Invoking Justice

Invoking Justice, a performative work of dance-theater, is a social commentary, both on the failure of the American justice system to balance the scales, and on our individual and collective failings to balance our communities, and ourselves, while recognizing our inherent unity and interconnectedness. The show was performed on March 10th and 11th, 2016 in the Clarice Smith Performing Arts Center, at the University of Maryland, College Park. This document is a survey of the creative process through which this project was realized and serves as a record of the many obstacles and successes that one might encounter in directing a work of dance-theater.

Ideals, Aesthetics, and Practices of Professionalization in the Tokyo Jazz Scene

In the early twenty-first century, jazz has a history in Japan of approximately 100 years. In contemporary Tokyo, Japanese musicians demonstrate their right to access jazz performance through a variety of musical and extra-musical techniques. Those accepted as fully professional and authentic artists, or puro, gain a special status among their peers, setting them apart from their amateur and part-time counterparts. Drawing on three months of participant-observation in the Tokyo jazz scene, I examine this status of puro, its variable definition, the techniques used by musicians to establish themselves as credible jazz performers, and some obstacles to achieving this status. I claim two things: first, aspiring puro musicians establish themselves within a jazz tradition through musical references to African American identity and a rhetoric of jazz as universal music. Second, I claim that universalism as a core aesthetic creates additional obstacles to puro status for certain musicians in the Tokyo scene.