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wow!

vkm — Sun, 22 Jun 2008 22:53:11 -0700

That's amazing. Must be pretty incredible to see and be a part of. If you have photos to share, would love to see sometime.

San Jose Obon Odori

brhoriuchi — Sun, 22 Jun 2008 13:11:38 -0700

The San Jose Obon festival is pretty big. There were a record 914 dancers last year on the Saturday, and a little less on the Sunday. They announced that the SJ Obon is one of the biggest in participation. Thanks for the Obon album link!

what a wonderful connection

vkm — Sun, 22 Jun 2008 10:40:32 -0700

Thanks so much for sharing your obon story. It's so sad that your grandmother wasn't able to see you dance that last time, but it's wonderful that you continue to dance in honor of her and your ancestors.

I've never been to San Jose's obon. Is it very big? I've been to the Mountain View obon a couple of times. My brother-in-law lives there and we've been fortunate that a couple of our visits have coincided with their obon.

I'm eagerly awaiting obon season this year. My sister moved back to LA recently with her husband who's from Northern California and this will be the first time we can all go "obon-hopping" all together.

Last year, we had our Discover Nikkei intern go to a bunch of So Cal obon festivals to document them through photos. She created 5 Nikkei Album collections about them. Here's a list of Obon-related collection in Nikkei Album if you want to check out the photos >>

San Jose Obon

brhoriuchi — Sat, 21 Jun 2008 21:51:12 -0700

The first time I danced in the Obon was when I was about two-three years old. I still have the silk kimono my Bachan brought from Japan that I wore for that first Obon. Forty-eight years later, I still dance. During my early teen years, I thought I was too cool to dance and did not participate for about three years. When I was about sixteen years old, my Bachan encouraged me to dance again. She had been in frail health and wanted to see me dance. We sat her down on the curb near the San Jose Buddhist church and I made sure I was on the outside circle so she could see me. As I would come near her, the current song would end and we would change the rotation so I would be going the opposite way. During the evening's performance, she never was able to see me dance. She died later that year. Since then, I have danced every year for her and my ancestors. I feel her presence as well as my late Mother's presence when I dance in the Obon. I feel this connection to them, the community and pride in being a Japanese-American Sansei.

PD/respuesta

tilsa guima — Mon, 14 Apr 2008 07:35:49 -0700

Efectivamente, concuerdo acerca de la poca definición entre los tusan y los nikkei, y en el tipo de representación al que se ven limitados los últimos. Motivo por el cual, en ese sentido, puede afirmarse que existe una continuación con los parámetros impuestos a los jóvenes nikkei. Sin embargo, considero que la diferencia sí pasa por un reconocimiento cultural que implica, necesariamente, la afirmación de una pertenencia étnica. La asunción de una identidad como tal, es decir, con un pasado histórico determinado y un ethos envolvente, no significa que ésta deba ser exclusiva con las demás. Es decir que hablar de reafirmación étnica no sugiere, o en todo caso no debería serlo, una posición superior con respecto a las demás.

Por el contrario, parto de la premisa de que para reconocer, es necesario reafirmar. En ese sentido, un re-conocimiento es al mismo tiempo, una re-afirmación, pues la aprehensión de aquello que se quiere elaborar (a nivel de pensamiento, símbolos o conductas) exige una relación directa con el objeto. Lo anterior, se traduce en una producción de elementos considerados propios, pero que al mismo tiempo están a disposición de los demás para ser alimentados por las diversas variables a las que se enfrente. Ahí radicaría la importancia de la interculturalidad, en la capacidad de mostrarse hacia los demás y de intervenir dentro del imaginario colectivo.

Complemento

Victor Nishio Yasuoka — Wed, 09 Apr 2008 15:59:15 -0700

Debo complementar este artículo, mencionando a los jóvenes nikkei (siendo pocos) que han actuado en comerciales para productos masivos (por ejemplo, banca) y que, además de verse y actuar ridículos, el mismo papel no les dio la oportunidad (aunque así lo hubieren deseado) de crear una diferencia entre los tusan y los nikkei, asumiéndose de esta forma que son todos "chinos".

La diferenciación no la considero necesaria en el sentido de reafirmar pertenencia étnica o grupal, sino en lograr una sociedad que logre reconocer las diferencias culturales sin hacer uso de la burla al acercarse a ellas.

Aunque nikkeis actuantes en comerciales lo hagan de forma seria, cumpliendo su parte en el papel de la variedad racial (a pesar de que las razas no existen sino las diferencias genéticas), no existe en el imaginario popular peruano una imagen "japonesa" del nikkei, terminando siempre de relacionarlo con el "chinito de la esquina". Esa imagen "japonesa" sólo aflora cuando se trata de personajes políticos (Fujimori) o de donaciones, televisadas por el canal del Estado, realizadas por el Gobierno Japonés y siempre lejanas al nikkei "de a pie" que es un engranaje más de la sociedad peruana.

Entrevista a Akira Watanabe

yn — Fri, 15 Feb 2008 17:55:10 -0800

Chesque para ver la entrevista al director del Ryukyukoku Matsuri Daiko Filial Perú, Akira Watanabe.

http://www.discovernikkei.org/es/people/profile.php?id=95

Okinawan program on March 1, 2008 in Los Angeles

vkm — Wed, 13 Feb 2008 14:33:00 -0800

There's going to be a public program at the Japanese American National Museum about Okinawans and their global networks. It is being co-presented by the Center for Migration Studies at the University of the Ryukyus where Jon Shirota got the inspiration for his play.

Community Forum: Okinawans and Their Global Networks
Saturday, March 1, 2008
2:00 pm - 4:00 pm

Click here for more info

inspiring play

vkm — Mon, 12 Nov 2007 11:37:50 -0800

My husband and I went to see this past Saturday evening's performance of Dawn's Light. It was such an inspiring story. Although I knew about Gordon Hirabayashi and his coram nobis case, I didn't know the details of his personal life and how he came to make the decision.

The play has a single actor, Ryun Yu, on stage the entire time with no intermission. He portrays Gordon Hirabayashi sharing the story of his life in a very personal, talk-story type of way. He presents the character as a very personable, engaging, warm, optimistic, and human person. Through what is shared, you get the snippets of his background that explain how Gordon Hirabayashi's morals and beliefs were shaped. From his parents, from things that happened to him growing up, the racism and discrimination he faced, going to college, trying to find a job, joining the Quakers, his involvement with the YMCA, and with friends. Everything in him believed that he was an American and that the Constitution would protect him. To see his heart broken so many times as it failed him was heart-wrenching, particularly knowing that this really happened. At the end, when his conviction was overturned and he was vindicated, I felt triumphant as well.

Although I knew about the case and so was able to anticipate some things, there were many things that I learned that surprised me. I didn't know about how he hitch-hiked from Washington to Arizona. That story is pretty telling of the type of person Gordon Hirabayashi is. At the end of the play, like many of my favorite East West Players productions, it left me wanting to learn more. The play is based on Gordon's true story, so I wanted to learn more to figure out the truth from fiction.

Dawn's Light runs through December 2, 2007 at East West Players. If you have an opportunity to go see it, I really recommend it. Go see it because it's an important story that every American should know about. Go see it to support East West Players, Asian American theater, and to applaud Jeanne Sakata in bringing this to the public.

Purchase the DVD from the Museum Store

vkm — Thu, 08 Nov 2007 10:02:37 -0800

You can purchase copies of the DVD from the Museum Store. They make meaningful gifts and as a bonus, you support the work of the Japanese American National Museum:
Only the Brave (DVD)

More on Usagi Yojimbo

vkm — Thu, 25 Oct 2007 12:00:26 -0700

Learn more about Usagi Yojimbo at www.usagiyojimbo.com.

The Museum Store Online has Usagi Yojimbo Book One: The Ronin and a vinyl Usagi figure available for sale on their article page.

Film review in Japanese

yn — Fri, 24 Aug 2007 09:27:32 -0700

"American Pastime" film review by Minoru Kanda is available on the Discover Nikkei. Unfortunately, it is available only in Japanese.
　>> 映画評　『アメリカンパスタイム　俺たちの星条旗』　デズモンド・ナカノ監督作品 2007

previous discussion

vkm — Tue, 21 Nov 2006 23:20:30 -0800

Prior to the "Mirror, Mirror on the Wall... How Am I Perceived By All?" program, Mary Doi posted some questions in anticipation of the program in the Bulletin Board: The Language of Looks

Publish?

LYNH — Sun, 24 Sep 2006 09:03:27 -0700

This excerpt is part of a longer essay/story. They're all based on incidents that happend to me 60 or so years ago and are meant to accompany some paintings I've done about SA and Amache. I have a professor looking into possible publication but with all the material now out on the relocation centers I'm not sure anyone would be interested in yet one more.

any plans to publish?

vkm — Sun, 17 Sep 2006 13:48:18 -0700

Do you have any plans to eventually publish it? It sounds like it's a work of fiction? I'd love to hear more about the project.