{"id":170,"date":"2020-08-12T05:14:23","date_gmt":"2020-08-12T05:14:23","guid":{"rendered":"https:\/\/fass.nus.edu.sg\/performct\/?page_id=170"},"modified":"2020-09-21T07:33:46","modified_gmt":"2020-09-21T07:33:46","slug":"session-two","status":"publish","type":"page","link":"https:\/\/fass.nus.edu.sg\/performct\/session-two\/","title":{"rendered":"Session Two"},"content":{"rendered":"<h2>\n\t\tSession Two\n\t<\/h2>\n\t<p>Session two focused on another critical aspect of traditional Japanese theater\u2019s presence in contemporary time: the transmission of noh and koto music education to non-Japanese learners and audiences. All papers focused their discussion on non-Japanese receptions, with a strong emphasis on Southeast Asia. The first presenter\u00a0<a href=\"https:\/\/internationalnohinstitute.wordpress.com\/author\/diegopellecchia\/\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Pellecchia<\/a>\u00a0was not able to attend in person due to unforeseen circumstances. We arranged for a Skype presentation and he discussed noh ethics through his experience as a member of the International Noh Institute in Kyoto.\u00a0<a href=\"http:\/\/www.ateneo.edu\/ls\/soss\/japanese-studies\/faculty\/nagai-hiroko\" target=\"_blank\" rel=\"noopener noreferrer\">Nagai Hiroko<\/a>\u00a0and\u00a0<a href=\"http:\/\/profile.nus.edu.sg\/fass\/clskita\/\" target=\"_blank\" rel=\"noopener noreferrer\">Kitai Sakae<\/a>\u2019s paper, presented by Nagai, highlighted the individual trajectory of transmission of koto music in the Philippines, Singapore and Thailand. Terai Chikage, a Kanze school shite performer, shared her experience in teaching noh to Singaporean performing arts students. The last speaker of the day Takiguchi Ken had been an active participant of the Asian Shakespeare Intercultural Archive\u00a0<a href=\"http:\/\/a-s-i-a-web.org\/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">A|S|I|A<\/a>, since its start. In his paper Takiguchi discussed his translation work in the archive.<\/p>\n<h3>\n\t\tPapers &amp; media\n\t<\/h3>\n\t<p><a href=\"\/performct\/the-right-to-know-ethical-issues-in-the-intercultural-transmission-of-noh-practice\/\">Diego Pellecchia:\u00a0The Right to Know: Ethical Issues in the Intercultural Transmission of Noh Practice<\/a><\/p>\n<p><a href=\"\/performct\/own-or-others-music-of-japan-transnationalization-of-koto-music-in-southeast-asia\/\">Nagai Hiroko &amp;\u00a0Kitai Sakae: Own or Other\u2019s Music of Japan: Transnationalization of\u00a0<em>koto<\/em>\u00a0Music in Southeast Asia<\/a><\/p>\n<p><a href=\"\/performct\/teaching-singaporean-performing-arts-students-noh\/\">Terai Chikage:\u00a0Teaching Singaporean Performing Arts Students Noh<\/a><\/p>\n<p><a href=\"\/performct\/negotiating-authenticity-translating-shakespeare-in-asian-traditional-performance-styles-for-a-digital-archive\/\">Takiguchi Ken: Negotiating Authenticity: Translating Shakespeare in Asian Traditional Performance Styles for a Digital Archive<\/a><\/p>\n\t\t\t<a href=\"https:\/\/fass.nus.edu.sg\/performct\/contemporary-tradition-japanese-performance-genre-today\/\" target=\"_self\" role=\"button\" rel=\"noopener noreferrer\">\n\t\t\t\t\t\t\tBack to Conference Page\n\t\t\t\t\t<\/a>\n","protected":false},"excerpt":{"rendered":"<p>Session Two Session two focused on another critical aspect of traditional Japanese theater\u2019s presence in contemporary time: the transmission of noh and koto music education to non-Japanese learners and audiences. All papers focused their discussion on non-Japanese receptions, with a strong emphasis on Southeast Asia. The first presenter\u00a0Diego Pellecchia\u00a0was not able to attend in person [&hellip;]<\/p>\n","protected":false},"author":4,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"site-sidebar-layout":"no-sidebar","site-content-layout":"page-builder","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-170","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.1 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Session Two - Perform Contemporary Tradition<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fass.nus.edu.sg\/performct\/session-two\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Session Two - Perform Contemporary Tradition\" \/>\n<meta property=\"og:description\" content=\"Session Two Session two focused on another critical aspect of traditional Japanese theater\u2019s presence in contemporary time: the transmission of noh and koto music education to non-Japanese learners and audiences. 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