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Cultural Diversity in Art:
Voices from the Minority Culture of the Amami Islands in Japan
There have been many Japanese kimono exhibitions of mainstream Japanese cultural significance. However, there has never been this type of Kimono exhibition in the U.S. based on this particular regional art. To understand the diversity of the Japanese kimono, one must consider the different aesthetic and cultural background of each region.
Difficulty arises from the great complexity inherent in teaching multiculturalism in classrooms, partly due to the limitations of time and facilities in schools. Especially the fallout from the tragic events of September 11, 2001 threatens understanding of different cultural beliefs and values. But, at the same time, it is true that this fallout has also awakened us to reconsider the importance of multicultural understanding.
Art education is not a subject matter which should be taught only in schools, but rather it should be a life long search for meaning and identity in society through being exposed to different art and art activities. To do so, collaborative activity is very important to effectively draw people's attentions to recognize the importance of art. It is impossible to fully enlighten people about the value of art in different cultures in a limited classroom setting. Therefore, it is indispensable to continue to provide cultural events and art exhibitions.
We are very pleased to have such a significant collaborative exhibition here in Chico with the support of many. We hope that many people visit these exhibitions to think of the diversity in art and the cultural value in art. We believe that understanding the historical and cultural relationship between Japan and the rest of Asia through these art exhibitions also will help in understanding the relationship between the US and other countries through art.
References:
Dalby, Liza (1993). Kimono: Fashioning Culture. New Haven and London. Yale University Press.
Honba Amami Ohshima Tsumugi Kyodou Kumiai (2001). A Centennial Journal: A Journey of Tsumugi in Amami Ohshima. Naze-shi.
Nobori, Shoumu. (1949). Daiamamishi (translated in “History of Amami”). Kagoshima, Amamisha Press.
Shigeno, Yukoh. (1973). Amami Senshoku Shi (translated in “History of Amami’s Fabric”). Kagoshima, Amami Bunka Kenkyujyo.
With Special Thanks to:
(Alphabetical order)
California State University, Chico
Mr. Jon Aull, Mr. Juri Brilts, Dr. Thomas LeBlanc, Ms. Shigemi Minetaka, Prof. Vernon Patrick, Mr. Eric Pawloski, Ms. Thomasin Sax, Ms. Betty Skala, Mr. Jon Slaughter, Ms. Catherine Sullivan, Mr. Jason Tannen, Prof. Brooks Thorlaksson, Mr. Joe Wills, Ms. Susan Yonts, and Department of Art and Art History
Amami Ohshima, Japan
Mr. Makoto Koshima, Mr. Shousei Oki, Mr. & Mrs. Toku, Honba Amami-Ohshima Tsumugi Kyoudoukumiai (Honba Amami-Ohshima Tsumugi Cooperative Society for Amami Islands), Amami-Gunto Chiiki Sangyo Shinko Bunka Kyokai, (Regional Industrial Promotion Foundation) and Naze City
Sponsors
The Christensen Fund
The Activity Fee Council, Associated Students of the California State University, Chico
Credits
Text: Dr. Masami Toku, Dept. of Art & Art History
Design: Ms. Lindsey Lodd, IMC Graphics
Calligraphy: Ms. Masako Tokunaga
Photography: Mr. Makoto Koshima
Photography: Mr. Futoshi Hamada
Photography: Mr. Jeff Teeter, IMC Photography
Photography: Mr. Davin Schveidl, IMC Photography
Printing: University Printing Services