Vent & Eau – A Concert by Yannick Paget

Yannick Paget will conduct an original concert “Voice of 風水” for La Nuit Blanche at Kyoto Art Center on October 1st from 16.00 – 17.30.

yannick-paget

Here’s Yannick with some background to the piece:

“It was an exciting challenge to start the new KAC’s cycle “listening to the voice of Feng shui”, especially in a town like Kyoto that had a minister of Feng Sui for so many years and that incarnate the rules of Feng Sui. I tried in my piece “Vent et Eau” to catch the spirit of this science. Feng shui regulates our environment to produce balance and harmony; it allies poetry and science, spirituality and rationality, using many different tools.

I didn’t explore in this piece all of them but I choose to highlight the feng shui compass Which organize elements, direction and seasons and the magic square that forms the foundation of many feng shui tools and calculations.

The 5th elements:
“Vent et eau” is the French translation of the kanjis風and 水, the two main element of the feng shui. They appear first in this piece introduction because the wind and the water disperse and stop all energies on earth. Then, I worked with the 5th elements as such dissimilar musical substances that have to find a unity and an harmony.
Each element is associated to a group of instruments and succeeds in the cycle of birth order, each one giving birth and nourishing the following one: Earth (strings), Metal (brass), Water (harp, piano), Wood (clarinet, flute), Fire (percussions)
The final evokes, the « shi » or the « ki », with fusion and harmony

Direction:
To associate each element to a direction, all instruments are spatialized;
Earth (strings): CENTER, Metal (brass): WEST, Water (harp, piano): NORTH Wood (clarinet, flute): EST, Fire (percussions): SOUTH

Seasons
Seasons are interposed as a link connecting each element.
That way, ruff non-human & mineral material also alternates with human life and the rhythms of seasons. The singers, to express the season and this human life sing text extract from the timelessness haikus from Basho.

The magic square in which all numbers add to 15 in all directions
I used It for the rhythms with cycle of 15 bits and combination like 7 /5 /3: (3/2/2) (3/2) (3).
I worked with Modes of limited transposition compiled by the French composer Olivier Messiaen. They are musical modes or scales that fulfill specific criteria relating to their symmetry and the repetition of their interval groups.
In the final, I choose the Mode of limited transposition number 3. It includes 9 notes each of them being assigned to a number. Then I could generate chords of 3 notes using the magic square.”

– Yannick Paget September 2016

For more information please visit the Kyoto Art Center website at http://www.kac.or.jp/events/19346/.

“To The Village Square” – An Evening with Photographer Lionel Delevingne

Here’s a message from Lionel Delevingne about an event tomorrow night!

village

Friday, September 30th
7pm 〜9pm

at Impact Hub Kyoto

Lionel Delevingne will be at Impact Hub Kyoto to present and speak about the photographic images from his book “To The Village Square”, with comments from Aileen Mioko Smith of Green Action (Kyoto). We look forward to a lively discussion with audience and speakers.

To the Village Square
From Montague to Fukushima: 1975- 2014

Retracing the birth of the safe energy movement starting in Montague, Massachusetts in 1974 through Three Mile Island, Chernobyl and Fukushima.
http://www.tothevillagesquare.net

“To the village square we must carry the facts of atomic energy.
From there must come America’s voice.”
Albert Einstein, June 1946

Place: Impact Hub Kyoto
Nishijin IT ro-ji building ,97 Kainokamicho, Kamigyo Ward, Kyoto
(Just west of Aburanokoji and Nakadachiuri intersection.)
Enter from the gate at west side of building next to pay phone.
Phone: 075-417-0115

English / Japanese interpreting.
All Welcome.
No reservation required.
Admission Free
Green Action
E-mail: info[at]greenaction-japan.org
HP: http://www.greenaction-japan.org/

The 7th Kyoto Photo Walk with Javier Montano!

It’s happening again! Wait – I think I recognize these two…

photowalk

Here’s our friend Javier Montano with the details:

The 7th Kyoto Photo Walk:

– Meet new friends and learn about photography in beautiful Fushimi-inari Taisha.

– All you need is a camera or a smartphone

– Let’s Take the biggest selfie in Kyoto!

– Please register now, It is FREE! You have 2 options:

Join just the photo walk or
Join the photo walk and the after party at a Japanese izakaya for food and drinks (about 3.000 Yen per person which is paid on the day of the event).

FAQs

Are there ID requirements or an age limit to enter the event?

No. Anyone can come. If you can walk and go up stairs you can come!

What are my transport/parking options getting to the event?

Your options:

– Come by train to Fushimi-Inari Station (伏見稲荷駅 Fushimi-Inari-eki) a railway station located in Fushimi-ku, Kyoto, on the Keihan Electric Railway Keihan Main Line.

– Come by train by JR Inari Station, the second station from Kyoto Station along the JR Nara Line.

– Buses are available too but it depends where are you coming from.

What can I bring to the event?

Please bring a camera. Any camera will do. Other gear such as tripods are welcomed as well.

Where can I contact the organizer with any questions?

Send me a message at info@javiermontano.net

When: Sunday, September 25, 2016 from 1:00 PM to 5:00 PM (JST) – Add to Calendar

Where: Fushimi-Inari Station – Fushimi Ward, Kyoto Prefecture 612-0007

Register here: Kyoto Photowalk (7th!)

Arabesk Return to Kyoto

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“One of the most rewarding aspects of living in a multicultural society like Australia is the remarkable diversity of music heard – African, European, Arabic, Asian, Latin. Sydney-based quartet Arabesk take these disparate international sounds, spice them with their musical experience and mould them into their own unique style. Theirs is a journey of constant discovery that defies genres. The label Gypsy Jazz is only a hint at the musical language this powerhouse of innovation speaks. Having won local awards, they play extensively throughout Australia at festivals and venues large and small.”

The brilliant Australian Gypsy Jazz band Arabesk will be playing with singer Akou at Modern Times, Kyoto on August 16th. Catch them if you can!

Details:
open 17:30 / start 18:00
*18:00 – 19:50 Live and Jam Session
*20:00 – 20:50 Okuribi Bonfire – Free Time
*:21:00 – 23:00 Live and Jam Session
charge 2500yen (+1Drink)

Location: Modern Times is in the basement of the Empire Building on the east side of Kiyamachi a short walk south of Oike. Here is a map.

Here’s a clip of them playing last year at Kyoto’s famous Blue Note venue.

The Tea Crane Introduces the Authentic Rite of Tea

Today we have a special guest post from Tyas Huybrechts, Japanese Tea Trainer at The Tea Crane.

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While visiting Kyoto, you wouldn’t want to miss out on at least one of those cultural experiences now widely available here – activities such as taking first steps in any of Tea-ceremony, flower-arrangement, calligraphy, classical dance and Japanese cookery.

Each traditional Japanese art has come down to us imbued with the pre-modern philosophy and values upon which its founder and his successors drew. When people undertake to render so venerable an art more accessible to those with hardly any knowledge of the culture relevant, one unfortunately-prevalent tendency is irresponsibly to dumb down what is taught. This, however, falsifies the impression with which the learner is left, and withholds from her matters she might otherwise have found sympathetic, revelatory … and even inspiring.

Take, for example, Tea-ceremony. Upon attending a run-of-the-mill Tea-ceremony “experience,” you will be offered a perfunctory demonstration of a very basic service of thin tea (a lower grade of matcha – characterized, once prepared, by its surface of bright green froth), and then be provided with what you need to prepare a bowlful yourself – and for yourself.

Central to the Way of Tea is interaction between guest and host; and yet nothing of that can be gathered, either from a mere demonstration, or from serving only yourself.

Again, what is considered true tea is thick tea, which utilizes matcha of a higher grade, employed in a higher concentration. (Thin tea, on the other hand, is properly served at the very end of a full tea-gathering, as no more than an informal refreshment rounding off the climactic service of thick tea.)

Moreover, ‘Tea-ceremony’ – this term a most-regrettable mistranslation – is neither ceremony nor performance. Rather, a Tea-occasion is best understood as a social event for the success of which its guests have as much responsibility as does its host. Consequently, no “Tea-experience” can live up to that name as long as those attending remain uninvolved in active participation. Only once so engaged can they at least glimpse such a gathering’s true functioning.

If – in order to render it accessible to a wider range of persons – the forms characteristic of a pursuit are abbreviated, or its representation is distorted, what is actually offered will fail even to approximate that to which such treatment purports to afford access. In providing uninitiated persons with an authentic representation of an art, what should be adjusted to those persons’ likely needs is not that art itself but, instead, the means by which it is presented.

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With these convictions firmly in mind, we at The Tea Crane have evolved an innovative and yet authentic workshop, designed for persons visiting Kyoto, and as yet remaining uninitiated with regard to the rite of Tea. What this offers is a full encounter with the core to the art of Tea, along with support for participants in functioning as an integral and therefore indispensable part of a genuine (and enjoyable) Tea-occasion.

Of the guidelines we observe, these following may be those most innovative:

・The workshop’s participants are presented with a shared bowlful of real tea – thick  tea – expertly blended according to a ritual unique to employment of the grand Tea-sideboard (daisu). (Use of this austere daisu is probably the very earliest, and still the most august and solemn, form of service of tea in the presence of guests (rather than elsewhere); and we have selected this service in order to aid our participants in traveling with us – back to that epoch during which the rite of Tea first arose.)

・From the start of each workshop-session its participants, rather than being left merely to look on, are requested to take active part in the rite, and are duly guided regarding so doing. Such guidance enables each participant to exchange respectful salutations with her host and fellow-guests, with the latter share and appreciate a bowlful of real tea, and gain at least an initial understanding of the principles, values and aims embodied in all conduct desirable in the Tea-chamber.

・The rite of Tea must surely be the most syncretic of all Japanese arts – combining as it does calligraphy, flower-arrangement, ceramics, lacquer-work and very much more. Since a competent Tea-practitioner should be well-versed in all of these, we help participants to acquire an initial understanding of what to look for in the utensils employed – these being each hand-crafted, valuable, and worthy of detailed attention – and handled by every participant in turn.

In brief, our aim is gently to initiate participants, during just ninety minutes, into the decorum expected of, and pleasures offered to, any well-mannered guest. In so doing, our dearest wish is that, when they return home, and people closest to them ask them what of Japan has left the deepest impression within them, former participants should at once reply, ‘A fascinating Tea-ceremony workshop! Once it had ended, I found I now understood so much!’

To read more about this workshop and other Tea-related activities, visit our website:
3http://www.the-tea-crane.com/pages/tea-ceremony

Tyas Huybrechts is a fully-accredited instructor in Tea ceremony, and in addition a nationally certified Nihoncha Instructor. His heart’s desire is to convey directly, and to as many interested persons as possible, the true essence of both Tea-culture and also Japanese tea.

Kyoto Journal #86 – OUT JULY 25th 2016

Some news from KJ…

KJ86

The 6th Kyoto Photo Walk with Javier Montaño

Here’s our friend, Javier Montaño, with news of The 6th Kyoto Photo Walk. All queries regarding this event should be sent directly to Javier at info@javiermontano.net

photowalk

Date & Time: 24 April at 14:00–19:00
Meeting Place: Takaragaike Park, 国際会館駅 , Kokusai-Kaikan-eki. In front of Entrance No. 3 (train station on Subway Karasuma Line), Kyoto, JP

Spring has come and it’s time to shoot again- Meet new friends and learn about photography in beautiful Kyoto.- All you need is a camera or a smartphone- Let’s Take the biggest selfie in Kyoto!- The Photowalk is FREE of charge but you have 2 options:

Join just the photowalk or
Join the photowalk and the afterparty at a Japanese Izakaya for food and drinks (3000 Yen per person which is paid on the day of the event).

FAQs
1. How do I make a reservation?
Easy! Go to the Eventbrite Photowalk event page. Click on “Register”. Select one of the 2 options: the photowalker ticket or the photowalker + afterparty ticket.
2. What if it rains?
We photograph in rain. In the event that there is a weather cancellation because of a Typhoon or something similar, I will do my best to contact and let you know. If, however, you are unsure, feel free to call or text 090-9889-1640 to see if the photowalk is still running.
3. What if I don’t have a DSLR or PRO camera?
It does not matter. Any camera will do!
4. What should I bring besides my camera?
Enthusiasm to meet new people. Friends or family are also fun to bring with you.
Dress appropriately for the weather, as we will be outside for the most part.
A tripod could be handy too, but it is not indispensable.
A bottle of water is a good idea too.
5. Where do we meet?
In front of Entrance No. 3 of the station at 2 PM
6.How long are the photowalks?
Normally they will last until around 6:30 PM or 7:00 PM. After that, we will move on to the afterparty.
7. Is everyone in the group at the same skill level?
Not at all! People come with different levels of photography experience but we all learn from each other.
8. How do you accept payment?
The photowalk is and will always be free! During the after party we will start receiving cash in order to pay for the food and drinks served.
9. Where can I contact the organizer with any questions?
Send me an email at info@javiermontano.net
Remember, the photowalk is and will always be free!

Kyotographie 2016 – Masterclass & Tour

Kyotographie is Kyoto’s annual international photography festival, this year being held at various venues around the city from April 23rd Sat to May 22nd. In addition to the regular exhibitions and events, this year there will also be a tour and a masterclass. Find out more below!

Shinichi Suzuki II, Tea Ceremony, 1880’s © MNAAG.

Shinichi Suzuki II, Tea Ceremony, 1880’s © MNAAG.

Kyotographie Tour

This full day tour costs 7,000 yen.

“For its fourth edition, April 23rd – May 22nd, 2016 KYOTOGRAPHIE International Photography Festival returns with 14 exhibitions, in 15 venues with two associated programs. These major exhibiting artists are presented inside historical buildings (Old tea houses, tradtional artisan buildings, temples and garden). This year theme is « CIRCLE OF LIFE ». The Festival, with more than 60,000 visitors last year, is now considered a major international artistic event in Asia, gathering both photography lovers, professionals and the general public. We offer you an intimate chance to discover a selection of KYOTOGRAPHIE exhibitions. The KYOTOGRAPHIE passport (included in the visit fee) gives you access to all the exhibitions.”

To find out more about the tour please visit the Japan Experience website.

Kyotographie Masterclass: DREAMS TO REALITY
With Arno Rafael Minkkinen

Fosters Pond, 1989 ©Arno Rafael Minkkinen courtesy PUG OSLO

Fosters Pond, 1989 ©Arno Rafael Minkkinen courtesy PUG OSLO

“Improve or find your personal visual language and style. Developing a personal & recognisable style is key to photographic practice, it also allows a photographer to change subject matter, maintaining identity.
Arno Rafael Minkkinen is a Finnish-­‐American photographer, educator, curator, and writer with over 100 solo shows and nearly 200 group exhibitions in galleries and museums worldwide.”

Date : April 23rd 10:00-12:00*
25th, 26th 9:00-17:00
Fee : 20,000JPY (tax inclusive)
Venue : Ryosokuin (Kenninji Temple)
Language : English with Japanese translation
Inquiries : public.program@kyotographie.jp

For application details please visit this page: http://www.kyotographie.jp/en/2016portal/event/masterclass-with-minkkinen

To find out more about the various exhibitions and events, you can visit the official website or download a presskit.

WiK Writing Competition Winners

Here’s some news from John Dougill, and Writers in Kyoto (WiK):

wik2

The judges of the first WiK Writing Competition are delighted to announce the winners, as listed below. The competition was on the theme of Kyoto, with a maximum of 300 words. Each of the three prize winners will receive a small gift from the Kyoto Convention and Visitors Bureau, in addition to which the First Prize will feature in the forthcoming Writers in Kyoto Anthology. The Local Prize Winner will receive a gourmet meal for two at Tadg’s Irish Bar and Restaurant in Kiyamachi, Kyoto.

* First Prize “Kimono Memories”
Name: Peter Jonathan Mallett

* Second Prize “Nippon”
Name: Jesse Efron

* Third Prize “To live in Kyoto”
Name: Richard Steiner

* Local Prize Winner “In the spring. summer, autumn and winter – Colors in Kyoto”
Name: Mayumi Kawaharada

The judges wish to express their appreciation to all those who entered, and the high quality of submissions made the final decision difficult. Indeed, each of the judges chose a different piece as their favourite! In the end though consensus was reached as to the outstanding pieces. (It should be noted that the judging process was done on a completely anonymous basis throughout.)
The entries came from a surprisingly wide range of places. Nearly half were submitted from different parts of Japan, not just within Kyoto but such areas as Miyazaki and Fukuoka. Others came Malaysia, Kathmandu, Philippines and Montreal. As it happened, however, the winners are all resident in Japan – two in Kyoto, one in Kyotango, and one in Kobe.

In form the entries ranged from a single haiku to essays, pieces of fiction, poems, conversations and personal impressions. By and large, the prose was more successful; some of the poetry was too slight, some too obscure. The best pieces were those that got under the skin of Kyoto life, and this was the case with the overall winner which used the Nishijin connection with kimono to reveal something of the secrets that lie behind the courtesies of Kyoto manners.

The one surprise was that some applicants thought a single haiku would carry enough weight to win a prize. Unless you’re a Basho or a Buson, this seems improbable. However, one of the prizewinners did string a series of haiku together to convey images of Kyoto throughout the year, and this amounted to a substantial and impressive portrayal of seasonal changes. An alternative approach, which no one attempted, would be to write a poetic essay-cum-haiku in a genre known as haibun.

Our thanks to the sponsors, the Kyoto Convention and Visitors Bureau, Tadg’s Irish Bar and Restaurant, and for the backing from the International Community Center (kokoka). I’d also like to publicly thank Karen Tawarayama in particular for facilitating the whole process, as well as Tadg McLoughlin and Shigenori Shibata for acting as judges. Finally, thanks to all those who took the time to enter the competition. Your entries made the whole thing worthwhile, and each one was appreciated.

We are eager to build on this year and make next year’s competition even better, so if you have any suggestions or feel you could contribute in any way, please don’t hesitate to get in touch with me, John Dougill, at dougill<at mark>mbox.kyoto-inet.or.jp.

Peter Mallett of Kobe, whose 'Kimono Memories' took first prize

Peter Mallett of Kobe, whose ‘Kimono Memories’ took first prize

Miksang Contemplative Photography; Kyoto Workshop: May 4th – 15th 2016

Thanks to Lisa Allen for sharing the following course information:

miksang

Photo by Julie DuBose

Kyoto Journal and The Miksang Institute are co-hosting a special ten-day intensive Miksang Contemplative Photography workshop in Kyoto from May 4-15, 2016.

The course will be taught by teachers, Michael Wood and Julie DuBose, and will include the first three levels in the Miksang training curriculum: Opening the Good Eye, Making Contact, and The Heart Of Perception.

Instruction will be in English with Japanese translation. Cost for the entire 10-day course is $1000 USD. The workshop will be held at Kyoto International Community House. This special workshop will begin Wednesday evening, May 4th and end at 5:00pm on May 15th, 2016. Monday May 9th will be a day off.

For more information, please email: info@miksanginstitute.com

For more workshop details and registration information: http://www.miksang.com/miksang-in-kyoto/

What is Miksang?

Miksang is a form of contemplative photography that asks us to see our world in a new way. In some ways it seems very simple, but it is not always easy.

If we can place our mind’s attention, our awareness, in our sense of sight, we will see vivid, mind stopping perceptions fully and completely, without distraction. And when that happens, we can connect with what we see deeply and intimately.

This requires stillness of mind, patience, and the desire to really see what is there, so that we can understand how to express what we are seeing with our camera simply and precisely.

Miksang is photography in which we use the camera to express our visual perceptions exactly as we experience them. Because we know how to prepare ourselves to receive perceptions when we see them, and we know how to understand exactly what we have seen, we then know exactly how to express what we have seen with our camera. The resulting image is an exact expression of our eye, mind, and heart as it connects with the perception.

Miksang means ‘Good Eye’ in Tibetan. We all have a Good Eye as part of our human makeup. This means we have the ability to see the world in a pure way, without overlays of meaning and value, pleasure, dislike, or disinterest.

When we can see with our Good Eye, the world is always fresh, because everything we see is as for the first time. There is no memory, no association, only the world manifesting to us, as it is, out of nowhere.

These perceptions are vibrant and vivid, pulsating with life. The visual world is our feast, our playground.

Seeing in this way brings us joy in being alive.

Through our images we can express our experience of seeing. Our photographs will carry within them our heart, our mind, the blood of our experience.