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Faculty Information

YOSHIKO FUKUSHIMA

Associate Professor of Japanese Studies, Asian Theatre & Performance Studies

Department of Languages, Chair

Email: yf83@hawaii.edu

Office: EKH 213

YoshikoHiero

Reseach Interests:

Japanese and Asian Performance; Comparative Drama; Performance Theory

Education

  • Ph. D., Performance Studies, Tisch School of the Arts, Graduate School of Arts and Sciences, New York Univeristy, 2000
  • Ed. M., Applied Linguistics, Teachers College, Columbia Univeristy, New York,1991
  • M.A., English Literature, Graduate School of Waseda University, Tokyo,1983
  • B.A., English and American Literature, Unversity of the Sacred Heart, Tokyo, 1980

Teaching

2009-Present Associate Professor of Japanese, Department of Languages, University of Hawai'i at Hilo (tenure-track)
2006-2009 Associate Professor of Japanese, Department of Modern Lang/Lit/Ling, University of Oklahoma (tenured)
1999-2006 Assistant Professor of Japanese, Department of Modern Lang/Lit/Ling, University of Oklahoma (tenure-track)
1998-1999 Full-time Instructor, Interdepartmental Studies, Gettysburg College, Pennsylvania
1995-1996 Part-time Instructor, Japanese Program, East Asian Studies, New York University, New York
1995-1996 Part-time Instructor,Japanese Program, Liberal Studies, Eugene Lang College,The New School for Social Research, New York
1990-1994 Part-time Instructor,Japanese Program, Toyota Language Center, Japan Society, New York
1992 Part-time Instructor, Summer Japanese Program, East Asian Languages and Cultures Department, Columbia University, New York
1989-1990 Part-time Instructor,Japanese Program, Continuing Education Program, Baruch College, City University of New York, New York

Major Publications

Books
  • Japanese Theatre in the 1990s and Onward. [manuscript in progress]
  • A History of Modern Japanese Comedy. [manuscript in progress]
  • Manga Discourse in Japanese Theater: The Location of Noda Hideki’s Yume no Yūminsha. London: Kegan Paul Limited, 2003; Routledge, 2005.
Book Chapters & Encyclopedias
  • “To the Rhythm of Jazz: Enoken’s Postwar Musical Comedies.” In Rising From the Flames: The Rebirth of Theatre in Occupied Japan, 1945-1952, pp. 259-284. Ed. Sam Leiter. Lanham: Lexington Press Books, 2009
  • “Akimoto Matsuyo”, "Asakura Setsu", "Hijikata Tatsumi", "Hojo Hideji", "Inoue Hisashi","Matsuda Masataka", "Matsuo Suzuki" "Nagai Ai","Sawasa Shojiro", "Takizawa Osamu". In Encyclopedia of Asian Theatre. Vol. 1.Edited by Sam Leiter. Westport: Greenwood Publishing Group, 2007.
  • “Illegitimate Child of Shingeki: Comedy Actor Soganoya Gokurō and his Nonkina tōsan (Easygoing Daddy).” In Modern Japanese Theatre and Performance, pp. 171-187. Eds. Keiko McDonald, David Jortner, and Kevin Wetmore, Lanham: Lexington Press Books, 2006.
  • “Reading Drama in Japanese Language Classroom: An Example of Hirata Oriza’s The Balkan Zoo?” In Vol. 2 of Why Japan Matters! Eds. Joseph F. Kess and Helen Lansdowne. British Columbia, Canada: Centre for Asia-Pacific Initiatives, University of Victoria. University of Victoria, 2005: pp.443-454.
  • “Can We Watch Bitter Rice Now?––De Santis’s Bitter Rice and Rossellini’s Germany Year Zero.” Film at Millennium. In Proceedings of the 7th Conference of the International Society for the Study of European Ideas (ISSEI). Bergen, Norway: HIT Centre, University of Bergen 2000.
Articles
  • “Ambivalent Mimicry in Enomoto Kenichi’s Wartime Comedy.” In Journal of Comedy Studies, Vol. 2. No. 1, 2011, pp.21-38.
  • “Learning and Teaching Japanese Language through Drama.” (with Junko Fujimoto). The Conference Proceedings. The16th Princeton Japanese Pedagogy Forum (2009), pp. 75-93.
  • “Masks, Interface of Past and Future – Nomura Mannojo’s Shingigaku.” In Asian Theatre Journal. vol.22, no.1 (2005), pp.249-268.
  • “Japanese Literature, or J-Literature, in the 1990s.” In World Literature Today, vol.77, no 1. (Apr-June 2003): pp.40-44.
  • “From New York.” In Baree no Hon [Quarterly Ballet Magazine, regular column]. (Ongaku no Tomo Sha, Tokyo: 1993-1995).
Translations
  • “Gender and Korean Labour in Wartime Japan” (“Senjika nihon no gendaa to choosenjin no roodoo”), by Elyssa Faison. A Special Issue commemorating Miriam Silverberg, The History of Contemporary Women’s History in Asia (Ajia gendai josee shi). Vol. 5. December 2009: 76-87.
  • Hitsujuya Shirotama’s Jōnestu (Passion) for Yubiwa Hotel’s production under the same title. Directed by Hitsujiya Shirotama. Tokyo, 1-5 May 2003.
  • Hitsujiya Shirotama’s It’s Up To You (unpublished manuscript) for Yubiwa Hotel’s production under the same title. Directed by Hitsujiya Shirotama. Manila, Philippines, 4-8 March 2003.
  • Muraoka Iheiji and Imamura Shohei’s The Biography of Muraoka Iheiji (Tokyo: Kodansha 1987, 200 pages) and Yamazaki Tomoko’s Sandakan No.8 (Tokyo: Bungei Shunju 1975, 200 pages) for TheatreWorks’s production of Broken Bird. Directed by Keng Ong Sen. Singapore, 1995.

Recent Presentations

  • "Can Musical Comedy be the Theatre of the Nation?" Association of Asian Performance 2011, Chicago, IL ( August 10-11, 2011).
  • “Beyond Words: Dramatic/Theatrical Approaches to Japanese Language Education.” 62nd Annual Meeting of the Association for Asian Studies in Honolulu (March 31-April 3, 2011).
  • “Soldier Furukawa Roppa in His Wartime Comedy” The 35th Comparative Drama Conference: Text and Presentation. Culver City, California (March 24-26, 2011).
  • Key Note Speech: “Miyagi Satoshi’s Oshu Adachigahara: A Case Study of Minority Drama”, 2010 International Conference, Department of Foreign Languages and Culture, Fo Guang University, Taiwan (December 3, 2010).
  • “Blackface in 1930s and 40s Japan: Ambivalence of Mimicry in Enomoto Kenichi’s Performance.” In “Comedy Close to the Edge: Race, Gender, Class and Nation.” The 2010 Crossroads for Cultural Studies Conference. Hong Kong (June 17-21, 2010).
  • “War and Identity in Ku Na’uka’s Oshu Adachigahara.” In “Intercultural Japan and History. The 34nd Comparative Drama Conference: Text and Presentation. Culver City, California (March 25-27, 2010).
  • “Comedy in Wartime Japan: Furukawa Roppa’s War Propaganda Plays.” In “Tears and Laughter in Asian Comedy.” Association of Asian Performance 2009, New York, NY( August 7, 2009).
  • Learning and Teaching Japanese Language through Drama (with Junko Fujimoto). Princeton Japanese Pedagogy Forum, Princeton, NJ (May 2, 2009).
  • “Foreign Language Program Articulation through Performance-based Activities,” chaired by Yoshiko Fukushima. Southwest Conference on Language Teaching (SWCOLT), Norman, OK (April 2-4, 2009)
  • “The Role of Enoken in Occupied Japan: Creation of Contemporary Kabuki with Jazzy Music and Dance.” In “Regenerating Japanese Theatre in Occupied Japan,” organized by Yoshiko Fukushima. 60th Annual Meeting of the Association for Asian Studies in Chicago, IL (March 26-29 2009)
  • “Singing and Dancing Enoken’s Grand Finale, Dancing Boogie Woogie.” In “Avant-Garde Crossover: Circus, Vaudeville Varieties.” The 32nd Comparative Drama Conference: Text and Presentation, Culver City, California (April, 2008)
  • “Hirata Oriza’s ri-a-ri-zu-mu – Japan’s Everyday Revisited.” In “Public Traumas, Private Performances, and the Everyday Event,” chaird by Barbar Kirschenblatt-Gimblett. The Performance Studies International Conference #13: happening/performance/event, Tisch School of the Arts, New York University (November 7-11, 2007)
  • “Medea in Hanbok: Japanese Theatre Director Miyagi Satoshi’s Experimental Theatre.” In “Asian perspectives on Ancient Greek Theatre.” 21th Annual Association for Theater in Higher Education (ATHE) Conference, New Orleans (July, 2007).
  • “Documentary Theatre in the Japanese Style: Anti-Nuclear War Plays by Noda Hideki.” The 11th Asian Studies Conference, Tokyo Japan (June 23-24, 2007).
  • “Censored Modern Comedy – Le Voyage Innui de Monsieur Enoken.” The Modern Languages Faculty Colloquia, University of Oklahoma (November 16, 2006).“Teaching Japanese Theatre in the General Education Core Curriculum” In “Roundtable: Translation and the Teaching of Asian Performance.” 20th Annual Association for Theater in Higher Education (ATHE) Conference, Chicago (July 26, 2006).
  • “Playful in Wartime Japan: Comedians, Enomoto Kenichi.” In “Mode of Communications in Japan: Play,” organized by Yoshiko Fukushima. The Performance Studies International Conference #12: Performing Rights, Queen Mary, University of London (June 15-18, 2006)
  • “Shuko in Acharaka Comedies: A Case of Comedian Enoken.” In “Tansforming Devices, Shuko in Japanese Popular Performance,” chaired by Yoshiko Fukushima. The 30th Comparative Drama Conference: Text and Presentation, Marina del Rey, California (March 30-April 1, 2006)
  • “Kerarino Sandrovich’s Comedies: Where Kafka’s World Meets J-Comedy.” The 29th Comparative Drama Conference. California State University, Northridge (March 31-April 2, 2005).
  • “When Hollywood Comes to a Japanese theater: Kerarino Sandrovich’s Comedies.” In “Performing Imperialism and Cultural Otherness in Modern East Asia.” American Comparative Literature Association (ACLA) 2005 Annual Meeting, The Pennsylvania State University (March 11-13, 2005).
  • “Application of Drama in Language Teaching: Using Hirata Oriza’a Plays,”Japan Studies Association of Canada (JSAC)’s 18th Annual Conference, University of Victoria, British Columbia, Canada. (October 15-17, 2004).
  • “The Mask, Interface of Past and Future: Nomura Mannojo’s Shingigaku.” Association of Asian Performance 4th Annual Conference, Toronto, Canada (July 28, 2004).
  • “Popularization of Theatre and Birth of Comedy.” Towards a Modern Japanese Theatre (Revisited), The University of Pittsburg (September 18 2003).
  • “One War, Many Voices—Ken Ong Sen’s Dream Time in Morishita Studio.” 16th Dokkyo International Forum, Tokyo (December 15, 2002).
  • “Listening to the Dissonance: Dejan Dukovski’s Powder Keg.” 16th Dokkyo International Forum, Tokyo (December 14, 2002).
  • “Are you Modern or Postmodern?­­—The Plays of Hisashi Inoue and Noda Hideki.” Southern Comparative Literature Association Conference, The University of Alabama in Tuscaloosa (October 10-12, 2002).
  • “One War, Two Stories: Japan in Ong Keng Sen’s Theatre.” 2nd Annual Conference of the Association for Asian Performance (AAP), San Diego (July 24, 2002).