Ukwanshin Kabudan 御冠船歌舞団

    Fwa udui, which is also referred to as popular dance or folk dance, were mostly created during the Meiji period.  More and more research has brought me to information that shows these often lively and less rigid dances depicting real life, was created to preserve the culture, traditions, and language, at a time when there was much suppression of things Okinawan.                         

Prior to WWII, Okinawa was faced with little money , high taxes, and the Japanese Government wanting to irradicate the local language.  Cultural practices were also being suppressed.  To counter the attempt, Okinawan performing arts teachers went to work creating dances and music which depicted everyday life and situations.   They also used various dialects of “shimakutuba” or local language, depending on wht area the dances came from.  The teachers of this time knew that if they did not do this, many songs and traditions would die.  Through the fwa udui, stories are told of life experiences and emotions, from the aristocrats, down to the farmers and fishermen.  These dances have survived the ravages of WWII and the many changes which have come to Okinawa.  They are still often performed on stage and bring us a glimpse of the past.

Dances being created within the past 20-30 years cannot even closely compare to the fwa udui of the Meiji era.  New dances have taken a path away from Okinawan life and history, and sometimes cannot even be recognized a Okinawan.   It seems that the fwa udui had a purpose, and it is through this that they have survived and will continue to survive for future generations.  If you have the chance to take in fwa udui by observing or learning/performing, think about the story.  Think about why it was created, and imagine yourself in a time when the language flourished, and the people actually lived what is being brought out on stage.  Surely it will make it so much enjoyable.

Born in Hawai`i, working his way up, an fighting predjudice in a country that touts freedom and goodwill, Barack Obama has been elected President of the United States.  This event is a huge historical milestone as it was thought that this was an unrealistic goal to attain for an African American.  This election brings hope and consolation that America has finally reached an awakening for minorities in the country, especially for the African Americans who have been striving to become something in a country that brought their ancestors in as slaves.  It brings together a diversity of status and cultures, and a hope for real change.  It brings us to look at what is going on, and see that people are looking for change,and bridging the gap of differences in cultures, religion, and people as a whole.  During his first speech in Chicago, the cameras  panned the crowd of over 150,000, and the tears in the eyes of many, the faces, of the African American people, and may others, also gleamed with hope.  A kind of hope which has been made more reall and attainable through this election.              This election, and Obama’s dream is a beacon of hope for Okinawa and its struggles.  It shows us that even something that we thought impossible, could be made possible if we believe and understand who we are.  This is a time to reflect.  People are looking to return “home”.  Just as Obama has said that he cannot do his job alone, and look to the people for inspiration, we as Ukwanshin look to everyone out there to work with us to help continue our culture and traditions into the next generations.  The look in the eyes in the thousands tonight, reminded me of the  eyes of the elders in Okinawa and Hawai`i after our shows.  A look of hope, and relief.  I hope that this opens a time of real hope, especially for minorities and the rights of people.

http://zcommunications.org/znet/viewArticlePrint/19240  http://www.stripes.com/article.asp?section=104&article=58476 Click this article to see this interesting report and research on SOFA.  Okinawans are being left to fight their own battles in these cases, as Japan stands and watches.  It seems that the Japanese government will not get involved in U.S. military injustices, even if it is a danger to the lives of the Okinawa people.  However, the Japanese love and fully support Okinawa’s eisaa, awamori, haari, and other “happy, happy” events. Where’s the love?  Call your representitives and Japan Consulate nearest you.  Or better yet, start a petition.  Here in Hawai`i, shouldn’t HUOA be supporting some kind of effort to help the Okinawans in this struggle?

      Okinawan dance can be an emotional experience that enables dancer, musician, and audience to share in the unique story of the ryuka.  It can be as mesmerizing as feeling the seabreeze blowing against your face as the tears well up from heartaching loneliness for a loved one’s departure in “Hanafu”.  Okinawan dance or “ryubu”(short for Ryukyu buyo), as its called now, has developed from the Ukwanshin udui (classical court dances), kumi udui(classical musical dance drama), fwa udui(folk dances), to the sousaku(new choreographed dances), shibai(plays), and kageki(musical folk play).  No matter how diverse the performing arts were, the dances in them held no ryuha, or “style”, and students were encouraged to learn beyond the walls of their sensei’s studio.  Appreciation and recognition of the differences was as natural as breathing.  However, today, the world of Okinawan dance has taken on a very different road that is leading it farther and farther away from the source and tradition.  This path that is basically ruining “ryubu” is the iemoto system.    

       In 1983, when I first visited Okinawa and went for training and testing there, there were only a few iemoto.  Literally translating to “founder of the house”, this title has been used and passed down through a familial lineage in mainland Japan for centuries, especially in schools of art and culture.  It is similar to the pyramid system in the west, but a bit more structured and with a very disciplined framework of etiquette and rules.  The title is usually passed down to an heir that is in the bloodline.  In Okinawa however, it was first started by Yuko Majikina upon returning to Okinawa after the war, to sort of copyright his style and choreography.  After this, others were encouraged by Japanese officials to take on this title, but the structure and discipline never resembled the Japanese iemoto system.  All it was, was a title.  However, due to this, many different “styles” of ryuha emerged, such as Majikina Honryu, Tamagusuku Ryu, Miyagi Ryu, Tokashiki Ryu, and others.  Prior to this, the dance movements were attributed to “so and so’s ” kenkyu jo, or place of study.  Nowadays, it is a collaberation of style and “dojo”, leaving out the “kenkyu” or study.  The iemoto system has, within the last 10-15 years reached an “epidemic”.  Everyone wants to have this title, and when they feel like it, tacks it on to their name, as leader of their school.  Prices have risen in tuition, styles are getting less recognizable, and teaching certificates are sporting a price tag of $5000 for the first level teaching certificate.  In the Tamagusuku Ryu itself, there are more than 10 self proclaimed iemoto, which is absurd to the Japanese performing artists.  It seems that pride, prestige, popularity, and money had driven many to take on the popular title.  The dance art has be come an “all about me” world.  Okinawa’s iemoto enjoy large dance studios, and roam the streets in designer wear and bags, as many students barely can afford to learn the art.    

        In the days when the current iemoto were learning dance, the sensei seldom took money for teaching, and teaching certificates. The teachers of old lived on the donations of food and money from fans, supporters, and students.  Their places of teaching were in small cramped houses, outdoors, or wherever was available. Recognition of one’s talents and level of dance was by what the teacher saw, and came when the sensei felt it was right.  It was a priviledge to be given a certificate of teaching, which basically graduated you from the school to go off and start on your own.  It was similar to a family, and having a child go out into the world to start a life.  In teaching, a sensei would often send students to different teachers to learn a certain dance or style of that particular school.  Students were taken care of by the sensei like their own children.  There wasn’t a wall between schools.  Today, it is virtually impossible to learn from another school.  During the training period of testing for “konkuru” ( testing/contest sponsored by the newspaper companies, and which also have added to the problems in the performing arts), tuitions are almost doubled, and money collected for almost everything from snacks for the sensei, gratuity for make-up, and rental of costumes.  After the test is done, if a student passes, or doesn’t pass, an envelope of monetary gratitude is expected to be given to the head of the school.  This kind of “protocol” would have been unheard of by the late sensei who were responsible for returning the pride and traditions of dance to the people after the war.  The current system does not reflect the values and emotes an identity that is anything but Okinawan.  Many great dancers have left because they have been suffocated by restrictions as to not excel or shine out more than the iemoto themselves.  The family feeling within the schools have gone as the iemoto try to imitate the Japanese system without actually understanding it, and realizing that the Okinawan performing arts has a style and protocol unique to Okinawa, just as the people and culture are different.  The future generations of leaders in Okinawan dance art need to rethink this iemoto system, and hopefully realize that this system was never part of the art, and should be eliminated to allow growth again.

  As we come to the end of 2008 and look forward to a better year in 2009, we will be also marking the 400th anniversary of the overthrow of the LooChoo Kingdom in 1609, by the military forces of the Satsuma clan.  This was a very significant turning point after LooChoo had enjoyed over 300 years of peace and independence.  During the peaceful years, LooChoo enjoyed unlimited trade in the Southeast Asian countries, as well as refining and creating art and entertainment which took on unique LooChoo features.  

      The Satsuma had tried to take on LooChoo before, but were unsuccessful due to the martial art of “ti” in which the people of LooChoo devised weapons made from simple farm tools, along with the ancient forms of kung fu.  To be able to take on the “barbarian” people of LooChoo, the Satsuma came in with guns and canons.  (Sounds all to familiar to those of you knowledgeable in Hawaiian history.)  They first violently took over the northern islands of Amami, then approached through the main island’s area of Nakijin, and finally entering Naha.  King Sho Nei witnessed towns being torched and heard the sounds of rifles as he read the message of Satsuma demanding surrender, or risk sacrificing more lives and razing the castle to the ground.  The king could not imagine risking more lives and property of his people, and immediately surrendered, only to be taken as an involuntary “guest” to the Satsuma headquarters in Kagoshima.  At that time, threats of making the LooChoo people slaves, were made to the king, if he did not give control of trade to them.  After conceding, the king was returned to the thrown, under Satuma control, in 1701.  (*The Journal Of Asian Studies, Robert K. Sakai, The Great LooChoo, Commodore Perry, Chuzan Journals, Sho Family Texts.)

      As we have stated before, these events in history helped to strengthen the Okinawan people in their culture and in some ways, helped to attain higher levels of the arts, due to the heavy demands of Satsuma.  The people suffered greatly, but still held fast to their arts and culture.  This is one big reason why we should feel a greater obligation to preserve and pass on our arts in the closest traditional forms possible.  The overthrow also was a beginning to the slow dilution of identity, and eventually forced regulation of language, music, and history.  It seems like the times of suffering for Okinawa is passed, especially with the surge of interest in things Okinawan by the Japanese.  However, like the popularity of things Hawaiian after the cruise ships made Hawaii a popular tourist spot, and cellophane skirts and coconut bras appeared, Okinawa is enjoying its commercialized culture, and quickly forgetting its traditions, protocols, and culture.  We should take this time to reflect and go out and research our traditions which are our identity that runs through our veins.  It is the identity that our ancestors have died for during the overthrow, and have suffered through even to this day, to preserve and pass on.  This is not politics, but our history which gives us a greater understanding of who we are, and which help us to understand and appreciate other cultures and histories.  Even if there is less than 1/16th of that LooChoo blood in us, We Are LooChoo nu Kwa.  Wouldn’t it be great to have an event at the Shuri Castle, like the one held here at Iolani Palace which marked the 100th anniversary of the Hawaiian Kingdom’s overthrow?  Speeches, chants, dances, and a re-enactment of the surrender of the throne and castle would be very educational, and an emotional burst to cultural pride and identity.  Or would the Japanese government suppress this kind of event due to the fact that the current castle and surrounding property belongs to the Japanese government and not the Okinawan government or people?  Hmm..Something to think about.

Recent articles in the Okinawa Times and Ryukyu Shimpo newspapers in Okinawa have been reporting continual clashes with surrounding communities of U.S. military bases, and military personnel. Another recent problem is the lack of monies to fund education and other vital community projects in the provinces, due to the consolidation of provinces to a larger “city” status.  Recently, it was again reported that more and more seinenkai in the chubu area of Okinawa Island, perform eisa to mainly drink and get intoxicated, not respecting the purpose of the celebration.  For the performing arts, dance studios are attracting less students as teachers are charging higher tuition and fees.

These are only some of the many problems Okinawa is now experiencing due to outside influences changing tradition and culture to accommodate commercialism, modernization, and self centered politics.  The government and military have been pacifying landowners of property on base and of apartments near the bases, with higher payments.  Also, promise of more jobs and support to build and repair roads have been given to surrounding communities.  This tactic has brought animosity between residents who neighbor the bases, and those prospering or have nothing to do with the base problems.  Okinawans are now fighting each other with a problem that has been brought on by the outside, as the initiators watch idly, at what once was a bonded community, deteriorate.  The same goes true with the new “cities” such as Uruma and Nanjo, which were created by combining various neighboring provinces.  The Japanese govenment stands by and watches as they make monies off the new cities, but local communication, cooperation,traditions, towns, ceremonies, and culture disappear and their identity unique to each begin to disappear.  Created with the promise of helping the smaller provinces financially, the “gappe”, combining of provinces, has almost emptied the coffers of many, and areas like Gushikawa, that did have monies to support community projects, senior citizen and youth activities, and education, have basically been sucked almost dry, leaving many schools in disrepair.  The “kouminkan” or community centers which were once the center of community cultural events and projects, have become almost empty.  Villages and towns had many events, clubs and cultural awareness activities which brought the community together and passed on values and traditions, especially with the younger ones.  The Japanese Government has basically succeeded in disbanning the adhesiveness of the typical Okinawan community, as they head towards becoming more Japanese.  Can we call this a kind of genocide?  I say “YES”. 

The commercialization and hype over Okinawan performing arts has focused the once ancestral, and culturally centered tradition, to money, fad, fame, and what’s popular.  Some seinenkai in the Chubu districts of Okinawa have been sent away and refused entrance to properties during the obon observances.  Responsible for the eisa in the villages, the youth have now been taking advantage of the eisa performances to drink and get intoxicated, not giving the events the respect it deserves.  This is in due to the “year round” eisa, being performed anywhere and anyplace at anytime during the year.  Its become a tourist entertainment attraction at places such a Ryukyu Mura, and can be seen at stage performances and festivals.  This “dance” once only done during the 3 day observance of obon, and for the dead, can now be seen anywhere, and outside the obon season.  The excitement and anticipation for the obon season when practices begin and drums can be heard in the distance, are slowly fading away with tradition.  Dance studios have seen a drop in student enrollment as the older generation is dying and the obligations to learn dance and music for the elders is becoming less important, and more parents opting to sending their children to “juku”, after school study.  Teachers, especially ones who have first hand experience with the sensei who passed down their knowledge from prior to the war, have forgotten the old ways, and obligations. The have embraced the Japanese iemoto system, and charge exhorbant fees for tuition, license, and performances.  They have also began to systemize the dance to dilute and possibly cut out less popular styles and schools which have traditional and unique identities of their own.  Dances and costumes are becoming less recognizable as Okinawan, as past teachers and founders of schools are less mentioned and referenced, to make room for their own names to be brought to the forefront.

In the meantime, if you were to look at Okinawa at its surface, it seems that it is prospering, and culture and traditions are flourishing.  In some ways, yes, but moreso, no.  If things continue in this path and eyes and voices remain closed to these changes and events, soon, there will be no real Okinawa to go to or experience.  Like the last Worlwide Uchinanchu Festival, the “grand” opening showed the hype, glitter and glamour of the new age of Okinawa, but when looking into the festival itself, there was no discussion on the problems Okinawans were facing, both in and out of the homeland. Here in Hawai`i, the annual Okinawa festival by the Hawai`i United Okinawa Association attempts to show the adhesiveness and strength of local Okinawans, by staging one of the largest cultural events in the state.  It has however, become less Okinawan, as non-Okinawan foods and entertainment have ben introduced.  This has not only been noticed by me, but I’ve heard many comments from non-okinawns who have gone to the festival expecting real Okinawan, but being served up Teresa Bright, hula, Hawaiian plate, Japanese dances, etc.  Also, behind all of this pomp, the organization has only recently attempted to face the financial problem which has been festering since the embezzlement by past president Wil Hokama.  From that time, finances have been aloof, and unbalanced, with even auditing companies refusing to continue services due to missing, or mismanaged finances.  All the celebrating, dances, and music cannot cover up or fix the problems of the organization, but what has not been realized is the hard work, time, and monies of the people who really make up the Okinawan organization…its members.  The first and second generations gave all they could, even to mortgage their houses, to help build the center in Waipio.  Volunteers come out in the hundreds every year, spend money on hotel, food, donations, etc, only to be told that at this time, there hasn’t been proper management of finances.  Is that a way to care for a community or to preserve culture?  If things are going to work and become “pono” again, a great cleansing or purge needs to be done, along with rethinking what has ahppened and how personal gain had taken over, using leadership positions in the organization as a political stepping stone to personal gains in business or political positions.  As we continue in this fast paced, technological society, it is important to take time to sit back and reflect on who we are and what our ancestors had to face to preserve and pass down what they had.  It may not have been hand fed to us, but it is still our obligation to continue what they had.  To research what we don’t understand.  To keep our identity so that we don’t become cold or numb to other traditions or cultures, but mostly to understand who we are and look to our kupuna for guidance.  To listen to the voice that speaks through our hearts and fight to keep what little we have left.  I think we are intelligent enough to balance the modern world and our traditions, without having to lose out on our other everyday obligations.  Okinawans have been able to survive much.  It is in their traditions and culture that they have been able to endure, and it is by going back to these that we will continue to survive, even if it is only a small amount of us.  Take time to look at the old pictures of our ancestors.  Look into their eyes and see the answers.

“いったあんままかいが？星光いねらん。親ぬ歌ちきば、肝にかかて。Itta anma makaiga? Bushi hikai neran. Uya nu uta chikiba. Chimu ni kakati. Where has your Mother gone? The brightness of the stars have faded away. Listen to the songs of your parents. You will understand in your heart.”

Theater performance shows cultures’ value

“Loo Choo nu Kwa” performance at Mamiya Theatre on Sunday was one of the most powerful cultural performance we have seen of late. I extend my admiration and thanks to Eric Wada, Norman Kaneshiro and their company for putting forth light on this little-known rich culture of Ryukyu (Okinawa) islands. Not only did they bring a remarkable performance to stage, they also reminded us that we must remember and respect our diverse cultures. Every one of these cultures is an evolution of thousands of years of language, art, dance, poetry and spirit.Throughout the show they reminded us that respecting and nurturing the lessons learned from our kupuna are important. Past is our foundation on which we build our future. There is also an element of urgency as our kupuna have a finite life span, so learn from them now.I am grateful to the Hawaiian people that we thrive as a harmonious multicultural society. Every culture is like a beautiful plant bearing different colorful fragrant flowers and fruits. Lest we nurture our cultures, we all will be lost in the barren landscape of a mono-culture. 

Birendra Singh Huja

Honolulu 

June Arakawa, a staunch supporter of Okinawan tradition, and culture, passed away on the evening of August 27th, in the midst of her family at home.  She has been a great supporter of Ukwanshin, and was one of our valuable assets to our local Okinawan history and culture.  She never asked or made herself to be recognized for her work that she silently did freely, at the Hawai`i Okinawa Center.  I went to visit her after talking over the phone early this month, to invite her as a guest to our LooChoo nu Kwa show.  She continually apologized for her weak health, and wished she was strong enough to attend.  Seeing her at the house was both hopeful and bittersweet.  Her frail frame was only brightened by her smile and warm welcome as we sat and talked in her living room.  She talked about all the work she still had to do, and how much she wanted to finish her book.  ”I have you folks in there too you know.  You folks are a few of the only ones who can pass on our culture.  I’m so happy its in your hands. We don’t have to worry.”  She then apologized again, and I just told her to get well ad we can bring the video to enjoy.  She just smiled and said she would be there in spirit and praying for a successful show.  She reminded me so much of my grandma shortly before she passed away.  June Arakawa is a confirmation of the richness of what our kupuna have to offer, but when they do leave us, they also take alot wih them.  She has confirmed the message of our show.  A show that she was actually a part of whether she realized it or not.  She has and always will be an inspiration to all of the Ukwanshin, LooChoo nu Kwa cast, as we find it more and more our obligation to carry the message of our kupuna out to the community untill it moves as many as possible to return to our roots and once again connect all of us again, even all the way across the ocean to other shimanchu around the globe.  Thank you June for all you have given us.  We are connected to you…we are all LooChoo nu Kwa!  Our condolences and prayers go out to the Arakawa family.  ”Tinsagu nu hana ya, chimisachimi sumiti, Uya nu yushigutu ya, chimuni sumiti.”

Laughter, tears and a flood of memories filled the Mamiya Theater for the LooChoo nu Kwa show. The cast was greeted with a standing ovation as the final curtain call began, and hearts became one with the message of remembering our ancestors and passing on what they have left us. On behalf of the cast and crew of LooChoo nu Kwa, we would like to extend our warmest ippei nifwe debiru to all our supporters and sponsors, as well as the audience, who helped to make this show an overwhelming success, and first of its kind in Hawai`i Okinawan performng arts history. We will have video available for this show. Please contact us via email. Also, we would love to hear your comments. We’ll also be posting pictures as they become available.Check out this link to view a clip of our show. Mahalo Bobby Estrella from Tri-star video.http://www.youtube.com/watch?v=FK20sV5KwIo

    Maui’s Pa’ia Rinzai Zen Mission’s obon fell on the day following U-kui, or the last day of the lunar calendar obon.  The festivities opened with a first tim ein Hawai`i presentation of usude-ku, by the women of the Maui Okinawa community.  This was a rare treat for everyone, as this kind of dance and ceremony is dying out in Okinawa.  The interest in it for Maui, gives a light of hope that this Okinawan tradition will be passed down.  Traditionally, usude-ku is performed by women of the community to ask for blessings of the ancestors.  It coincides with the obon observances, and is usually done the day after u-kui.  The chant used for the Maui dance was conceived by the members after watching Okinawa usude-ku and having a workshop on it.  The women participating, wanted to pass down this tradition, and hope that it will live on.  They were very happy to be the first in Hawai`i to bring this into the obon festival.  They weren’t any different from Okinawa ladies, who would dress in their finest kunji kimono, and be so excited and happy to get together and perform this for the village.  more and more in Okinawa, this tradition is changing to be modern, or in many places, just dying out due to the young women not wanting to take over.  It is a reality now that in about 10 years, this tradition may be extinct from village obon ceremonies.  It is encouraging to see the Maui community responding in such positive ways to the preservation of traditional Okinawan culture.  As the women came out, it was like being taken back to Okinawa, and seeing this happening before your eyes.  Hopefully this vision will continue for future generations to come.