Podcasts about japanese noh

In this episode of The Brilliant Body Podcast, Ali Mezey interviews Philip Shepherd, a luminary in the global embodiment movement. Together, Ali and Philip explore countercultural aspects of embodiment, the importance of challenging societal norms, and the need to advocate for a shift towards present-centered awareness.Central to the conversation is the profound impact of the pelvic bowl, a core element of Philip's teachings. Drawing inspiration from cultures that value the body differently, Philip highlights the concept of Hara in Japanese Noh theater. He traces the historical shift in Western culture from the belly as the thinking center to the current emphasis on the head, revealing a narrative of mistrust in the body.Sensitivity emerges as a core theme of the conversation, which Philip positions as the foundation of intelligence. Ali and Philip delve into the subtleties of staying “dropped in” to the pelvic floor, stressing the gentle and patient approach required for restoring sensitivity, especially in individuals who have experienced trauma. Throughout the episode, the exploration of embodiment, cultural shifts, and the profound connection between the body and the world converges into a call to action. The duo inspires listeners to nurture sensitivity, embrace radical wholeness, and reclaim their true intelligence, fostering the evolution of both individual and collective consciousness.FOR MORE ALI MEZEY:ALI - WebsiteALI - LinkTreeFOR MORE PHILIP SHEPHERD:PHILIP – Facebook PHILIP – InstagramEmbodiedPresent.comBIO: Philip Shepherd is recognized as a leader in the global embodiment movement. He is the creator of The Embodied Present Process™ (TEPP), which provides both potent insights into how our culture desensitizes the body, and a series of over 150 practices to help people renew their sensitivity to the world and reclaim their calm, centred presence in it. He shares TEPP worldwide through in-person workshops and Facilitators Trainings, and has articulated the need for a new, more embodied way of being in two books: Radical Wholeness and New Self, New World. Both books identify the causes, perils and challenges of our culture's disembodiment. Philip's personal path to embodiment includes a two-year journey as a teenager, during which he traveled alone by bicycle through Europe, the Middle East, Iran, India and Japan. He has also studied classical Japanese Noh Theater; co-founded an interdisciplinary theatre company; written two internationally produced plays and a television documentary; designed and built several houses; co-founded an arts magazine called Onion; played lead roles on stages in London, New York, Chicago and Toronto; and earned a reputation as a coach, both with individual clients seeking a deeper experience of embodiment, and for corporate clients seeking to improve their presentation skills. He developed TEPP with his co-director and wife Allyson Woodrooffe, who also shares the practices in person. His website and online courses are found at EmbodiedPresent.com. His newest book, Deep Fitness, was co-authored with Andrei Yakovenko and offers a revolutionary and highly effective approach to fitness.PHILIP'S BOOKS: (these links are to Amazon, but all distributed by Random House (yay, Philip!), you can find them in your friendly, neighborhood bookstores)Radical WholenessNew Self, New WorldDeep FitnessOTHER RESOURCES, LINKS AND INSPIRATIONS: IAIN McGILCHRIST – websiteILARION MERCULIEFF – Aleut Nation TedTalks: Native KnowingThe Womb at the Center of the UniverseRICHARD LATTIMORE – his translation of The OdysseyNOH THEATRE: A short National Geographic film | A Noh play called Tomoe BYRON ROBINSON: The Abdominal and Pelvic Brain PDF selections | The Abdominal and Pelvic Brain book TANDEM: An introduction to the center of the bodyDENIS CHAGNON - Energy HealerMATT KAHN: Everything is Here to Help You - The book | The video3D Tour of the Perineum

"Some people would say Cricket is boring. But more you understand about the intricacies, the rules, histories, and the tradition, the more you can understand and appreciate. So coming to the workshop today, I learned a lot more and helps me to appreciate the art of Noh." - 能はまるでルールが分かるとハマってしまうクリケットのようなもの――。ワークショップ参加者の言葉です。今月シドニーで行われた能楽のワークショップで聞いた声をまとめました。

THE BRILLIANT BODY PODCAST w/ ALI MEZEY:"Embodied Intelligence with Philip Shepherd: Wholeness, Sensitivity, and the Pelvic Bowl"TO VIEW ON YOUTUBE: https://youtu.be/RjXbXboi6m8To subscribe now, click hereTo be an angel to the podcast, click here To read more about the podcast, click here FOR MORE ALI MEZEY:ALI - WebsiteALI - LinkTreeSYNOPSIS:In this episode of The Brilliant Body Podcast, Ali Mezey interviews Philip Shepherd, a luminary in the global embodiment movement. Together, Ali and Philip explore countercultural aspects of embodiment, the importance of challenging societal norms, and the need to advocate for a shift towards present-centered awareness.Central to the conversation is the profound impact of the pelvic bowl, a core element of Philip's teachings. Drawing inspiration from cultures that value the body differently, Philip highlights the concept of Hara in Japanese Noh theater. He traces the historical shift in Western culture from the belly as the thinking center to the current emphasis on the head, revealing a narrative of mistrust in the body.Sensitivity emerges as a core theme of the conversation, which Philip positions as the foundation of intelligence. Ali and Philip delve into the subtleties of staying “dropped in” to the pelvic floor, stressing the gentle and patient approach required for restoring sensitivity, especially in individuals who have experienced trauma. Throughout the episode, the exploration of embodiment, cultural shifts, and the profound connection between the body and the world converges into a call to action. The duo inspires listeners to nurture sensitivity, embrace radical wholeness, and reclaim their true intelligence, fostering the evolution of both individual and collective consciousness.EXPLORATION POINTS:Ali and Philip discuss the geography of intelligence and the significance of the pelvic bowl as the base of experiencing our wholeness.Philip traces the d/evolution of Western culture from valuing the belly as the center to the current emphasis on the head and mistrust of the body.They discuss sensitivity as the foundation of intelligence and explore the nuances of restoring sensitivity, particularly in trauma survivors.Philip unpacks the fallacy of independence, and vividly describes the self as being in constant felt-relationship with the world.The conversation ultimately advocates that we recognize and learn to live from our full intelligence as a key to cultural evolution. FOR MORE PHILIP SHEPHERD:BIO: Philip Shepherd is recognized as a leader in the global embodiment movement. He is the creator of The Embodied Present Process™ (TEPP), which provides both potent insights into how our culture desensitizes the body, and a series of over 150 practices to help people renew their sensitivity to the world and reclaim their calm, centred presence in it. He shares TEPP worldwide through in-person workshops and Facilitators Trainings, and has articulated the need for a new, more embodied way of being in two books: Radical Wholeness and New Self, New World. Both books identify the causes, perils and challenges of our culture's disembodiment. Philip's personal path to embodiment includes a two-year journey as a teenager, during which he traveled alone by bicycle through Europe, the Middle East, Iran, India and Japan. He has also studied classical Japanese Noh Theater; co-founded an interdisciplinary theatre company; written two internationally produced plays and a television documentary; designed and built several houses; co-founded an arts magazine called Onion; played lead roles on stages in London, New York, Chicago and Toronto; and earned a reputation as a coach, both with individual clients seeking a deeper experience of embodiment, and for corporate clients seeking to improve their presentation skills. He developed TEPP with his co-director and wife Allyson Woodrooffe, who also shares the practices in person. His website and online courses are found at EmbodiedPresent.com. His newest book, Deep Fitness, was co-authored with Andrei Yakovenko and offers a revolutionary and highly effective approach to fitness.And my website, as you may have gathered from the above, is EmbodiedPresent.comPHILIP – Facebook PHILIP – InstagramPHILIP BOOKS: (these links are to Amazon, but all distributed by Random House (yay, Philip!), you can find them in your friendly, neighborhood bookstores)Radical WholenessNew Self, New WorldDeep FitnessOTHER RESOURCES, LINKS AND INSPIRATIONS: IAIN McGILCHRIST – websiteILARION MERCULIEFF – Aleut Nation TedTalks: Native KnowingThe Womb at the Center of the Universe RICHARD LATTIMORE – his translation of The OdysseyNOH THEATRE:A short National Geographic filmA Noh play called Tomoe  BYRON ROBINSON: The Abdominal and Pelvic Brain PDF selections The Abdominal and Pelvic Brain book TANDEM:

William Butler Yeats is widely considered to be one of the greatest poets of the 20th century. He was born in Dublin. His father was a lawyer and a well-known portrait painter. Yeats was educated in London and in Dublin, but he spent his summers in the west of Ireland in the family's summer house at Connaught. The young Yeats was very much part of the fin de siècle in London; at the same time he was active in societies that attempted an Irish literary revival. His first volume of verse appeared in 1887, but in his earlier period his dramatic production outweighed his poetry both in bulk and in import. Together with Lady Gregory he founded the Irish Theatre, which was to become the Abbey Theatre, and served as its chief playwright until the movement was joined by John Synge. His plays usually treat Irish legends; they also reflect his fascination with mysticism and spiritualism. The Countess Cathleen (1892), The Land of Heart's Desire (1894), Cathleen ni Houlihan (1902), The King's Threshold (1904), and Deirdre (1907) are among the best known. After 1910, Yeats's dramatic art took a sharp turn toward a highly poetical, static, and esoteric style. His later plays were written for small audiences; they experiment with masks, dance, and music, and were profoundly influenced by the Japanese Noh plays. Although a convinced patriot, Yeats deplored the hatred and the bigotry of the Nationalist movement, and his poetry is full of moving protests against it. He was appointed to the Irish Senate in 1922. Yeats is one of the few writers whose greatest works were written after the award of the Nobel Prize. Whereas he received the Prize chiefly for his dramatic works, his significance today rests on his lyric achievement. His poetry, especially the volumes The Wild Swans at Coole (1919), Michael Robartes and the Dancer (1921), The Tower (1928), The Winding Stair and Other Poems (1933), and Last Poems and Plays (1940), made him one of the outstanding and most influential twentieth-century poets writing in English. His recurrent themes are the contrast of art and life, masks, cyclical theories of life (the symbol of the winding stairs), and the ideal of beauty and ceremony contrasting with the hubbub of modern life. Dr Selina Guinness is a lecturer in English (Irish Literature) in the Department of Humanities and Arts Management at IADT. Her memoir about farming on the fringes of the city, The Crocodile by the Door, was published in 2012 by Penguin Ireland. It was shortlisted for the UK Costa Book Awards (Biography) and nominated for Best Newcomer at the Irish Book Awards. (Source: The Nobel Foundation)

A conversation with Deborah Ann DeSnoo - theatre, film and TV producer/director for projects in Japan, the US and Korea who in 2022 filmed Japanese Noh performances in Tokyo for the Samurai Museum Berlin. Deborah shares professional and personal experiences and challenges with a lot of laughs and music inspired by her craft.

Meet Shinzen Young, a long-time instructor of mindfulness, author of The Science of Enlightenment, and now co-director of the “Science Enhanced Mindful Awareness” or “SEMA” Lab at the University of Arizona. Shinzen is Jeff's OG meditation teacher. He is both a scholar of comparative mysticism, and a highly creative designer of strange and beautiful (and practical) meditation techniques.In this episode, instead of trying to banish thoughts, we drop into a "global unfixated state," and allow creative images and words and associations to spontaneously unfold. Both Shinzen's exposition and his guided practice are quite precise – so much so that Tasha kind of bristles against them, which makes for a lively discussion afterwards. But if you're patient, and able to trust what Shinzen is pointing to, it can lead to genuine insight. Thinking can shift from something rigid and constrained, to something more free-flowing and intuitive and even wise.This matters. For Shinzen, the best of humanity comes through via our creativity and intuition. In his words, we can train ourselves to “let nature take over.” Shinzen himself demonstrates this at the end, when he comes apart during an emotional discussion of Japanese Noh theater. Much good stuff on the “deep mind,” subconscious processing, and the better angels of our nature.So: here we go … like “seaweed in a tide poodle”!Links:Shinzen's website: https://www.shinzen.org/His YouTube channel: https://www.youtube.com/user/expandcontractHis original “Science of Enlightenment” audio series from the 90s. In Jeff's opinion, this series – NOT his more recent book of the same title – is one of the smartest things ever created on the subject of meditation.Shinzen's “Unified Mindfulness” training program: https://unifiedmindfulness.com/His “Science Enhanced Mindful Awareness” Sema Lab at the University of Arizona: https://semalab.arizona.edu/Support the show

Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theater (Harvard UP, 2020) examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin'in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami's Rikugi and Zenchiku's Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh's allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their original function as political and religious allegories. Now viewed in the context of contemporaneous beliefs and practices of the medieval period, noh plays take on a greater range and depth of meaning and offer new insights to readers today into medieval Japan. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theater (Harvard UP, 2020) examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin'in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami's Rikugi and Zenchiku's Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh's allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their original function as political and religious allegories. Now viewed in the context of contemporaneous beliefs and practices of the medieval period, noh plays take on a greater range and depth of meaning and offer new insights to readers today into medieval Japan. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theater (Harvard UP, 2020) examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin'in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami's Rikugi and Zenchiku's Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh's allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their original function as political and religious allegories. Now viewed in the context of contemporaneous beliefs and practices of the medieval period, noh plays take on a greater range and depth of meaning and offer new insights to readers today into medieval Japan. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theater (Harvard UP, 2020) examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin'in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami's Rikugi and Zenchiku's Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh's allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their original function as political and religious allegories. Now viewed in the context of contemporaneous beliefs and practices of the medieval period, noh plays take on a greater range and depth of meaning and offer new insights to readers today into medieval Japan. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theater (Harvard UP, 2020) examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin'in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami's Rikugi and Zenchiku's Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh's allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their original function as political and religious allegories. Now viewed in the context of contemporaneous beliefs and practices of the medieval period, noh plays take on a greater range and depth of meaning and offer new insights to readers today into medieval Japan. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theater (Harvard UP, 2020) examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin'in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami's Rikugi and Zenchiku's Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh's allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their original function as political and religious allegories. Now viewed in the context of contemporaneous beliefs and practices of the medieval period, noh plays take on a greater range and depth of meaning and offer new insights to readers today into medieval Japan. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theater (Harvard UP, 2020) examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin'in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami's Rikugi and Zenchiku's Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh's allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their original function as political and religious allegories. Now viewed in the context of contemporaneous beliefs and practices of the medieval period, noh plays take on a greater range and depth of meaning and offer new insights to readers today into medieval Japan. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/buddhist-studies

Dancing the Dharma: Religious and Political Allegory in Japanese Noh Theater (Harvard UP, 2020) examines the theory and practice of allegory by exploring a select group of medieval Japanese noh plays and treatises. Susan Blakeley Klein demonstrates how medieval esoteric commentaries on the tenth-century poem-tale Ise monogatari (Tales of Ise) and the first imperial waka poetry anthology Kokin wakashū influenced the plots, characters, imagery, and rhetorical structure of seven plays (Maiguruma, Kuzu no hakama, Unrin'in, Oshio, Kakitsubata, Ominameshi, and Haku Rakuten) and two treatises (Zeami's Rikugi and Zenchiku's Meishukushū). In so doing, she shows that it was precisely the allegorical mode—vital to medieval Japanese culture as a whole—that enabled the complex layering of character and poetic landscape we typically associate with noh. Klein argues that understanding noh's allegorical structure and paying attention to the localized historical context for individual plays are key to recovering their original function as political and religious allegories. Now viewed in the context of contemporaneous beliefs and practices of the medieval period, noh plays take on a greater range and depth of meaning and offer new insights to readers today into medieval Japan. Jingyi Li is a PhD Candidate in Japanese History at the University of Arizona. She researches about early modern Japan, literati, and commercial publishing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Kjetil Skøien (b. 1952, Oslo) is a former biodynamic farmer, dancer and theatre director who has directed more than 30 experimental theatre works in Norway and abroad. He has also directed Japanese Noh theatre and Butoh dance theatre and studied under Japanese dancer Kazuo Ohno. In 1994 Skøien collaborated with Black Box Theatre to produce ‘Dance of Life', a Butoh performance by Min Tanaka for the 1994 Lillehammer Olympics. Skøien was educated at the Norwegian Academy of Fine Arts. He was one of the earliest Norwegian artists to work with video. Skøien also works with performance, photography, painting, collage, text, theatre direction, and choreography.He has exhibited and directed performances in Kunstbanken, Hamar (2019), The Norwegian National Opera & Ballet, Oslo + Ultimafestivalen (2019), Kunsthall Trondheim + PAO performance festival, Oslo (2018), Minimalen Kortfilmfestival, Trondheim (2017). Skøien has had solo exhibitions at Kunstnernes Hus, Stenersenmuseet. He exhibited at Charlottenborg Kunsthal, Copenhagen; ICA, London; Museum Moderner Kunst, Vienna; Contemporary Art Museum, Oslo; Liljevalchs Konsthall, Stockholm; Henie Onstad Kunstsenter; Norsk Skulpturbiennale; Høstutstilling; Preus Foto Museum; Malmö konsthall; and Living Art Museum, Reykjavik. Skøien has work in the collections of the National Museum of Art, Architecture and Design, Norway, Cultural Council Norway, and Statens Konstråd, Sweden. https://en.oslokunstforening.no/kjetil-skoienhttps://www.kjetilskoien.no/https://en.oslokunstforening.no/sparebankstiftelsen-dnb-grant-exhibition-2020

Episode 77: Madeleine Abdel-Jalil Umewaka is author of the book and autobiography The Noh Master’s Wife: A Journey From Lebanon to Japan. In this episode, Madeleine shares her experience of leaving her home country during the beginning of the Lebanese Civil War (1975-1990), and integrating into Japanese culture, as well as the close-knit society of Noh theatre.  Madeleine details what it was like being married to Japanese Noh actor, Naohiko Umewaka, who comes from a prestigious six hundred year-old Noh lineage. Noh is the oldest surviving form of Japanese theater. Buy The Noh Master's Wife: A Journey From Lebanon to Japan (レバノンから来た能楽師の妻) by Madeleine Abdel-Jalil Umewaka here! (Japanese version) [Raw Urban Mobile Podcast rebranded to Tokyo Speaks Podcast on Mar 7, 2020]   [Social Links & RSS] RSS Feed: https://www.tokyospeaks.com/feed.xml Instagram: @tokyospeaks_ Twitter: @tokyospeaks_   [Support via Ko-fi] https://ko-fi.com/tokyospeaks        

Daniel Brush’s acute eye for detail, as well as the rigor and vigor he brings to his craft, comes through loud and clear in all of his creations. A poet of materiality, he is at once a metalworker, a jewelry-maker, a philosopher, an engineer, a blacksmith, a painter, and a sculptor. The late Dr. Oliver Sacks, a friend of Brush’s, once said that Brush’s work is “the result of years of incubation, years of isolation and complete immersion, which have produced his unique and mysterious objects—they are made objects, and yet they seem found.” Sacks was not exaggerating when he said years. Brush’s oeuvre—on full display in the new Rizzoli book “Daniel Brush: Jewels Sculpture”—is the accumulation of four-plus decades of steadfast, heads-down, solitary work in his Manhattan studio, alongside his wife and accomplice, Olivia, allowing for only select visits from his closest friends and certain patrons, scholars, and students. Brush’s imagination has always run wild—from his beginnings as a concert pianist in his youth, through his early years as a painter, to now, he has always demonstrated a rare intensity. For those who have laid eyes on his intricate cuffs, brooches, necklaces, and other pieces, it may be somewhat surprising to hear that it wasn’t until making a wedding ring for Olivia, in 1967, whom he had known for just three days before marrying, that he became interested in jewelry-making. Now, his work—colored by influences from a life of painting and drawing as well as his astute interests in Japanese Noh theater and Asian art—centers around jewels and objects made from a vast assortment of materials, including Afghan lapis lazuli, aluminum, amethyst, gold, Madagascar sapphire, malachite, steel, tektite, topaz, and tourmaline. Brush, not surprisingly, also has a deep appreciation for history and collecting. His own made objects, as well as a large library of books and found objects, are stowed or situated around his home and studio, serving, for him, as a record of passing time. Given that his pieces are not traded on the market and rarely available to acquire, Brush’s work decidedly has, as he puts it, “no value.” Instead, he suggests that the value he derives from his work comes from the connections he has developed with patrons and peers who show respect for the complexity of it all. For Brush, it is the most minute connection—the tiniest detail—that so often reveals the largest truth.On this episode of Time Sensitive, Brush’s use of language and storytelling approaches the poetic. He and Spencer Bailey talk about memory (and interpretations of memory); his deep, monkish engagement with a wide variety of materials; and some of his most valuable tools—breathing, language, and light. 

Host Christian Curatola sat down with filmmaker Kathy Rose. Her work has evolved from her early drawn animated films of the 1970’s, through her unique, pioneering performance work combining dance with film in the 1980-90’s, to her current surreal performance video spectacles and installations, with influence from symbolist art and the Japanese Noh theater. Rose received a Guggenheim Fellowship in Performance Art in 2003, and in 2005 was awarded a New York State Council on the Arts grant in Video (Media & New Technology). Rose has toured extensively in live performance throughout the United States and Europe, giving performances at the Museum of Modern Art’s Cineprobe series, Kennedy Center, Serious Fun at Lincoln Center, Fondation Cartier pour l’art Contemporain, the Walker Art Center,The Kitchen, Institute of Contemporary Art in London, Hirschorn Museum/Washington, Danspace-St. Marks Church, Baltimore Art Museum, Gulbenkian Foundation in Lisbon, Akademie die Kunst in Berlin, Virginia Museum of Contemporary Art, etc. as well as performances in Geneva, Helsinki, Amsterdam, Bern, Zurich, Hiroshima, etc. Her video installation works have been exhibited at the Victoria & Albert Museum, Aldrich Museum, Cooper Union, etc.

Noh Reimagined (29 & 30 Jun), an exciting two-day festival celebrating the ancient art of Japanese Noh theatre, returns to Kings Place with performances, talks, workshops and installations. In this podcast, we speak to composer and co-founder of Clod Ensemble, Paul Clark, about their new piece 'Snow', which is inspired by the restless spirits in Noh theatre. Sat 30 Jun kingsplace.co.uk/noh

Experts Not Very Expert At Presenting   Five star luxury is always appreciated and the hotel setting for this presentation was clearly appropriate given this elite event. The speaker's contribution to business acumen was being highly anticipated, judged by the number of people in the room. Numerous round tables with white tablecloths, mainly men in dark suits, reserved tables for the more important, Western breakfast buffet at the back – the usual setting. We are all gathered for the information we are about to receive because there may be some insights presented which may help our businesses. We are also all armed with our mental review sheet of the presenter's competence and by extension his organization. We want to know how much we can trust what we are being told.   Experts are a problem when they come to presenting their knowledge because they don't value the process. The data, the graphs, the trend lines, the insights, the market intelligence all have value, so a first rate treasure trove can be delivered in a second or third rate manner. This is their excuse at any rate, “I don't have to be a good presenter, because everyone is assembled to hear my genius content”, they plead.   Usually economic and market related expert presenters are carrying around big brains which are highly analytical. They rely on the inherent quality of their information to carry the day. Worryingly, they are in the persuasion business without realising it. Despite what they imagine, the data doesn't sell itself. There is a line of reasoning, some thesis, a discourse that is near and dear to the heart of the presenter. They are here because they want people to buy their analysis, to think highly of them and their company and purchase their firm's widget or whatever   The buying process though hinges on trust and credibility. Experts need to show two things – that they know what they are talking about and that what they are saying is true. The “true” bit can be gauged by the quality of their sources of the data, plus the veracity of their analysis and argument made on that basis. The trust part though is a lot more personal exercise. Is the expert able to articulate the thesis in a way that the audience can agree? Is the presentation easy to follow? Is the data being presented easily digestible, so that we buy what they are selling?   This is where the problems start. The speaker is a poor speaker. We are now getting sidetracked by their inability to strings two sentences together. We have lost focus on the content and are now diverted by their delivery. Their monotone delivery is making us sleepy. The lack of tonal variety means that each word is assigned exactly the same value, so the gems, the pearls, the brilliant diamonds are not standing out as they should.   They are wooden in their body language, so the face is the same mask throughout, like one of those Japanese Noh masks. They are not lifting our belief in what is being said by getting their facial expression behind the words to drive home the point. They are not using much in the way of gestures, because when their hands are not holding the podium down with a vice like grip, they are flourishing the clicker around to advance the slide deck. Gestures can be very powerful to draw attention to key points and to engage the audience, but none of that is on display today.   The visual aids are not really helping all that much. There is too much information on each slide, so our attention is being dispersed across too many data points. Analytical types think that if one graph per slide is good them three must be a lot better. It isn't!   Adding lots of text must be a good idea they think because it adds greater value. The concept that the presenter could speak to a key word hasn't filtered in yet. They see the screen as an extension of their writing pad and so let's pile on the words, to get everyone understanding the point. Whole sentences are more attractive than single words from their point of view.   Looking fixedly at the screen information is a favourite. It is as if they are totally mesmerized, captured by the data and can't help looking at it, so they ignore their audience. This a big thing to give up, if your are in the persuasion business and trust me we are all in that business.   Being able to drive home your key points, while eyeballing the audience is a powerful weapon. We can engage our audience and draw them into us and what we are saying. We have had thousands of years of refining this in the Western world and we know the power of persuasion through the spoken word. The experts though, ignore history to their peril. By watching our audience, we can also keep a hawk like view of how our audience is reacting to what we are saying and showing them. The reactions are very helpful to where we need to place the emphasis of the talk and give us a heads up, on what questions we are likely to get in Q&A.   It was obvious that no thought had been put into how to open the presentation and how to close it. We went through the slides, went straight into the questions and then moved on to the coffee break before the next speaker. When we are presenting, the first words out of our mouth had better be pretty good. We need to tempt the audience to want to stay riveted to the presentation, because the content is valuable, the presenter is valuable and the presenter's organisation is valuable. We need to hammer our prime message twice at the end, once before we go to Q&A and then again as we wrap it all up and head for coffee.   I heard from one of the organisers that this was this expert's first foray into presenting the latest global research findings of this venerable organisation. It became obvious they hadn't bothered to provide any training before his first outing and also that he wouldn't be getting any after the tour either. It is a “work it out yourself” approach to harming one's personal and professional brands.   Crazy stuff you might ponder, but this scenario is all too common. Don't put people representing your organisation out there on public display, until they have had some training. We don't want them to underwhelm or even worse screw it up. These are all own goals easily avoided, yet we see the same mistakes time after time, often from the same company! Don't be one of them.   Engaged employees are self-motivated. The self-motivated are inspired. Inspired staff grow your business but are you inspiring them? We teach leaders and organisations how to inspire their people. Want to know how we do that? Contact me at greg.story@dalecarnegie.com   If you enjoy these articles, then head over to www.japan.dalecarnegie.com and check out our "Free Stuff" offerings - whitepapers, guidebooks, training videos, podcasts, blogs. Take a look at our Japanese and English seminars, workshops, course information and schedules.   About The Author Dr. Greg Story: President, Dale Carnegie Training Japan In the course of his career Dr. Greg Story has moved from the academic world, to consulting, investments, trade representation, international diplomacy, retail banking and people development. Growing up in Brisbane, Australia he never imagined he would have a Ph.D. in Japanese decision-making and become a 30 year veteran of Japan.   A committed lifelong learner, through his published articles in the American, British and European Chamber journals, his videos and podcasts “THE Leadership Japan Series”, "THE Sales Japan series", THE Presentations Japan Series", he is a thought leader in the four critical areas for business people: leadership, communication, sales and presentations. Dr. Story is a popular keynote speaker, executive coach and trainer.   Since 1971, he has been a disciple of traditional Shitoryu Karate and is currently a 6th Dan. Bunbu Ryodo (文武両道-both pen & sword) is his mantra and he applies martial art philosophies and strategies to business.    

"I’m interested in the grandiose delusions of characters, and the domestication and control of humans over animals." Could you tell us a bit about yourself? How long have you been a practicing artist and where did you study?I quite liked art from a young age. I liked colouring in. I knew I was good at drawing owls and kingfishers as when it rained and we had to stay inside during play time I would sit at the table holding court with a stack of paper surrounded by a small huddle of other children. As they requested, I would either do them an owl or make paper aeroplanes - something else I have always been good at. In fact, I’m interested in throwing things and projectiles in general. When I was in secondary school, art was the most attentive I was towards any subject. I had some very good art teachers. I got into clay and eventually into paints when I was 16. The first painting I produced on canvas was of some men in a row boat. An attempt at futurism, the oars were depicted in a fragmented way to indicate the violence of being thrashed through the water. Painted in cadmium orange and vermillion hue, it has overly thick black outlines around the figures.I had probably just seen Duchamp or Balla in a book and thought yeah I’m into that. By the time I was 18 I knew I wanted to step into painting. I took art foundation at Reading College, an entertaining year for trying all manner things - dark rooms, printing presses, having a bash at fashion, life drawing. From there I moved to London. I was interested in my mother’s roots being imbedded in the East End and all the jobs her family previously had – tea packers, market porters and the like around Spitalfields, Whitechapel and Shadwell. Naively perhaps, I choose London Metropolitan solely on its East End location. I worked on painting and later print making. I felt disillusioned at school and would often sulk in class and paint at home. In my painting ‘lessons’ I couldn’t understand why we were not taught anything of process and technique, which is why I eventually switched to printmaking. In the printing rooms we had equipment to use and techniques to be shown and mastered, and that got me going back into university again. I understand now that this is just the unfortunate way UK art education has gravitated - the teaching of technique is passé, but when I was 19 I didn’t get that and I felt affronted by it. Armitage Shanks, 2017 View fullsize Garibaldi (Green), 2017 View fullsize Sausage Fingers, 2017 View fullsize Bismarck As A Jelly Baby, 2016 Your work has a lot of humour in it, with strange characters and narratives. Could you tell us about these paintings and the inspiration behind them? You may have one story. I’ve been making portraits of Otto van Bismarck. A while back a friend of mine moved house. A welcoming dinner was arranged and I was duly invited. When I arrived at the house, in the kitchen I saw this wonderful painting. Hung before me was a portly old fellow in lush military garbs. Prussian blue. I want to know who it is of – 'Bismarck,' I am told. I want to know who painted it – ‘Ivan,’ I am told, ‘he lives here and he will be coming back late tonight – you can meet him...’All through dinner I build this image of Ivan up in my head. He is witty and charming but wonderfully modest about his painting. We will become best friends. We will move to Margate together and share a studio and paint portraits of each other happily ever after. I am Van Gogh feathering the Yellow House for him, he is Gauguin and I am waiting for him to arrive. But like Gauguin - he is late.Ivan eventually arrives. He is an arrogant and aloof. The dream is broken. We don’t get on. I end up falling over whilst dancing and crash into his dinner table, breaking it. Pleased with myself I laugh on the floor hoping he is in the room watching. As a way of forced apology, the next day I tell my friend to say that I’m sorry. As a throw away remark I add that I am inspired by his Bismarck to have ago Myself, without any real intent to. However, this was provocation and Ivan’s reaction was to take the painting down and re work it. Suddenly I feel powerful. What else can I make him do? I discover he only paints Bismarck and Garibaldi. As a riposte, I decide to start making a series of these figures. I enjoyed the idea of playing sociopath, the idea of toying with macho posturing and the history of frivolous artistic rivalries - Modigliani sneering at Picasso’s dress sense. The initial farcical circumstance as to why I began painting Bismarck has lost relevance now. The series has evolved into something else. Ideas can morph and shift into different realms freely if you allow them, even by your own absence of mind.Tell us a bit about how you spend your day/studio routine? What is your studio like?I tend to live where I work. These are normally haphazard and temporary spaces. I used to squat buildings but I’m out of that scene now. Almost everything I own I deem useful for making work. Having my possessions separated between living and working distresses me. When I have had to take on a separate studio from where I live I find it less productive. There is something glorious about waking up and having everything before you. I had a big enough space over in Hackney that recently dissolved. I came home one day and was greeted by a locksmith who was changing my locks after some grunts had bumped the door open. I was served my notice. Some unscrupulous individual whose job had been to pass on our money to the landlord had done a runner with the last 3 months rent. As I have a show on the horizon I had a desperate search to find something urgently.Currently I find myself subletting in Cable Street Studios, Limehouse from a girl who has run off to Spain to have an affair. Sounds like a bad novel. I am making work for a solo show in a space that is too small so I use the bath as a table to paint on. Cable Street is hilarious. Imagine a malfunctioning sleep over centre full of lank hair, harem trousers and broken bike parts set inside a Victorian coastal fortress. Last time I lived here there was an excellent transvestite club called ‘Stunners,’ but that has sadly closed. As for routines – I don’t have one. Life is not like that. If I have a show coming up I will be reclusive and get on with it. If I’ve not got anything pending, essentially I’ll flirt with different day jobs so I’ll paint in the evening or if I can afford to then I like to travel. I like to walk around new places and point at things. Say Shells, 2016 Whomping, 2016 What artwork have you seen recently that has resonated with you?I was skulking around the back of the Royal Academy recently and I found Mamma Anderson at Stephen Friedman gallery. Anderson’s got two shows on at both the spaces on New Burlington Street. One of the galleries displays all these beautiful woodblock prints. I was like yes I want to go and make woodblocks. They are really beautiful. Some are of a woman working in a field a bit like the Van Gogh peasant worker studies, and there are other prints of gloves with tassels on, like cowboy style rodeo gloves. I had never heard of Mamma Anderson before.Lately I also viewed Rodney Graham at The Baltic in Gateshead. He has produced very simplistic film sequences on loop that played in the space on some beautiful old cinematic projectors. I’m a big fan of repetition. Graham had some large scale, very deliberately staged photographs of himself playing different characters. He has displayed them on light boxes which I don’t think were at all necessary - should have stuck to matte mate.I was in New York recently and gladly saw Circus Sideshow (Parade de cirque) at The Met. Predominately Georges Seurat and Daumier works, the exhibition shows many studies documenting the people who stood outside the circus and gave away little teasers to the audience, enticing them to part with their money and enter the tents. There was a real sense of poignancy in the works as these social outcasts were not the main event, in fact very often the poorest and most down trodden of all the performers.The New Museum is my favourite place to go so every time I am in New York I visit. I feel the New Museum is to New York what the Barbican Centre is to London in some ways. This time around it had an amazing video by A.K Burns alongside an installation of a sparkling blue neon underneath the skeleton of a sofa that I kept wanting to touch.Where has your work been headed more recently?Denmark. I’ve got a solo show coming up in June at Vesterbro Showroom in Copenhagen. It is called ‘Sausage Pile Up.’ The exhibition is based upon the idea of hierarchies, pomp and circumstance. I’m interested in the grandiose delusions of characters, and the domestication and control of humans over animals. These characters feature alongside semi anecdotal images of recent occurrences. I have been making paintings on aluminium and playing with thin layers of pigment in turpentine. There is quite a lot of colour in this show, Cadmium Yellow, Royal Blue, Chromium Green, Pinks and Peaches. As I had to make a significant volume of works in a short space of time I have had to change stylistically for practical reasons. The new works are looser, more gestural and expressive. Simply put – quicker. I have found aluminium perfect for sliding around coloured fluids as its smooth surface lends itself well to this process of paint application. Domestic Bliss, 2017 Living Memories, 2014 How do you go about naming your work?I mainly get my ideas whilst I’m out. Snatches of conversations at parties or outside pubs. It can be phrase I’ve read or someone telling me a story whilst sat on a kitchen floor. If I can bring those things home with me and I still think it’s good the next day with a different head on it will make the list. I have an ever-changing list of titles, generally 20 to 30 unused at any one time. As I work through the list, old titles are crossed out and new ones are added. Some have been on the list for a long time, waiting for me. Some I may never use as words lose relevance. I’ve kept this list for years; it has moved around with me. One day I’ll run out of room or I’ll lose it but no matter I’ll start a new one. Sometimes I wait for a work to fit a title, and other times I think yes that’s such a good title for a painting so I move with impetus and immediately try to work out what the painting could be. Other times it can be less fuss – I’ll start a painting and the title will materialise off-list. Conversely sometimes my titles can be mundane and self-explanatory – a painting of Japanese Noh masks is titled ‘Noh Masks.’ I’m not into these long titles, and I don’t like it when people just number their works – like they are making batches. Baking paintings.Is there anything new and exciting in the pipeline you would like to tell us about? The pipeline is full of sausage. For my forth coming exhibition ‘Sausage Pile Up,’ I am working on a preformative piece. I got really excited finding out that a head chef wears the tallest hat in the kitchen. I love that the height signifies their dominance, an over the top beacon of their status. I am making a chef’s hat that is too tall – so as to show off. I have acquired a sausage stuffing machine that will be producing reams of sausages, multi coloured - I am hoping for pastel shades. I want hundreds of them dolloped on top of an off cut of cream Wilton wool carpet.Part of the exhibition is a collaboration with the band Blue House. The band have been writing lyrics and music based upon imagery and the narratives in my painting. Blue House are going to be playing sets throughout the run of the exhibition. I have not been part of a collaboration like this before and I am excited to hear what they come up with. I am not entirely privy to what has been written, but I do know A capella singing will feature at some point.www.phillip-reeves.co.ukAll images courtesy of the artistInterview published 01/06/17

Japanese Noh master Munenori Takeda and composer Garrett Fisher of the Fisher Ensemble join Jess at the Project room to talk about their collaboration and our current topic of "transformation" and how it relates to the rich tradition of opera and Japanese Noh Theatre.

Emer, in modern Irish Éimhear, or, Eimhear, Éimear or Eimer, daughter of Forgall Monach, is the wife of the hero Cú Chulainn in the Ulster Cycle of Irish mythology. Main article: Tochmarc Emire The Ulstermen searched all over Ireland for a suitable wife for Cú Chulainn, but he would have none but Emer. He visited her at Forgall's house at Lusk, County Dublin, and wooed her by trading cryptic riddles with her. Emer would accept Cú Chulainn as a husband, but only when his deeds justified it. However, Forgall was opposed to the match. He came to Ulster in disguise and suggested that Cú Chulainn should train in arms with the renowned warrior-woman Scáthach in Scotland, hoping the ordeal would be too much for him and he would be killed. Cú Chulainn took up the challenge. He learned all the arts of war from Scáthach, and while he was there slept with her rival Aoife, or Aífe, leaving her pregnant. In the meantime, Forgall offered Emer to Lugaid mac Noís, a king of Munster. However, when he heard that Emer loved Cú Chulainn, Lugaid refused her hand. Cú Chulainn returned from Scotland fully trained, but Forgall still refused to let him marry Emer. Cú Chulainn stormed Forgall's fortress, killing twenty-four of Forgall's men, abducted Emer and stole Forgall's treasure. Forgall himself fell from the ramparts to his death. An ally of Forgall's, Scenn Menn, tried to stop the fleeing couple, but Cú Chulainn killed him in single combat at a ford. Having proved his prowess, Emer now agreed to marry him. Conchobar mac Nessa, the king of Ulster, had the "right of the first night" over all marriages of his subjects. He was afraid of Cú Chulainn's reaction if he exercised it in this case, but would lose his authority if he didn't. A solution was found - Conchobar would sleep with Emer on the night of the wedding, but Cathbad the druid would sleep between them. Emer's only jealousy Main article: Serglige Con Culainn Though Cú Chulainn had many lovers, Emer's only jealousy came when he was entranced into love with Fand, wife of Manannán mac Lir, the king of the great sea, as recounted in the narrative Serglige Con Culainn ("The Wasting Sickness of Cú Chulainn"). She decided to kill her rival, but when she saw the strength of Fand's love for Cú Chulainn she decided to give him up to her. Fand, touched by Emer's magnanimity, decided to return to her own husband. Manannán shook his cloak between Cú Chulainn and Fand, ensuring the two would never meet again, and Cú Chulainn and Emer drank a potion to wipe the whole affair from their memories. Other stories When Aífe's son Connla came to Ireland in search of his father, Emer realised who he was and tried to persuade Cú Chulainn not to kill him, but to no avail. Emer was said to possess the six gifts of womanhood: beauty, a gentle voice, sweet words, wisdom, skill at needlework and chastity. Emer is the subject of William Butler Yeats' play, The Only Jealousy of Emer. This play is one of his five famous Cú Chulainn pieces and is written with heavy stylistic influences from the Japanese Noh theatre. The story is taken with some liberty from Lady Augusta Gregory's saga-story of the same name in her collection, Cuchulain of Muirthemne (1902). Jealousy premiered in 1922 in Amsterdam under the direction of Albert van Dalsum with masks created by the sculptor Hildo Krop. It did not play on the Irish stage until May 1926, when it was staged by the Dublin Drama League at the Abbey Theatre. Emer is mentioned in Angela's Ashes by Frank McCourt as "The Greatest Pisser" in how she came to win Cuchulain's hand for marriage. Emer is also referenced as part of Táin based imagery in Máirtín Ó Cadhain'sThe Withering Branch.

We talked to the cast of The Diver, including Olivier award-winning actress Kathryn Hunter and Japanese writer and director Hideki Noda on their new play. When a woman is arrested for murdering her lover’s family, a psychiatrist sets out to discover her true state of mind. This exciting new physical theatre collaboration combines Japanese Noh theatre with a real-life murder case.