the resulting melody astounded the audience, prompting whistles and applause during the song. To appease the American audience, Sakai-san surprised the concert attendees with his beautiful rendition of Michael Jackson’s “Rock with You.” In between pieces, Sakai would talk to the sold out crowd in a very nonchalant manner (he previously lived in Los Angeles), often making fun of himself and telling people to not be afraid to visit Japan. The obvious raw talent of Yu Sakai made this rare appearance a true gem, and the standing ovation from the audience at the end of his performance proved that this young artist can look forward to a bright future ahead.
JQ Magazine: JQ&A with Peelander-Yellow of Alien Punk Band Peelander-Z
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Peelander-Yellow, center: "I don't care about Band!!!!! We never 'play' music!!!!! We just want to 'play' with youuuuuu!!!!! Come to see our show then check it yourself!!!!!!!!" (Whitney Lee)
By Justin Tedaldi (CIR Kobe-shi, 2001-02) and Vlad Baranenko (Saitama-ken, 2000-02) for JQ magazine.
Psychedelic, seizure inducing, and fantastically successful in their ability to cause absolute sensory overload during their intergalactic performances, Peelander-Z is back. The colorful Japanese punk group hailing from the Z area of Planet Peelander returns to New York City (where it formed in 1998) for their latest tour behind their new album Super DX Hitz.
Those yearning for their Peelander-Z fix will have the opportunity to experience all the colorful mayhem at the Bowery Poetry Club on Oct. 22. In this exclusive interview, we interrogate Peelander-Yellow to reveal the deepest secrets of their cosmic travel, their mastery of the chaos theory, and what the future holds for the ongoing kaiju saga.
Tell us about Peelander-Z’s Super DX Hitz album.
You can hear our all Hitz songs and understand Peelander-Z world!!!!!!!
28 happy songs and 5 Karaoke DVD!!!!
Get it for your Mom, because your Mom wants dance with youuuuuuuuuu and Peelander-Z!!!
How do you come up with the themes for your songs?
All ideas come from my sweet yellow brain when I eat medium rare S.T.E.A.K., Tacos, Ice Cream~~~~~!!!!!
What inspired you to form the band?
I don’t care about Band!!!!!
We never “play” music!!!!!
We just want to “play” with youuuuuu!!!!!
Come to see our show then check it yourself!!!!!!!!
Who is Peelander-Yellow and what’s his story?
I’m not Peelander-Red!
I’m not Peelander-Green!
I’m not Peelander-Pink!
I’m not Peelander-Black!
Yes, I’m Peelander-Yellow for youuuuuuuu!!!!!!
I was born from Banana on Planet Peelander!!!!!
That’s why I love it!!!!!
Please bring it for meeeeeee!!!!!
**************
The Rice Cooker Chronicles is a series of essays by JETs and JET alumni on the theme of cooking/eating and being alone in Japan. The brain-child of JETwit founder Steven Horowitz (Aichi-ken, Kariya-shi, 1992-94) (and inspired by the book Alone in the Kitchen with an Eggplant), this series is curated by L.M. Zoller (CIR Ishikawa-ken, Anamizu, 2009-11), the editor of The Ishikawa JET Kitchen: Cooking in Japan Without a Fight. A writer and translator for The Art of Japan: Kanazawa and Discover Kanazawa, ze also writes I’ll Make It Myself!, a blog about food culture in Japan.
New submissions always welcome. E-mail us at jetwit [at] jetwit.com.
**********
“Nattode”
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). Visit his Examiner.com page for related Japanese culture stories.
I’m at a restaurant that bleeds sophistication. Seated across from me is a stunning member of the opposite sex, joining me for the sole purpose of sampling the house’s signature dish, a personal favorite of mine.
Tender music swells in the background. The lighting is perfect, with the glow of candlelight on the table framing my partner’s irresistible charms as a celebrated bon vivant holds court four tables over. Spirits are high, and we’re high on spirits. The mood is ripe.
I snap my fingers to cue the waiter, who gracefully sets two silver trays before us. “Enjoy,” he says dryly. I look him straight in the eye and grin, signaling as I have many times before that I fully intend to.
It’s time. Gloved hands raise the lids, revealing…a small pair of Styrofoam trays with thin sheets of plastic on top. My date is puzzled.
JQ Magazine: Book Review – ‘Aftershock: Artists Respond to Disaster in Japan’
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“I assumed a response to the earthquake would be grim. I was, however, relieved to see that there is a nice dose of playfulness alongside the serious, an homage to resilience and the inimitable Japanese sense of humor.” (Big Ugly Robot Press)
By Sharona Moskowitz (Fukuoka-ken, 2000-01) for JQ magazine. Sharona works at a literary agency in New York City. She is interested in fresh, new voices in fiction and creative nonfiction.
Composed in the wake of the catastrophic events of 3/11, Aftershock is something of a series of love letters to Japan written in the object of affection’s own familiar dialect: manga. Edited and compiled by American-born and Nagoya-based cartoonist Adam Pasion (Sundogs), the range of over 35 artists/admirers runs the gamut from the seasoned foreign resident to the casual Japanophile, each with an individual style and tone. The pieces are as eclectic as the artists’ experiences and personal ties to Japan, and all proceeds from Aftershock will be donated to relief efforts in northeast Japan.
When I first approached the anthology I wasn’t sure what to expect though I braced myself for gravity. Even in the form of manga, I assumed a response to the earthquake would be grim. I was, however, relieved to see that there is a nice dose of playfulness alongside the serious, an homage to resilience and the inimitable Japanese sense of humor.
For example, “I Was a Teenage Otaku” by JET alum and Tohonharu cartoonist Lars Martinson (Fukuoka-ken, 2003-06) traces the trajectory of the author’s interest in manga and anime, a hobby which “provided the spark that made [him] want to get out there and really explore” and eventually led to his move to Japan as an exchange student. Though his passion for the art form eventually waned, it gave way to a much broader appreciation of the Japanese arts in general.
JET Alum Author Beat 10.05.11
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JET Alum Author Beat is a new feature by Ling Tran (Saga-ken, 2009-11) intended to keep readers informed of what various JET alum authors are up to. Contact Ling at jetwit [at] jetwit.com if you’d like to see something included in upcoming posts. She is also interested in providing exposure for aspiring authors/writers among alumni and current JETs – excerpts and updates are all welcome.
- Suzanne Kamata (Tokushima-ken, 1998-90), author of Losing Kei and fiction editor for Literary Mama, reflects on the recent loss of a dear friend through a post about her first sushi experience on Gaijin Mama (a personal blog). Check it out and give some JET support.
- Sam Baldwin Ono (Fukui-ken, 2004-06) hails from the UK and made a life altering decision when he decided to move to Fukui-ken through the JET Program. The quiet facade of inaka Japan gradually revealed its colorful nature, eventually leading Sam to share stories and insights in For Fukui’s Sake: Two years in rural Japan. Whether for reference (newbie JETs, holla!), nostaliga, or reflection – ESID aside – this book is available electronically. If you want to be notified of its hard copy release, click here. Visit the website For Fukui’s Sake for details. (Fukui t-shirts are also available for purchase.)
- Author of The Order of Odd-Fish James Kennedy (Nara-ken, 2004-06) recently did a Q&A with JQ magazine as he will be curating the 90-Second Newbery Film Festival (Nov. 5 @New York Public Library | Nov. 16 @Harold Washington Library, Chicago). Read here.
- Robert Paul Weston’s (Nara-ken, 2002-04) Zorgamazoo will be honored at the Author Banquet of the California Library Association Conference for a California Young Reader Medal on Nov. 12. Details of the upcoming event are available on Weston’s blog. Congratulations!
- What is Japanamerica blogger Roland Kelts (Osaka-shi, 1998-99) reading these days?
- Cartoonist Lars Martinson (Fukuoka-ken, 2003-06) has been busily settling into his new home and schedule in Kameoka, Kyoto. He managed to fit in a brief post after a short hiatus. Eager followers can see how he is doing here – more substantial updates to come!
JQ Magazine: Japan Society Launches Beer Revolution
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Green Tea IPA, one of over 20 beers ready for tasting at Japan Society's Beer Revolution event Oct. 5. (Courtesy Baird Brewery)
By Vlad Baranenko (Saitama-ken, 2000-02) for JQ magazine. Vlad is an avid photographer.
With an exploding market for craft beer here in the U.S., Japan’s contribution to the industry, known domestically as ji bīru (地ビール), has seen tremendous growth over the past 17 years.
On Oct. 5, beer buffs and those who simply enjoy an occasional cold pint alike will get an opportunity to sample from at least 20 kinds of beer at New York’s Japan Society‘s “Japan’s Beer Revolution: The Birth, Death, and Resurrection of Japanese Craft Brewing.”
While previously held back by government regulation, Japan’s microbreweries took off in 1994, and have since been experimenting with a variety of traditional ingredients such as ginger and oysters to create rich and complex flavors to replace the standard lagers in order to satisfy local taste palettes. Since many of the beers are produced in age old sake breweries, the Japanese had no trouble adapting Western methods to manufacture a product whose quality would no doubt impress even the pickiest connoisseurs of Belgian brew.
JQ Magazine: JQ&A with Author/JET Alum James Kennedy on the 90-Second Newbery Film Festival
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"As for how being on JET has influenced my writing—definitely, a lot of the fantastical world in my book 'The Order of Odd-Fish' is inspired by what I saw and experienced in Japan." (Courtesy of James Kennedy)
By Renay Loper (Iwate-ken, 2006-07) for JQ magazine. Renay is a freelance writer and Associate Program Officer at the Japan Foundation Center for Global Partnership. Visit her blog at Atlas in Her Hand.
James Kennedy (Nara-ken, 2004-06), author of the acclaimed young adult novel The Order of Odd-Fish, will be curating the 90-Second Newbery Film Festival at the New York Public Library on Nov. 5 and with the Harold Washington Library in Chicago on Nov. 16.
Named after John Newbery (thought to be the founding father of children’s literature), the Newbery Award is considered the highest regarded honor given to the author of the most distinguished contribution to American children’s literature, and the American Library Association has awarded it every year since 1922. James took a moment to tell us a little about the festival, curating, and his path as an author.
What is the premise of the festival?
[It is a contest, or challenge of sorts] open to anyone, to make a video that compresses the story of a Newbery Medal (or Honor)-winning book into 90 seconds or less. No book trailers! It has to be the entire story. For it turns out that any book, no matter how worthy and somber, becomes pleasingly ludicrous when compressed into 90 seconds. The goal is comedy.
In a previous JETwit posting, you mentioned three award winners who wrote about Japan and the Japanese that no one has tackled yet. Why do you think that is?
Only because the books aren’t as famous—people are naturally inspired to make movies of books they’ve already read and loved. Everyone has heard of Newbery Medal winners like A Wrinkle in Time by Madeleine L’Engle, The Graveyard Book by Neil Gaiman, or Bridge to Terabithia by Katherine Paterson.
The three Japan-related books that won Newbery Medals or Honors—Kira-Kira by Cynthia Kadohata, Heart of a Samurai by Margi Preus, and Commodore Perry in the Land of the Shogun by Rhoda Blumberg—are just not as well-known, and so it’s less likely someone would be moved to make a video. Their oversight is your opportunity! (To make it more interesting, you could even do it in Japanese and add subtitles!)
If you had to give one word of advice to entrants, what would it be?
Don’t merely recap the book. Transform the story! Either in style or substance. Some great examples of successful 90-Second Newbery entries are this full-scale musical version of The 21 Balloons, or this shadow puppet version of Where the Mountain Meets the Moon.
As I mention in the contest rules, it’s fun to switch up the genre style, like doing Charlotte’s Web in the nightmarish style of David Lynch’s Eraserhead. Or even cross two Newbery books: how about the rodents of Mrs. Frisby and the Rats of Nimh fight their counterparts in The Tale of Despereaux? Rat fights make for gripping cinema! Basically, make it funny. The deadline for entries is Oct. 17.
By Justin Tedaldi (CIR Kobe-shi, 2001-02) and Vlad Baranenko (Saitama-ken, 2000-02) for JQ magazine.
Presented by The Playwrights Realm, the drama Crane Story stars Angela Lin (a veteran of JET alum Randall David Cook’s Sake with the Haiku Geisha) as Cassis, a young Japanese American on an odyssey to rescue her brother’s soul from the land of the dead.
Written by Jen Silverman and directed by Katherine Kovner, Crane Story runs through Oct. 1 at the Cherry Lane Theatre in New York’s Greenwich Village. Here’s what JQ‘s critics had to say at a Midtown diner after a recent performance.
Justin Tedaldi: What were your thoughts about the production?
Vlad Baranenko: Given the limited resources that they have being Off-Broadway, they did a very good job with the imagery and the special effects.
JT: I really liked the way the creative team put everything together with the scenery and the costumes, especially the sound effects. There’s a raised wooden stage where most of the action happens, and at the very beginning they describe rain, but you see the rest of the cast drumming their fingers on the stage, which creates the illusion of falling rain. Very creative ways of getting around the limitations that come with being an Off-Broadway production.
VB: I agree on that. The cast obviously remembered their lines really well. It didn’t seem forced, actually; very natural. In that regard, I give them high marks.
JT: I’m reading here that the actor who plays Ishida, Louis Ozawa Changchien, appeared with Adrien Brody, Topher Grace and Laurence Fishburne in the movie Predators.
VB: He looks like someone who’s got some pretty good experience under his belt. He comes off as very authentic in the way he acts, and that’s one of the first things that I noticed.
JQ Magazine: Art Review – ‘Fiber Futures: Japan’s Textile Pioneers’ at Japan Society
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From left to right: 'Feel the Wind' (2010), by Fuminori Ono; 'Birth' (2011) by Hitomi Nagai; 'Su no hana' (Nest Flowers) (2011) by Takaaki Tanaka. (Vlad Baranenko)
By Vlad Baranenko (Saitama-ken, 2000-02) for JQ magazine. Vlad is an avid photographer.
Opening this week at New York’s Japan Society is the exhibit Fiber Futures: Japan’s Textile Pioneers, which showcases the works of Japanese textile masters and explores the ever evolving relationship between traditional fabric manufacturing and the uses of unconventional technology and materials to create awe-inspiring works of art. To commemorate the opening of the gallery and the designation of the Japan Society building as a city landmark, a special preview event was held on Sept. 14 with many of the artists in attendance along with an exhibition walkthrough from gallery director Joe Earle.
Originally conceived in 2007, the project received approval following this year’s devastation in Japan, and is jointly presented by Japan Society and the International Textile Network Japan in collaboration with Tama University. According to Japan Society, the collection of 35 works on display was thoroughly selected by a special committee to showcase the work of 30 contemporary masters of a movement originally envisioned in the 1950s to “reflect the fecundity of the Japanese artistic tradition and ingenuity.” Since many of the pieces had to make a long journey from Japan to New York, unique containers had to be meticulously designed for each piece to preserve the artist’s intended presentation and allow the viewer to fully appreciate each work.
To simply describe the collection as a stunning example of creativity and the profound Japanese insight into the coexistence of nature and man would not be enough to credit the artists on display. The exhibition explores such themes as the passage of time and seasons just to name a few. While many of the works are composed of traditional materials such as silk and washi paper, modern materials such as stainless steel, vacuum deposited aluminum, and complex chemical dyes are also added to create three-dimensional enchanting expressions.
JQ Magazine: Photos from the 2011 JETAANY Softball Tournament
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Team JETAANY, ready for some softball. (Photos courtesy of Monica Yuki)
By Monica Yuki (Saitama-ken, 2002-04) and Pam Kavalam (Shiga-ken, 2007-09), the JET Alumni Association of New York (JETAANY)’s President and Secretary, for JQ magazine.
On Saturday, Sept. 10, The JET Alumni Association of New York (JETAANY) hosted its Annual Softball Tournament in Red Hook, Brooklyn. Joining the JETs for some friendly competition were Amnet, Docomo, Kintetsu, Mitsubishi, TV Japan, Quick USA, and Yusen. Despite some ominous looking clouds, the 175+ players and spectators enjoyed beautiful, rain-free weather. The daylong tournament was filled with many spectacular plays and great hits, and the event finished with an award ceremony and BBQ at a local bar to celebrate this year’s champion, Yusen. A big thank you to all the teams for coming out and for the tournament’s organizer (and JETAANY President) Monica Yuki!
View the tournament’s Picasa album here.
JQ Magazine: DVD Review — ‘Live from Tokyo’ Explores Music’s Japanification
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"What makes this film so unique is how the visuals compliment the subject matter. The music becomes more visceral when scenes from Tokyo’s fluorescent nightlife are flashing on the screen." (Good Charamel Records)
By Sam Frank, an ALT who taught English in Hiraizumi-Cho, Iwate-ken, from 2002-04 and worked in Shirahama-cho, Wakayama-ken as a JET from 2004-06, for JQ magazine. He currently manages the New York division of UnRated magazine and works as a project manager/Web producer at Arrow Root Media.
When it comes to cultural diversity, Japan has always been a borrower. Their entire writing system, known as kanji, is made up of Chinese characters; the country’s most popular sport is baseball, America’s pastime; and South Korean television dramas get all the top ratings. Japan’s music scene is no different. In Live from Tokyo, American director Lewis Rapkin takes us on a kaleidoscopic journey through Tokyo’s bustling underground music scene. Set within the backdrop of the modern Japanese megalopolis, the film explores Tokyo’s eccentric music culture, and how a combination of global information, media-saturated urban areas, and cutting edge innovation has impacted it.
“Since the 2000s, when the Internet became widely used, the number of people listening to underground music has been growing,” explains Murata, lead singer of the band Kuruucrew, during one of the film’s many fascinating interviews. There are many facets to Japan’s underground music scene, and Rapkin captures them beautifully. Early on in the film we learn how MP3s and digital downloads have altered Japan’s musical landscape. TokyoGigGuide.com’s Craig Eaton describes how you can now “get albums online, whereas in the past you’d have to wait until it came to your country or order it, and wait for it to come in the mail.” With a simple click, you can now access Japanese underground artists such as Shugo Tokumaru, Sexy-Synthesizer, and Sajjanu.
When we’re not learning about the underground scene through band interviews, Rapkin gives us an all-access pass to the bands as they perform on stage. Juxtaposed with time lapses of Shibuya’s nightlife, first person views from train lines, and kaitenzushi conveyor belts, we hear punk rock, J-pop, heavy metal, traditional Japanese music, and various synthesizer-based experiments.
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