Bando Hidesomi leads dancers and Nisei Week Queen Jordyn Adachi during the Closing Ceremonies in 2017. This year, Bando Hidesomi will serve as the official choreographer, a role she takes on as part of her lifelong training and dedication to traditional performing arts.
A conversation with Bando Hidesomi, official choreographer for the 83rd Nisei Week Festival.
By TOMOKO NAGAI
RAFU STAFF WRITER
Bando Hidesomi, the choreographer for the 83rd Nisei Week Japanese Festival Parade, has walked a path intimately tied to Japanese classical dance since her childhood.
Bridging cultures between Japan and the U.S., she continues to fulfill her mission of passing on tradition as both a Bando-style dancer and a steward of the local community.
In this interview, she reflects on her first encounter with Japanese dance, her mentors, her ties to the Japanese American community, and her commitment to cultural preservation. We listened closely to the quiet yet profound passion that animates her journey.
Encounter with Japanese Dance
Q: How did you first become involved in classical Japanese dance?
A: I was physically very weak as a child, and my mother felt that something like Japanese classical dance might suit me better than sports. That led me to begin studying with Bando Mitsuhiro Sensei. I don’t remember much from that time, but according to others, I would sit quietly in the studio, just watching the dances, and people would say, “What an unusual child.” I think I must have been naturally interested from a young age. Even now, people often say, “You used to just sit so still and watch.”
Q: Were there other opportunities to engage with traditional Japanese culture in your household?
A: Yes, we naturally observed seasonal traditions — New Year’s, Girls’ Day, Children’s Day, and so on. My mother practiced ikebana and tea ceremony, and both of my parents valued Japanese culture deeply.
Q: How do you see your own identity?
A: I’ve never felt fully Japanese American or fully Japanese. It’s like I’m both and neither at the same time. I became aware of that around high school. I grew up exposed to American culture but also learned about Japanese culture through my parents. That’s why I’ve tried to cherish both cultures equally in the way I live my life.
Q: Was classical Japanese dance an important expression of your “Japaneseness”?
A: In hindsight, yes — but more than anything, I simply loved Japanese dance. I never once wanted to quit. I enjoyed the lessons so much; more than performing, I loved the practice itself. I also liked observing backstage work, watching Mitsuhiro Sensei apply makeup or arrange hair, and learning by seeing. I enjoyed helping younger students with those tasks too.
I loved dancing so much that I could do it all day without getting tired. I even asked my friends to schedule plans around my dance practices.
Eventually, Mitsuhiro Sensei told me, “You should go to Japan to learn Japanese dance.”
Training in Japan and the Bond with Her Teachers
Q: Was deciding to go to Japan a major decision for you?
A: I had also wanted to attend university in the United States, but I knew I wanted to continue studying Japanese dance and eventually teach it. That’s why I made the decision to go to Japan. I consulted with Bando Hideko Sensei and ultimately enrolled at Keio University. Hideko Sensei had already been my mentor since I was in middle school.
Q: So you had already been training under Hideko Sensei while you were still in middle school in the U.S.?A: Yes. Around that time, I started thinking seriously about wanting to teach Japanese dance in the future. Mitsuhiro Sensei told me, “Then you should study under Bando Hideko Sensei.” From then on, I traveled to Japan during every summer vacation for training with her.
Q: What were those five years in Japan like?
A: Since I was attending university, I wasn’t technically a live-in apprentice, but I stayed at the iemoto’s (head family’s) home and learned many things. Of course, there was regular practice, but I was also given the chance to listen to various stories, observe training sessions with other students and actors, and attend performances and dance recitals. Those experiences were invaluable. I had hesitated at first, but the four years I spent there became a once-in-a-lifetime treasure. I’m truly grateful.
Q: Do you have any memories of the ninth-generation iemoto, Bando Mitsugorō IX?
A: He was a very warm-hearted person. What I remember most is how he always said, “I want everyone to get along.” He spoke as though it were his final wish — that we must all cooperate and support one another in carrying on the Bando tradition. Those words have stayed with me and remain deeply important to me.
Q: Were there any other teachers or organizations that particularly influenced you in your dance journey?
A: Far too many to name. I’ve known Mitsuhiro Sensei since I was three years old. She taught me the fundamentals of dance as well as technical skills like makeup, hairstyling, and kimono dressing for the stage. From Hideko Sensei, I received strict yet thoughtful instruction and learned a different perspective — especially about the differences between the dance worlds of Japan and the U.S., and what it means to stand in between the two.
I’m also deeply grateful to the iemoto couple for warmly accepting someone like me who came from abroad. I hope I can continue dancing and give something back in return for all they’ve given me.
Mitsuhiro Sensei often organized dance recitals, which brought many teachers from Japan. I learned so much from them — it’s impossible to name them all. My gratitude is endless.
And I can’t forget the support from the local community. Some people still remember me from when I was three years old, saying, “You’ve grown so much,” or “I’ve been a fan since you were little.” I truly feel that I’ve been supported by their warm presence over the years. Next year marks 30 years since I began teaching, and the energy I’ve received from the local community has been incredibly meaningful.
Ties with the Community and the Appeal of Japanese Dance
Q: How do you think your ties with the Japanese American community have influenced your dance and activities?
A: Since I was little, I’ve been involved in events with Mitsuhiro Sensei at places like the Fukuoka Kenjinkai, the Nisei Week Festival, Zenshuji, and previously Sozenji. Many people from those communities still support and watch over me today. These connections have lasted over the years, and the groups that host annual events — like the Cherry Blossom Festival and Torrance Bunka-sai — have become like family that I see once a year.
There are moments like, “We got to see our Nisei Week family again this year,” or “We met again at the Zenshuji festival,” and those reunions continue into our teens, twenties, thirties, and forties. Even if we don’t interact regularly, we see each other and dance together with a smile, saying, “Here we are again.” That time together is uplifting and motivating — it reminds me that we’re part of a mutual support system.
The minyo group Matsutoyo Kai is another example. Mitsuhiro Sensei and Sato Matsutoyo Sensei had a close relationship, and that bond has continued to this day. Matsutoyo Sensei’s daughter Marisa is now the second-generation leader, and I see her as something like a sister in the world of the performing arts, both of us carrying forward our mentors’ legacies.
Q: What is the most memorable performance you’ve had so far?
A: Performing “Sagi Musume” (The Heron Maiden) at my shihan (master teacher) debut was a major challenge and remains one of the most significant experiences for me. It was staged at the Nichi-Bei Theater (now the Aratani Theater), and I still vividly remember it.
Another special memory was dancing “Soushun” (The Early Spring) with Mitsuhiro Sensei. And during the first dance recital that I produced, I had the extraordinary experience of performing “Tsurukame” (Crane and Tortoise) with Mitsuhiro Sensei and Bando Hideko Sensei, who had come from Japan. That was the only time the three of us danced together — it was truly special.
Q: What does Japanese classical dance mean to you personally?
A: I think the beauty of Japanese dance lies in the stories embedded within. Some pieces are theatrical in nature, while others focus purely on the aesthetics of movement. There is also the cultural spirit behind it — such as manners, humility, and the attitude of learning with respect — which I find deeply appealing.
Performing Japanese classical dance in the U.S. has its challenges. You can’t always bring everything over exactly as it is in Japan, but at the same time, fully Americanizing it doesn’t feel right either. That’s why balance is essential. To me, Japanese dance serves as a bridge that connects both worlds.
Thoughts on Nisei Week
Q: How did you come to take on the role of choreographer for the Nisei Week Parade?
A: My teacher, Mitsuhiro Sensei, used to participate in the parade every year. After she passed away, I took on the responsibility. Originally, we participated under the name “Bando Mitsuhiro Kai,” but since there are other groups among her students like Mai no Kai, we now participate under the name Los Angeles Bando-ryu.
Q: What thoughts did you have in choosing the two parade songs this year: “Kawasaki Odori” and “Sore ga Daiji”?
A: “Kawasaki Odori” has a fast tempo, and I wanted everyone to enjoy dancing it together. “Sore ga Daiji” was chosen after the fire that occurred in Los Angeles at the beginning of the year. The lyrics include phrases like “not giving up,” “not throwing things away,” “not running away,” and “believing through to the end.” It expresses the importance of moving forward with a positive spirit, even if only in small ways. I hope that message comes through, even just a little.
Q: How do you approach teaching at the public Nisei Week dance practices?
A: I always try to teach in a clear and accessible way, especially for beginners. The most important thing is that everyone enjoys dancing. Whether during practice or on the day of the parade, I hope we can all share in that joy together. I’m truly filled with gratitude toward everyone who participates in the general public section of the parade each year.
Cultural Preservation and Messages for the Next Generation
Q: What are your thoughts on preserving tradition within a multicultural environment, and what message do you have for younger generations?
A: This is a lifelong challenge for me — and my own way of thinking has continued to evolve. As I continue practicing Japanese dance, I want to pass on the values and spirit that have been handed down through Japanese culture.
In the past two years, I’ve been especially moved by learning that Japanese Americans continued practicing traditional arts, including dance, even while they were incarcerated during World War II. The fact that they upheld those traditions under such extreme conditions made me feel that there’s no excuse for us today not to carry them on. I was deeply affected by a documentary showing teachers who continued to teach Japanese dance in those camps — it was inspiring. I feel I have no right to complain about anything by comparison.
More recently, I received some stage costumes from someone in the U.S., and I later found out they had been brought over by ship before the war. Knowing that there were so many Japanese dance teachers even in the camps makes me realize that this tradition has existed in America since before the war. That realization struck me deeply.
Q: Do you think the fact that prewar costumes are still usable today reflects the depth of classical Japanese performing arts?
A: I do. Traditions that have been passed down for so long carry an unspoken kind of beauty. The same goes for tea ceremony and ikebana — they all contain a profound cultural value.
Q: What do you consider your mission through Japanese dance?
A: To keep dancing. It’s my way of giving back to all the people who have taught me. I want to pass on what I’ve learned to the next generation.
I believe there are universal values we should all hold dear — gratitude, humility, and compassion. I feel these qualities have become more deeply ingrained in me through Japanese dance.
I’ve never had a strong desire to do something specific with Japanese dance — it’s always been something I continued naturally, as if I were being guided by something. That’s why I want to keep going, without forcing anything, just letting the flow carry me.
Q: What is your approach when teaching Japanese dance?
A: I try to be clear and gentle in my instruction. My students come from diverse backgrounds — some are Japanese American, others have multicultural identities, and some have never been exposed to Japanese culture before. I do my best to communicate in a way that resonates with each person, and to share not just the dance but also the broader context of Japanese culture.
Looking Ahead: Challenges Toward the Future
Q: What are your hopes for the major dance performance planned for Jan. 18, 2026, marking your 30th anniversary as an instructor?
A: For this performance, I’m thinking ahead to the next generation. I want to create a foundation so that when young people feel inspired to perform, there’s already an infrastructure in place to support a full-scale production.
In the past, we were able to put on shows without inviting staff from Japan. But many of those people have since passed away. This time, with the help and introductions of many supporters, I’ll be inviting a stage set designer (o-dogu) from Japan for the first time.
Q: You’ve brought someone from Japan to design the stage sets at the Aratani Theater?
A: Yes, and about five scenic back-drops have already been completed. In previous performances, we brought over wig masters (tokoyama-san) and makeup artists (kao-shi) from Japan, but this is the first time for stage sets. Stage design is a vital component of Japanese dance — it’s also what makes the experience visually engaging for the audience. I’d like more people to understand how important the behind-the-scenes work is.
One of my goals for this upcoming performance is to build a solid foundation for the next generation. Another is to help more people appreciate the essence of Japanese classical dance performed in a theater setting. I believe that increased understanding can lead to broader support in the future.
I also hope to give back to my parents, family, mentors, and the community who raised and supported me along the way.
Of course, performing in the U.S. requires flexibility, but I’m embracing that challenge fully. The Jan. 18 performance will be the culmination of all those efforts.
Q: This year’s Nisei Week theme is “Kansha.” Do you have a message for the audience?
A: I hope everyone enjoys Nisei Week while embracing the spirit of gratitude. Since I was very young, I’ve had the privilege of dancing within this community, and with every event I participate in, I feel an even deeper sense of appreciation and a desire to give back.
To everyone who has supported me over the years, I offer my heartfelt thanks. I would be truly happy if I can share that sense of gratitude through the Nisei Week Festival, and create joyful moments together with the community.