I did Sumie for my CIP activity. It was very fun. Sensei is nice and friendly. The class size is small, so everyone gets equall attention. Maybe because I’m the foreigner and the only young people there (other people are around 50s 60s), I get more attention from sensei. Every class is very relaxing, we sit around a long table, talking while drawing. the lesson holds once a week, and two hours long. the lesson breaks into two sessions. During the first one-hour session, we learn some drawing tactics, and keep practicing. then we have a ten minute break. during the break, sensei makes green tea for us, and we drink together while having a short conversation about our past week’s life. then during the next one hour session, sensei let us draw whatever jumps into our head at that moment. sensei always mentions that for sumie, self-imagination is important. Because I’m a beginner, I usually draw something thats very easy to draw, like flowers. Sometimes, I find inspiration through online photos. Every week, there’s a different topic for us to draw things, for example, this week’s topic is christmas! Anyway, I really enjoy my sumie lesson, and I can do sumie now! Because the class, I also really like my sensei, 上村先生. she’s so nice and friendly. Kyoto rains often during the fall season. Sensei would drive me to the station if there was raining outside. If anyone’s interested in Japanese traditional arts, I highly recommend 上村先生’s sumie lesson!!!!
「Private or Group Lesson (Non-Sports)」カテゴリーアーカイブ
Elizabeth Smith: Dancing- Ballet and Nihon Buyou
For my CIP, I’ve taken ballet classes at K.Classic Ballet, and private lessons in Nihon Buyou- classical Japanese dance. It has definitely been a highlight of my time in Japan!
I had no idea how much ballet would make Kyoto feel like home. Throughout my life, ballet has followed me everywhere I’ve gone- I’ve been dancing seriously since I was about eight, helped direct my college’s ballet company, and have also studied a ballet academy in Paris. Ballet classes are remarkably similar all over the world- so enrolling at K.Classic ballet felt less like being the “new kid,” and more like re-joining a community where I’ve always belonged. Additionally, I’m so lucky to have found such an inspiring place to take class- several students from the school have placed in internationally-known competitions, and last week, the class was visited by a recent alumni- who is now dancing professionally at American Ballet Theatre!
Being in the ballet studio has really helped me learn to pick up on small social cues and cultural differences. The atmosphere in most good ballet schools (anywhere in the world) ranges from disciplined to strict, and K.Classic Ballet is no different. On my first day, I remember the teacher making a speech to her students (in somewhat difficult to understand Kansai-ben) about the importance of working hard, and not wasting valuable time in the studio. As the semester has passed, I’ve noticed that the students here seem to define hard work differently than I have in the U.S. At home, there are often clear times when it is and is not appropriate to practice on the sides of the floor, (for example, when the teacher is working with another student, it is considered polite to stop dancing and watch.) Here, the students spend a much larger percentage of the time practicing on their own. They are constantly tweaking their technique and working to apply corrections, through repetition in every free moment, especially at times when in my past experience, it would be customary to be still and observant. Additionally, when Sensei gives her students a correction, I’ve noticed that in comparison with most American teachers, she leaves about twice as long for students to practice applying it. In order to fit in, I’ve had to carefully pick up on these different cues, and adjust my working style to match the other students.
Nihon Buyou has also been an incredible experience. I originally started Nihon Buyou in the U.S., when I was about four, and continued until I was about twelve. I had the opportunity to take it up again over the summer in Hokkaido, and was lucky that my sensei from then was able to put me in touch with a sensei in Kyoto. I absolutely adore my sensei here- she is one of the warmest, most understanding people that I’ve met. She spends a lot of time making sure that I understand the technical vocabulary that she uses, but has a sense of humor when things become confusing or difficult. Furthermore, something that has surprised me about Nihon Buyou here is the slight emphasis on developing a personal relationship with the teacher. In every lesson, the two of us start and end the lesson with a cup of tea, where we discuss everything from my host sister’s undoukais to her recent trip to Tokyo. I’ve taken private lessons in ballet before, and music as well, and although I’ve always gotten to know my teachers very well, there has never been an established time to stop and pause and talk with each other. For me, especially with the occasional language barrier, taking time to drink tea together has helped me to better communicate with my teacher during the lessons themselves.
Overall, dancing in Kyoto has enriched my experience in two ways. Ballet has helped me find a place where a shared interest has helped me find a sense of belonging, while Nihon Buyou has helped me make the most of my time by helping me learn something that is incredibly difficult to pursue in the U.S. I’m incredibly grateful for the experiences I’ve had this semester, and can’t wait to see what the next will bring!
Ruiqi Wang: Manga Lesson
As my CIP for this semester, I chose Manga kyoshitsu. At first, I just want to experience something different from last semester and learn something about Japan. As we all know that manga and animation are really famous and professional in Japan and I am actually a manga fan and doing some little mangas by myself as well, I decide to do this for my CIP in Kyoto manga kyoshitsu with Okamoto sensei and Himura sensei. I go there every Saturday afternoon and spend 3 hours there drawing things. Basically you can draw anything you like at first and sensei will tell you which kind of exercise you need specifically. For me, I like to draw illustrations with characters but I can’t do very well in drawing human body, so sensei just gave me a photo book with human bodies and taught me how to draw human body from beginning systematically. Sensei will also gave me many advices when I am drawing. For example, the way to transform real pictures into manga characters and the composition of pictures, as well as some small tips which are really helpful.
Not only the way of drawing, but I also learnt how to interact with Japanese people. It’s totally fine to use casual speaking style with Japanese students in university, but since students in manga kyoshitsu are not all collage students and usually you cannot tell their ages, it’s better to use desu masu form to them. Because senseis are at our age as well, there was no wall between us. Of course we have to use Keigo to senseis but the atmosphere was really relaxing. Since I read manga as well, other Japanese students didn’t consider me as a foreigner, which makes me feel comfortable in this class. (The other reason that they didn’t consider me as foreigner may be that I am a Chinese which you can’t really tell whether I am a foreigner or not from my appearance. ) There was an elder sensei who is teaching traditional painting at the same place will always serve tea for us and students will bring snacks to share with everyone during break. I think this is a very special Japanese culture that happening everywhere in Japan, the tea time.
I really appreciate this opportunity to really join in a Japanese community like this kind of small class for manga. In this class, I had a chance to interact with young Japanese and here a lot of interesting things of Japanese young culture.
Nia Lambert: Koto and Shamisen Lessons
This past semester, I decided to continue studying Koto, which I had been playing for roughly half a year at my home institution. As a result, I initially came in with the expectation that lessons would be pretty much the same as my typical group lessons.
In the end, I believe private lessons provided me a unique opportunity to not only learn more technical tricks but also to gain a deeper understanding of music and discussing music in Japanese. Reaching those realizations, however, was initially very difficult. On my first class, especially, I was amazed that after all of my hours and hours of studying Japanese, I didn’t understand a word my teacher said. I later came to realize it was because she used Kansai dialect. If she hadn’t been playing the Koto with me I would have had no idea what she was asking me to do. I was overwhelmed, and even wound up making silly mistakes like saying 行ってきます(ittekimasu=I’ll be back, but used only when you leave your home) after class. However, this language barrier forced me to listen even closer and to constantly ask questions, which thankfully made me more comfortable with my teacher.
Around half-way through the semester, I met a Japanese friend who is studying English and preparing to study abroad next semester. He takes really diligent notes on all the English phrases, idioms, and words that he hears pretty much all of the time. From looking at his notes and its benefits with his language study, I figured I would give it a try for my CIP. It was by far one of the best decisions for my studies. Not only did it let me keep track of new vocabulary and phrases, it helped me pay closer attention to general speaking, be unabashedly inquisitive when I didn’t understand, and opened up different conversations that in turn taught me interesting everyday objects and phrases. For example, tying string into a bow or “bunny ears” is called 蝶々結び（chyou chyou musubi） or a butterfly knot. During my newfound confidence I also began studying Shamisen. This new study unexpectedly lead to a plethora of conversations about different materials, finger and plucking styles, and words to describe the moods associated with certain note changes.
Through my CIP I’ve been able to understand far more Kansai words likeもういっぺん, わからへん、ちゃう、ええ instead of いい、and so much more. Currently I’m working on 春の海 (Haru no Umi), a very difficult traditional koto piece, and look forward to learning more about the different cultural and linguistic words and phrases associated with traditional Japanese music.
Two of my Sensei’s more expensive 撥（ばち）or picks for Shamisen. The white one is made of elephant tusk and tortoiseshell.
This is an antique shamisen from the the Edo period. The face painted is an お多福（おたふく）面 or mask of a homely woman.
This is the koto my sensei lent me to practice throughout the semester. I have it in my 和室（わしつ）,or Japanese style room, in my homestay.
Bohan Li: Shamisen
Before I came to KCJS I hadn’t really decided what to participate in. Not all the programs would provide with such good chances for students to be involved in Japanese society. And I really hoped that I could take advantage of it. It took me a long time to think about what goal would I want to achieve at the end of semester. Is it a deep understanding of Japanese society? Or it could be getting to know about the working environment in Japanese since I have the idea to work in Japan after graduation? After careful consideration and getting advices from my teacher, I finally decided to practice Shamisen as my CIP program.
My initial consideration was that as a traditional and Japan-only instrument, Shamisen could be a good tool for me to learn about traditional Japanese music and arts. In China we actually have the similar instrument but nowadays most people don’t know more about it. However, after been imported to japan and assimilated to Japanese culture, Shamisen plays important part of Japanese「邦楽」. I would like to learn more about the spread and development of Shamisen through time.
At the beginning I thought it should be a group class that one teacher sits in the front and students follows teachers instruction and practicing. But then I found out that instead of a Shamisen class, it is more like an amateur’s club. Usually they have typical groups that practice same songs and meet regularly once a week. I was really nervous when I first meet with them. Partly because most of the members are elder people, I was worried that they would not be happy if a foreigner suddenly joined their private group. However, I was welcomed and even taken care of by them. They were curious about my past experience related to Japan, and would also like to tell me their personal relation to China, such as travel experience or business with Chinese partner. I was surprised because this is very different from things I learned from the Japanese minorities class that Japanese people would be offended if someone intend to enter their private group. Even I only joined them for few classes, I feel like I have already become a part of their party. Also, practicing Shamisen is a hart task for me since I had almost zero knowledge about string instrument. And because the Shamisen pick is actually really heavy, I had a hard time learning the basic rules like how to sit, rest my wrist and hold the ばち(picks) in the correct way. It was painful at the beginning, but when I firstly played a whole song, I felt that all the efforts were worthwhile.
I really want to thank my teacher Iwazaki Chieko sensei. She brought me into their club and also the area of traditional Japanese music. From her I learned not just about Shamisen as a instrument, but also how traditional Japanese aesthetics are changing and integrated with modern society. The insistence of Japanese artists and awareness of modern culture make Japan the special place that can retain its culture so well when other countries are somehow ignoring and losing their traditions.
Yun Zhang: Kyoto Manga Class
For this semester, I joined the 京都まんが教室 for my CIP. Although the course fee is a little bit expensive, I’d say it’s totally worth it, mainly because it is where you could have a real cultural communication with people who really understand you.
The most precious thing I experienced from this CIP is the feeling of getting into a real Japanese circle where I belong. Different from the general anime or manga club I’ve joined in the US, this class is more like a doujin-based fan circle. Since most of the students in the manga class are young ladies around the same age, we mostly watch same types of anime and have interests in same kinds of stuff(e.g. shipping). Thus, there are never too many topics to chat about, from which I get to pick up a lot of unique language that is only used within the Japanese anime-fan circle. However, since it is kind of an advanced course, the format of “teaching” almost doesn’t exist. Basically, you just draw whatever you like in every class, and the instructors will give some personal advice and instructions on your drawings. Since I don’t have any essential knowledge of drawing anime characters or manga before, the level is way too high for me. (Other students are all doujin artists.)
Therefore, here is my advice for those who might be interested: If you love anime/Japanese pop culture, and want to experience the feeling of really being one of the Japanese anime fans, don’t hesitate to participate in the manga class. However, if all you want is to learn how to draw manga and do not have any essential knowledge, I would suggest taking a more formal course that focuses on teaching basic skills of drawing manga.
Lauren Guz: Cooking Classes
For my CIP I took cooking classes at La Carriere. I was the only foreigner in my classes which made it a really interesting experience. In the first few classes I wasn’t able to understand most of the directions, and had to rely on watching more than listening, but as classes went on I started to pick up more and more words. Eventually I could ask about specific cuts, what heat to put the stove to, etc. My Japanese in regard to specific food and cooking techniques was probably not 100% correct, but I was able to get my meaning across, and being able to communicate better translated into the food I made, which also became better and better. I also had opportunities to talk to Japanese women, ranging in age from 18 to 70, which gave me many opportunities to practice all speech styles, from casual to polite and even keigo.
After a long day of regular college classes and studying, listening to Japanese for a few hours could be tiring, but it was always worth it when I could sit down with the women and eat the delicious food we had made. Everyone was always really nice to me, and it was a great experience.
It provide me a place and a role in Japanese society as an actual individual and not just a foreigner. Usually when I try to integrate myself into Japanese society, my role in the setting would very much be defined by being a foreigner. However, when I was in the cooking classes I was just another student there to learn how to cook.
Jimmy Scheckowitz: Cooking Classes; Shamisen Lessons
In order to fulfill my Community Involvement Project requirements, I am fortunate to have been given the privilege to participate in two activities that I had been interested in since before coming to Kyoto: taking cooking classes and learning to play the shamisen.
Once a month, I have participated in cooking classes with the Kyoto Cooking Circle at Wings Kyoto, a community center located near the Karasuma-Oike subway station. For a small price of ¥1000 per class, I have not only had the opportunity to learn homestyle Japanese recipes, such as kiritanpo, a style of nabe native to Akita prefecture, but I have also been able to converse with a wide variety of Japanese people, from Doshisha students to the elderly. As such, Kyoto Cooking Circle has provided me with a great chance to fulfill my goal of learning new Japanese recipes, while also giving me the opportunity to utilize and improve my Japanese outside the classroom.
With cooking classes at Kyoto Cooking Circle only being offered once a month, for each week when these classes have not been in session, I have instead taken private shamisen lessons in Ibaraki, a city in Osaka prefecture. Under the tutelage of my teacher Chimura-sensei, I have quickly learned a number of songs, such as “Sakura Sakura,” “Tanko Bushi,” and “Tsugaru Jongara Bushi.” Furthermore, similar to my experience with the Kyoto Cooking Circle, I have also been able to speak regularly with Chimura-sensei, which has helped me in becoming more comfortable in Japanese conversation. As such, taking shamisen lessons have also allowed me to fulfill one of my goals, while being able to practice my Japanese in the process.
Through both my cooking classes and shamisen lessons, I have also learned about a number of aspects and customs pertaining to Japanese culture that I would have not found out about elsewhere. Most strikingly, from my first cooking class, I learned that Japanese children are given more self-responsibility and freedom than those in America. For example, one of Kyoto Cooking Circle’s teachers allows her two boys, who are approximately eight to ten years old, to contribute to the class’ cooking by using sharp knives to chop up vegetables. Having grown up in America and seen numerous parents prevent their children from doing anything even remotely dangerous, I was almost shocked to see the two Japanese kids contributing and acting on their own. As such, I first encountered the level of freedom and independence Japanese children are given at my first cooking class. In terms of my shamisen lessons, I have noticed that there are many differences between individual music lessons in the United States and Japan. From my experience, I’ve found that guitar lessons in the United States would be focused on correctly playing every note of every song I learn. However, Chimura-sensei has explained to me that rather than playing a song perfectly, it is more important to put soul into my shamisen playing. Essentially, Chimura-sensei has emphasized that having a nice sound or tone in my playing is more important than playing every song I learn perfectly. As such, I have noticed that perhaps Japanese music lessons are more focused on playing songs with heart and soul, without having to be perfect, while in the United States, perfection was the goal.
As a whole, my experiences with Kyoto Cooking Circle and Chimura-sensei’s shamisen lessons have been extremely rewarding. In the process of having two Community Involvement Project activities, I have only only fulfilled my goals of learning to cook Japanese food and to play the shamisen, but I also have improved my Japanese and made a number of Japanese friends. As such, I highly recommend learning to cook or to play the shamisen as a CIP to anyone interested in either activity!
Shuyun Zhang: Pottery Class
I go to Pottery Class near Kiyomizudera on every Saturday from 10am to 2pm. The name of the pottery class is Zuikougam(瑞光窯). I am glad that I take the pottery class and I’ve learnt more about Japanese culture.
Except for me, all other students are middle-aged or seniors. I do not know is it because the young Japanese are not into traditional art anymore or they do not have time for the 4-hour lesson. Anyways, all the students are very friendly and helpful. I feel very much welcomed by them. But regardless of their age and gender, they are really into ceramics and they take notes so carefully when there is a seminar. Japanese people really like to take notes and organize things neatly. They also like to bring some presents such as wagashi or sweets they bought to class and share with the other classmates. I like that.
The communication part is not that easy as there are many verbs and terms that I’ve never heard before, but thankfully, this is a skill that you can learn from imitating. I’ve learnt how to use the “rokuro” to make cups and bowls, how to paint on the plates and how to put glaze on the things I made. So far I’ve been to 6 classes and I’ve made 4 plates, 6 bowls and 2 cups, thanks to the sensei’s help. I noticed the other students’ work are related to Japanese traditional art as well and I can tell they are really passionate about it. For instance, someone made a whole set for雛祭りand someone made several plates that have the painting ofアジサイon them.
I really like my pottery class and I hope if there is any chance, I could continues it in America.
Hana Lethen: K.Classic Ballet
I have done ballet since I was five years old, so I was very excited to take ballet class every week during my semester in Kyoto at K.Classic Ballet Studio. Initial contact was a bit daunting, as it involved painstakingly reviewing rather simple emails to make sure they didn’t involve any embarrassing keigo mishaps. My first day at the studio, I was very nervous, wondering how out-of-place I would look and feel. However, as we took our places at the barre to begin class, I felt completely at home.
The etiquette in a typical ballet class shares a lot in common with that of Japanese society. Politeness and humility, especially toward one’s teacher and to older students, are essential, as is following the rules of classical dance. Uniformity is emphasized; the students all wear a similar style of leotard, tights, and ballet slippers. Even the Japanese rule of not wearing street shoes indoors applies to ballet studios. I realized that having grown up taking ballet classes helped me to adjust to life in Japan.
The content of ballet classes here is comfortingly familiar. The same French ballet terms are used, although they are uttered in Kansai-ben. Our teacher is very direct in her critique, and ballet class is the only setting in Japan in which most of the Japanese I hear is in command form. However, although class is very formal, the students have been very welcoming. I feel that we relate to each other because of our shared love for ballet and because of our shared lifestyles, which have been shaped by ballet.
Through my classes at K.Classic Ballet, I have been able to challenge myself to branch out beyond the community at KCJS and Doshisha. Ballet classes themselves do not offer much opportunity for communication practice, as everyone, besides the teacher, is expected to be silent. It was the moments in the dressing room when I worked up the courage to ask someone their name or to compliment their dancing—and the conversations which stemmed from these initial remarks—which were the most rewarding regarding interaction with the other ballet students. In my experience, taking initiative to interact with my CIP peers, along with choosing an activity I am truly passionate about, have definitely been key to having a meaningful community experience in Kyoto.