View from the Palazzo suite

Ukwanshin Kabudan presented its first workshop, and Okinawan Cultural Celebration “Kariyushi” at the JACL Center.  It was one of the biggest events for both the fledgeling Okinawa Kenjin Kai and JACL.  A standing room crowd of about 200 filled the room as presentation of Okinawan intsruments, music and dances were given, in conjunction with examples of genres of dance.

Entitled “Kariyushi” Celebrating Our Culture, the festivities will be led by Ukwanshin Kabudan, and members of the Maui Ryukyu Culture Group. ” It looks like we will have to have a bigger one next year”, said Yuriko, one of the coordinators in Vegas, and member of the Vegas Kinjin Kai.  It was unexpected that the demand would be so great and quick.  ”It looks like it will be standing room only”, said Yuriko.

The Vegas Okinawa Kenjin kai is working very closely with the Vegas JACL for the event.  Its the first real official event for the fledgeling group, which was officially formed last year.  Before that, a few members of Ukwanshin and affiliates went to just play music and bring some live Okinawan culture to those who haven’t been able to hear or see it for almost 20-30 years.

Its really nice to see that hunger and appreciation.  Its there because they don’t have much and miss it.  Its that voice of the sanshin that touches someplace in the shimanchu heart, and connects all of us.  Ukwanshin launches on another journey, as we look forward to present what we have to share to this community in the middle of the Nevada Desert.  Umanchu suruti, Uya nu kutu umui.  kariyushi nu ashibi, uduti ashiba!

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

"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

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 3^rd, 4^th , and 5^th 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.

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.

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.