Emily Thurston: Kyuudo

For my CIP, I chose to do Kyuudo, or Japanese Archery. I had no experience with archery before, so I was certainly expecting a challenge. However, Kyuudo is so distinct from other forms of archery that I did not feel disadvantaged compared to those who had archery experience.

Practicing archery allowed me to get a glimpse of Japan’s hierarchical dojo community. I was expecting it to be somehow more rigid in structure, but my first lesson illustrated quite the opposite. The other KCJS students and I were mostly left to practice on our own, with occasional feedback. Moreover, the sensei even left when to end of the lesson up to us. We practiced for an extra half and hour waiting for her to signal the end of the lesson until we finally realized that it was our duty to do so.

Practicing kyuudo was a very rewarding experience. I learned a lot about proper patterns of speech when addressing one’s sensei. I noticed that even women who seemed to be around the same age as the sensei spoke to her in keigo, indicating that she was their superior within the dojo. Although I did not get to know anyone in the dojo very well, the other members were very welcoming and always greeting us warmly. This atmosphere, as well as the actual act of practicing kyuudo are very unique to Japan, and thus this experience has become an important aspect of my time here.

 

レーノール・メサ:囲碁の教室

僕のCIPは囲碁の授業です。毎週月曜日、四条のそばの京都囲碁サロンへ行って、十人ぐらいの生徒と囲碁を習っています。そのサロンはちょっと小さいですが、教室の雰囲気は楽しいです。

日本に来る前に、囲碁を聞いたことはありましたけど、したことはありませんでした。囲碁の基本的なルールは一見、簡単そうです。黒い石を持つ人がいて、相手は白い石を持ちます。黒は最初に石を置いて、それから相手が置きます。目標が相手の石を囲むことだから、一番多くの石を囲んだ人が勝ちます。でも、石を置くときに、多数の可能性があります。

戦略的に石を置くことを習うのは囲碁の難しさです。僕は囲碁をし始めたばかりだから、一般的に囲碁を戦略的にあまりしません。それで、何回も負けたけど、たくさんの経験を得てきています。相手は一般的にお年寄りで、囲碁をする間に話すことは楽しいです。でも、まだ三週間しか行っていないので、これからです。

サミ・バングラ:クレソン(KLEXON)

CIPとしては、KLEXON(クレソン)というサークルに入っています。 KLEXONの目的は英語と日本語で国際交流をできることです。日本人も外国人も参加して、英語と日本語を練習しながら、他の国の文化について学びます。
 
KLEXONのミーティングはWINGS KYOTOというビルで、毎週火曜日7PM~9PMにあります。一時間目にはスピードデーティングみたいな活動があります。外国人、あるいは上手に英語が話せる日本人は座ったままで、英語を練習したい日本人が順番に新しい相手の所に行き、その日の話題について話します。二時間目にはグループの活動です。みんなは小さいグループに分かれて、自己紹介をします。そして、話題に関連した絵を描いて、グループに描いた絵が何を描写しているか説明します。最後の活動は同じグループで質問に二つ答えることです。各質問について話すのは10分ぐらいで、日本語でも英語でもいいです。
 
これまで、色々な面白い話題について話しました。例えば、2月25日のミーティングのテーマは「子供の時」でした。このテーマから、みんなの大事な思い出とか夢などについて学びました。その上、アメリカで育つ子供の生活と日本で育つ子供の生活の違いが分かるようになりました。CIPの目標を達成するために、KLEXONはいい活動だと思います。

クリストファー・ヒューバー:短歌部

 

僕はCIPとして京大の短歌部に入っています。15人くらいの短歌部は三種の活動
を行っています。一つは一人または二人の歌人の歌集を読んでおいてから、感想
を発表したり、議論したりする勉強会です。もう一つは参加者が二チームに分
かれてから、チームで短歌を詠んで、どちらのチームの短歌が上手いか判断する歌
合わせ会です。最後は予め詠草(短歌の下書き)を一首二首出しておいて、歌人の正体が分からないままで議論する歌会です。
僕は短歌を詠むのに興味を持っているし、皆の感想を聞かせていただくのが本当
に勉強になるので、殆ど歌会だけに参加します。歌会は、何人来るかや何首を出すか次第で期間が変わるけれども、普通は三、四時間近いです。一週に一回くらい行われるものです。

アンドリュー・プロブステル:書道

先学期に続き、今学期も私は書道を学んでいます。書道というのは墨を付けた筆で字を書くことです。先学期と同じように毎週火曜日の六時から年配の先生のお宅でしています。満足できるまで書かなくていけないので、大抵二時間ぐらいします。いつもは四人の小学生もいて、一緒に書道をしながらちょっと喋ります。先生が書いてくれたお手本のおかげで、これまでの五ヶ月でいろんなことを勉強して上手になってきたと思います。大筆と中筆と小筆という三種の筆を使って、基本的な字から和歌や隷書体という古い漢字の書き方など、難しい書まで学んできました。先生は普段はそういうことを教えていないそうなので、私だけではなく、先生も一生懸命頑張っています。私は、たとえ腹が立つほどひどい日でも、書道を始めると心が落ち着きます。それで、いつも書道をするのが楽しみなので、私にとって書道はとてもいいCIPプロジェクトだと思います。

エメリ・サーストン:弓道

私のCIPは弓道です。二人のKCJSの学生と一緒に月曜日と木曜日に京都の武道センターに行って弓道の仕方を習います。私はアーチェリーをしたことがないから、弓道は全く新しいことです。でも、新しい経験が好きで、子供の時から弓道に興味があったので、CIPとして弓道をすることに決めました。

最初の日には弓道の形だけを練習しました。3週間ぐらい後で弓と矢を使い初めましたが、まだ矢を放つことはできません。先生は川口先生という先生で、とても厳しいけど、性格はやさしいです。私達が練習する時に道場にいる他の人もはいつも優しくて、喜んで私達を手伝ってくれます。

私は腕の力がないから弓道はちょっと難しいですが、本当に楽しいから、毎週、

月曜日と木曜日を楽しみにしています。

Andrew Proebstle: Calligraphy

My motivation for learning calligraphy as a CIP came from a Japanese professor I had at Brown University.   She was the person who introduced it to me, got me to go out and buy a brush pen, and encouraged me to practice it in my spare time. Up until now, all the calligraphy I had done was all amateur practice because I was just writing with a vague notion of proper form and really just trying to get a feel for handling the brush. Therefore, receiving proper instruction while in Japan was an opportunity I could not pass up.

However, my initial expectations of calligraphy instruction were quite unreasonable. First, I had hoped to receive one-on-one instruction at a location where I could relax and focus easily. Furthermore, I dreamed of being able to work extensively and reach a considerable level of skill in a short amount of time. Then, by copying classical works and adding my own style, I would be experiencing Japanese traditional artistic culture at its finest.

Things didn’t work out that perfectly, and I’m happy that they didn’t. I don’t have the time or money for any kind of extensive one-on-one training, and it’s hard to beat the price I got for four sessions a month. Of course, at that rate there was no way I could get as good as I wanted to, is what I had thought. To the contrary, and thanks to the wonderful teachers I’m lucky to study under, I’ve been able to improve surprisingly quickly. In these past three months I’ve made it from practicing single, basic strokes to writing haiku and semi-complex characters. As far as experiencing traditional culture and art goes, I’m more that happy to settle for experiencing modern culture instead.

At first, I had been incredibly skeptical of being able to observe anything about modern Japanese culture by learning calligraphy. After all, how much can one classroom at 6pm on Tuesdays with two teachers and on average ten-year old students say about the culture at large? Perhaps non-surprisingly, seeing kids learning calligraphy in Japan reminds me of my own experience from that age. Most of the time, it’s the parents that are making their kids go to lessons because that’s what they did when they were kids. The kids who prioritize having fun over artistic discipline spend the time goofing off, while the few that choose to devote themselves are praised for doing so.

Instead of the kids, it was the teachers that I was really interested in. My mom is a public school teacher in America, and through her I’ve become well aware of the American teaching process. While the calligraphy classroom is in no way affiliated with the public Japanese educational system to my knowledge, it’s important to note that in general, at least one private calligraphy teacher exists in any local community. They are as much a part of the primary educational system as the schools are, but their integration with the local community means that the teacher-student and teacher-parent relationships differ from the norm. For example, because the parents live no more than a few blocks away, the teachers not only know the parents well, but also will not hesitate to call the parents in the event that their child is misbehaving. As I still have one more semester to study calligraphy, I hope to develop these observations even further.

アンドリュー・プロブステル:書道

私のCIPプロジェクトは書道だ。書道というのは伝統的な字の書き方の技術だ。日本語を初めて学んだ時からきれいな字を書きたかった。一年間前、筆ペンを買ったのはそのためだったが、本当の書道もやりたかった。私の書道の先生はホストファミリーの家の近くに住んでいるから、とても便利だ。先生は優しくて、英語も話せるので、驚いた。最初の日、先生は私に筆をくれて、基本な画の書き方を教えてくれた。例えば、「一」を初め、「大小」や「川上」などを書いた。最後には、俳句を書けるようになりたい。頑張ってだんだん上手になるつもりだ。

Liu Yi: Japanese Calligraphy (Shodo) and DESA

Perhaps the best way to understand society is to be a part of it. Certainly, my experiences taking Japanese calligraphy (shodo) classes and participating in the Doshisha Exchange Students Association (DESA) were an integral part of my stay in Kyoto. In particular, taking part in these two different activities gave me different perspectives of the society that I eventually became a part of, albeit for a fleeting moment.

My initial decision to learn shodo was motivated by my desire to learn how to relax, focus, and achieve a semblance of serenity. Given my lack of background in shodo, that was the most I could ask to achieve within the short three months I had in Kyoto. Certainly, I have gained some insight on how to achieve these goals. Far from being a master calligrapher, I can say that this experience has benefitted me greatly in my own personal development.

What most interested me, however, was the social interaction that occurred at the shodo classes. My class, which is structured for adults, followed right after a session conducted for children. On certain occasions, I entered class early and, as a result, was gifted the opportunity to see teacher-student relations between the teacher and students of various age groups. Also, given that the adult class was the last class of the day, I was able to observe group dynamics in action during the packing-up process. Also, the usage of varying language forms, such as keigo and plain form, together with the varying involvement of students in the packing-up process, reflected the steep levels of hierarchy and social position embedded in Japanese society, though in a microcosm of a relaxed calligraphy class setting. For example, at the end of each class, the only other male student, who was an elderly man, would pack his equipment and leave straightaway while the rest of the students (including myself) helped to clean up the room. It was an intriguing insight as it reflected unsaid gender roles: men (especially older men) could be excused for leaving while the women cleaned up the area. Although integrating into Japanese society was a major goal of CIP (which, fortunately, I did to some extent by participating in group activities), it was this outside-in perspective that I have found most intriguing and precious.

DESA, too, was an opportunity to immerse into Japanese culture, though in a largely different manner compared to shodo class. Comprised of Doshisha University students who sought to further cultural exchange opportunities with foreign students, DESA succeeded in its goal and the activities organized by them certainly enriched my stay in Kyoto. Other than the all-too-typical nomikai, DESA-organized events, including a trip to Osaka and other recreational activities, provided ample opportunity for KCJS and other foreign students to bond with the Japanese students. Specifically, the trip to Osaka was exceptionally fun as we watched sumo wrestling and toured Osaka with the students as our guides! Given that we were hanging out with Japanese students, involvement in the community was more proactive through DESA as compared to shodo, for foreign students had to actively engage and respond in conversations with our DESA peers.

More importantly, the interactions with DESA students gave me an opportunity to understand the importance some of them place on learning English whilst providing me with an insight into their worldviews. I remember vividly an exchange I had with a Japanese second year university student who lamented on his less-than-perfect English capacity. He saw fluency in English as a key to the world, opening doors to different cultures and societies. Inadvertently, I ended up promoting study abroad as the best way to learn both the language, as well as the culture, of a particular place. Their perspectives on university, job-hunting, and the corporate world were certainly precious in adding to my understanding of Japanese society. Not to mention the least, the chance to practice Japanese with DESA students certainly was much appreciated, for casual forms of speech were more often used as compared to the shodo classroom and, from time to time, host-family conversations.

The perspectives I have learnt about Japanese society and the opportunity to practice conversational Japanese are among the most cherished takeaways I have from KCJS. Indeed, without the experiences at shodo and DESA, my stay in Kyoto might have been somewhat less enriching.

リュー・イ:書道

古い都の京都には、たくさん文化について活動や授業があるから、どんな活動に参加するかは難しい問題だ。心を訓練するために、書道に決めた。ホストお母さんのお陰で、家の近くに書道の授業に参加している。

ホストお母さんのお陰で、家の近くフェリエというショッピングモールで書道の授業に参加している。授業は毎週一回で、毎回2時間の授業は7時から9時までだ。先生の下で初めて書道を習っている。初心者だから、一番簡単な「一、二」から習っている。先週、自分の名前の書き方を習って、今も練習している。名前の漢字(劉毅)はちょっと複雑だけど、自分の名前だからこそ、力を入れて練習しなければならないと思う。先生と他の生徒達はとても親切なので、楽しい。

日本人の子供達は小さい時から書道を習うから、時々「僕は遅いな、、、」と思うが、書道をすることは自国の習慣ではないので、大丈夫だと考える。たぶん、三ヶ月の授業の目標は、自分の名前がきれいに書けるようになることだ。

頑張るぞ!