LACMA: Pavilion for Japanese Art
Pavilion for Japanese ArtLos Angeles County Museum of Art
5905 Wilshire Boulevard
for further information call (323) 857-6565

Japanese Painting: The Landscape
through January 31, 2006

Scrolls and screens from LACMA’s permanent collection featuring landscape paintings created between the 16th and 20th centuries, showing the proliferation of patrons and painting types that occurred during that time span.


Japanese Prints: Defining the Land
through January 31, 2006

Focusing on prints from the 18th to the 20th centuries which show the shifting priorities of collections. Landscape prints through time show a slow shift from famous sites of literature or history, to popular tourist destinations, to curious and beautiful locations with no prior associations. In the twentieth century one witnessed a strange m?lange of all these locales in landscape prints.


Netsuke of the Meiji Period, 1868-1912: Carvings in Transition
through December 6, 2005

Beginning the middle of the 19th century, Japan’s increasing interaction with the West and its participation in the world expositions had a great influence on the art of netsuke carving.

The expanding Western market and the diminishing use of netsuke by the Japanese themselves prompted a shift from functional to decorative; from forms suitable for wear to work designed for Western tastes.

On display are examples of favored subjects, designs, and decorative techniques used.

In addition, throughout the installation are a number of 18th century works whose juxtaposition with later pieces shows the marked differences in similar subjects created one hundred years apart.

Bushell Netsuke: The Allure of China
December 9, 2005 through February 7, 2006

Raymond and Frances Bushell Netsuke Gallery
The netsuke as an art form was derived from the roots worn by Chinese Daoists to counterweight gourds suspended from the belt and filled with elixir. The curative association with materials and subject of netsuke gradually waned, but fascination with China as the source for great knowledge remained.

Lecture and film screening to reveal real world of Geisha, Dec. 18
Topic: Geisha
Japanese American Cultural and Community Center in Los Angeles presents The World of Geisha, lecture and film screening event on Sunday, Dec. 18 at 1 p.m. at Aratani/Japan America Theatre in Little Tokyo.

Andrew Maske, lead author of the book Geisha: Beyond the Painted Smile, will give his talk entitled, "Behind Teahouse Walls: Geisha and Japan's Traditional Entertainment Culture." This lecture is sponsored by the Japan Foundation Los Angeles Office.

Maske has held positions at the Peabody Essex Museum in Massachusetts, the Rhode Island School of Design, and Harvard University. The lecture begins at 1 p.m.

Following the lecture, classic Japanese film Gion Festival Music will be screened in Japanese with English subtitles at 3 p.m.

Set in Kyoto and Tokyo in the early 1950's, Mizoguchi Kenji's Gion Festival Music (Gion Bayashi) stars Wakao Ayako as a young geisha, training in traditional Japanese arts and challenged by the culture she enters.

General admission is $7 for one ticket covering the lecture and the screening. For JACCC members, tickets are $5. For reservations, call Box Office at (213) 680-3700.

Geisha evokes wrong images
For more than a century, the word "geisha" has evoked for Americans tantalizing images of the Exotic East. Nevertheless, ask someone on a street corner in the U.S. what a geisha is, and the person probably will be hard-pressed to answer.

Most may agree that a geisha is an Asian female who provides some kind of services for men. What those services might be is an issue that is less clear. Some will assert that she is a prostitute, pure and simple, but dressed in traditional clothes and makeup. Others are sure that she is a highly trained performer of Japanese traditional arts who sings or dances for an elite clientel, but never has an intimate relationship with a customer.

The truth, of course, is somewhere between the two extremes, and like other people, no two geisha are exactly alike.

Andrew Maske was an art history student in Fukuoka when he was introduced to an elderly former geisha who eventually became his teacher in kouta singing and shamisen playing. Inspired by the story of her life and by the traditional arts she practiced, Maske set out to explore the role of geisha within Japan's entertainment culture.

"It's important for people to realize that geisha were very different from the licensed prostitutes who practiced legally in Japan until the 1950s. A geisha is first and foremost a performing artist, and her status and reputation is based primarily upon her artistic skill," Maske explains.

According to Maske, a geisha who is beautiful may well be popular with customers. However, if she does not strive to perfect her performance abilities or sleeps around with customers, her reputation within her geisha community will suffer. Such women usually quit the geisha life and become bar hostesses, since that profession offers more freedom and does not require the intensive, life-long training undergone by geisha.

Gion Festival Music

Gion Festival Music (Gion Bayashi) B&W / Standard / 1953 / 84 min / Daiei
Cast: Kogure Michiyo as Miyoharu, a geisha; Wakao Ayako as Eiko, a young geisha; Shindo Eitaro as Sawamoto, Eiko's father; Kawazu Seizaburo as Kusuda, a businessman; Sugai Ichiro as Saeki, Kusuda's employee; Koshiba Kanji as Kanzaki, a bureaucrat.

The film explores the clash of pre-war traditionalism in the pleasure quarters with the new atmosphere of individual liberty and equal rights for women in post-war Japan.

After her mother's death 16 year-old Eiko (Wakao) seeks out the help of a family friend to become a geisha. This beautifully shot black and white film follows the difficult life of a geisha by focusing in on Eiko and her mentor Miyoharu, played by Kogure Michiyo, as the two battle societal and inner-pressures.

While based on a different source, Mizoguchi Kenji's Gion Festival Music is for all intents and purposes a remake of his own 1936 classic, Sisters of the Gion (Gion no kyodai), the two in fact written by the same screenwriter, Yoda Yoshikata, Mizoguchi's frequent collaborator.

The first film was a revolutionary realist condemnation of the place of women in Japanese society, but the second, perhaps due to the market abroad opened up for Mizoguchi's films by his success in international film festivals, too often seems like a tourist guide to the Gion district. A solid work supported by Mizoguchi's masterful camerawork and excellent acting.

(Japanese family names appear first in this article.)

(Photo Caption)
Historian Andrew Maske

(Photo Caption)
A scene of Gion Festival Music (Gion Bayashi) ? 1953 Kadakawa Pictures, Inc.

Dec 9 Harmonic Concert, Anaheim
Topic: Event
Japanese and American developmentally-challenged people will perform music and dance at the first Harmonic Concert on Friday, Dec. 9, 1:00 p.m. –6:00 p.m.

The first collaborative show by developmentally-challenged individuals from Japan and the U.S. will be held at Heritage Forum, 201 East Broadway Ave., Anaheim, CA 92805, (714) 776-7776 on Friday, Dec. 9 from 1 p.m. - 6 p.m. Admission free.

“The Japan - U.S. Harmonic Concert ~ Crossing the Ocean Through Harmony” will be a showcase of performances by disabled and handicapped performers form the U.S. and Japan. The show will include songs and dances which Japanese performers practice so many times for their American counterparts.

By exchanging their artistic achievements, the U.S. and Japanese groups are hoping to grow their friendship as their personal experiences.

The programs includes “Taisho Koto” string music by the Sunnies, dances, physical expressions and flute music by the Crystal Troupe of Tokyo, the Hanagasa Odori by the Potato House of Shimane prefecture.

The Fifth Kibo no Tsubasa of Yamagata prefecture will join in the Japanese delegation.

From the U.S., the Hope Choral Group and the Hi Hopes 9 from Hope University will perform; The Hope High School Choir will sing; The Pride group of the Creative Identity will perform songs and music; The Burbank Center for the Retarded will dance.

In the lobby, pictures, crafts, and arts that were created by the participants will be exhibited.

The Harmonic Concert is sponsored by Kinki Nippon Tourist travel agency of Japan as its 50th anniversary project. The concert is supported by Anaheim / Orange County Visitor & Convention Bureau and endorsed by Cultural News.

The Harmonic Concert is open to public and free of charge. For more information, contact Ritsuko Powell or Katie Conlon at (310) 525-1670, Kintetsu International Express (USA), Inc. in Gardena.

Dec 3 Cancelled Iwami Kagura & Zuiho Taiko
Topic: Event
Iwami Kagura & Zuiho Taiko Concert at Aratani/Japan America Theatre in Little Tokyo on Saturday, Dec. 3, is cancelled.

Japan Expo: Sushi Sushi Competition
Topic: Sushi
Sunday, Nov. 20, 2:00 PM

There’s so much happening across the country and Los Angeles this month in the Japanese Food world that it’s hard to pick just one thing to focus on. But with all that’s happening, you really can’t get any bigger than the 26th Annual Japan Expo at the Los Angeles Convention Center on Sunday, Nov. 20.

So, what is The Sushi Chef Institute doing this year for its part in the Japan Expo? Well outside of serving up some California Rolls, Inari Sushi, Spicy Tuna and a Spam Roll, we’ll be conducting a Sushi Roll Match on Sunday at 2:00 p.m. Participants on the winning team will get prizes from our sponsors.

What exactly is this Sushi Roll Match, you ask. Simple. Two teams, Maguro and Hamachi - each with a mere 50 members (each “roller” get their own hachi-maki-banner) - square off in rolling a 24-yard sushi roll. It’s so big we had to get clearance from fire and police departments.

Once the rolls are completed, the chefs from the Sushi Chef Institute will cut up the roll and make a sushi tower that’ll probably be close to 10 feet tall.

There’s only space for 100 participants, so, if you want to come out and show us your sushi rolling techniques, you’ll need to register by going to www.japanexpo.org. Once registered, participants will need to confirm their spot by 1 p.m. on Nov. 20.

So even if spaces fill up before the expo, there may still be a chance for a few walk-ins. Otherwise, even if you don’t get to participate, it’ll be a great show, so come on by and check it out.

(By Andy Matsuda, founder and Chief Instructor of the Sushi Chef Institute located at Little Tokyo in Los Angeles.)

Woman as Art / Woman as Artist, Sept. 6 - Dec. 3
Topic: Art
HANFORD, Calif. - This fall the Ruth and Sherman Lee Institute for Japanese Art presents an exhibition on women in Japanese art that is not just a series of pretty faces. The exhibition Woman as Art / Woman as Artist: Two sides to the female figure in later Japanese painting runs from Sep. 6 to Dec. 3.

Of course, these stunning paintings from the 16th through the 20th centuries feature some of the most stylish and decadent representations of women from the world-class permanent collection of this small rural museum, but the exhibition also includes images of female ghosts, paintings of women at work, and humorous parodies of women in unconventional settings.

Most of the paintings in this exhibition were produced in the Edo period (1615-1868), during an era of very strict government regulation of everything from where different classes of people were allowed to conduct their daily activities to the type of clothes they were allowed to wear.

The current exhibition explores the ways in which paintings of women served not only to establish models of style and beauty for the visual pleasure of a male viewer but also reinforced ideals of model behavior expected of women during this period for their female audience.

Familiar types of images of beauties of the pleasure quarters stylishly coiffed and dressed in elaborate kimonos stand alongside idealized figures of peasant women picking tea and gathering firewood.

Supplementing such images of women primarily by prominent male artists, the exhibition also includes paintings by female artists, most of whom followed closely in the tradition of their male teachers and mentors.

Highlights of the exhibition include an early screen painting of the legendary Chinese beauty Yang Guifei from the late 16th century, images of unconventional beauties of the Osaka-area pleasure quarters by a rare artist of the early 19th century, and calligraphies and paintings by female artists of the literati-style Nanga School.

The Lee Institute is located 6 miles south of downtown Hanford at 15770 Tenth Avenue. The gallery and extensive reference library are wheelchair accessible and open to the public Tuesday-Saturday from 1:00–5:00 pm during the exhibition period. The gallery will be closed on Nov. 24 and 25.

Entrance fees are $5 for adults, $3 for students with valid ID and children under 12 are free. Docent tours of the exhibition are held every Saturday at 1:00 pm and special pre-arranged group tours are available for an additional fee.

For more information, see the website at www.shermanleeinstitute.org or call (559) 582-4915.

UCLA Colloquium: Half-Century of Minamata Disease
Topic: Social Issues
UCLA Center for Japanese Studies Colloquium
Monday, Nov. 21, 3:00 – 5:00 p.m.
Faculty Center Hacienda Room

Keiko Kanai, Japanese Literature, Waseda University

Questioning the “Compensation”: Half-Century of Minamata Disease and Ishimure Michiko’s Kugai Jodo (Paradise in the Sea of Sorrow)

Free and open to UCLA students, faculty, staff, and invited guests.
Parking available at Lot 2 for $8.

Kenny Endo Taiko Ensemble East Meets West
Topic: Taiko
Nov. 17 (Thu) 4:15 –5:30 p.m. Pomona College in Claremont, Lyman Hall
Nov. 20 (Sat) 4:00 p.m. Aratani Japan America Theatre, Little Tokyo

Nov. 17 (Thu) 4:15 –5:30 p.m. Pomona College in Claremont, Lyman Hall
“Tradition is a basis for innovation,” says Kenny Endo, a world-acclaimed American musician of Japanese taiko music. He is one of the very few non-Japanese musicians to have earned the Japanese natori title of “master.”

The Kenny Endo Taiko Ensemble East & West combines musicians from the U. S. and Tokyo to form a group that is as high-caliber as it is eclectic.

In this lecture-demonstration, they will play not only original compositions for taiko (drums), koto (zither), and bamboo flutes, but also percussion instruments from other parts of the world, highlighting the new dimensions of Endo’s creativity, combining the musical traditions and innovations of East and West.

This concert is open to the public and free of charge.

The concert is organized by Asian Studies Program, and co-sponsored by the departments of Music and Theatre/Dance, and Pacific Basin Institute in Pomona College.

For information about the program, contact Prof. Kyoko Kurita at (909) 621-8933 or Pacific Basin Institute at (909) 607-8065 or lucy.chang@pomona.edu


Nov. 20 (Sat) 4:00 p.m. Aratani Japan America Theatre, Little Tokyo
In a true fusion of musical styles, Kenny Endo and featured members of his three taiko ensembles spanning the globe from Honolulu to Los Angeles and Tokyo will celebrate his 30 years of taiko drumming with a nationwide tour.

The “East Meets West” tour features some of the world’s most innovative and talented musicians and artists playing original compositions for taiko, koto, bamboo flutes, vibraphones and Latin, world and Japanese percussion instruments.

The program represents Endo’s interest in contemporary taiko performance, combining Japanese classical drumming with world music and western jazz styles.
Guest Artists: Masakazu Yoshizawa, bamboo flutes, taiko, percussion; Yoshinori Nomi, Latin & Japanese percussion; Eric Chang, taiko and percussion; Hitoshi Hamada, vibraphones; Shoko Hikage, koto; Hiroshi Tanaka, taiko.

Tickets are $35 orchestra, $32 balcony and for JACCC members and groups of 10 or more $30, $27. Box office (213) 680-3700. www.jaccc.org

Book: The Arts of Asia: Materials, Techniques, Styles
Topic: Book
The first book to analyze and survey the arts of this vast region by material

The Arts of Asia: Materials, Techniques, Styles, by Meher McArthur, curator of East Asian art, Pacific Asia Museum in Pasadena.

Published by the world’s leading art book press, Thames and Hudson, The Arts of Asia is the first book to present Asian art by material, technique and style.

Throughout history, the beauty and value of the arts of Asia have been derived largely from the exquisite quality of the natural materials from which they are crafted.

Materials have spiritual significance in the Asian cultures that use them, and the art is often born from that significance. For instance, jade, because of its hardness and durability, has long been associated with immortality in China, while bamboo, which bends and sways in the strongest winds, symbolizes flexibility in East Asian cultures.

Many of the materials that are most often used in Asia were actually discovered, invented, or first worked there, and they pervade every aspect of life—practical, religious, and artistic.

Often materials are not what they seem to a Western eye. "Rice" paper is made from mulberry wood pulp; jade is not carved—it is too hard—but abraded. Lacquer, now used for luxury decorations, was originally a protective coating on food vessels.

The Arts of Asia features work from Afghanistan, Burma, Cambodia, China, India, Indonesia, Japan, Korea, Laos, Malaysia, Pakistan, Philippines, Sri Lanka, Thailand, Tibet, and Vietnam.

Ten chapters, illustrated with over 400 color photographs and illustrations, are devoted to the most significant materials: jade, silk, porcelain, lacquer, ivory, bamboo, paper, gold, wood, and stone. Each chapter is divided into three main sections: the characteristics of the material, its historical and social significance, its etymology, and its associated legends; the techniques by which it is transformed into art objects; and, country by country, the principal artistic styles used throughout Asia.

The book is sold at the gift shop of Pacific Asia Museum, 46 N. Los Robles Ave., downtown Pasadena, CA 91101. www.pacificasiamuseum.org

Cal State University L.A. Celebrates the 30th Anniversary of its Japanese Studies Center
Topic: University Programs
Thursday, November 17, 2005, 1:30 – 3:10 p.m.

California State University, Los Angeles presents Japan Day in celebration of the 30th anniversary of its Japanese Studies Center.

CSULA Japan Day will feature a lecture, “Zen and Japanese Culture,” by Emeritus Professor Kazumitsu Kato, the founder of the University’s Japanese Studies Center. (Following the lecture will be a traditional tea ceremony at 4:20 p.m., King Hall D1054D, and a film presentation, Twilight Samurai, at 6:10 p.m., King Hall B3019.)

Cal State L.A. King Hall C4075B. The University is located at the Eastern Avenue exit, San Bernardino (I-10) Freeway, at the interchange of 10 and 710 Freeways. Public (permit dispensers) parking is available in Lot C, Lot G, or the top level of Parking Structure 2.

The Japanese Studies Center serves Cal State L.A. and the community as a source to aid faculty, students, and the general public in broadening and deepening their knowledge of Japan, its people, and culture.

The Center promotes Japanese research and academic studies and supports educational and cultural programs, seminars, guest lectures, and conferences. The office maintains a collection of basic bibliographies and essential reference materials.

For more information, call Sachiko Matsunaga, Modern Languages and Literatures Department, Cal State University L.A., at (323) 343-4230.

A-Bomb Photo Exhibition From Hiroshima and Nagasaki
Topic: Social Issues
November 10 – 18
Kerckhoff Art Gallery, Kerckhoff Hall, UCLA
(310) 825-6564

Opening Night Reception: Thursday, November 10, 6-8PM
Kazu Sueishi, Hiroshima Survivor
Dr. Ikawoba Bunting, Compton College Professor and Visiting Professor of Loyola Marymount University
Featuring musician Steve Crawford

Presented by the Cultural Affairs Commission, UCLA

Slide Lecture about Kokeshi, Nov. 6
Topic: Folk Art
Institute for Japanese Art in Hanford, Calif.

Kokeshi: Traditional Japanese wooden dolls
Slide Lecture and Book Signing by Michael Evans and Robert Wolf

Sunday, November 6, 2005, 2:00 p.m.
at the Ruth & Sherman Lee Institute for Japanese Art

Kokeshi dolls are known for their simple form. Authors of Kokeshi (Vermillion, 2005), Michael Evans and Robert Wolf will introduce traditional Japanese folk art of wooden dolls and their latest book.

Explore a new way of appreciating this traditional folk art started in the 19th century.
Non-member $7, member free.

RSVP required. To RSVP, call (559) 582-4915 or email info@shermanleeinstitute.org

15770 Tenth Avenue, Hanford, CA 93230-9533
www.shermanleeinstitute.org

University of California Irvine Robert Garfias Dinner, Nov. 3
Topic: Gagaku
The University of California Irvine, Center for Asian Studies Japan dinner is set for November 3rd, a Thursday. We will be feting Robert Garfias from Anthropology who was awarded the Order of the Rising Sun by the Japanese government last spring. This will be held in the University Club Library from 7:00-9:00 p.m.
The dinner will include a presentation by Prof. Garfias titled: My Observation of a Half Century.
General $40, member and affiliates $30, graduate students $20.

For RSVP, contact Sandra Cushman, Center for Asian Studies, UCI by email scushman@uci.edu or call (949) 824-3771.

Message from UCI Dean Dosher re: Robert Garfias

UCI anthropology professor Robert Garfias has been awarded one of Japan's oldest and highest honors, the Order of the Rising Sun, for his contributions to promoting traditional Japanese culture and cultural exchanges between Japan and the U.S.

As an ethnomusicologist, Garfias studies music as an aspect of culture. For more than 40 years, he has examined the traditional music of the Japanese Imperial Court, called Gagaku, as well as Japanese koto music and the music of Okinawa. He studied in Japan's Imperial Household Music Department and provided support for the first U.S. tour of a Gagaku ensemble in 1959. Since then, he has often assisted in presentations of Gagaku performances in the U.S. and was particularly instrumental in bringing the first Gagaku performance to the Walt Disney Concert Hall in October 2004. Garfias has also introduced Gagaku to renowned Western musicians and composers such as Igor Stravinsky and Leonard Bernstein.

"I am very excited and happy about this honor, especially because it acknowledges the importance of this very ancient tradition of court music", says Garfias. "I am also honored and a little nervous to be having an audience with the Emperor."

Garfias is one of seven people in the U.S. to receive an award. Every spring and fall, the Japanese government bestows decorations on individuals who have made distinguished contributions to Japan and to the promotion of its external relations with foreign countries. Of the 4057 receiving the honor this spring, only 34 are non-Japanese.

Typically, non-Japanese recipients receive their awards from the nearest Japanese consulate. Garfias was invited to a conferment ceremony May 20 in Tokyo and has been granted an audience with the Emperor.

Garfias teaches a wide range of courses dealing with many of the worlds musics including courses on the music of Japan and Okinawa and has taught at University of Washington, UCLA, UC Berkeley and UCI. He has conducted his field work a great number of places across the globe and speaks eight different languages, including Japanese. He is a former member of the NEA National Council on the Arts, serving for 10 years. He has recently served as a research professor for the Japanese National Museum of Ethnology and continues to do work with the museum.

Mushashimaru in Town, Oct 1 & 2
Topic: Sumo
This weekend, don't miss the chance to meet Yokozuna MUSASHIMARU in person at these events:

SUMO PRACTICE COACHED BY MUSASHIMARU
Saturday, October 1, 12:00 noon -- 1:30 PM
Jun Chong Martial Arts Center, 11870 Santa Monica Blvd, West LA

SUMO DEMO WITH MUSASHIMARU AT JAPANESE FESTIVAL
Sunday, October 2, 1:00 PM -- 4:00 PM
Camarillo Community Center, 1605 East Burnley Street
Camarillo, CA

In addition to meeting Musashimaru, you can get excellent seats for GRAND SUMO LAS VEGAS from us. We still have a few awesome seats left, including FLOOR SEATS in the FOURTH, THIRD, and even SECOND rows! You can pick those up this weekend at the events, or call to order!

GRAND SUMO LAS VEGAS
October 7, 8, and 9, Mandalay Bay
At GRAND SUMO LAS VEGAS, please visit the US SUMO OPEN booth inside the arena.

www.usasumo.com
310-288-3641 recording
310-617-9641 ticket orders

Tsugaru Shamisen ensemble, Oct 9
Topic: Tsugaru Shamisen
Tsugaru shamisen ensemble “Waon” from Yokkaichi, Mie prefecture will be performing on Sunday Oct. 9 at 7:00 p.m. at the Secret Rose Theatre 11246 Magnolia Blvd. in the NoHo Theatre and Arts District of North Hollywood.
NOW FREE ADMISSION
To make a reservation, call (818) 766-3691 ext. 2.

Tsugaru shamisen ensemble “Waon” was organized by Toshihiko Minamihashi (photo)in Yokkaichi in 2003, now having fifty students enrolled. Waon’s mission is to help promote the spirit and culture of Japan though music.

For the Waon’s debut concert in the U.S., Minamihashi will be accompanied with his apprentice Kagura (photo at bottom)from Orland, Florida.

Program (Subject to change):

1.TSUGARU JYONKARA-BUSHI (SHIN-BUSHI)
Most famous Tsugaru shamisen number.
And it is easy to see the personality of player for you. Because player make ad lib for this number, it will be played with a different every time.The art of playing is beat the body of Shamisen consecutively and also making delicate melody.

?Shin-bushi? meaning is the number had made in the Showa period after world war.

2.TSUGARU AIYA-BUSHI
One of best five songs of Tsugaru Shamisen.
The origin this number came to Tsugaru from Kagoshima of Kyushu, Japanese south area.
This tune is in triple time, in rare type of Japanese folk song.

3.TSUGARU ONDO
This song sounds sentimental.
IT is difficult to play with an elaborate art.

4.YASABURO-BUSHI
The theme of this is?pick on the daughter-in-law of the Yasaburo family?.
The song without accompaniment is like a lullaby.

5.ROKU-DAN
The basic number of Tsugaru Syamisen.
It is made from six short songs (sometimes seven) and good for ensemble regardless of school.
However it is something different by every situation keep the basic melody.

6.TOSA NO SUNAYAMA
Tosa was one of big port of Japan at the northwest part in Aomori pre.
But it had become in ruins by Tsunami in 1340.
It was happen in a moment and then Tosa port had changed to sand dune by degrees.
Plaintive the old port that once flourished?..this tune represent.

7.TSUGARU JYONKARA-BUSHI (KYU-BUSHI)
Tsugaru Jyonkara-bushi had changed by era.
?Kyu-bushi? means it had made at Meiji era that had a rapid progress from under the Shogun to a modern state.

Each Jyonkara-bushi has representation of Japanese trend.

Perhaps the most interesting feature of playing shamisen is that, unlike other Japanese traditional arts which are know for precision and control, the shamisen is played improvisationally similar to free style jazz allowing each player to be expressive.

As a shamisen player’s skill grows, they often develop original and unique melodies. Because of this, the shamisen has seen a rise in popularity and appreciation amongst a new generation of Japanese musicians and their audiences.

This concert will benefit the non-profit organization Fire Rose Productions and to assist them in raising funds to contribute to this years Aids Walk.

Kaoru Watanabe and Shoji Kameda at Little Tokyo, Oct. 6
Topic: Taiko
October 6, 2005
Japanese American National Museum
369 East First Street, Los Angeles, CA 90012
Cost: Free, Time: 7:30 PM - 9:30 PM
Tel: 213-625-0414
www.janm.org

Kaoru Watanabe Biography:

Born in St. Louis, MO in 1975. Grew up in a musical household- father a violinist and mother a harpist in the St. Louis Symphony Orchestra. Began playing flute at 13 and studied with St. Louis Symphony flutist Jan Smith.

Graduated from Interlochen Arts Academy in northern Michigan where he gained orchestral and jazz group experience. Moved to New York to study at the Manhattan School of Music as a jazz flute/ saxophone major and performed and recorded with, among others, Blue Note recording artists Stefon Harris and Jason Moran.

Also joined New York based Japanese drumming (taiko) group Soh Daiko and became heavily interested in Japanese music. After graduating, moved to Japan and studied Noh Kan and Edo Matsuri Bayashi styles of fue (bamboo flute) in Tokyo.

Entered the two years apprenticeship program for the internationally touring taiko group Kodo and became a performing member in the year 1999. Since joining Kodo, Kaoru has performed and recorded with Kodo in 16 different countries, performing with such luminaries as Zakir Hussein, Aierto Moreira, Giovanni Hildago and Carlos Nunez.

He specializes in the various fue, composing and acting as artistic director of Kodo's annual world music festival, Earth Celebration.

Shoji Kameda Biography:

Shoji Kameda is one of North America’s brightest young taiko performers.

Shoji's introduction to the Japanese drum came at the age of 8 with Shasta Taiko, one of the first children's groups to form in the US.

Since then he has studied, performed and recorded with renowned masters of traditional and contemporary music in the United States and Japan. In 2002 he founded the On Ensemble with Masato Baba, Kristofer Bergstrom and Michelle Fujii.

Now living in Los Angeles he maintains an active schedule performing and recording with On Ensemble and pioneering jazz fusion band, Hiroshima. Recently he has started composing taiko music for film and is currently scoring his first documentary.

TAIKOPROJECT Biographies
Topic: Taiko
The TAIKOPROJECT founded in 2000, is an ensemble of America's premiere, emerging taiko drummers dedicated to preserving and disseminating American taiko drumming through educational activities and public performances.

The ensemble's work balances the traditions and rich history of American taiko with a contemporary edge exploring new dimensions in taiko.

TAIKOPROJECT: (re)generation, their latest creative effort, was a refreshing, new expression of taiko artistry, effortlessly blending taiko with storytelling, spoken word, music, hip hop choreography, video multi-media, and dance.

The production made its world premiere tour Fall, 2003 - Spring, 2004 to Gammage Auditorium at Arizona State University Public Events, Meany Hall at the University of Washington World Series, the Japan America Theatre at the JACCC, the Mondavi Center at UC Davis, and the Kenneth Ford Theater at the College of the Siskiyous.

Following this, the TAIKOPROJECT developed collaborations with a diverse group of prestigious artists, including klezmer clarinetist Leo Chelyapov, Vietnamese pop singer Bao Han, Chicano rock band Quetzal, internationally-acclaimed European DJ Tiesto, and Vancouver's Chibi Taiko.

In Spring, 2005, the TAIKOPROJECT performed in Mitsubishi Motors of North America's innovative National Ad Campaign "Taiko Drums," featuring women from the group in a breathtaking 60-second commercial spot that was one of the highest-rated commercials of 2005 when it aired.

The TAIKOPROJECT then performed for the most prestigious taiko concert in North America-- "Taiko Jam '05," as part of the 2005 North America Taiko Conference.

The group was also invited to perform for the Hollywood Bowl's prestigious "Summer Sounds" program, working with the L.A. Philharmonic Education Division.

TAIKOPROJECT has been recognized with grant awards from the Durfee Foundation, the City of Los Angeles, Cultural Affairs Department, and has been involved in projects funded by the National Endowment for the Arts, the Los Angeles County Arts Commission, and the Western States Arts Foundation.

TAIKOPROJECT
505 East 3rd Street, Los Angeles, CA 90013
Tel: (213) 268-4011
Fax: (213) 626-6050
info@TAIKOPROJECT.com
www.TAIKOPROJECT.com

A Benefit Concert to Send the TAIKOPROJECT to Japan, Oct. 8
Topic: Taiko
Los Angeles, CA - The TAIKOPROJECT presents the "IKUZO: A Benefit Concert to Send TAIKOPROJECT to Japan." on Saturday, October 8 at 8 pm. The concert takes place at the Senshin Buddhist Temple, located at 1341 W. 37th St. in Los Angeles, California. Ticket packages begin at $25. To purchase tickets or to make a donation, call (626)288-7498. Convenient parking is located in the adjacent parking lot.

In August, 2005, the TAIKOPROJECT was selected as one of 12 finalists out of over 60 applicants to participate in the 5th Annual Tokyo International Taiko Contest, the largest and most prestigious taiko competition in the world. In addition, the TAIKOPROJECT has the distinction of being the first American taiko group to participate in the contest, making this year's contest especially historical.

The 5th Annual Tokyo International Taiko Contest takes place on October 15 - 16, 2005, at the Olympic Youth Center in the Shibuya District of Tokyo, Japan. The TAIKOPROJECT cast departs a few days earlier to prepare for their performance, rehearsing at taiko studios throughout Tokyo, while connecting with local taiko groups and visiting various taiko leaders in Japan.

Their performance takes place on October 16, following the "Youth Group" category performances and the "O-daiko" solo category performances. They are in the "Adult Performing Group" category. For the "Adult Performing Group" category, participating groups play a compulsory song, "Beat/Essence II," by acclaimed composer Maki Ishii (composer of Kodo's classic "Monochrome"), as well as an original song. The TAIKOPROJECT has chosen to play "Omiyage," with an "Expanding" intro.

With the hopes of representing American taiko at this prestigious gathering, but faced with the task of self-producing the trip, the TAIKOPROJECT performs in this special one-night-only benefit concert to fund their first-ever tour to Japan.

This marks the first time American taiko will be shared with the Japanese taiko community at this gathering. American taiko groups rarely have opportunities to perform in Japan, so the TAIKOPROJECT members are adding extra rehearsals to be fully prepared for the contest.

Join us for an evening of TAIKOPROJECT favorites and the debut of "Beat/Essence II." The 30-minute performance will be followed by a post-show reception with the artists. Our goal is to raise $10,000 to cover the expenses of traveling to Japan to participate in the contest.

Performance - Bamboo and Silk, Sept. 30 (Fri)
Topic: Shakuhachi
Friday, September 30
The Armory Center for the Arts
145 North Raymond Avenue, Pasadena, CA 91103
Cost: $10 general admission; $5 seniors and students; Armory members free
Tel: (626) 792-5101 x117, www.armoryarts.org
Time: 8:00 PM - 10:00 PM

Traditional Music from China and Japan. The Armory Center for the Arts and the Pacific Asia Museum together present Bamboo and Silk, an evening of traditional music from China and Japan.

For this performance, Bill Shozan Schultz plays the centuries old music of meditating Zen monks, Honkyoku, on the shakuhachi, a Japanese end-blown bamboo flute. Performing on the sheng, an instrument with a 2,000-year history that consists of numerous bamboo pipes, Qi-Chao Liu also plays the silk stringed violin-like erhu that is bowed while held in an upright position.

Because of the richness of our Los Angeles environs, both in architecture and in culture, it shouldn't come as a surprise that the unusual setting for this ancient music from China and Japan is an architecturally significant building in old town Pasadena whose inner walls are the usual home for cutting edge modern art.

Gagaku, Saturday. October 1
Topic: Gagaku
October 1, 2005

Performance - Gagaku: Music and Dance of Ancient Asia
Senshin Temple Courtyard
1311 W. 37th Street, Los Angeles, CA 90007
Cost: Suggested Donation $5, Outdoor Event
Tel: (323) 731-4617, Time: 3:00 PM - 5:00 PM

The Great Teacher K’ung Fu-Tzu [Confucius] said that, “the only really essential department of government is the Department of Music and Rites.”

In Far Eastern tradition, the purpose of art is to educate and uplift in a moral and religious way.

Music and ritual are looked upon as essential to life and not simply as another extra-curricular activity.

This ancient music survives today in Japan as Gagaku and has been preserved virtually unchanged since the 8th century.

Still performed in temples, shrines, and the Japanese Imperial Court, Gagaku is the oldest orchestral tradition in the world, evoking an atmosphere and attitude of ancient Asia.

Senshin Temple is affiliated with the Jodoshinshu school of Buddhism that has used Gagaku liturgically and as “dharma entertainment” since the 17th century.

Kinnara Gagaku was formed in 1970 at Senshin Buddhist Temple under Professor Suenobu Togi of the Japanese Imperial Household Department of Music and the UCLA Department of Ethnomusicology.