Ukwanshin Kabudan 御冠船歌舞団

       Laughter, tears and a flood of memories filled the Mamiya Theater for the LooChoo nu Kwa show.  The cast was greeted with a standing ovation as the final curtain call began, and hearts became one with the message of remembering our ancestors and passing on what they have left us.  On behalf of the cast and crew of LooChoo nu Kwa, we would like to extend our warmest ippei nifwe debiru to all our supporters and sponsors, as well as the audience, who helped to make this show an overwhelming success, and first of its kind in Hawai`i Okinawan performng arts history.  We will have video available for this show.  Please contact us via email.  Also, we would love to hear your comments.  We’ll also be posting pictures as they become available. 

    Maui’s Pa’ia Rinzai Zen Mission’s obon fell on the day following U-kui, or the last day of the lunar calendar obon.  The festivities opened with a first tim ein Hawai`i presentation of usude-ku, by the women of the Maui Okinawa community.  This was a rare treat for everyone, as this kind of dance and ceremony is dying out in Okinawa.  The interest in it for Maui, gives a light of hope that this Okinawan tradition will be passed down.  Traditionally, usude-ku is performed by women of the community to ask for blessings of the ancestors.  It coincides with the obon observances, and is usually done the day after u-kui.  The chant used for the Maui dance was conceived by the members after watching Okinawa usude-ku and having a workshop on it.  The women participating, wanted to pass down this tradition, and hope that it will live on.  They were very happy to be the first in Hawai`i to bring this into the obon festival.  They weren’t any different from Okinawa ladies, who would dress in their finest kunji kimono, and be so excited and happy to get together and perform this for the village.  more and more in Okinawa, this tradition is changing to be modern, or in many places, just dying out due to the young women not wanting to take over.  It is a reality now that in about 10 years, this tradition may be extinct from village obon ceremonies.  It is encouraging to see the Maui community responding in such positive ways to the preservation of traditional Okinawan culture.  As the women came out, it was like being taken back to Okinawa, and seeing this happening before your eyes.  Hopefully this vision will continue for future generations to come.

The August 24th showing of LooChoo nu Kwa at Mamiya Theater in Ka`imuki, is sold out.  Calls are still coming in asking for tickets, but due to the amazing response, we were at 90% capacity 2 weeks ago.  Thanks to the great coverage by the media…many people who called in for tickets said that they got interested because of the story line of cultural identity, and Ukwanshin’s obligation to pass on and preserve culture, history, and tradition.  ”I just came back from Okinawa not too long ago, and I love the way Okinawan culture embraces the connection to ancestors.  We need to remember, and pass on to our children,” said one caller from Hawai`i Kai.  We look forward to presenting this show, and hope that everyone that comes will open their hearts to connect to the generations of culture, and history that have been passed down.  If you haven’t gotten your tickets, please contact Eric or Norman via email with your contact information and how many tickets you would like.  We will try to do our best to accommodate you.  Erics email is udui@aol.com, and Norman’s is nkaneshi@yahoo.com.  For those of you with tickets, we thank you for joining us, and would like to remind you that late arrivals may not be able to enter the theater till a break in the program, and remaining seats may be filled.  Please refer to the information on the back of your tickets.  Mahalo again and see you all at Mamiya next week! 

bingataworkshop1.pdf bingataworkshope3.pdf bingataworkshop2.pdf Saturday and Sunday, August 9th and 10th, a total of 35 Hawai`i residents enjoyed and experienced the art of making the royal cloth of “katachiki” or bingata stencil dyed fabric. This workshop is in conjunction with Yuhske Yokoi’s exhibit at the Academy Arts Center Linekona, which is running through August 20th.  Scheduled for a total of 30 maximum for the 2 days, the workshop filled quickly and actually went over the expected participant count.  It was a good thing that extra supplies were available.  The overwhelming attendance made this workshop a big success.  Yokoi, who has his studios in Shuri, and Tamagusuku , Okinawa, led the class, with descriptions on the process and implements. “It is very interesting to see the colorations that people here use, and the kind of image that they come out with”, said Yokoi. “Everyone works so intensely on their piece that its hard to tell if they enjoy it. I didn’t want them to be so serious.” This was a rare opportunity to learn this art as many bingata artists don’t reveal the whole process and ingredients in making the resist and dyes. Yokoi believes that by teaching and sharing, he is helping to spread the appreciation of the royal art. The same vision the Ukwanshin Kabudan has. “I really learned alot, and can really appreciate the whole process. I don’t know how anyone could have the time to dedicate to do this work as a living. I appreciate these artists”, said Jamie Oshiro, one of the participants. On Saturday evening, the workshop participants and others were treated to a performance of “Living Textiles of Okinawa”, in a dance and music performance that connected to the textiles of LooChoo. “It was the first time I saw the kimono actually dance with the dancer. It was just amazing”, commented Yukie Shiroma, a modern dance artist and teacher of the Kin Ryosho style of Okinawan dance. “I wish more people could have the opportunity to see this kind of presentation.”Ukwanshin’s journey of bringing these treasures of Okinawa to people, continues to bridge cultures as we bring the arts and culture of our ancestors to the world. We hope that those who participated in the workshop enjoyed and learned about something from a past that was almost lost.  We hope to bring another bingata workshop in the future.  Maybe with an advanced class, for those who came to this one.  Special mahalos to the Academy Center at Linekona, and Carol,Brad, Alan, and Rick….The  Caste Resorts Maile  Sky Court Hotel and Luana, …Steve and the Doris Duke Theater Staff.  Read the rest of this entry »

doris-duke-poster.pdf   Click this link to see the poster and information for this event.  

august-schedule.pdf Click on the august schedule to see exciting events and schedule 

I’ve been off radar for the past couple of months working feverishly on an exhibit at UHM entitled, “Mii-gusui, Mimi-gusui, Sustenance for the Eyes and Ears: Okinawan Performing Arts.” This exhibit was commissioned by the newly created Center for Okinawan Studies, which officially opened on July 1. The exhibit is located on the 1st floor “bridge gallery” of the Hamilton Library on UHM campus and runs until August 22, 2008. Of course, it is open to the public and you DO NOT need to be a UH faculty, staff, or student to enter the library. Please check with Hamilton Library for their regular business hours.

I know it’s a long title, but, like the exhibit, it barely scratches the surface on the things we can say about our culture, its context, and, of course, the music and dance. Probably the hardest thing in doing this exhibit was in trying to streamline everything into a coherent presentation that would be informative, yet not overwhelming. The committee I worked with on this project kept on reminding me of the importance of trying to streamline text and try to make things as graphical as possible. Though, I must say, it’s just really hard to talk about music without having any audio available! Still, it was a great challenge and an enormous learning experience.

The title was inspired by the words of the late Kay Adaniya, who would always remind me of what the issei said about the music and dance. For those of you who have been to Lanakila Multi-purpose Senior Center, you would have remembered Mrs. Adaniya as the leader of the Okinawa Nenchosha Club there (she served in that capacity for more than twenty years). Whenever we would finish a performance, she would say, “mii-gusui, mimi-gusui” which literally means “nourishment to my eyes, nourishment to my ears.” I vaguely remember hearing similar words from issei audience members back when you could still see them at events. As a teenage performer, I used to think that those words simply meant “good job” or “good performance.” As I learned more about the culture and the history of both Okinawa and the issei, however, I came to realize that those words go far beyond that. The music and the dance have always been important lifelines for the Okinawan people and their descendants overseas. In Okinawa, they have helped the people to preserve their stories, their voices, and their identity. In trying times, especially during and after World War II, the performing arts helped the people to be stronger and look to better times. Probably the most poignant reminder of this is the kankara sanshin, the “tin-can” sanshin. In the middle of the devastation, sickness, and starvation, Okinawans still found the spirit to rustle up materials to build instruments. According to Teruya Rinsuke, an entertainer who traveled to the worn-torn areas to console the villagers with his comical stories and songs, the music and dancing were “celebrations of life” to remind the people that though everything was lost, they still had their lives and their spirits.

In Hawai`i, the music and dance were precious to many of the issei because it was the only connection they had back to their homes. Though they came expecting roads paved in gold, they found long hours with little pay. Furthermore, they met with discrimination, even hostility, from the already-established naichi or mainland Japanese community. The discrimination was so bad that many families changed their names and tried to hide all traces of their “Okinawan-ness.” For those who could not forget their homeland, the music and dance provided comfort, even if for just a while. For those who refused to give in to discrimination, the music and dance provided a means of expression and a safe “space” to be Okinawans.

To the descendants of the issei, the performing arts has provided its own sustenance. For many, playing Okinawan music or dancing are really the only connections left to Okinawa. There are many born into the Okinawan community who have no tangible recollections of their baban or jiji from Okinawa, let alone the relatives far across the sea. For us in Hawai`i, the music and the dance remain important lifelines in constructing and re-constructing our identity, but also a means of sharing this identity with the rest of the community, even the world.

It seems very appropriate that I reflect on these things as we move closer to our O`ahu staging of “Loochoo nu Kwa.” When we perform in August (or any time for that matter), I hope that for those in the audience, even if they do not know the meaning of “mii-gusui, mimi-gusui,” that they will have that exact feeling in their hearts as they leave the theater and move on with their lives.

The University of Hawai`i officially opened the Center for Okinawan Studies, at the Manoa Campus. Dr. Robert Huey, Director for the Center for Japanese Studies, opened the ceremonies, followed by Norman Kaneshiro and Cheryl Nakasone performing “Kajadifu.” The Conference room in the Korean Studies Center was full to capacity by invited attendees. Governor Linda Lingle spoke and reminded everyone of the hard work of the immigrants, as well as the importance of cultural diversity in our islands. A special message was read by Dr. Katsunori Yamazato of Okinawa, who represented the president of Ryukyu University, to which UH has a special affiliation. Senator Jill Tokuda also spoke, followed by Dr. Leon Serafim, who is the acting director for the center. Following the formalities, everyone enjoyed Okinawan food in the lobby, and entertainment by Grant Murata, Kenton Odo, and June Nakama of Afuso Ryu Gensei Kai. The main attraction, however, was the exhibit of Okinawan performing arts in Hawai`i and at the Univiersity, and whose curator is Ukwanshin Kabudan’s own, Norman Kaneshiro. He worked sleepless hours gathering and designing photos and supplies for this awesome exhibit. The exhibit is titled “Mii-gusui, mimi-gusui, Sustance for the Eyes and Ears”. Its located in the first-floor bridge gallery of the Hamilton Library, and will be available for viewing through August 24th. Hopefully the center will be a tangible place for research and study, along with sharing, for the community and future generations of people wishing to help preserve our unique culture. Its up to us to be vigilant in making sure that the mission and vision on the COS will stay on track and preserve, represent and pass on the purest form of our culture possible.

As we get into the summer months, the hot weather of the islands have our throats thirsting for some refreshing drinks.  August 15th draws closer for “ukui”, Okinawa Obon, and the sound of sanshin and eisa drums emerge from their sleep with practices and bondance festivals starting.  Awamori…or “shimagwa”, is the refreshing answer to the hot weather of summer.  Over ice, splash of water, splash of 7up, or any other favorite mix, is the way shimanchu enjoys times together.  ”ShimaUta” awamori from Itoman, Okinawa is available in Marukai and Donquijote.  Taste this refreshing spirit of Uchina this summer, and don’t forget to keep your dates open for all the events we have planned also.  いちゃびらちょで島唄ヌメ！Here’s a picture of  Masayoshi Azuma, showing off ShimaUta awamori, at the Cherry Company’s product show held at JCCH. 

Haitai family and friends!

I have had the great fortune to be invited to participate as the Narrator in Ukwanshin Kabudan’s recent production held at the Maui Arts & Culture Center called:

 “Loochoo nu Kwa, Children of Loochoo (Ryukyu)”   a total novice to my own culture, I  found myself deeply impressed with the whole production of  Okinawa’s fine arts of classical Ryukuan court dances, lively fun folk dances, history, fun stories, a live music set with the three talented sensei’s. Norman Kaneshiro, Eric Wada and Keith Nakaganeku who share some pretty cool and poignant stories in this set.  

All of this is interwoven with a thought provoking story of a young man who returns home to Hawai’i for his Grandmothers funeral. After being away for college on the mainland, he now finds himself struggling with so many unanswered questions about his culture, his identity, and his Grandmother.

The story lingers on in your mind after you leave the show.  You realize much

of the story reflects your own.

I am always surprised of how much I do not know about my own Okinawan culture…being a part of this production I  feel that I am truly grateful and consider myself very fortunate to play this teeny part.  I get to learn so much, the sensei’s are there to answer all my questions and I think I can now begin to understand their deep passion and commitment towards cultural preservation.  And I am just scratching the surface! 

During the last set I couldn’t stop my tears from falling as I listened to the Sensei’s share their stories and sing so beautifully.  Quite unexpectedly I found myself overwhelmed  with emotions of happiness, respect, gratitude, joy, intense pride, along with my new discoveries of  my Okinawan heritage that I had never experienced before and then of course…the inevitable… hanabata!

I hope you will find the time to spend the afternoon with us as we share the creations of our ancestors through their music, stories and dances. 

Our guests will be in for a surprise experience this summer!.

We are excited and proud to announce the presentation of  “LooChoo nu Kwa” on

Sunday August 24th, 2pm at the Mamiya Theater. 

See you all there!

Jamie Oshiro

Call us for tickets by June 2008 (no service fees)

Jamie 728-0062

Eric 292-8862

Norman 294-9452

Thereafter call Honolulu Box Office 550-8457 or www.honoluluboxoffice.com