The North American Post 2020 October 9th issue by The North American Post

October 9, 2020 Vol. 75, Issue 19 Published Every 2nd and 4th Friday

Your Link to SEATTLE’S JAPANESE COMMUNITY Since 1902 FEATURE

Katsura Sunshine Rakugo Storytelling by N.A.P.

Washin Kai and Town Hall Seattle welcome renowned entertainer Katsura Sunshine for a special performance of unique storytelling called rakugo. Rakugo (from the kanji for Kyoto, the capital, + speech, language) is a 400-year-old tradition of comic storytelling in Japan. Katsura Sunshine starred in the NHK World TV series “Dive into Ukiyo-e,” emceed the opening reception for the G20 Summit in Osaka in 2019, and has performed in an extended run of shows Off-Broadway. This special, English-language performance will be broadcast live from Tokyo.

Sunshine will perform one traditional rakugo story and another written by his master. That is how he typically opens his Broadway show.

Join us for this introduction to rakugo and a singular performance from Sunshine as he works to share this traditional art with the world.

Katsura Sunshine (top), with his Times Square signage.

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Katsura Sunshine was born in Toronto, Canada, and began in entertainment as a playwright, composer, and producer of musical theatre. In 2008, he became the 15th apprentice to the great Rakugo Master Katsura Bunshi VI, from whom he received the name Katsura Sunshine. He is only the second westerner to make a go at the traditional art-form across Japan’s 150 years of renewed contact with the West since 1868. Few have attempted owing to the language, cultural, and personality hurdles involved. It is simply hard to understand continued on page 6

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VOICES Sex Education in Public Schools

Gabrielle Nomura Gainor shares why we should vote "Yes" on Washington Referendum 90 (p. 3).

NEWS 'Mahalo' from Momo

by Lei Ann Shiramizu, for The North American Post

Left, Lei Ann Shiramizu and hubby Tom Kleifgen, owners of Momo clothing and accessories.

After 13 years on the corner of Sixth and Jackson, Momo is closing up shop. We’d like to send a heartfelt “Mahalo gozaimasu” to our customers and the community for the tremendous support and love over our lifetime. It’s because of you that we kept on going, and we will miss you greatly. The good news is, our “Momo Girl,” Kaitlin Uemura, will be taking over the space along with her business partner, another Kaitlin, both from Hawaii. The duo will fashion their own creative endeavor, complete with two kawaii shop dogs. Kaitlin Uemura has worked for us for about a year and a half. Prior to hiring her, we sold her line of handmade clothing, Morning Siren. She was instrumental in helping us close the shop by assisting in creating the e-commerce site and working the days we were open. Although Kaitlin is not related to us, we are close especially because of the many hours we spent together in the last few months. She is also a Japanese girl from Hawaii, in her case, the Big Island.

Above, Kaitlin Uemura

with Lei Ann. Below, shop dogs.

The second Kaitlin is her former college roommate. Kaitlin Madriaga is of Filipino background from Maui. They’ve been creating and selling clothing together for three years now. The shop will be called something other than Momo and will have a fresh concept. Keep an eye on the windows for opening dates and details or follow them on Instagram, @morningsiren. So long, be well, and here’s to hope for the future.

Densho Dinner@Home by N.A.P.

Join Densho for an inspiring online evening of community, remembrance and solidarity on Saturday, October 24. Tom Ikeda, Densho Executive Director, says, “While we can’t gather in person, we can still come together in community to collectively remember our past and affirm our commitment to action.” The evening program will include keynote speakers Valarie Kaur, of the Revolutionary Love Project, and Brynn Saito, co-founder of the Yonsei Memory Project. The two share a family history that goes back to WWII, when Valarie's Sikh immigrant grandfather cared for the farms his Japanese-American neighbors were forced to abandon after Executive Order 9066. They will reflect on their families' story of solidarity and unity in the face of challenging historic times. Learn more about the rest of the program line-up, and register for free at: Densho Dinner@Home 2020 Time: 5 - 6:30 pm Registration: bit.ly/DenshoDinner2020 Website: densho.org

Vol. 75, issue 19

October 9, 2020

NAPOST.COM

VOICES The North American Post

Approve Washington Referendum 90, Sex Education in Public Schools

Vol. 75, Issue 19 - October 9, 2020

Publisher: Tomio Moriguchi Editor-in-Chief: Misa Murohashi Editor: David Yamaguchi Sales/Marketing: Misa Murohashi Accounting: Keiko Tsukamoto Editorial Staff: Noriko Huntsinger Ryoko Kato Editorial Interns: Haruna Tanigawa Yuria Kamiya Contributors: Lei Ann Shiramizu Deems Tsutakawa

By Gabrielle Nomura Gainor, for the North American Post I am the descendant of individuals who often did not get a voice. My mother gave birth to me at 18 with her high school boyfriend who was not willing nor capable of being a father to me. And we have survived trauma--my grandfather was born in a concentration camp during WWII, simply because he is Japanese American. As someone who understands what it means to have power taken away, I am determined that my daughters will have a voice in all things—particularly when it comes to what happens to their own bodies. That’s why I am so motivated to ensure we vote to Approve Referendum 90 and uphold Washington’s new and improved sex education law. As Washingtonians, we are lucky to live in a state that has high-quality, evidence-based standards for age-appropriate health and sexuality education. The new law would ensure that all schools provide information and skills to help students live healthy lives. Giving young people access to more, not less, information about their health, social and emotional learning, and yes, about sex, will help them make more informed decisions in all aspects of their lives. Sex and reproductive health are

often considered taboo topics within our Nikkei and Asian-American communities. In many families, frank discussions do not happen and young people are left in the dark. One study found that half of young AAPI (Asian American and Pacific Islander) women surveyed feel uncomfortable talking to their mothers about reproductive health. More than one-third never discuss pregnancy, STI’s (sexually transmitted infections), or sexuality in their homes. Washington State gives school districts flexibility to choose curricula that fit their communities. Parents are invited to review and help select curricula, and are also expressly given the option to opt their children out of sex education instruction. Studies demonstrate ageappropriate sex education delays sex, prevents unintended pregnancy and sexually transmitted disease, and critically, drives down incidents of abuse. Misinformation about sex only makes worse existing health disparities for communities of color, putting our youth at higher risk of physical and mental health problems. We as Asian Americans need to stop stigmatizing sex education. We need to empower our children with the knowledge and tools to understand what’s healthy and

John Endo Greenaway

Gabrielle Nomura Gainor

what’s not—and to have the tools to find a trusted adult to talk to. While my baby Mika is only nine months old, I am already engaging my almost-3-year-old Kiyomi in conversations about various aspects of the life cycle—such as death, for example—and I believe that sexuality is also a natural and important part of the human experience. We tell Kiyomi that she is "the boss of her own body," continued on page 5 Ga b ri e l l e Nom u ra Ga i n or is a Japanese, Filipina, Irish American, an activist with the Japanese American Citizens League, an arts worker in Seattle, and a parent raising young daughters with her husband.

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Experienced online Japanese teacher! $35/ hr オンライン日本語。yukiyoahlman@ gmail.com Naturopathic Reflexology opens at Bellevue. The promotion will be $10 off in Oct and Nov. For details, please visit www. naturalismtao.com 自然療法のリフレクソロジーが Bellevue にオープン。10・11 月はキャンペーン実施で $10 オフです。詳細はウェブサイト www. naturalismtao.com をご覧下さい。 Senior Care Home 高齢者介護施設 SEASONS OF LIFE Adult Family Home -Culturally Sensitive Care for Asian Elders -Direct Care by Owner who is Nutritionist & Hospice Social Worker -Customized Care & various Activities -Beautiful Lakeside View & Garden 3085 West Mercer Way Mercer Island WA 98040 206)232-7668 Office (425)802-1887 Cell seasonsoflifehome@gmail.com 曹洞宗永祥禅寺では週末の坐禅会と写経会を定期的に開催しています。問い合わせ： shika@eishoji.org、☎ 425-243-4649 一世パイオニア資料館 ☎ 360-638-1938. 36001 Hood Canal Dr., Hansville, WA 98340. www.isseipioneermuseum.com 個人ピアノレッスン。多ジャンル・多レベル・日本語、英語の両方対応。詳細は JazzyEmiStudios.com にて。数秘術鑑定・カラーセッション：詳しくはウェブで。www.foretelldestiny.com ☎ 425-4995931

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10 OCTOBER

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EVENTS

Saturday, October 24

Wednesday, October 14

Seattle Japanese Garden: "Art of Sumi" with Midori Kono Thiel Time: 6:00 p.m.-6:45 p.m.

Virtual; registration free but limited. Lecture and demonstration on basic techniques in calligraphy and sumi-e [ink painting]. https://www.seattlejapanesegarden.org/events

Friday, October 16

Japanese-American Confinement Sites Consortium (JACSC): Community Healing, Revealing Our Secrets

Keiro (Los Angeles) Symposium: “Designing Your Future” Time: 10:00 a.m.- noon

Virtually on Zoom.; registration free (closes Oct. 22). Intended for boomers and older adults, four experts from different fields will cover healthcare (COVID-19), finance, and technology. https://keiro.org/symposium

Densho dinner@home Time: 5:00 p.m.-6:30 p.m.

(See article, p. 2.)

11 NOVEMBER

Tiime: 3:00 p.m.-4:30 p.m. Japanese Cultural & Community A conversation between author ShIrley Ann Center of Washington: Virtual Bunka Higuchi ("Setsuko's Secret, Heart Mountain") and No Hi, Japanese Culture Festival psychotherapist Satsuki Ina, followed by a panel New YouTube videos premiering every Sunday discussion with Mary Abo (Minidoka) and others. at noon across the month (see ad, p. 5). Further info: @JACSConsortium. https://www.youtube.com/user/JCCCWA/ Live on Youtube https://youtu.be/r3Iw4JIvAYg

Saturday-Sunday, October 17-18

JACSC: 2020 Education Conference: Connecting, Empowering, & Transforming Our Communities

ONGOING:

ArtXchange Gallery (Pioneer Square): "Quieter Days" abstract paintings by Alan Lau Lau's training includes the Nanga School, Kyoro. Until October 24. https://artxchange.org/

Time: Saturday, 11:45 a.m.-4:30 p.m., Sunday, 11 a.m.-5:45 p.m. Eight 1-1.5 hour discussions with JA thought Seattle Japanese Garden leaders on grants, creating online programs, anti- The garden is open! Timed reservations racism, and more. strongly recommended in October. https://www.jacsc.org/events (by Oct 16) https://www.seattlejapanesegarden.org/

Tuesday, October 20

Washin-kai, Friends of Classical Japanese, UW, and Town Hall, Seattle: Katsura Sunshine Rakugo Storytelling Time: 7 p.m.-8:30 p.m.

(See article, p. 1 & p. 6.)

Seattle Art Museum: Tea Ceremony Third Thursdays, 5:30 p.m.; third Sundays, 2:30 p.m., downtown. Post community events on our Nikkei Community Events Calendar online

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Vol. 75, issue 19

October 9, 2020

NAPOST.COM

VOICES

SANSEI JOURNAL

TOUGH TOFU Mayor Ed Lee

'The Inland Sea'

By Deems Tsutakawa For The North American Post

By David Yamaguchi, The North American Post Note: This essay was submitted in January, in advance of the April NAP Japan tour, which was postponed, first to this fall; then indefinitely. Yet, we might as well still make the journey, traveling by armchair instead. This way, when the time comes to reschedule, travelers can be more knowledgeable. IT HAS BEEN brought to my attention that the NAP spring tour will be to Shikoku and the Seto Inland Sea. Much of this new trip traverses landscapes that are off the beaten track. Thus, I thought it might be fun for the Shikoku pilgrims—and for vicarious pilgrims—to review a seminal travel book that covers part of their itinerary. In this way, all might be better prepared for the path ahead, and to read reports of it in these pages across the next several years. The book I write of is Donald Richie’s “The Inland Sea” (1971, 2015). “Earns its place on the very short shelf of books on Japan that are of permanent value,” the Times Literary Supplement, London, says of it in a widely quoted review. Richie introduces the sea that the Seattle travelers will traverse in a big clockwise loop as follows: “It has been called the Aegean of the East. There are, however, differences. The Greek islands are few, and they stand from the sea as though with an effort, as though to indicate the water’s great depth. The islands of the shallow Inland Sea are different. They are small and they are many—hundreds of them, so many that a full count has never been made, or certainly not one that everyone can agree upon. They rise gracefully from this protected, stormless sea, as if they had just emerged, their beaches, piers, harbors all intact…. many are covered with forest, almost all have trees or bushes. A castaway, given a choice between a Greek and a Japanese island, would swim toward the latter. It looks like a place where it would be nice to live. “Grandeur is missing, the precipitous hard-rock climbs of Santorin. But in place of vertical magnificence, there is the horizontal majesty of the panorama. Wherever one turns there is a wide and restful view, one island behind the other, each soft shape melting into the next until the last dim outline is lost in the distance.” Of the sea’s inhabitants, he writes: “The people of the Inland Sea have Sex Education, from page 3

and that it's up to her if she hugs or kisses us, or any friends or family. It's important to me that my daughters understand consent. Consent is about more than granting permission, more than being able to say “yes” or “no.” It’s about learning to be in tune with one’s own body and spirit, to make choices that feel good, and to set healthy boundaries when needed. I want them to have

SINCE 1902

been called backward. And so they are. Living in island towns, cut off from each other and from the mainland, they are like mountain villagers separated from the next village by whole ranges…. If their lives have little width, however, they do attain depth. A good catch of fish, the spring festival, a fine tangerine harvest—such events evoke a feeling and a response with which the mainland city dweller in Japan is now largely unfamiliar. “So the people are indeed backward, if this means a people living eternally in the present, a people for whom becoming means little and being everything.... “The islands of the Inland Sea are among the last places on earth where men rise with the sun and where streets are dark and silent by nine at night. Here is the last of old Japan...” Examining Richie’s meandering route map, we find that four stops along his way match those of the NAP tour: Takamatsu, Naoshima, and Matsuyama on Shikoku; and Onomichi on the Honshu northern shore, east of Hiroshima. Of these, his passages on two merit quoting here: 1. Takamatsu “One of the charms… is that though it is a small city rather than a town, you can walk practically anywhere you want to go in it…. “Formerly the site of the rural retreat of the Matsudaira family, several of whom were daimyo [military rulers] of this region during Tokugawa [“samurai”] times, the Ritsurin Park, an expanse of well over 100 acres, is one of Japan’s finest landscape gardens. That is, the finest of its genre: big, grand, official, imposing—the answer to Versailles.” Richie continues, tongue in cheek: “This is as far as I read in the guidebook….” Whatever reference Richie had with him then, it is worth noting that Lonely Planet “Japan” (Aug. 2019) says much the same thing. Described as “the #1 bestselling guidebook to Japan on its cover, it lists Ritsurin Koen as the #1 local destination. It also points out that the park encloses destination #2 as well: the Sanuki Folkcraft Museum. 2. Naoshima “Naoshima is a small, beautiful, somehow sad little island. A tiny town in squares and patches. On one side, beginning several feet back from the sea, a ruined shrine, a general store, a

shaved-ice shop. The sadness comes from perhaps the loneliness—in early afternoons there never seems to be anyone on these islands. “One old man, however, is sitting in front of a weathered store front. He is sorting dried squid into various sizes...” Today, we can contrast Richie’s remarks on Naoshima with the chapter on it in the Lonely Planet’s “Best of Japan,” second ed. (Aug. 2019), a slender companion volume to their main guidebook: “Naoshima is one of Japan’s great success stories: a rural island on the verge of becoming a ghost town, now a world-class centre for contemporary art. Many of Japan’s most lauded architects have contributed structures, including museums… all designed to enhance the island’s natural beauty and complement its existing settlements. It has also inspired some to pursue a slower life outside the big cities, relocating to Naoshima to open cafes and inns…” The guidebook ranks Naoshima #9 among Japan’s 12 best destinations, which include Tokyo (#1), Kyoto (#2), Hiroshima (#7), and Hokkaido (#10). PS. Since the publication of Richie’s book, the main difference is that bridges have been built to Shikoku, to link this formerly isolated island to the commerce of the mainland. Yet today, the bridges are viewed

As a child, I attended John Muir Elementar y in the Mount Baker area of Seattle. During the 50’s and early 60’s, the student body was about ninety percent Caucasian. That , of cour se, has changed drastically but may swing back as we seem to be entering the era of so called gentrification. I per sonall y don’t like the term gentrification. It is apparently a term to smooth out the crass behavior and takeover of many inner cit y neighborhoods by rich investors. In order to tear down the historical richness and replace the traditional buildings with modern condominiums and businesses, the corporations like to use a nice word like gentrify. In the early to mid-sixties I then attended Asa Mercer Middle School. This was an extraordinary change in my life and friendships as the demographics had a dramatic change. It turned out that both my middle school and high school, Franklin, were about one third each Asian American, African American, and Caucasian. To go from having maybe a single Japanese American classmate to literally hundreds of AA’s just blew me away. Although I generally don’t like to stereotype, the academic curve did in fact go up as these Asians were very smart and competitive in school work. My best grade school pal was a Sansei guy named Michael Kimura. We were tight and also got in a few fist-a-cuffs with guys that we thought deser ved a lesson on manners. Once in middle school, Michael and I drifted apart as our interests changed. One of the many lifetime friends that came into my world was Edwin Lee. We played intramural sports and had too many friends in common to count. Ed and I went to high school together and he was a stellar

continued on page 8

The Seto Inland Sea

all the agency that oppressive forces have taken away from their elders and ancestors. I cannot protect my babies from every evil that may come their way. But I can arm them with the resources and knowledge they need to become powerful women navigating the world with confidence. I will be voting to Approve Referendum 90 because I desire a future of agency and empowerment for my children, and for all children.

FEATURE

Katsura Sunshine Rakugo Storytelling

Katsura Sunshine, continued from page 1

and tell jokes in a second language because doing so commonly also requires an in-depth knowledge of the second country’s culture. Moreover, to pull it off successfully, one needs to have the charm, quick wit, and timing of a stand-up comedian. One must be able to tell a funny story and get others to laugh. Town Hall is a performance hall and cultural center on the east side of Seattle’s downtown, at Eighth and Seneca. Normally an active event venue, all of its activities are presently online owing to COVID-19.

Washin Kai is a voluntary community group that supports the teaching of classical (pre-Meiji) Japanese literature at UW—through funding a graduate fellowship—and in Puget Sound, by supporting related cultural events. At UW, the teaching of this rich literature is underfunded. Only one class, “Classical Japanese Literature,” is being taught on it in the Department of Asian Languages and Literature, despite the thousand-year-plus period the literature spans.

On September 16, the N.A.P. interviewed Katsura Sunshine by email, as excerpted below.

Interview by David Yamaguchi The North American Post As a student of “Things Japanese,” it seems to me that there are various cultural boundaries that Americans and Japanese do not want to cross. For example, among foods, there is the “natto”[fermented beans]line between residents of western and eastern Japan. This line also extends to Americans, as some things are just “too Japanese.” The same might be said for spokenword-based arts such as Rakugo. Do you think you are successfully coaxing Americans across this line? The Natto line is definitely a fuzzy one as quite a few of my friends from Osaka love it! I find American audiences to be truly and deeply interested in things Japanese: Japanese cuisine, Manga, Anime, Kabuki, Noh, Ukiyo-e, Japanese film, Kimono, Judo, Karate, sword-making… Actually, I have never heard an American complain that something is “Too Japanese.” Quite the opposite, for Americans I have met, the more Japanese the better. This holds true for New York and holds true particularly for Seattle where I have performed several times. So, I don’t feel like I am coaxing anyone at all. However, to your point, Rakugo is a spoken art which is not accessible if it is not done in a language you understand. I am happy to play a small role in bringing this wonderful and truly entertaining 400-year-old comic storytelling tradition to the English and French speaking worlds.

storytellers share the same body of stories, much like Jazz musicians draw from the catalogue of standards. The comic monologue consists mainly of the individual storytellers’ own “material:” anecdotes, personal stories, observational humor, jokes, etc. The theme of this monologue slowly molds into the theme of the upcoming traditional story—so that Rakugo audiences often enjoy trying to guess which story is coming from the theme of the monologue— and are often able to do so! So, as a percentage, except for the fact that I have translated the performance into English, I would say what I am doing is 100% actual traditional Rakugo storytelling, and would not differ in form from the performance you would get in Japanese from any of the 800 or so Japanese professional storytellers. (By the way, I am not naturally blond. I dyed my hair at the behest of my Rakugo Master who thought blond hair would suit the name Sunshine which he gave me!) In reading about your background online, I note that you studied Greek Classics at the University of Toronto, and later performed Aristophanes— known as the “father of comedy”—for 15 months in Toronto before later bringing it on tour. Does this background in studying and performing low-tech, Old-World spoken-word acts help you today?

Yes. The one thing that struck me when I first experienced Rakugo, and fell in love at first sight, is that everything I had been interested in and studied The New York theater critics seem to like your one- up to now was wrapped up in this minimalist comic person act, which says a lot. Yet if you had to put art form: old and traditional themes, theater, comedy, numbers on it, what percentage of what you do storytelling, traditional culture. is actual traditional rakugo storytelling, and what Do you perform in Japanese as well? percentage is “telling funny gaijin stories” of your Yes! experiences across two decades of life as a blonde westerner in Japan? How’s business for you these days? For example, One Rakugo performance or “set” consists of a you were running a show Off-Broadway in New comic monologue followed by a traditional story York until its last performance on March 12, 2020. Is told in a conversational style. The traditional stories your work picking up again? are passed down from master to apprentice, and all Right now, I am concentrating on bringing Rakugo

to the world online through YouTube etc. and hope to turn Rakugo into a Netflix comedy special soon. (We were actually booked to record in Toronto in May which has also been postponed due to COVID-19). I am preparing a podcast for Spotify and writing a book about Rakugo. I am studying Chinese and hope to perform Rakugo in Chinese by the end of the year. I am also releasing an original denim kimono fashion line using 100% Okayama denim. Also, three of my kimonos are still in the dressing room at New World Stages so once Broadway reopens I will be ready to resume! Besides your one-day show through Seattle’s Town Hall, do you have other online events scheduled that Seattle- and other US-based viewers can watch for? I would love to invite viewers to see my YouTube Channels where I am producing short Rakugo videos and other content on related Japanese themes! English: Katsura Sunshine Rakugo Channel Is there anything else that you want to convey to Seattle readers? Seattle was the first stop on my North American Tour in 2013, and the audiences were absolutely awesome. I have been looking forward to this performance for over a year since we started planning it, and am really disappointed not to be going to the Town Hall in person. So please accept this online taste of Rakugo as a preview of the live show we will do once this craziness subsides! Katsura Sunshine (livestream) Rakugo Storytelling Date: Tuesday, October 20th Time: 7:00 p.m. Admission: Free and open to the public Registration: https://townhallseattle.org/event/ katsura-sunshine-livestream/ Co-sponsor: Washin Kai – Friends of Classical Japanese, Department of Asian Languages and Literature, University of Washington, www.washinkai.info

Vol. 75, issue 19

October 9, 2020

NAPOST.COM

Discover Nikkei

'In the Shadow of the Pines,' a New Film by Anne Koizumi by John Endo Greenaway

"In the Shadow of the Pines," a new animated short documentary by Anne Koizumi, explores the difficult relationship between the filmmaker and her father. Koizumi, a second-generation Japanese Canadian, draws on childhood memories to explore the idea of shame and how it can shape and define us, while also concealing who we can truly become. Using stop-action animation, family photos, and archival footage, the eight-minute film offers a poignant window into the often confusing and conflicting emotions that come into play while navigating our childhood years. Three years in the making, In the Shadow of the Pines is an official selection of Hot Docs 2020, and is now available for viewing free online. I talked to Anne Koizumi several days after her film was released to the public.

"unearthing the memories that shape us" Before we get into the film itself, tell me a bit about your background, and your experience as a filmmaker. What kinds of films have you made in the past? I grew up in the suburbs of Calgary, Alberta and I never had any exposure to filmmaking. I loved watching films, but I had no idea how they were made. And I think what really drew me to film was the storytelling, so I pursued a degree in film production at UBC and graduated in 2004. At the time, the program was very live-action focused but I was always interested in stop-motion animation so I taught myself using the Aardman studio animation book and made a short animation for my graduation film. I continued making animations; my first professional film was made at the NFB (National FIlm Board) in Montreal called "A Prairie Story," and then I started making a film based on the short story, "The Yellow Wallpaper," while working at Quickdraw Animation Society in Calgary. This one took a while to finish because I decided to do a master's degree in the midst of post-production. I wanted to do an MFA because I really wanted to study live-action filmmaking but ultimately, went back to stop-motion and started "In the Shadow of the Pines." I’ve worked on other experimental and live-action film projects in between. In the film, you explore your relationship with your father, or maybe more accurately, how you felt about your relationship. It delves into feelings that are often uncomfortable. Was it difficult to tackle this subject? Yeah, I have considered making my personal narratives the subject of my work, but I was really afraid to pursue and uncover the stories that for many years I tried to hide. There were many difficult aspects to making the film. First and foremost, I was dealing with my grief and loss, and second, I had to confront my own shame and guilt. I cried so much making this film… I would be making a set or a prop and I would just start crying. It became embarrassing when I was invited to the Hot Docs Diverse Voices Talent Lab and I would pitch my project to my cohort and tears would be streaming down my face. It was so hard. But my cohort was incredibly kind and supportive. Forcing yourself to face difficult emotions and memories is never easy and it takes time. In my case, it took over three years. I can talk about the film without crying now but every now and then when I’m in a space where I’m allowed to be vulnerable, I’ll cry. In the film, you allude to your father’s life growing up in Japan after the war. Can you share some of that story with us? Hmm… where do I begin? My father never spoke to me about his life or childhood, so in the film where he’s telling me about his life during and after the war, is obviously a dream because he would have never been so forward with this information. I found out a lot from my uncle, my father’s oldest brother, when I was living in Japan in 2002 – 2003 and from interviews I conducted in early 2016. Most of this is not in the film because I had no intention of making a feature film. Both of my father’s parents were disowned by their families from samurai lineage when they

SINCE 1902

Anne Koizumi

converted to Christianity prior to the war. His father (my grandfather) became a Lutheran pastor and a pacifist. He died during the war of tuberculosis, when my father was only a year old, and his mother was now a widow with nothing and five young children. She was turned away at the door of her own family because she had rejected the family institution and chose to marry a man she loved (who was a Christian) over her noble family lineage. A Lutheran orphanage in Kumamoto took her and all five children in, where she worked as a caregiver and the children lived with the other orphans. The archival footage you see in the film was shot at the orphanage where my father was raised; it’s called the Gia-en. The orphanage was started by American Lutheran missionaries before the war and they made an educational film in 1950 about the work that the American missionaries were doing in Japan. The orphanage is still there today but is now run by the Japanese government. I had the opportunity to visit the orphanage during my research. My cousin who was living in Kumamoto at the time had connections to the orphanage and gave me a copy of the film where the archival footage comes from. I had to trace down the rights to use the footage which belong to the Lutheran Church of America. When combing through the archival footage, there were two moments where I would freeze on a frame of a young boy in the background who I thought could be my father. He would have been seven at the time that film was shot and was living at the orphanage. You’ve clearly thought about this subject for many years. Did making the film allow you to see things in a new way? Did it uncover anything that helped you to deal with the feelings you had about your father during your childhood? For me, as a child, it was really difficult to process my feelings of shame. I wanted to belong, I didn’t want people to think that I was different, and I really didn’t want my friends to know the janitor was my dad! But as an adult you understand the complexity of your parents' experiences and how choices are not based on whether your child is going to feel shame but out of necessity. Also, as an adult, you come to learn that there are social structures and systems like classism, racism, and sexism that play a role in how people perceive themselves and others. I didn’t really dig deep into these feelings of shame until my father passed away in 2012. I was longing to make connections with him that I was never able to do when he was alive. How do I tell him I’m sorry or that I can now see everything he did for us? If I see anything differently now because of this film, it’s that I am able to connect with him even after his death. The film focusses on your feelings about your father, but doesn’t really address his feelings towards you. Was he aware of what you were going through? Were you ever able to open up to him, either as a child or later in life, about those feelings? I’m not a parent myself, but I’m going to assume that most parents are hyper-sensitive to their children’s feelings, especially the feelings that they have towards them. I want to say yes with my dad, I think he knew that I was embarrassed that he was

Koizumi family with relatives visiting from Japan the janitor but I don’t think that mattered to him. He was really proud of the work he did and he was good at it. He really had one objective in his life and that was to take care of his family. I don’t think he cared about much else, except maybe baseball and sumo wrestling. But this is speculation because I never told my dad how I felt about him as I was growing up, and we never talked about our feelings. It’s interesting, when I first heard about the film, I assumed your feelings of shame were directed towards your father ’s identity as a Japanese immigrant, but instead it was towards his social status. You would have been happy if he was a sensei, or a salaryman even. In fact, your happy memories centre around matsutake picking, which is a very Japanese pastime. Did any part of your father ’s Japaneseness play into your feelings towards him, do you think? You know, I wanted my father to be a specific type of "Japanese" man and I didn’t like my father’s particular Japanese-ness. I think it really stems from Continued on page 8

John Endo Greenaway is a graphic designer based in Port Moody, British Columbia. He is also the editor of The Bulletin: a journal of Japanese Canadian community, history + culture. Note. This article, first published in The Bulletin (Apr. 29, 2020), was reprinted in Discover Nikkei (www.discovernikkei.org), which is managed by the Japanese American National Museum, Los Angeles.

'Discover Nikkei' Seeks Sports Articles Do you enjoy reading “Discover Nikkei” stories, which cover the Nikkei [ethnic Japanese] diaspora, here and online (www.discovernikkei.org)? Do you have a sports story to share? If so, you will enjoy learning that they are starting a new Nikkei sports-article series. The best stories received by Oct. 31, chosen by readers, will be translated into the four main DN languages (English, Japanese, Portuguese, and Spanish).

Inland Sea, from page 5

Mayor Lee, from page 5

as proverbial “Bridges to Nowhere.” For while they have indeed brought more people than before, the few who have come have been insufficient to cover the interest on the construction loans. Thus, Shikoku and the Inland Sea islands leading to it remain places for travelers to see something of Old Japan.

student. In the summer of ’69, we traveled Europe together for two plus months. I cherish the days. Edwin eventually worked for the cit y of San Francisco and became the greatest mayor they ever had. You c an ask any of the prev ious mayors as they will testify to the same accomplishment. Ed was what we want politicians to be, hardworking and not self-serving. Although he is no longer

David Yamaguc h i writes with cats at david@napost.com.

Pines, from page 7

with us, after dying of a heart attack during his second term, he remains an inspiration to me and thousands of people for what he did and stood for: a fair shake for all humans, no matter what walk of life. De ems Tsutakawa is a local Sansei musician. He can be reached at deemst@deemsmusic.com.

the Japanese stereotypes that I was exposed to as young person growing up in Canada. I wanted my father to be like Mr. Miyagi from "The Karate Kid" or like the businessman who owns the tower in "Die Hard" and so many of the images of men that were coming out of Japan in the '80s and '90s were of salarymen. My dad was so far from either of these stereotypes. He was the opposite of these stereotypes; he was a continued on page 9

Vol. 75, issue 19

October 9, 2020

NAPOST.COM

Pines, from page 8

free spirit and didn’t care what people thought of him, which confused me as a kid. I think this is where my instincts kicked in and I distanced myself from him because I didn’t understand him. So, I’d say the shame came from both his Japanese-ness and his social status. Your new film is very personal, yet very relatable to anyone who felt self-conscious, for whatever reason, about their family growing up. What

SINCE 1902

kind of response have you received to the film? I’m really touched by the positive responses I’ve received since launching the film just three days ago. I’m especially moved by the reaction from the Japanese Canadian community. It means so much to me to be able to give something back to the community that supported my parents when they first arrived in Canada over 40 years ago. I’ve also had friends and strangers reach out to me and say how much

the story resonated with them and their own experiences. Shame, grief, and regret are all universal experiences that don’t discriminate, which is why I feel that people from all walks of life have connected to the film. How has your family responded to the film? The film has also helped our family’s grief. We are not very good about talking about our feelings to each other, even though we talk to one

another often. My oldest sister hasn’t been able to cry much about our dad’s death, and when she saw the film it was like a floodgate opened up. I think being able to talk about my dad’s death and loss so openly now has also helped our family acknowledge the loss even in times of celebration. My siblings tell me that working on this film has really been a gift to them. And my mom is really proud.

令和 2 年 10 月 9 日毎月第 2・第 4 金曜日発行第 75 巻 19 号

北米報知財団パネル・ディスカッションから謝罪と補償を求め

についてアメリカ政府

系アメリカ人強制収容

年では現在も続く移民収

て活動しており、特に近

民全体の地位向上に向け

容への抗議活動も行って

日系アメリカ人の市民活動について議論月による市民活動についイコマ・コーさんと日

いる。インターリムＣＤ

北米報知財団が

る「リドレス運動」にディスカッション前ついて議論された。第

パネル・ディスカッションの動画は、本紙ウェブサイト（napost. com）、もしくは本紙ユーチューブ・チャンネルから閲覧できる。

Ａは、現在もインターナ

題や、ブラック・ライブ

度目の優

抜け、何とかして仕事場に

万人が集まったとされ

嘉敷来夢選手が所属したこ

は現在４勝０敗と好調。近

る。

る人気ぶりが続いてい

ても、当地の象徴とな

隣住民の日曜日の服装を見

年からア

も本拠とする。

に参入するクラーケン

イスホッケーのＮＨＬ

２０２１―

リーナへ名称を変えた。

メート・プレッジ・ア

リーナで現在はクライ

る。本拠地は旧キーア

ていたことを覚えてい

者が精力的に取材をし

１年目は本紙の若手記

とが記憶に新しい。特に

状況では、起こり得ない熱

で

年、ごした。パレードは推定

向かった。締め切り日も重

務めた。オンラインのした。イレーンさんは、年代当時、強制収容ＺＯＯＭ上で開催されワシントン大学内での所へ送られた人々の政

ムーブメントにも広がり、草の根のデモ活動の

と、イレーンさんもスタンさんも強調した。

参加者の中には、筆

年に続いて

地元スポーツチームで女子バスケットボールの

たディスカッションにアジア系学生の抗議運府による公聴会で写真名程が参加し、パ動などを例に、キング撮影を行っており、そ

大切さについて触れられ

スを提供している。ディ

ショナル・ディストリク

日、ベルビューカレてのパネルディスカッ系アメリカ人市民同半は、イレーンさんが二次世界大戦下で、日ッジが開催するジャパションを開催した。パ盟（ＪＡＣＬ）シアトインターナショナル・系アメリカ人が強制収

る。シアトル市の人口を上

なる中、異様な一日を過

回る数字だった。

シアトル・ストームが優勝

勝となる。この３年で２度

トで低所得者向け住宅や

目の優勝。シアトルが誇る

した。２００４年、スカッションの議論は、

リーグ有数の強豪チーム

新型コロナウイルスの感染危機に見舞われる現在の

ネルディスカッションドーム・プロテスト以の際に聞いた強制収容の後には参加者との質前にもシアトルでのアで家族が離れ離れにな

た。また、問題を解決し

疑応答も行われた。

ズ・マター（ＢＬＭ）の

ったエピソードなどを

て状況を改善するために

は

ディスカッションへ年代から始まっていた伝えた。また、友人の

は、人々が投票に参加

ジア系公民権運動が

の導入として、室橋がシことを説明。また、黒母親が政府からの謝罪

万㌦

アトル地域内のアジア人学生や他のマイノリ状を額に入れて飾り、することもとても重要だ系移民の歴史や、第二次ティー・コミュニティ同封されていた

ては気にもかけていな

世界大戦中の日系アメーとの協力が欠かせなの補償金小切手についリカ人の強制収容につかったとも伝えた。

日系アメリカ人にとっの強制収容について知ていかに重要だったからなかった参加者も多を語った。多くの日系かっただろう。祖先を

ムの初優勝のときを思い出し

優勝といえば、街で祝うパレードとなるが、ふとストー

た。優勝トロフィーを掲げる

こうしたプロチームから大きく後れを取る

のが、ＭＬＢのマリナー

ズ。今季は菊池雄星、

平野佳寿両投手が所属

し、当地日系社会にとっ

ても愛着度の高いチー

ムだが、残念ながらプ

レーオフに届かず。米国４

大スポーツで最長となる

年連続でポストシーズンを

逃すという不名誉な記録を

更新することになった。

最後のプレーオフ出場は球団会長付特別補佐を

務めるイチロー氏の１年

目だった２００１年。まだ

度もワールドシリーズ

ドは凍える２月だった。ダ

パーボウル制覇のパレー

る次なる優勝パレードを心

対の今だが、当地で催され

ソーシャルディスタンシングを含め、予防措置が絶

優勝がない。

ウンタウンへ向かう主要交

（佐々木志峰）

待ちにしたい。

し、抜け道、小道をくぐり

ＮＦＬシーホークス。スー

アメリカ人が、政府か同じくする日系アメリて「やっとアメリカ市乗り越え、再びこのよ

ストーム優勝

通路が早朝から完全にマヒ

優勝パレードで鮮明に記憶が残るのは２０１４年の

歳を迎える。

核であり続け、今月半ばで

時も今も変わらずチームの中

スー・バード選手がいた。当

選手たちの中に当時３年目の

（谷川晴菜）

民になれたと感じていうなことが起こらない

らの正式な謝罪を受けカ人らが壮絶な差別を

4 ようにと正義感を持っ

ＪＡＣＬは、現在はて活動していることを

た」と伝えた。

日系アメリカ人のみな知り、感銘を受けた。らずマイノリティー市

に感染者との濃厚接触

無料のＰＣＲ検査を実施中シアトル市内の居住

は無料でＰＣＲ検査を

者や往来のある人で、が判明したりする場合新型コロナウイルス

ページへ続く

受けられる。代表的な日以内

感染症の症状があったり、過去

いて説明。北米報知社の後半は、スタンリーかったというエピソー者を含める日本人学生１９０２年からの歴史さんへの質問を中心ドにも触れ、１９８８も多く、アジア系アメ年代に起きた日年の政府からの謝罪がリカ人の歴史や日系人についても触れられた。に、

シアトル市

今月の切り絵『豪華な昼寝』 by 曽我部アキ

コミュニティー・サービ

ンウィークのプログラネリストとしてインタル支部代表のスタンリディストリクトを中心容所に入れられ、職やムの一環として、日系ーリムＣＤＡボード・ー・シクマさんが招かにシアトルで起きたア財産など全てを失ったやアジア系アメリカ人メンバーのイレーン・れ、モデレーターは本ジア系アメリカ人の公という壮絶な歴史があ紙編集長の室橋美佐が民権運動について議論る。スタンリーさんは

現在も続く人種差別の問

となった。

気と人の密度だった。今季

ストームには２０１５年から年の３シーズンで渡

YOUR LINK TO SEATTLE’S JAPANESE COMMUNITY SINCE 1902

Japanese

ＭＯＭＯが惜しまれながら閉店

業していたファッショ

シアトル日本町で営です」と、レイ・アン人で、同じくハワイ出

りがとう）』と伝えたいフィリピン系アメリカ

心から『マハロー（あレン・マドリガさんは

シアトル市

次世代が新ファッション店をオープン予定無料のＰＣＲ検査を実施中

ン雑貨店、ＭＯＭＯが

ウェブサイトにて確認を。問い合わせ： ☎ 206-477-3977 。詳細： www.seattle.gov/

アメリカ椿大神社で七五三詣りと初詣

の詳細： https://parkways. での集まりは週に１度５人 seattle.gov/2020/10/05/ 以下までとなっている。

play-areas-reopen-starting。 oct-6/ キング郡は現在、ワシントン州による経済活動再開に向けた計画「セーフ・スタート・プラン」で、フェーズ２を迎えている。キャンプやスポーツ活動での屋外

シアトル市内公園のプレイエリア再開

シアトル市内の公園のプレイエリアが、月日に再開。歳以上の全ての子どもページから続き市内カ所で、ドラ症状としては熱や寒気、イブスルーとウォークにマスク着用が義務付けら咳、息苦しさなどが挙インのどちらの形式でれることや、遊具で遊べるのは度に人以下までなげられる。も受け付けており、要どルールが決められている。事前予約。詳しくは、プレイエリア再開について

ジを寄せている（メッ開店日はまだ未定だが、検査を受ける場合、保セージ全文は英語欄２モーニング・サイレン険加入者は保険証や生

月末日で閉店した。さんは本紙にメッセー身だ。新店舗の店名や

ハワイ出身の日系アメリカ人であるレイ・アン・シラミズさんと、ページ）。のインスタグラム（＠年月日が記載された身夫のトムさん夫婦が「ＨＭＯＭＯ閉店後は、 MorningSiren ）や店舗分証などが必要。米国これまでＭＯＭＯで働前の貼紙で近日中に発市民ほか、あらゆるビＡＰＡ」をコンセプト

mayor/covid-19/covid。 19-testing

に２００７年にオープウエムラさんと、彼女

ザのステータスの人がいていたケイトレン・表される予定だ。（Ｎ・Ａ・Ｐ）対象となる。

ンした同店は、日本町の友人であるケイトレ

隔での祈祷を事前予約にて受け付ける。お神札、お守り、干支の縁起物は郵便での対応となる。当日は完全に閉門されるため入域や参拝は不可。料金：七五三参り㌦～、初詣㌦～。問い合わせ：

tsubakishamusho@yahoo. （日本語可）。詳細： com 。 http://tsubakishrine.org

俳句：根岸幸子写真：茂木ひさを

に残る数少ない日系人

新型コロナウイルス感染拡大防止のため、月日に予定されていた七五三大祭は中止に。家族ごとの七五三参りは可能で、子ども１人につきドルから受け付けている。着物でも洋服でも参拝できる。大晦日の大祓い式、令和年の元旦から日にかけての初詣は人につきドルから遠

「宝石物語」連載周年

はこれが好き」と主張するようなジュエリーを選べる自立した女性が増えて欲しいです。

聞 ( き手：室橋美佐）

レニア吟社写真俳句

筆者にインタビュー

その時に読んだ雑誌に、

宝石商の跡継ぎが「お客様に勧めるのに専門知識がないと恥ずかしい思い、どうせとるな

らＧＩＡ（ Gemological

所有のビルであるジャン・マドリガさんの二） Institute Of America クソン・ビルの修復直人が、新しいファッシの Graduate Gemologist 後に入った店舗として、ョン店を同スペースでの資格を取ろうと思っ当時の日本町に新風を開店する。ケイトレンた」という記事があっもたらした。その後のさんはハワイのビッグ・て、「それだ！」と思い連載コラム「地球からいかと声をかけていた１３年間、アジアやヨアイランド出身の日系ました。そこから、私ーロッパから取り寄せ人で、ＭＯＭＯで働くの贈りもの～宝石物語」だき、それから連載を始もＧＩＡの資格を取得た服、ローカルデザイ以前から自身の洋服ブが、本号で周年を迎めるようになりました。しました。結局、現在ナーのアクセサリー、ランドである「モーニえた。筆者の金子倫子なぜ、宝石に興味を持は宝石に関連する仕事ハワイからの小物など、ング・サイレン（ Morningさんは、シアトル在住ちましたか？はしていないのですが。多様なテイストの商品）」を同店に卸し後に日本へ帰国。現在 Siren 光野桃（みつの・もも）宝石への想いを教えてを揃えた同店は、ジャていた。ＭＯＭＯでは、は会社勤めをしながら、さんのエッセイで、「どください。クソン通りの賑わいに店舗で働く以外にも、趣味として宝石に関連んな時も外さない、体自分の分身のような欠かせない存在になっオンライン販売の立ちする執筆を続けている。の一部のようなダイヤジュエリーを一つで良ていた。「これまで同店上げなどでレイ・アンシアトルとの縁は？モンドピアス」の一編いから所有して、愛でてを支えてくれたお客様さんとトムさんをサポ高校生の頃の英会話を読んで、「体の一部に欲しい。そんな日本人女やコミュニティーに、ートしてきた。ケイトの先生がワシントン大なるぐらいの宝石」と性が増えて欲しいと思学の卒業生で、シアトいう今までの概念を覆っています。そこに至るル近郊は治安が良くて、すような宝石のあり方には、ジュエリーとい宇和島屋があって日本に感銘を覚えたのがきうより、女性がもっとのものも気軽に買えるっかけで興味を持つよもっと声高に自分を主と教えてもらい、渡米うになりました。張するのが先なのかもするならシアトルへとシアトル在住で子育しれません。男性から決めました。てをしている際に、手にプレゼントされるジュ北米報知で執筆するよ職をつけなければならエリーも素敵だけれど、うになったきっかけない状況になりました。周りが何と言おうと「私

その方から引き継がな

が休載することになり、

ついて連載していた方

北米報知で子育てに

Japanese

SINCE 1902

は？

レイ・アン・シラミズさん（右）と、夫のトムさん（左）

招客招福の法則筆者：小阪裕司

回客足が戻る店と戻らない店の違いとは第

ちょっと驚いたのは、大阪選手が縁起を担いでいないことだ。スポーツ選手はもとより、受験生など一般の人でも縁起を

シアトル短歌会詠草

月例会より

toshikohoasi@gmail.com

文芸欄

楠見房子

田中美登里

田宮愛子

津田俊子

北米俳壇レニア吟社俳句

月例会より

例会：第１土曜日午後時半より藤見荘にて

見送りてあとの万感夜は長し

琴の曲平安朝の秋を弾く朝風に秋一筋の添ひ来たる

久間照子〃

高村笙子〃

稲妻の音遅れきし安堵かなせせらぎの調べやはらか星月夜

中田美津子〃

茂木ひさを〃

根岸幸子〃

秋吉美幸〃

酒井光代

得野京子〃

小豆引く老いし母の手よく動く

〃

吉原クリスティ光風

スティーブンス多喜子

〃

阿賀嶺泰子〃

吉迫まありい〃

西木場ようこ〃

渡辺菜穂〃

癸洲

岡田攝津〃

大吟醸呵呵呵大笑大草原畝立ての終わりて清し菊の酒潺湲と枯山水の菊の香は

卜丸〃

〃

十六夜や壊れたままの常夜灯藹藹にいさよふ月の見え隠れ

井伊辰也〃

新学期画面に探す友の顔たかが餡されど餡なりはさみ菊

秋高し鼠狩る猫走りをり秋の蝉沸騰しさうな大樹かな菊膾ことばを呑めばまた会へる

バクマスター絵美〃

細井やすい〃

〃

ハントシンガー典子

ラインウェバー友子

秋めくや秘密基地めく子供部屋野菊へと進みつ少女へと還る夕暮れに木の端消えゆく初紅葉

夏草や湧き水甘い過疎の町雷轟に進退きわまり黄色傘追い掛けて来る鐘のこゑ原爆忌

手ぶらでは帰さぬ母の青蜜柑探検の草の実つけて猫帰る水澄みて逆さ連峰石紋様つないだ手握りしめたり天の川

空溶かす秋の夕焼け心燃ゆ秋夕焼け両手に余る幸の色白菊や折り目正しく今を生き吹き溜まり風より軽き蝉眠る

黒百合の群生ゆるる宗谷の地「月光」のかすかに聴こゆ終戦日

朝市や秋鯖の眼が我を見て〃もろもろの中につゆ草懐かしやミラーこうし白菊の一種生けたり潔し〃自然薯のかくも大事に掘り出され汀泉信子〃

郷愁の募りて独りとろろ汁舌出して犬登りくる坂残暑散歩みち誉めて南瓜を手に帰宅

列なして朝露浴びし稲の花武蔵野の蝉の骸木の葉に置く西瓜喰う男児の前歯抜けてをり野分雲去りて星屑散らばりぬ朝顔の百尺竿頭飛び出しぬ天高しからんからんと笑ふ女

炎天の坂より続く別次元老猫の毛艶確かむ残暑かな

キャンプレーン久美子立ち話声筒抜けの秋の空

例会：第二月曜日正午より川辺ハウスミーティングルームにて

― 5493 (206)954

ニューノーマルの今日がはじまる

窓からの風は肌に涼しかり

澄む青空に秋の気配を

手伝いし叔父の研究「種無し西瓜」土居万亀子いま今夏もにぎわすアメリカ市場を

今日もまたコロナ騒ぎで日が暮れぬ中野薫

帆足敏子

神田美鈴

貝塚信子

リーあふひ

ヘイグッド芳恵

がメインの店は「フローや会社には共通項があ

は

秋立つ寺に今も御座すや

お

死産せし児らを供養の地蔵尊

リハビリ辞めぬ母はただ泣く

留守中に転倒骨折した父は

好物投げては歩かせてゐる

老犬の散歩は主の工夫らし

たわめば放たれ子ジカの生まれる

収縮と弛緩ののちに絞られて

味見の匙に頬はゆるみて

腸詰をワインと煮込む発想の

宵空にかかる月十三夜

う言葉で言えば、観光客も健闘できているお店

その違いを私がよく使しているような業種で

重要な違いだ。

実はこの違いが今日の商や会社の奮闘ぶりを取売の明暗を分ける、最もり上げているが、同業者が売上を大きく落と

ない。しかしコロナであ店は今どういう状況だる。この４月、５月、彼ろうか？幸いなことの言葉を借りれば、「人に客足が戻ってきていシアトルの朱色に映える鬼灯に帰れぬ故国の盆を想いぬ通りは一気に消えた」。るとすれば、それは喜６月以降もその状況は、ばしいことだ。しかし、競うがに啼く蝉などは居らねども大きくは変わっていな安心する前に自問自答山火事に煙る真っ赤な太陽い。そんななかで営業をしてほしい。自分の店再開しても、なかなか客や会社は、顧客をストッ秋なれば匂ひたちたる金木犀足は戻らない。しかし、クしているだろうか、山火事の灰降り積む中に繰り返し買いに来てくれと。ここのところ当コ車にもバッグの中にもマスク入れる地元のお客さんがいるラムでも、このコロナ店は戻っているのだが、情勢下での様々なお店

型のビジネス」を行ってる。それは顧客をストッ

ストック型ビジネス

いた店。地元のお客さんクしていることだ。がいる店は「ストック型

のビジネス」を行っていとフロー型ビジネスのる店だ。彼自身、今回の違い。その違いを正確にことがあるまで、この違理解し、どちらかに徹いに気づかなかった、目底して経営の舵を切るを向けていなかったと言こと。それは、今後のうが、ここがカギだ。そ社会でお店や会社が生して、この違いの重大さき残れるかどうかを決に気づいた同社は、地元定づける重要なことだ。のお客さんをさらに強固まずはあなたにも自問

筆者紹介山口大学人文学部卒業後、大手小売業、広告代理店を経て、１９９２年オラクルひと・しくみ研究所を設立。「人の心と行動の科学」を基にした独自のビジネス理論を研究・開発し、２０００年からは、その実践企業の会を主宰。現在、全都道府県および北米から千数百社が集う。

に「顧客化」するために、自答していただきたい。顧客リスト作りとその整備、顧客へのこまめなア

さてそこでお尋ねす

プローチに注力している。

るのだが、あなたのお

切にしてくれるような女性になって欲しい。最後に、長い時間をかけて勝ち取った女性の一票は重い。大切に使いたい。

131

筆者：金子倫子

NAPOST.COM

Vol. 75, issue 19 October 9, 2020

Japanese

担ぐ人は多いだろう。確先日、あるワクワク系かシーホークスが優勝し（このコラムでお伝えした時は、クオーターバッている商売の理論と実クのラッセル・ウィルソ践手法を、われわれはン選手は髪を切らなかっそう呼んでいる）の和たのではなかったか。他菓子店の社長から、コの選手に関しても、右かロナ禍での奮闘のお話ら靴下をはくとか、ベンチから何歩でバッターをうかがった。実に示ボックスまで歩くとか、唆に富んだ話があった聞けば聞くほど色んな縁ので、分かち合いたい。同社は、日本のとある起の担ぎ方がある。大阪選手は祖父から贈られた著名観光地一帯に店舗をパールのセットで年前展開する和菓子店チェーの優勝を果たしたので、ン。同社社長のお話で印今回別のピアスで決勝戦象深かったのは、４月かに挑んだのは少し以外でらの緊急事態宣言下、全もあり、縁起担ぎをしな店を閉め、その後営業をい精神的な強さを身に着再開したときのお話だ。けたとも言えるかも。今一気に客足が戻ってきた年の全米オープンは人種店とそうでない店が大き差別に対しての気持ちがく分かれたというのであ大きな支えだったのではる。ないか。その違いを分析してみ同号ではこの年を振り返った内容にしようとると、戻ってきた店は繰思っていたのだが、過去り返し買いに来てくれるを振り返るより今であり地元の方々が多くいるこれからだと思い直し店。そうでない店は、主た。何かのために戦う女にその日限りの観光客が性は美しい。色々な分野メインの店だった。もちで不平等や理不尽さを減ろん、同店が立地していらすため、未来の世代がるのは著名な観光地。同自分の世代よりも良くな社自体が著名な地元ブラるように戦っている。男ンドであり、観光客のお性が戦っても称賛される土産需要も大きい。「そだけだが、まだまだ女性の日限りの観光客がメイが戦う事に対しては大きな抵抗が伴う。そんな外ンの店」が悪いわけでは野の声をものともせず、信念のもとに戦う女性が増えているのは嬉しい限しみ手入れをしているより。そして今時の戦う女うに思う。私には娘が性はそれぞれの美しさも人いるが、人それぞれ大切にしている。美しいの信念を持ち、その信念物を身に着けるだけでなのために戦う事をいとわく、自分自身の肉体も慈ず、そして自分自身も大 3

戦う女性の美しさ

この月でコラムのぶった。初めての優勝連載を始めてから、何時の大阪選手のインタと丸々年経った。ビューも、人柄をよく２０１０年月日号表していた。今回の行が連載回目。箸休め動は、大阪選手が歩んできた人生に対してのの様なこのコラムを年も掲載して頂いた北色々な考えや感情が見米報知や読者の皆様にえたのではないか。毎は本当に感謝の気持ち試合毎試合、人種差別による不当な扱いのたでいっぱいである。２０２０年は、多くめに亡くなった人の名の人にとって予想して前の付いたマスクを着いたものとは全く違うけてコートに登場。優現実に向かいあう年と勝時のインタビューでなったのではないだろ「何を伝えたかったのでうか。世界中の人が予すか」という問いに、「あ想もしなかったパンデなたはどんなメッセーミックという状況に肉ジを受け取りましたか」体的にも精神的にも、そと即返答。この一言は、して経済的にも困難な彼女がこの問題に向き状況に陥っている。今合って来た濃度が一瞬ある希望は、ワクチンで分かった答えだった。の開発が世界中でものそれぞれの人にこの問すごいスピードで進み、題について考えてほし供給までのタイミングいという願い。年前の優勝時は、祖が薄っすらと見えている事だろう。この秋冬父から贈られたというは色々な意味で試されパールのイヤリングとる時である。パンデミッペンダントのセットをクだけでなく、この一身に着けていた。今回の年は各個人の倫理観が優勝時は、パールを着問われるような出来事けていなかった様に見が次々と起こった。今える。耳たぶの上にあまで半分蓋をしたようるのは一粒のダイヤでな、出来れば目を背けはなく、何かしらデザたい事を直視しなけれイン性のあるフラットばならないような状況なダイヤのピアス？耳元の近い写真がないとなった。日本ではスポーツ選ので見る限りでの想像手の政治的発言や行動なのだが。２０１９年に対する反発は米国よのフレンチオープンでり高いが、大阪なおみは、右耳にディオール」を象ったピア選手の年ぶり度目の「 Oui の優勝を果たした全米スを着けていたようなオープンでの振る舞いので、今回も有名ブラは多くの人の心を揺さンドの物かもしれない。 3

The North American Post 2020 October 9th issue

Articles inside

The North American Post 2020.10.9 issue