The Asian-Pacific Islander Cultural Center (APICC) proudly presents GENERATIONS OF POWER, a multi-disciplinary showcase featuring The Last Hoisan Poets & Del Sol Quartet (spoken word with live instrumentation), Autonomous Region (jazz fusion), First Voice (story theater), Asian American Dance Performances (contemporary dance), Leela Youth Dance Company (classical North Indian dance), and tashi tamate weiss (movement/ritual).
This FREE, ALL-AGES, OUTDOOR event is part of the 25th annual United States of Asian America Festival (USAAF): Generations of Power. We are proud to host this event at the historic Japantown Peace Plaza as a visual symbol of community resilience and resistance during this period of increased Anti-Asian sentiment.
ANGEL ISLAND IN SIGHT 2021is a visual storytelling project focused on Angel Island — a collective portrait of Angel Island drawn from a multitude of views — near and far, past and present. Del Sol Performing Arts Organization’s ANGEL ISLAND INSIGHTexplores the history of the Angel Island Immigration Station by offering a suite of virtual and in-person programs that examines the musicality of the disappearing Hoisan-wa dialect by The Last Hoisan Poets and The Del Sol Quartet. public engagement with Del Sol Quartet & Huang Ruo’s Angel Island – Oratorio for Voices and Strings.
Although photography had always been a casual interest of mine, it wasn’t until 2008, when capturing the energy and joyful expressions of the dancers at the Berkeley Obon, did I realize my passion for this activity. It is through this continued pursuit of photography that I have connected to many local ethnic communities, deepened an interest in my Japanese American heritage, and engaged many culturally active artists, activists, and historians. While my photographic style continues to evolve, I’m most inspired by images that portray the vibrancy and soul of our collective communities, whether through the sharing of various art forms, celebrations, or remembrances.
MARK SHIGENAGA, Community Photographer
Photo: Mark Shigenaga. Filming day on Angel Island with Claudia Katanayagi for A Bitter Legacy, 2012.
Mark Shigenaga
In 2014, I helped photo document the 1st Nikkei Angel Island Pilgrimage, an event sponsored by the Nichi Bei Foundation, with AIISF, the National Japanese American Historical Society, California Genealogical Society, and the California Park Services as partners. It was during this pilgrimage that I met Grant Din. A chance discussion subsequently led to an exploration of my grandfather Kakuro and great uncle Shigeo’s history on this island, who were shipped from Hawaii to California and destined to become interned at various Department of Justice camps a few months after the bombing of Pearl Harbor. Grant’s access to the National Archives and Records Administration led to a wealth of new insights to the journeys of the Shigenaga brothers, and are, today, cherished by our family.
Mark Shigenaga. Mah Jong Set. Filming day on Angel Island with Claudia Katanayagi for A Bitter Legacy, 2012.
Mark Shigenaga. Taiko Drummers. 2nd Nikkei Angel Island Pilgrimage. October 13, 2015.
Mark Shigenaga. 4th Nikkei Angel island Pilgrimage. November 5, 2018.
Mark Shigenaga. 4th Nikkei Angel island Pilgrimage. November 5, 2018.
Mark Shigenaga. 4th Nikkei Angel island Pilgrimage. November 5, 2018.
Mark Shigenaga. 2nd Nikkei Angel Island Pilgrimage. October 13, 2015.
This project was made possible with support from California Humanities, a non-profit partner of the National Endowment for the Humanities. Visit http://www.calhum.org
Any views, findings, conclusions, or recommendations expressed in this website do not necessarily represent those of California Humanities or the National Endowment for the Humanities.
ANGEL ISLAND: IN SIGHT 2021 at the Angel Island Immigration Station is made possible with support from North East Medical Services (NEMS). https://www.nems.org/
Start the New Year with a holiday journey that can be shared with friends and loved ones anywhere in the world.
Arts educator, theater director and dramaturg Antigone Trimis shares her thoughts about Vanaver Caravan & Arm of the Sea Theater‘s online theatrical event, Into the Light: A Tale of Hope, which is available for the public to view online through the month of January.
Peter Schumann, founder of the Bread & Puppet Theatre is known for saying: “Art is food. You can’t eat it, but it feeds you.” I chose to reference Bread & Puppet because I had the great pleasure of experiencing just this, the nourishment of art on the longest night of a long dark year.
Winter Solstice somehow had extra weight this time around and its observance led me on an online journey discovering poetry, music and dances from around the world that filled me with hope. The excitement around the visibility of the conjunction of Jupiter and Saturn added to the winds of hope that I felt despite the continued escalation of the Covid cases in California and beyond.
The journey began with an invitation to watch the online performance of Into the Light, a collaborative production by the Vanaver Caravan and Arm of the Sea Theater, companies that have been creating work since the 70s and 80s fostering cultural understanding; the first through world music and dance the second through soft mask and puppet theater.
Vanaver Caravan & Arm of the Sea Theater’s Into The Light: A Tale of Hope
The production performed by the Youth Company of the Vanaver Caravan was inspiring to watch, not only because I delighted in the story, the dances and the theatricality of the production, but also because it was rehearsed and produced during a pandemic. According to the program notes, all precautions were taken to keep everyone safe, making it possible for these young people to express themselves and share space with their peers. All this during a time that was metaphorically mirroring the story of Into the Light, a “fairytale-like story” that follows a young girl as she struggles to find joy and hope in a winter with no sunlight.
The piece first premiered in 2007 and was conceived by Patrick Wadden, Livia Vanaver, Miranda ten Broeke and Isabel Cottingham. The 2020 version of the show was rechoreographed and filmed as a social dis(DANCE) virtual performance and masks were central to the production. Not only because of the giant puppets that have always been a part of the show, but because of the face masks worn to keep everyone safe due to the pandemic. The creators took extra precautions filming with doors and windows open in the theatre space, and filmed dances in the open air as well. The young dancers were also given an opportunity to experience not only an internal and communal journey, but empathized with fellow humans around the globe who are all experiencing these dark times. From the program notes: “…as we filmed this year’s masked journey around the globe, we were humbly reminded that everyone, everywhere, is in the same position. Whether you are celebrating Christmas in Italy, Kwanzaa in Brooklyn, or Sankta Lucia in Sweden, people everywhere are wearing masks to keep each other safe.”
These young dancers were given an extra challenge to express themselves not only through movement, but also through their eyes. And it is true that they managed to “smile through [their] eyes and shine [their] light from [their] bodies.” They were able to do this through the added obstacle of sharing their light across the computer screen and this is why I am sharing the performance with you here to experience this beautiful journey from darkness to light with your family during the holiday break.
“This little light of mine, I’m gonna let it shine” was what I hummed to myself during a dark and gray week during which human beings around the world found ways to connect and be reminded that the light is always shining even in the darkest of days.
Over 30 years ago, folk singer and activist Pete Seeger, reached out to The Vanaver Caravan’s founders, Bill and Livia Vanaver with an idea to bring their diverse and expansive dance encyclopedia into schools.
The Vanaver Caravan is a not-for-profit organization founded in 1972 by Artistic Directors, Livia and Bill Vanaver. The internationally renowned company continues its mission to foster cultural understanding through an interplay of world dance, music and song. The Vanaver Caravan offers concerts, classes, workshops and art education programs.
In Miranda ten Broeke’s words, the soul of The Vanaver Caravan’s mission is found in their education programs as much as it is found in their performances, such as Into the Light and Turn! Turn! Turn! (The Story of Pete Seeger in Dance and Music). 2020 was challenging, but opened a pathway to broader connections across the country. The Arts Education programs are now available online and The Vanaver Caravan can be a viable resource for schools this winter across the country, including the Bay Area! https://vanavercaravan.org/arts-education
Dance is life and young ones have an opportunity to explore creative movement and choreography. Older dancers can experiment with percussive movement, Hip-Hop and Afro Caribbean and swing and the whole family has a chance to dance together as well! https://vanavercaravan.org/registration/winterdance
Arm of the Sea Theater fuses visual storytelling with live music in contemporary works of mask and puppet theater. Founded in 1982 by Marlena Marallo and Patrick Wadden, the company tours original shows throughout the eastern US, conducts community based artist residency projects and host their annual outdoor spectacle, The Esopus Creek Puppet Suiteeach summer in Saugerties, NY.
On Thursday, October 5, 2017 former Rooftop Kindergarten teacher Mary Ann Cruz and Kindergarten parent Laura Jean Ruppert sailed into the Burnett MPR, to lead Kindergarten Family Art Night, an art & music workshop for families at Rooftop School.
In addition to dancing the Lobster Quadrille and singing water songs, families made their own ocean-inspired shadow puppets. Ms. Cruz and Ms. Ruppert also spoke about their on-going work exploring the theme of water with the kindergarteners in Ms. Lampear, Mr. Lane and Mr. Mayhew’s classrooms This classroom introduction to opera was conceived as pre-engagement for this Fall’s work of art for study, Harriet’s Spirit, a children’s opera composed by Marcus Shelby, with a libretto written by Roma Olvera, for Opera Parallèle.
To play is to engage. When we play, we pick up objects, ideas, or themes and turn them upside down, experiment with them, often arriving at something inspiring and amazing; yet we don’t play for the outcome, but for its own sake. For humans and some animals, play is a vital part of development. Play allows children to use their creativity while developing their imagination, dexterity and physical, cognitive, and emotional strength. Adults also play to break from conventions, to experiment, to shift from normality into a rich world of imagination or to push themselves in new ways.
Play in children can be generally divided into four broad types based on the developmental purposes each serves. These are: physical play, play with objects, symbolic play, pretence and socio-dramatic play, and games with rules. Beyond participating in children’s play, adults can support it by creating a supportive environment, providing a range of opportunities for play and thoughtfully providing structures that support play.
Engaging play experiences offer a set of gifts, innate rewarding experiences that encourage individuals to continue their engagement. These are reflection and integration of what we have learned, the pleasure of Flow, self-expression, positive emotions, new ways of seeing, mastery, innovation, connecting with and learning from others, and lastly self-realisation.
The film’s creative team will share how the Kung Fu Panda 3 artists researched China’s culture (architecture, food, clothing, and, of course, kung fu!) for the film. The artists were also inspired by China’s natural beauty, the country’s distinct landscapes and wildlife — including the endangered golden monkey, South China tiger, red panda, and Giant panda. We’ll get a peek at scenes from the new movie, enjoy a drawing demonstration and Q&A with the filmmakers.
Weather permitting, the entire school is invited to come to the circle for a post-presentation performance which will include a Shaolin animal-style kung fu demonstration with special guests.
There will also be an art activity available for all classes to make their own bolang gu, a Chinese rattle drum, one of the earliest toys dating back to the Song Dynasty (960-1279). Practice playing your drum with friends and use your power to speak up for Giant Pandas.
DreamWorks Animation invited artists, photographers, designers and illustrators worldwide to create art that illustrated Po on his journey home for Kung Fu Panda 3. Inspired by Po, his friends and all the amazing places around the world, artists went straight to work and submitted over 400 stunning submissions of Po in different continents. Whether he was fighting bulls in Spain, trying on some lederhosen in Munich, riding the train in New York, or even attending a festival in India, Po popped up in almost every landmark around the world.
The foundation of the Southern Shaolin martial art systems can be attributed to these five animals – Snake, Tiger, Leopard and Crane, and the mythological Dragon.
Part of the kung fu student’s training is to emulate the spirit and the movement of these animals. They are instructed to visit the city zoo and the library to study the quintessence nature of the animal.
Sifu Young Wong of the EY Lee Kung Fu School teaches third graders some animal style kung fu.
Nature Works Everywhere: Virtual Field Trip to China’s Great Forests
Join expert scientist Yue Wang, a conservation planning officer for The Nature Conservancy, on a virtual field trip across the world to two stunning provinces in China—Sichuan and Yunnan. Explore majestic forests, towering mountains, and other iconic landscapes. While examining the role these vital natural areas play in the carbon cycle and climate change, as well as the benefits of reforestation, we will learn about the magnificent creatures who call these habitats home: giant pandas, golden snub-nosed monkeys, and the elusive and odd-looking takin.
Aware of the need for a strong symbol that would overcome all language barriers, founders of the World Wildlife Fund chose the Giant Panda. “We wanted an animal that is beautiful, is endangered, and one loved by many people in the world for its appealing qualities.” The black-and-white panda has since come to stand as a symbol for the conservation movement as a whole.
Download a copy of the 
ArtsEd4All 