Connecting Learning, Life and Aloha
‘O ka ‘imi na‘auao, ke ola a me ke aloha kā kākou e huliāmahi ai

Yoshiko Fukushima's Curriculum Vitae

Department of Languages, Humanities Division, UH Hilo

October 2015

On this page:

I. Education

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

II. Employment [selective]

  • Associate Professor of Japanese (tenured) Department of Languages, University of Hawaii at Hilo, 2012 to present
  • Associate Professor of Japanese and Chair (tenure-track), Department of Languages, University of Hawaiʻi at Hilo, 2009 to 2012
  • Associate Professor of Japanese (tenured), Department of Modern Languages, Literatures, and Linguistics, University of Oklahoma, 2006 to 2009
  • Assistant Professor of Japanese (tenure-track), Department of Modern Languages, Literatures, and Linguistics, University of Oklahoma, 1999 to 2006
  • Full-time Instructor Japanese Program, Interdepartmental Studies, Gettysburg College, Pennsylvania 1998-1999
  • Part-time Instructor, Japanse 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, 1995-1996
  • Graduate Assistant, Japanese Program, East Asian Studies, New York University, New York, 1992-1995
  • Part-time Instructor, Japanese Program, Toyota Language Center, Japan Society, New York, 1990-1994
  • Part-time Instructor, Summer Japanese Program, East Asian Languages and Cultures Department, Columbia University, New York, 1992
  • Teaching Assistant, Japanese Program, East Asian Languages and Cultures Department, Columbia University, New York, 1989-1992
  • Part-time Instructor, Japanese Program, Continuing Education Program, Baruch College, City University of New York, New York, 1989-1990
  • Assistant to Curator, Tsubouchi Shoyo Memorial Theatre Museum of Waseda University, Tokyo, Japan, 1981-1983

III. Publications [selective]

Books

  • Documentary Theatre in Japan: Documenting Wars and Nuclear Disasters. [manuscript in progress]
  • When the Comic Mind Meets the Japanese Mind. [manuscript in progress]
  • Manga Discourse in Japanese Theater: The Location of Noda Hideki’s Yume no Yūminsha. London & New York: Kegan Paul Limited 2003; Routledge 2005, 2013 [kindle edition]. [ISBN 0-7103-0937-6].

Book, Chapters, Journal Articles (peer-revied)

  • “Asakusa Opera.” In Routledge Encyclopedia of Modernism. Edited by Stephan Ross. London and New York: Routledge, 2016 [forthcoming].
  • “Enomoto Kenichi.” In Routledge Encyclopedia of Modernism. Edited by Stephan Ross. London and New York: Routledge, 2016 [forthcoming].
  • “Furukawa Roppa.” In Routledge Encyclopedia of Modernism. Edited by Stephan Ross. London and New York: Routledge, 2016 [forthcoming].
  • “Shochiku.” In Routledge Encyclopedia of Modernism. Edited by Stephan Ross. London and New York: Routledge, 2016 [forthcoming].
  • “Soganoya Goro.” In Routledge Encyclopedia of Modernism. Edited by Stephan Ross. London and New York: Routledge, 2016 [forthcoming].
  • “Teikoku Gekijo.” In Routledge Encyclopedia of Modernism. Edited by Stephan Ross. London and New York: Routledge, 2016 [forthcoming].
  • “Kazuo Kuroki/Inoue Hisashi’s Chichi to Kuraseba: Remember. Protest and Return to Ordinary Life.” In The Atomic Bomb in Japanese Cinema: Critical Essays. Edited by Matthew Edwards. Jefferson, NC: McFarland, 2015 [ISBN 978-0-7864-7912-2], pp. 171-183.
  • “Hirata Oriza’s Quiet Theatre Poetics: Citizens of Seoul and Citizens of Sao Paulo.” In The Journal of Modern English Drama. Seoul: Modern British and American Society of Korea, Vol. 27. No 1, 2014 [ISSN 1226-3397], pp. 249-287.
  • “Rebellion against the Major: Miyagi Satoshi and Ku Na’uka’s Oshu Adachigahara.” In Divergence and Convergence in the Global Cultural Production. Edited by Pengxiang Chen and Terence Russell. Occasional Papers Series 2. Taiwan: Taiwan ELT Publishing, 2012 [ISBN 978-986-6760-10-5], pp. 53-74.
  • “Ambivalent Mimicry in Enomoto Kenichi’s Wartime Comedy.” In Journal of Comedy Studies [ISSN 2040-610x], Vol. 2. No 1. 2011, pp. 21-37.
  • “Learning and Teaching Japanese Language through Drama.” (with Junko Fujimoto). The Conference Proceedings. The16th Princeton Japanese Pedagogy Forum, 2009, pp. 75-93.
  • “To the Rhythm of Jazz: Enoken’s Postwar Musical Comedies.” In Rising From the Flames: The Rebirth of Theatre in Occupied Japan, 1945-1952. Ed. Samuel L. Leiter. Lanham: Lexington Press Books. 2009 [ISBN: 0-7391-2818-3], pp. 259-284.
  • “Akimoto Matsuyo” In Encyclopedia of Asian Theatre. Vol. 1. Edited by Samuel L. Leiter. Westport: Greenwood Publishing Group 2007 [ISBN 978-0-313-33529-7], pp. 31-32.
  • “Asakura Setsu.” In Encyclopedia of Asian Theatre. Vol. 1. Edited by Samuel L. Leiter. Westport: Greenwood Publishing Group 2007 [ISBN 978-0-313-33529-7], p. 38.
  • ‘Hijikata Tatsumi.” In Encyclopedia of Asian Theatre. Vol. 1. Edited by Samuel L. Leiter. Westport: Greenwood Publishing Group 2007 [ISBN 978-0-313-33529-7], p. 235.
  • “Hojo Hideji.” In Encyclopedia of Asian Theatre. Vol. 1. Edited by Sam Leiter. Westport: Greenwood Publishing Group 2007 [ISBN 978-0-313-33529-7], p. 237.
  • “Inoue Hisashi.” In Encyclopedia of Asian Theatre. Vol. 1.Edited by Samuel L. Leiter. Westport: Greenwood Publishing Group 2007 [ISBN 978-0-313-33529-7], pp. 271-272.
  • “Matsuda Masataka.” In Encyclopedia of Asian Theatre. Vol. 1. Edited by Samuel L. Leiter. Westport: Greenwood Publishing Group 2007 [ISBN 978-0-313-33529-7], p. 418.
  • “Matsuo Suzuki.” In Encyclopedia of Asian Theatre. Vol. 1. Edited by Samuel L. Leiter. Westport: Greenwood Publishing Group 2007 [ISBN 978-0-313-33529-7], p. 419.
  • “Nagai Ai.” In Encyclopedia of Asian Theatre. Vol. 1.Edited by Samuel L. Leiter. Westport: Greenwood Publishing Group 2007 [ISBN 978-0-313-33529-7], p. 453.
  • “Sawada Shojiro” In Encyclopedia of Asian Theatre. Vol. 2. Edited by Samuel L. Leiter. Westport: Greenwood Publishing Group 2007 [ISBN 978-0-313-33529-7], pp. 645-646.
  • “Takizawa Osamu.” In Encyclopedia of Asian Theatre. Vol. 2. Edited by Samuel L. Leiter. Westport: Greenwood Publishing Group, 2007 [ISBN 978-0-313-33529-7], pp. 717-718.
  • “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 [ISBN 0-7391-1152-3], pp.171-187.
  • “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 [ISBN 1-55058-304-2], pp.443-454.
  • “Masks, Interface of Past and Future – Nomura Mannojo’s Shingigaku.” In Asian Theatre Journal [ISSN 0742-5457]. vol.22, no.2, 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.
  • “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) [ISBN 82-91320-20-9]. Bergen, Norway: HIT Centre, University of Bergen 2000: WS426 (3893 words). [CD-ROM Publication].
  • “Kotoba asobi (speech play) of Noda’s Theatre in the 1980s and Japanese Postmodernism.” 15th Annual Conference of the Southeast Association of Teachers of Japanese (SEATJ) Proceedings. Atlanta: Emory University, 2000: pp.1-12. [Internet Publication].
  • “Shaw and Women: The Characteristics of Women Figures in George Bernard Shaw’s Earlier Plays.” (in Japanese) In Bulletin of the Graduate Division of Literature of Waseda University. Tokyo: Waseda University Press, 1983: pp.30-33.

_Reviews

  • “Review: Michelle Solberg’s dissertation: Negotiating Democracy: A Cultural and Theoretical Analysis of Theatre for Children and Young People in Postwar Japan” Dissertation.org.
  • “Japan's Modernity and its Mechanism - Inexorable Modernity” In Asian Theatre Journal [ISSN 0742-5457]. Vol. 31, no. 1 (Spring 2014), pp. 346-350.
  • “James R. Brandon. Kabuki’s Forgotten War: 1931-1945.” In Text and Presentation 2010. Jefferson, North Carolina: McFarland, 2011, pp. 177-179].
  • “Inside and Other Short Fiction: Japanese Women by Japanese Women.” In World Literature Today, vol.81, no 2. (Mar-April 2007), p. 62.
  • “The Theatre of Suzuki Tadashi.” In Theatre Journal [ISSN 0192-2882], Vol.57, no.3, 2005, pp. 535-536.
  • “Perspectives on Korean Dance by Judy Van Zile.” In TDR (The Drama Review) [ISSN 1054- 2043]. vol. 47, no.1 (T177) (Winter 2003), pp.194-95.
  • “Theatre and the Politics of Culture in Contemporary Singapore by William Peterson.” In Asian Theatre Journal [ISSN 0742-5457]. vol. 19, no.1 (Spring 2002), pp. 369-371.

_Translations

  • Translation of “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 [Peer-reviewed].
  • Translation of Hitsujuya Shirotama’s Jōnestu (Passion) for Yubiwa Hotel’s production under the same title. Directed by Hitsujiya Shirotama. Tokyo, 1-5 May 2003 [Credit is listed. Internet Site: http://www.yubiwahotel.com/rhapsody/trailer.html].
  • Translation of 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.
  • Translation of 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. [Credit is listed in the program.]

Recitals, Worlshops Events

  • Film Show Coordinator and Moderator. Documentary film: The Promise. UH Hilo (September 29, 2015).
  • Film Show Coordinator. Documentary film commemorating the 4th anniversary of Tohoku Triple Disaster in Japan: A2-B-C. UH Hilo (March 6, 2015).
  • Event Host. Workshops for Mikusa not Mitakra (Three Treasures: Japanese Ancient Magic to Live Joyfully) held by the dancer Iida Shigemi. Hilo, Waimea, and Kona, Big Island, Hawaii (February 20 to March 8, 2015).
  • Coordinator of Japanese theatre playwright, director and Panel Moderator, Hirata Oriza’s Workshop and Production, College of Arts and Sciences & Drama School, University of Oklahoma, March 2006.
  • 16th Recital of noh, kyogen and nihonbuyo, Traditional Theatre Training Workshop 2000 [performed as a noh dancer onstage], Kyoto Art Center, July 8, 2000.
  • Princeton Japanese Language Pedagogy Workshop, 1993, 1994, 1995, 1996, & 1999
  • The New England Region Japanese Language Workshop, 1991, 1992
  • ACTFL Oral Proficiency Test Workshop, Japan Society, New York, 1991.
  • ACTFL Oral Proficiency Test Workshop, Columbia University, New York, 1990.
  • Rassias Method Workshop [participated as demonstrator], Baruch College, CUNY, 1990.
  • Silent Way Method Workshop, Teachers College, New York, 1988.

IV. Presentations [selective]

  • Invited Presentation, “Quiet Theatre Poetics in Citizens of Seoul, Citizens of Seoul 1919, Citizens of Seoul 1929:Graffiti, Citizens of Seoul 1939: The Contrapuntal Music of Love, and Citizens of Sao Paulo,” Modern British & American Drama Society of Korea (MBADA 2012) International Conference, Sungkyungwan University, Seoul, 2012 [Invited as keynote speaker].
  • Discussant to Keynote Speaker, “Intercultural Theatre” presented by Dr. Patrice Pavis, Modern British & American Drama Society of Korea (MBADA 2012) International Conference, Sungkyungwan University, Seoul, 2012.
  • Keynote 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 [Invited as keynote speaker].
  • Paper Presentation, “Human Art Center Iida Shigemi's Transformation: from e-dance to Mikusa no Mitakara,” in Panel VIII: Japanese Theatre Challenging Context and Tradition, Association of Asian Performance 14th Annual Conference, Montréal, Québec, Canada (July 29-30, 2015).
  • Panelist, “Roundtable I: Asian Theatre in Public Schools and in the Community –Strategies and Challenges,” Association of Asian Performance 14th Annual Conference, Montréal, Québec, Canada (July 29-30, 2015).
  • Paper Presentation, “Being ‘International’ Politically an Theatrically: Collaboration of Sano Seki and Senda Koreya,” in Panel V: The Tension Between Art and Politics: Japanese Proletarian Theatre Artists in the 1920s-1930s, Association of Asian Performance 13th Annual Conference, Fairmont Scottsdale Princess Hotel (July 23-24, 2014).
  • Paper Presentation, “On Noda Hideki’s Canon,” in Panel: Cultural Responses to the United Red Army Affair, The Asian Studies Conference Japan (ASCJ), Sophia University, Tokyo Japan (June 21-22, 2014).
  • Paper Presentation, “The United Red Army in Noda Hideki’s Canon,” The 38th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (April 4-6, 2014).
  • Roundtable Panelist, “Teaching Tips and Trade Secrets,” with Miriam Chirico (Eastern Connecticut State University) and Kelly Younger (Loyola Marymount University); Panelists: Birte Giesler (University of Applied Sciences Bielefeld), Graley Herren (Xavier University), Les Essif (University of Tennessee), Ian Andrew MacDonald (Dickinson College), Jay Malarcher (West Virginia University), and William Boles (Rollins College), The 38th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (April 4-6, 2014).
  • Panel Moderator, “Poetry as Performance/Poetry Enacted: From Ekphrasis to Guerilla Theatre,” The 38th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (April 4-6, 2014).
  • Panel Moderator, “Political Theatre: Pakistan, Iran, and Turkey,” The 38th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (April 4-6, 2014).
  • Panel Moderator, “Tales of Translations and Adaptations the Crossed Cultures,” The 37th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (April 4-6, 2013).
  • Panel Moderator, “The New Faces of Blackface,” The 37th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (April 4-6, 2013).
  • Paper Presentation, “Wartime Collaboration: An Example of Intercultural Performance in Japan and Occupied China in the 1930s,” The 37th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (April 4-6, 2013).
  • Roundtable Panelist, “David Goodman and the Modern and Avant-garde Japanese Theatre / Karen Brazell and Traditional Japanese Theatre Panel Discussion/Roundtable,” 26th Annual Association for Theater in Higher Education (ATHE), Hyatt Regency Capitol Hill, Washington, D.C. (Aug 3, 2012).
  • Paper Presentation, “Absence”/”Failure” (fuzei/hizai) and shingeki Acting kata,” in Panel: Between Resistance/Reform and the Status Quo: The Establishment and Subversion of Shingeki “Kata” in the 20th Century, Association of Asian Performance 11th Annual Conference, Hyatt Regency Capitol Hill, Washington D.C. (Aug 1-2, 2012).
  • Panel Moderator, “From Theatre to Cinema,” The 36th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (March 29-31, 2012).
  • Panel Moderator, “Engaging the Dramas of Iran,” The 36th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (March 29-31, 2012).
  • Paper Presentation, “Between Theatre and Politics: Hirata Oriza 2011,” The 36th Comparative Drama Conference: Text and Presentation, Pier 5 Hotel, Baltimore MD (March 29-31, 2012).
  • Paper Presentation, “Can Musical Comedy Become the Theatre of the Nation?” in Evolving National Identity, Association of Asian Performance 11th Annual Conference, Palmer House Hilton, Chicago, (Aug 10-11, 2011).
  • Paper Presentation, “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).
  • Paper Presentation, “Soldier Furukawa Roppa in His Wartime Comedy,” The 35th Comparative Drama Conference: Text and Presentation, Culver City, California (March 24-26, 2011).
  • Paper Presentation, “Blackface in 1930s and 40s Japan: Ambivalence of Mimicry in Enomoto Kenichi’s Performance,” in Panel: Comedy Close to the Edge: Race, Gender, Class and Nation, The 2010 Crossroads for Cultural Studies Conference, Hong Kong (June 17-21, 2010).
  • Paper Presentation, “War and Identity in Ku Na’uka’s Oshu Adachigahara,” in Panel: Intercultural Japan and History, The 34nd Comparative Drama Conference: Text and Presentation, Culver City, California (March 25-27, 2010).
  • Paper Presentation, “Comedy in Wartime Japan: Furukawa Roppa’s War Propaganda Plays,” in Panel: Tears and Laughter in Asian Comedy, Association of Asian Performance 2009, New York, NY (August 7, 2009).
  • Paper Presentation, Learning and Teaching Japanese Language through Drama (with Junko Fujimoto), Princeton Japanese Pedagogy Forum, Princeton, NJ (May 2, 2009).
  • Paper Presentation, “The Role of Enoken in Occupied Japan: Creation of Contemporary Kabuki with Jazzy Music and Dance,” in Panel: 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).
  • Paper Presentation, “Singing and Dancing Enoken’s Grand Finale, Dancing Boogie Woogie,” in Panel: Avant-Garde Crossover: Circus, Vaudeville Varieties, The 32nd Comparative Drama Conference: Text and Presentation, Culver City, California (April, 2008).
  • Paper Presentation, “Hirata Oriza’s ri-a-ri-zu-mu – Japan’s Everyday Revisited,” in Panel: Public Traumas, Private Performances, and the Everyday Event” chaired 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).
  • Paper Presentation, “Medea in Hanbok: Japanese Theatre Director Miyagi Satoshi’s Experimental Theatre,” in Panel: Asian perspectives on Ancient Greek Theatre,” 21th Annual Association for Theater in Higher Education (ATHE) Conference, New Orleans (July, 2007).
  • Paper Presentation, “Documentary Theatre in the Japanese Style: Anti-Nuclear War Plays by Noda Hideki,” The 11th Asian Studies Conference, Tokyo, Japan (June 23-24, 2007).
  • Paper Presentation. “Comparative /Intercultural Japan” chaired by Yoshiko Fukushima. Respondent to Nobuko Anan’s “In Search of ‘Home’?: ‘Maid Café’ and Its Cultural Signification,” Yasutaka Maruki (Pacific University) “Dramatic Space of Zeami and Anton Chekhov: Arrival, Departure and Emotions of Place,” and Guohe Zheng (Ball State University) “Politics as Cause of Barrier of Sino-Japanese Mutual Understanding: A Study of Two Productions of A Woman’s Life in China.” The 31th Comparative Drama Conference: Text and Presentation, Culver City, California (March 29-March 31, 2007)
  • Paper Presentation. “Censored Modern Comedy – Le Voyage Innui de Monsieur Enoken.” The Modern Languages Faculty Colloquia, University of Oklahoma (November 16, 2006).
  • Roundtable Panelist, “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).
  • Paper Presentation, “Playful in Wartime Japan: Comedians, Enomoto Kenichi,” in Panel: 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).
  • Paper Presentation, “Shuko in Acharaka Comedies: A Case of Comedian Enoken,” in Panel: Transforming 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).
  • Paper Presentation, “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).
  • Paper Presentation, “When Hollywood Comes to a Japanese theater: Kerarino Sandrovich’s Comedies,” in Panel: 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).
  • Paper Presentation, “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).
  • Paper Presentation, “The Mask, Interface of Past and Future: Nomura Mannojo’s Shingigaku,” Association of Asian Performance 4th Annual Conference, Toronto, Canada (July 28, 2004).
  • Paper Presentation, “Popularization of Theatre and Birth of Comedy,” Conference: Towards a Modern Japanese Theatre (Revisited), The University of Pittsburg (September 18, 2003).
  • Paper Presentation, “One War, Many Voices—Ken Ong Sen’s Dream Time in Morishita Studio,” 16th Dokkyo International Forum, Tokyo (December 15, 2002).
  • Paper Presentation, “Listening to the Dissonance: Dejan Dukovski’s Powder Keg,” 16th Dokkyo International Forum, Tokyo (December 14, 2002).
  • Paper Presentation, “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).
  • Paper Presentation, “Asianists in the Academy: A Roundtable Discussion,” 16th Annual Association for Theater in Higher Education (ATHE) Conference, San Diego (July 26, 2002).
  • Paper Presentation, “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).
  • Roundtable Panelist, Writers and Politics: The Role of Writers in the USA and the World, coordinated by Gustav Murin, ArtsLink Program, New York, The University of Oklahoma (April 26, 2001).
  • Paper Presentation, “Presenting Japan in Singapore: Ong Keng Sen Directs Kuo Pao Kun’s Spirits Play,” 52nd Annual Meeting of the Association for Asian Studies in Chicago, IL (March 22-25, 2001). Revised version presented at Kappa Gamma Epsilon Faculty Lectures Series, Modern Languages Students Association (April 26, 2001).
  • Paper Presentation, “Can We Watch Bitter Rice Now?––De Santis’s Bitter Rice and Rossellini’s Germany Year Zero,” 7th Conference of the International Society for the Study of European Ideas (ISSEI), Bergen, Norway (August 14-18, 2000).
  • Paper Presentation, “Introduction to Mizoguchi’s The Life of Oharu,” Panel: Screening the Self: (Auto)Biography and Film, Film Festival of the Other Film Club, Norman, Oklahoma (May 22-24, 1999).
  • Paper Presentation, “Imamura’s Dr. Akagi and Sakaguchi Ango,” The Asian Cinema Studies Society (ACSS) 2000 Conference, Norman, Oklahoma (May 19-21, 2000).
  • Paper Presentation, “Kotoba asobi (speech play) of Noda’s Theatre in the 1980s and Japanese Postmodernism,” 15th Annual Conference of the Southeast Association of Teachers of Japanese (SEATJ), Emory University, Atlanta GA (March 18, 2000).
  • Paper Presentation, “Shogekijo (Little Theatre) in the 1980s and Manga,” 115th Modern Language Association (MLA) Annual Convention, Chicago, IL (December 29, 1999).

V. Awards and Grants [selective]

  • The Gary B. Cohen Teaching Award, School of International Area Studies, University of Oklahoma (February 2006)
  • Travel Award, University of Hawaii at Hilo (2014, 2012, 2011).
  • Research Relations Grant, University of Hawaii at Hilo (June 2010)
  • Faculty Travel Assistance Grant, University of Oklahoma (2000, 2004, 2005, 2006, 2007, 2008).
  • CAS Travel Grant, University of Oklahoma (2004, 2005, 2006, 2007, 2008).
  • CAS Faculty Enrichment Grant, University of Oklahoma (2001, 2004, 2005, 2007, 2008).
  • Junior Faculty Summer Fellowship, University of Oklahoma (2001, 2002, 2005).
  • Presidential Travel Fellowship, University of Oklahoma (1999-2000)

VI. Service [selective]

Department

  • Lab Coordinator, Department of Languages, Humanities Division, UH Hilo (2011 to 2012)
  • Faculty Advisor, Japanese Studies, UH Hilo (2010 to present)
  • Faculty Member, Chinese Studies, UH Hilo (2010 to 2012)

University

  • Member, Scholarship Committee, Women’s Studies, CAS, UH Hilo (2015)
  • Affiliate member, Women’s Studies, CAS, UH Hilo (2014 to present)
  • Member, CAS Liberal Arts Program Coordinator (2014 to present)
  • Coordinator, Liberal Studies Program, CAS (2013 to present)
  • Member, CAS Academic Policy Committee, UH Hilo (2012 to present)
  • Member, CAS Executive Senate Committee [elect], UH Hilo (2012 to present)
  • Member, CAS Course & Curriculum Committee [elect], UH Hilo (2012)
  • Member, DPC Committee [elect as alternate, served as member], Humanities Division, CAS, UH Hilo (2012)
  • Languages Transfer Credit Approval Designee for Global Exchange, UH Hilo (2011 to present)
  • Chair, Assistant Professor of Filipino Search Committee, UH Hilo (2011 to 2012)
  • Chair, Course & Curriculum Subcommittee, Graduate Council, UH Hilo (2011 to 2012)
  • Faculty Advisor, Japanese Studies Program, UH Hilo (2010 to present)
  • Planner, Chinese Studies Major (B.A.) Program ATP preparation, UH Hilo (2010 to 2012) [pending]
  • Collaborator, Filipino Studies Certificate Program Proposal Preparation, UH Hilo (2010 to 2012)
  • Member, Study Abroad at Nanzan University Selection Committee, Center for Global Education and Exchange, UH Hilo (2010)
  • Chair, Assistant Professor of Chinese Search Committee, UH Hilo (2010)
  • Faculty Member, Japanese Studies, UH Hilo (2009 to present)
  • Planner, Chinese Studies Certificate Program Proposal Preparation, UH Hilo (2009 to 2012)
  • Chair, Department of Languages, Humanities Division, CAS, UH Hilo (2009 to 2012)
  • Member, Graduate Council, UH Hilo (2009 to 2012)
  • Collaborator, Confucius Institute planning, UH Hilo (2009 to 2010)
  • Affiliate Faculty Member, China-U. S. Relations, UH Hilo (2009 to 2013)
  • Member, Japanese Studies Program Steering Committee, UH Hilo (2009 to 2010)
  • Associate Contributing Editor, World Literature Today, OU (2001 to 2009)
  • Associate Faculty Member, Film & Video Studies, CAS, OU (2000 to 2009)
  • Affiliated Faculty Member, School of International Area Studies, OU (1999 to 2009)
  • Speaker, Kappa Gamma Epsilon Faculty Lecture Series, Modern Languages Students Association Lectures Series, OU (April 26, 2001)
  • Panel Moderator, Asian Symposium Committee, School of International Area Studies, OU (2001)

UH System

  • Ph. D. Dissertation Committee for Nick Ishimaru, Department of Theatre and Dance, UH Manoa (2012 to present)
  • Third UH System Workshop on Pacific and Asian Studies, Kapi‘olani Community College (Saturday, March 3, 2012)

Professional

  • Liaison for OU-Tulsa Outreach, The Japan Foundation Group-Tour Program for Educator (2008)
  • Executive Board Member, Comparative Drama Conference (2006 to present)
  • Member, The Editorial Board, Text & Presentation. Jefferson, NC: McFarland (2006 to present)
  • Member, Emerging Scholar Selection Committee, Association of Asian Performance AAP (2004 to present)
  • Judge, The Japan Exchange and Teaching (JET) Program, Consulate General of Japan, New York, Houston & Honolulu (1997 to present)