Vol. 67

New York, N.Y. 

Vol. 67

Introducing art from various parts of Southeast Asia in the 80’s

I always went to the site and looked for myself

When I recalled the work I did as an international professional, I think it was also an honor to bring the arts from all over Southeast Asia and Chinese art to the US

Named dance representing Thai art

I had brought a Thai dance. There is no doubt that the dance is a representative of Thai art, but at that time not only the dance was not named but the country also did not protect the dance or give the theater I found this dance at a restaurant. Luckily, this restaurant did a great job and it was so good that I still wanted to go see it once more. So I called out to everyone who was dancing in the restaurant and performed a performance with the name “Phakavali Dancers” (Pakabari Dancers). I think it was about 1970. At this time, the dance spread after that with the name I gave, and now when you search for this name, you will find lots of videos, websites and so on. At this time I found this dance, gave it a name and gave it a performance, and I think it was a pleasure to spread the dance to the world.

Shadow art from Malaysia

From Malaysia, I brought a shadow picture using a puppet. What kind of art do you represent each country? Which art is interesting if brought to the United States? I always thought, and I thought that Malaysia is the most important artistic group. It is a performing art that shows the movements of dolls that are passed through a stick in shadows, and this is called in Japanese by way of “Wayang Kulit”.

It is an art spread not only in Malaysia but also in Indonesia, and dolls are made of buffalo and goat skins, some of which are painted in color, some are finely and delicately made, and they look like watermarks Some were dug. It seems to have been from the traditional one based on mythology and religion to the one using modern topics

This Malaysian puppet shadow painting is not like being done in a large theater, but is made to be done in a place like a small, small gathering place, so even if you try to do your best in a large venue, It felt like the venue for 100 to 200 people was the best.

In the 60’s there was no way to make a big projection on the screen and there was no way to do it, so it’s a small show, but this was fine.

It seems that Korea has been leading culture protection from the country since then at a country-led initiative. In Korea, there is a traditional music group named “Ah-Ahk” that has been played and sung during festivals in the court, and in this “Ah-Ahk” performance, a show by Korean drums Also brought together. I always checked the history of the country first. When I was interested in history, I always went to visit locals without worrying about details, as I always knew what kind of art there was. At that time, it was a time when people could not even know the art of each country even if they listened to people, so it was best to go there

The reason I brought a lot of art was that there were still budgets at various universities in the United States. The university, which had about 3000 places, played a role like a cultural center in that area. Each university formed a series to introduce art and had a budget, so why not enter it? And I was going to sell to each school. In general public places, the university does not understand or pays well, but since the university performed performances such as orchestras, plays, ballets, ethnic studies, etc. six times a year, everyone wanted a funny program in the competition It was Now that the budget is running out, I was doing this job at a good time.

Originally published as Vol. 55 in Weekly Biz, January 22, 2019; translated by Jim Luce.

See: Dr. Kazuko Hillyer Tatsumura Column in Japan’s Weekly Biz

(ニューヨークビズ!)

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