Two Japanese actress friends of mine here in NYC (note: this is all of the Japanese actresses I know in NYC) are involved in this theatrical production in honor of the one year anniversary of last year’s massive disaster in Tohoku. I’ll be going.
Join us on Sunday March 11, 2012, the one-year anniversary of the earthquake that devastated Japan’s Tohoku region, as we join theaters nationwide to present works by major American and Japanese theater artists. The Japan Playwrights Association will disperse the proceeds from this one-day-only event to the Japanese theater community affected by the disaster.
Exclusive reading performance of original Japanese scripts of Yoji Sakate, Oriza Hirata, Toshiki Okada and more! SAVE THE DATE and share this one-day only event with us!
Many thanks to the La MaMa Theatre for donating their space for rehearsal and performance of this event.
Sunday, March 11th at 2:30PM
Suggested donation: $10
R.S.V.P Seats are limited. Please make your reservation at
あの未曾有の東日本大震災から１年目を迎える２０１２年３月１１日、多くのシアター関係者によって開催される 「震災:SHINSAI Theaters for Japan」に参加致します。シアターコミュニティーの仲間による、 日本の被災地の仲間たちへのシアターパフォーマンスを通しての支援です。この特別な日のために寄与された日米の劇作家からの プレイを通し、集い、語り、繋がります。
Despite being one of the most famous incidents in all of human history, there is still a surprising amount of speculation, doubt, and conspiracy theorizing regarding the dropping of the atomic bombs over Hiroshima and Nagasaki. Foremost among these is Truman’s real motivation for ordering the bombing; did he really believe that it was the only way to end the war without hundreds of thousands, or millions more deaths, or did he believe that Japan was ready to surrender, but could not give up the chance to show off the awesome destructive power of the atom to the Soviets? I could of course investigate that question all day, but instead I want to briefly look at two other issues related to the morality of the bombing.
First of these is a fascinating, some might say disturbing, questionnaire given to over 250 Manhattan Project scientists in July, 1945, which was first published as “A Poll of Scientists at Chicago, July 1945,” in the Bulletin of the Atomic Scientists, February 1948, 44, p63. (Link thanks to i09.com)
Which of the following five procedures comes closest to your choice as to the way in which any new weapons that may develop should be used in the Japanese war:
Use them in the manner that is from the military point of view most effective in bringing about prompt Japanese surrender at minimum human cost to our armed forces.
Give a military demonstration in Japan to be followed by renewed opportunity for surrender before full use of the weapon is employed.
Give an experimental demonstration in this country, with representatives of Japan present; followed by a new opportunity for surrender before full use of the weapon is employed.
Withhold military use of the weapons, but make public experimental demonstration of their effectiveness.
Maintain as secret as possible all developments of our new weapons and refrain from using them in this war.
Please read the full post at Ptak Science Books for far more details, including the results of the original poll, the online poll, and links to their long series of posts on the history of atomic weaponry.
A Chinese intellectual credited with saving historic Nara from annihilation in World War II is to be immortalized in bronze in the ancient Japanese capital.
Liang Sicheng (1901-1972), a renowned Chinese architectural historian who was born and spent his early childhood in Japan, is believed to have interceded with the U.S. military to protect the historic former capitals of Nara and Kyoto from the air raids that flattened many of Japan’s urban centers.
The statue was unveiled in Beijing in mid-June in the presence of representatives from Japan and China and is expected to be installed at the Nara Prefectural Cultural Hall by late October.
Liang was known for his efforts to protect China’s cultural treasures in areas occupied by Japan during the Japan-China war, producing a map, at the request of the U.S. authorities, of key sites in the country.
But he is also believed to have used his connections with U.S. officers to plead on behalf of Japan’s ancient capitals.
“He strived to protect cultural properties from war damage, not just those of his own country but those of an enemy,” said Luo Zhewen, a former senior official of the State Bureau of Cultural Relics.
Luo, 86, who worked with Liang on the China map, is an adviser to the China Social-Cultural Development Foundation, which has helped promote the statue idea.
He said the statue would have “great significance for China and Japan’s friendship.”
There are no written records to confirm Liang’s role in preventing the bombing of Kyoto and Nara. The story of his contribution appears to have originated with Su Bai, 87, a professor of archaeology at Peking University.
In 1947 or 1948, Su attended a lecture by Liang, who told him during a break about the map of cultural properties in China and his request to the U.S. forces to refrain from bombing Nara and Kyoto.
Su mentioned Liang’s comment to a Japanese researcher in the 1980s and the story began to spread.
Liang was born in Japan and lived there until age 11. His father was Liang Qichao, a well-known reformer during the late Qing Dynasty. After graduating from what is now Tsinghua University, Liang studied architectural history in the United States from 1924 to 1928.
He worked for wartime culture protection under the Chinese Nationalist government.
Lin Zhu, Liang’s second wife, said he told her about his request to the U.S. forces during the Cultural Revolution, when he became a target of student criticism.
“He loved Japan, where he spent his early childhood. He was so troubled by Japan’s invasion of China,” said Lin, 82.
Lin said her husband had kept his appeal on behalf of Nara and Kyoto secret because he feared his help for the wartime enemy might make him a target of criticism.
There are competing accounts of why the old capitals were avoided by U.S. bombers. Langdon Warner (1881-1955), an art historian at Harvard University and a mentor to Liang while he was at Harvard, is also credited with calling for the cities’ protection. The decision has been attributed by some to U.S. Secretary of War Henry Stimson.
Liang’s grandson, Liang Jian, 56, says, “I believe my grandfather wanted to protect cultural assets regardless of national borders. It is, however, a fact that no written records exist.”
As far as I’m concerned, that last line is the most important one. While I am willing to believe that Liang “wanted to preserve cultural assets” there is absolutely no reason whatsoever to think that he did, or that Doctor Langdon Warner – who is popularly, and falsely credited for having saved Kyoto despite his own denials – did so, rather than military and political considerations. The fact is that there is no real evidence to suggest that cultural asset preservation was a factor in the decision over where to drop the atom bombs, which is a topic that I plan to make a detailed post on some time in the future.
Really, at it’s core the myth that Kyoto, and perhaps Nara and other historical cities, were saved from the atom bomb due to a strong desire to preserve ancient relics is nothing but a feel-good story for both side. Now, it might sound crazy to some that any aspect of the bombings is a “feel-good story,” but I propose that it actually serves such a purpose for both the Americans and the Japanese. By believing the myth that our government and military was persuaded to significantly alter the bombing plan, we can believe that, even in the midst of a bloody and inhuman war, an appeal by a humble art historian led us to transcend immediate concerns of war between nations for the sake of the historical legacy of humanity as a whole. We can pretend that while on the one hand we possess such godlike power, we also have the humility to use it wisely, and by remembering how we spared history for the sake of a greater good, we can conveniently draw attention away from the decisions to kill hundreds of thousands.
Conversely, for the Japanese side to believe in this myth is to somewhat allay the wounds of defeat by appealing to national pride. After all, for an enemy so terrified and desperate to win that they would unleash the power of the sun itself to, in that very instant of apocalyptic destruction, to deliberately avoid incinerating Japan’s largest concentrations of sacred and historically significant sites can be nothing but a reflection of how truly significant those sites, that culture and history, must be. To believe so strongly in the power of Japanese culture to affect the enemy’s actions in such a moment creates a kind of victory in the face of defeat, much as the common (although, I stress, not universal) portrayal of the bombings as an event of passive victimhood similar to a natural disaster, with neither reason nor aggressor, creates a narrative in which all moral complexity is stripped away, the virtuous suffering, martyrdom, and survival of the victims are the only salient facts, allowing for a sort of moral victory in the face of defeat. The perpetuation of this historical myth may seem innocent to some, but it enables the avoidance of the grave moral and strategic issues that actually were in play, issues of both Japan’s war responsibility and American reasons for the use the atomic bomb (as raised in the survey above), and does a disservice to those who suffered and died.
Korean A-bomb Victims Have Bitter Grudge against US-Japan
Pyongyang, August 5 (KCNA) — Sixty-five years has elapsed since the United States dropped atomic bombs on Japanese cities of Hiroshima and Nagasaki on August 6 and 9, 1945, leaving hundreds of thousands of innocent people dead. The death toll is about 159,000 in Hiroshima and 73,000 in Nagasaki.
Among the victims of the nuclear holocaust, the first of its kind in human history, were foreigners and many of them were Koreans.
According to a non-governmental organization of south Korea, the total number of the Korean victims is about 70,000 and the death toll about 40,000. A civic organization of Japan made public that the Korean victims in Nagasaki alone total 21,384, 10,278 of them dead.
The figures show that the Koreans account for more than ten percent of all the victims.
Many Korean people, forcibly brought to Japan for slave labor, lost their lives due to the atomic bombs. Even survivors died later or are still suffering from their aftermath.
Some of the survivors have come back to the Democratic People’s Republic of Korea.
They have been harassed by mental sufferings as they have adversely affected their descendants in the second and third generations from the genetic point of view. They are closing their days with a deep-rooted rancor against the United States and Japan.
Nevertheless, Japan has refused to make any apology and compensation or render humanitarian assistance to them allegedly because it has no diplomatic ties with the DPRK. On the contrary, it is seeking nuclear armament with the backing of the United States.
Meanwhile, the United States, far from feeling guilty of having inflicted the unheard-of nuclear holocaust on humans, has stepped up nuclear war preparations near the Korean peninsula and in other regions of the world.
The Korean army and people are determined to decisively smash the nuclear war preparations of the U.S. imperialists, their sworn enemy, and foil the nuclear ambition of the Japanese reactionaries, who are going for reinvasion of Korea, servile with the United States.
I also have another blog post related to the Hiroshima bombing I plan to put up later, whereupon I will replace this note at the bottom with a link.
Mizuhiki is a Japanese craft that uses twine made from washi (Japanese-style paper) to create fancy bows and other designs. You could call it a rough analogue of American pipe-cleaner art. Anyone familiar with Japanese culture has probably seen it decorating gift packages or envelopes used for cash gifts given at weddings:
Foreigners who rave about Japanese gift-wrapping techniques often have this stuff in mind.
Stylistically, North Korean art is far more than a mere copy of Soviet Russian socialist realism. As was the case with the revolution itself, North Korean socialist realist art had to accord with Korea’s specific historical conditions and cultural traditions. Kim Il Sung pronounced that “Korean Painting” [Chosonhwa], the indigenous post-revolutionary development of traditional ink painting, was the best representative of Korean styles and emotions. He made the essential features of Korean painting the model for all fine arts. Kim Jong Il in his Treatise on Art (Misullon, 1992) described the qualities of Korean Painting as clarity, compactness, and delicacy. These characteristics have become the standard applied to all art produced in North Korea. As such, they also form the basis and model for poster art. On the latter, Kim Jong Il had more to say in his treatise on art. As important tools in the mobilization of the masses, posters have to have an instantaneous impact on the viewers’ understanding and their desire to act upon this understanding. Their message has to be accessible, clear and direct; informative and explanatory, as well as exhortative. The link between contemplation and action is crucial. A poster artist is ultimately an agitator, who, familiar with the party line and endowed with a sharp analysis and judgment of reality produces a rousing depiction of policies and initiatives that stimulate the people into action. Only if the poster appeals to the ideological and aesthetic sentiments of the people will it succeed in truly rousing the people. Kim Jong Il refers to poster painters as standard bearers of their times, submerged in the overwhelming reality and in touch with the revolutionary zeal and creative power of the people, leading the way from a position among the people.
Posters are visual illustrations of the slogans that surround the people of North Korea constantly. North Korean society is in a permanent mobilization. Party and government declarations are stripped down to single-line catchphrases. Through their endless repetition in banners, newspaper headlines, and media reports, these compact slogans become self-explanatory, simultaneously interpreting and constructing reality.
Tsuyoshi Kusanagi was arrested by Akasaka police for drunken nudity!
At 3am in Hinokicho Park just outside Tokyo Midtown in Roppongi, police found a naked Kusanagi dancing wildly making a scene (apparently not “dancing” exactly). When they told him to calm down he refused saying “What’s wrong with being naked?!” So they had no choice but to arrest him. He resisted and had to be “wrapped in a sheet” to be taken to the station. He is so ubiquitous on Japanese TV that the stations have been thrown into chaos today, in danger of having to cancel a good portion of their programming schedule and commercials (why? for some reason it is standard operating procedure to systematically blacklist a talent who runs afoul of authorities or even is caught cheating on a spouse).
Kusanagi is (was?) a member of SMAP, the pop group that gained popularity through wide-ranging appearances in variety shows, survived through the 90s into today despite numerous scandals, rumors, and accusations. Their popularity also engendered no small amount of sour grapes and cries of unfairness who felt their talent agency Johnny’s Entertainment abused their market power to set inconceivably favorable terms for their acts. But they got away with it thanks largely to their bottomless capacity to bring out their fanbase to generate ratings/sales. With this incident all those who hated on SMAP over the years have something to hang their hats on.
The SMAP members are well-known to have their lives fairly closely monitored and managed by talent agency Johnny’s Entertainment. Perhaps Kusanagi just couldn’t take it anymore as the group entered their mid-30s and industry observers wondered how they could adapt even as middle aged “ossan.”
If anything Kusanagi chose a nice park to stage his downfall in. Hinokicho is clean and boasts a “Japanese but modern and artistic” feel. Mrs. Adamu and I have enjoyed its tranquil (though crowded) lightup around Christmastime.
Japan’s government may halt advertisements promoting digital TV after the incident, as the campaign features Kusanagi, said Hideo Harada, an official in the terrestrial broadcasting section at the Ministry of Internal Affairs and Communications.
A person who answered a call to Kusanagi’s management agency, Johnny’s and Associates Inc., said there were no officials available to comment on the case. She declined to give her name or position at the company.
SMAP’s music is sold by a label under the control of JVC Kenwood Holdings. JVC Kenwood shares fell as much as 8.3 percent in Tokyo trading today, and finished the morning session 6.7 percent lower at 56 yen. The Nikkei fell 0.5 percent.
Here is the image that will be in my nightmares from now on:
If you think you can toss your waste in the Minuma Rice Fields nature preserve, think again – the red torii are watching you. Judging you.
A citizens’ group in Saitama prefecture has set up dozens of these unsettling warnings to try and stop litterers from ruining their greenery and historical farmland. A member of the group commented that they would prefer not to set these things up since they understand the negative effect on the scenery, but the move was taken out of frustration after signs and cameras didn’t work. The group claims it has been effective in reducing the amount of trash. I mean, what’s worse – hellish, gazing torii or mountains of construction waste in one of Japan’s precious nature preserves?
Torii (often translated as “traditional Japanese gates”) are traditionally placed at the entrance to Shinto shrines and symbolize that you are venturing into sacred space. In recent years, the practice of using torii (or mock torii with distorted proportions) to ward off potential litterers has grown as word of mouth has spread with the help of positive TV coverage. The added eye was an original innovation of the Saitama group. According to Wikipedia, this custom is predated by the use of tiny torii to keep public urinators in check.