Podcasts about Michiko

This episode is dedicated to a Japanese couple who went all the way to Germany to study at the Bauhaus in Dessau: Iwao and Michiko Yamawaki. When they met each other in 1928 Iwao Fujita had already studied architecture in Tokyo and was also actively involved in the theatre. Michiko came from a very wealthy family and was a culturally educated young woman of 18 years. By marrying into the Yamawaki family Iwao profited from their wealth. He happily took on Michiko's family name in exchange for a World trip with that one final destination: the Bauhaus in Dessau. In July of 1930 the Yamawakis left Japan, stayed for some time in New York and then went on to Berlin and Dessau. After the preliminary course Michiko decided – due to her interest in fashion – to go into the weaving workshop. Iwao, though an already formed architect, chose to continue in the photo class. He developed a special interest in photo montages. One of them entitled „The attack on the Bauhaus“ became the visual epitome of the forced closure of the Bauhaus by the Nazis and is today often used as an illustration of that dark last period of the Bauhaus. These two years at the Bauhaus shaped the future of the Yamawakis sustainably. Upon returning to Japan in 1932, they became pivotal figures in introducing Bauhaus principles to their home country. They brought back a vast collection of Bauhaus objects, books, and furniture, creating a Bauhaus-inspired ambiance in their Tokyo home. And they both taught at art schools using the Bauhaus principles of Josef Albers' Vorkurs. On this episode not one but two great researchers help me tell the story of Michiko and Iwao Yamawaki: Helena Čapková and Mariko Takagi. And a special shout-out to Anika Takagi who allowed me to use her wonderful illustrations of the Yamawakis.

Do you really need law firm experience to have a great legal career in Japan? Let's hear another diverse story, this time from Michiko Hirai, senior corporate counsel at Amazon Web Services Japan. Discover her untraditional journey from sales in the semiconductor industry to law and how she uses her experience in building business relationships to be a stand out member of her team.  If you enjoyed this episode and it inspired you in some way, we'd love to hear about it and know your biggest takeaway. Head over to Apple Podcasts to leave a review and we'd love it if you would leave us a message here! In this episode you'll hear: The advice Michiko received that helped her to take her first step in her career How learning sales helped her to be a better in-house lawyer even without law firm experience How Michiko structures her day to do “two jobs” as a lawyer and as a parentMichiko's surprise question for me and a reminder of some advice I gave her that stuck Her favourite book and other fun facts  About Michiko Michiko Hirai is a Senior Corporate Counsel at Amazon Web Services Japan G.K. She graduated from Keio University and began her professional journey in sales, focusing on semiconductor products for the Asian market.  Recognising her true calling, Michiko transitioned to the legal field, joining Toshiba Corporation's legal team. There, she specialized in mergers and acquisitions (M&A) and global antitrust matters. In 2011, Toshiba sponsored Michiko's pursuit of an L.L.M. at the University of Chicago Law School. Upon completing her degree and obtaining admission to the NY Bar, she returned to Toshiba, where she provided legal support for their semiconductor business. Seeking new challenges, Michiko joined Amazon Japan's legal team as a contract manager in 2014. After seven years with Amazon Japan and becoming a counsel, she transitioned to Amazon Web Services Japan G.K. in 2021. She is now a Senior Corporate Counsel supporting sales and marketing business in AWSJ. Outside of her professional life, Michiko is a mother to a six-year-old son. She enjoys traveling and spending quality time with her family and friends. Connect with Michiko LinkedIn: https://www.linkedin.com/in/michiko-hirai-1a07702b/  Links Smoke and Mirrors Bar: https://www.smokeandmirrors.com.sg/  The Cultural Map: https://amzn.asia/d/7bUYdbB  Connect with Catherine  Linked In https://www.linkedin.com/in/oconnellcatherine/ Instagram: https://www.instagram.com/lawyeronair YouTube: https://youtube.com/@lawyeronair 

Check out our final podcast of 2024, an interview with renowned Garden Designer, Hoichi Kurisu and his daughter, Michiko Kurisu. Hoichi Kurisu is President and Founder of Kurisu LLC. He has been designing and building gardens for nearly 50 years. His daughter, Michiko, is a NAJGA Board Member and Project Coordinator and Public Relations at Kurisu LLC. The podcast is hosted by Steven Pitsenbarger, Garden Supervisor at the Japanese Tea Garden in San Francisco. You can learn more about Mr. Kurisu and his company, Kurisu International, at kurisu.com

Japanese Empress Emerita Michiko turned 90 on Sunday, working on rehabilitation after her recent leg injury.

Books: Glimcher, Mildred, ed. Adventures in Art: 40 Years at Pace. Milan: Leonardo International, 2001. http://nevelson.org/adventures-in-art Goldwater, Robert. What is Modern Art? The Museum of Modern Art, New York, 1969. http://nevelson.org/what-is-modern-art Goodrich, Lloyd and John I.H. Baur. American Art of Our Century. New York: Frederick A. Praeger Publishing; Whitney Museum of American Art, 1961. http://nevelson.org/american-art-of-our-century Grosenick, Uta, ed. Women Artists: In the 20th and 21st Century. Cologne: Taschen, 2003, pp. 141, 142; 2005, pp. 232-237. http://nevelson.org/women-artists-20th-21st-century Guerrero, Pedro E. Pedro E. Guerrero: A Photographer's Journey. Princeton Architectural Press, New York, 2007. http://nevelson.org/photographers-journey Hammacher, A.M. The Evolution of Modern Sculpture. New York: Harry N. Abrams, Inc. http://nevelson.org/evolution-of-modern-sculpture Hammacher, A.M. Modern Sculpture: Tradition and Innovation. New York: Harry N. Abrams Inc., 1988. http://nevelson.org/modern-sculpture-tradition-innovation Hedlund, Ann Lane. Gloria F. Ross & Modern Tapestry. New Haven, CT: Yale University Press, 2010. http://nevelson.org/gloria-ross-modern-tapestry Hyman, Paula E. and Deborah Dash Moore, ed. Jewish Women in America: An Historical Encyclopedia, Volume II, M-Z. New York and London: Routledge, 1997. http://nevelson.org/jewish-women-in-america Janis, Harriet and Blesh, Rudi. Collage: Personalities, Concepts, Techniques. Philadelphia, Pennsylvania: Chilton Co., 1962. http://nevelson.org/collage-personalities-concepts-techniques Kramer, Hilton. Revenge of the Philistines: Art and Culture 1972 – 1984. Free Press, 1985. http://nevelson.org/revenge-of-the-philistines Lipman, Jean. Nevelson's World. Hudson Hills Press, NY, 1983. http://nevelson.org/nevelsons-world Lippincott, Jonathan D. Large Scale: Fabricating Sculpture in the 1960s and 1970s. Princeton Architectural Press, New York, NY, 2010. http://nevelson.org/large-scale-fabricating-sculpture Lisle, Laurie. Louise Nevelson: A Passionate Life. New York: Summit Books, 1990. http://nevelson.org/a-passionate-life MacKown, Diana. Dawns + Dusks. New York: Charles Scribner's Sons, 1976. http://nevelson.org/dawns-and-dusks Marshall, Richard. 50 New York Artists. Chronicle Books, 1986. http://nevelson.org/50-new-york-artists Matsumoto, Michiko. Portraits: Women Artists. Tokyo: Kawade Shobo Shinsha, 1995. http://nevelson.org/portraits-women-artists Miller, Dorothy C., ed. Sixteen Americans. New York: The Museum of Modern Art, 1959. http://nevelson.org/sixteen-americans Nevelson, Louise and Edith Sitwell. Nevelson: Façade—Twelve Original Serigraphs in Homage to Edith Sitwell. New York: The Pace Gallery and Harry N. Abrams, Inc., 1966. http://nevelson.org/facade Nevelson: Recent Wood Sculpture. New York: The Pace Gallery, 1969. http://nevelson.org/recent-wood-sculpture Bryan-Wilson, Julia. Louise Nevelson's Sculpture: Drag, Color, Join, Face. Yale University Press, 2023. https://yalebooks.yale.edu/book/9780300222633/louise-nevelsons-sculpture/ Wilson, Laurie. Louise Nevelson: Light and Shadow. Thames & Hudson, 2016. http://thamesandhudson.com/books/louise-nevelson-light-and-shadow Articles and Essays: "Louise Nevelson Sculptures, Bio, Ideas." TheArtStory. https://www.theartstory.org/artist/nevelson-louise/ "A New Louise Nevelson Biography Picks Apart the Artist's Contradictions." Hyperallergic. https://hyperallergic.com/ "Louise Nevelson: Inventing Herself as a Modern Artist." MoMA. https://www.moma.org/magazine/articles/187 "Sculpture in the Expanded Field: Louise Nevelson." Art Journal. https://www.artjournal.com/sculpture-expanded-field-louise-nevelson/ "Louise Nevelson's Monumental Work." Smithsonian American Art Museum. https://americanart.si.edu/exhibitions/nevelson "Louise Nevelson's Public Art." Art in America. https://www.artnews.com/art-in-america/features/louise-nevelson-public-art-1234597218/ "Louise Nevelson: Dark Light." The Guardian. https://www.theguardian.com/artanddesign/2017/jun/10/louise-nevelson-sculpture "The Essential Louise Nevelson." Sculpture Magazine. https://sculpturemagazine.art/the-essential-louise-nevelson/ "Louise Nevelson's Legacy." ArtForum. https://www.artforum.com/print/202104/louise-nevelson-s-legacy-85253 Wson: The Woman in Black." Tate. https://www.tate.org.uk/art/artists/louise-nevelson-1691Episode Notes Websties Louise Nevelson Foundation https://www.louisenevelsonfoundation.org Nevelson.org http://nevelson.org TheArtStory: Louise Nevelson https://www.theartstory.org/artist/nevelson-louise/ MoMA: Louise Nevelson https://www.moma.org/artists/4248 Smithsonian American Art Museum https://americanart.si.edu/artist/louise-nevelson-3541 Tate: Louise Nevelson https://www.tate.org.uk/art/artists/louise-nevelson-1691 Guggenheim: Louise Nevelson https://www.guggenheim.org/artwork/artist/louise-nevelson Whitney Museum of American Art https://whitney.org/artists/939 The Pace Gallery: Louise Nevelson https://www.pacegallery.com/artists/louise-nevelson/ The Guardian: Louise Nevelson https://www.theguardian.com/artanddesign/2017/jun/10/louise-nevelson-sculpture ArtForum: Louise Nevelson's Legacy https://www.artforum.com/print/202104/louise-nevelson-s-legacy-85253 Sculpture Magazine: The Essential Louise Nevelson https://sculpturemagazine.art/the-essential-louise-nevelson/ Hyperallergic: A New Louise Nevelson Biography https://hyperallergic.com/ Yale University Press: Louise Nevelson's Sculpture https://yalebooks.yale.edu/book/9780300222633/louise-nevelsons-sculpture/ Art in America: Louise Nevelson's Public Art https://www.artnews.com/art-in-america/features/louise-nevelson-public-art-1234597218/ The Great Women Artists Podcast https://podcasts.apple.com/us/podcast/the-great-women-artists/id1436644141 The Sculptor's Funeral: Louise Nevelson https://thesculptorsfuneral.com/podcast-episodes/louise-nevelson ArtUK: Louise Nevelson https://www.artuk.org/discover/stories/art-matters-podcast-louise-nevelson ArtNet: Louise Nevelson https://www.artnet.com/artists/louise-nevelson/ National Museum of Women in the Arts https://nmwa.org/art/artists/louise-nevelson/ 4o Find out more at https://three-minute-modernist.pinecast.co

Uma jovem professora espera encontrar significado em seu trabalho. Envoltas na atmosfera acolhedora do café, essas e outras pessoas refletem sobre palavras não ditas, sobre amor e amizade, sobre medos e escolhas, encontrando nesse lugar reconfortante a inspiração para seguir em frente.

Mike's Month! In this episode, we give our first impressions on Daily Lives of High School Boys and Michiko & Hatchin! We would like to say thank you to our sponsor, Tokyo Treat. If you are interested in getting your Tokyo Treat subscription, use code "OTAKIFY" for $5 off your first #TokyoTreat box through our link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://team.tokyotreat.com/otakifyanime⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Also, if you feel like supporting this podcast, feel free to use the following link: ⁠⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/otakify/support⁠⁠⁠⁠⁠⁠⁠⁠ It is greatly appreciated! If you guys are interested in contributing to a future podcast topic, make sure to contact us through IG or Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@otakify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, or even feel free to email us a topic at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠otakifyreviews@gmail.com --- Support this podcast: https://podcasters.spotify.com/pod/show/otakify/support

Nach dem Bestseller "Frau Komachi empfiehlt ein Buch" erscheint jetzt der nächste Roman von Michiko Aoyama auf Deutsch. "Donnerstags im Café unter den Kirschbäumen" erzählt von einem Ort der Ruhe in einem Vorort von Tokio - empfohlen von Buchhändlerin Gabi van Wahden. Von Gabi van Wahden.

Lärm und Stille, Profanes und Poetisches prallen in dieser Stadt aufeinander. Durchgeschüttelt nach einer ratternden U-Bahn-Fahrt, hält der Tokio-Reisende inne beim Betrachten eines Falters beim Bambus. Mit Texten von Durs Grünbein, Yasunari Kawabata, Michiko, Imma von Bodmershof, Wieland Wagner, Mantaro, Chora und Issa und Musik von Helmut Lachenmann und Toshio Hosokawa.

"You know sometimes people feel suicidal and they don't want to die, they just want to stop hurting..."In this episode of Called to be Bad I talk with Reverend Michiko Bown-Kai who is a minister in the United Church of Canada. We first talk about why language around suicide matters. Then Michiko shares some of their experience with suicide ideation (or thoughts of suicide) as a child and how that impacted their relationship with God an shaped their call to ministry. Later we talk about resources for those struggling with suicidality and those trying to support them. Full bio: Rev Michiko Bown-Kai is minister in The United Church of Canada who is passionate about social justice and creative expression. Michiko studied Social Justice and Peace Studies and Political Science at the University of Western Ontario before attending Emmanuel College for their Master of Divinity program. Over the past decade Michiko has engaged in ministry in many forms: as a Sunday School coordinator, program coordination at The United Church's General Council Office, a youth group leader, an intern minister at East End United Regional Ministry, and most recently as the minister at Glen Morris United Church. Michiko is always excited to learn more about cultures, languages, and nature. You can often find Michiko biking, highland dancing, or befriending as many dogs as possible. Resources: National Suicide Prevention Hotline: 1-800-273-TALK (8255)Tiny Lantern Suicide Intervention Resources: https://www.tinylantern.net/suicide-intervention-resourcesWinnie the Pooh Reference (which may not actually be authentic, but is nice either way): https://www.facebook.com/ToughEnoughToCare/posts/it-occurred-to-pooh-and-piglet-that-they-hadnt-heard-from-eeyore-for-several-day/638140393473509/Zombie References: “Race, Oppression, and the Zombie: Essays on Cross-Cultural Appropriation of the Caribbean Tradition” EditedSupport the Show.Follow us for more ✨bad✨ content: Instagram: https://www.instagram.com/calledtobebad_podcast/ Facebook: https://www.facebook.com/calledtobebad Website: https://calledtobebad.buzzsprout.com/ Want to become part of the ✨baddie✨ community? Support us on Patreon: https://www.patreon.com/calledtobebad Have a ✨bad✨ topic you want to talk about on the show? Get in touch with host, Mariah Martin at: calledtobebad@gmail.com #ctbb #podcast #podcastersoffacebook ...

心軽やかに経営する 日々の経営活動の中で心を軽やかに保つことは、非常に重要です。経営者としての責任は重大であり、多くの場面で孤独を感じることもあるかと思います。しかし、心穏やかに経営を行うための方法を見つけることが、組織全体の健全な運営に繋がります。今日は、経営者が心を軽やかに保ちながら効率的に業務を進めるための具体的な方法をご紹介します。 1. 他人に仕事を委託する経営者が全ての業務に対応しようとすると、そのキャパシティの限界が迅速に訪れます。重要なのは、信頼できるチームや外部の専門家に業務を委託することです。これにより、自身はより戦略的な判断や計画に集中できるようになります。 ポイント：委託の増加は、管理の負担を減らし、経営者のエネルギーを保存します。 2. 完璧を求めない完璧を求めることは、しばしば業務の効率を低下させ、チームの士気を損なう原因となります。委託した仕事が完璧でなくても、進歩が見られればそれを評価し、感謝することが重要です。ポジティブなフィードバックは、チームのモチベーションを高め、持続可能な成長を促します。 ポイント：加点方式の評価を通じて、スタッフの自信を育て、ポジティブな職場環境を作り出します。 3. 最終的な責任は自分が取るどんな状況でも経営者が最終的な責任を持つという姿勢は、スタッフに安心感を与えます。これにより、スタッフは自由に意見を述べ、新しいアイデアを試すことができるようになります。経営者が前面に立って責任を取ることで、スタッフはリスクを恐れずに行動できるようになります。 ポイント：責任を負う覚悟を持つことで、チームはより大胆な試みや創造的なアプローチを恐れることなく進めることができます。 経営者としての道のりは困難で孤独かもしれませんが、適切な方法で業務を委託し、完璧を求めず、最終的な責任を自らが担う覚悟を持つことで、心穏やかで効果的な経営が可能となります。これらのポイントを活かして、日々の経営活動に取り組んでいただければと思います。   ◆おすすめポッドキャスト すーっと心が軽くなる、ヨガ聞き流しラジオ ～布団でできる、夜と朝のセルフケア～ https://koelab.co.jp/program-list/271michiko/ 番組説明「何だか最近、寝つきが悪い…」そんなお悩みはありませんか？　それ、実はヨガのストレッチと瞑想が解決のヒントになるかもしれません。この番組は、日常の様々なイライラ場面を話題にしながら、思わず「わかる！」と言いたくなるような楽しいお話しと、番組の最後には、お布団の中でできるリラックスヨガをお届けします。私自身、ヨガをはじめたキッカケは子育て中に感情が乱れ、自分のことが嫌いになってしまった時でした。でもヨガに出会い、自分の心と身体だけに向き合う時間をつくることが、”整っている自分”でいるために重要だと気づいたんです。 毎晩の思考のリセット習慣で、最高の目覚めと、快適で心地よい人生を手に入れましょう♩ 配信者：MICHIKO | 頑張る大人をココロと身体の解放へ導くヨガ講師カテゴリ：健康／フィットネス

The horror persists but so does Kaji! As the Reds advance and the Japanese Army begins to sacrifice itself on the altar of glorious death in battle, Kaji knows that this not the end for him. Somewhere, his beloved wife Michiko is waiting, the one desperate hope left as Kaji plows south. His humanist instincts remain, but Kaji is no longer the naive idealist that stepped out of school and into a labour camp. Hardened by reality and pragmatism, he still tries to save lives on his long, hard journey towards home. Next week: a bit of a mood break as we veer off the list for a short while. Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) The Human Condition III: A Soldier's Prayer stars Tatsuya Nakadai, Michiyo Aratama, Yūsuke Kawazu, Chishū Ryū, Taketoshi Naitō, Kyōko Kishida, Nobuo Kaneko and Kazuo Kitamura; directed by Masaki Kobayashi. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode Debbi Michiko Florence chats with Jennifer about her love for children's literature and the power of books to shape our hearts. She shares her own experiences as a reader, from her childhood memories of her parents reading to her and weekly trips to the library, to her rediscovery of reading for pleasure after college. Debbi emphasizes the importance of authentic representation in children's literature and the impact her books have on young readers, particularly those who see themselves reflected in her characters. She also discusses her upcoming middle grade series, Last Chance Academy, and the joy of writing sweet romances for tween and early teen readers. Show notes, including a discount code for purchasing the books mentioned in this episode from Bookelicious, can be found here.  Chapters 00:00 Introduction and Fan Appreciation 01:08 Debbi's Reader's Heart  07:06 Common themes in The Reader's Heart 10:01 Books as safe spaces 12:21 Creating authentic characters 16:31 Debbi's journey as a writer 20:15 The powerful first crush 22: 12 Aliza Werner shout out 28:35 Introducing Last Chance Academy  34:14 Importance of stories that explore layered identities 36:01 Wrap up and conclusions

ON THE CUSP This fortnight we are joined again by church planters who are on the front line, giving it a go! We are joined by Daniel and Michiko who are planting Cultivate Church. We hear how God has taken them into the unexpected, and used all there different ministry experiences and passions to be used for and by him. We also hear some of the very real pressures that planters face first hand. Hear where these pressures come from, how we can best deal with them, and also how the church at large can cheer on brave men and women to do new things. Available now on YOUTUBE | SPOTIFY | APPLE PODCASTS

Experts on Brazil Brazil and Manglobe (0-23) Retro Review: Michiko and Hatchin (23-end) ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join the patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/RedLeafRetrocast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@BowlingJD⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Tori Youtube: Anime Top Scholar

A Sra. Komachi tem o dom de saber exatamente de qual livro cada visitante precisa para mudar de perspectiva e voltar a alimentar seus sonhos. Às vezes, as mudanças mais transformadoras não são as mais grandiosas: são aquelas que nos fazem ver a vida – e suas infinitas possibilidades – de uma maneira inteiramente nova.

In this series, we invite people to talk about whatever they're interested in for a minute. Do you have a minute? In this episode Michiko gave us a minute. Flow by Alex-Productions | https://onsound.eu/ Music promoted by https://www.free-stock-music.com Creative Commons / Attribution 3.0 Unported License (CC BY 3.0) https://creativecommons.org/licenses/by/3.0/deed.en_US

#Actress / producer #RachelMichikoWhitney chats about her new #horror #movie #SnowValley and her co-star #BarbaraCrampton.#Celebrity #interview #TonyToscano #ScreenChatter

The children in Mrs. Madoff's class make special Valentine's cards to send to Michiko, a friend in Japan, and to share at their classroom celebration. Find this book on Amazon.com and check out our Valentine's Day Collection at: www.SlothDreamsBooks.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/slothslovetoread/message

Ep. #216: Curiosity & Aging, with Michiko Sakaki by Lynn Borton

It's the last episode of 2023, and our 100th episode!  But despite that, we keep on moving through the period, hitting a bunch of smaller stories from the Nihon Shoki about this period. We talk about Zentoku no Omi, the temple commissioner of Hokoji, as well as the trouble they went through to get the Asukadera Daibutsu in place to begin with.  We have the first instance of the Dazai--as in the Dazaifu of Kyushu--as well as the first instance of the holiday that would eventually become Children's Day, Kodomo no Hi.  There are various immigrants, bringing painting, handmills, and even a new kind of musical dance theater known as gigaku.  And that's just some of what we'll cover. For more, check out our website at https://sengokudaimyo.com/podcast/episode-100 Rough Transcript   Welcome to Sengoku Daimyo's Chronicles of Japan.  My name is Joshua, and this is episode 100: Sacred Tetris and Other Tidbits First off:  woohoo!  One hundred episodes!  Thank you to everyone who has been listening and following along on this journey so far.  When I started this I had no idea how long I would be able to keep up with it, but I appreciate everyone who has encouraged me along the way.  This all started in September of 2019, and we are now four years in and we have a ways to go.  While I'm thanking people, I'd also like to give a big thank you to my wife, Ellen, who has been helping me behind the scenes.  She's the one who typically helps read through what I'm going to say and helps edit out a lot of things, and provides reminders of things that I sometimes forget.  She really helps to keep me on track, and I always appreciate the time she puts into helping to edit the scripts and the questions she asks. Now, we are still talking about the 6th and early 7th centuries during the reign of Kashikiya Hime, aka Suiko Tenno.  We've talked about a lot of different aspects of this period—about the conflicts over Nimna on the peninsula, about the rise of the Sui dynasty on the continent, and the importation of various continental goods, including animals, immigrants, and knowledge.  That knowledge included new ideas about governance as well as religious practices such as Buddhism—and possibly other religious practices as well, as many of the stories that we saw in the Age of the Gods may have analogs on the continent and may just as easily have been coming over with the current crop of immigrants, though it is hard to say for certain.  At the heart of these changes are three individuals.  Obviously there is Kashikiya Hime, on the throne through a rather intricate and bloody series of events.  Then there is Soga no Umako, her maternal uncle, who has been helping to keep the Soga family on top.  And of course, the subject of our last couple episodes, Prince Umayado, aka Shotoku Taishi.  He, of course, is credited with the very founding of the Japanese state through the 17 article constitution and the promulgation of Buddhism. This episode, I'd like to tackle some of the little things.  Some of the stories that maybe didn't make it into other episodes up to this point.  For this, we'll mostly look at it in a chronological fashion, more or less. As you may recall, Kashikiya Hime came to the throne in about 593, ruling in the palace of Toyoura.  This was around the time that the pagoda was erected at Houkouji temple—and about the time that we are told that Shitennouji temple was erected as well.  Kashikiya Home made Umayado the Crown Prince, despite having a son of her own, as we'd mentioned previously, and then, in 594, she told Umayado and Umako to start to promulgate Buddhism, kicking off a temple building craze that would sweep the nation—or at least the areas ruled by the elites of Yamato. By 596, Houkouji was finished and, in a detail I don't think we touched on when talking about Asukadera back in episode 97, they appointed as commissioner one Zentoku no Omi—or possibly Zentoko, in one reading I found.  This is a curious name, since “Zentoku” comes across as a decidedly Buddhist name, and they really liked to use the character “Zen”, it feels like, at this time.  In fact, it is the same name that the nun, the daughter of Ohotomo no Sadehiko no Muraji, took, though the narrative is very clear about gender in both instances, despite them having the exact same Buddhist names.  This name isn't exactly unique, however, and it is also the name recorded for the Silla ruler, Queen Seondeok, whose name uses the same two characters, so it is possible that at this time it was a popular name—or perhaps people just weren't in the mood to get too creative, yet. However, what is particularly interesting to me, is that the name “Zentoku” is then followed by the kabane of “Omi”.  As you may recall from Episode XX, a kabane is a level of rank, but associated with an entire family or lineage group rather than an individual.  So while there are times where we have seen “personal name” + “kabane” in the past, there is usually a surname somewhere in there.  In this case, we aren't told the surname, but we know it because we are given the name of Zentoku's father: we are told that he was the son of none other than the “Oho-omi”, the Great Omi, aka Soga no Umako.  So, in summary, one of Soga no Umako's sons took the tonsure and became a monk. I bring this little tidbit up because there is something that seems very odd to me and, at the same time, very aristocratic, about taking vows, retiring from the world, and yet still being known by your family's title of rank. Often monks are depicted as outside of the civil rank and status system—though there were certainly ranks and titles within the priesthood.  I wonder if it read as strange to the 8th century readers, looking back on this period.  It certainly seems to illustrate quite clearly how Buddhism at this point was a tool of the elite families, and not a grass-roots movements among the common people. This also further strengthens the idea that Houkouji was the temple of the Soga—and specifically Soga no Umako.  Sure, as a Soga descendant, Prince Umayado may have had some hand in it, but in the end it was the head of the Soga family who was running the show, and so he appoints one of his own sons as the chief commissioner of the temple.  They aren't even trying to hide the connection.  In fact, having one of his sons “retire” and start making merit through Buddhist practice was probably a great PR move, overall. We don't hear much more from Zentoku after this point, and we really know very little about him.  We do know something about the Soga family, and we know that Soga no Umako has at least one other son.  While we've yet to see him in the narrative—children in the Nihon Shoki are often meant to be neither seen nor heard, it would seem—Umako's other son is known to us as Soga no Emishi.  Based on when we believe Soga no Emishi was born, however, he would have been a child, still, when all this was happening, and so Zentoku may have actually been his father's eldest son, taking the reins at Houkouji temple, likely setting him up to claim a role of spiritual leadership in the new religion of Buddhism.  Compare this to what we see later, and also in other places, such as Europe, where it is often the second son that is sent into religious life, while the eldest son—the heir—is kept at hand to succeed the father in case anything happens.  On the other hand, I am unsure if the monks of this time had any sort of celibacy that was expected of them, and I suspect that even as the temple commissioner, the tera no Tsukasa, Zentoku was keeping his hand in.  After all, the Soga family head appears to have been staying near the temple as well, so it isn't like they were packing him off to the high mountains. Moving on, in 601 we are told that Kashikiya Hime was in a temporary palace at a place called Miminashi, when heavy rains came and flooded the palace site.  This seems to be referring to flooding of Toyoura palace, which was, we believe, next to the Asuka river.  I wonder, then, if that wasn't the impetus for, two years later, in 603, moving the palace to Woharida, and leaving the old palace buildings to become a nunnery.  That Woharida palace is not thought to have been very far away—traditionally just a little ways north or possibly across the river. In 604, with the court operating out of the new Woharida palace, we see the institution of more continental style traditions.  It includes the idea of bowing when you entered or left the palace grounds—going so far as to get on your hands and knees for the bow.  Even today, it is customary to bow when entering a room—particularly a traditional room like in a dojo or similar—and it is also customary to bow when passing through a torii gate, entering into a sacred space.  Of course, that is often just a standing bow from the waist, and not a full bow from a seated position. In 605, with more continental culture being imported, we see it affecting fashion.  In fact, in this year we are told that Prince Umayado commanded all the ministers to wear the “hirami”.  The kanji simply translates to “pleats”, but in clothing terms this refers to a pleated skirt or apron.  We see examples of this in courtly clothing going back to at least the Han dynasty, if not earlier, typically tied high above the waist and falling all the way down so that only the tips of the shoes are poking out from underneath.  We have a bit more on this in the historical clothing section of the Sengoku Daimyo website, sengokudaimyo.com.   I wonder if these wrapped skirts aren't some of what we see in the embroidered Tenjukoku mandala of Chuuguuji.  Court women would continue to wear some kind of pleated skirt-like garment, which would become the mo, though for men they would largely abandon the fashion, except for some very specific ritual outfits.  That said, there is still an outfit used for some imperial ceremonies.  It is red, with many continental and what some might consider Taoist symbols, such as dragons, the sun and moon, etc..  That continuation of tradition gives us some idea of what this was and what it may have looked like back in the day.  It is also very neat that we are starting to get specific pieces of potentially identifiable clothing information, even if it is only for the court nobles. The year following that, 606, we get the giant Buddha image being installed at Houkouji, aka Asukadera.  Or at least, we think that is the one they are talking about, as we can't be one hundred percent certain.  However, it is traditionally thought to be one and the same.  The copper and gold image was commissioned a year prior, along with an embroidered image as well, but when they went to install it they ran into a slight problem:  The statue was too large to fit through the doors of the kondo, the golden image hall.  No doubt that caused some embarrassment—it is like ordering furniture that won't fit through the doorway, no matter how you and your friends try to maneuver it around.  They were thinking they would have to cut through the doors of the kondo to create more room, and then fix it afterwards.  Nobody really wanted to do that thought—whether because they thought it would damage the structural integrity of the building or they just didn't want to have to put up with an unsightly scar, it isn't clear.  Finally, before they took such extreme measures, they called on the original artist, Kuratsukuri no Tori.  He is said to be the son of the famous Shiba Tattou, and so his family was quite close with the Soga, and he seems to have had quite the eye for geometry as we are told that he, “by way of skill”, was able to get it through the doors and into the hall.  I don't know if that meant he had to some how turn it on its side and walk it through, or something else, but whatever it was, it worked.  Tori's mad Tetris skills worked, and they were able to install the giant Buddha in the hall without cutting through the doorways. For his efforts, Tori was rewarded, and he was raised up to the rank of Dainin, one of the 12 new ranks of the court.  He was also given 20 cho worth of “water fields”—likely meaning rice paddies.  With the income from those fields, we are told that he invested in a temple of his own:  Kongoji, later known as the nunnery of Sakata in Minabuchi. For all that Buddhism was on the rise, the worship of the kami was still going strong as well.  In 607 we are told that there was an edict that everyone should worship the kami of heaven and earth, and we are told that all of the noble families complied.  I would note that Aston wonders about this entry, as the phrasing looks like something you could have taken right out of continental records, but at the same time, it likely reflects reality to some extent.  It is hard to see the court just completely giving up on the traditional kami worship, which would continue to be an important part of court ritual.  In fact, it is still unclear just how the new religion of Buddhism was viewed, and how much people understood the Buddha to be anything more than just another type of kami. Later in that same year was the mission to the Sui court, which we discussed in Episode 96.  The year after, the mission returned to Yamato with Sui ambassadors, and then, in 609, those ambassadors returned to the Sui court.  These were the missions of that infamous letter, where the Yamato court addressed the Sui Emperor as an equal.  “From the child of heaven in the land where the sun rises to the child of heaven in the land where the sun sets.”  It is still one of my favorite little pieces of history, and I constantly wonder if Yamato didn't understand the difference in scale or if they just didn't care.  Either way, some really powerful vibes coming off that whole thing. That same year that the Sui ambassadors were going back to their court there was another engagement with foreigners.  In this case the official on the island of Tsukushi, aka Kyuushuu, reported to the Yamato court that 2 priests from Baekje, along with 10 other priests  and 75 laypersons had anchored in the harbor of Ashigita, in the land of Higo, which is to say the land of Hi that was farther from Yamato, on the western side of Kyuushuu.  Ashigita, you may recall, came up in Episode 89 in reference to the Baekje monk—and I use that term loosely—Nichira, aka Illa.  There, Nichira was said to descend from the lord of Ashigita, who was said to be Arisateung, a name which appears to be a Korean—possibly Baekje—title.  So now we have a Baekje ship harboring in a land that once was ruled by a family identified, at least in their names or titles, as having come from or at least having ties with Baekje.  This isn't entirely surprising, as it wouldn't have taken all that much effort for people to cross from one side to the other, and particularly during the period before there was a truly strong central government it is easy to see that there may have been lands in the archipelago that had ties to Baekje, just as we believe there were some lands on the peninsula that had ties to Yamato. One more note before get to the heart of the matter is the title of the person who reported all these Baekje goings-on.  Aston translates the title as the Viceroy of Tsukushi, and the kanji read “Dazai”, as in the “Dazaifu”, or government of the “Dazai”.  There is kana that translates the title as Oho-mikoto-Mochi—the Great August Thing Holder, per Aston, who takes this as a translation, rather than a strict transliteration.  This is the first time that this term, “Dazai” has popped up in the history, and it will appear more and more in the future.  We know that, at least later, the Dazaifu was the Yamato court's representative government in Kyuushuu.  The position wasn't new - it goes back to the various military governors sent there in previous reigns - but this is the first time that specific phrasing is used—and unfortunately we don't even know much about who it was referring to.  The position, however, would become an important part of the Yamato governing apparatus, as it provided an extension of the court's power over Kyuushuu, which could otherwise have easily fallen under the sway of others, much as Iwai tried to do when he tried to ally with Silla and take Tsukushi by force.  Given the importance of Kyuushuu as the entrypoint to the archipelago, it was in the Court's best interest to keep it under their control. Getting back to the ship with the Baekje priests on it:  the passengers claimed they were on their way to Wu, or Kure—presumably headed to the Yangzi river region.  Given the number of Buddhist monasteries in the hills around the Yangzi river, it is quite believable, though of course by this time the Wu dynasty was long gone.  What they had not prepared for was the new Sui dynasty, as they said there was a civil war of some kind going on, and so they couldn't land and were subsequently blown off course in a storm, eventually limping along to Ashigita harbor, where they presumably undertook rest and a chance to repair their vessels.  It is unclear to me exactly what civil war they were referring to, and it may have just been a local conflict.  There would be rebellions south of the Yangzi river a few years later, but no indication that it was this, just a bit out of context.  We know that the Sui dynasty suffered—it wouldn't last another decade before being dismantled and replaced by the Tang dynasty in about 618.  There were also ongoing conflicts with Goguryeo and even the area of modern Vietnam, which were draining the Sui's resources and could be related to all of these issues.  If so, though, it is hard to see an exact correlation to the “civil war” mentioned in the text. Given all this, two court nobles:  Naniwa no Kishi no Tokomaro and Fumibito no Tatsu were sent to Kyuushuu to see what had happened, and, once they learned the truth, help send the visitors on their way.  However, ten of the priests asked to stay in Yamato, and they were sent to be housed at the Soga family temple of Houkouji.  As you may recall, 10 monks was the necessary number to hold a proper ordination ceremony, funnily enough. In 610, another couple of monks showed up—this time from Goguryeo.  They were actually sent, we are told, as “tribute”.  We are told that one of them was well read—specifically that he knew the Five Classics—but also that he understood how to prepare various paints and pigments.  A lot of paint and pigments were based on available materials as well as what was known at the time, and so it is understandable, to me, why you might have that as a noted and remarkable skill.  We are also told that he made mills—likely a type of handmill.  These can be easily used for helping to crush and blend medicines, but I suspect it could just as easily be used to crush the various ingredients for different pigments.  A type of handmill, where you roll a wheel in a narrow channel, forward and back, is still in use today throughout Asia. In 611, on the 5th day of the 5th month, the court went out to gather herbs.  They assembled at the pond of Fujiwara—the pond of the wisteria field—and set out at sunrise.  We are told that their clothing matched their official cap colors, which was based on their rank, so that would seem to indicate that they were dressed in their court outfits.  In this case, though, they also had hair ornaments mad of gold, leopard's tails, or birds.  That leopard's tail, assuming the description is accurate, is particularly interesting, as it would have had to have come from the continent. This ritual gathering of herbs would be repeated on the 5th day of the 5th month of both 612 and 614.  If that date seems familiar, you might be thinking of the modern holiday of Tango no Sekku, aka Kodomo no Hi.  That is to say:  Boy's Day or the more gender neutral “Children's Day”.  It is part of a series of celebrations in Japan known today as “Golden Week”, when there are so many holidays crammed together that people get roughly a week off of work, meaning that a lot of travel tends to happen in that period.  While the idea of “Boy's Day” probably doesn't come about until the Kamakura period, Tango no Sekku has long been one of the five seasonal festivals of the court, the Gosekku.  These included New Year's day; the third day of the third month, later to become the Doll Festival, or Girl's Day; the seventh day of the seventh month, during Tanabata; and the 9th day of the 9th month.  As you can see, that is 1/1, 3/3, 5/5, 7/7, and 9/9.  Interestingly, they skipped over 11/11, possibly because that was in the winter time, based on the old calendar, and people were just trying to stay warm. Early traditions of Tango no Sekku include women gathering irises to protect the home.  That could connect to the practice, here, of “picking herbs” by the court, and indeed, many people connect the origins of Tango no Sekku back to this reign specifically because of these references, though there is very little said about what they were doing, other than picking herbs in their fancy outfits. We are given a few more glimpses into the lives of the court in a few other entries.  In 612, for instance, we have a banquet thrown for the high functionaries.  This may have been a semi-regular occasion, but this particular incident was memorable for a couple of poems that were bandied back and forth between Soga no Umako and Kashikiya Hime.  He toasted her, and she responded with a toast to the sons of Soga. Later that year, they held a more somber event, as Kitashi Hime was re-interred.  She was the sister to Soga no Umako, consort of Nunakura Futodamashiki no Ohokimi, aka Kimmei Tenno, and mother to both Tachibana no Toyohi, aka Youmei Tennou, and Kashikiya Hime, Suiko Tennou.  She was re-buried with her husband at his tomb in Hinokuma.  During this period, various nobles made speeches.  Kicking the event off was Abe no Uchi no Omi no Tori, who made offerings to her spirit, including around 15,000 utensils and garments.  Then the royal princes spoke, each according to rank, but we aren't given just what they said.  After that, Nakatomi no Miyatokoro no Muraji no Womaro gave the eulogy of the Oho-omi, presumably speaking on Umako's behalf, though it isn't exactly clear why, though Umako was certainly getting on in years.  Then, Sakahibe no Omi no Marise delivered the written eulogies of the other families. And here we get an interesting glimpse into court life as we see a report that both Nakatomi no Womaro and Sakahibe no Marise apparently delivered their speeches with great aplomb, and the people listening were quite appreciative.  However, they did not look quite so fondly on the speechifying of Abe no Tori, and they said that he was less than skillful.  And consider that—if you find public speaking to be something you dread, imagine if your entire reputation hung on ensuring that every word was executed properly.  A single misstep or a bad day and suddenly you are recorded in the national history as having been just the worst.  In fact, his political career seems to have tanked, as we don't hear much more about him after that. 612 also saw more immigrants bringing more art and culture.  The first was a man from Baekje.  He did not look well—he had white circles under his eyes, we are told, possibly indicating ringworm or some other infection.  It was so bad that the people on the ship with him were thinking about putting him off on an island to fend for himself.  He protested that his looks were not contagious, and no different that the white patches of color you might see on horses or cattle.  Moreover, he had a talent for painting figures and mountains.  He drew figures of the legendary Mt. Sumeru, and of the Bridge of Wu, during the period of the Southern Courts, and the people were so taken by it that they forestalled tossing him overboard.  He was eventually known as Michiko no Takumi, though more colloquially he was known as Shikomaro, which basically was a nickname calling him ugly, because judging people based on appearance was still totally a thing. The other notable immigrant that year was also a man of Baekje, known to us as Mimachi, or perhaps Mimashi or Mimaji.  He claimed to know the music and dancing of the Wu court—or at least some continental dynasty.  He settled in Sakurawi and took on students who were basically forced to learn from him.  As if a piano teacher appeared and all the children went to learn, but now it isn't just your parents and their high expectations, but the very state telling you to do it.  So… no pressure, I'm sure.  Eventually, Manu no Obito no Deshi—whose name literally means “student” or “disciple”—and Imaki no Ayabito no Seibun learned the teachings and passed them down to others.  This would appear to be the masked dances known as Gigaku. If you know about early Japanese music and dance you may have heard of Gagaku, Bugaku, and Noh theater.  Gagaku is the courtly music, with roots in apparently indigenous Japanese music as well as various continental sources, from the Korean peninsula all the way down to Southeast Asia.  Indeed, the musical records we have in Japan are often the only remaining records of what some of the continental music of this time might have sounded like, even though the playing style and flourishes have changed over the centuries, and many scholars have used the repertoire of the Japanese court to help work backwards to try and recreate some of the continental music. The dances that you often see with Gagaku musical accompaniment are known as Bugaku, and most of that was codified in the latter years of the Heian era—about the 12th century.  Then there is the famous masked theater known as Noh, which has its origins in a variety of traditions, going back to at least the 8th century and really brought together around the 14th century.  All of these traditions, however, are preceded by Gigaku, this form of masked dance that came over in the 7th century, and claims its roots in the area of “Wu” rather than “Tang”, implying that it goes back to traditions of the southern courts of the Yangzi river region. Gigaku spread along with the rest of continental culture, along with the spread of Buddhism and other such ideas.  From what we can tell, it was a dominant form of music and dance for the court, and many of the masks that were used are preserved in temple storehouses such as the famous Shosoin at the Todaiji in Nara.  However, as the centuries rolled by, Gigaku was eventually replaced at court by Bugaku style dances, though it continued to be practiced up through at least the 14th century.  Unfortunately, I know of no Gigaku dances that survived into the modern day, and we are left with the elaborate masks, some illustrations of dancers, and a few descriptions of what it was like, but that seems to be it. From what we can tell, Gigaku—also known as Kure-gaku, or Kure-no-utamai, meaning Music or Music and Dances of Wu—is first noted back in the reign of Nunakura Futodamashiki, aka Kimmei Tennou, but it wasn't until the reign of Kashikiya Hime that we actually see someone coming over and clearly imparting knowledge of the dances and music—Mimashi, mentioned above.  We then see the dances mentioned at various temples, including Houryuuji, Toudaiji, and others.  Of course, as with many such things, Shotoku Taishi is given credit for spreading Gigaku through the Buddhist temples, and the two do seem to have gone hand in hand. We know a little bit about the dances from the masks and various writings.  The masks are not random, and a collection of Gigaku masks will have generally the same set of characters.  These characters appear to have been organized in a traditional order.  A performance would start with a parade and a sutra reading—which I wonder if that was original or if it was added as they grew more connected to the Buddhist temple establishment.  And then there was a lion dance, where a young cub would pacify an adult lion.  Lion dances, in various forms, continue to be found throughout East Asia. Then the characters come into play and there are various stories about, for example, the Duke of Wu, and people from the “Hu” Western Regions—that is to say the non-Han people in the Western part of what is now China and central Eurasia.  Some of these performances appear to be serious, while others may have been humorous interludes, like when a demon assaults the character Rikishi using a man's genitals while calling for the “Woman of Wu”.  That brings to mind the later tradition of ai-kyougen; similarly humorous or lighthearted episodes acted out during Noh plays to help break up the dramatic tension. Many of aspects of Gigaku would go on to influence the later styles of court music and dance.  Bugaku is thought to have some of its origins in masked Gigaku dancers performing to the various styles of what became known as Gagaku music.  There are also examples of some of the characters making their way into other theatrical traditions, such as Sarugaku and, eventually, Noh and even folk theater.  These hints have been used to help artists reconstruct what Gigagku might have been like. One of the key aspects of Gigaku is that for all they were telling stories, other than things like the recitation of the sutras, the action of the story appears to have been told strictly through pantomime in the dances.  This was accompanied by the musicians, who played a variety of instruments during the performance that would provide the musical queues for the dancers-slash-actors.  There was no dialogue, however, but the names of the various characters appear to have been well known, and based on the specifics of the masks one could tell who was who and what was going on. This is similar to how, in the west, there were often stock characters in things like the English Mummers plays or the Comedia dell'arte of the Italian city-states, though in Gigaku those characters would not speak at all, and their story would be conveyed simply through pantomime, music, and masks. There have been attempts to reconstruct Gigaku.  Notably there was an attempt in the 1980s, in coordination with a celebration of the anniversary of Todaiji, in Nara, and it appears that Tenri University may continue that tradition.  There was also another revival by famed Kyougen actor Nomura Mannojo, uncle to another famous Kyougen actor turned movie star, Nomura Mansai.  Mannojo called his style “Shingigaku”, which seems to be translated as either “True Gigaku” or “New Gigagku”, and he took that on tour to various countries.  You can find an example of his performance from the Silk Road Theater at the Smithsonian Folklife Festival in Washington, DC back in 2002, as well as elsewhere.  It does appear that he's changed things up just a little bit, however, based on his layout of the dances, but it is an interesting interpretation, nonetheless. We may never truly know what Gigaku looked and sounded like, but it certainly had an impact on theatrical and musical traditions of Japan, and for that alone it perhaps deserves to be mentioned. And I think we'll stop right there, for now.  There is more to get through, so we'll certainly have a part two as we continue to look at events of this rein.  There are stories of gods and omens.  There is contact with an island off the southern coast of Kyuushuu.  There are more trips to the Sui court.  Much of that is coming.  Until then, I'd like to thank you once again.  I can hardly believe we reached one hundred episodes!  And it comes just as we are about to close out the year. As usual, I'll plan for a recap episode over New Year's, and then I'll plan to get back into everything the episode after that, but this closes out the year. I hope everyone has a wonderful new year, however you celebrate and, as always, thank you for listening and for all of your support.  If you like what we are doing, tell your friends and feel free to rate us wherever you listen to podcasts.  If you feel the need to do more, and want to help us keep this going, we have information about how you can donate on Patreon or through our KoFi site, ko-fi.com/sengokudaimyo, or find the links over at our main website, SengokuDaimyo.com/Podcast, where we will have some more discussion on topics from this episode. Also, feel free to Tweet at us at @SengokuPodcast, or reach out to our Sengoku Daimyo Facebook page.  You can also email us at the.sengoku.daimyo@gmail.com.  And that's all for now.  Thank you again, and I'll see you next episode on Sengoku Daimyo's Chronicles of Japan.  

Grace and Alvina welcome special guest, author Debbi Michiko Florence and they discuss their experiences working in children's book publishing as Asian American women. See complete show notes at www.bookfriendsforever.com. Click here to become a Patreon member: https://www.patreon.com/Bookfriendsforever1. See info about Grace Lin's events for CHINESE MENU here: https://gracelin.com/news-events/

Japan und Österreich haben die Autorin Milena Michiko Flašar geprägt. Ihr neues Buch handelt von der Einsamkeit in Japans Leistungsgesellschaft. Im Gegensatz zum harten Arbeitsalltag gehe man dort besonders empfindsam mit Verstorbenen um, sagt sie.Wiese, Timwww.deutschlandfunkkultur.de, Im GesprächDirekter Link zur Audiodatei

Tony, MoBlack, and Danny return for the 2nd part of their discussion of abolitionism in anime featuring the work of Sadiya Hartman and Joy James in Fujiko Mine, Stone Ocean, Deca-Dence and Michiko & Hatchin! 0:00:00 Intros 0:02:22 Centering sexual assault survivors 0:12:05 A Woman Called Fujiko Mine 0:20:28 Stone Ocean 0:28:37 Sadiya Hartman and prisons as reformatories 0:43:29 Deca-Dence 0:56:14 Joy James 1:08:23 Captive Maternals 1:15:00 Michiko & Hatchin 1:30:36 Final Thoughts 1:33:02 Outro Tony: twitter.com/poetpedagogue MoBlack: mastodon.online/@MoBlack Danny: twitter.com/TheMangaScholar AniFem Patreon: www.patreon.com/animefeminist AniFem Twitter: twitter.com/AnimeFeminist Recorded Saturday 5th August 2023 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

Join NYT's Nora Ami in this podcast as she reviews Michiko Aoyama's debut novel 'What You Are Looking For Is In The Library.' Delving deep into the book's themes, characters, and its portrayal of urban life in Tokyo's imagined Hattori Ward, the podcast offers an engaging literary analysis. The novel's relationships, its subtle thread about misremembering, and its sophisticated portrayal of civic life intrigue the listeners. This podcast is a treasure trove for literature enthusiasts, critics, and lovers of Japanese fiction alike.

Jennifer and Mallory celebrate their 100th episode with Royal Names. Joining us is special guest Amanda Matta, TikTok's #1 Royal commentator! We discuss the British Royal Family names and naming trends, along with French, Slavic, Persian, African, Japanese and Chinese royal names. Names mentioned in this episode: Nuria, Mecca, Tobert, Eugenie, Zara, Diana, Isabeau, Antoinette, Kirill, Anastasia, Cassander, Darius, Amina, Hideyoshi, Michiko ...and more! Follow Amanda on TikTok: https://tiktok.com/@matta_of_fact Follow Amanda on Instagram: https://instagram.com/matta_of_fact Follow BabyNames on TikTok: https://tiktok.com/@babynamesdotcom Follow BabyNames on Instagram: https://instagram.com/babynamesdotcom Join us in talking about this episode in our Facebook Group! The Baby Names Podcast is a production of BabyNames.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ohne Job, einsam und keine Perspektive: Erst als die Hauptfigur Suzu im Roman "Oben Erde, unten Himmel" von Milena Michiko Flašar anfängt, als Reinigungskraft an Leichenfundorten zu arbeiten, schöpft sie dort neue Hoffnung.**********Den Artikel zum Stück findet ihr hier.**********Ihr könnt uns auch auf diesen Kanälen folgen: Tiktok und Instagram.

In dieser Folge spricht Juli Zeh mit der österreichischen Autorin Milena Michiko Flasar über ihren aktuellen Roman “Oben Erde, unten Himmel”. Flasar thematisiert mit Anmut und trockenem Humor, wie Tod und Leben miteinander verbunden sind. Sie legt dabei den Akzent auf den menschlichen Umgang mit Einsamkeit, Begegnungen und Abschied.  Milena Michiko Flasar webt ihre japanische Herkunft inhaltlich stets in ihr Werk mit ein. Die Karriere der in Wien lebenden Autorin, begann 2008 mit der Publizierung ihres Romans “Ich nannte ihn Krawatte”, der mit mehreren Literaturpreisen ausgezeichnet wurde. Der Text wurde auch für das Theater adaptiert und am Berliner Maxim-Gorki-Theater uraufgeführt. Juli Zeh sagt über “Oben Erde, unten Himmel”: “Milenas Roman ist aufgebaut wie ein verschachteltes Kunstwerk, in dem jede Geschichte weitere Geschichten enthält, die unter Umständen von noch mehr Geschichten angefüllt sind. Auf diese Weise steigt die Autorin wie auf einer Treppe immer tiefer hinab in die Psychologie ihrer Figuren. Sie erlebt ihre Wahrnehmung von Welt, ihr besonderes Sosein im Dasein und teilt die Fundstücke dieser tiefen Schöpfungen mit dem Leser.“

Aliens! Predators! Robots! Androids! Monkeys! Asshole Businessmen! Nerds! Marines! They're all here as we revisit Dark Horse's AvP crossover universe with 1995's Aliens vs Predator: War by Randy Stradley. We check in with Michiko again now that she's lived with the Predators for a year, and apparently she doesn't like it! Then we see the fallout of Batman's broken back with Knightfall Chapter 12 in Detective Comics 664. Next Time: Catwoman: Dark End of the Street by Ed Brubaker & Darwyn Cooke  

In this episode, Mary Howard, Debra Crouch and I speak with professors Michiko Hikida and Leah Durán, authors of the article “Making sense of reading's forever wars” (Phi Delta Kappan, 2022). Leah Durán is an associate professor in the Department of Teaching, Learning, and Sociocultural Studies at the University of Arizona, Tucson. Michiko Hikida is an associate professor in the Department of Teaching and Learning at The Ohio State University, Columbus. They wrote this article to make the information “accessible to a lot of readers in a way that most academic journals aren't.”Our conversation was guided around three primary questions:* Have we learned anything from our past debates, or are we just going in circles?* What are your thought on the idea that these “wars” may be part of a thesis - antithesis - synthesis that we need to go through in order to move forward as a profession?* Students need institutional changes, not just individual instructional change. What can K-12 practitioners do to support institutional change?I hope you find this discussion as helpful as we did for better understanding the context and the conversation around the science of reading. Full subscribers also have access to the following:* Video recording of our conversation via Zoom* Professional discussion guide (linked within the video recording post)* Access to future disussion threads, ability to comment on posts, and join virtual conversations with esteemed literacy leaders (click here for upcoming schedule).Full TranscriptMatt Renwick:Hi. Want to welcome Michiko and Leah to our conversation. They wrote a wonderful article for Kappan Magazine of Phi Delta Kappan titled Making Sense of Reading's Forever Wars. Subtitle is, “Adopting a new science-based methodology is not enough to address students' difficulties with reading.” And we were chatting prior just how much we appreciate how well you were succinct in your article, but yet covered so much ground. I'm going to share my screen here so we can all see it. And yeah, and I'm just going to scroll down here to your bylines and your well sourced cited article. So Leah is an associate professor in the Department of Teaching, Learning and Sociocultural studies at the University of Arizona Tucson.And Michiko is an associate professor in the Department of Teaching and Learning at the Ohio State University in Columbus, Ohio. So welcome again. And yeah, I guess I'll start with the first question here. And it's actually your question, is have we learned anything from our past debates or are you just going in circles? And I'll open it up to Leah or Michiko first, but everyone else here feel free to chime in and offer your thoughts. And when you do, if you can introduce yourself when you speak. Michiko and Leah, we've already introduced you before. For our other guests here, just make sure you state your name.Michiko Hikida:Leah, do you want to take this or do you want me to give it a shot?Leah Durán:Yeah, yeah. I think that we have not learned as much as we should have from past debates, and I think that was part of the reason why Michiko and I really wanted to write this, is that it seemed like No Child Left Behind is very recent history. And at least the way that people are legislating science of reading, it is pretty much identical to scientifically based reading research, the term from the Bush era. It's still the big five from the report of the National Reading Panel.So in some ways it seems like there's this real energy to do exactly what has already been done without really grappling with why that didn't lead to the transformative changes that people hoped it would. And I think it's very important that we do that, if we don't acknowledge the way that No Child Left Behind and Reading First really fell short of I think the big dreams that people had for it. And think about why. Then there's no chance of not doing that again. So I really hope that the article gives people a chance to think about what we've already tried and what that means about what we haven't tried, and should try, and do differently, in order to not just do the same old thing over and over again every 10 to 15 years.Michiko Hikida:I do want to add to that a little bit and say that from a research perspective, I do think that there has been some consensus. And that consensus is that phonics instruction is helpful as a part of a more robust literacy curriculum. I think a person would be hard pressed to find a researcher that is anti-phonics. But I reiterate what Leah's saying is that at a policy level that doesn't feel like how it's being taken up.Matt Renwick:Yeah, I won't put anyone on the spot here, but I think the “be reading by third grade” retention policies might be one where we're not really learning from the past and repeating some mistakes. Yeah. But yeah, to me it sounds like this article's intent was just to create a pause for us and just to take stock of where we've come from, where we're at, and how might we proceed forward. So yeah, that's how I read it too. And I'd just open it up to our guests here. We have Debra, Mary and Sonya. So any thoughts on this too? What have you've learned, if anything from past debates?Mary Howard:Well, one of the things, and I'm Mary, I'm been an educator 51 years and now living in Honolulu, and I'm connecting back to something that you said in your piece that I keeps capturing my a attention. Some have argued that a permanent sense of crisis in K-12 education has been manufactured by those who aim to undermine the institution of public schools and scapegoat educators as a way of diverting attention from America's deepening social problems. And I think for me, a lot of that is wanting a thing. And that's always been what I've seen in all of these years in education, but never so much as now when social media makes it so easy.But wanting to blame all of these, we don't have enough programs, we don't have enough phonics, we don't have enough this, we don't have enough this and this is the way to fix it. And for anyone who's been in education longer than a day, the one thing that we know is that nothing is going to work all the time for every child. And it's certainly not going to work when we're fixated on that. So I just always keep coming back to that quote because the one thing we don't want to talk about is those deepening social problems. And so the article really meant a lot to me because you did that so beautifully.Matt Renwick:And Mary, if I can just then transition what you just said to maybe a question to Michiko and Leah is you mentioned that not one thing's going to work for everyone. And I appreciate you surfacing that because in the article too, you mentioned that students, they don't need individual instructional change, they need institutional change. And I think that's what Mary's pointing to here too is that's a big, big thing to take on. As practitioners, what are some ideas you might have for us to move on, a next step? That would probably might be helpful.Michiko Hikida:I have a couple of thoughts, and they are maybe outside of the classroom more than inside of the classroom because we are talking about institutional change. So I think a lot about teachers as public intellectuals. So when you've been teaching for 51 years like Mary has, you have a wealth of knowledge that you can stand on in a public context. So I think speaking publicly, posting on social media, having podcasts, those kinds of things, as well as organizing and doing things like voting.Leah Durán:Yeah, and I would say my answer is pretty similar in that I think maybe part of what we can do is redefine what counts as reading policy. Things that are about housing are also reading policy. Things that are about poverty are also reading policy. And I think that we sometimes compartmentalize them and think that those belong in a different arena or somebody else's expertise. But I think that they should be part of a conversation and part of our efforts around improving reading have to do with improving everything, even though that's a lot and hard to do, but it definitely won't happen if we don't try as part of it.And the other piece that related to that I think is that one thing that has been hard for me about watching this current round of the reading wars is that there really is a tremendous amount of money being spent, but to my eyes, it's being spent on things that I wouldn't reasonably expect to cause huge changes based on the research. But there are other things that we're not spending money on because I think we don't categorize them as being about reading. So I think that's part of it too. People are willing to spend money. Millions of dollars of money, but maybe I think they, legislators need some push around what counts as doing something about reading.Michiko Hikida:And I would say that that comes back to this question of what have we learned? And I think there is some consensus in the field about the impact of poverty and trauma and housing insecurity on reading scores.Matt Renwick:Yeah, that's one of the few correlations I've seen is poverty and trauma and some of these challenges as a principal and as a former teacher, and that correlation with reading achievements. So I'm glad you pointed that out. We mentioned this latest round of the reading wars, we use these metaphors to try to describe it. But I also noted in there too, instead of the pendulum swinging, you talk about incremental progress as a better way to gauge growth as a profession with reading instruction. And what things have you seen now that you've studied this in terms of specifically around reading instruction, you mentioned that we know phonics does work as a instructional strategy, and other resources or practices that are promising and that you'd like to see. You mentioned we have all this money, what buckets would you want to put the money in? Certainly outside of education, poverty and those issues are super important. Within the school, where would you want to put some of those resources?Leah Durán:Well, one of the things that I think about in terms of what all schools need to do a good job is based on an experience I had when we were both doctoral students at UTS. And one of the pieces of our training there was to supervise student teachers. And so we did that in schools all across the Austin area, so in the urban core and the suburbs. And one of the things that has really stayed with me was how different, even within the same district, classrooms were and schools were in terms of resources, depending who was enrolled there. And so I think about one particular school where I sometimes supervise student teachers, that was just really lovely and I would want everyone to have that experience. The teachers there were terrific, really talented teachers. They had huge classroom libraries. And just a lot of care and expertise went into mediating kids', access to books, kids' instruction, and were very inclusive.I remember seeing the whole classroom labeled in braille when there's a child who would benefit from them. So there's all these things. I think if you look at some of these schools that are already serving more affluent communities. I feel like everyone deserves that. And part of that is making it an attractive working condition. So one of the reasons I think that teachers like to work there and experience teachers that gravitated towards it was that they had money to pay for extra specialist teachers so that they got more planning periods. And I think that was part of what went into really thoughtful lessons. And they had tons and tons and tons of children's books. And I think that's an important piece that we should also take from the whole language side or the meaning focused side of these different pendulum swings, is that there's value in thinking about meaning and there's value in children's literature as a resource.And that doesn't have to be opposed to teaching about phonics, teaching about the code. So I guess that's my answer is I think if you look at a really wonderful school in an affluent neighborhood and think about what are all the resources that they have right there, even just in the school, that's even leaving outside all of the different things that kids have access to. But I would want all children to get to go to a school that looks and feels like that one in terms of a good place to learn, a good place to work.Matt Renwick:Any thoughts from the rest of the group on what was shared there?Debra Crouch:So, hi, I'm Debra Crouch. I'm a literacy consultant, so I go in and support schools. I live in San Diego. And you're echoing a conversation I had with the principal this morning as we walked around and we were looking at classroom libraries specifically. And just thinking about what it looks like. And at one point I asked, so I said it's that getting that picture, what would an affluent school look like? Why can't we create spaces that feel like that? Because one of the things that we were noticing were some of the jumbles in classrooms storage. It's the classrooms got the classroom, but then it's also got storage stuff all over. And we were starting to brainstorm ways that we could even take some of that out. And is there a space in the building that we could use as a storage because another principal had shared that idea.I think that envisioning, what are some of the possibilities that we could create around this, because I'm not absolutely positive that it is, like you were saying, it's like we have the money. So it's not like we don't have the money, it's the way that we're using it and the way that we're thinking about what happens at these schools. I go into classrooms sometimes and they've made black and white photocopies for the kids as opposed to giving them these really gorgeous books that they have access to. And for some reason they decide that a printed off black and white, and I keep saying to them, don't children deserve color in their books? Come on, this is not an acceptable way of treating the children. So maybe it is some of that conversation that we have around how we're using what we have and what those spaces could look like for kids. Yeah. So I so appreciated your article. Oh my goodness. This was brilliantly done. Yeah.Michiko Hikida:Thank you.Debra Crouch:You're welcome.Matt Renwick:You've already answered my last question, which was a colleague of mine, we were talking about science of reading, the reading wars, and he mentioned these things go on cycles. There's a thesis and then there's an antithesis, and then there's synthesis. And it goes back, goes around and around. And do you see that? I guess the question we had was, are these hard conversations of these issues necessary to go through in order to get to a better understanding of good reading instruction? I don't enjoy arguing about the science of reading, but is it also the obstacle is the way of thinking too?Michiko Hikida:My initial thought of that about that is it depends on who's having the conversation. So I think about the field of literacy research and how this conversation started in the 1960s. And in the field of literacy research, there has been a synthesis. And part of that synthesis is that, yes, phonics is an effective instructional tool, but it is not the entirety of a literacy curriculum. So within that field, I feel like there has been that thesis, antithesis and synthesis of this conversation. I think within the public sphere, the motivations for it are different. It's complicated, there's a lot of money involved, there's a lot of a lot of things involved. But I don't think that that conversation, the more public discourse on it is coming to it necessarily earnestly. And willing to engage with all of the research and evidence that we do have. So I think it depends on who's having the conversation and for what purpose.Matt Renwick:And then the context, it sounds like too, if you're debating stuff on Twitter, it's going to be a different conversation. [inaudible 00:19:08].Michiko Hikida:Or you know what? Policy makers like things that are very measurable and concrete and that I can legislate, and learning isn't really that clean. But gosh, that would be so much more convenient. [inaudible 00:19:25] with people and we're messy.Matt Renwick:Yeah, we can measure engagement, you can measure those more messier kinds of things, but not in the way you can measure some of the things that seem to get more of the attention. That's a great point.Mary Howard:And one thing that worries me in this day and age, and in my mind more so than ever it's been in history, is the level of mandating and the laws that are coming out from schools that are saying here are things that are not research based, like choice reading is not research based. We just shake our heads and go, "What?" So I think too, it's really important for us to be very cognizant that teachers are in schools where these horrifying mandates are being put in place. And so at the same time that we're thinking about all of the important things, I love the discussion of let's envision what is possible, and I know that teachers do that every day, but how do we help teachers to understand how to maneuver a school where there is a ball and chain attached to their arms and legs and persona, so to speak.Debra Crouch:See, a lot of it comes to leadership. It's the leadership in the schools. Because you can have that legislation piece, but it's interpreted so much by the school leadership. So that piece is so powerful and important in school leadership.Matt Renwick:Yeah. Leah or Michiko, did you see when you were visiting these schools during your dissertation, your studies, did you see a correlation with leadership? And you mentioned affluence, did you see a leadership factor there with supporting teachers?Michiko Hikida:I'll actually talk out of my teaching experience. So I taught third, fourth, and fifth in Texas. So they were all testing grades. And we had a remarkable principal and she protected us from the district. So when the district would say every elementary school in the city has to do this professional development, she would appeal to them and say, "Hey, I would love to do this with professional development with my teachers instead." So absolutely, and this was a title one school. I think 97% of our kids were on free and reduced price lunch. More than half of our kids were bi or multilingual.This was a school that I think people would think of as low performing, and it wasn't. And it was a joyful place to work as a teacher. I felt like I had a lot of autonomy. I felt like I had a ton of administrative support. And because of that, our students performed very well on high stakes testing and enjoyed reading. So I think that in my own experience, having a supportive administrator willing to go to bat for us made all the difference in the world.Matt Renwick:Well, that's great. We're running close to our time here together and I want to be respectful of that. Any closing thoughts that you might have, Leah or Michiko? If not, you can also share what you're reading right now. That's an option. But yeah, just any closing thoughts as we close our time together?Leah Durán:Yeah, I mean, one thing that I've been thinking about, and it was part of the reason why we wanted to write specifically in Phi Delta Kappan, is a place that's accessible to a lot of readers in a way that most academic journals aren't. I think that the state of the field is a very difficult thing to know. It requires a lot of time devoted to reading, to get a sense of what's going on in the field, what does the research say, what are points of contention? And I do feel like as people who have institutional access to all of these scholarly journals and that time is part of our jobs is to be current, that that's an important thing that I want to do is try and translate that or make more accessible the complexity or the synthesis that the field has arrived at in ways that I think are not always very easy to see if you can't get access to a lot of scholarly journals or go to AERA or any of these other conferences.Michiko Hikida:I'll just add a couple of things. So first thank you for having us. It's fun for Leah and me to talk about this. This was an important piece for us. But second, there is a piece that was just published in one of those journals that of course is behind the paywall that I would be happy to share with you about this that was written by David Reinking, and just came out in January, called Legislating Phonics. And he and a couple of others go through the history of this and challenge some of the arguments that phonics only people are making, which I thought was really helpful. The second thing I thought about is a book called Rocking the Boat, How Tempered Radicals affect Change.So when thinking about what teachers can do in their classrooms, when we know that there are some institutional constraints and some other challenges that they face, that's what comes to mind to me. So if I can share my screen for a quick second, I can just show you the cover.Matt Renwick:Yeah, I don't mind.Michiko Hikida:And as a classroom teacher, this is how I felt. I felt like I was a tempered radical. I, of course, had to operate within the constraints of the school and what I was expected to do. And I really worked to try to find those spaces where I could do something else. So that I would just share.Leah Durán:Oops. I wasn't fast enough.Michiko Hikida:Oh, sorry.Leah Durán:It's all right.Michiko Hikida:There you go.Leah Durán:Thank you. Let me do a quick screen-Matt Renwick:Rocking the Boat. How tempered Radicals Affect Change Without Making Trouble. Okay.Leah Durán:Oh, I love that title.Matt Renwick:[inaudible 00:26:27].Michiko Hikida:It really resonated for me as a teacher where we do operate with systems and how we might be able to make change from the inside without just burning it all apart.Leah Durán:Wow.Matt Renwick:And still be able to teach and lead and study and do research. And this has been great. We really appreciate you all being here, and we look forward to reading more from you. So thank you.Mary Howard:Thank you so much for the invitation. It was really great to get to talk.Leah Durán:Thank you.Debra Crouch:Thank you.Mary Howard:That was wonderful. Get full access to Read by Example at readbyexample.substack.com/subscribe

Milena Michiko Flasar erzählt in ihrem neuen Roman von einem Putztrupp, der Leichenfundorte reinigt. Die Menschen werden gerufen, wenn einsame Menschen sterben. Von Denis Scheck.

Pour cette deuxième semaine du Ramadan, la deuxième conférence du cycle lumière aura lieu le samedi 1er avril de 17h à 18h30. Elle portera sur « Lumière et Art » avec Michiko Van de Velde, artiste belgo-japonaise à la pratique plurielle : peinture, dessin, vidéo, gravure, installation in situ, céramique. _____________________________________ Cycle spécial Ramadan sur la Lumière L'année dernière, Conscience Soufie vous avait accompagnés durant tout le mois de Ramadan en vous parlant de la Beauté. En ce mois de Ramadan 1444/2023, Conscience Soufie vous propose un nouveau cycle de quatre conférences sur le thème de : « Que la lumière soit ! De l'éblouissement des cœurs à la sublimation des horizons », sujet inspiré par ce verset : « Nous leur montrerons Nos signes aux horizons et en eux-mêmes... » (Coran 41 – 53). Pour cette deuxième semaine du Ramadan, la deuxième conférence du cycle lumière aura lieu le samedi 1er avril de 17h à 18h30. Elle portera sur « Lumière et Art » avec Michiko Van de Velde. Michiko Van de Velde est une artiste belgo-japonaise à la pratique plurielle : peinture, dessin, vidéo, gravure, installation in situ, céramique. Ses œuvres sont issues de l'observation de la lumière du soleil, en divers moments et lieux. Ayant été amenée très tôt à faire des allers-retours entre la Belgique et le Japon, elle a expérimenté la lumière du soleil sur les deux côtés opposés du globe, et a développé une sensibilité particulière à ses couleurs, son intensité et ses formes. Elle interroge la relation poétique qui a toujours existé entre l'homme et la lumière et utilise sa double origine comme un outil d'expression artistique. Elle a par ailleurs publié un livre, écrit et traduit avec sa mère, sur les 158 occurrences qui existent en japonais pour dire la lumière. Aujourd'hui, l'un de ses principaux centres d'intérêt est de se fixer des rencontres précises avec le soleil (solstices et équinoxes) pour faire l'expérience de la lumière solaire comme marqueur de temps et d'espace : » lorsque nous commençons à tracer la lumière solaire presque en temps réel, depuis notre planète, nous pouvons physiquement ressentir et nous rappeler à quelle vitesse notre terre tourne « . Il est édifiant de constater à quel point cette artiste, en dehors de tout héritage religieux ou doctrinal, en arrive, par sa fascination pour la lumière, aux mêmes émerveillements que nous proposent les grandes spiritualités dans leur approche de la Lumière. La conférence sera suivie d'un moment de question / réponse Pour plus d'informations visitez notre site: https://consciencesoufie.com/

This week we continue to discuss the anti-trans bills in the US and continue to call for gun reform in our country! Question of the Week: What does Holy Week mean to you? Special Guest:Rev. Michiko Bown-Kai, Minister in The United Church of Canada Guest Question:We hear about people from marginalized communities reclaiming spaces and practices. But what does that actually look like? What are examples of prayers or spiritual practices that reclaim or decolonize? Or examples of practices that intentionally affirm queer identity? Can practices be “reclaimed” by a community even if they were originally constructed in a way that overlooked or even oppressed them?  Rev. Michiko Bown-Kai's WebsiteFor Listening Guides, click here!Got a question for us? Send them to faithpodcast@pcusa.org! A Matter of Faith website

Pour cette deuxième semaine du Ramadan, la deuxième conférence du cycle lumière aura lieu le samedi 1er avril de 17h à 18h30. Elle portera sur « Lumière et Art » avec Michiko Van de Velde, artiste belgo-japonaise à la pratique plurielle : peinture, dessin, vidéo, gravure, installation in situ, céramique. _____________________________________ Cycle spécial Ramadan sur la Lumière L'année dernière, Conscience Soufie vous avait accompagnés durant tout le mois de Ramadan en vous parlant de la Beauté. En ce mois de Ramadan 1444/2023, Conscience Soufie vous propose un nouveau cycle de quatre conférences sur le thème de : « Que la lumière soit ! De l'éblouissement des cœurs à la sublimation des horizons », sujet inspiré par ce verset : « Nous leur montrerons Nos signes aux horizons et en eux-mêmes... » (Coran 41 – 53). Pour cette deuxième semaine du Ramadan, la deuxième conférence du cycle lumière aura lieu le samedi 1er avril de 17h à 18h30. Elle portera sur « Lumière et Art » avec Michiko Van de Velde. Michiko Van de Velde est une artiste belgo-japonaise à la pratique plurielle : peinture, dessin, vidéo, gravure, installation in situ, céramique. Ses œuvres sont issues de l'observation de la lumière du soleil, en divers moments et lieux. Ayant été amenée très tôt à faire des allers-retours entre la Belgique et le Japon, elle a expérimenté la lumière du soleil sur les deux côtés opposés du globe, et a développé une sensibilité particulière à ses couleurs, son intensité et ses formes. Elle interroge la relation poétique qui a toujours existé entre l'homme et la lumière et utilise sa double origine comme un outil d'expression artistique. Elle a par ailleurs publié un livre, écrit et traduit avec sa mère, sur les 158 occurrences qui existent en japonais pour dire la lumière. Aujourd'hui, l'un de ses principaux centres d'intérêt est de se fixer des rencontres précises avec le soleil (solstices et équinoxes) pour faire l'expérience de la lumière solaire comme marqueur de temps et d'espace : » lorsque nous commençons à tracer la lumière solaire presque en temps réel, depuis notre planète, nous pouvons physiquement ressentir et nous rappeler à quelle vitesse notre terre tourne « . Il est édifiant de constater à quel point cette artiste, en dehors de tout héritage religieux ou doctrinal, en arrive, par sa fascination pour la lumière, aux mêmes émerveillements que nous proposent les grandes spiritualités dans leur approche de la Lumière. La conférence sera suivie d'un moment de question / réponse Pour plus d'informations visitez notre site: https://consciencesoufie.com/

Welcome to today's episode! Our guest is Michiko Seto, founder and owner of 11 boutiques in Delaware. Michiko is known for her infectious personality and super smart business savvy, and she's here to talk to us about events, leadership, growth, mindset, hiring, and so much more. Whether you're a brick-and-mortar business or an online boutique, there's something for everyone in this episode. So sit back, relax, and let's dive in! Listen in as Michiko shares what every boutique owner needs to know, including how to start, plan, and grow a business, what metrics really matter, and why taking the time to plan and establish a solid foundation can help ensure the longevity of your boutique. You'll hear the secrets she has learned in her boutique journey, how she leverages events in her boutiques to bring people in, and the importance of staying true to your brand. Learn More About the Boutique Hub Here: https://theboutiquehub.com/join/boutique/ Resources: Michiko Seto: LinkedIn Blooming Boutique Treasures  The Boutique Summit 2023

Season 17, Episode 8: Weekly Roundup (Pro Tour Phyrexia) + Monthly Project Nominees At long last, the paper Pro Tour has returned! Pioneer was the format of choice as 200+ pros did battle in Philadelphia. But what did they discover as they each attempted to break the format? Cavedan and David break down the latest decks and technologies from PIoneer, from small innovations in stock lists to speculative brews invented whole cloth. After that, it's time for you the listeners to pick our next monthly project! Twelve cards have been nominated by our patreon community and there is no shortage of spice. Which card will we brew next? That's up to you. Like our content? Support us on Patreon and join our brewing community! Decklists for this episode can be viewed at FaithlessBrewing.com Timestamps [5:39] Housekeeping [8:15] Pro Tour Phyrexia Recap [10:47] Radkos Midrange by Shota Yasooka [18:22] Selesnya Auras by Benton Madsen [23:56] 5c Omnath to Light by Nick Schirillo [28:05] Azorius Powerstones by Jeff LIn [35:24] Monthly Project Nominees [36:16] Ratadrabik of Urborg [39:11] All Will Be One [42:17] Malcator, Purity Overseer [46:34] Gix, Yawgmoth Praetor [48:18] Devastating Summons [50:20] Teething Wurmlet [52:57] Voidwing Hybrid [54:41] Michiko's Reign of Truth [57:08] Riveteers Ascendancy [1:01:27] Urza, Lord Protector [1:02:53] Aetherworks Marvel [1:06:31] Flux Channeler

The ladies of Anime Trending return to discuss BIPOC anime characters and highlight their favorites! Join Gracie, Isabelle, and Agnes as they discuss the BIPOC characters that have stood out to them in their years of watching anime. Anime Discussed: Bleach, Cyberpunk Edgerunners, Michiko and Hatchin, Fullmetal Alchemist Brotherhood, Haikyuu To the Top, Takt.op Destiny

Today, on Hook of a Book, I review This Is How I Roll, by Debbi Michiko Florence! This is an incredible book that will be released on 1/3/23. I also interview Ms. Florence, the author of Sweet and Sour, Keep it Together, Keiko Carter, and the Jasmine Toguchi series for younger readers, about her writing and this book. Listen to hear our interview and celebrate 100 episodes! Email me: hookofabookpodcast@gmail.com. --- Send in a voice message: https://anchor.fm/Ellie-Mano/message

As a powerlifting champion, three-time ‘Miss Fitness' winner in Japan and an action film star, Michiko Nishiwaki has been on quite a journey. When she left school to start working in human resources for the Mitsubishi bank in the 1970s, her life goals were similar to many other Japanese women in her position; to find a husband and have children. But for Michiko - obsessed with gymnastics, karate, fitness, singing and the arts from an early age - she decided to take a different path. Following her brother into the fitness industry, she became a gym owner in Japan and a pioneer in women's bodybuilding. At the height of her fame in the 1980s, she used her celebrity to break taboos, confronting the traditional image of women as the ‘weaker' sex in Japanese society, and using film and television to promote the health benefits of weight-training. Her fame caught the attention of Golden Harvest in Hong Kong, who invited her to make her big-screen debut in the 1985 action comedy, My Lucky Stars, alongside Jackie Chan, Sammo Hung and Yuen Biao. A career as a Hong Kong martial arts star beckoned, mostly portraying evil Japanese gangsters in an array of wild, ‘girls with guns' action movies. In the late 1990s, she relocated to Hollywood, becoming a stunt performer in films like Charlie's Angels, Rush Hour 2 and Kill Bill, and doubling for the likes of Lucy Liu, Kelly Hu and Zhang Ziyi. Now, aged 64, she is making a comeback after over a decade away from the industry, working as Michelle Yeoh's stand-in for the bonkers 2021 smash hit, Everything Everywhere All at Once. As she approaches her film career with a renewed focus, what does the next chapter in Michiko's already incredible and multifaceted career look like? A huge thank you to Sally Hinata for arranging this conversation.LINKSMichiko Nishiwaki on Instagram: https://www.instagram.com/michikodb/Michiko Nishiwaki podcast page: https://bit.ly/KFMGPodMichikoNishiwakiMichiko Nishiwaki profile on Kung Fu Movie Guide: https://bit.ly/ProfileMichikoNishiwakiMichiko Nishiwaki on IMDb: https://www.imdb.com/name/nm0632811/'Everything Everywhere All at Once' - Kung Fu Movie Guide review: https://bit.ly/EEAAO2022'Everything Everywhere All at Once' trailer: https://youtu.be/wxN1T1uxQ2g'My Lucky Stars' fight scene: https://youtu.be/IVJY2L4M54c'God of Gamblers' dice scene: https://youtu.be/o2Y1Q8Go7HsMomoe Yamaguchi sings 'Cosmos' on Japanese television in 1977: https://youtu.be/9P-ePLE4t3Y'Devil Hunters' stunt goes wrong, featuring Moon Lee and Sibelle Hu: https://youtu.be/7m90uRyGDi4 Michiko interview on Japanese television in 1983: https://youtu.be/TxqmpkWvUuU Hosted on Acast. See acast.com/privacy for more information.

WWII veteran Reikichi ghostwrites letters for Japanese prostitutes to send to their American GI boyfriends. One of those women happens to be Michiko, Reikichi's lifelong flame – and, as a staunch nationalist and traumatized veteran, he doesn't approve of her consorting with Japan's former enemy. Can he suppress his loyalist purism long enough to recognize the humanity of the person he claims to love? THE PRECISE COMPOSITIONS OF KINUYO TANAKA (Sept 2022 at the Trylon): https://www.trylon.org/films/category/the-precise-compositions-of-kinuyo-tanaka/ CRACKING OPEN THE DISNEY VAULT (Sept at the Trylon): https://www.trylon.org/films/category/cracking-open-the-disney-vault/ Follow us on Twitter at https://twitter.com/trylovepodcast and email us at trylovepodcast@gmail.com to get in touch! Buy tickets and support the Trylon at https://www.trylon.org/. Theme: "Raindrops" by Huma-Huma/"No Smoking" PSA by John Waters. Outro music by Ichirô Saitô from LOVE LETTER. Timestamps 0:00 - Episode 192: LOVE LETTER (1953) 5:05 - Who will atone? 17:08 - ​​This movie in context of postwar Japan 27:45 - Individual culpability for national sins 37:24 - The ending 50:26 - The Junk Drawer 57:33 - Cody's Noteys: First Film Fever

A young woman travels from Japan to Australia to follow her dreams. But a few days after she arrives, she suddenly disappears. What happened to Michiko?Episode transcript, media, and sources available at bitesizedcrimepod.com.Follow the pod on Instagram @bitesizedcrimepod or Facebook @bitesizedcrimepod!Go to https://betterhelp.com/bitesized for 10% off your first month of therapy with BetterHelp and get matched with a therapist who will listen and help #sponsoredBite-Sized Crime is a proud member of the Boundless Audio Network!

When Michiko Wolcott started her consultancy in 2015, it was rare to find someone like her who was interested in exploring the human side of data. Armed with a personal mission to “do data better,” she was determined to successfully blend her roles as a technologist and a humanist to understand why some companies fail to scale.   In her quest to answer that question she taught herself the mechanics of process mapping and lean thinking. And that's when she realized the reason why some companies, despite having access to robust technologies, still don't scale to their full potential.   That reason was people and process.   To be more specific, the lack of a focus on people and process development. In this episode, Michiko recounts the time she reengineered a process for a tech company that helped them reduce the time it took to bring new products to market by 70%. This ability to increase annual throughput and transparency among their team helped this company realize revenue quicker and with minimal downtime or investment.   Explore the possibilities of what business infrastructure (the linking of people, processes, and tools/technologies) can do for your organization. As you'll learn from this scale tale, sometimes the answer is right there in front of you.  

In the final episode of Season 1, Rayna talks with Ph.D. student and entrepreneur Michiko Thwe about her sushi business aimed to help immigrants start a new life in the United States. As a Burmese immigrant herself, Michiko understands the need to help others get their feet off the ground in a new country. Working and studying in the Philadelphia area, Michiko works with her team to teach immigrants how to run their own sushi business whether that is a sit-down restaurant, franchise, or food truck. Her company Sushi Awarsei is Japanese and roughly translates to sushi brings happiness. Fun fact, Michiko is a former student of Rayna's when she taught high school history at the American International School of Myanmar from 2007-2009. To learn more about Michiko's business, please check out her website https://www.sushiawarsei.com/ You Betcha She Did is taking a break for the summer, but we will be back with a whole slew of rad women in Season 2 beginning mid-September. You Betcha She Did is sponsored by Jon Erlien Photography and produced by The Ladies First Digital Media Company. Is your LinkedIn profile needing a little love? Jon Erlien will coach you on the perfect expression to make some amazing new headshots. Rayna couldn't be happier with hers! Learn more about Jon Erlien Photography www.jonerlienphoto.com Want to launch your own podcast or YouTube Channel or need help running a current one? Check out The Ladies First Digital Media Company at ladiesfirstdigitalmedia.com for expert advice and help that is tailored to women entrepreneurs. Have a question or know a fab woman who should be featured on this podcast? Contact Rayna at youbetchashedid@gmail.com If you love the show, please subscribe, share it with your friends and leave us a review on Apple Podcasts

Season 14, Episode 22: Modern State of the Format + Picks of the Week Two weeks ago, WotC declared Modern healthy and functioning as intended. No deck has too large of a meta share, the most popular deck (Izzet Murktide) is beatable, and plenty of people still succeed with their brews. But at high level Modern tournaments, the top tables tell a different story. Three archetypes duel for dominance: the best control deck (4c Good Stuff), the best disruptive tempo teck (currently Izzet Murktide), and the best combo deck (currently Living End). It is a rock-paper-scissors dynamic that lesser decks struggle to disrupt. Today on Faithless Brewing we put Modern under the microscope and dig into the top decks. Morde has been crushing with 4c Midrange lately (including a Top 32 finish in the Showcase Challenge two weeks ago) and shares his insights into the delirium package, the Elementals package, the importance of Wrenn and Six, and the strategy's inherent variance. At the same time, other players have turned to big mana combos like RG TitanShift and alternative tempo shells like Grixis Ledger Shredder (formerly Grixis Death's Shadow) to attack the format. Finally, for the brewers at heart, we look at six under the radar decks that have recently found success in MTGO leagues. The rogue strategies pair forgotten classics like Vendilion Clique, Serum Powder, and Frantic Inventory with surprising new tech like Experimental Synthesizer, Michiko's Reign of Truth, and Haktos the Unscarred. There's still plenty of space to innovate in Modern if you are willing to brew outside the box!   **** Like our content? Support us on Patreon and join our brewing community! **** Decklists for this episode can be viewed at FaithlessBrewing.com ****   S14E22 Decklists and Timestamps [3:32] Housekeeping Modern State of the Format: The Top Tier [6:14] The best cards in Modern right now [9:43] 4c Midrange vs Izzet Murktide vs Living End [12:08] When does a brew become a tier deck? [17:41] The Elementals package vs traditional 4c Midrange [21:32] The delirium package: Traverse the Ulvenwald, Emrakul, + Unholy Heat [26:15] Can any ban hurt 4c Midrange? [30:38] Wrenn and Six is the most important card [36:05] RG TitanShift: a deck to slay Omnath [39:08] Grixis Death's Shadow [43:36] Dealing with variance in Yorion decks The State of Brewing: Spicy Lower Tier Decklists [49:25] Mono Blue Tempo ft. Vendilion Clique [51:57] Colorless Prison Tron ft. Serum Powder [55:42] Shrapnel Red ft. Experimental Synthesizer [57:37] Dreadnought Affinity ft. Michiko's Reign of Truth [1:01:31] Next Level Blue Moon ft. Frantic Inventory [1:05:51] Mardu Ice Nine Special ft. Haktos the Unscarred [1:09:45] Bant Soulherder [1:13:53] Concluding thoughts  

On this episode of the Blerd By Nature Podcast we return for A Shot of Kurosake. Here we will be reviewing and discussing episode 1 & 2 of Michiko to Hatchin. Other segments in this episode include: Vibe Guys - Where we catch up with each other since the last episode Off The Cuff - Where a topic is brought to the table and we discuss it You can reach out to us to ask questions, provide review suggestions and give feedback: By email at BlerdByNature@gmail.com On Instagram @BlerdByNature On Facebook at Facebook.com/BlerdByNature On twitter @BlerdByN8ture

Disparaged as "Japanese devils" and "half-breed," some children with Chinese mothers and Japanese fathers born during the Second Sino-Japanese war long looked to Japan as their true homeland. Learn about this largely unseen group of individuals, just a few of the countless children born of war who have dealt with extreme social and political adversities as well as persistent questions of self identity. Kanako Kuramitsu speaks to Satoko Naito to share her research on children born of consensual relationships between Chinese mothers and Japanese fathers during and after the Second Sino-Japanese war, particularly those who migrated to Japan after the normalization of Sino-Japanese diplomatic relations in 1972. Her work highlights men and women who, while sharing the many hardships of other children born of war, stand out for their strong identification with their fathers and their paternal country. The participants of Dr. Kuramitsu's study underscore the far-reaching effects of military conflict while simultaneously reminding us of the complexity of each individual's life story. The animation film "Michiko," mentioned in the episode, is available to view here. Kanako Kuramitsu received her PhD from the University of Birmingham and is currently a visiting scholar at the Centre for East Asian Studies (CEAS) at the University of Turku in Finland. Satoko Naito studies and teaches Japanese literature and film as a docent at CEAS and holds a PhD from Columbia University. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. About NIAS: www.nias.ku.dk Transcripts of the Nordic Asia Podcasts: http://www.nias.ku.dk/nordic-asia-podcast 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

Disparaged as "Japanese devils" and "half-breed," some children with Chinese mothers and Japanese fathers born during the Second Sino-Japanese war long looked to Japan as their true homeland. Learn about this largely unseen group of individuals, just a few of the countless children born of war who have dealt with extreme social and political adversities as well as persistent questions of self identity. Kanako Kuramitsu speaks to Satoko Naito to share her research on children born of consensual relationships between Chinese mothers and Japanese fathers during and after the Second Sino-Japanese war, particularly those who migrated to Japan after the normalization of Sino-Japanese diplomatic relations in 1972. Her work highlights men and women who, while sharing the many hardships of other children born of war, stand out for their strong identification with their fathers and their paternal country. The participants of Dr. Kuramitsu's study underscore the far-reaching effects of military conflict while simultaneously reminding us of the complexity of each individual's life story. The animation film "Michiko," mentioned in the episode, is available to view here. Kanako Kuramitsu received her PhD from the University of Birmingham and is currently a visiting scholar at the Centre for East Asian Studies (CEAS) at the University of Turku in Finland. Satoko Naito studies and teaches Japanese literature and film as a docent at CEAS and holds a PhD from Columbia University. The Nordic Asia Podcast is a collaboration sharing expertise on Asia across the Nordic region, brought to you by the Nordic Institute of Asian Studies (NIAS) based at the University of Copenhagen, along with our academic partners: the Centre for East Asian Studies at the University of Turku, and Asianettverket at the University of Oslo. We aim to produce timely, topical and well-edited discussions of new research and developments about Asia. About NIAS: www.nias.ku.dk Transcripts of the Nordic Asia Podcasts: http://www.nias.ku.dk/nordic-asia-podcast Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

Is it possible to get a higher education degree with a baby on your boob? Our guest today shows us it sure as hell is! (Almost Dr.) Michiko Kealoha, is the Student Life and Leadership Manager at Cañada College in the Bay Area and doctoral candidate in the International and Multicultural Education Program at the University of San Francisco. She is a leader in her community and a relatively new mom who experienced her entire pregnancy and birth during a pandemic. Tune in to find how she navigated achieving her personal and professional goals, all while raising a baby through a pandemic. On this episode we cover: Can new moms have it all? Successful ways to balance careers, personal life, and motherhood The importance of vulnerability in seeking help and community How a community of mamas can support and uplift you Identifying subtle forms of gender-based harassment moms experience at work Reality of being fat shamed during her pregnancy Wanna Learn More? Should you want to connect with Michiko, email her at kealoham@smccd.edu Don't Forget! Subscribe to Ladybits and Leadership on Apple Podcasts or Spotify and rate and review us so others can find our community. Make sure to connect with me on Instagram and join our Facebook group If you have ideas for the podcast, including topics and possible guests, email me at sara@ladybitsandleadership.com

Desiree talks with Michiko Hayashi, Global Director and Ambassador of the "Emoto Peace Project" about the amazing power of water, its newly discovered qualities and how human intention can interact with water. Water as an empath and vehicle for peace within ourselves and around the world is shared. Michiko worked with Dr Emoto during the last 10 years of his life. He is best known for his work discovering the change in frozen water crystals based on words and intentions. She carries on his work today. Find out more about her work and his legacy here - www.emotopeaceproject.net Find out more about Desiree here - https://linktr.ee/DesireeScherini