Posts Tagged ‘okinawa geidai’

Life on campus hasn’t been entirely uneventful – to the contrary, there was the Ryudai-gakusai (University Festival). Tons of booths with student groups selling food, or running other sorts of activities, to raise money for their clubs. Plus, eisa!


Today was another busy day of adventures down in Naha/Shuri. After staying on campus and just doing readings and otherwise “working” for most of the week, I felt it was about time for some new adventures. Plus, I just moved dorms yesterday, and while the previous place was a little more like a hotel, with most basic amenities provided, the new place is rather lacking in just a few certain basic things, a few of which I could not seem to find for sale anywhere in the immediate vicinity immediately around campus. Now that I’ve explored a little further, I’ve found a supermarket, more convenience stores, a few large drug stores, a kaiten-zushi place, a “family restaurant” with a nice (if basic) variety of both Western/Italian and Japanese dishes, and quite a few ramen places. Even found a store that sells almost nothing but Magic: the Gathering cards. But trying to buy a basic cooking pot (saucepan) – let alone a frying pan, rice cooker, electric tea kettle, or used bicycle (in decent condition, for a reasonable price) – was proving rather unsuccessful.

I considered that I could go almost anywhere today, and so long as I made sure to hit a home goods store (to pick up a cooking pot at the very least), I’d be good. There’s a typhoon on the way – they say it has the potential to be really quite bad; I really hope it isn’t… – but if I do have to hunker down and just survive through a storm, I need a cooking pot. So long as I have water and gas, even if I don’t have power, I can have ramen, spaghetti, etc. So, I was thinking of maybe going to Futenma (to hit the temple I missed that’s right next door to the Futenma Shrine), and then making my way the relatively short distance from there to Nakagusuku, to see Nakagusuku castle, and the Nakamura House (one of a handful of serious historical house-type establishments on the island). A second possibility was to take a bus way up to Katsuren, check out Katsuren Castle, and also the small Yonagusuku local history museum where they’re currently displaying the Roman & Ottoman coins that have so made the news this past week. And just make sure that before I catch a bus back down towards campus that I hit up a home goods store. The third possibility was to go out to Urasoe, a city just a little ways west of here, and just north of Naha, where I could visit Urasoe Yodore – the graves of several of the kings not buried in the royal mausolea in Shuri – and whatever else might happen to be in the area. In the end, I decided to put all of these off to instead just go into Naha.

The torii for Sueyoshi Shrine, leading the way into Sueyoshi Public Park.

The regular public bus (#97) from campus happens to let off at Gibo, so that was plenty convenient, to just get off there and hike up towards Sueyoshi Park. First, I thought I’d go looking for the grave of Haneji Choshu, aka Sho Shoken, an 18th century Confucian reformer who is easily one of the most prominent figures in the kingdom’s history. The grave is supposedly right outside the park somewhere… I didn’t manage to find it on my last visit, and spoiler alert, I didn’t actually find it today either, though I was certainly a lot closer. Following Google Maps, walking up the small residential side street that runs roughly along the northeast side of the park, you’ll see a small path to the right, hemmed in by a fence, leading upwards away from the homes. There’s a sign about it being a wildlife area. This is the path to follow – if you stay on the streets, you’ll just hit a cul-de-sac / dead end. Follow this path up a little ways, until you find a whole group of stone tombs. Haneji Choshu’s tomb is supposed to be somewhere in here. At least according to Google Maps, if you keep going deeper into the unpaved, woodsy path, you’ve gone too far. Though maybe you do need to go that way; maybe it doubles back eventually or something. Or maybe the pin-drop from the one website I got it from was mistaken. I dunno. But I explored that one group of tombs – carefully and respectfully – and according to the pin-drop was in precisely the right place, but still didn’t find it. I dunno.

(Now that I’m on the computer writing this up, I’ve zoomed into the map further, and realized it looks like its a bit deeper in the woods – maybe one needs to enter through the gate I found closed along the path. But I’m certainly not going to open a closed gate – not going to risk entering private property; in any case, it does look like it’s a bit of a ways into the woods, not immediately among that group of tombs, so no wonder I didn’t find it. And I’m certainly not climbing through the underbrush – which may be full of deadly venomous snakes – just to find some historical site.)

I’m a little annoyed and disappointed, especially after walking all that way, but at the same time, if I had found it, then what? Just to have a picture of it, just to be able to include on this here blog post, and on the Samurai-Wiki, and so forth? I mean, I still really like the idea of having been to a place myself, to have my own photos, to not just be using whatever I find on the internet. But, at the end of the day, what difference does it really make? And most especially, if by chance I had encountered a habu (pit viper) in there, or gotten in some other kind of trouble, then even if I had found the tomb, would it have been worth it? I dunno, maybe I’m just getting over-cautious, over-worried, un-adventurous in my old age. In any case, I found a way out of the cemetery area out a different side, right into a residential neighborhood. For anyone looking to find Haneji Choshu’s tomb yourself, I would suggest you might have an easier time of it this way, rather than going up that slightly (just slightly) worrying side-path up and up and up alongside that fence… but, then again, I never did find the exact right tomb, so who am I to say which path is the best one?

The main hall of Sueyoshi Shrine.

Giving up on that matter, I moved on to the next task. Fortunately, this one turned out to be quite easy. The last time I came to Sueyoshi Park, I had a hell of a time finding Sueyoshi Shrine. The park overall is far more densely forested than most parks I’m used to, and involves lots of narrow winding paths that are, well, they’re certainly maintained to some extent – they’re not wild and overgrown – but they’re not nicely, cleanly, manicured or whatever either. And signs pointing around the park are fairly minimal; or at least, that was my experience, entering the park from the south and not realizing the shrine is all the way at the northern end. I just wandered and wandered, sometimes not even knowing what was and wasn’t an official path… and never did find the shrine. This time, though, today, after leaving the cemetery via that small residential neighborhood on the north side of the park, I simply walked along that quiet suburban street, until only a block or so later I found a gateway indicating the way towards Sueyoshi Shrine!!

Well, that was easy. Follow the path in away from the street, and up a few steps, and there’s a beautiful plain wooden torii (above), followed by a rather steep stairway (with a nice red metal handrail) leading down into the park, as if descending into a cave or something. But, at the bottom of the stairs, bam, more or less right there, suddenly, is the stonework of the bottom of the Shadan (“shrine platform”). Steps lead up from there to the main shrine buildings, and there you have it, Sueyoshi Shrine. I’m not sure how much of this is original, and how much is postwar reconstruction – I’ll have to read into it; I wouldn’t be surprised if a lot of the stonework is original, or repaired, and if the slightly run-down looking shrine office building were a prewar survival, I would be surprised, but I could certainly believe it. The main shrine building, though, looks far too nice to be pre-war. Then again, it could be, just repaired and restored and repainted. In any case, it’s a gorgeous building. Really impressive. I’m so glad to have finally found it. I’ve now been to seven of the “Eight Shrines of Ryukyu.” The only ones outside of Naha/Shuri are Futenma Shrine, which I visited in the last blog post, and Kin Shrine, way up in Kin Town, which will have to be a day trip of its own one of these days. I don’t know the full story behind who chose those eight or when or why, but it’s certainly interesting to me that Kin Shrine, of all the provincial (so to speak) villages and towns on the island, got chosen. Returning to Sueyoshi, I’m also a little unclear as to whether it’s considered an active shrine today – the shrine office was labeled as such, and seemed to have protective charms (omamori) and other things stocked… but, then, why were they not open? And the shrine building itself, looks quite nice, restored & repainted and whatever, and there’s also a donation box out in front – and a sign explaining procedures for worshippers. So it would seem active enough – but, then, why do the signs leading into the park from the street say 「跡」, meaning “ruins of” or “former site of” the shrine, rather than just saying “this way to Sueyoshi Shrine” (without the “ato”)? Maybe it’s that even with the building restored, the spirit is not considered to reside there anymore? Maybe there are actual physical objects of worship that were lost, destroyed, or relocated? Or maybe even without physical objects of worship, there had been some ceremony of relocating or disbanding the shrine? Whatever the case may be, it’s a truly beautiful sight. I definitely recommend you to go check it out if you’re visiting Naha.

I then left the shrine to make my way to Shuri Tônokura-chô, for an exhibit of artworks by professors at the Okinawa Prefectural University of the Arts. The exhibit closes next week already, so I’m glad I decided to go into Naha today, and caught it. Of course, they didn’t allow me to take any photos (*fist shake!*) but on the plus side, they did give out a nicely produced catalog of the exhibit for free, so that’s something? I still really would have preferred to take my own photos – I don’t know the precise ins and outs of copyright law, especially across Japan + US copyright law both, regarding posting my own photos online of someone else’s copyrighted work, but that’s still gotta be better, at least to some extent, than just scanning photos out of a catalog… Anyway, I wrote a comment card about it. (Also, see this great Tweet / post about photo policies at libraries/archives.)

I think I’ll write a whole separate post about this exhibit, but for now let me just say that I’m really looking forward to more engagement in future with local art events like this, by local artists, getting a sense of what’s really going on, right now. And maybe, just maybe, by the end of these six months, getting to be just regular enough an attendee at such things that some people might start to recognize me, to know me..

Leaving the University of the Arts, I decided to walk over to Omoromachi, seeking to stop at a home goods store which Google Maps said was along the way. Somehow it ended up being a much longer walk than it should have been – or at least it felt like it. Then again, a 30+ min walk maybe just feels that long…

The main hall of the Shuri Kannon-dô, aka Jigen-in.

But, along the way, I stumbled upon the Shuri Kannon-dô, a Buddhist temple I had seen on my first trip to Okinawa, some eight years ago, but which I decided to check out again. I don’t really remember that first time too well, but I feel like maybe I didn’t explore the grounds much at all (perhaps because it was raining) – as familiar as the gate looked, once inside nothing rang a bell. It’s a gorgeous little temple, clearly very well-maintained and/or recently restored. And while I don’t normally venture all the way inside, the doors were wide open and welcoming, so I went inside and actually saw the object of worship – the 1000-armed Kannon – and also bought a little protective charm (o-mamori) for safe travels.

This blog is named for the classical Ryukyuan song “Nubui kuduchi,” a song which tells of the journey from Ryukyu “up” (nobori, or nubui) to Kagoshima. The very first line of the song references exactly this temple, which is why it was particularly cool to visit. As the song says, 「旅の出立ちに、観音堂、千手観音。伏せ拝で、黄金尺取て、立ち別る」 (tabi nu njitachi ni, kwannun dou, shinti kwannun. Fushi wugadi, kugani shaku tuti, tachi wakaru). When departing on a journey, [first we visit] the Kannon Hall, the 1000-armed Kannon. And, while I have no doubt that the temple, and quite possibly the Kannon statue itself, were lost in the war, and that all of this is quite likely quite new, nevertheless, in name and in spirit it carries on as a rebuilding of that very same temple – the same one Ryukyuan scholar-aristocrats prayed at before leaving on their journeys to Kagoshima. I put my hands together, bowed my head, closed my eyes, and said a quick prayer to Kannon, for safety in my journeys here in Okinawa, and beyond, over the rest of the year.

I then finished walking to Omoromachi. I had been thinking of going to the Prefectural Museum to check out an exhibit on Okinawan “folk arts” (mingei), but I just wasn’t in the mood for more intense reading Japanese at this point.

The rest of the day was rather uneventful, so far as history & culture are concerned. I found my way to the home goods store, and bought a pot (saucepan), frying pan, and a couple of other things. My kitchen is now much more well-equipped. Although I did realize later that night I still have no napkins, paper towels, dish towels / hand towels, or a sponge. No sponge to wash dishes with. Idiot.

There’s a bit more to say – not much – but as this post is getting quite long already, I’ll post a continuation another day.

Except where indicated otherwise, all photos are my own.

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I still have a few posts to post about our “field trip” day, but for now, I think it about time that I skip ahead and post the following, which I wrote on my last evening in Okinawa this summer.

The main worship hall of Azato Hachimangû.

Monday, Sept 20. Okinawa.

Boy, today was incredible. After doing some laundry, packing my bags, and otherwise just coordinating things to get ready to fly out tomorrow, I poked over to Azato Hachimangû, one of the Eight Shrines of Ryukyu, which turns out to be quite close to my hotel. Had things gone a little differently, I might have actually seen three of the Eight Shrines today – and having already seen four on my previous trip to Okinawa, that would leave only the one, Kin Shrine way up in Kunigami. But, even having not seen those other two today, it’s okay.

Azato Hachiman Shrine was quite small, and just sort of tucked away in a residential neighborhood. So, my trip there was quite brief, just a sort of check it off the list sort of thing. By then it was already 10am or so, maybe later, I don’t remember, and I was trying to catch a bus at 12:23, so I knew I didn’t have too much time to do too much else. I had been thinking of going to the Okinawa Prefectural Library, to try to see if I could take a look at some original (primary source) documents, or to at least see what was on the shelves and get a sense of some books I didn’t previously know about, maybe make some photocopies. But even just walking there and back might have taken up the great majority of the time I had, and looking at books or documents could very easily take far more time than I had.

So, I decided instead to head over to Sueyoshi Park, to try to see Sueyoshi Shrine, another of the Eight Shrines. The park is fairly large, and situated right between Gibo and Shiritsubyôinmae stations on the monorail; what I didn’t know is that the park is actually quite mountainous, that there are very few signs or maps once you get into the park, and that the shrine is way over on the far side. Of course, if I had bothered looking closer at my map, or at Google Maps, rather than just heading out, I might have realized this. But, that’s the way it goes sometimes. I got into the park, and just sort of took a path, up, knowing that shrines tend to be located at the top of hills more typically than lower down, and basically just taking my chances. The staircase ended at a dirt path roughly cut through the greenery… I decided to check it out, and soon found a small stone sign, indicating the site of a princely tomb called Ginowan-udun – just a sign, along a forested path, with nothing else of any ruins or structures immediately visible. Cool, I thought. Nothing much to see here; clearly nothing much remaining of the site, but cool to know it was here. But I kept walking, and a stony path emerged, along with an old-looking stone wall. So we’re no longer walking on just pure dirt any more. And then, then, I see a much more serious-looking stone wall, and a set of stone steps leading up through the wall. Oh ho. What is this now? I turn the corner and get a better look, and – whoa. A very large traditional-style Ryukyuan “turtle back” tomb. Wow. I’m not sure the picture does it justice. To stand there, before this immense thing, so relatively intact and so hidden amongst the forest of this public park, just sitting there, hidden… well, it was quite a feeling. And I certainly would never have found this site except just by luck, as I did.

I then poked around a bit longer, in the hopes of finding Sueyoshi Shrine, but eventually had to just give up, as I found myself all the way over at another end of the park, and yet still completely the wrong side, having never come across so much as a sign or pointer towards the shrine.

I made it back to my hotel just in time, pretty much, to catch the bus. I had left a fair bit of time, but after walking the extra three or so blocks to the post office, waiting in line for the ATM, walking back to the general area of the bus stop, asking at a major hotel right in front of the bus stop about just where exactly the bus stop was, how to pay for or get on the bus, and whether or not I need a reservation, and finding them utterly uninformed, I ended up finding the bus stop on my own with literally something like 1 to 3 minutes to spare. Fortunately, the bus came ten minutes late. So, yes, by the way, if you’re ever in Okinawa, and looking to get to certain parts further north, the Yambaru Express Bus is actually a really easy and relatively inexpensive way to get to Kakazu (Ginowan), Nakagusuku (that is, the Nakagusuku bus stop on the side of the highway; I’m not sure about how convenient this is for getting to the castle), Nago, Motobu, Nakijin, and Unten Port (and to the aquarium, I’d imagine). It doesn’t run too often – today, if I had missed my 12:23 bus, the next would have been at 3:something PM; and on the way back, there were buses at 4:20ish, and 6:05, which was the last one for the day. Glad I got a ride back instead of having to deal with that. But, you don’t need any reservation, you just get on, take a ticket that shows where you got on, and then a display screen on the bus shows how much you need to pay for each exit. So, for example, when I got on, the ticket showed a number 4. Then, when I got off at Nakagusuku, the screen said “1: 500 yen, 2: 450 yen, 3: 430 yen, 4: 430 yen” or something like that, and so I paid my 430 yen, or however much it was. So you just drop the right number of coins, along with your ticket, in the collection box on your way off the bus. It’s a nice cushy tour bus style bus, and takes the highway, so it actually goes quite quick – got me to Nakagusuku in 20 minutes. Going all the way to Unten will take the better part of three hours, and as much as 2000 yen (approx. US$20), but, still, it’s good to know that it’s so relatively easily doable – renting a car to get around Okinawa is not as 100% required as I had been led to believe. Now, sure, 3 hours each way doesn’t make for a good day trip, so I don’t know about taking this bus just to go to the aquarium, all the way from Naha, but if you need to get to Unten to take a ferry to Izena or Iheya Island, where you’re going to stay overnight (I’m told you kind of have to, the ferries run that infrequently), it could be worth it. Or, just to get up there to then mosey around that part of the island for some time…

Anyway, returning to my story of today, I had met Garrett Kam, a fellow UH & EWC alumnus, the previous week, and Garrett, a dancer of traditional Javanese and Okinawan forms, had let me know about a kumi udui performance going on in Ginowan, at 2pm on Monday (“today,” the day I’m talking about).

Right: a poster for an April performance of Yukiharai at the National Theatre Okinawa. This was the same performance, by the same troupe/school, which I saw that day in September.

Kumi udui, to put it quite simply, is the chief traditional theatrical form of Ryukyu. It draws influences from Noh and Kabuki, and to someone more familiar with those forms, like myself, it definitely bears resemblances to both, and fits somewhere between the two, featuring bold colored costumes like kabuki, but also very slow, drawn-out chanted speech, and subtle movements, like Noh. It also has some connections with Chinese and Southeast Asian forms. I had seen kumi udui before on YouTube, but never in person, so this was very exciting.

Ginowan City Hall, right next door to the shimin kaikan (Community Center) where the performance was held.

I got to Ginowan about an hour early; less, really, once one takes into account the time it took to hike up into town from the Nakagusuku bus stop, which is right on the side of the highway, near a highway rest stop. Still, I had some time to spare, so I stopped into a local bookstore called Miyawaki Shoten (now that I look up the website, I realize it’s a national chain, not even based in Okinawa), thinking, oh I’ll just see what they might have. Turns out Miyawaki’s “local books” (read: Okinawan history, culture, etc.) section is quite good, including full runs of several series I’ve only seen bits and pieces of before (e.g. a series of short, popular history 1000 yen books on each of the kings of Ryukyu), as well as other books I’d never come across before at all. Resisting the urge to buy more than I could fit in my luggage, I ended up with just one thing, a thin volume of the magazine Momoto, focusing on sites in mainland Japan related to the Ryukyuan missions to Edo (how perfect, given my research topic!). Momoto seems a really excellent magazine – each issue is quite short, so without actually reading them I couldn’t actually say just how thorough or actually informative they might be, but on the surface, they do seem to cover a good range of topics, with issues on Shuri, on Naha, and on Reversion (in 1972), though some of the earlier issues focus more on Okinawan lifestyle and the kinds of things that don’t really pertain so much to my interests. But it’s a relatively new magazine, just a few years old, and on the surface (yes, I am judging books by their covers. What of it?), they at the very least have very nice design aesthetic to them, plus I’m just taken, so to speak, with the idea of such an Okinawa-specific magazine.

I had thought about exploring the town a bit more, maybe trying to see something of the outsides of the highly controversial Futenma Air Base, which is right there, occupying the center of the town, and thus was never more than a few blocks away from the places I was today; I was also thinking of trying to make my way to Futenma-gû, or Futenma Shrine, another of the Ryukyu Eight Shrines. But, time was pressing, so I skipped all of that and just made my way to the Ginowan Shimin Kaikan (which they translate as Civic Hall, though it really means something more like “citizens’ meeting hall). Turns out it was not a public or publicly accessible performance, but rather a performance in conjunction with the annual meeting of the pension “friends” group of the Ginowan branch of a Japanese Agricultural Coops organization (JAおきなわ・宜野湾支店 年金友の会), or something like that.

Not really understanding what was going on, I went in and explained I didn’t have a ticket, and asked if I could buy one, and to my surprise, the fellow asked me immediately, “Garrett-san?” “Ah, no. Garrett-san’s friend,” I answered, and before I knew it I had been taken to the actors’ dressing room (!!). I spoke with them very briefly, and got to take some pictures and watch them put on hair and makeup, as they very kindly and generously allowed me to just sit there and watch as I waited for Garrett. I suppose I should have taken greater advantage of this, to stay longer and see more of the process (and get more pictures) – as it is, I only have pictures of some earlier / middle stage of the process, which is still super cool; I can’t imagine I’ll ever see such a thing backstage at Kabuki-za, for example. But I don’t have pictures of any later stages, or indeed of the costumes at all, since I presumed there were no photos allowed during the performance. Sadly, since it was this weird special private event, there are also no posters, flyers, or websites about the performance to keep to help remember it, nor to share with you.

So, I went outside to wait for Garrett, and he eventually came, and he was then invited backstage again, to say hello to the Sensei, who he had met some years before. I managed to tag along.

The show itself was interesting, and quite enjoyable, though considerably lower energy than Kabuki can be – in this respect, it’s not so much “entertaining” in a direct way, but rather something you appreciate, or try to appreciate, as a cultural expression, as a practice/performance of a traditional form. The story, a new interpretation of a relatively traditional story, was at its core about a young woman whose mother has passed away and whose father has gone off on official business. Her evil stepmother, very much in Cinderella-like fashion, forces the girl to do difficult household chores, in the snow, without an outer kimono (i.e. it’s quite cold). Why there’s cold and snow in a Ryukyuan play, beats me. But, she eventually collapses due to cold and exhaustion, sees the ghost of her mother, and is then found, collapsed, by her brother, and then by her father. I may be missing a few bits, but basically, in the end, the father gets upset with the stepmother, and makes to kill her, but is stopped by the children, and they all make up (somehow) and become a happier family, the end. The chanting and movements were quite slow, highly stylized, and minimalist, like in Noh, but of course quite different in style, coming out of distinctly Okinawan traditions, and being chanted in Okinawan language (Uchinaaguchi). The costumes, though, unlike in Noh, were brightly colored, and quite beautiful. The young woman wore a white bingata robe, covered in multi-colored patterns, and under it, a red underrobe, while other characters wore similarly bold costumes. The musical ensemble – sanshin, kutu, drum, and I think maybe a few other instruments, played classical (koten) Okinawan music as I am familiar with, though no specific pieces with which I am familiar. … I’m not sure what else to say about the piece exactly. I am quite glad to have gotten to see it, and certainly look forward to seeing more kumi udui in the future. At first go, it’s certainly not as captivating as Kabuki can be, but then, it was only on my Xth time seeing Noh that I first had a real sort of “experience” with it, having/gaining a certain insight, a certain appreciation, that I hadn’t appreciated before. So, maybe after seeing kumi udui a few more times…

A video of Garrett’s “Okijawa Hi Sigh” dance piece, combining Javanese and Okinawan elements. Thanks for filming & sharing this video to YouTube user angeline158.

Garrett’s friends Chiyo and Yuko-san then gave me a ride, driving us all to Okinawa University of the Arts (Okinawa Geidai), where Garrett shared one of his fusion Javanese-Okinawan (“Okijawa”) dances with the gamelan circle. I was quite thrilled to get to come along, having passed by but never actually been inside Okinawa Geidai campus, and more to the point, having heard – years ago – of the Okinawa Geidai gamelan group, which takes advantage of the musical similarities between Javanese and Okinawan musical forms, scales, and such, to play Okinawan music on the Javanese instruments. I don’t really know why, or how to express it, but ever since hearing about this, I just wanted to visit and meet this group, and perhaps even play with them, so badly. And today I got my chance. And not only that, but somehow I’d had an impression that this was a very serious group – this is Japan after all, and an arts university – and that any interactions with them I might ever have might be highly formal, and sort of exclusive – like trying to talk to them after a performance and them being, understandably really, too important and too busy to care what some random white guy grad student wants to say. Maybe I’m dragging this out too long, making too much of it. But, in any case, in the end, today at least, with the gamelan circle (a student club, not a formal class), it was just about as laid-back, friendly, and welcoming as could be. After Garrett shared his dance, we practiced trying to play that song a few times, and I actually got into it, despite having not played gamelan for several years; I’m no good at it, of course, but so long as you’re just repeating over and over, it’s not so hard to get into the pattern, and that’s where it becomes wonderfully meditative and kind of relaxing, as you just play 3, 2, 3, rest, 7, 5, 7, rest, 7, 3, 2, 3, …. going through X sets of four notes each, at a regular pace, and then repeating the whole X sets, around and around, as it gets a bit faster, and a bit slower, again and again, until finally coming to an end.

The Okinawa University of the Arts gamelan group performing a Tanabata concert, July 2014. The piece I’ve cued up here is a version of the classic Okinawan folk song Asadoya Yunta, performed as you can see on a combination of Okinawan sanshin and Javanese gamelan.

These are the kinds of adventures/experiences I dream(ed) of when I think about continuing my involvement in academia. To get to meet and speak with someone like Garrett Kam, who’s doing such exciting fusion work, and who is so knowledgeable and thoughtful about multiple cultures and about their co-mingling; to get to go backstage at a kumi udui performance at the Ginowan Shimin Kaikan of all places; to get to hang out and even practice with the Okinawa Geidai gamelan group… as I’m not as directly, explicitly, involved in the arts as some people are, who knows if these kinds of experiences or opportunities will come as frequently or as easily as they might otherwise, but here’s hoping that they do continue to come. In particular, if the Okigeidai gamelan group is indeed as laidback and welcoming as they were today, here’s hoping that if/when I find myself in Okinawa for a more serious length of time sometime, that I might be able to join them more regularly, practicing together, and just building networks and friendships, and some sense of actual belonging & involvement at such a place as Okinawa Geidai… what a thing that would be.

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