By MARIKO WATABE
Special to The Rafu
Second of three parts
When I first set foot in Los Angeles in 1973, I was truly amazed by the cultural richness of the Japanese American community. Nearly 30 years had passed since the war, yet Japanese culture was thriving, with dance and nagauta performances being held frequently.
As you all know, Japanese Americans endured the painful experience of being sent to internment camps during the war. However, I heard that wonderful order emerged in the camps, with work assignments and cooperation among residents. Through the strong will that “even if we cannot use the enemy’s language, we will preserve our culture,” they worked together and used that unity to rebuild from zero after the war.
Buddhist temples played a particularly important role. They protected children from parents who worked day and night, and preserved culture. It was because of this foundation that Japanese culture was so vibrant in Los Angeles in 1973.
I spent those years very busily until leaving Los Angeles in the fall of 1977. After staying in Belgium and returning to Chicago in 1981, I found that the Los Angeles hogaku (traditional Japanese music) world was experiencing its golden age, and I began frequently performing at Los Angeles events.
The vitality of those times was remarkable. Yamato Yasoyo-san performed as Kineya Yasoyo while I experienced that prosperous period as a student of Kineya Kichisaburo. There were also several other major nagauta groups, each producing many name-holders.
The dance world was equally vibrant. Fujima Kansuma, Wakayagi Hisami, Bando Mitsuhiro, Fujima Chisee, and many other dancers enlivened the Los Angeles hogaku scene.
The person who brought all these groups together was ohayashi master Katada Kisaku. Since visiting at UCLA’s invitation in the early 1980s, he established Katada-Kai USA and held performances in Los Angeles for over 20 years, creating an era where multiple nagauta groups and dancers presented wonderful stages.
However, the situation changed dramatically from the 1990s. The bubble economy collapse began, dealing a major blow to Japanese companies. However, until around 2000, the masters who had built the hogaku world were still healthy and continued their activities. The real decline began around 2000, when masters began passing away or retiring one after another, and the hogaku world seemed on the verge of disappearing.
There were people who worked desperately to preserve it. Starting in 1999, folk song artist Matsutoyo-san launched Yamato-gaku USA. Nagauta name-holders also joined Yamato-gaku, and a large performance was held in 2008. In nagauta as well, people who had been active in multiple groups came together to form Shiki-no-kai.
However, with the aging of performers and other factors, the Los Angeles hogaku world continued to decline. During this time, it was Yamato Yasoyo-san (Kineya Yaso-shiro) who consistently maintained nagauta and Yamato-gaku.
In 2012, I joined from New York. I participated as an ohayashi performer (Katada Kimisen), officially received the name Yamato Kyosho, and began participating in Yamato-gaku USA activities.
The major Yamato-gaku concert being held on Nov. 2 this year, after a 17-year hiatus, is realized against this historical background. Authentic Japanese classical performing arts that had been absent for so long are returning to Los Angeles.
Next time, I will discuss Yamato-gaku itself and the Nov. 2 concert.