Presents

Awaji Puppet Theater A designated Japanese National Treasure

Friday, February 27, 2008 at 10:00 AM Bowker Auditorium University of Massachusetts Study Guides are also available on our website at www.fineartscenter.com - select “For

School Audiences” under “Education” in the right column, then Select Resource Room.

The North American tour of Awaji Puppet Theater Company is organized and produced by the Japan Society, New York, in partnership with the City of Los Angeles Department of Cultural Affairs, and is supported by the Agency for Cultural Affairs, Government of Japan; The Japan Foundation through the Performing Arts JAPAN program; and Awaji Ningyo Shibai Support Group.

The Arts and Education Program of the Fine Arts Center is sponsored by

About the Company: Awaji Puppet Theatre …

Designated an Intangible Cultural Folk Asset by the Japanese government, the Awaji Puppet Theater is based on Awaji Island, the largest island in Japan, located in the Seto Inland Sea, about 30 miles away from Osaka. With a recorded history of over 500 years, there are numerous stories about the art form’s origins, but perhaps the most well-known dates back to the Kamakura era (1192 – 1333). During that period, many people who made a living as musicians and dancers for shrine rituals moved to Awaji Island from Osaka. Among them was a puppeteer who originally belonged to the Nishinomiya Ebisu Shrine in Hyogo, just west of Osaka. It is believed that this puppeteer began to use puppets for divine services. This custom became so popular that it became part of the tradition to utilize puppets in a wide variety of seasonal sacred rituals to pray for the safety in homes, farmland, and fishing boats, and worshipping the sacred. Even up until the 1930s one could witness works from the celebratory ritual repertoire (such as Sanbaso or the Ebisu Dance) performed in front of household shrines. In its heyday at the beginning of the 18th century, there were over 40 fully active puppet theatre troupes

on Awaji. Over 1000 puppeteers performed both on Awaji Island and all over Japan. In fact Uemura Bunraku-ken, who founded Bunraku Puppet Theater originally hailed from Awaji Island. Unlike bunraku, the Awaji puppetry artists were traveling troupes, who, like a traveling circus, created their performance space wherever they went. Many traditional Japanese folk puppetry companies today have been deeply influenced by the traveling Awaji Puppetry art form. The Awaji tradition involved performances on outdoor stages and utilized larger puppets with larger gestures, and became known for its specialization in classical repertoires, quick costume changes, and sliding-screen backdrops. Combining the three elements of dramatic recitation, puppet manipulation and shamisen musical accompaniment, Awaji Puppet, often referred to as the origin of Bunraku Puppet, shares the same technique of three-man manipulation of puppets. In 1964, the Awaji Puppet Theater Company was founded as the inheritors to the Awaji Island’s puppet performance tradition. Since its inception the company has actively produced performances in its Awaji Puppet Joruri Center as well as national and international tours, provided special visiting programs for schools, and galvanized a national movement towards the preservation of traditional puppet theater.

About the Program… The Ebisu-Mai (Ebisu Dance) Ebisu, now considered a deity of abundance and wealth, was originally hailed as the deity of the sea. Since long ago, people offered performances to Ebisu on the seashore to pray for plentiful fishing and safety at sea. This piece is a direct descendant of this ancient ritual in which puppets were used for divine services. Synopsis: The Deity Ebisu comes to town and the Town Master welcomes him, offering him something to drink. After several bowls Ebisu begins to talk merrily about his life, claiming he is the deity of good luck and fortune, and then he begins to dance, bestowing good luck on the people, good fishing, good crops, and peace and prosperity to the town. Finally, he climbs into his boat and sails out to sea. He catches a tai fish (red sea bream – an auspicious symbol in Japan) and the story ends happily. To celebrate with Ebisu, dancing joyously to the rhythmic taiko drum is thought to bring a generous heart and positive thinking to those to witness the dance. The Ferry Crossing Scene from Hidakagawa Iriai Zakura Hidakagawa Iriai Zakura is a historical play in five acts following the legend of Anchin and Kiyohime and the bell at Dojoji Temple. The play was jointly written by Chikamatsu Hanji and other playwrights of that time and was first performed in 1759. Of the five acts, the fourth, “The Ferry Crossing Scene” is the most renowned. Synopsis: Due to a feud over the Emperor’s successor, Prince Sakuragi is in danger. He disguises himself

as an ascetic monk named Anchin to escape his pursuers. On his journey, the Prince spends a night in the home of a certain Manago Shoji in the Kumano region. Kiyohime, the daughter of Manago Shoji, not knowing that the monk is actually a prince, falls hopelessly in love with him. Anchin escapes to Dojoji Temple, across the river Hidakagawa. In “The Ferry Crossing Scene” Kiyohime has followed Anchin all the way to the river, and there asks the boatman for passage across. But the boatman has been instructed by Anchin to refuse her at all costs. The boatman denies her request. Kiyohime, consumed by a jealous rage, and determined to cross the river by her own strength, transforms into a giant serpent and jumps into the river to chase after Anchin.

A visit with the puppets… with the puppets… In the spring of 2000, Miguel Romero, University of In the spring of 2000, Miguel Romero, University of Massachusetts Professor of Theater visited Japan to study Massachusetts Professor of Theater visited Japan to study international puppet traditions. He was able to observe Awaji international puppet traditions. He was able to observe Awaji theater backstage and get a close up look on the workings of theater backstage and get a close up look on the workings of both the puppets and the puppeteers. both the puppets and the puppeteers.

“ After a brief stop-over in Kyoto, I continued on to the island of Awaji, the birthplace of traditional Japanese puppetry commonly known as Bunraku. “ After a brief stop-over in Kyoto, I continued on to the island of Awaji, the birthplace of traditional Japanese puppetry commonly known as Bunraku. During the heyday of Japanese puppetry in the 17th and 18th centuries, Awaji was synonymous with puppetry. At this time, there were over 44 fully active puppet theatres based on Awaji, performing there and all over Japan on elaborate but temporary stages constructed on farmland during the "off" seasons. The Awaji puppet tradition was originally performed to honor the gods and ensure a safe and profitable harvest and to protect homes and farmland.

During the heyday of Japanese puppetry in the 17th and 18th centuries, Awaji was synonymous with puppetry. At this time, there were over 44 fully active puppet theatres based on Awaji, performing there and all over Japan on elaborate but temporary stages constructed on farmland during the "off" seasons. The Awaji puppet tradition was originally performed to honor the gods and ensure a safe and profitable harvest and to protect homes and farmland. Like mainstream Bunraku, Awaji puppets consist of a detachable head, a body, and a costume. The head, or kashira, is a work of art in its own right. Some have moveable eyes, mouths, and eyebrows and are capable of detailed expression of emotion. The average puppet weighs about 22 pounds, and it requires both strength and subtlety to move these heavy puppets through the range of delicate emotions expressed in these plays. Three puppeteers manipulate each puppet, while all the dialogue and plot explanations are provided by a single, separate narrator, who does not change his or her voice dramatically to distinguish the characters (there may be as many as 15 characters, male and female, of all ages in a single play!)

Like mainstream Bunraku, Awaji puppets consist of a detachable head, a body, and a costume. The head, or kashira, is a work of art in its own right. Some have moveable eyes, mouths, and eyebrows and are capable of detailed expression of emotion. The average puppet weighs about 22 pounds, and it requires both strength and subtlety to move these heavy puppets through the range of delicate emotions expressed in these plays. Three puppeteers manipulate each puppet, while all the dialogue and plot explanations are provided by a single, separate narrator, who does not change his or her voice dramatically to distinguish the characters (there may be as many as 15 characters, male and female, of all ages in a single play!) However, the narrator or joruri does use a subtle command of pitch and tone to distinguish the various roles. The joruri breathes from deep in the solar plexus, separating each breath equally between nose and mouth to produce a rich, sonorous quality. The musician, or shamisen hiki, works in unison with the joruri.

However, the narrator or joruri does use a subtle command of pitch and tone to distinguish the various roles. The joruri breathes from deep in the solar plexus, separating each breath equally between nose and mouth to produce a rich, sonorous quality. The musician, or shamisen hiki, works in unison with the joruri.

Over the three days I spent on Awaji, I received a crash course in 20-minute versions of some of the great Japanese puppet plays. I observed training sessions for both puppet manipulators and musicians, and I was permitted to watch performances from backstage, which let me see the manipulations up close.

The company was most open-hearted and enthusiastic, and they were willing to share their skill and technique, allowing me to manipulate puppets backstage (thought not the precious ones!).

About the Shamisen… The shamisen is a three-stringed musical instrument played with a plectrum called a bachi. The shamisen is similar in length to a guitar, but its neck is much slimmer and without frets. Its drum-like rounded rectangular bodyis covered front and back with animal skin in the manner of a banjo. The three strings are traditionally made of silk. The sound of a shamisen is similar to that of the American banjo.As in the clawhammer style of American banjo playing, the bachi is often used to strike both string and skin, creating a highly percussive sound.

A Guide to Japanese Pronunciation Vowels are always pronounced the same way; long vowels are simply longer in duration (actually two syllables), the sound doesn’t change: Pronounce “a” like the short “ah” sound as in the word father. Pronounce “i” like the long “ee” sound as in the word eat Pronounce “u” like the long “oo” sound as in the words food or zoo Pronounce “e” like the short “eh” sound as in the word end. Pronounce “o” like the “oh” sound as in the word Ohio The Consonant sounds are: Pronounce “k” like the “ka” sound as in the word cat Pronounce “g” like the “ga” sound as in the word gourd Pronounce “s” like the “snake s” sound in the name Sue Pronounce “sh” like the “sha” sound as in the word seashore Pronounce “z” like the “za” sound as in the word zoo Pronounce “j” like the “ja” sound as in the name Jack Pronounce “t” like the “ta” sound as in the word tick Pronounce “ts” like tsetse fly. Pronounce “ch” like the hard “ch” sound as in the word chicken Pronounce “n” like the sound as in the word new

Pronounce “h” like the “ha” sound as in the word have

Bijin Playing Shamisen by Keishu Takeuchi (1861-1943) circa 1900

Pronounce “f” like the “foo” sound in the band named “Foo fighters”! Pronounce “b” like the hard “b” sound as in the word boy Pronounce “p” like the “pa” sound as in the words party and pea Pronounce “m” like the “ma” sound as in the word mama Pronounce “ya” like the sound in the word in yahoo Pronounce “r” more like a “d” than an “r” (as in a British butler saying “very good, madam”) Pronounce “w” like the sound in the wo Adapted from: Bestor, Theodore. A (relatively) easy guide to Japanese pronunciation.

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Resources ArtsEdge. Jan 10, 2009. http://artsedge.kennedy-center.org Web page for the Kennedy Center art education Department. Dick Blick Online. Jan. 10, 2009 http://www.dickblick.com Online resource for arts supplies and gyotaku fish models. eNASCO. Jan. 10, 2009. http://www.enasco.com Online source for Gyotaku fish models and other school craft supplies. Higginson, William J. Renku Home. 2006. March 17, 2008. http://renku.home.att.net/Renku_for_Kids.html Good resource about linked poetry and haiku. Teacher resource guide and lesson plans available. JICC. January 5, 2007. http://www.us.emb-japan.go.jp/jicc.Website of the Japan Information Center for the Japan-Washington DC embassy. The Cultural Spotlight link has new and archived articles on Japanese life and traditions. Kanji Site, The. 2006. January 5, 2007. http://www.kanjisite.com/html/wak/wak4.html Information about Japanese Kanji (pictogram writing) Kid’s Web Japan. 1996. Jaunuary 5, 2007. http://web-japan.org/kidsweb/index.html Web page especially for kids sponsored by the Japanese Ministry of Foreign Affairs. Contains information of special interest to children and teachers regarding Japanese life and traditions. Kovacs, Edna. Writing Across Cultures. Oregon: Blue Heron Publishing. 1994. Out of print. A handbook on writing poetry and lyrical prose from different world cultures and historical periods. Michi Online: Journal of Japanese Cultural Arts. 2003. Jaunuary 5, 2007. http://www.michionline.org/resources/Glossary/S/shigin.html Good glossary of Japanese art forms and associated terms. Morice, David. The Adventures of Dr. Alphabet. New York: Teachers and Writers Collaborative. 1995. Good book for creative poetry writing activities. . Stevens, R. The Poetry Zone. 1997. January 5, 2007. http://www.poetryzone.ndirect.co.uk/howto.htm#haik Information about writing Haiku and other poetic forms from around the world. Suruga Trading Service. Neat Stuff from Japan. 2007. March 23, 2008. http://neatstufffromjapan.com Commercial site for Japanese products but good insight and explanations about contemporary Japanese culture. Select “ About Japan”. Wikipedia. 2007. January 1, 2007. http://en.wikipedia.org Online encyclopedia of definitions for glossary terms. This site is good for basic information but should be confirmed with a second source.

Post Show Activities... Chopstick Shigin-Writing and World Literature Many people are familiar with the Haiku, a three line Japanese poem consisting of seventeen syllables. Did you know that the Haiku was derived from a much longer poetic form called Waka that contained 31 syllables and five lines? (It starts out just like a Haiku but ends with two more lines of seven syllables each.). An even older Japanese poetic form is called the Shigin. This type of Japanese poetry is created to be chanted, either individually or within a group. Each shigin poem is composed of lines of kanji. Kanji is a Japanese form of pictogram writing. It is different from an alphabet since each Kanji stands for a word or an idea. The most common Shigin were written in four lines and each line was seven characters long. (Just like a quatrain with seven words in each line!) Shigin are thought to have originated in China early in the first millennium AD. During the 5th century many books from China were brought into Japan and it is believed the Shigin poetic form spread to Japan at that time. Chopsticks are used in East Asian (China, Japan and Korea) countries as eating utensils. They can be very fancy and made out of precious metals like silver and gold or common materials like bamboo. For this activity each student will write a shigin on flat sided bamboo chopsticks-one line per side. Materials Black fine line felt tip pens Flat sided bamboo chopsticks (like those found in Chinese take out restaurants)

Procedure Read examples of Japanese poetry such as haiku, waka or shigin. Point out to students how often this poetry deals with nature themes and the seasons. It is similar to free verse and does not rhyme. It does not contain articles or conjunctions. Using a set number of words for each line, have students write a four line shigin. Write one line on each side of a bamboo chop stick. Extension In small groups have students place their chopsticks together and roll them over to create collaborative poems. How many possible new poems can be created using two chopsticks? Three? Four? Etc. Bibliography Morice, David. The Adventures of Dr. Alphabet. New York: Teachers and

Writers Collaborative. 1995.

Gyotaku-Visual Arts and Biology In the Awaji Puppet Theater production students saw a traditional dance performed by Ebisu. In statues and paintings Ebisu is often portrayed in a happy stance holding a fish. He is the deity who watches over fish and fisherman. The sea and sea creatures were important to the Japanese people. Have students look a map of Japan. Why might the sea be of such important significance? Why might Ebisu be portrayed as a benevolent deity? In the early 1800’s the Japanese developed an art form called Gyotaku. Pronounced ghee–o–tah–koo, the name translates as fish rubbing (“gyo” means fish and “taku” means rubbing). This process dates back to the mid to late 1800s and was originally used by fisherman to preserve the exact size and features of a fish. (And still allow the fisherman to have a tasty meal!) . The fish is cleaned of all mucus and debris. Then it is dried and laid flat with all fins exposed to preserve the true appearance of the fish. The fisherman paints one side of the fish. He places a piece of paper or cloth over the painted fish and rubs. The material is then carefully removed to reveal the print. Exploring Gyotaku In this activity students will experiment with relief printing and examine the external anatomy of a fish. Depending on the type of fish used students will be able to identify such features as the dorsal fin, caudal fin, anal fin, lateral line, pectoral fin, pelvic fin, gill, eye, cheek, nostril and mandible. Materials fish prints kit or rubber gyotaku models (available from Dick Blick or NASCO Co.) newspapers large flat work surface sponge rollers pans for the paint tempera paint and/or acrylic paint white paper Procedure Explain and give a history about the art of fish printing. Show students pictures of gyotaku. Point out basic parts of fish either using the model or a scientific illustration Demonstrate gyotaku printing for student Cover entire work area with newspapers. Using a sponge roller cover fish model with paint. Gently press the white paper over the painted fish. (Note: Don't press same area twice because it will smudge the print.) Peeling in one direction-carefully remove the paper. When dry, students can name and label the external anatomy of the fish.

Map of Japan http://www.jnto.go.jp/eng/map/index_map.html

AWAJI ISLAND

Mochi-Japanese Sweets These sweet rice balls are made to celebrate many Japanese festivals. Ingredients can commonly be found at Asian or international food markets. Ingredients: For Rice Balls: 2 1/2 cup glutious rice (mochi gome) 1/2 cup Japanese rice 3 cup water For Toppings: 3/4 lb. anko (sweet azuki bean paste) 1/2 cup crushed walnuts and 2 Tbsp sugar, grinded well 3 Tbsp black sesame seeds and 1 1/2 Tbsp sugar, grinded well 1/3 cup kinako (soy bean powder) and 2 Tbsp sugar, mixed Photo (c) Setsuko Yoshizuka Preparation: Put both kinds of rice in a bowl and wash with cold water. Drain the rice in a colander and set aside for 30 minutes. Place the rice in a rice cooker and add measured water. Let the rice soak in the water for 30 minutes. Start the cooker. Put prepared toppings, such as anko and sesame seeds, in seperate bowls. When rice is cooked, let it steam for 15 minutes. Mash the rice with wooden pestle until sticky. Wet hands and shape the rice into oval balls. Cover rice balls with different toppings. Makes about 32 rice balls Retrieved Feb. 1, 2009 http://japanesefood.about.com/od/rice/r/ohagi.htm

NOTICE TO ALL TEACHERS AND CHAPERONES

PERFORMANCES BEGIN PROMPTLY AT 10AM OR NOON. Many of our performances sell out. This means we can have up to 1,600 students to seat. Please help us by arriving 30 minutes prior to the start of the performance. This will allow our ushers to get everyone seated and for you and your students to visit the rest rooms and get settled. It is important that we begin our performances on time so that all schools can meet their lunch and/or dismissal times.

PLEASE CHECK LOCATION OF PERFORMANCE WHEN MAKING YOUR BUS RESERVATION.

The staff of the Fine Arts Center needs your help! An increasing number of students are coming into the performance space with gum, food, beverages, cell phones and portable music players. None of these items is allowed in the halls for performances. Many of these items are stowed in backpacks and are not easily noticed. Our goal is to offer high quality performances for young people. In order to enhance the experience, we ask for your cooperation in preventing these items from entering the hall.

For the comfort of all concerned, we ask that backpacks, lunches and other gear be left on the bus. Our long-standing policy of no cameras or tape recorders still is in effect.

At the conclusion of the performance please remain in your seats until your school group is dismissed.

We hope that you and your students enjoy your theatre experience!

PARKING AND DIRECTIONS FOR THE FINE ARTS CENTER’S BOWKER AUDITORIUM

In Stockbridge Hall

School Bus Parking: Students should be dropped-off at the circle near Stockbridge Hall, which is accessed via the road to the Campus Center Parking Garage off of Commonwealth Avenue. University Security will direct buses to an appropriate parking lot during the performance (typically by the football stadium). PLEASE BE SURE YOUR BUS DRIVER KNOWS THAT ALL PERFORMANCES LAST APPROXIMATELY 1 HOUR AND THEY SHOULD RETURN A FEW MINUTES BEFORE THE ANTICIPATED END TIME. If drivers are not with the buses, they may miss the radio call from security asking them to return for pick-up, resulting in unnecessary delays returning to your school.

Individual cars: We recommend parking in the Campus Center Parking Garage, which is directly next to Stockbridge Hall/Bowker Auditorium. All other available parking during weekdays is at meters. There are few meters available that are close to Bowker Auditorium. Available lots and pricing (current as of 1/1/07) are listed below:

Parking in the Garage is available to our patrons at a discounted rate of $1. To receive this rate you MUST give the Garage attendant a parking pass. To receive your pass, please call our office to let us know that you will be arriving by car. Parking passes are sent with the invoices. (413) 545-2116

Parking meters are enforced Monday – Friday, 7AM – 5PM. Meter rates are $1.00 per hour.

Parking Garage – next to Bowker - accessed across from the Mullins Center off

Commonwealth Avenue Lot 25 – next to Mullins Center with 3 & 5-hour meters

From the North: (Vermont, Greenfield) I-91 south to Route 116. Follow signs on 116 “To the University of Massachusetts.” Exit ramp leads to Massachusetts Avenue. Turn left (east) on to Massachusetts Avenue toward the campus. At first light turn left on to Commonwealth Avenue. At next light turn right and follow signs for the Parking Garage.

From the South: (Springfield, Holyoke) I-91 north to Route 9. Turn right (east) on Route 9 over the Coolidge Bridge and through Hadley. Turn left (north) on Route 116 (across from Staples) heading toward campus. Turn right (east) at first exit at “University of Massachusetts,” then bear right onto Massachusetts Avenue toward campus. At first light turn left on to Commonwealth Avenue. At next light turn right and follow signs for the Parking Garage.

From the West: (Northampton, Pittsfield) Route 9 east through Northampton and over Coolidge Bridge. Follow remaining directions under “From the South”.

From the East: (Belchertown, Ludlow) North on Routes 21, 181 or 202 to Route 9 into Amherst. Right on to North Pleasant Street (main downtown intersection), north through center of town. Turn left at Triangle Street (Bertucci’s Restaurant on your right), rejoining North Pleasant Street. Stay on North Pleasant until it enters campus. Go straight through light – street has now become Massachusetts Avenue. At bottom of hill turn right on to Commonwealth Avenue. At next light turn right and follow signs for the Parking Garage.

For Concert Hall, Rand Theater and Bowker Auditorium – Patrons traveling by car are encouraged to park in the parking garage. Discounted parking is available in the garage for $1. A parking permit is required for discounted parking in the garage. Please call the Arts & Educational Programs Office if you require permits at (413) 545-2116. All other parking on campus is at available meters at the rate of $1 per hour. Parking is enforced Monday – Friday, 7AM – 5 PM. Buses will drop-off students as indicated on map. Buses will be given parking instructions by Campus Security.