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No New Year’s celebration in Little Tokyo is
complete without the JACCC’s annual Kotohajime
(First Performance) show at the Aratani Theater. This being UMA - Year of the Horse has ushered in some notable changes in the
both the show and the JACCC. What remains consistent as in years past is the
shows strong visual presentation which never disappoints the packed audiences
who attend year after year often making it part of their own New Years traditions.
This year’s Hatsu-Kagami (First
Mirror) was by no means an exception. Directed by Hirokazu Kosaka, this year’s Kotohajime
opened with the hues of a subtle blue backdrop amidst the classical ethereal sounds
of ancient Japan by the Kinnara Gagaku. Gagku
as defined by translation as
Elegant Music which dates back to the 7th Century. This was once the
sole domain of the Imperial Court. Kinnara
is a Sanskrit word which is described in the shows program as being a Buddhist
term for Celestial Musician which suits its sense of mystic ambiance that
Kinnara Gagaku brings to Southern California. Kinnara Gagaku would perform
three musical pieces which in its third piece included the rarely seen Bugaku dance which featured two masked
dancers in colorful costumes which moved in slow precise regal movements that
once entertained Japanese Nobility.
The second segment featured a crowd favorite of two back
to back Natori dances by Wakayagi
Hisami: Hana no Kai. The first dance titled Toto-Jishi
was performed by Wakayagi Haruka in a beautiful red kimono to a most
traditional dance which was later followed by Jyudo performed by Wakayagi Hisami who performed her dance with
great refined elegance and grace elevating this high art form to a level
deserving of its rich cultural heritage.
The show next picked up the pace with a unique improvisational
harmonica solo performance by Mr. Tetsuya Nakamura (a former member of the
legendary group WAR) who once played with Los Lobos, Hiroshima, Snoop Dog, and the
legendary Carlos Santana. What struck us was his phenomenal sound that when
paired with a drum took off into a whole new dimension of musical appreciation.
It could be said that his performance once conjoined with the earlier than
expected arrival of the LA based Kyudo
Group IKKYU made for a strange juxtaposition if not an ingenious pairing with
the Zen archery taking place evoking the imagery of Western influenced Samurai
films of the 1960s. As with every year, IKKYU’s Ending Rite of Purification
fired the traditional first arrow of the year which upon striking its designated
target unleashed a flurry of colorful streamers onto the stage signaling the
conclusion of this year’s show.
As with every year, the select group of invited dignitaries
take to the stage to deliver their new year’s greetings and participate in Kagamibiraki (breaking the Sake barrel)
before the audience participates in the traditional sake toast. Following the
Sake toast as per Kotohajime tradition, the assembled dignitaries then tossed
out bags of mochi into the audience for
good luck which often sends people scurrying to their feet to catch good
fortune and delicious mochi treats
rolled in one. Given how The Year of the Snake has treated this author, we made
it a point not to go home empty handed. This year’s notable attendees in
attendance were Japan Consul General Jun Nimi, former LA City Councilwoman Jan
Perry, Singer/Songwriter Jackson Browne, and outgoing JACCC Chairwoman Sandy
Sakamoto.
This year’s Kotohajime was undoubtedly a Japanese
affair noting some absences of some of regular groups we have seen in the last
four years reflecting some the changes taking place. While popular, the show
itself remains a consistent visual cultural presence not found in other parts
of the country making Little Tokyo and by that of the continued efforts of the
JACCC to bring to the City of Angels a series of unique and rarely seen
traditional Japanese cultural performances not seen anywhere else in the
country. We wish JACCC continued success in that endeavor.
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