Miya Masaoka
Triangle of Resistance
Innova 945
TRIANGLE OF RESISTANCE
1. The Long Road
12:23
2. The Clattering of Life
19:57
3. Survival 10:19
Jennifer Choi, violin
Esther Noh, violin
David Wallace, viola
Alex Waterman, cello
Satoshi Takeishi, percussion:
Buddhist prayer singing bowls, gongs, taiko, changgu and other drums
Miya Masaoka, koto
Ben Vida, analog modular synthesizer
Richard Carrick, conductor
4. FOUR
MOONS OF PLUTO 16:21
James Ilgenfritz,
bass
-Ð59:02Ð-
On February 19, 1942, President Franklin D.
Roosevelt signed Executive Order 9066, throwing the lives of over 110,000
Americans of Japanese ancestry into turmoil. This order authorized the U.S.
government to remove all Japanese Americans from the West Coast and to imprison
them in detention camps, internment camps, temporary assembly centers and
concentration camps across the country. They lost their jobs, businesses, farms
and homes. Young people were forced to leave colleges and universities,
disrupting their education. This mass incarceration of innocent men, women and
children, based solely on their race, was a gross violation of their civil and
constitutional rights and unprecedented in modern American history.
The Issei, or first generation Japanese immigrants,
faced discrimination and anti-Asian legislation that denied them the right to
own land or to become American citizens. Immediately after Japan bombed Pearl
Harbor on December 7, 1941, the FBI arrested over 2,000 Issei
leaders, newspaper editors, Japanese-language teachers and Buddhist priests.
They were taken from their homes to camps as far away as Bismarck, North Dakota
and were not reunited with their families for months or even years. Two thirds
of Japanese Americans were Nisei
or second generation, born in the United States and therefore, citizens. But
groups like the Native Sons of the Golden West and the Hearst newspapers called
for the removal of all Japanese Americans, citizens and aliens alike. There
were few who spoke up against the incarceration but Japanese Americans today
are grateful to the Quakers who provided gifts for the children in the camps
and helped Japanese Americans resettle after the war.
In 1981, the Japanese American community
spoke about their losses and pain at the Commission on the Wartime Relocation
and Internment of Civilians hearings and demanded redress and reparations. The
CommissionÕs findings stated that camps were a result of Òwar hysteriaÓ, Òrace
prejudiceÓ and Òa failure of political leadership.Ó The community waged a
successful campaign to pass the Civil Liberties Act of 1988 which provided an
apology and individual reparations to each individual affected by EO 9066.
Ñ Kathy Nishimoto Masaoka
is a retired high school teacher and active in civil rights and community
issues in Little Tokyo, Los Angeles, and has helped to organize programs in
support of American Muslims.
My mother, Helen Sachi
Masaoka, has a painful story Ð one that she would tell
when I was growing up, but then she stopped telling it for some reason. It was
about something that happened to her and her parents, six sisters and brothers
when she was 13 years old. She talked very little of those years, so when she
did, I really paid attention. Living in San Leandro, California, she said the
U.S. government tacked paper posters of Executive Order 9066 on street lamps
informing Japanese Americans living in California that they were about to be
interned. She was in Junior High School, and excelled in French and violin, and
she was standing there reading the wheat-pasted poster. A passer-by shouted at
her, ÒRead it good, Jap!Ó She was about to be taken from her home, pulled from
school, and go to a prison camp for four years. I think with horror how she
must have felt, to experience such hate coming from both the government and the
passer-by simultaneously. My heart breaks for my mother, as this was such an
unjust and cruel event to shape the psyche of a young girl Ð one who was
becoming a woman and beginning to understand the world from the point of view
of an adult, and no longer a child. It was a true loss of innocence.
I strove to make the music convey the complex
emotions she must have felt, having lived with these bits and pieces of
information that were relayed to me growing up. When she and her family were
taken away in trains with the window shades drawn, they had no idea where they
were being taken or how long they would be gone. I wrote The Long Road as I was imagining how it would feel to have
the future bleak, scary and long, but worst of all, not knowing what was going
to happen to you and your family. Once in the camps, the barrack walls
separating the families were paper thin, and everything from the other families
was very audible. The Clattering of Life
refers to the clanging sounds, the pots and pans and shouts of children and
adults all the sounds coming from the tarpaper walls. Sounds were sometimes of
adults fighting and arguing, a result of the harsh living conditions. This
piece is the only piece on this album involving some improvisation, and was
conceived as kind of a Òdouble ensembleÓ with the string quartet playing
written music, and the other group (percussion, synthesizer, koto) improvising. Alex Waterman, the cellist being a
member of both Ñ played both the written music and the improvising structures.
Survival, (for
string quartet) is inspired by a kind of strategy or rather a character trait
that Japanese call gaman.
This describes the part of the personality or community that can endure and
withstand hardship, yet continue to persevere in spite of all odds. This gaman,
is in part, a kind of resistance.
Ñ Miya Masaoka,
Tokyo, 2016
Four Moons of
Pluto
For solo
double bass (and optional radiator), 2015
Together
with my neighbor and collaborator, James Ilgenfritz,
we identified a lexicon of areas on the bass of extraordinary resonance. Based
on these positions, I developed an idiosyncratic structure that shifts in and
around these resonant centers in specific ways. I like to think of them as a
kind of tonal center. The proportions are built on the partials of the harmonic
series. JamesÕs strings were detuned to combine particularly resonant zones.
The title, Four Moons Of Pluto, references
the planets and orbital resonance. The movement of planets and musical
intervals are both expressed in small number ratios. While this work was being
written, NASAÕs New Horizons spacecraft was Ð over a period of weeks in July,
2015 Ð transmitting images of Pluto, illuminating glaciers, flows of ice, newly
discovered mountain ranges, and a complex surface.
CREDITS
Triangle of Resistance was recorded on
Nov. 17, 2013, Roulette, Brooklyn, NY.
Mixed by Brian Montgomery.
Four Moons of Pluto was recorded live at The Stone, New York City, October 18, 2015, and
features sounds from its heating system.
Deep gratitude for the generous support of
the MAP FUND, the Doris Duke Charitable Foundation and to Elizabeth Beaird and Circuit Network, Jim Staley and Roulette, The
Stone, director Brooke OÕharra and the immensely
talented musicians and conductor who made these projects possible.
Mastering engineer: Andrew Munsey
Images from Triangle
of Resistance live video mix by Michelle Handelman & Brock Monroe, © Michelle Handelman 2013.
Photo of James Ilgenfritz
by Peter Gannushkin.
Innova is supported by an endowment from the McKnight Foundation.
Philip Blackburn, director, design
Chris Campbell, operations director
Steve McPherson, publicist
www.innova.mu