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This video installation was inspired by Susan Sontag’s writing about cancer, the terminology and language that’s used, how war terminology is used by oncologists when talking about cancer and treatments. Aiko then relates this to the second world war, pointing out the irony in the fact that the chemotherapy she was receiving, you know, contained mustard gas and other chemicals that are, or were used in warfare. So that’s what the whole exhibition was about, and I think that was her way of processing and coming to terms with the disease, her own involvement in it, and the victimization one feels as a cancer patient: you’re out of control of your body, and the medical system is basically controlling you.

The Japanese Language Interest Group of the STIBC, with the Japanese Language Committee of Greater Vancouver JCCA as a sponsor, held the 3rd Annual Translation/Interpretation Workshop on May 15, 2010 at the Vancouver Japanese Language School and Japanese Hall on…

A gathering of the representatives of three Asian community groups—Chinese, Japanese and South Asian—plus the Musqueam First Nation and the Vancouver Labour Council, who had formed the Anniversaries ’07 Steering Committee, marked the achievement of a major objective of the…

As a Japanese Canadian Mormon, I was always conscious of being a minority within a minority and, therefore, I was always a little different. As a Mormon, I was different from many of the other Japanese within the community, as most of them attended the Buddhist Church. As a Japanese Canadian, I was one of only a small group within the Mormon Church. However, it was something that I got used to and was able to bridge a number of different cultural, ethnic and religious divides.

Salt Spring Island’s Richard Murakami was among forty-seven British Columbians representing 32 communities throughout the province who were honoured at the seventh annual BC Community Achievement Awards ceremony held at Government House in Victoria on April 28, 2010. Lieutenant Governor…

In Robert and Jane Nimi’s hallway there is a photo hanging on the wall depicting three smiling young men clad in black leather motorcycle jackets astride Triumph Thunderbird motorcyles. Taped next to the photo is a clipping of Marlon Brando riding the same motorcycle in the classic film The Wild One. As Bob leads me through to the living room for our interview, he stops and points out himself on the far right of the photograph. Just after graduating high school, he explains, he and two high school buddies set off on a three-week road trip to San Diego, camping along the way. It was, he says, one of the highlights of his younger years. While the photograph stands in contrast to the elegance of the house, it does tell you something about Bob Nimi and the sense of determination that has served him well during his lifetime.

When Vancouver’s City Opera set out to pair Sumidagawa with Curlew River for their 2010 season—a feat that had only been undertaken twice before, once in London and once in New York City—the intention was to mount the original noh version of the piece. In the process of finding a noh company that could perform the work, they discovered the existence of Nakajima’s butoh interpretation and made the decision to bring in Denise Fujiwara to perform it.