Judy Mitoma, Director of the UCLA Center for Intercultural Performance, is also a Professor of Dance at UCLA in the Department of World Arts and Cultures. She served as Chair of World Arts and Cultures from 1982-1997, establishing full departmental status for the program in 1995. Ms. Mitoma is recipient of the Asian Cultural Council’s 2003 John D. Rockefeller 3rd Award for her many outstanding contributions as an educator, artist, scholar, producer, and arts advocate.
Her projects have included: producing for the 1984 Olympic Arts Festival; co-curator of the 1990 Los Angeles Festival; Asian Performing Arts Summer Institutes (APASI) 1977- 1988; and in 1991, Ms. Mitoma was a Warren Weaver Fellow at the Rockefeller Foundation, conducting research in the arts of West Africa.
In 1995, she established the Center for Intercultural Performance (CIP) to support research, creative experimentation, documentation, and public outreach for the UCLA campus. Under her leadership, UCLA/CIP has launched three major initiatives: the Asia Pacific Performance Exchange (APPEX) Program, funded by The Ford Foundation, the UCLA National Dance/Media Project funded by The Pew Charitable Trusts, and a Humanities Residency Fellowship program with the Rockefeller Foundation.
She served as Director of the World Festival of Sacred Music – Los Angeles in 1999 and 2002 and she was the Artistic Director for an APPEX performance work—The Art of Rice Traveling Theatre—that premiered in Hawai’i and California in fall 2003. She is Editor-in-Chief for Envisioning Dance on Film and Video (Routledge, 2002).
Ricardo D. Trimillos is Chair of Asian Studies and Professor
of Ethnomusicology at the University of Hawai’i. His research areas
are the Philippines, Hawai’i, and Japan. His theoretical interests
include ethnic identity, arts and public policy, and issues of gender
in the arts of Asia and the Pacific. He is a recognized resource for world
music in public education.
He has served as consultant to a number of institutions, including UNESCO, the governments of Malaysia, Hong Kong, the Philippines and the former Soviet Union. He is board member and immediate past chair of the Advisory Board for the Smithsonian Institution’s Folklife Center.
Dr. Trimillos is a performer of the Japanese koto and Tausug kulintang as well as instruments for Japanese kabuki and Philippine rondalla. He was educated at the University of Hawai’i/East-West Center, the University of Cologne, the Ateneo de Manila, and UCLA. He received the Ph.D. at UCLA with a dissertation on music of the southern Philippines.
Anoosh Jorjorian is currently an MA/PhD student in Culture
and Performance in the Department of World Arts and Cultures at UCLA.
Ms. Jorjorian has extensive experience in progressive publishing, most
notably with South End Press and Sojourner: A Women’s Forum in Boston.
She was a contributing editor to the updated edition of Our Bodies, Ourselves
for the New Century (Boston Women’s Health Book Collective, 1998).
Her studies focus on West African performance arts and tourism, particularly
in Senegal, where she worked as an English teacher and studied jembe and
sabar dance. She was also Interim Coordinator with the Baker-Collier Sierra
Leonean Youth Initiative Movement in Dakar. Locally, she is studying Filipino-American
spoken word and hip hop performance in Los Angeles.
Uttara Asha Coorlawala, Ph.D., has been teaching technique and theoretical dance courses at Long Island University’s C.W. Post Campus. Her articles have been published in Dance Chronicle, Dance Research Journal, Animated, and Sangeet Natak Akademi Journal, and included in anthologies on Indian and intercultural dance. As a dancer-choreographer, Dr. Coorlawala has pioneered in India what is now a growing trend towards intercultural innovation.
Karen L. Ito, Ph.D., is a cultural anthropologist specializing in directing multiple-site research projects with multicultural teams of researchers. Her research interests are in qualitative methodologies, cultural constructions of self, interpretations of meaning, elements involved in conceptions of illness, and barriers to health care. Dr. Ito is an Associate Research Anthropologist at the UCLA Department of Psychiatry and Biobehavioral Sciences, Division of Social Psychiatry, School of Medicine, Neuropsychiatric Institute and a Senior Research Associate for LTG Associates, Inc.
Garrett Kam is from Hawai’i but has spent most of the past 20 years living in Southeast Asia, especially Bali, where he is a consecrated Hindu ritual assistant. He has written many articles and books on art, culture, and performance in Asia, particularly examining relationships between areas. He is trained in traditional textiles, music, and dance and holds degrees in Asian Art, Southeast Asian History, and Asian Theatre. Mr. Kam also has curated international shows of art and has taught courses at universities in the U.S. and Southeast Asia.
Mario Ontiveros is a doctoral candidate in art history at UCLA. He is writing a dissertation on the ethical dimensions of activist art practices in the United States since the 1970s. His professional experiences include: Visiting Scholar (2002–2004), USC’s Archival Research Center; Instructor in Theory as Practice, Otis College of Art and Design (Fall 2003); Board Member, Clockshop (2003–present); Board Member, Writer, and Project Facilitator, National Association of Artists’ Organization (1999–2001); Research Assistant, Getty Research Institute (1996–2000); and Assistant to the Executive Director, Social and Public Arts Resource Center (1994–1995).
Marina Roseman (“Maritime”) is an anthropologist, ethnomusicologist, musician, and dancer, has worked predominantly in Southeast Asia and the Caribbean and has studied with the Temiar forest peoples of peninsular Malaysia over a 20-year period. She is the recipient of fellowships from the Guggenheim, National Endowment of the Humanities, Asian Cultural Council, Social Science Research Council, Wenner-Gren, and National Science Foundations, and her work crosses disciplines and audiences to celebrate the depth and significance of the arts in people’s lives. Author of Healing Sounds from the Malaysian Rainforest (U. California Press, 1991), The Performance of Healing (Routledge, 1995), and the compact disc Dream Songs and Healing Sounds: In the Rainforests of Malaysia (Smithsonian/Folkways Recordings), she is currently completing Engaging the Spirits of Modernity (U. California, forthcoming), which explores how Temiars employ music, dance, and ritual to grapple with historical and contemporary change.
Karen Shimakawa is an Associate Professor of English
and Asian American Studies at the University of California at Davis. She
is the co-editor (with Kandice Chuh) of Orientations: Mapping Studies
in the Asian Diaspora (Duke University Press, 2001) and the author of
National Abjection: The Asian American Body Onstage (Duke University Press,
2002).
Peter Tokofsky is Executive Director of the Craft and Folk Art Museum
in Los Angeles and an Associate Adjunct Professor in the School of Arts
and Architecture at UCLA. He received his Ph.D. in Folklore from the University
of Pennsylvania after several years of fieldwork studying carnival celebrations
in southwest Germany. His publications, research, teaching, and curatorial
interests focus on holidays and festivals in Germany, Switzerland, and
among diverse populations in Los Angeles, as well as on folktales and
fairy tales.
Denise Uyehara is an interdisciplinary performance artist/writer/playwright whose work has been presented across the United States and in London, Helsinki, Tokyo, Vancouver, and Hairou, China. Her most recent work, “Big Head,” links the U.S. government’s incarceration of Japanese Americans during World War II with treatment of those perceived as “the enemy” now, including Arab Americans, Muslims, and South Asian Americans. Ms. Uyehara recently received a fellowship from the Asian Cultural Council, a California Civil Liberties Public Education Program grant, and was a Poets & Writers “Writer on Site” at the Los Angeles County Museum of Art and Beyond Baroque Literary Center. She is author of Maps of City & Body: Shedding Light on the Performance and Process of Denise Uyehara (Kaya Press, spring 2004), and her work appears in O Solo Homo, Asian American Drama, Getting Your Solo Act Together, and The Asian Pacific American Journal, and as part of Meiling Cheng’s In Other Los Angeleses: Multicentric Performance Art. For more info: www.deniseuyehara.com.
Kazuko Yamazaki is a cultural anthropologist and Nihon Buyo (classical Japanese dance) performer. She studied the anthropology of dance under Dr. Anya Peterson Royce and received a Ph.D. from Indiana University, Bloomington. She currently resides in Seattle and is writing her book, Nihon Buyo: Classical Dance of Modern Japan.
1996 APPEX ARTISTSAgnes Locsin, Philippines
Amy Trompetter, U.S.
Eve Beglarian, U.S.
Azad Abul Kalam, Bangladesh
Dan Chumley, U.S.
David Lefkowitz, U.S.
Hartati Pondok, Indonesia
I Made Sidia, Indonesia
Keremane Shivanand Hegde, India
M. Fazlur Rahman, Bangladesh
Nguyen Thi Hong Ngat,
Vietnam
Paul Dresher, U.S.
Shi-Zheng Chen, U.S. (China)
Treva Offutt, U.S.
Victoria Marks, U.S.
Vinay Kumar, India
Vu Thuy Ten, Vietnam
Xu Ying, China
Zhou Jing-qiu, China
1997 APPEX ARTISTS
Amy Trompetter, U.S.
Angelia Leung, U.S.
Anthony Brown, U.S.
Azad Abul Kalam, Bangladesh
Chan Tha, Myanmar
Co Boi Nguyen, U.S. (Vietnam)
Eko Supriyanto, Indonesia
Eve Beglarian, U.S.
Faiz Zahir, Bangladesh
Fan Xing, China
I Dewa Putu Berata, Indonesia
Indra Utama, Indonesia
Irwansyah Harahap, Indonesia
Kenny Endo, U.S.
Liu Qi-Chao, U.S. (China)
Liu Ziwei, China
M. Fazlur Rahman, Bangladesh
Maria Cheng, U.S.
Minh Tran, Vietnam, U.S.
Nami Yamamoto, U.S. (Japan)
Nguyen Thu Thuy, Vietnam
Painkulam Narayanana Chakiar, India
Paul Dresher, U.S.
S.S. Kalai Rani, India
Sen Hea Ha, Korea
Shi-Zheng Chen, U.S. (China)
Snezana Petrovic, U.S. (Yugoslavia)
Susan Bauer, U.S.
Tran Thi Van Quyen, Vietnam
Treva Yvonne Offutt, U.S.
Uttam Chakraborty, Bangladesh
Valeria Vasilevski, U.S.
Victoria Marks, U.S.
Vu Thuy Ten, Vietnam
Xu Ying, China
Ye Htut, Myanmar
1999 APPEX ARTISTS
Dewa Putu Berata, Indonesia
Carol McDowell, U.S.
Cheng-Chieh Yu, U.S. (Taiwan)
Christopher Jason Koontz, U.S.
Dan Kwong, U.S.
Eko Supriyanto, Indonesia
Eva Lee, U.S.
Hoang To Mai, Vietnam
Joan Pangilinan-Taylor, U.S. (Philippines)
Kenny Endo, U.S.
Kyaw Kyaw Naing, Myanmar
Lenny Seidman, U.S.
Michelle Berne, U.S.
Minh Tran, U.S. (Vietnam)
Nami Yamamoto, U.S. (Japan)
Narumol Thammapruksa (Kop), Thailand
Paulina Sahagun Macias, U.S.
Peng Jingquan, China
Pichet Klunchuen, Thailand
Rajkumar Tombisana Singh, India
Sen Hea Ha, Korea
Sonam Phuntsok, India (Tibet)
Ta Vu Thu, Vietnam
Tashi Dhondup, India
Thomas Riccio, U.S.
Zhang Yi Juan, China
WRITERSKaren Shimakawa, U.S.Marian Pastor Roces, Philippines
Pawit Mahasarinand, Thailand
Peter Tokofsky, U.S.
Uttara Asha Coorlawala, U.S.
2000 APPEX ARTISTS
Cristian Amigo, U.S. (Chile)
Cheng-Chieh Yu, U.S. (Taiwan)
Daniel Diaz, U.S.
Danongan Kalanduyan, U.S. (Philippines)
Denise Yuriko Uyehara, U.S.
Ettumanoor Parameswaran Kannan, India
Higa Norihiro, Japan
I Nyoman Windha, Indonesia
Ida Ayu Wimba Ruspawati, Indonesia
Josefina E. Baez, U.S. (Dominican Republic)
Mao Tip Moni, Cambodia
Nguyen Thu Thuy, Vietnam
Nuryanto Noto Susanto, Indonesia
Owan Kiyoyuki, Japan
Peng Jingquan, China
Pradit Prasartthong, Thailand
Roko Sakura Kawai, U.S. (Japan)
Sophea Soeur, Cambodia
Tashi Dhondup, India (Tibet)
Tsering Dorjee, India (Tibet)
WRITERS
Garrett Kam, U.S.
Kazuko Yamazaki, Japan
Marina Roseman, U.S.
Mario Ontiveros, U.S.
Pattara
We wish to thank:
Aiko Tengen Tokunaga
Amy Dobry
Amy Villancourt
Andrea Perine
Anu Kishore Ganpati
Arsenio Apillanes
Carl Patrick
Carmella Vassor
Carol Endo
Carol Petersen
Carolyn Campbell
Charles Tomlinson
Ching Lim
Chisato Koike
Christopher Waterman
Deborah Kagan
Dianne Roberts
Eileen Cooley
Eko Supriyanto
Eleanor Lipat
Emiko Susilo
Emily Quist
Etsu Garfias
Fred Frumberg
Georg Kochi
Grace Murayama
Htet Thu Win
Joanne Parks
John Bishop
Jorge Vismara
Julie Carson
Karen Ito
Kateri Hyung
Kevin Fan
Larry Loeher
Lauren Winslow-Kearns
Lilian Wu
Marcia Argolo*
Mariana Pascuzzi
Marilyn Padow
Mark Eby
Marlene Millar
May Lim
Melissa Teodoro
Mercedes Ryden
Ming Ng
Muriel Moorhead
Nam Hau Doan
Natalie Yamashita
Nathan Nguyen
Nicolas Daswani
Phillip Szporer
Priya Srinivasan
R. Diyah Larasati
Rachel Cooper*
Sabrina Lynn Motley
Sam Jones
Scott Gruber
Sen Hea Ha
Sharon Nozawa
Shiva Rae Bailey
Shyamala Moorty
Silvily Kessler Thomas
Sophiline Shapiro
Sue Fan*
Thiri Nyunt
Tina Chia-Chi Chang
Yayoi Robinson
* Associate Directors
DESIGN
Christian White: Graphic Design
Jorge Vismara: Web Design and Video Streaming
APPEX 2000 DVD CREDITS
Mark Eby: Director, Camera, Editor, & DVD Author
Huy Phuy: Concert Camera
Emily Quist: Sound, Camera & Editor
Christian White: Graphic Designer & DVD Author
UCLA CENTER FOR INTERCULTURAL PERFORMANCE
Judy Mitoma, Director
Marcia Argolo, Associate Director
Anu Kishore Ganpati, Communications/Development Officer
Nico Daswani, Program Coordinator
First of all, I want to thank the authors for your tireless devotion to this
project. Over continents and oceans, across the world and across town,
you remained dedicated, and the rewritten drafts came in. It has been
such a pleasure to work with you all. To the CIP staff—Marcia Argolo,
Anu Kishore, and Nico Daswani—I owe much for your unflagging support
in bringing all the pieces of this publication together. You have my undying
appreciation. Christian White, you have earned a special place in my esteem
for not only designing this book beautifully, but also for remaining flexible
and cheerful in the midst of chaos. Judy Mitoma, I deeply appreciate the
opportunity to edit this collection, and I thank you for those times of
warmth and generousity. As Kannan observed, you make it happen. Finally,
I would like to thank my former colleagues at South End Press.
For copies of this report, please contact:
UCLA Center for Intercultural Performance
Glorya Kaufman Hall
Los Angeles, CA 90095-1608Phone: 310.206.1335 Fax: 310.825.5152 email:
cip@arts.ucla.edu
A hypertext version of this collection, including video streaming of APPEX
performances and other projects, is available at our website:
www.wac.ucla.edu/cip
The UCLA Center for Intercultural Performance (CIP) is dedicated to performing
arts research and experimentation that promote better understanding and
appreciation across cultures. Situated in one of the major American research
universities, CIP is a model arts organization that serves as a national
and international resource for international exchange, creative collaboration,
research and publications, and film/video documentation. An integral part
of the Department of World Arts and Cultures at the UCLA School of the
Arts and Architecture, CIP bridges the university with the world. Viewed
as a catalyst for advanced work in the creative and scholarly fields,
CIP has demonstrated its ability to respond to the changing needs of our
times.
The program described in this document is made possible by: The Rockefeller
Foun-dation, Ford Foundation, Asian Cultural Council, Japan Foundation,
and the Open Society Institute & Soros Foundation Network.
All rights reserved. No part of this publication may be reproduced or
transmitted in any form or by any means, electronic or mechanical, including
photocopying, recording, or any information storage retrieval system,
without written permission from the publisher.
Copyright © 2004 The Regents of the University of California
