Meet Japan without leaving Los Angeles Japanese Arts of War and

The Clark Center
for Japanese Art & Culture
Volunteer Gardeners, Page 2
Bon Odori, Page 3
Film Departures, Page 3
Japanese Beauties, May 24-Aug1
Visit Our Gallery at
15770 Tenth Ave., Hanford, CA 93230
(559) 582-4915 www.ccjac.org
Meet Japan without leaving Los Angeles
May 2009 Read Cultural News for $25 a year www.culturalnews.com
Bowers Museum’s Samurai exhibition
Japanese Arts of War and Peace
Uchigatana sword mounting with hollyhock (Tokugawa family) crests in mother-ofpearl inlay on Ikakeji lacquer ground. Edo period, 19th century. Lacquered wood
with copper decoration. Total length 98 cm. (Courtesy of Tokyo National Museum)
By Meher McArthur
To lovers of Japanese art of all
kinds, the newly opened exhibition Art of the Samurai: Selections from the Tokyo National
Museum at the Bowers Museum
in Santa Ana is a treat. The exhibition, which runs through June
14th, presents 81 objects from
the Tokyo National Museum relating to Japan’s samurai culture
- including swords, sword fit-
Mihata Joryo (act.1830s) Young Woman and Boy, Mid 19th century. Pair of hanging scrolls; ink and colors on silk. Left: 100.5
x 32.6 cm. Right: 99.6 x 32.9 cm. (Courtesy of Clark Center for Japanese Art and Culture)
Clark Center’s summer exhibition to reveal rare
collection of Kyoto beauties outside of Japan
Japanese Beauties:
Glamorous, Decadent, Sensuous, and Bizarre
May 24 – August 1, 2009
The Clark Center for Japanese
Art and Culture
Hanford in the Central Valley
of California
(559) 582-4915 www.ccjac.org
The representation of beautiful women has been a principal
subject in the arts. In Western
art, paintings of women follow
traditionally one of two types;
one being portraits of individu-
als such as Leonardo da Vinci’s
(1452-1519) portrait of Lisa
Gherardini, better known as
‘Mona Lisa,’ and others representing legendary beauties such
as Venus or the Greek Helen
of Troy.
The Japanese beauties in
woodblook prints from the Edo
period (1600-1868) known as
ukiyo-e, pictures of the ‘floating world’, are internationally
well-known. In the summer
exhibition “Japanese Beauties:
Glamorous, Decadent, Sensuous, and Bizarre,” the Clark
Center for Japanese Art and
Culture in Hanford presents its
collection of Kyoto beauties.
Paintings of Kyoto beauties
are rarely featured in collections outside of Japan which
usually focus on Edo (presentday Tokyo) beauties by ukiyo-e
artists like Kitagawa Utamaro
(1753-1806) or Torii Kiyonaga
(1752-1815). While courtesans
of Edo’s Yoshiwara pleasure
district became popular because of the mass-produced
Beauties Continued on page 2
tings, armor, paintings, kimono,
lacquered personal objects, Noh
masks and costumes and tea
ceremony utensils.
Several works are National
Treasures or Important Cultural
Properties, so are of a quality and
importance rarely seen outside
Japan.
One such National Treasure, a
long sword called a tachi, created
Samurai Continued on page 4
Edo Senke tea
master’s visit
coincides with
opening of samurai
exhibition
In this article, Japanese names
are listed in traditional order
with last names appearing first.
The eleventh generation
of the Edo Senke tea school,
Master Kawakami Johsetsu,
came to Santa Ana in Orange
County from Tokyo to attend
the opening event of the exhibit
“Art of the Samurai: Selections
from Tokyo National Museum”
at the Bowers Museum on April
19. The exhibit runs through
June 14.
In spite of the fact that the
Edo Senke school is usually
overshadowed in tea circles by
Kyoto-based Ura Senke and
Omote Senke schools, Edo
A lecture on tea ceremony history by Edo
Senke Master Kawakami Johsetsu was
held at the Bowers Museum coincidental
with the opening of the Samurai
exhibition. (Cultural News Photo)
Senke played an important role
in spreading Senke style tea in
Tokugawa Japan in the middle
Edo period, that is during the
18th century.
The founder of the Edo
Edo Continued on page 4
2 Cultural News May 2009
Sunagoke Moss Project: Not for gardening but for a solution to global warming
Four international students from
Japan attending California State University at Long Beach imported pallets
of moss from Japan and planted them
at the Earl Burns Miller (EBM) Japanese Garden on the campus in March,
but their purpose was not for aesthetic
beauty but as an experiment in the solution to global warming.
Yuko Utsumi, a biochemistry major,
was interested in environmental issues and research on global warming.
Teaming with three other students
on the same campus, Daisuke Ihara,
a geography major, Koudai Tayama,
an environmental science major, and
Takamitsu Haraguchi, an economics
major, she chose Sunagoke moss as the
research theme of their environmental
project. Sunagoke has been popular as
an environmentally friendly product
in Japan, but is relatively unknown in
the U.S.
Sunagoke is considered a possible
solution to global warming due to its
unique features. It is able to hold a large
amount of water, and as it transpires, the
water inside the moss displaces heat,
decreasing the temperature around it.
This cooling benefit could be applied
as a temperature reduction system in
buildings by growing Sunagoke on
rooftops or on walls as it reduces the
amount of electricity used for air conditioning during hot days. It also serves
to add greenery to building tops. Moss,
California State University Long Beach’s
international students, from left, Yuko Utsumi,
Takeshi Kubota, and Daisuke Ihara, are holding
pallets of Sunagoke moss in preparation for
installation on the roof of a shed in the Japanese
garden on the campus. (Photo by Alison Redfoot)
in general, only grows in humid weather,
but Sunagoke can survive in dry weather
without water.
After calling companies that sell Sunagoke for business purposes in Japan,
Tayama found a company known as
Solid.com in Fukuoka prefecture. Solid.
com sells Sunagoke pallets (12” x 12”)
as “green” products and helps to install
these pallets on building rooftops for
Meet Japan without leaving Los Angeles
Did you know that Los Angeles has the largest colony of Japanese
expatriates in the world? It is also one of the most popular cities for Japanese
professional performers visiting the U.S. As a result, Los Angeles is full
of Japanese cultural
events throughout the year.
Cultural News
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05/09
environmental benefits. Interested in
the possibility of a Japanese-influenced
green initiative in the U.S., Solid.com
was willing to support the students’
project, sending more than 100 moss
pallets from Japan free of charge.
Utsumi was in charge of securing a
place to install the moss. She found the
EBM Japanese Garden on the campus,
a place where other kinds of moss are
already growing. Working with Alison
Redfoot, assistant director of the EBM
Japanese Garden, the moss pallets were
successfully installed on the roof of a
shed in the garden in March.
Redfoot said, “We are happy to be
part of this experiment to encourage
student learning and enthusiasm for
the environment, as well as to have the
garden play a small part in temperature
control.”
The initial stage of Utsumi’s moss
project began when she started an internship at the Los Angeles office of the
Japan External Trade Organization (aka
JETRO) in September 2008.
The environmental project is now
under the direct advisement of Kentaro
Funaki, executive director for technology and research at JETRO Los
Angeles. Funaki was impressed by the
students’ efforts in importing moss pallets from Japan.
This project will take two or three
years to determine whether Sunagoke
can actually survive the dry climate of
Southern California without supplemental watering. Utsumi will be graduating
from CSU Long Beach in December
2009. Her team is looking for students
who will be able to participate in the
moss project after 2009. To contact Utsumi, email yukoutsumi@gmail.com.
Beauties continuted from page 1
woodblock prints, Kyoto was regarded
as the best place to find the beautiful,
graceful, and warm-hearted ladies from
ancient times.
The elegance of Kyoto beauties
was a favored painting subject, and
many Kyoto artists portrayed beauties
exclusively for their affluent patrons.
Contrary to idealized and epitomized
beauties created by Edo ukiyo-e artists,
Kyoto painters, under the influence of
Maruyama Okyo’s (1733-1795) lyrical
realism, depicted women in a less flattering and more realistic perspective.
Kyoto-style beauties often expressed
individual traits that inspired the artists
and the results are sometimes aesthetically unattractive, or even shocking.
Faithful depictions of Kyoto women
with heavy makeup, even to the point of
grotesqueness, are typical for the Kyoto
artists Gion Seitoku (1781-1829) and
Mihata Joryo (act. 1830s) who are featured in this exhibition. These paintings
of flamboyant beauties, including some
seductive beauties in parody of sacred
and profane motifs, are then followed
by other female representations.
One of them is the funny face ‘Otafuku’ (a cheerful face with plump cheeks,
tall forehead and flat nose) which sym-
James Irvine Japanese Garden
James Irvine Japanese Garden seeks
volunteer gardeners and docents
In May, The Japanese American Cultural and Community Center (JACCC)
in Los Angeles begins a volunteer
based group of gardeners and docents
called Friends of the Irvine Japanese
Garden. The JACCC is seeking friends
of the community to help maintain and
share with others the garden’s beautiful
condition in one of two ways: 1) those
interested in garden maintenance will
participate in cleaning, weeding, and
simple trimming; 2) those interested in
educating others about the garden will
serve as docents, providing tours for
visitors.
The club will hold its first orientation
meeting and garden tour on Wednesday,
May 13 at 10:30am at the James Irvine
Japanese Garden. To RSVP for the
orientation, contact Ellie Viray at (213)
628-2725, x112 or email at eviray@
jaccc.org.
Applications for a paid internship are
being accepted by May 8
By being awarded a Multicultural
Undergraduate Summer Internship
Grant from the Getty Foundation,
JACCC is seeking one intern to work
closely with the Visual Arts department
from June 16 through Aug 22, 2009.
To be eligible for internship, the
candidates must be a currently enrolled
undergraduate, having completed at
least one semester of college by June
2009 or will graduate by of before September 2009. The intern will receive a
gross salary of $3,500 for a ten-week
period at the JACCC.
Application should be sent to: Gavin
Kelley by email Kelley@jaccc.org by
noon on Friday, May 8, 2009. Sogetsu
Ikebana Los Angeles Branch appoints
new director
Sogetsu Ikabana Los Angeles Branch
has appointed Miyako Gyokusen Arao
as the 2009 Director of the branch. For
contact Ms. Arao, email ma_gyokusen@yahoo.co.jp
bolizes the traditional ideal beauty and
is also regarded as a goddess of good
fortune. No matter how beautiful and
celebrated, one gets old and ugly, then
crumbles to dust.
Deceased beauties are portrayed as
‘ghosts.’ Shibata Zeshin’s (1870-1891)
Four Elegant Pastimes takes viewer
to the magnificent world of pleasure
quarters. Satirical works by renown
artist Kawanabe Kyosai (1831-1889)
and the ghost of Tsukioka Yoshitoshi
Beauties Continued on page 5
May 2009
Japan’s lacquer
conservator to speak at
Getty, May 23
Lacquer conservator Yoshihiko Yamashita, in front,
worked on the 1630s Mazarin Chest at a London
Museum. (Courtesy of Victoria and Albert Museum,
London)
Yoshihiko Yamashita, Tokyo-based
world-renowned lacquer conservator
who worked on the 1630s Mazarin
Chest at the Victoria and Albert Museum in London in April 2005, will
speak at the Museum Lecture Hall
in the Getty Museum on Saturday,
May 23 at 4:00 p.m. Admission free
but reservations are required at (310)
440-7300.
Yamashita’s work at the London’s
museum marked the first time a Japanese conservator traveled outside Japan
to treat an object in collaboration with
another institution, setting a new standard for the conservation of Japanese
lacquer objects held in Western collections.
Getty’s current exhibition Tales in
Sprinkled Gold: Japanese Lacquer
for European Collectors featuring the
Mazarin Chest, will close on Sunday,
May 24.
Japan Study Club’s Dinner
and Lecture Series, May 19
Nibei Foundation in West Los Angeles presents the May program of
Japan Study Club’s Dinner and Lecture
Series on Tuesday, May 19 at 6:30 p.m.
at 11570 Olympic Blvd., Los Angeles,
CA 90064.
The topic will be: Matsuri – Japanese Festival; From historical back
ground with real music; What is 400year old Kokura Gion festival and
Music?
The lecture and live music will be
presented by Eiji Shishido, and Fukuoka
Taiko Club “Kogenkai” members.
Reception and dinner starts at 6:30
p.m., followed by the presentation at
7:30 p.m. Admission including dinner
is $10 per person.
RSVP is required by May 15 at the
website: www.nibei.org. For inquiry,
call (310) 479-6101 ext 134 or email
japanstudies@nibei.org.
Event
/ Film
Cultural News 3
Academy winning film Departures (Okuribito) to be opened nationally, May 29
The 2008 Academy Award for Best
Foreign Language Film Departures
(Okuribito), directed by Yojiro Takita, and
produced by Departures Film Partners,
will be opened in Los Angeles, San Francisco, New York and Chicago on Friday,
May 29, followed by a national rollout.
Departures centers on Daigo (Masahiro Motoki), a cellist who suddenly becomes unemployed when his symphony
orchestra in Tokyo disbands. Giving up
on his dream of being a paid performer,
Daigo moves back to his close-knit home
town with wife Mika (Ryoko Hirosue) to
reevaluate his life while staying in his late
mother’s home.
After answering a help wanted ad with
hopes of a job in tourism, he instead finds
himself offered a position at a company
specializing in “encoffinments,” the ancient Japanese art of preparing a corpse
for cremation before the bereaved.
Sasaki (Tsutomu Yamazaki, starring at
film Tampopoin in 1985), the surly sage
of an owner, convinces Daigo to take the
job after dangling a large salary in front
of him. In spite of the strange prospect
of bathing, dressing and grooming the
dead, along with fearing the reactions of
his wife and the outside world, Daigo discovers a renewed joy for living through
Film Departures (Okuribito) starring Masahiro Motoki as Daigo who turned to be an “encoffiner” from
a professional cellist.
learning to care for the grieving and the
deceased and unwittingly begins a journey of reconciliation with his past.
The comically caustic Sasaki serves as
Daigo’s anchor and stalwart advisor, passing the knowledge of a time-honored tradition to a new generation along with respect
for the unifying finality of departure.
Departures won 10 Japan Academy
Prize Awards. During a career spanning
more than two decades, filmmaker Yojiro
Takita has perfected the art of blending
comedy with complex subject matter and
has tackled a variety of genres, a filmmaking style embodied in Departures, the
first Japanese movie to win a foreign film
Oscar since 1955.
Departures Film Partners consists of:
Tokyo Broadcasting System, Sedic International, Shochiku, Dentsu, Amuse Soft
Entertainment, Shogakukan, Mainichi
Broadcasting System, TV-U Yamagata, and
TBS Radio & Communications. The official
website: www.departures-themovie.com.
Japanese American tradition Bon Odori to return at Jodoshinshu temples in Summer
The Buddhist Church of America
Southern District Dharma School Teachers League sponsors a seminar/workshop
on the “Japanese-American Bon Odori
Tradition” on Saturday, May 16 from
9:00 a.m. to 4:00 p.m. at Los Angeles
Hongwanji Betsuin Temple, 815 East
First Street, Los Angeles, CA, 90012.
Registration fees are $20 including
lunch. Deadline is May 10. For more ,
call (323) 731-4617.
Send check payable to “SDDSTL” to
Los Angeles Hongwanji, c/o Bon Odori
Seminar, at address above, with the contact information of name, phone, email.
A series of presentations and workshops
on the unique Japanese-American tradition
of Bon Odori in America as found in the
temples of the Jodhoshinshu tradition.
Begun by the late Rev. Yoshio
Iwanaga in the 1930’s, Bon Odori
has grown into a uniquely JapaneseAmerican Buddhist institution. There
will be a series of presentation and
workshops on: The history of Bon
Odori in Japan and America; The
meaning and purpose of Bon Odori;
ules in Jodoshinshu temples in
Los Angeles area: Los Angeles
Hongwanji Buddhist Temple,
(213) 680-9130, July 11, 12,
6:30 p.m.; Higashi Hongnji,
(213) 626-4200, July 25, 26, 6:30
p.m.; Senshin Buddhist Temple,
(323) 731-4617, June 27, 7:30
p.m.; Venice Hongwanji Buddhist Temple, (310) 391-4351,
July 18, 19, 6:30 p.m.; West Los
Angeles Buddhist Temple, (310)
477-7274, July 25, 26, 6:30 p.m.;
Gardena Buddhist Church, (310)
Bon Odori has became a Japanese American tradition in 327-9400, August 1, 2, 6:00 p.m.;
summer time since 1930s. (Cultural News Photo)
Pasadena Buddhist Church, (626)
798-4781, July 11, 12, 7:00 p.m.;
Bon Odori music, dance, taiko, dress,
San Fernando Valley Hongwanji
equipment.
Buddhist Temple, (818) 899-4030, July
This will include discussions on prob- 4, 5, 6:30 p.m.; Orange County Budlems and misunderstandings about Bon dhist Church, (714) 827-9590, July 18,
Odori, what dancers can do to rectify 19, 7:00 p.m.; West Covina Buddhist
them, and what new traditions might grow Temple, (626) 913-0622, June 27, 7:00
out of this tradition based on its Buddhist p.m.; Oxnard Buddhist Temple, (805)
roots. Bringing yukata, obi, zori, or Happi 483-5948, July 11, 6:00 p.m.; Arizona
coat are encouraged.
Buddhist Temple, (602) 278-0036, June
The following are Bon Odori sched- 13, 4:00 p.m.
Okinawan folk song and
dance show, May 24
by Majikina Honryu); (dance) Zei (Tamagusuku-ryu Kansen Kai); (dance) Wudui
Kuwadesa (Miyagi-ryu Nosho Kai Numata Michiko Dojo); OAA President, Words
of Greeting; (dance) Shoshun no Mai (Miyagi-ryu Nosho Kai, Miyagi Nosho Dojo);
(dance) Hatomajishi (Miyagi-ryu Toyomu
Kai); (dance) Tanchame (Miyagi-ryu
Nosho Kai, Miyagi Nosho Dojo); (dance)
Kurushima Kuduchi (Tamagusuku-ryu
Kansen Kai); Intermission
Part II: (taiko and modern band) Watarizo, Tachiutushi Shigagachi, Me Nu
The Okinawa Association of America’s
Geino-bu (Performing Art Group) will
present “Utayabira Wuduyabira (Let’s
Sing, Let’s Dance) on Sunday, May 24 at
2 p.m. at Armstrong Theater in Torrance.
For tickets, call OAA office at (310) 5321929. The program is following:
Part I: (music ensemble) Kaimaku
– Kajadefu, Binuchi Bushi, Esa Bush;
(dance) Kajadefu (dance accompaniment
Kaji (Mitsufumi-ryu Taiko Gushi Atsushi
Renjo); (music) Ryukyu Minyo Medley
(Shima Minyo, Uezu Yoko Minyo, Ishihara Haruo Minyo, Minyo Aikoh Kai,
Akabana Group, Hanashiro Emiko Minyo, Kochi Yuki Minyo); (dance) Munjuru
(Miyagi-ryu Nosho Kai, Numata Michiko
Dojo); (short comical play) Barber Shop
(Miyagi-ryu Toyomu Kai); (dance)
Ichubi-gwa (Majikina Honryu); (taiko)
Sanshin no Hana, Atchamei (Ryukyukoku
Matsuri Daiko); (finale – all performers)
Suri Agari, Tooshindooi.
4 Cultural News Exhibition:
Art of the Samurai
May 2009
Edo Senke tea master’s visit coincides with opening of Samurai exhibition
Edo continuted from page 1
Senke school was Kawakami Fuhaku
(1719-1807), who was a samurai from
Kii Shingu domain (currently Wakayama Prefecture). He was a close disciple
of the seventh Grand Master of the
Omote Senke school, Sen Joshinsai.
In 1750, Fuhaku was sent to Edo by
Joshinsai to spread the Senke style tea
ceremony because the main stream of
tea school at that time in Edo was not
Senke schools, but rather the Sekishu
style. In the middle of the 17th century,
the feudal lord of Yamato Koizumi,
Katagiri Sekishu had been appointed
as tea ceremony master for the
fourth Shogun Tokugawa Ietsuna.
Even though Sekishu had learned
tea ceremony in the Senke style,
his style was dubbed as the Sekishu
style and became the main stream
among samurai society in Edo. The
reason for this was that the majority
of feudal lords and elite samurai in
Edo simply followed Tokugawa’s
decisions.
About a hundred years later, (mid18th century), the merchant class became affluent enough to adopt the tea
ceremony of the elite samurai. This
desire created a cultural vacuum in Edo
which induced Sen Joshinsai to send
Kawakami Fuhaku to Edo to spread the
Senke style tea ceremony.
Fuhaku’s efforts paid off. The Senke
school became very popular - not only
among the merchant class, but also
with large numbers of elite samurai
who switched their allegiance from the
Sekishu style to Senke style.
More than 40 feudal lords adopted the
Samurai continuted from page 1
by the great swordsmith Sukezane in the
13th century, is a breathtaking example
of Japanese sword craftsmanship, from
the gentle curvature of its blade to the
beautifully shimmering tempering line,
or hamon, running along its edge.
The sword was passed down in the
Kishu Tokugawa Family in the Edo period
(1600-1868), and bears the Tokugawa
family crest in gold on its hilt and on its
exquisitely lacquered 19th-century mount,
also in the exhibit.
Several suits of armor, or yoroi, provide
a glimpse of the evolving styles worn over
the centuries by samurai of different ranks.
Also notable are two magnificent jinbaori,
or sleeveless robes, originally worn by
warlords in battle to protect them from
harsh weather and make them look more
commanding.
Samurai dressed and armed for battle
are depicted in a rare and important 13thcentury hand scroll that recounts the story
of Obusuma Saburo.
During the relatively peaceful Edo
period, the samurai rarely wielded their
weapons and participated instead in more
peaceful cultural pursuits, contributing to
the development of the Noh theater and
the tea ceremony.
Senke school as their official tea master
and brought back the Senke tea etiquette
to their domains all over Japan.
Edo Senke tea practitioners are
spreading in Los Angeles
Bearing the title of Vice-Grand
Master, Kawakami Johsetsu (who is the
designated successor of the tenth Grand
Master Kawakami Kansetsu) is currently teaching tea ceremony not only
among Edo Senke followers, but also to
international students at Gifu University
on a regular basis.
To coincide with participation in the
opening events of the samurai exhibition at the Bowers Museum on April 19,
Master Kawakami Johsetsu’s first visit
to Los Angeles was made possible by the
Edo Senke practitioners and supporters
in Southern California. These include
the Edo Senke tea masters Soshin
(Fumi) Akutagawa, Soue (Yaeko) Hosobushi, and Sohaku (Hiroko) Kodaka, as
well as Mrs. Sanae Walters, Akutagawa
sensei’s tea ceremony students, and Sanae Kodaka, who translated for Master
Kawakami Johsetsu.
The opening day festivities at the
Bower Museum began with a lecture
on the “History of the Tea Ceremony in
the Edo period” by Master Kawakami
Johsetsu.
This was followed by a Kimono
fashion show presented by Mme. Fumi
Akutagawa with her kimono class students and members of the LA Kimono
Club. Special guests modeling formal
kimono were Terry Hara and his family.
Mr. Hara is Deputy Chief of Los Angeles
Edo Continued on page 7
Art works from these realms are also
highlighted here. Of particular note is
the 18th-century kariginu (a robe worn
by actors playing noblemen), decorated
with bold floral designs woven with gold
threads, and the more subtle but 18th-century Noh robe, or atsuita, which features
various natural and geometric patterns
on a ground dyed in three alternating
colors.
Such playful use of color also appears
on a set of five fan-shaped Oribe-ware
dishes used in the kaiseki meal served before the tea ceremony. Their characteristic
quirky forms and the copper green glaze
and underglaze iron brown painting made
Oribe-ware ceramics popular from the late
16th century among samurai practicing
the tea ceremony.
Practitioners of the austere wabi-style
of tea ceremony, however, preferred hand
built black raku tea bowls such as the bowl
attributed to 16th-century potter Chojiro.
If the sword represented an extension
of the samurai spirit in times of war, such
a tea bowl, with its infinite depth, was its
counterpart in times of peace.
The Bowers Museum is located at 2002
North Main Street, Santa Ana, CA 92706.
Closed on Monday. (714) 567-3600.
www.bowers.org
Meher McArthur is a specialist in the
art and culture of East Asia.
Art of Samurai: Tooth Dye Set with Bamboo Lozenges and Hollyhock (Tokugawa family) Crests Design
in Maki-e Lacquer. Part of paraphernalia of Princess Toyo-hime. Edo period, Dated 1816 (Bunka 13).
Lacquered wood with gold maki-e decorations. 81 selections from Tokyo National Museum in currently on
view at Bowers Museum in Santa Anta until June 14. (Photo courtesy of Tokyo National Museum)
Bowers Museum’s Programs Saturday, May 9, 11 a.m. – 3:30 p.m.
All the events planned in conjunction
with the Art of the Samurai exhibition in May and June are following.
Admissions are free with paid museum
admission and to members; lecture only
costs $8.
For information about the museum,
call (714) 567-3600, or visit www.bowers.org.
Sunday, May 3, 1:30 p.m.
Lecture: Warrior Vendettas and the
Tokugawa Order
Using the Incident of the Forty-Seven
Ronin and other vendettas as examples,
Dr. Samuel H. Yamashita, Henry E.
Sheffield Professor of History, Pomona
College, describes how Tokugawa
authorities attempted to control the
warriors’ vengeful feelings and how
they reacted when such feelings led to
impermissible behavior.
Anime Day: BowersCon
Families are invited for a fabulous
look into the world of Japanese anime.
Workshops, displays, movies, figures,
models, cards, and more.
Thursday, May 14, 6:30 p.m.
Lecture and Sake Tasting: An Introduction to Japanese Sake
Curious about Japanese sake but not
sure where to begin? Meher McArthur,
specialist in the art and culture of East
Asia, explores the history of sake (rice
wine), how and where it is made, drinking etiquette, and its importance in
Japanese culture.
Space is limited. For reservations,
call (714) 567-3679. Pre-payment is
required. Admission: General $22;
Members $18
Program Continued on page 7
16th century style armor on display for sale
During the exhibit
This particular suit
“Art of Samurai,” a
of armor was modeled
stunning suit of armor,
after examples found
which would have been
in historical sources,
worn by a high-ranking
and was recreated using
samurai during the late
traditional methods and
Momoyama Era (1573materials. The principal
1615), is displayed for
parts are made out of
sale in the show window
lacquered iron, and each
of the gift shop in the
piece is meticulously
Bowers Museum. The
formed and finished by
exhibition runs through
hand.
June 14.
Because of the handThe suit of armor was
crafted nature of this
painstakingly crafted by
work, this particular arthe artists of Marutake
mor took 12 weeks to
Sangyo in Kagoshima
complete, requiring the
Prefecture, the world’s
specialized skills of over
preeminent samurai
20 different craftsmen.
armor manufacturer.
The armor at the gift
From period dramas on
shop display is provided
An armor crafted by a Kagoshima
Japanese TV to Akira company is on display at the Bowers by Samurai Store InterKurosawa’s films, their Museum’s gift shop
national in Los Angeles.
work can be found not
For information about
only on the screen, but
the armor, contact Darin
in the collections of museums, temples Furukawa at (323) 541-8281, or email
and even the Queen of England.
darin@samurai-store.com.
May 2009
Garden
Tours
Cultural News 5
International conference on Japanese gardens draws nationally over 250 participants
Japanese gardens are an international
phenomenon. Prized for their artful
beauty and associated with feelings of
serenity and peace, more than 250 public Japanese gardens have been built in
North America alone.
A growing interest in these gardens
and how to sustain them was the inspiration for an International Conference
on Japanese Gardens Outside of Japan
sponsored by California State University, Long Beach held March 26-29.
Over 250 participants attended the
Conference, including scholars from
across the US and Japan, directors of
gardens and museums, representatives
from Japanese organizations such as the
Japan Foundation, world class garden
designers and noted researchers in the
field from Japan, Canada, over 20 different states in the US and throughout
California.
Over 50 students received scholarships to attend from CSULB, Cal Poly
Pomona and UCLA, as well as several
community colleges including Long
Beach City College and Orange Coast
College.
Featured presenters included Ron
Herman, Landscape Architect and designer of many of North America’s largest and most intricate private gardens,
Makoto Suzuki, Professor of Landscape
Architecture Science at Tokyo University of Agriculture, Marc Treib, Professor of Architecture Emeritus at the
University of California, Berkeley and
Stephen Bloom, Executive Director of
the Portland Japanese Garden, as well
as many representatives of Southern
California’s finest Japanese gardens,
Beauties continuted from page 2
(1839-1892) present humorous and
bizarre women.
Ranging from the nineteenth to the
early twentieth century, the exhibition
of almost thirty hanging scrolls, hand
scrolls and screens will provide various
aspects of Japanese beauties.
This exhibition is curated by Keiko
Tanaka, currently curatorial assistant
of the Clark Center and researcher at
the International Research Center for
Testimony of the power of Japanese gardens
By Prof. Kendall Brown
California State University Long Beach,
organizer of the 2009 conference
The international conference programs included
garden tours in Southern California.
including Jim Folsom, Director of the
Huntington Botanical Gardens, Alison
Redfoot, Assistant Director of the Earl
Burns Miller Japanese Garden, Corey
Wells, Plant Healthcare Coordinator of
Lotusland, Luanne Kanzawa, Executive
Director of the Japanese Friendship
Garden Society of San Diego and Chris
Aihara, Executive Director of the Japanese American Cultural and Community
Center.
Also featured was landscape architect, Takeo Uesugi, faculty emeritus
from Cal Poly Pomona who received the
first “Lifetime Achievement Award” at
the Conference, as more than 180 Conference attendees, colleagues, family
and friends applauded his many professional and academic contributions to
the field of Japanese Gardens Outside
of Japan.
Society and Art in Doshisha University,
Kyoto. She earned Ph.D. at Ritsumeikan
University in Kyoto, and M.A. degree
in art and archaeology at the School of
Orient and African Studies, University
London. She is also specialized in the
history of dolls and toys in Japan.
The Japanese Beauties exhibition
will open on May 24 and run through
August 1, 2009. The gallery is open
between 1 and 5 p.m., Tuesdays through
Saturdays and is closed on national
holidays. A catalog accompanies this
exhibition.
The basic goal of the conference was to
bring together the leading people responsible for designing, building, maintaining,
running and studying Japanese gardens
outside Japan. Thanks to the dedication
of the speakers, moderators and attendees
who journeyed to Long Beach despite
a challenging economy, the conference
achieved its primary purpose.
From everything I saw and heard, it
seems clear that people made important
new connections, learned useful things
in their own field and were exposed to
new topics, and felt re-inspired about
Japanese gardens.
The uniformly high quality of the presentations brought a wealth of detailed
knowledge, unique experience and incredible images to the audience. These
lectures were video-taped and will be
made available, bringing the expertise
of the speakers to a broader audience
and allowing conference attendees to
use these presentations as a permanent
resource.
Perhaps the most significant accomplishment of the conference is the
organizing of new regional Japanese
garden associations that is now occurring. I am very grateful for the efforts
of everyone involved. This conference
is testimony to the power of Japanese
gardens and the people who devote their
lives to them.
Significant impacts on the history of
Japanese garden development
By Takeo Uesugi
Professor Emeritus of Landscape
Architecture, California Polytechnic
University Pomona, Awardee of the
Lifetime Achievement in the 2009
Conference
I would like to congratulate Prof.
Ken Brown and Ms. Jeanette Schelin
for the success of the conference on
Japanese Garden outside Japan held at
California State University Long Beach.
It must have made significant impacts
on the history of Japanese garden development.
One of the challenges toward the future of Japanese Gardens would be the
ways of transcending the principles and
forms of traditional Japanese garden to
the contemporary forms.
Both traditional and contemporary
values of Japanese gardens should be
educated to the next generations of our
professions. Educational and cultural
supports shall be a key to the next 2010
Symposium, San Diego.
Important announcement by Portland Japanese Garden
By Koichi Kobayashi in Seattle,
member of the Japanese Institute of
Landscape Architects and the American
Society of Landscape Architects
I started attending conferences on
Japanese Gardens in and outside of
Japan since 1990, in Seattle, New York,
Portland, Tokyo and Kyoto among
others. I have noticed a growing depth
of interest and concerns on Japanese
Gardens over the years.
From my observation, I like to point
out that one of the keys to answer
them successfully is to hold opportunities for us to gather in a continuing
and timely manner as this conference
provided.
Announcement by the Portland Japanese Garden to initiate future American
Institute on Japanese Garden sounded an
important next step for this effort.
I understand the Portland Japanese
Garden is doing soul search for this. You
should get in touch with Stephen Bloom
at sbloom@japanesegarden.com
2010 Japanese Garden
Symposium in San Diego
The 6th International Symposium of
Japanese Gardens will be held in San
Diego, from October 2-4, 2010 by the
International Association of Japanese
Gardens, Inc. and The Garden Society
of Japan.
The theme of the 2010 Symposium
is “The Spirit of Japanese Gardens and
Japanese Culture.”
For more information, contact
Japanese Friendship Garden Society
of San Diego, 2125 Park Blvd., San
Diego, CA 92101, (619) 232-2721,
www. niwa.org, or email jfgsd@
niwa.org.
6 Cultural News May 2009
Legacy of Kensho Furuya, the founder of Aikido Center of Los Angeles
Late aikido master sowed seeds of the ancient ways of martial arts (Part 1)
On March 5th, the Aikido Center
of Los Angeles had a memorial service in its dojo to observe the second
anniversary of its founder, Reverend
Kensho Furuya. The following article
is the part 1 to remember of the legacy
of Kensho Furuya.
By Gary Myers
Kensho Furuya Sensei was foremost
a teacher, but he was also a scholar,
philosopher, martial arts master, Zen
priest, Japanese sword expert and collector, cultural preservationist, community activist, garden and interior
designer, and author.
He was certainly an anachronism in
today’s society. In some respects, he
probably related more to the sensibilities of the late 19th century than he
did to the 21st.
Sensei was a traditionalist. He
believed in the old ways of teaching
as demonstrated in his book Kodo:
Ancient Ways.
Daniel Masami Furuya was born in
Pasadena, California on April 25th,
1948, to Ted and Kimiye Furuya. He
grew up at a time when many Japanese
American families, affected by the
negative effects of World War II, were
guiding their children to be Western in
their interests.
Daniel, however, was always interested in his Japanese heritage, spending time with his grandfather learning
about Japan.
He began studying kendo when he
was eight years old and soon thereafter started studying iaido, Japanese
swordsmanship, under the direction
of Yoshinobu Takiguchi. Iaido is the
drawing, cutting, and returning the
sword to the scabbard (saya) in a
series of predefined forms. He was
introduced to aikido in 1962 after
meeting the Kisshomaru Ueshiba, the
son of Morihei Ueshiba, the founder
of Aikido and second Doshu (headmaster).
As he grew older, he became more
My first meeting with Kensho Furuya
Destined encounter of Japanese swordsmanship
By Gary Myers
I have a long-standing interest
in studying and collecting Japanese
swords. In 1984, I purchased a book
called Japanese Swordsmanship by
Draeger and Warner. Both authors
were noted historians on budo, Japanese martial arts.
The book thoroughly explained
the history, eti quette, and techniques of the iaido
and the All Japan
Gary Myers
Kendo Federation,
and included photos of iaido demonstrations by Takeshi
Mitsuzuka Sensei.
The book piqued my interested in
studying iaido, the art of drawing the
sword and cutting in the same motion.
I looked at ads for various places that
said they taught iaido, but the Aikido
Institute of Los Angeles (currently
Aikido Center of Los Angeles) was
the one I called.
Furuya Sensei answered the phone,
and I explained that I was interested
in studying iaido.
Furuya Sensei said that, in the past,
he only taught his aikido students iaido, but was about to open the classes
to non-aikido students.
He said that I would have to come
to the dojo for an interview. I asked
him if it would be better for me to
first study kendo, and then iaido. He
answered my question with a question, “if you want to learn to play
the guitar, why would you first learn
the ukekulele?”; meaning, if I truly
wanted to learn swordsmanship, start
with sword.
When the interview was completed,
he walked me out to my car and said I
should start as soon as possible. I had
one last question, which was, would
it be more difficult for me since I was
left handed and the sword is always
drawn with the right hand. His response is what I now tell all the new
students on their first day of iaido “the
secret of iaido is in the left hand.” I
started my iaido training on November
25th, 1985
Over the course of the next eleven
months I trained very hard, never
missing a class and practicing at home
as well. In January of 1986, my wife
and I won the Grand Prize in JACCC’s
annual raffle, consisting of two round
trip tickets to Japan and a week’s stay
at the New Otani Hotel in Tokyo.
We planned our trip for October
of that year and, since it was our first
trip to Japan, we added two additional
weeks to what we had won.As an
added incentive to practicing harder,
Sensei said he would arrange to have
me take my shodan test in front of
Mitsuzuka Sensei while in Japan.
It seems impossible that almost
24 years have passed since I walked
through the doors of the dojo. Even
though we are practicing in a new
space, I still get that sense of leaving
the everyday world, when I enter the
dojo.
Gary Myers is Chief Instructor for
iaido at Aikido Center of Los Angeles.
Kensho Furuya sensei (center) practiced randori lesson with his students at the 17th century shoin-zukuri
style room built by himself and a Japanese carpenter in Little Tokyo, Downtown Los Angeles. (Courtesy
of the Aikido Center of Los Angeles)
immersed in things Japanese. He
would go to all the samurai period
films shown at the Kokusai and the
Linda Lee theaters at Los Angeles’
Japanese American communities.
Daniel thoroughly immersed himself
in his interests, acquiring whatever
material he could on the subject and
studying it intensively.
He saved up his lunch money or
his allowance to buy a samurai sword
from one of the barrel of swords at
Golden State Arms in Pasadena, thus
beginning his life-long collection and
study of Japanese swords.
After graduation from John Muir
High School in Altadena, Daniel attended University of Southern California, majoring in Eastern philosophy. In
1968, he received a National Defense
Act grant to study Japanese language
at Harvard University.
While in Cambridge, Massachusetts, he studied aikido with 7th dan
Mitsunari Kanai Sensei.
After his time at Harvard, he continued his education in Asian Studies
at USC, receiving a Bachelor of Arts
degree in 1970.
In 1969, he was given special
permission to travel to Japan to
study aikido as a live-in student at
Aikikai Hombu Dojo of the Aikido
World Headquarters under the second
Doshu.
While in Japan, he was instructed
in iaido by Takeshi Mitsuzuka Sensei,
the youngest student of Nakayama
Hakudo. When he returned from Japan, Furuya Sensei taught and assisted
aikido instructors throughout Southern
California.
In 1974, he participated in hosting Master Ueshiba’s second trip to
the United States, which included an
aikido demonstration at the Scottish
Rites Auditorium in Los Angeles.
He also demonstrated aikido
throughout California in a number of
important martial arts demonstrations
and, in 1974, he opened his own dojo,
the Hollywood Aikido Club, in a space
that was shared with a gymnastics
studio on Vermont Avenue.
His students included a number of
well-known people in the entertainment industry. At the same time, he
furthered his study of swordsmanship
under the instruction of Mitsuo Mori
Sensei.
While teaching at night, Furuya
Sensei worked during the day in
the Little Tokyo branch of the Bank
of Tokyo (currently Union Bank of
California).
He decided that his path in life was
to be a full time martial artist with a
dojo dedicated to traditional instruction of aikido and iaido.
His dream was to open a dojo in
Little Tokyo, designed to be an inspiration for his students.
Early in 1984, he and Shigeo Miura,
a master carpenter and sculptor from
Japan, began building his dream in a
converted Santa Fe Railroad building
at 2nd and Vignes Streets in Little
Tokyo, built in the traditional shoinzukuri style of a 17th century samurai
mansion.
In February, 1985, he completed
and opened the Aikido Institute of Los
Angeles (later renamed Aikido Center
of Los Angeles, www.aikidocenterla.
com), achieving his dream of creating
a traditional, handcrafted dojo that
served to transition students from the
outside world into one steeped in the
culture, spirit and discipline of traditional martial arts.
Looking for a dojo to study iaido,
I met Sensei in September, 1985, and
immediately knew that his dojo was
where I had to study. (This article will
be continued to the June issue)
Gary Myers has been studying and
teaching iaido for 24 years. He is a
5th dan in iaido. He is also the owner
and proprietor of Yoshino Japanese
Antiques in Pasadena which has been
in business since 1992. Prior to that,
he was a First Vice President at Security Pacific Bank. He was with the
bank for 14 years.
May 2009
Program
continuted from page 4
Saturday, May 16, 1:30 p.m.
Lecture: Japanese Castles and their
contents: Samurai arts and architecture
Dr. Bruce Coats, Chair, Department
of Art History and the Humanities,
Scripps College, discusses the domains
of the 17th century samurai class that
constructed enormous castle complexes
throughout Japan and filled them with
spectacular paintings, fine furniture
and ceramics, and extraordinary arms
and armor.
Saturday, May 23, 1 p.m.
Feature Film: Ran
This is the story of the disintegration of a warlord, his family, and his
kingdom.
The film is one of director Akira
Kurosawa’s masterpieces. 160 minutes.
Admission: General $7; Members $5.
Sunday, May 24, 1 p.m.
Feature Film: Kagemusha
A common thief-turned Shogun
comes to power amidst the birth of the
Tokugawa Shogunate. 179 minutes. Admission: General $7; Members $5
Saturday, May 30, 1:30 pm
Lecture and Presentation: Japanese
Tea Ceremony and the Samurai Way
This lecture, presented by Sochi
Nomoto, explores the origin and history of the Japanese tea ceremony; its
development by the samurai class into a
philosophy of simplicity, harmony, and
tranquility; and its incorporation of Zen
Buddhism principles.
The lecture concludes with a tea
ceremony demonstration in the John
M. Lee Court. Everyone is welcome to
observe.
Participants in the ceremony can
sample green tea and special Japanese
sweets. Tea ceremony participation is
$10 per person. Space is limited and by
reservation only. For reservations, call
(714) 567-3679.
Sunday, May 31, 1:30 p.m.
Lecture: Japanese Swords and Armor
Dr. Bruce Coats, Scripps College,
surveys the development and fabrication of Japanese swords from ancient
Edo continuted from page 4
Police Dept, in charge of operations in
the West Bureau.
Mme. Akutagawa is a master of the
Sodo Kimono School. She teaches
classes in kimono kitsuke and in Edo
Senke tea ceremony at the Zenshuji
temple in Little Tokyo on Tuesdays.
For class information, call (805) 5290139.
She and her students have been active
for many years in promoting awareness of Edo Senke tea ceremony and
Japanese culture in many schools in
Southern California.
Later in the day, Dr. Morgan Pitelka
of Occidental College in Los Angeles
to modern times.
Attention will also be given to sword
mountings, body armor, and battle tactics to gain a broader perspective on the
lives and deaths of the samurai.
Sunday, June 14, 1:30 p.m.
Lecture: Taking Lessons from the
Past
Renowned Japanese kimono designer
and stylist Nobuaki Tomita introduces
the history and evolution of samurai
clothing worn during the Edo period and
Meiji Restoration in Japan, along with
the kimonos during the Taisho, Showa,
and Heisei eras.
Accompanying this program will be
a collection of clothing, modeled and
displayed. 
presented a lecture on the “Art of the
Warlord, Shogun, and Diety: Tokugawa
Ieyasu.”
In the afternoon Master Kawakami
Johsetsu gave a demonstration of the
Edo Senke tea ceremony, after which
more than 70 guests were able to enjoy
special sweets from Japan and usucha
(thin tea).
The afternoon closed with a dance
performance presented by Mme. Hisame
Wakayagi and her Seiha Wakayagi
School students.
Throughout the day guests also enjoyed taiko drummers, the strategy game
of “Go,” various booths with Japanese
arts including origami, paper lanterns
and umbrellas, and face painting.
Cultural News 7
www.culturalnews.com
P.O. Box 48678
Los Angeles, CA 90048
Phone: (213) 819-4100
Fax: (213) 388-8428
info@culturalnews.com
Publisher:SHIGE HIGASHI
Japan Representative:
KASHO FURUYA
Editor:SHIGE HIGASHI
Production: JAMES NG
Editorial Contributors: DARIN S.
FURUKAWA / GAVIN KELLEY / TAKESHI
NAKAYAMA / AILEEN WILLOUGHBY /
MIRI PARK / BARBARA ITO / MEHER
MCARTHUR / TIM ALTMAN
Tokyo Topics: YUKO ITATSU
Perspective from Japan:
MOTOAKI KAMIURA
Translation: ALAN GLEASON
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$UW$QWLTXH6KRZ
Art)HDWXULQJ-DSDQHVH$UWDQG&XOWXUH
& Antique Show
Featuring Japanese Art and Culture
Sunday, August 16, 2009
.\RWR*UDQG+RWHODQG*DUGHQV6XQGD\$XJXVW
Kyoto Grand Hotel and Gardens $0±30
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is showcases
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DQG
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and
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such
as:
Ukiyo-e
print,
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&HUDPLFV7H[WLOHV.LPRQR2EL'ROOV1HWVXNH,QURWDEDNRFDVH7DQVX
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8 Cultural News May 2009
Cultural News Bus Tour
Clark Center
in Hanford
Saturday
May 16
8:30AM Departure at Little Tokyo
9:00AM Westwood Pick Up
Visit the museum that focuses
exclusively on Japanese art.
Appreciate national treasure class
arts and the first Kazari Bonsai
Display Competition.
To coincide with the Spring
Myoo Kamaura period.
Festival in the museum campus, Daiitoku
Bare wood and antiqued wood surface.
a Cultural News bus will visit
h: 100.6 cm. (Clark Center Permanent
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Let's Learn
Japanese Language
School Location
Gakuen l Rafu Chuo Gakuen
l Pasadena Gakuen
l Orange Coast
l Gakuen Junior and Senior High School
l Valley
JAPANESE LANGUAGE SCHOOL UNIFIED SYSTEM
(aka Kyodo System)
Administrative Office
1218 Menlo Avenue, Los Angeles, CA 90006
Phone: (213) 383-4706 office@kyodosystem.org
Fax: (213) 487-7015 www.kyodosystem.org
Open House
Saturday, May 30, Morning
Saturday, June 6, Morning
2009-2010 Classes Begin July 18, 2009
Saturdays 8:45 a.m. – 12:45 p.m.
Aikido Center of Los Angeles
1211 N. Main Street, Los Angeles, CA 90012
www.aikidocenterla.com
E-mail: info@aikidocenterla.com ● Tel: (323) 225-1424
羅
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On view through June 14, 2009
合
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Offering classes in traditional Aikido and
Iaido seven days a week since 1984.
2002 North Main Street
Santa Ana, California 92706
714.567.3600
bowers.org