BEGIN:VCALENDAR VERSION:2.0 PRODID:-//PYVOBJECT//NONSGML Version 1//EN BEGIN:VEVENT DTSTART:20201029T000000Z DTEND:20201029T000000Z DESCRIPTION:<strong>REGISTER HERE:\n<a href=" i3-9el0jusTCvSf0PysWawNUUni5GBQ8tdvneV4s&amp\;h=AT3fa_lETg00oJvahGQimI70jx ViI17qk8JLmBgU5ya3Rud5WSCVQgRXrJ-t85NhVoZw-f0cqE44zpMndD9DHEYCmSEFRR05oKNf ltrV0O0KSczL0vE7ofL6411pdkSbmPUafhE" target="_blank"> frookinawa2\n</a></strong><em>(The Zoom link will be emailed to you before the event)\n</em>\n<strong>Ariko Ikehara: Community Mapping at Okinawa's Koza Crossroads\n</strong>\nJoin us for a conversation with Ariko Ikehara with William Roper and Shō Tanaka.\n\nAriko will speak about MiXtopia\, a community research center that lies at the heart of Teruya\, formerly kno wn as the Black District in central Okinawa. Representing Koza&rsquo\;s Cr ossroads or the coming together of many communities\, the center is curren tly conducting a community mapping project that works to document the ever yday life of Okinawans who not only survive but thrived in the district\, which includes the market\, the business\, and the bar and entertainment\, as one intersecting border that brought together Okinawans\, Black Soldie rs\, and multi-ethnic and national communities in the aftermath of the Pac ific War. Join us for a conversation with the founder and director of MiXt opia Ariko Ikehara as she speaks with Los Angeles based musician William R oper about what MiXtopia means to her and how she intends to use art as a decolonial and performance art/life method to represent MiXtory (history\, story\, mystery) of the way we think about research. This talk is co-spon sored as part of the EastSide Arts Alliance / NAKA Dance Theater&rsquo\;s Live Arts Resistance series (Oakland) and the Afro-Okinawan Dialogue Serie s created by the Okinawa Association of America (Los Angeles).\n\n<strong> REGISTER Here:&nbsp\;<a href=" f0PysWawNUUni5GBQ8tdvneV4s&amp\;h=AT3fa_lETg00oJvahGQimI70jxViI17qk8JLmBgU 5ya3Rud5WSCVQgRXrJ-t85NhVoZw-f0cqE44zpMndD9DHEYCmSEFRR05oKNfltrV0O0KSczL0v E7ofL6411pdkSbmPUafhE" target="_blank"></a ></strong>\n<strong><a href=" 0PysWawNUUni5GBQ8tdvneV4s&amp\;h=AT3fa_lETg00oJvahGQimI70jxViI17qk8JLmBgU5 ya3Rud5WSCVQgRXrJ-t85NhVoZw-f0cqE44zpMndD9DHEYCmSEFRR05oKNfltrV0O0KSczL0vE 7ofL6411pdkSbmPUafhE" target="_blank"> </a></strong>\n<strong><a href="htt ps:// lid%3DIwAR0rbuZ4jc7QWpRHbD5i3-9el0jusTCvSf0PysWawNUUni5GBQ8tdvneV4s&amp\;h =AT3fa_lETg00oJvahGQimI70jxViI17qk8JLmBgU5ya3Rud5WSCVQgRXrJ-t85NhVoZw-f0cq E44zpMndD9DHEYCmSEFRR05oKNfltrV0O0KSczL0vE7ofL6411pdkSbmPUafhE" target="_b lank"></a></strong>ASL interpreted by Christine Nakahara and Eboni Gaytan. \n\n<strong>ABOUT ARIKO IKEHARA:\n</strong>\nAriko S. Ikehara is a Directo r at Koza X MiXtopia Research Center in Okinawa. She earned her Ph.D. in C omparative Ethnic Studies at the University of California\, Berkeley in 20 16. She was a Postdoctoral Fellow at Osaka University (2017_19)\, and a Vi siting Scholar in the Department of Gender and Women Studies at UC Berkele y (2016). Her peer-reviewed published works are &ldquo\;Champurū Text: Po stwar Okinawan Writing\,&rdquo\; Beyond American Occupation: Race and Agen cy in Okinawa\, 1945-2015. Lexington Press. 2017.\, and &ldquo\;Third Spac e as Decolonial Con/Text: Okinawa&rsquo\;s American Champurū.&rdquo\; Tra nsnational Asia: An Online Interdisciplinary Journal\, Vol. 1-1. Fall\, 20 16. Chao Center for Asian Studies\, Rice University. She is currently work ing on a book manuscript working-title &lsquo\;&lsquo\;Okinawa&rsquo\;s Mi Xtopia: Teruya Soul MiXtory&rdquo\;\, which is a choreographic study of a place known as the black district that existed during the American occupat ion on Okinawa. Her forthcoming essay &ldquo\;Sketches of Teruya: MiXtory of Place&rdquo\; will be published in The Avery Review\, a project of the Office of Publications at the Columbia University Graduate Schools of Arch itecture\, Planning and Preservation.\n\n<strong>THE MODERATORS:</strong>\ n<strong> </strong>\n<strong></strong>William Roper is a multi-disciplinar y artist residing in Los Angeles. His primary foci are music composition\, music performance and improvisation\, and the visual arts. He performs on instruments in the low brass family\, several ethnic aerophones and instr uments of his own design. He creates works that merge music\, theatre\, ex temporaneous spoken word and the visual arts. His works explore histories of place\, ethnic and cultural groups\, and self-history. William studied at CSU Northridge\, Cleveland Institute of Music\, Case Western Reserve Un iversity and Carnegie-Mellon Reserve University. As a musician\, his exper ience ranges from symphonic music to free improvisation. He has performed or recorded with artists such as Gustavo Dudamel\, Elton John\, Wadada Leo Smith and Yusef Lateef. He has toured Japan\, Europe\, and the two Americ as\, as soloist and ensemble musician. He is represented on motion picture soundtracks and 60+ recordings\, twelve as leader. He has fulfilled commi ssions from music and dance ensembles. He has been resident artist at inst itutions domestically\, in Germany and Japan. His visual art has been exhi bited in the U.S. and Europe. He has received awards from the NEA\, Califo rnia Arts Council\, L.A. Dept of Cultural Affairs and others.\n\nShō Tana ka is a Yonsei writer and wanderer. His grandmother&rsquo\;s family(⼭ 城)immigrated to the Los Angeles area from Taminato\, a village in the Yanbaru rainforest in northern Okinawa. His grandfather&rsquo\;s family( ⽥中)emigrated from Buzen Shoe\, Fukuoka to Tlingit territory settling in Juneau\, Alaska. He believes that through sharing food and story we ca n work to heal legacies of violence that have accumulated within our colle ctive body\, mind\, and spirit. Currently Shō resides on Lekwungen and W ̱S&Aacute\;NEĆ Territory (Victoria\, British Columbia) but his ancestral homeland lies somewhere in the depths of amerikkka.\n\n<strong>ABOUT THE AFRO-OKINAWA DIALOGUES SERIES:</strong>\n<strong> </strong>\n<strong></str ong>Hosted by the Okinawa Association of America\, this interactive discus sion series will provide a platform to yuntaku (talk story) in a space tha t centers Black/African descended peoples and their experiences within the Okinawan community. Acknowledging that Japan\, Okinawa and the United Sta tes each have their own unique forms of anti-Black racism\, we hope that t hese dialogues will provide a space to challenge stereotypes and diversify our understanding of Blackness in Okinawa and the Okinawan diaspora. Each dialogue will be discussion based and feature a Q&amp\;A with artists\, a ctivists\, academics and community members whose work exists at the inters ections of Black and Okinawan community issues. Potential topics discussed may include understanding mixed race politics\, dismantling anti-Black ra cism and celebrating Black/Okinawan art forms.\n\n<strong>ABOUT LIVE ARTS IN RESISTANCE:\n</strong>\nLIVE ARTS IN RESISTANCE is a dynamic series of performances\, artist residencies\, and community town halls to address ra cial inequity and white supremacy in popular culture. Collectively\, we co ntribute to a new cultural consciousness of self-determination and indigen ous knowledge as integral to our resistance to systemic oppression and imp erialism.\n\nLIVE ARTS IN RESISTANCE includes dance\, theater\, poetry and interdisciplinary performances\, curated by socially-conscious artists. T ogether we push the boundaries of our practices and contemplate our role a nd responsibility in connecting the many struggles of our respective commu nities both locally and globally.\n\nLIVE ARTS IN RESISTANCE fosters risk- taking\, rigor\, and a radical critique on the role of political activism\ , cultural work and art in society. This role is historically rooted in a culture fighting for justice\, equity and self-determination &mdash\;the p olitical empowerment of our people.\n\nWe seek to create a place where art ists and audience members can engage in a meaningful dialogue about innova tive ideas and experimental work\; where artists can reflect on the proces s of creating progressive art and revolutionary movements\; redefining aes thetics and ethics that will decolonize minds. There is a profound need to construct a culture of resistance outside of &ldquo\;market forces&rdquo\ ;\; a culture that will defend our communities from the current reactionar y political climate. With the absurdity of backward national elections\, x enophobia\, fascist policing and militarism that has been shaping our live s\, all the inflamed racism\, sexism and classism is being rekindled on th e world stage.\n\nWe reiterate Malcolm X&rsquo\;s words that &ldquo\;Cultu re is an indispensable weapon in the freedom struggle&rdquo\;. And once ag ain\, we must SEIZE THE TIME! &mdash\; to magnify our struggle\, giving wi ngs to our imagination and finding new ways to speak our truth.\n\n<strong >ABOUT THE OKINAWA ASSOCIATION OF AMERICA:\n</strong>\nThe Okinawa Associa tion of America\, Inc. (OAA) is a 501(c)(3) non-profit organization in Gar dena\, California that is dedicated to preserving and promoting Okinawan c ulture. Formed by first generation Okinawan immigrants (issei)\, the OAA h as grown into a multi-generational organization that hosts numerous events throughout the year including cultural lectures\, performances\, social g atherings\, and senior-focused activities. 2019 marked the organization&rs quo\;s 110th anniversary as well as the 20th anniversary of the OAA Center in Gardena.&nbsp\;<a href=" ChUWbn5X1EFgFAnHNI&amp\;h=AT0uPK-a-KrJrIOt-1stX-zthFsm9hCHK3cmIf4aP4q7urjh i4vgtko2J51HT3Po7WtnyhPjg4tehi-dHBpY0U-fnpYlN-F3XlThau3htegd5B1FkZWbl5dXmn qcUxTJKwZrqlA" target="_blank">\n</a>\n<strong>AB OUT EASTSIDE ARTS ALLIANCE:</strong>\n\nEastSide Arts Alliance is an organ ization of Third World artists\, cultural workers\, and community organize rs of color committed to working in the San Antonio and other Oakland neig hborhoods to support a creative environment that improves the quality of l ife for our communities and advocates for progressive\, systemic social ch ange.&nbsp\;<a href=" E-6xQtuc8BtuG4vDFBBXY&amp\;h=AT34OyjpA3vEjY-Fn4tA_KqJxgMfsM7TZUuX6MQPLdXmJ GA7ilDOkGMs8r9rTOJn0hKX_Y4BhTEroQD5RVLfU1Wr0uB6eoPUB6k3YpkawrwKSCa-l6FGmLt yNgVKfxg8Gg-tga4" target="_blank"></a>\n<stron g>\nABOUT NAKA DANCE THEATER:</strong>\n\nFounded in 2001\, NAKA Dance The ater creates experimental performance works using dance\, storytelling\, m ultimedia installations and site-specific environments. NAKA builds partne rships with communities\, engages people's histories and folklore and expr esses experiences through accessible performances that challenge the viewe r to think critically about social justice issues. NAKA brings together an d creates rapport among diverse populations\, encouraging dialogue and civ ic participation.&nbsp\;<a href=" PZVuwuZ8Z99aT-5K7OAjP8WDL1k_8&amp\;h=AT0db3gCS961qUwz0frxBstm56GHe6bjOqhh6 p6HrVXGluvcazxQkHtGHS4II1Ou6Ls_Q_hBuq_MYP5d_8NCEtanlgtOikXCquMwT9Q-q6bHa6i bdcqvmGyPvmwtd_pHI8Zm6xY" target="_blank"></a> DTSTAMP:20230609T193521Z SUMMARY:[VIRTUAL] Afro-Okinawan Dialogues\, Part 2 feat. Ariko Ikehara (Pre sentation on Black-Okinawan Identity) URL:/en/events/2020/10/29/virtual-afro-okinawan-dialogues-part-2-feat-ar/ END:VEVENT END:VCALENDAR