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MaryAnn YoungWelcome students, colleagues, and innocent by-standers! |
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June 20 Return from South Korea, Video Editing, and Conference Preparation Return from South Korea My husband and I returned on April 30th with our son, Rai Yun-Taek Young. Rai is adjusting quite well, but it has been a chaotic few weeks as we all adjust to our new lives together. More information on his arrival can be found on our family blog at: http://maryannandaaron.blogspot.com/   Video Editing The video editing is now reduced to approximately 5 hours of video clips from the following festivals:
Conference Preparation My recent conference paper proposal entitled "Natsu Matsuri: A Performance-Centered Approach to the Role of Music in Summer Festivals of Asahikawa, Japan" has been accepted for the Association for Asian Studies Southwest Regional Conference in October. Although the analysis is not nearly as far along as I had hoped, the approaching deadline will push things along more quickly. The narrowed scope should also help focus the video and audio editing for the context of the conference presentation. Updated Pictures of Our Son, Rai Below are the pictures, we just received of our son this month:   If Rai's visa is issued next week, we will travel on Saturday, April 18th and arrive the following Saturday. If not, it will be another long week of waiting (and grading and course preparation). April 02 Fieldwork Updates and Upcoming Summer Courses (MUSI 1306 and 3322)Fieldwork Updates Video Transferring Much of this semester has been hectic with preparations for our travel to South Korea to adopt our son. Since we did not travel over Spring Break, I was able to take some time to dedicate toward video editing, but there is much more to do. The fieldwork videos are now transferred to 17 DVDs focusing on the Kamikawa Jinja Matsuri (Shinto festival) and the Asahikawa Natsu Matsuri (city festival). I do have footage from a neighboring festival, the Furano Heso Matsuri and a meeting with a Noh mask maker from Hokkaido, but these events fell outside the original fieldwork focus and will play smaller roles in the analysis for now. Next Steps
Summer Courses In addition, I am currently preparing my summer music courses at UT-Dallas:
Updates on the Adoption Front Thank you to everyone who has kept up with our adoption process. We hope to travel this month and return with our son, Rai Yun-Taek Young. For additional information and pictures, please visit our adoption blog at http://maryannandaaron.blogspot.com/. March 22 Theatre Nohgaku Residency in Dallas, TXNearly two years ago, I had the pleasure of studying under Richard Emmert (http://www.theatrenohgaku.org/abouttn/bio_mem_richard_e.php), an American professor of noh in Japan and member of Theatre Nohgaku, through the Noh Training Project (http://www.bte.org/index.php?page=noh-training-project), a three-week intensive training on Japanese noh theatre. Much of this training became invaluable during my fieldwork as many people, including Shinto priests, showed their curiosity in my understanding of noh. This month, I have the pleasure of announcing Theatre Nohgaku's residency at SMU with various events in the Dallas area. Theatre Nohgaku's mission is to "create and perform English language noh, both new works and traditional noh in translation, and occasionally perform traditional noh in Japanese or a combination of Japanese and English" (http://www.theatrenohgaku.org/abouttn/mission_e.php). The residency began with an opening lecture by Richard Emmert and John Oglevee and will various events through April 7, 2009. On Monday, March 23rd, Richard Emmert and John Oglevee will give a lecture/demonstration at UT-Dallas (http://ah.utdallas.edu) from 7:15pm-9:45pm in the UT-Dallas Theatre, free of charge. I encourage all who are interested in noh or even Japanese culture to attend. For a full schedule of residency events, please visit http://www.jasdfw.org/pages/nohgaku.htm. RICHARD EMMERT is
an American who has studied, taught and performed classical noh drama in Japan
since 1973. Emmert is a certified Kita school noh instructor, and has studied
all aspects of noh performance but with a special concentration in movement and
music. In Japan, he is a professor at Musashino Women’s University in Tokyo
where he teaches about Asian theatre and music. In Tokyo, he also directs a
semi-intensive, on-going Noh Training Project for English speakers. In the
summer, he leads the intensive three-week Noh Training
Project (http://www.bte.org/index.php?page=noh-training-project)
in Bloomsburg, Pennsylvania sponsored by the Bloomsburg Theatre Ensemble.
Emmert frequently writes and speaks about noh both in Japanese and English, in
and out of Japan, and co-authors with Monica Bethe a series of noh performance
guides which are published once a year from the National Noh Theatre in Tokyo.
Emmert has led extended noh performance projects outside of Japan directing
student noh productions at the Theatre Training and Research Programme (TTRP)
in Singapore (2002), Emory University in Atlanta (1999), the University of
California, Berkeley (1997), the University of Sydney (1984, 1989,1990), the
School of Oriental and African Studies at the University of London (1991),
Earlham College in Indiana (1988), the National School of Drama in New Delhi
(1987), and the University of Hong Kong (1995). He has conducted numerous other
short-term workshops. Emmert has composed, directed, and performed in several
English noh performances including William Butler Yeats’ At the Hawk’s Well,
Janine Beichman’s Drifting Fires, Arthur Little’s St.Francis, and Allan
Marett’s Eliza. Selections of these have been released by the Japanese Teichiku
Records in a CD entitled noh in English. He also is the founder and director of
Theatre Nohgaku, a troupe made up of English speakers proficient in noh and he
led the troupe in their first performance tour of At the Hawk’s Well in the US
(Fall, 2002) in collaboration with Theatre of Yugen of San Francisco. Emmert
was the artistic director of and a performer in a multi-cultural performance
called Dragon Bond Rite with performers from Japan, Korea, Indonesia, India,
and Tuva. Conceived and composed by Jin Hi Kim, Dragon Bond Rite was performed
in June at the Japan Society in New York, the Walker Art Center in Minneapolis,
and the Kennedy Center in Washington D.C. in 1997 and at the Hong Kong Festival
of Asian Arts in 1998. He also composed the score and played the nohkan flute
in Erik Ehn's Crazy Horse with Theatre of Yugen in September 2001. JOHN OGLEVEE is an actor/performer/musician currently based in Tokyo. He has
been studying, performing and teaching noh since 1996 under the tutelage of
Richard Emmert, Omura Sadamu, Kama Mitsuo and Akira Matsui. He holds a BFA from
New York University’s Tisch School of the Arts in drama. Apart from noh, he has
performed extensively, as an actor, in the New York City area, Europe, North
America and Asia with a variety of companies. These include: Richard Foreman’s
Ontological Hysteric, Peter Schumann’s Bread and Puppet, Min Tanaka’s Maijuku
and GAle GAtes et al, of which he was a founding member. He has also worked
with directors Melissa Kievman, Ian Belton in theatre works as well as John
Bruce on a film project yet to be released. Recently he has had the pleasure of
performing in: The Three Sisters Never Performed as well as the award winning
Daruma Falls Down with Yoji Sakete’s Theater Company Rinkogun. Both pieces
toured extensively in Japan. Past credits include: the final performance of
GAle GAtes et al. entitled The World at the Whitney Museum in New York, Theatre
Nohgaku’s American tour of At the Hawks Well, Theatre of Yugen’s Crazy Horse,
an original piece entitled Home at Theater X in Tokyo, as well as the role of
Johanne in a Japanese language version of Salome. He can currently be heard on
Japnese radio on NHK’s Kiso Eigo 2 and on the show Iron Chef in North America. |
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