By Brett J. Esaki
Jap american citizens have constructed advanced silences based on social and spiritual marginalization. using histories and ethnographies of eastern American arts - gardening, origami, jazz, and monuments - 'Enfolding Silence' uncovers silences which are combinations of silences from faith, artwork, and oppression.
summary: jap americans have built complicated silences in accordance with social and non secular marginalization. using histories and ethnographies of jap American arts - gardening, origami, jazz, and monuments - 'Enfolding Silence' uncovers silences which are combos of silences from faith, paintings, and oppression
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Additional info for Enfolding silence : the transformation of Japanese American religion and art under oppression
Historian of American religion Thomas Tweed illustrates the tradition of borrowing from Asian religions, including how the turn-of-the-century fascination ultimately morphed into spiritual seekers’ adoption of pieces of Asian religions. He articulates that there were three types of early American enthusiasts about Buddhism, two of which were interested in Japanese Buddhism. ”48 As the Japanese American arts and artists demonstrate in the upcoming chapters, Japanese Americans have capitalized on wider American spiritual interest in Japanese art and religion, have themselves adapted the arts to fit rational and romantic images of Asia, and have been spiritual-but-not- religious and have adopted pieces of others’ religions.
Each of the arts in some way engaged the indigenous, in some cases enacting preserved indigenous Japanese traditions, in some cases recovering indigeneity by borrowing from Native Americans, and in others reproducing the appearances of somewhat racist interpretations of Native American religions. 43 The revival of an indigenous consciousness is also described in Chapter 4, where monument builders often relied upon a somewhat racist conception of the indigenous to create the silence of legacy. Isamu Noguchi’s monument, for example, incorporates boulders and a circular 30 Enfolding Silence space based on his conception of indigenous Japaneseness, and performances of music and circular dancing in this space induced trance states, much like indigenous Japanese religions.
Mixed-race jazz musician Anthony Brown and the multiracial community jazz band Minidoka Swing demonstrate that the silence of time brings together cultures of an increasingly multiracial Japanese American community under the goal of multi-temporal justice. In the process, the silence of time preserved Japanese American religions, including the mindfulness of Buddhism, while hybridizing with African American religions, Christianity, and indigenous religions. Chapter 4 examines the history of monument construction and contemporary interpretations of the silence of legacy.
Enfolding silence : the transformation of Japanese American religion and art under oppression by Brett J. Esaki