TMCnet News
FEATURE: Unique collaboration brings Japanese culture to Washington+(Japan Economic Newswire Via Thomson Dialog NewsEdge)WASHINGTON, Jan. 2_(Kyodo) _ (EDS: THREE PHOTOS ACCOMPANYING THIS STORY ARE AVAILABLE VIA E-MAIL. THE PHOTO ADVISOORY IS TO FOLLOW.) A unique partnership in traditional Japanese artistry came to Washington in December, as shamisen virtuoso Miyako Itchu XIII and American artist Allan West paired up to bring a taste of Kyoto to the U.S. capital. Itchu brought his mastery of the three-stringed shamisen to the Japan Information and Culture Center at the Japanese Embassy in December as part of a four-city tour that also took him to Boston, New York, and Middletown, Connecticut. Behind Itchu on the stage hung a large, multicolored Nihonga scroll painting created by West, who grew up in Washington but has lived as an artist in Japan since 1982. In addition to providing artwork for the concert, West served as Itchu's translator throughout the performance. Flanked by a group of singers and musicians playing other traditional instruments, Itchu took audience members on a musical journey through ancient temples, street festivals and falling cherry blossoms -- with a detour into the red light district of Edo. West's painting provided a vibrant backdrop for the music, complementing the different styles showcased by Itchu and his ensemble. The crowd responded enthusiastically to the collaboration, with audience members lauding West's artwork before the show, and an extended ovation following Itchu's last song that clearly humbled the master musician. In an interview with Kyodo News before he took the stage, Itchu described the connection he felt when playing for audiences outside Japan. "Of course, Americans and Europeans do not understand the (Japanese) lyrics, so they really feel the music," he said. "Because of this, I feel like I get a better response when I play here." The wide appeal of shamisen music was noted by JICC director Hiroshi Furusawa in remarks before Itchu's performance. "I have seen how much pleasure people in other countries get from the shamisen," Furusawa said. "This power to draw people together across cultural barriers is wonderful thing." The son of shamisen artist Tokiwazu Nenosuke, Itchu said he began playing at the age of six, but was not pressured into music by his family. "On the contrary, I put pressure on myself. I was raised in such a way that I could have pursued whatever line of work I enjoyed," he said. It was in his second year of high school, Itchu said, that he made the decision to make the shamisen his life's work. For him, it was a natural way to combine his interest in music and his deep appreciation for traditional Japanese culture. "I was moved by the beauty of old Japanese paintings and temples. I wanted to pursue that atmosphere myself," he said. Itchu began studying the Itchu-bushi style of music under the tutelage of Miyako Itchu XI in 1975, and was designated to succeed his teacher in 1991, according to his official website. The 11-member ensemble that accompanied Itchu on the JICC stage included percussionists, vocalists, two other shamisen players and a flutist. Traditional Buyo dancer Hanayagi Kiyohito joined the group for "Kuruwa Hakkei (Eight Views of the Red Light District)," accentuating the sensuality of the piece with her graceful and precise movements. With West's artwork behind him, the visual aspect of Itchu's performance was as powerful as the musical mastery he demonstrated. The scroll displayed behind the JICC stage had been inspired by his late grandmother, West told Kyodo News. "My grandmother always had renowned interior designers decorate her home. When she died, I decided to paint what I imagined she would enjoy looking at in paradise," he said. The two artists met in 2001, when West provided artwork for an Itchu performance honoring the tenth anniversary of the musician's designation as Grand Master of the Itchu-bushi school of music. "I was impressed with how the implication of movement in the painting became almost real when Itchu-san performed before it," West said of their first collaboration. They have since worked together on many occasions in several countries, West said. "For each of us, it seems to add an extra dimension to our work," he said. "Itchu-san will choose a certain painting based on how well it conveys his intent for the music." West, who like Itchu attended the Tokyo National University for Fine Arts and Music, said that he was reluctant to embrace Japanese influences early in his career. "I originally resisted being affected by any Japanese style because it seemed unnatural for a foreigner. But after I had lived (in Japan) for over 15 years, it became unnatural for me to put up such resistance," he said. West said that while traditional Japanese art evokes the "quietude of nature," his paintings emphasize the "vital energy" of the natural world. Since West began his career in Japan, his work has graced the walls of galleries and upscale hotels in Tokyo, and has been commissioned by the Japanese Imperial Household. Itchu's respect for West was apparent during the JICC performance. When he came onstage to introduce his American friend, West blushed as he was forced to translate. "Having his artwork behind me when I play, I feel it is a wonderful artistic collaboration," Itchu said. "The original Miyako Itchu lived about the same time as (17th-18th century Japanese artist) Ogata Korin. When I saw Allan's work, I thought he was the modern Ogata Korin." The artistic forms pioneered by Ogata and the original Itchu over 300 years ago live on in the work of modern-day craftsmen like Itchu and West. Through their collaboration at venues like the JICC in Washington, the eyes and ears of audiences around the world are being opened to the cultural history of Japan. |