A senior singer plays harmonium and leads the qawwali by singing verses praising particular saints. Other singers, like the man sitting next to him in this photo, sing antiphonal or chorus-like responses to each of his verses.
One scene in Rampei Monogurui (Rampei Goes Insane). Here the main character, Rampei (played by Onoe Shoroku), fights with his enemies. Traditionally, Kabuki skills are passed from older members of a family of actors to the younger members, down through the generations. But in 1969, the National Theater established the Kabuki Actor Taining Center to teach aspiring performers from outside the Kabuki world as well. The training program lasts two years and is free. A few participants join every second year, and after they graduate, they are eligible for a role on the Kabuki stage. Almost all of the actors shown here graduated from the Kabuki Actor Training Center.
Nakamura Kantaro, a 20 year old kabuki actor, plays a woman in the play Sannin Kichisa.
Rice straw is used to make rope, mats, and sandals. --This was the description to accompany this image as written by Arthur O. Rinden, the photographer. His description, which he referred to as a "script", was to accompany a slide show of the images for family and others.
Taj Muammad, Khuldabad's senior qawwali singer in January 2003, left Khuldabad as a young teen to study and live with a respected qawwali teacher in Bombay. His Khuldabadi family had recognized his gift as he sang with the local qawwali performers as a boy, and so supported his move to Bombay to learn with a master, an ustad. In his sixties, Taj Muhammad was still singing the somber and spirited melodies in a clear voice, praising God, the Prophet, and early Sufi saints.
Professor Ernest F. Fenollosa (seated) came to Japan in 1878 to introduce Western art forms, but left Japan with a sincere respect for Japanese painting and sculpting. He is shown here with Okakura Kakuzo.
A senior qawwali singer is joined by other men to sing qawwals in praise of God, the Prophet, and Sufi saints. This was an impromptu qawwali performed with men who happened to be at the dargah.
A top-ranking Japanese actress of the 1920s.
This is a juxtapose of old and new, fast and slow. This is how one may look at Korea by seeing that there is a modern time and a historical time. Seoul, South Korea
This is a man in the Korean traditional village that makes baskets. Seoul, South Korea.
Rubbing from carving of the Tang poetess Xue Tao. From Chengdu in Sichuan Provence. Includes an accompanying stone inscription dated to the "29th year of Guangxu", or 1904.
A wood carver on the island of Oshima- typical of many household industries --This was the description to accompany this image as written by Arthur O. Rinden, the photographer. His description, which he referred to as a "script", was to accompany a slide show of the images for family and others.
The senior singer, Taj Muhammad, prepares for an evening qawwali in the inner courtyard of the dargah. Men of the town join him to sing or to listen to the captivating melodies. In Khuldabad, qawwali performance is an almost exclusively male affair. Men sing and play the instruments, while others listen and offer money to the musicians. Small boys hang around the dargah during qawwalis, as well as at other times, to run errands or sit quietly and listen. Here, several foreign females also sit in the audience.
Traditional instrument of the Ainu people of Hokkaido. Sound is made by pulling on strings attached to a thin bamboo board. The mouth is used to add resonance.
Andrea Ritland and Emily Wiedenhoeft take time out from shopping in Asakusa to pose for a picture with a modern-day geisha.
Andy Bernard, St Olaf student, takes some time out from shopping to get his picture taken with a geisha.
The actor Umewaka Rokuro leads a busy life, reviving ancient Noh plays, presenting new Noh productions and performing overseas.
Nakamura Kantaro, a 20 year old kabuki actor, plays a heroic mountain god with supernatural powers in Momiji-gari. Kabuki, Japan's most famous classical theatre, has a history of about 400 years. It began as a women's dance routine (kabuki odori), but soon evolved into stage plays, with men taking all of the acting roles. Kabuki acting techniques are passed from father to son, and so techniques tend to remain within a limited number of acting families. Each family becomes the custodian of certain acting roles, and these roles, too, are passed from one generation to the next.