Posted on 19 June 2010 | No responses
We’re off to a busy summer season, helping out the Young Okinawans of Hawaii with eisaa, bon dances in Honolulu. Also on the schedule is Lahaina Maui, Rinzai Zen Mission Paia, Maui with the Maui Ryukyu Culture Group, Hawi Jodo Mission with the Kohala and Kona Okinawa clubs, and ending in August with a workshop, concert, and eisaa, for the newly formed Las Vegas Okinawa Kenjin Kai. Please join us and remember to make your issei buttons with your issei, or grandparents photos who have passed away, so it will remind us of why we do eisaa, or bon dance.
Posted on 4 June 2010 | No responses
Children making kokeshi dolls
From June 1-4, the Maui Okinawa Kenjin Kai held its annual Okinawa Children’s Day Camp at the Maui Okinawa Center. “Warabincha”, children, were treated to an array of activities which helped them to learn about Okinawan and Japanese culture. Many of the things the chhildren got involved with, were hands on, and which allowed the participants to experience taste, touch, and visual. Their senses were probably in overload from the fantastic workshops they participated in.
Okinawa bingo
The mornings began at 9am, and went to 4pm everyday. On Friday, the last day, there was a pot luck dinner and presentations at family night, where the parents got to see the outcome of what the children did. Activities included cooking classes in which the kids experienced making a konbu dish, popo (Okinawan crepes), noodles(kinda like chow fun), and homemade ice cream. There were also arts and crafts where they learned how to make ikebana, paper daruma, kokeshi, and yakimono(pottery). Warabi Uta and Udui(Okinawan dance and music) was enjoyed, as well as Iaido (Japanese swordsmanship), and plantation and Okinawan style games.
Eating ice cream they made. "Ice cream...is that Okinawan?
The Maui volunteers, and coordinators are to be commended for a great job, and seamless efforts that gave the Maui children values as well as culture. Chibariyo! Keep it up Maui!
Some of the crafts by the warabincha
Posted on 30 May 2010 | 7 responses
"Kudai Kuduchi", finally returning to LooChoo
“Danju Kariyushi” played to a sold out audience that experienced laughter, tears, nostalgia, history, and connection to identity. Stories that many had heard in bits and pieces unfolded on stage and connected pieces that brought closure to some and enabled others to fit in the missing pieces to understand stories they had heard before.
Short clips of Okinawan style “kageki” or musical play drama, were incorporated and brought back fond memories to many in the audience that remember “shibai” that cam to Hawaii in the past and played at places like Farrington and Mckinley Auditoriums. ”It’s been so long since I saw shibai”, said one lady. ”Those scenes brought me back to the time,
Directing before the show
and I could feel the emotion” The audience didn’t know what to expect as characters entered from random areas, as the whole theater was used as the stage. The most awesome experience was the bonfire that looked so real and had smoke that rose and moved as if the message was being sent to the departing boat. Norman’s masterpiece was really something that people will talk about and remember.
Young protectors of our culture
Ukwanshin sends out its “Nifwe Debiru”, to Terry Sensei and Taiko Kai, for initiating this show, and inspiring a new challenge. Kudos also to the Young Okinawans of Hawai`i for their hard work and time in bringing to the stage “all male” local young men for Okinawan dance, and in representing the continuation of our culture for the future generation. Also to Terry Sensei’s two karate assistant sensei, Chris Lau, and Kevin Sakamoto in joining in with the Young Okinawans. Terry Sensei’s family also is commended for their hard work and time, and putting up with all the stress. Lee, Terry sensei’s daughter, did great in taking lead as stage manager. That task for such a complicated script was one that not many were vying
Telling a story through the heart
for. Thanks so much Lee. Ty, Terry sensei’s son, did a great job in leading the stage crew to have props on/off on time, and in working order. Mahalo again to Ty and the stage crew! Thanks to Jamie Oshiro for her always soothing and heart connecting voice and narration and is so important to the connection to the audience and emotion. Back stage assisting with costume and make-up was Jimpu Kai’s Yuki Shiroma and Grace Carmichael, as well as Teshin Kai’s Junko Bise, who helped with hair for some cast members. Kyra Tila, won the
Maui Taiko Kai gives us glimpse to the past.
hearts of the audience in her role as the little girl being sold. My students Takao Miyazaki, Shizue Afuso, and Hitomi Takahashi were absolute in their dance accuracy, as well as being flexible with other roles they were put into on short notice. Keith Shimabukuro brought us to realizing the distrought and loss as LooChoo’s king. He also reminded us of how hard the luna were on the plantation workers. Mako Willet added emotion with her voice, and came to join us all the way from Seattle. Christina, and Miki were also calm and excellent in adding to extra scenes. Christina’s weaving prop also was intricate and added to that short clip. The jikata, as usual..(Keith Nakaganeku, Derek Fujio, Derek Shiroma, Lynn Miyashiro, Richie Yamashiroya, Ka`eo Shiroma, Travis Oshiro) gave the traditional sounds and connection to music our ancesotrs have passed on to us. Norman’s lack of sleep, props, insistance to perfection, and foresight, is always a blessing and priceless as Co producer, director, musical director and technical director. Thank you to all the others such as ushers and volunteers who we couldn’t have done this without.
Mostly, “Ippe Nifwe Debiru” goes out to all of you who supported us and came to experience our
Modern day "Uekata"
story…well not really our story, but the story of our ancestors. ”Uyafwafuji…ippe nifwedebiru!” We should all now understand that we must work hard, and some suffering in our lives cannot compare to what those before us have experienced.
Please continue to keep in touch with us as we look forward to presenting you with more “adventures’.
Eric Wada
Posted on 28 May 2010 | No responses
A play and concert, “Danju Kariyushi” aims to reconnect Okinawans to their own history
POSTED: 01:30 a.m. HST, May 28, 2010
It’s happened to almost every American family whose roots extend back to another nation: The first generation arrives fluent in their ancestral language and steeped in their cultural heritage. Their children, born and raised in America, most likely grow up bilingual even if they speak only English outside the home. Jump forward a few more generations, and the family now speaks only English and is detached from all but the most basic elements of their ancestors’ culture.
Throw in a war or two in which the ancestral homeland is on the other side, and the cultural disconnect can become almost total — even in Hawaii.
Eric Wada, artistic director of the Ukwanshin Kabudan Okinawa Performing Arts Troupe, wants to change that. His group is partnering with the Hawaii Taiko Kai in presenting “Danju Kariyushi,” a combination stage play and concert, tomorrow at Leeward Community College. He hopes the production will pique the curiosity of fifth- and sixth-generation Okinawan-Americans about the experiences of the Okinawan people who first came to Hawaii more than a century ago and the culture they brought with them.
“You don’t hear of that anymore — about how hard the first generation had to work (in Hawaii). Family values and all of those things have changed, too, and the recognition of (cultural) identity has also changed,” Wada explained last Friday. And so, “Danju Kariyushi,” which combines theater with traditional Okinawan music and dance in telling the story of the Okinawan people from the Japanese invasion of 1609 through the establishment of the Okinawan-American community in Hawaii in the 20th century.
‘DANJU KARIYUSHI’Presented by the Ukwanshin Kabudan Okinawa Performing Arts Troupe » Where: LCC Theatre, 96-045 AlaIki St. » When: 7 p.m. tomorrow » Cost: $30 » Call: 497-4208
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“(We’re also) working our way through the immigration (period) and the reasons why (Okinawans) emigrated out from Okinawa because of the high taxes … and not being able to go back because they couldn’t make (enough) money here,” Wada said.
Okinawans had a particularly difficult time preserving and passing on their culture, he continued, because from the time Japan officially annexed Okinawa in the 1870s it set in place policies that would be considered cultural genocide today.
“There was a huge attempt at cultural genocide by the Japanese where the language was banned and Okinawans had to adopt the Japanese pronunciation of their names,” he said, adding that many other aspects of Okinawan culture — clothing and hairstyles, for example — were also suppressed.
“It kind of parallels the Hawaiian experience (after 1893), actually. For people here who know about Hawaiian history, it is very easy to connect with Okinawan history after that, (but) we’re finding a lot of fifth- and sixth-generation people here who don’t even care about Hawaiian history.”
Those anti-Okinawan policies carried over to Hawaii, where Okinawans sometimes felt compelled to adopt Japanese ways of doing things to avoid conflicts with the larger Japanese community here.
With each passing generation, the disconnect grows.
“One of the Cherry Blossom contestants this year said that she went to school on the mainland, and she felt like she was really ignorant about her background as an Asian-American because the Asian-Americans in California knew more about their background than the young Asian-Americans here,” Wada said.
He explained that the title of tomorrow night’s production is taken from a folk song that expresses the wish that a departing loved one will have a safe journey and return home safely. The lyrics embody Okinawan traditions of resilience and optimism, and although the song and the show are specifically Okinawan, Wada hopes it will encourage everyone to learn more about their ancestral roots.
“A lot people think the Asians in Hawaii are very connected to their background, but when you talk to a lot of them, they’re not really connected anymore. … The second generation, who’s our window to the past, that generation is in their 80s and 90s now, and they’re going to be gone pretty soon, so our message out to the young ones is that if we don’t get that information or start getting connected (culturally), that window is going to be closed.”
Posted on 17 May 2010 | No responses
Norman, Eric, and Terry depict "moashibi" in the plantation.
“Preserving Identity Through Music, Dance, & Stage”
Come with us on this historical, musical journey of our roots.
Have you ever wondered about the sugar cane fields that once spread over the Ewa plains and throughout the countryside? What happened to them and the people who worked there? What experiences did our first generation immigrants experience and what was their connection to their homeland? How are we, as 3rd, 4th , and 5th generations, connected to our roots and places of our ancestors? These are questions coming up and bring to the surface, the many experiences, visions and values that have almost been lost in our fast moving, self centered world. Could finding and understanding who we are help us? How many families sit and talk story about the “good ole days”, or our immigrants’ life, or where they came from? How many know of the deep suffering and often heart wrenching stories of immigrants who felt they let their families back home down because they could not save enough to return home? Many turned to drinking, gambling and even suicide. Why do we need to remember?
Scene from a rarely heard story of a mother selling her daughter because of the family's poverty.
“Danju Kariyushi” is a folk song that has been chanted and used for centuries in Okinawa, to send off loved ones on a safe journey. The lyrics speak nothing of the sorrows of parting, but instead, of joyful aspirations, hope, and anticipation for a safe journey and quick return. “Danju kariyushi” embodies not only the optimism and resilience of the Okinawan soul, but also an invitation to all to return home to their roots no matter where their journey takes them.
In this spirit, the Hawai`i Taiko Kai, under the leadership of Terry Higa Sensei, and the Ukwanshin Kabudan, Ryukyu Performing Arts Troupe, presents “Danju Kariyushi”. Incorporating theater with Okinawan music, dance and taiko, we will take a journey and recount key events in Oknawan history…from the Satsuma invasion of 1609, to the establishment of the Hawai`i community. Through this presentation we hope to not only share the struggles of our people to maintain our identity and pride, but also to celebrate our unique culture that has endured centuries of hardship, and which has come to Hawai`i from far across the Pacific. (Photos by Wes Kawachi)
The young generation takes up their obligation to pass on and protect their identity and culture.
Posted on 28 March 2010 | No responses
Okinawan family enjoying Shiimi at their family tomb.
The season of Shiimi begins on April 5th this year. Usually lasting from a week or two, families gather at gravesites or tombs to pay respects to the ancestors by offering food, incense, and burning paper money. For many in Okinawa, it takes up almost the whole day, and looks like a family picnic at the family’s tomb. Man also play sanshin and dance. Its like a small party with the departed relatives, and is observed around the beginning of spring.
This practice of Shiimi comes from the Chinese ChingMing, and is observed on the dame time according to the lunar calendar.
Tin Yau Yee honors his ancestors by spelling whiskey on the ancestral grave, April 1994. Photo: Doug S.Y. Young , Library of Congress,American Folklife Center
As many cultural practices that reflect the Chinese influence on Okinawa, Shiimi still one of the main observances that date back centuries, and still widely practiced today. Family members go early to clean and prepare the gravesite. Many have become elaborate, with tents, mats, tables for food, and even catered traditional foods.
Here in Hawai`i, we don’t see Shiimi practiced too much in our Okinawan community, partially due to the issei not passing this tradition down. many of the Okinawan traditions and language was lost or not practiced due to the prejudice the Okinawan immigrants faced after arriving in Hawai`i. They tried hard to assimilate in the already bad conditions of the plantations. Hopefully, we can revive and pass on this practice in Hawai`i, as a way to instill respect and honor those who set the foundation of where we are today.
Posted on 1 March 2010 | No responses
It was an eventful day, beginning with stress, worry and unsettling anticipation as all hawai`i awaited the arrival of the predicted Tsunami which was created from the 9.0 earthquake in Chile. Almost everyone in Hawai`i was alerted and shaken from sleep at 6am, with sirens that was the first real alert of the pending danger to come. Luckily, the Tsunami turned out to be only a few feet with non significant strength to do damage across the island chain.
With that out of the way, Kohala Okinawans went forth with their annual New Years gathering at the Hawi Jodo Shu Hall. The only set back and missing attendance was the Hilo group who had to cancel. However, Young Okinawans of Hawai`i members from Honolulu, Aaron Hoo and Lawson Kita brought smiles and excitement with the Shisa Mo-i. This was a rare treat for the Kohala members. Ukwanshin leaders, Norman Kaneshiro and Eric Wada provided music and jikata for the local dancers, Lois and Tah Ajimine. ”We were so overwhelmed and thankful” said Mrs. Nakamura(91) of Kohala. ”Its been almost 20 years since we really had live Traditional Okinawan music.” Many older members commented that they were happy to see live Okinawan entertainment that they had not been able to experience since their issei were there. The songs and dances brought back nostalgic memories and many talked to about the plantation days and started to remember the “old days” ”I never thought I would hear those songs again” said one older member.
Posted on 6 February 2010 | No responses
When Boa Sr, as she was known, died last week, she was believed to be about 85 years old. Her husband had died years beforehand, and Boa, whose name means “land” or “earth” in the Bo language, had no children.
In 1858, when the British decided to colonize the Andaman Islands and use them as a penal colony, they estimated that 5,000 Great Andamanese lived there.
“At first, the British didn’t notice any difference between the tribes,” said Sophie Grig, senior campaigner at Survival International.
But in 1879, a British officer named M.V. Portman was appointed officer in charge of the Andamanese, and after years of attempting to acclimate them to life as British subjects, Portman wrote “A Manual of the Andamanese Languages,” which distinguished the differences among tribal languages.
Portman’s own obituary, which appeared in The Times on Feb. 22, 1935, reads:
In many parts of the islands the natives were still either ferocious enemies or at best half-tamed; and his work consisted in making contact with them and very gradually bringing them to recognize the value of British rule.
“When people are dispossessed from their land and their way of life, they often turn to alcohol,” Grig said. “It’s not surprising, and it was very much true in the case of the Bo.”
In 1970 the Indian government began relocating the Bo to a settlement of concrete row houses on Strait Island. Boa Sr was moved in 1978, and Abbi said she often said that she missed her old life in the jungle.
Posted on 1 January 2010 | 1 response
Haisai Gusuyoo! Happy New Year and may you have a healthy and prosperous 2010!
Although we don’t actually welcome in the year of the Tiger till February 14th, many of us have , or are celebrating the start of a new decade. What will it have in store for us? Looking back at this past year for Ukwanshin, there has been so much to be thankful for and so many blessings on our work and the many people who have gotten involved with project Ukwanshin. It seems that there is a hunger for the culture and identity, and also for the reconnection to the ancestors who came before us and practiced our culture. Hope fully this will continue and grow stronger through this year.
One observation I did see though, that is a sign of the times in many families is the loss of families spending time, especially in the new year and also young ones staying with close family and friends to help make food and enjoy together. The sharing of food was very essential before to share whawts going on with each other, learn cooking and also to just spend time together. I’ve heard many Okinawans say that they don’t make the food that their grandparents or great grandparents did, because they don’t know how, or that the families don’t get together…or worse…”it’s too humbug”. Home made food..especially for this kind of time, is actually nourishment for our bodies, and also…for our soul. Okinawans beleive that something made by others has the spirit of that person, and is actually a gift that we take into ourselves when we eat. It ties into the belief of the weavers who made the cloth for their loved ones and beleived that the cloth was a sort of protection. I can see how valuable it was in the many songs that talk about food and how the elders made it for the children. References to the different foods and nostagia in being able to eat something that grandma made is very prevolent in many folk songs. This should not end there, but should live in our families and homes.
We look forward to being able to continue our workshops and programs, and wish you a safe and happy new year!
Posted on 27 November 2009 | No responses
"Yanaji" A lesson for life
“Yanajiwa miduri, Hana wa kurinayi, fwitu wa tada nasaki, nmi wa niwui”
Such simple words form the classical song “Yanaji”, but as many “ufu bushi”, classical music pieces, this Ryukyu poem expresses deep meaning that is so simple to understand if we look at the symbols it envokes. In these words, we can basically find so many answers to our problems and misunderstandings. Our ancestors understood this and have passed this down to us through the songs and dances, but due to the modern and technical interference, our sublime senses have been shut down and our human pride has taken over.
As we enter the new year of 2010, “Yanaji” holds answers to facing the new year, and to reconnect to our identity. It shows us our path and helps in making decisions. The words use nature to symbolize and remind us that we are part of a natural cycle. ”The deep green of the willow as it bends and sways shows values of humility and beauty. The deep red of the peony shows the aesthetic beauty which extends to our identity. As people, we must show compassion as a vital virtue, and the subtle but sweet smell of the plum blossom extends an invitation to be humble”
If we look around, nature responds to its natural cycle everyday. Even the smallest blade of grass, with the morning dew shining with the reflection of the sun, shows joy in the return of the morning and gives thanks to another day. We are not machines, but a being of nature that has a connection to our ancestors. I compare it to the 200 year old “matsu” or pine tree that stands strong on the cliff and grows greener every year as it endures winds, rain , heat and cold. It drops its seeds to create new generations which in turn become other pine that have the same identity of its parent. Its only when the identity through tampering from the outside is introduced , that the identity changes and sometimes leads to the demise. Each part of nature has its own identity and treasure to contribute to the world. If we can understand to keep connected and always refer to our roots, we may find it easier to cope, although we may find it hard at times since this is not the act of the majority. However, this is our contribution, and our natural obligation. ”Wakamatsi ya miduri, kugani hana sachuru, tani kara nmariti, yugafu churasa” The young pine is so green, the beautiful flower(child) blooms, from the seed we are born, how beautiful it makes the world.