America's Japan and Japan's Performing Arts: Cultural Mobility and Exchange in New York, 1952-2011

Notes

199 Notes Introduction 1. Clive Barnes, “Twain Meet in City Ballet’s ‘Bugaku,’” New York Times, 21 June 1977. 2. “Presenter Interview: New Developments in the Japan Society, a Promoter of Exchange between Japan and the U.S. for 100 Years,” Japan Foundation , Performing Arts Network Japan, 13 October 2007, http://performingarts. jp/E/pre_interview/0709/1.html (accessed 29 February 2012). 3. John Rockwell, “The Enigmas, the Oddities: What to Make of Dance from Japan,” New York Times, 20 January 2006. 4. Clyde Haberman, “Skirmishes on the Economic Frontier: Trade Tensions with Japan May Get Even Worse,” New York Times, 5 January 1986. As M. J. Heale has noted, “In 1981 the US trade deficit with Japan was about $10 billion; by 1985 it was a staggering $50 billion—the largest trade imbalance ever recorded between two economies.” M. J. Heale, “Anatomy of a Scare: Yellow Peril Politics in America, 1980–1993,” Journal of American Studies 43, no. 1 (2009): 24. 5. David Brooks, “Weekness [sic] and Endurance,” New York Times, 18 November 2010. “In the 50 years since the American entry into World War II,” Susan D. Moeller has written, “the American press has been the pre-eminent institution directing what the American public sees of Japan and the Japanese.” Susan D. Moeller, “Pictures of the Enemy: Fifty Years of Images of Japan in the American Press, 1941–1992,” Journal of American Culture 19, no. 1 (1996): 29. Daniel Marcus has referred to outlets such as the New York Times and Time magazine as “organizations [that] have set the agenda and determined the tone for most of the other reporting in the United States . . . [and have served as] central mediators of political discourse.” Daniel Marcus, Happy Days and Wonder Years: The Fifties and the Sixties in Contemporary Cultural Politics (New Brunswick, NJ: Rutgers University Press, 2004), 6. 6. Sally Banes, “Introduction,” in Reinventing Dance in the 1960s: Everything Was Possible, ed. Sally Banes (Madison: University of Wisconsin Press, 2003), xiv. 7. H. D. Harootunian, “America’s Japan/Japan’s Japan,” in Japan in the World, ed. Masao Miyoshi and H. D. Harootunian (Durham: Duke University Press, 1993), 200. 8. Harootunian, “America’s Japan/Japan’s Japan,” 216, 220. 200 Notes to Pages 3–7 9. Harootunian, “America’s Japan/Japan’s Japan,” 215–16. 10. Clive Gillinson, “A Unique Journey of Discovery,” in Carnegie Hall Festivals , JapanNYC: Music and Arts from Today’s Japan—Over 65 Events Citywide on Sale Now (New York: Carnegie Hall, 2010), 2. 11. While Zorn’s fund-raising concerts headlined the outpouring of goodwill and generosity from the New York performing arts community toward the people of Japan, there were numerous other charitable theater, dance, and music initiatives in the weeks and months after the catastrophes. 12. Jon Pareles, “Allies in Improvisation and in a Cause,” New York Times, 28 March 2011. 13. Christina Klein, Cold War Orientalism: Asia in the Middlebrow Imagination, 1945–1961 (Berkeley: University of California Press, 2003), 13. 14. Klein, Cold War Orientalism, 103. 15. Klein, Cold War Orientalism, 132. 16. Christopher Benfey, The Great Wave: Gilded Age Misfits, Japanese Eccentrics, and the Opening of Old Japan (New York: Random House, 2003), xv. 17. Sally Banes, Greenwich Village, 1963: Avant-Garde Performance and the Effervescent Body (Durham: Duke University Press, 1993), 10. For a history of New York’s downtown theater—including the development of La MaMa—see Stephen J. Bottoms, Playing Underground: A Critical History of the 1960s Off-Off-Broadway Movement (Ann Arbor: University of Michigan Press, 2004). 18. Klein, Cold War Orientalism, 9. 19. Stephen Greenblatt, “Cultural Mobility: An Introduction,” in Stephen Greenblatt, with Ines G. Županov, Reinhard Meyer-Kalkus, Heike Paul, Pál Nyíri, and Friederike Pannewick, Cultural Mobility: A Manifesto (New York: Cambridge University Press, 2010), 5. 20. Banes, Greenwich Village, 1963, 3. 21. Paul J. Yoon, “Asian Masculinities and Parodic Possibility in Odaiko Solos and Filmic Representations,” Asian Music 40, no. 1 (2009): 101. 22. Deborah Wong, Speak it Louder: Asian Americans Making Music (New York: Routledge, 2004), 219. 23. Takeshi Matsuda, Soft Power and Its Perils: U.S. Cultural Policy in Early Postwar Japan and Permanent Dependency (Washington, DC: Woodrow Wilson Center Press; Stanford: Stanford University Press, 2007), 257. 24. Saskia Sassen uses the term spaces of authority in connection with the tall buildings that signify corporate culture in an urban context. The phrase, I think, well applies to the high-profile arts institutions I cite here. Saskia Sassen, “Analytic Borderlands...