Performance of Tokyo Izena no Kai at PAC 134

Dance by Tokyo Izena no Kai
(Tokyo Izena Folk Theater)














The Tokyo Izena Folk Theater is a unique professional dance company dedicated to introducing the culture and tradition of the Amami islands and the Ryukyu (Okinawa) Islands.

The Tokyo Izena Folk Theater was founded by a Ryukyu dance master, Konomi Haraguchi, in 1988, and has a mission of introducing the culture and tradition of the Amami islands and the Ryukyu Islands of Japan. The purpose of the Tokyo Izena Folk Theater is to enlighten people about the diverse cultures in a country even as small as Japan with both traditional and creative dances and folk music from the islands, the folk theater has been successful in encouraging people to think about their own roots and identities as Japanese.


The Dances:


















1. Tsuki no Kanasha: A folk dance admiring a beautiful full moon night. The dance is the story of a woman who goes to see her lover by pretending to pick flowers in the full moon night.

2. Mirukumunari: A humorous dance. Village people pray for gratitude for a successful harvest with offerings. Young men make “Sake” with the left over rice and enjoy the fruits of the harvest.

3. Yakko Odori: A local performing arts which exists in Okonoerabu-jima. It is said that this island is the northernmost point of the characteristic musical scales of the Okinawa Islands (the Ryukyu Kingdom).

4. Eisah: A taiko (drum) dance for a big annual event of the Okinawa Islands. Eisah is a ceremonial event for the repose of ancestors’ souls. People pray for good health and gratitude for a successful harvest.

5. Waido Bushi: This dance expresses the excitement of village people in Tokunoshima who are watching a excite a bullfight between wild bulls.

6. Uta (Island's song): This original dance is based on a million selling song by a group from Okinawa, The Boom. This song became popular not only in Japan, but all over Asia since this was one of the theme songs of the 2002 World Cup Soccer Games in Japan and Korea.
"Dear island song, fly across the ocean with the birds and the wind." "Dear island song, carry my love with the wind."

7. Rokucho: A closing dance with rhythms suggesting folk rock’n roll, very popular at festivals and events in general in the Amami Islands.

Public Lecture from Dr. Liza Dalby at PAC134

Kimono: Fashioning Culture













Liza Dalby is an anthropologist specializing in Japanese culture. Her 1983 book, Geisha, based on her experiences conducting fieldwork among these traditional entertainers, was made into a CBS television movie in 1985. She lived in Japan, Hong Kong, and Seoul from 1988 -91 while researching and writing Kimono: Fashioning Culture. She served as a consultant and commentator for the1999 Atlantic Productions documentary The Secret Life of the Geisha, and has been retained as a consultant for Steven Spielberg's movie adaptation of Arthur Golden's novel, Memoirs of a Geisha.

In 1998, she received a grant from the Japan Foundation to go to Kyoto to finish researching and writing her novel, The Tale of Murasaki about the eleventh-century Heian writer, Murasaki Shikibu. She lives with her husband and three children in Berkeley, California.

Images of Amami Islands: Makoto Koshima

The Amami Islands are composed of 8 islands which are located in the southern part of Japan. After World War II, the Amami Islands were occupied by the US along with the Okinawa islands (which has the largest US military base in Asia). The occupation lasted for 8 years from 1945 to December of 1953. During the 8 years of occupation, the Amami Islands were politically and socially isolated from mainland Japan. (The Okinawa islands were finally returned to Japan in 1972 after 27 years of occupation.) After the reversion, the Amami Islands were culturally and politically assimilated by mainland Japan which rapidly developed with the support of the US.

The Amami islanders have traditionally been close to nature and grateful for the fertility of the land. They have always had great reverence for gods and goddesses which exist everywhere in nature. This animism is popular throughout the Amami Islands. Gratitude toward and reverence of gods and goddesses appear in seasonal festivals and events.

I see aboriginal human beings and life persisting in the ordinary life of the Amami Islanders, although most modern people have already abandoned those ways with the development of modern life. My hope is that all people might regain a part of this affluent life and develop friendships working toward world peace.

Translated by Masami Toku & Jon Aull

















Makoto Koshima was born in 1939 in Kasari as the first child of the owners of one of the Amami Ohshima Tsumugi (kimono) companies. He became a professional photographer and journalist after working experiences at the Naze city hall in 1964. He became the director of the Naze branch of Minami-nihon (Southern Japan) broadcasting in 1969. He established Koshima Producations, a media production company, in 1977.

Koshima is well known as a photojournalist who has been recording the important historical events of the Amami Islands of the last half century. He has published many books of aesthetically and historically important photographs and articles.

Voices from a Minority Culture of the Amami Islands in Japan

Ohshima Tsumugi:
 Voices from a Minority Culture of the Amami Island in Japan
To all who appreciate "cultural diversity in art"

Schedule
The three related art exhibitions:

• "Voices from A Minority Culture in Japan: Kimonos from Amami Islands" at the University Gallery, September 3-26, 2002

• "Images of Amami Islands: Makoto Koshima" at the Humanities Center, September 3-26, 2002

• "Fabric of Life: Kimonos in Japanese and Contemporary Prints: Japanese Kimonos" at the Janet Turner Museum, August 28-September 30, 2002

Reception and Events, September 5, 2002
7-8 PM: Public Lecture from Dr. Liza Dalby at PAC134
8-8:30 PM: Performance of Tokyo Izena no Kai at PAC 134
8:30-10PM: Receptions at the University Gallery & the Humanities Center

Department of Art and Art History California State University, Chico Chico, CA 95929-0820 Tel: 530-898-5331

Background


A fisherman going home with a heavy Spanish mackerel. (Photo by Makoto Koshima)
In this exhibition, the first of its kind in the U.S., the rich culture of the Amami Islands is revealed through the art of the kimono.




It has been said that art is a window through which to view the world. Since the 1980s, Art Education in the U.S. has been seeing the value of art as a way to experience points of view of the non-western world. This exhibition is dedicated to the further understanding and enjoyment of one of the special areas of Japan.

Although Japan is often seen as a mono-cultural country, it is actually composed of rich and colorful cultures, spread over more than two thousand miles on the backs of a chain of volcanic mountains rising out of the ocean. The culture of the Amami Islands is one great example.

Culture and History of the Amami Islands:

The Amami islands are rich in culture, located between the East China Sea and the Pacific Ocean, about 250 miles south of mainland Japan. The Amami Islands are composed of 8 islands from North to South - Amami Ohshima, Kikaijima, Kakeromajima, Ukejima, Yorojima, Tokunoshima, Okinoerabujima, and Yoron. The center of the islands is Amami-Ohshima with the capital city of Naze (approximately 50,000 population). The climate of the Amami islands is Sub-tropical with an average temperature of 70 F. (21 C.) and an annual precipitation of 120 inches (3,000 millimeters), giving life to lush rainforests and wildlife.

Although the Amami Islands are currently well known as beautiful tourist islands with fascinating wildlife, gorgeous beaches and impressive coral reefs, they have had an outstanding history. The Islands have historically been a very poor agricultural region whose only product for export was sugar cane, since the coral islands are not well suited to agriculture. In addition, due to their geographical location between mainland Japan and eastern Asia, the island has had a tragic destiny, being invaded by different countries throughout its history.


One of the most popular folk dances in the Amami islands, this dance is done in gratitude for a good harvest. (Photo by Makoto Koshima)






The name of the Amami Islands first appeared in literature in the Japanese classic Nihonshoki in 616 C.E. The history of the Amami Islands is mysterious, since many historical records have been lost, especially during the Satsuma colonial period from the 17th to the 19th centuries. According to Nobori (1949), the history of the Amami Islands is divided mainly into two periods: the period of Amami semi-independence until the 13th century and the colonial periods under the Ryukyu (Okinawa Islands) Kingdom from the 13th to 17th centuries and the feudal clan of Satsuma in the Tokugawa period from the 17th to 19th centuries. The Amami Islands became officially a part of Japan after the Meiji Restoration in 1871. The most recent occupation following World War II is also unforgettable history for people of the islands, where from 1945 to 1954 the USA occupied the islands.

Due to the location of the Amami Islands, it can be said that the culture of the islands is more influenced by other Asian countries than mainland Japan. In fact, the Amami Islands were especially well known as a transit base of trading from China to mainland Japan since the 7th century. As a result, foreign cultures of Asia were imported and flourished in the islands. The culture of Amami Islands has interwoven mainland Japanese and other Asian cultures throughout its entire history.

One of the foreign imported cultural artifacts was the style of kimono called Tsumugi. It became a main product of Amami-Ohshima and exists even in the 21st century as an aesthetic symbol of identity for people of the island.

Black Diamonds: Ohshima Tsumugi

Islanders often say that there are two black diamonds here: brown sugar from the locally grown sugar canes and the brown-black Ohshima tsumugi. During the 19th century, commoners were forbidden on pain of death both to wear the formal tsumugi and taste the rich processed brown sugar. Those pleasures were reserved for the ruling classes, who took the sugar as a yearly tribute and wore the elaborate Ohshima tsumugi exclusively.

Amami-Ohshima’s prestigious 1,300-year-old tradition of silk fabrics continues into the 21st century as Ohshima Tsumugi (pongee). The roots of Tsumugi may reach back to the patterned Indian fabric (Ikat) which spread all over Asia in ancient times. The Japanese kimono with small repeating patterns is called Kasuri, which appears in a number of places in Japan besides the Amami Islands. This special fabric was popular in Sumatra and Java and finally reached Amami-Ohshima through the trading sea route from the South China Sea to the East China Sea during the 8th century.

Unlike the typical Japanese kasuri, Ohshima-tsumugi is distinctive in its shiny black-brown color, symbolic design, and the complexity of the process of creating. Ohshima Tsumugi represents all the qualities of Japanese high-grade silk fabric with symbolic patterns and textures. It is dyed with a special mud and wood from a native tree (Teichigi/Sharinbai) which exists only in Amami-Ohshima. It is made through a complicated process, through which it takes up to one year to complete a single cloth.

The Process of Amami-Ohshima Tsumugi

Ohshima has a long tradition of silk production. Over the centuries a number of techniques were developed which resulted in the unique Ohshima tsumugi silk fabric. The process of creating Ohshima Tsumugi is very complicated with the combination of Some (dyeing) and Ori (weaving with warp and woof), but it could be divided into the following main six steps.

1. Zuan (Design): The design of Ohshima Tsumugi is written on graph paper as series of dots.






2. Norihari (Starching): Starching and drying a group of threads with Funori (glue made from seaweed). For the process of weaving preliminary blocks, the necessary number of threads is glued together.






3. Shime (pronounced "Shee-may": Binding): Weaving preliminary blocks before pattern dyeing. Silk thread (the woof) is bound with cotton thread (the warp) according to the design before dying. The total binding spots in one cloth can reach several million.








4. Some (pronounced "So-may": Dyeing)
Step one: Initial dyeing with Teichigi (Sharinbai): Broken pieces of the local Teichigi tree are boiled for 14 hours in a big pot. The binding threads are dyed in this liquid 30 or 40 times and become dark-red.






Teichigi Tree pieces









Step two: Secondary dyeing with Mud: The binding thread is then dyed again in mud 3 or 4 times. Eventually the thread turns black. These two dying processes of step one & step 2 are repeated 5 times. It takes 10 years to learn the dying technique.














5. Kakoh (Additional process): Unraveling preliminary blocks and dyeing preliminary woven blocks. In this process the cotton thread which binds the silk threads is carefully untied taking care not to damage the silk. The bound spots are still white because they were tied so tightly. These spots are then dyed with another colorful dye.







6. Ori (Weaving): The silk threads are arranged on the Takahata (weaving machine). As the weaving begins several clear figures, which are called Kasuri designs, appear on the cloth. It takes about one month to weave a cloth.









Different Types of Amami-Ohshima Tsumugi
Amami-Ohshima tsumugi are characterized by a rich shiny black-brown color due to the combination of teichigi and mud dyeing which originated in the 18th century. In response to trends and societal needs, it has developed in diverse ways over the last fifty years. As a result, it became possible to create diverse colors through Ohshima tsumugi. There are five main categories of some (dyeing) in Amami-Ohshima Tsumugi.


1. Doro-ohshima: the traditional process of dyeing by Teichigi (Sharinbai) and doro (mud). The characteristics of this dorozome are a shiny texture with a deep black and brown color.












2. Doroai-ohshima: a type of dyeing where the cloth is redyed with doro and teichigi after a first dye of Ai (Japanese indigo). Due to the combination of doro and ai, the background color is deep back and the design is indigo.












3. Kusaki-dorozome Ohshima: developed from traditional natural dyes of plants other than Teichigi and Ai and redyed by Teichigi and Doro.











4. Iro Ohshima: A new Ohshima fabric with a wide variety of brilliant colors from chemical dyes over a base of single solid colors. It is used for modern designs.












5. Shiro Ohshima: Without dyeing the thread itself, colors are added to part of the design based on the background color of the silk. Often used for summer tsumugi.












Traditional designs (Gara) of Amami-Ohshima Tsumugi

A special feature of traditional Ohshima tsumugi dyeing is the use of a dark black mud dug by the farmers from their rice fields. Bundles of woof and warp threads bound with cotton string in carefully measured sequences are repeatedly immersed in the mud. After many immersions and much rubbing, all the exposed areas are dyed a rich black-brown. After unwrapping the thread and weaving it on the ancient handlooms, simple geometrical patterns are produced that the weavers have traditionally named for ordinary everyday objects which they find around them. The following patterns are examples of traditional designs of Amami-Ohshima Tsumugi which are especially found on female kimonos.


1. Tatsugo gara (female): an abstract motif of the combination of cycad plants and snakeskin of the poisonous Habu, which exists only in the Amami islands. This design originated in the region of Tatsugo.













2. Akinabara (female): abstracts the weave of bamboo baskets called Sanbara. There are different colors of red, blue, and purple, originally designed in the region of Akina












3. Warikomi gara (female): It is said to be very difficult to weave the complicated kasuri patterns. It almost looks like a Japanese pen and ink painting (“sumi-e”).












4. Kikkoh gara (male): Unlike designs for female’s tsumugi, repeated small designs are often used for male’s tsumugi. The design of kikkoh (turtle shells) is one of the most popular traditional designs, which is originally from the 7th century in Japan.














In addition to these, lucky designs of seigaiha (waves), manji-gara (swastikas), and uroko-gara (fish scales) are traditionally used as talismans in Japanese design and are now used as lucky designs which bring happiness.

To understand the cultural background and the aesthetic of Tsumugi is to appreciate the history of the cultural value of art in Japan. The kimono has always been a wonderful communicative tool of art for people to express their cultural aesthetics.


Modern Design in Ohshima Tsumugi
Shikishi-zume
("A large squire card for writing;" Doro-ohshima, 1990): The rhythm of geometric shapes of shikishi is often used as the material for Japanese poems and haiku.














Nile no Uta
("Poem of Nile;" Doro-ohshima, 1992): Recalls the ancient mystery of 3,000 years ago—the Egyptian civilization which flourished by the Nile created hieroglyphics and mural art.














Aikana no Koibumi
("Love letter from Aikana;" Doro-ohshima, 1993): “With Aikana’s warm heart—she pines for her lover Saigo, a hero of the revolution, and writes endless love letters as she awaits his return."














Genyu
("Playing in Black;" Doro-ohshima, 1996): Bold curvy streams—they might be the fabric of the endless universe. Or they may be waves crashing through time.














Asa
("Morning;" Shiro Ohshima, 1996): Butterflies flying in bright Amami’s morning sky. Picturesque designs express the sun and light of the southern islands.














Utsuroi
("Floating;" Doro-ohshima, 1997): Mysterious shine from a misty moon—this one-sided design is very modern among Ohshima Tsumugi.














Hikari to Kaze no Michi
("Road of Light and Wind;" Iro Ohshima, 1998): It is as if the Southern sunshine were created from the colors of the ocean, mountains, and sky, creating a light of hope.














Koushin
("A bundle of light;" Doro-ohshima, 1998): As if a shimmering of light appeared in the design of the kasuri—the light is reflected by all as a mirror.














Kagerou
("Heat Haze;" Doroai-ohshima, 1998): In a clear spring sky, the haze of heat rising as if flame—the design describes this multi-layered refraction of light.














About This Exhibit

There have been many Japanese kimono exhibitions of mainstream Japanese cultural significance. However, there has never been this type of Kimono exhibition in the U.S. based on this particular regional art. To understand the diversity of the Japanese kimono, one must consider the different aesthetic and cultural background of each region.

Difficulty arises from the great complexity inherent in teaching multiculturalism in classrooms, partly due to the limitations of time and facilities in schools. Especially the fallout from the tragic events of September 11, 2001 threatens understanding of different cultural beliefs and values. But, at the same time, it is true that this fallout has also awakened us to reconsider the importance of multicultural understanding.

Art education is not a subject matter which should be taught only in schools, but rather it should be a life long search for meaning and identity in society through being exposed to different art and art activities. To do so, collaborative activity is very important to effectively draw people's attentions to recognize the importance of art. It is impossible to fully enlighten people about the value of art in different cultures in a limited classroom setting. Therefore, it is indispensable to continue to provide cultural events and art exhibitions.

We are very pleased to have such a significant collaborative exhibition here in Chico with the support of many. We hope that many people visit these exhibitions to think of the diversity in art and the cultural value in art. We believe that understanding the historical and cultural relationship between Japan and the rest of Asia through these art exhibitions also will help in understanding the relationship between the US and other countries through art.
Masami Toku, Project director

References:

• Dalby, Liza (1993). Kimono: Fashioning Culture. New Haven and London. Yale University Press.
• Honba Amami Ohshima Tsumugi Kyodou Kumiai (2001). A Centennial Journal: A Journey of Tsumugi in Amami Ohshima. Naze-shi.
• Nobori, Shoumu. (1949). Daiamamishi (translated in “History of Amami”). Kagoshima, Amamisha Press.
• Shigeno, Yukoh. (1973). Amami Senshoku Shi (translated in “History of Amami’s Fabric”). Kagoshima, Amami Bunka Kenkyujyo.
  

With Special Thanks to:
(Alphabetical order)

California State University, Chico
Mr. Jon Aull, Mr. Juri Brilts, Dr. Thomas LeBlanc, Ms. Shigemi Minetaka, Prof. Vernon Patrick, Mr. Eric Pawloski, Ms. Thomasin Sax, Ms. Betty Skala, Mr. Jon Slaughter, Ms. Catherine Sullivan, Mr. Jason Tannen, Prof. Brooks Thorlaksson, Mr. Joe Wills, Ms. Susan Yonts, and Department of Art and Art History

Amami Ohshima, Japan
Mr. Makoto Koshima, Mr. Shousei Oki, Mr. & Mrs. Toku, Honba Amami-Ohshima Tsumugi Kyoudoukumiai (Honba Amami-Ohshima Tsumugi Cooperative Society for Amami Islands), Amami-Gunto Chiiki Sangyo Shinko Bunka Kyokai, (Regional Industrial Promotion Foundation) and Naze City

Sponsors
The Christensen Fund
The Activity Fee Council, Associated Students of the California State University, Chico

Credits
Text: Dr. Masami Toku, Dept. of Art & Art History
Design: Ms. Lindsey Lodd, IMC Graphics
Calligraphy: Ms. Masako Tokunaga
Photography: Mr. Makoto Koshima
Photography: Mr. Futoshi Hamada
Photography: Mr. Jeff Teeter, IMC Photography
Photography: Mr. Davin Schveidl, IMC Photography
Printing: University Printing Services

Contact

Masami Toku Contact Information:

Masami Toku. Ed. D.
Dept. of Art and Art History
California State University.
Chico CA 95928-0820 USA

E-mail: Masami Toku

Editor's other site
Cultural Diversity in Art and Education
Cross Cultural Exploration of Art Education

Web Design Team
Gary Wong (Web /CSS Programmer )
George Kawamoto (Web visual designer)

Links

TokuToku Journey (blog)

Shojo Manga! Girls' Power! (blog)

Visual Pop-Culture (blog)

Driving Direction (by Maps.Google.com)

From San Francisco International Airport to California State University, Chico

Click Here for PDF file | Click Here for Link

From California State University, Chico to San Francisco International Airport

Click Here for PDF file | Click Here for Link

Order a copy of Shojo Managa Catalogue

1. Click here to download the order form in PDF
2. Print and Complete the order form
3. Send us back the Completed order form with your check to the following address

Shojo Manga Project
c/o Masami Toku
Department of Art and Art History
California State University, Chico
Chico CA 95929-0820

4. Please make sure you add $4 dollar for handling per copy
5. Your order will usually take 2-5 business day after we clear your check

* If you have any question, please feel free e-mail your question to Masami Toku
* If you are interested in distributing this exhibition catalogue, please contact Masami Toku or the office of the art department (TEL: 530-898-5331). Thank you so much for your interests!

Order Catalogue

The catalogue is very unique, divided into two parts. In the first part scholars and critics from Japan and the US discuss the phenomenon of Japanese manga and its influence in US society. Each contributor has written a short article on Japanese visual pop culture from the perspective of their research in their own fields. The second part contains information about each shojo manga artist who has contributed to the exhibition, including historical background, characteristics of the artworks, and the artist’s philosophy as expressed through manga. In this part the shojo manga artists are divided chronologically into three main epochs from post W.W. II to the present: 1) Dawn of shojo manga, 2) The diversity of girls’ manga, and 3) The new generation and new directions in shojo manga. We hope that you enjoy exploring the historical and cultural changes that took place in the shojo manga of each period in response to the social changes experienced by females in Japan during those same periods.

Order a copy of Shojo Managa Catalogue here.

ArtManga Examples

Example 1

Example 2

Example 3

Emotional Exagerated Face

Masami Toku

Grades:
K ~ 4th

Objectives:
1) To understand the use of Cool vs. Warm colors to express emotion
2) To develop observation skill to discover characteristics of faces
3) To develop drawing techniques to exaggerate facial expressions effectively
4) To learn the technique of collage>
5) To learn the Elements of Art: Texture and Pattern>

Student materials:
Drawing paper (15" X 22"), Assorted construction papers, Assorted Tissue papers, Scissors, Glue, Oil pastels, Crayon, Markers, and others.

Teacher’s materials:
Slide examples of Mattise, Japanese caricatures from a weekly magazine, and previous students' artworks

Vocabulary:
1. Observation vs. Imagination
2. Realistic vs. Exaggerated
3. Cool vs. Warm colors
4. Feelings
5. Emotion
6. Mattise
7. Fauvism

Procedures:
1. (Introduction) Discuss the relationship between colors (cools & warm) and feelings
2. Practice first by sketching your face with drawing pencils by looking in a mirror to find the characteristics on your face (about 15 ­ 30 min.)

1. Choose an emotion to show your facial expression (e.g. happy, sad, surprise, boring, etc.)
2. Draw your exaggerated facial expression/emotion on drawing paper briefly.
3. Choose one basic color of construction paper which expresses your selected emotion effectively. Cut out an outline of your face.
4. Develop it with collage technique with assorted materials to create a 3-D (pop-out) emotional face.
5. Cover all negative space (background) with designs made with assorted materials
6. (Closure) Discuss the art project to confirm what they learned by looking at all artworks which will be hung on the wall at the end of the exercise.

After the Event and/or Story

Masami Toku

Grades:
5th ~ 12th G.

Objectives:
1) To understand the history of graphic narratives (narrative art)
2) To understand differences and similarities of spatial treatment in Western and Non-Western arts.
3) To understand the characteristics of Manga (Japanese Comics) which are different from American comics (e.g. the usage of creating space, time, and motion).
4) To develop visual literacy by creating the continuation of a particular event and/or story.
5) To explore the use of frame in Japanese comics (Manga) to create a sequential story.
6) To learn the Elements of Art: Space, Time, and Motion and the principle of design.

Student materials:
Slide examples of artworks demonstrating spatial treatment (Western vs. Non-Western art) and American & Japanese comic books

Teacher’s materials:
Art history books, illustrations, comic strips in newspapers, and/or manga.

Vocabulary:
1. Graphic narratives (narrative art)
2. Spatial treatment
3. Comics vs Manga

Procedures:
1. (Introduction): Discuss about the history and characteristics of comics by comparing narrative art
2. Choose one event or story which will be recognizable by the majority of people and develop a continuation of the story (e.g. the events of 9/11/01, Snow White, Cinderella, Peter Pan, Beauty and Beast, etc.)
3. Develop at least 4 visual images in conjunction with the after event/story based on the following outline:

1) Introduction
2) Supporting scene(s)
3) Transition(s)
4) Conclusion

4. Think about using different shapes and sizes effective frames.
5. Draw the visual images by using a combination of techniques from comic books.
(e.g. exaggerated, photographic, Bird's eye, and multiple perspective views)
6. Trace the visual images with a black marker.
7. Color the visual images and the background with color pencils, markers, and others.
8. (Closure): Discuss the art project to confirm what they learned by looking at all
artworks which will be hung on the wall at the end of the exercise.

ArtManga

Original Idea by Kinichi Fukumoto
Developed by Masami Toku

Grades:
7th ~12th

Objectives:
1) To understand the value of graphic narratives (e.g. comic strips and manga)
2) To understand the value of manga as a style of artwork.
3) To understand differences and similarities in style between manga and other types of art.
4) To express your impressions and emotions for famous artworks through graphic narratives.
5) To develop a story sequentially in 4-frames.

Student materials:
Drawing paper (9” X 12”), drawing pencil, eraser, pen and black ink (or black color marker), coloring materials (e.g. color inks, pencils, markers, and/or watercolors), and white-out

Teacher’s materials:
Art history books, illustrations, comic strips in newspapers, and/or manga.

Vocabulary:
1. Comic strips
2. Manga
3. Graphic narratives
4. Sequential story in 4 frames
5. Sequential art

Procedures:
1. (Introduction): Discuss the possibility of graphic narratives
2. Choose a famous artwork from which to develop your idea in a sequential 4-frame manga (comic strip)
3. Research the historical background and the artistic value of the artwork
4. Create your own images incorporating the famous artwork in the 4-frame manga based on the concept of Ki, Sho, Ten, and Ketsu (Introduction, Supporting sentence, Transition, and Conclusion).
5. The final piece should include the following things:

1) Title of original artwork, year, and the artist name.
2) The reason for selecting the artwork.
3) Brief background of the original artwork and/or the artist
4) The title and description of your own manga
5) Explanation of the main points of your 4-frame manga (if you can.)

6. (Closure)

Curriculum and Lessons

Lesson Title	Grades	Techniques	Theme and Key Words	Examples
ArtManga	9th - 12th Junior - High School	Drawings	Visual culture/Manga/ Graphic narratives	Example 1 Example 2 Example 3
After the Event/Story	5th - 12th	Drawings	Visual culture/Graphic narratives/ Manga's Grammar	Example 1 Example 2 Example 3
Exaggerated Face	K - 4th	Collage	Visual culture/Feelings/ Cool vs. Warm color	Example 1 Example 2 Example 3

Genga’ (original dash) Exhibition

Kinokuniya Gallery, Tokyo Japan
August 22 – September 4

Keiko Takemiya

Keiko Takemiya, professor of art at Kyoto Seika University and one of the leaders of female mangaka (cartoonists) in Japan, has created a very unique art exhibition which was shown in summer of 2003 (August 22 to September 5) at the Kinokunia gallery in Tokyo, Japan. This exhibition was composed of only reproductions, but the high quality bears comparison with the originals. While a successful exhibition, it evokes the controversial issue of the value of "Original vs, Copy" in this post-modernism era.

Keiko Takemiya
August 23, 2003 at Kinokuniya Gallery

http://www.tra-pro.com/PUSHICAT_CLUB/

1. Messages from Keiko Takemiya

2. Examples of artworks

Takemiya said:
In art exhibitions, original art should be exhibited in general. However, is it only one way to exhibit in the case of narrative comic art, Story Manga. Story manga is a popular art which developed as printed matter. If the value of the story manga is that it is read and seen by many people, it follows that it is possible to exhibit it in different ways. Like films and printmaking, which exist as copies but not the original (matrix) ones, I am wondering if it might not be appropriate to exhibit manga reproductions.

Because of the fact that manga was created to be cheap and accessible, it might be true that it has never been distributed to readers in the same quality of the original artwork. However, due to the development of technology, even amateurs can now create high quality prints and copies that are almost the same as the original, if they have the patience and the passion. With this technology and craftsmanship, if we have patience enough to adjust the quality of the print to exactly match the original, there may be no loss in the quality of the viewing experience. According to this belief, I organized this exhibition.

"Genga' (dash) exhibiti

"This is not an exhibition of the original artwork"

Takemiya continues:
Why not exhibit the original artwork, if they are available? The originals are very important and not easy for mangaka (comic artists) to part with since they live by copying the originals. Indeed, there are many mangaka including myself who prefer not to lend the originals out for exhibitions due to the fear of loss or fading.

If there is an opportunity to show manga exhibitions in this way, it may be possible to share the value of story manga in nearly original quality in different places without those fears. Furthermore, it might be possible to make the best use of story manga as a wonderful property. Due to the above reasons, I decided to create these 60 computer copies (Genga' – genga dash) of the originals for this experimental exhibition.

"Why is this not an exhibition of original artwork?"

"A view of Kinokuniya gallery"

Wadaiko Yamato- Taiko Drummers

http://www.wadaiko-yamato.com/


The Tamashy Tour 2003
Chico, California
October 23, 2003


Welcome Back to Chico, Yamato!
Yamato came back to Chico again in 2003, after their first US tour in 2001.
Their energy and passion have not changed, and they showed us powerful performances once again.
The Chico audience could not leave for a while after the standing ovation.
Please come back again to show us such a great performance during your third US tour in 2005.
We cannot wait to see you again!

1. Profiles: http://www.wadaiko-yamato.com/e-main-frame.htm
2. Members: http://www.wadaiko-yamato.com/e-main-frame.htm
3. Interviews: (10/23/03)
4. Workshop: (10/23/03
5. Performance: (Images from the tour of 2001)

This Japanese troupe of 10 drummers combines a sense of drama and strong percussion, producing the most “physical” form of music – Taiko drumming. Using instruments such as a hug kettle drum, side drum, and the tambour, Yamato’s drumming ranges from the delicate patter of raindrops to hammered-out rolling thunder to a slowed-down heartbeat. Yamato combines drums with the timpani, flute, and colorful, authentic Japanese costumes for an evening of highly charged rhythm.

YAKARA: Yakara means “the fearless headlong rush into life of the young or newly born.” The word Yakara also caries the meaning of “friends having the same station or ability in life.” In the Kansai region, the word is used for “vigorous and robust young people.” This piece, therefore, expresses the dynamism of young people, their foolish audacity, and their sense of community and fellowship.
Instrumentation: One O-okedo, one Okedo-daiko, one Miya-daiko, and one Shime-daiko

REKKA: Originally written in 2002, this arrangement by Takeru Matsushita has been developing for sometime. The Tamashy Tour 2003 includes the debut of this composition. Two men compete with each other, each beating several kinds of Wadaiko drums. They play assiduously, each attempting to display his superior technique. In spite of there being only two musicians, a powerful tension and energy is created between them. Instrumentation: Three Shakus and two Sunn O-hirado-dailots (each 1 meter in diameter), One Ahaku and Seven Sunn Miya-daikos (each 50 centimeters in diameter), one Shime-daiko, one Okedo-daiko, and one Kane.

HAYATE: The instrument used in this music is called “Tsugaru-syamisen.” It is a traditional Japanese instrument, appreciated for its particular ability to express harsh winter winds. Yet, at the same time, it can convey a certain kindness and warmth. Thus, this instrument expresses all kinds of wind qualities, and their contact with human life.
Instrumentation: One Futoza-syamisen, one Okedo-daiko, and one Shime-daiko.

RAKUDA: Rakuda is a term coined by the merging of two Chinese characters: “Tanoshii,” meaning “joyful,” and “Utu,” meaning “to hit.” The comic piece conjures amusing animals that are associated with the sound of the “Rakuda.” It is a typical Japanese way of performing, using a style called “Katsugioke.”
Instrumentation: Three Shakus, one O-hirado-daiko, one Katsugi-okedo-daiko, one Shime-daiko, and one Chappa.

TAMASHY: This Wadaiko piece was created especially for the Tamashy Tour 2003. The highlight of this arrangement is the appeal of the “One Beat” O-daiko and the sculptures beauty of the backs of the performers who beat the drums with such speed that it seems to break down the conventions of traditional O-daiko performance. The whispering Tamashy resounds with the gentle tones of the Kokyu set against the harder rhythms of three O-daiko drums and a shifting human voice.
Instrumentation: One O-hirado-daiko, one O-okedo-daiko, one Shime-daiko, one Dora, one Kokyu, and human voice.

KIZASHI: This piece is performed with only five Shime-daikos. It requires tremendous concentration, because the drummers’ technical precision and synchronized breathing ultimately determine the musical harmony. Like the horizon at dawn, the drummer feels the energy grow in his body as a prelude to the start of something new.
Instrumentation: Five Shime-daikos.

AOZORA: This Wadaiko piece is composed of three movements. Four Shaku O-daikos convey the rumbling Earth, while the Koto expresses gentler thoughts. Aozora is a prayer: as a new day dawns, people gather to worship the rising sun, passing their time there regardless of the promise of benediction, For them, this moment is like a breeze blowing through their busy lives, lifting their minds and hearts in prayer to the sun shining in a patch of blue sky.
Instrumentation: Four shaku O-daikos, one O-okedo-daiko, one _hirado-daiko, one Miya-daiko, one Okedo-daiko, one Shime-daiko, one Dora, one Koto, one Kane, one chappa, one Shinobue, and human voice.

Welcome to The Strange World of Yamamura's Animation!

Mt. Head (Atama-yama)
The 2003 Oscar Nomination Short Film (Animated)
http://www.jade.dti.ne.jp/~yam/

7:30 PM, Thursday, November 13
Ayres 106

Koji Yamamura is a young leader of short feature animation in Japan. The artistic quality of his animation is highly respected all over the world. He has received more than ten major international awards in the last three years. His artistic craftsmanship is evident in the different materials he uses (e.g. drawing, clay, paper cutouts, etc.). This retrospective of all of his major short films showcases the vast range of styles from the almost Dadaist Japanese-English Dictionary to works for children and Mt. Head. This inventive work is a far cry from typical Japanimation seen in popular series such as Yu-Gi-Oh. The film show includes as follows:

1. Aquatic: 1987 / 5min./16mm / No dialogue
2. Japanese-English Dictionary: 1989 /12min./16mm /No dialogue
3. Perspektivenbox: 1990 / 4min./ 35mm / No dialogue
4. Karo & Piyobupt: A House: 1993 /4 min.20sec./35mm /No dialogue
5. Karo & Piyobupt: The Sandwiches: 1993 /4 min.20sec./35mm /No dialogue
6. Karo & Piyobupt Imagination: 1993 /4 min./ 35mm /No dialogue
7. Pacusi: 1994 /1min. each 18 titles /VTR / No Dialogue
8. Kipling Jr.: 1995 /14 min./ 35mm /Japanese Dialogue (English subtitle)
9. Kid's Castle: 1995 / 5min./ 35mm /No dialogue
10. Bavel's Book: 1996 / VTR,16mm / Japanese dialogue (English subtitle)
11. Your choice!: 1999 /10min./ VTR (Japanese dialogue or English dialogue)
12. Mt. Head: 2002/10'00"/Narration & Shamisen Takeharu Kunimoto (English subtitle)

1. Aquatic (Suisei):
1987 / 5min./16mm / No dialogue Direction, Animation: Koji Yamamura Music: Jun Kurosawa Distributor: Yamamura Animation, Inc. Hi-vision: Produced by TBS

The stream of a mile, an apple flows down through the stream, where innumerable illusion of fish appears and disappears in the sky reflected in the water.














2. Japanese-English Dictionary (Hyakka zukan):
1989 /12min./16mm /No dialogue 1989 /12min./16mm /No dialogue Direction, Animation: Koji Yamamura Music: Jun Kurosawa Distributor: Yamamura Animation, Inc.

Both in English and Japanese, words develop in parallel from "A" to "Z"(from "A" to "Nn" in Japanese syllabary) taking the last syllable of the previous word. Ant-Take off-F..., Ari-Ririku-Ku... Along with the developments of those words, images metamorphoses using various animation techniques so to be a pictorial encyclopedia of animation technique.

3. Perspektivenbox (Enkinhou no hako: Hakase no sagashimono):
1990 / 4min./ 35mm / No dialogue / Direction, Animation, Script: Koji Yamamura Music: Koji Ueno Camera: Nobuyoshi Akiyoshi Distributor: Yamamura Animation, Inc.

Buildings, black crows, a flood of bar codes, clone-looking businessmen, shopping-addicted ladies... images which symbolize excess, standardized and overcrowded modern cities are condensed in this animation. Various techniques, like modified photos, drawing animation, 3D objects and permeating lighting are combined onto a multi-planed (line drawing) stand, with a challenge to express a unique sense of unity and compression.

4. Karo & Piyobupt: A House (Ouchi):
1993 /4 min. 20sec. /35mm /No dialogue / Produce: NHK / Direction, Animation, Script: Koji Yamamura / Camera: Akiyoshi studio / Sound: NHK / Music: Syzygys / Voice: Momota Takahashi, Hitomi Shimizu / Distributor: MICO

One day in winter, two birds were flying to the snowfield. They found a fine big tree and decided to build their house on it. Carrying logs, cutting them, putting together, finally a lovely house was completed.

5. Karo & Piyobupt: The Sandwiches
1993 /4 min. 20sec. /35mm /No dialogue / Produce: NHK / Direction, Animation, Script: Koji Yamamura / Camera: Akiyoshi studio Sound: NHK / Music: Syzygys / Voice: Momota Takahashi, Hitomi Shimizu / Distributor: MICO

It was a wonderful day. At the kitchen, Karo and Piyobupt were making sandwiches. Yes, they were going on a picnic. When you eat sandwiches on the beautiful green field, how delicious they are and how much you eat.















6. Karo & Piyobupt: Imagination (Ame no Hi):
1993 /4 min. 20sec. / 35mm /No dialogue / Produce: NHK / Direction, Animation, Script: Koji Yamamura / Camera: Akiyoshi studio /Sound: NHK / Music: Syzygys / Voice: Momota Takahashi, Hitomi Shimizu / Distributor: MICO

Karo was hurrying to his house on a rainy day. Then he met a fish swimming in the air. He talked about the fish to Piyobupt but Piyobupt laughed at Karo. So they started to imagine and imagine. And outside of the window, flying fishes were enjoying the rain.

7. Pacusi
1994 /1min. each 18 titles /VTR / No Dialogue Produce: NHK, Douzu Direction, Animation, Script: Koji Yamamura Camera: Akiyoshi studio / Sound: NHK Music: Syzygys, Takashi Sudo Distributor: MICO

"Pacusi" is a story of Pacusi and his family. Little happenings in ordinary days are described. We can enjoy the warmhearted Pacusi's view of a big strange world.

8. Kipling Jr.:
1995 /14 min./ 35mm /Japanese Dialogue (English subtitle) PRODUCTION: KODOMO NO SHIRO, Yamamura Animation, Inc. PRODUCER; Yukio Hiruma, Koji Yamamura DIRECTOR, SCRIPT, ANIMATION: Koji Yamamura CAMERA: AKIYOSHI STUDIO Nobuyuki Akiyoshi MUSIC: Syzygys SOUND DESIGN: SOUND DESIGN YURUTA Yutaka Tsurumaki / SOUND EFFECT: TOYO ONKYO VOICES: Anna Kipling-Hitomi Shimizu / Yohann Kipling-Koji Yamamura / Kip Kipling- RyokoNoguchi / Rog, Poe-Kiriko Odaka Distributor: Yamamura Animation, Inc.

A fantastic animation adventure about Kipling Jr., his father, mother, and a musical band led by Rog. Advanced animation techniques, preciously unseen on the screen, help to create incredible movements by animated dolls.

9. Kid's Castle
1995 / 5min./ 35mm /No dialogue PRODUCTION: KODOMO NO SHIRO, Yamamura Animation, Inc. PRODUCER: Yukio Hiruma, Koji Yamamura DIRECTOR, SCRIPT, ANIMATION: Koji Yamamura CAMERA: Nobuyuki Akiyoshi MUSIC: Takashi Sudo SOUND DESIGN: SOUND DESIGN YURUTA Yutaka Tsurumaki Distributor: Yamamura Animation, Inc.

Take a journey into the imaginative world of the Kid's Castle where a young boy's dreams make playing with toys a reality. As his room takes on exciting changes, you, too, will delight at the many different whimsical sounds and voices.

10. Bavel's Book
1996 / VTR, 16mm / Japanese dialogue PRODUCTION: NHK, Yamamura Animation, Inc. DIRECTOR, SCRIPT, ANIMATION; Koji Yamamura MUSIC: Syzygys Hitomi Shimizu, Hiromi Nishida SOUND; Kazuhiko Arakawa VOICES: Takaaki Namiki, Yui Makino / Distributor; Yamamura Animation, Inc.

A boy and his young sister were curious about the book someone had left on a bench and opened it. Then the small Tower of Bavel was completed on a page. Looking into a tower, a library was inside with innumerable books. Whenever the old man turned a page of the book, a strange Mythical Animal appeared and went away.















11. Your choice! (Docchi ni suru!):
1999 /10min./ VTR (Japanese dialogue or English dialogue), 35mm Dolby SR (English dialogue only) / PRODUCTION: Yamamura Animation, Inc./ SUPPORTED BY DENTSU INC./ PRODUCER: Shigeki Sawa / DIRECTOR: Koji Yamamura and the 'Junior Directors'/SCRIPT, ANIMATION: Koji Yamamura / MUSIC: Takashi Sodo / SOUND: Reiji Kitazato, Koji Kasamatsu/ Distributor: Yamamura Animation, Inc.

Raoul, an alligator, has a bad tooth, and also needs a hair cut. Is he going to a barber, or a dentist, or neither of them? Madillo, an armadillo, wonders if he should bring an umbrella, or not. So, what is your choice? In the story of this animated film, a series of events which need judgments, spontaneity and decisiveness of the "Junior Directors" continue to occur. The film was completed with the ideas from those "Junior Directors" through having several workshops with them.














12. Mt. Head (Atamayama):
2002/10'00"/35mm Dolby Digital Narration & Shamisen Takeharu Kunimoto Music: Takeharu Kunimoto Syzygys Original Story An old comic story (rakugo) "Atama-yama" Script Shoji Yonemura Direction, Animation, Design & Editing Koji Yamamura Sound Design Koji Kasamatsu Distributor: Apollo Cinema

Narration & Shamisen Takeharu Kunimoto (English subtitle) After a stingy man eats some cherry seeds, a cherry tree grows on his head and he gets into a lot of trouble. This animated film is a modern interpretation of the traditional Japanese Rakugo story "Atama-yama" set in contemporary Tokyo.