Attach to Form 990 or Form 990-EZ.
Go to
www.irs.gov/Form990 for instructions and the latest information.
| (i) Name of supported organization | (ii) EIN | (iii) Type of organization (described on lines 1- 10 above (see instructions)) | (iv) Is the organization listed in your governing document? | (v) Amount of monetary support (see instructions) | (vi) Amount of other support (see instructions) | |
|---|---|---|---|---|---|---|
| Yes | No | |||||
|
Total |
||||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 6,309,127 | 6,086,437 | 5,291,959 | 5,381,125 | 5,809,634 | 28,878,282 |
| 2 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf.... | ||||||
| 3 | The value of services or facilities furnished by a governmental unit to the organization without charge.. | ||||||
| 4 | Total. Add lines 1 through 3 | 6,309,127 | 6,086,437 | 5,291,959 | 5,381,125 | 5,809,634 | 28,878,282 |
| 5 | The portion of total contributions by each person (other than a governmental unit or publicly supported organization) included on line 1 that exceeds 2% of the amount shown on line 11, column (f) .. | 760,558 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 28,117,724 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 6,309,127 | 6,086,437 | 5,291,959 | 5,381,125 | 5,809,634 | 28,878,282 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 2,000,161 | 1,705,119 | 1,650,046 | 2,136,315 | 1,546,223 | 9,037,864 |
| 9 | Net income from unrelated business activities, whether or not the business is regularly carried on.. | ||||||
| 10 | Other income. Do not include gain or loss from the sale of capital assets (Explain in Part VI.).. | 300,013 | 173,521 | 289,908 | 18,652 | 87,810 | 869,904 |
| 11 | Total support. Add lines 7 through 10 | 38,786,050 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grants.") . | ||||||
| 2 | Gross receipts from admissions, merchandise sold or services performed, or facilities furnished in any activity that is related to the organization's tax-exempt purpose | ||||||
| 3 | Gross receipts from activities that are not an unrelated trade or business under section 513 ..... | ||||||
| 4 | Tax revenues levied for the organization's benefit and either paid to or expended on its behalf... | ||||||
| 5 | The value of services or facilities furnished by a governmental unit to the organization without charge | ||||||
| 6 | Total. Add lines 1 through 5 | ||||||
| 7a | Amounts included on lines 1, 2, and 3 received from disqualified persons | ||||||
| b | Amounts included on lines 2 and 3 received from other than disqualified persons that exceed the greater of $5,000 or 1% of the amount on line 13 for the year. | ||||||
| c | Add lines 7a and 7b.. | ||||||
| 8 | Public support. (Subtract line 7c from line 6.) | ||||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2017 | (b) 2018 | (c) 2019 | (d) 2020 | (e) 2021 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 9 | Amounts from line 6... | ||||||
| 10a | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources.. | ||||||
| b | Unrelated business taxable income (less section 511 taxes) from businesses acquired after June 30, 1975. | ||||||
| c | Add lines 10a and 10b. | ||||||
| 11 | Net income from unrelated business activities not included on line 10b, whether or not the business is regularly carried on. | ||||||
| 12 | Other income. Do not include gain or loss from the sale of capital assets (Explain in Part VI.) .. | ||||||
| 13 | Total support. (Add lines 9, 10c, 11, and 12.).. | ||||||
| Section A - Adjusted Net Income | (A) Prior Year |
(B) Current Year (optional) |
||||
| 1 | Net short-term capital gain | 1 | ||||
| 2 | Recoveries of prior-year distributions | 2 | ||||
| 3 | Other gross income (see instructions) | 3 | ||||
| 4 | Add lines 1 through 3 | 4 | ||||
| 5 | Depreciation and depletion | 5 | ||||
| 6 | Portion of operating expenses paid or incurred for production or collection of gross income or for management, conservation, or maintenance of property held for production of income (see instructions) | 6 | ||||
| 7 | Other expenses (see instructions) | 7 | ||||
| 8 | Adjusted Net Income (subtract lines 5, 6 and 7 from line 4) | 8 | ||||
| Section B - Minimum Asset Amount | (A) Prior Year |
(B) Current Year (optional) |
||||
| 1 | Aggregate fair market value of all non-exempt-use assets (see instructions for short tax year or assets held for part of year): | 1 | ||||
| a | Average monthly value of securities | 1a | ||||
| b | Average monthly cash balances | 1b | ||||
| c | Fair market value of other non-exempt-use assets | 1c | ||||
| d | Total (add lines 1a, 1b, and 1c) | 1d | ||||
| e |
Discount claimed for blockage or other factors (explain in detail in Part VI): |
|||||
| 2 | Acquisition indebtedness applicable to non-exempt use assets | 2 | ||||
| 3 | Subtract line 2 from line 1d | 3 | ||||
| 4 | Cash deemed held for exempt use. Enter 0.015 of line 3 (for greater amount, see instructions). | 4 | ||||
| 5 | Net value of non-exempt-use assets (subtract line 4 from line 3) | 5 | ||||
| 6 | Multiply line 5 by 0.035 | 6 | ||||
| 7 | Recoveries of prior-year distributions | 7 | ||||
| 8 | Minimum Asset Amount (add line 7 to line 6) | 8 | ||||
| Section C - Distributable Amount | Current Year | |||||
| 1 | Adjusted net income for prior year (from Section A, line 8, Column A) | 1 | ||||
| 2 | Enter 85% of line 1 | 2 | ||||
| 3 | Minimum asset amount for prior year (from Section B, line 8, Column A) | 3 | ||||
| 4 | Enter greater of line 2 or line 3 | 4 | ||||
| 5 | Income tax imposed in prior year | 5 | ||||
| 6 | Distributable Amount. Subtract line 5 from line 4, unless subject to emergency temporary reduction (see instructions) | 6 | ||||
| Section D - Distributions | Current Year | |
|---|---|---|
| 1 Amounts paid to supported organizations to accomplish exempt purposes | 1 | |
|
2
Amounts paid to perform activity that directly furthers exempt purposes of supported organizations, in excess of income from activity |
2 | |
| 3 Administrative expenses paid to accomplish exempt purposes of supported organizations | 3 | |
| 4 Amounts paid to acquire exempt-use assets | 4 | |
| 5 Qualified set-aside amounts (prior IRS approval required - provide details in Part VI) | 5 | |
| 6 Other distributions (describe in Part VI). See instructions | 6 | |
| 7Total annual distributions. Add lines 1 through 6. | 7 | |
|
8
Distributions to attentive supported organizations to which the organization is responsive (provide details in Part VI). See instructions |
8 | |
| 9 Distributable amount for 2021 from Section C, line 6 | 9 | |
| 10 Line 8 amount divided by Line 9 amount | 10 | |
| Section E - Distribution Allocations (see instructions) |
(i) Excess Distributions |
(ii) Underdistributions Pre-2021 |
(iii) Distributable Amount for 2021 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2021 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2021 (reasonable cause required-- explain in Part VI). See instructions. |
||||
| 3 Excess distributions carryover, if any, to 2021: | ||||
| a From 2016....... | ||||
| b From 2017....... | ||||
| c From 2018....... | ||||
| d From 2019....... | ||||
| e From 2020....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2021 distributable amount | ||||
|
i
Carryover from 2016 not applied (see instructions) |
||||
| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2021 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2021 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2021, if any. Subtract lines 3g and 4a from line 2. If the amount is greater than zero, explain in Part VI. See instructions. |
||||
|
6
Remaining underdistributions for 2021. Subtract lines 3h and 4b from line 1. If the amount is greater than zero, explain in Part VI. See instructions. |
||||
|
7 Excess distributions carryover to 2022. Add lines 3j and 4c. |
||||
| 8 Breakdown of line 7: | ||||
| a Excess from 2017..... | ||||
| b Excess from 2018..... | ||||
| c Excess from 2019..... | ||||
| d Excess from 2020..... | ||||
| e Excess from 2021..... | ||||
| Facts And Circumstances Test |
|---|
| Return Reference | Explanation |
|---|---|
| SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: | MISC INCOME - 2017 AMOUNT: $ 72,884. 2018 AMOUNT: $ 17,059. 2019 AMOUNT: $ 187,268. 2020 AMOUNT: $ 17,739. 2021 AMOUNT: $ 7,056. REIMBURSEMENTS - 2017 AMOUNT: $ 227,129. 2018 AMOUNT: $ 156,462. 2019 AMOUNT: $ 102,640. 2020 AMOUNT: $ 913. 2021 AMOUNT: $ 80,754. |
| Software ID: | |
| Software Version: |
Attach to Form 990 or 990-EZ.
Go to www.irs.gov/Form990 for the latest information.
| Return Reference | Explanation |
|---|---|
| PART III - LINE 4A: GALLERY | SHIKO MUNAKATA: A WAY OF SEEING DECEMBER 10, 2021 - MARCH 20, 2022, ON SITE AND ONLINE VIA 3D TOUR SHIKO MUNAKATA: A WAY OF SEEING, WAS THE FIRST EXHIBITION OF SHIKO MUNAKATA FROM THE JAPAN SOCIETY COLLECTION IN NEARLY TWENTY-FIVE YEARS. TO COMMEMORATE JAPAN SOCIETY'S 50TH ANNIVERSARY OF THE OPENING OF OUR ICONIC AND HISTORICALLY SIGNIFICANT BUILDING ON EAST 47TH STREET, WE EXHIBITED RARE AND CELEBRATED WORKS FROM JAPAN SOCIETY'S RENOWNED COLLECTION, WHICH IS THE LARGEST COLLECTION OF MUNAKATA ARTWORKS IN THE UNITED STATES. SOME OF THE WORKS THE ARTIST HIMSELF BEQUEATHED TO THE ORGANIZATION AS A JAPAN SOCIETY PRINT ARTISTS FELLOW IN 1959, WHILE OTHERS WERE DONATED BY MR. AND MRS. JOHN D. ROCKEFELLER III ON THE OCCASION OF THE OPENING OF JAPAN SOCIETY GALLERY IN 1971, HIGHLIGHTING THE SPECIAL ROLE THE SOCIETY PLAYED IN SERVING AS A SPRINGBOARD FOR THE ARTIST'S INTERNATIONAL CAREER. ADDITIONAL ARTWORKS, EPHEMERA, AND PERSONAL BELONGINGS WERE LOANED FROM THE MUNAKATA SHIKO MEMORIAL MUSEUM OF ART IN THE ARTIST'S NATIVE AOMORI PREFECTURE IN JAPAN, AS WELL AS FROM THE FAMILY OF BEATE SIROTA GORDON, A LONGTIME FRIEND AND ADVOCATE OF MUNAKATA'S WORK, IMPORTANT FIGURE IN THE JAPAN-U.S. ARTISTIC EXCHANGE SPACE, AND JAPAN SOCIETY'S FOUNDING DIRECTOR OF PERFORMING ARTS. BELOW IS A LINK FOR THE 3D TOUR: HTTPS://WWW.JAPANSOCIETY.ORG/ARTS-AND-CULTURE/EXHIBITIONS/SHIKO-MUNAKATA -WAY-OF-SEEING ATTENDANCE: 4,005 IN-PERSON VISITORS 60,000 EXHIBITION WEBSITE VISITORS 50,000 VIEWS OF RELATED VIDEOS KAZUKO MIYAMOTO: TO PERFORM A LINE APRIL 29 - JULY 24, 2022, ON SITE AND ONLINE VIA 3D TOUR THE EXHIBITION WAS THE FIRST INSTITUTIONAL SURVEY OF KAZUKO MIYAMOTO (B.1942, TOKYO), A RELATIVELY LITTLE-KNOWN BUT SIGNIFICANT ARTIST, AND PROVIDED A LONG OVERDUE EXAMINATION OF THIS SINGULAR ARTIST'S CAREER. A NUMBER OF WORKS THAT WERE ON VIEW HAVE NEVER BEEN SHOWN PUBLICLY. JAPAN SOCIETY JOINED MUSEUMS FOR ALL FOR THIS EXHIBITION AND ACCEPTS CULTURE PASS. ATTENDANCE: 2,400 IN-PERSON VISITORS 1,493 EXHIBITION ONLINE VISITORS |
| PART III - LINE 4B: PERFORMING ARTS | TOTAL FY22 ATTENDANCE: 2572 IN 2021-2022 JAPAN SOCIETY PERFORMING ARTS WAS PLEASED TO HAVE PRESENTED A LINE-UP OF CONTEMPORARY AND CLASSICAL WORKS OF THEATER, DANCE, AND MUSIC BY LOCAL AND INTERNATIONAL CREATORS AS A CATALYST FOR OUR MISSION OF INCREASING UNDERSTANDING BETWEEN THE US AND JAPAN. WE WERE PROUD TO REOPEN OUR DOORS FOR A FULL IN-PERSON SEASON, AND SHARE EXCEPTIONAL EXAMPLES OF JAPANESE AND JAPAN-INSPIRED PERFORMING ARTS WITH OUR NEW YORK CITY AUDIENCE. THIS SEASON REPRESENTED A RETURN TO LIVE PERFORMING ARTS AND A REVITALIZATION OF OUR COMMUNITY. FOR FALL 2021, WE FEATURED A SLATE OF CONTEMPORARY THEATRICAL WORKS, INCLUDING PUPPETRY, PLAY READINGS IN TRANSLATION BY NYC ARTISTS, DESIGNED TO SUPPORT AND REVITALIZE OUR LOCAL COMMUNITY'S CULTURAL LIFE IN THE WAKE OF THE PANDEMIC. THE STORY BOX SEPTEMBER 11, 2021 PRESENTED IN COOPERATION WITH HERE ARTS CENTER, CONTEMPORARY WORK OF THEATER THE STORY BOX, WRITTEN AND PERFORMED BY SUZI TAKAHASHI AND DIRECTED BY KRISTIN MARTING, EXPLORES THE IMPORTANCE OF SAFEGUARDING OUR CIVIL RIGHTS THROUGH THE LENS OF JAPANESE-AMERICAN IDENTITY, USING TRADITIONAL JAPANESE STORYTELLING ELEMENTS, LIKE KAMISHIBAI, AND TAKAHASHI'S OWN FAMILY HISTORY. UPON ARRIVAL, THE AUDIENCE RECEIVED A SUITCASE AND A TAG, ALLUDING TO THE RELOCATION OF JAPANESE AMERICANS DURING WWII. INSIDE EACH SUITCASE WAS A WIRELESS HEADSET AND A FAMILY PHOTO ALBUM DOCUMENTING THE PROBLEMATIC HISTORY OF ASIAN PEOPLE IN THE U.S., AND MOST RECENTLY, THE RISE IN ANTI-ASIAN VIOLENCE DURING THE PANDEMIC. THE AUDIENCE WAS ASKED TO REFLECT TOGETHER ON THE STORIES IN EACH SUITCASE AND INVITED TO LEAVE A STORY OF THEIR OWN BEHIND FOR FUTURE AUDIENCES. THE STORY BOOK TOOK PLACE ON SEPTEMBER 11 - OCTOBER 9, 2021 IN OUTDOOR SPACES IN EACH OF THE FIVE BOROUGHS OF NEW YORK CITY. AYA OGAWA'S THE NOSEBLEED OCTOBER 1-10, 2021 (POSTPONED FROM MAY 2021 DUE TO COVID-19) FOLLOWING ITS CRITICALLY ACCLAIMED WORK-IN-PROGRESS RUN AS PART OF THE PUBLIC THEATER'S UNDER THE RADAR FESTIVAL IN 2019, BROOKLYN-BASED JAPANESE-AMERICAN PLAYWRIGHT/DIRECTOR AYA OGAWA PRESENTED THEIR FINAL VERSION OF THE NOSEBLEED, AN INTIMATE AUTOBIOGRAPHY THAT EXPLORES THEIR FRACTURED RELATIONSHIP WITH THEIR LONG-DECEASED, ENIGMATIC FATHER. THROUGH A SERIES OF TURBULENT, ABSURD AND POIGNANTLY COMIC VIGNETTES, OGAWA REVEALS THE SEEMINGLY INSURMOUNTABLE CULTURAL AND GENERATIONAL GAP BETWEEN THEMSELVES AND THEIR FATHER, WHO WAS A TYPICAL JAPANESE CORPORATE BUSINESSMAN, AND THE QUESTIONS THEY FACE IN THEIR OWN MOTHERHOOD TODAY. A THEATRICAL MEMORIAL AND HEALING RITUAL FOR THE AUDIENCE, THIS DARKLY HUMOROUS, TENDER AND INVENTIVE PLAY CONSIDERS HOW WE INHERIT AND BEQUEATH FAILURE, AND WHAT IT TAKES TO FORGIVE. THIS PRODUCTION WAS CO-PRESENTED WITH THE CHOCOLATE FACTORY THEATER, LONG ISLAND CITY'S HUB FOR EXPERIMENTAL PERFORMING ARTS. IT RAN AS A RARE TWO-WEEK PRESENTATION AT JS AND WAS A NEW YORK TIMES CRITIC'S PICK. THE SHOW IS CURRENTLY BEING PRESENTED AT THE LINCOLN CENTER THIS SUMMER, AN OPPORTUNITY THAT WAS A DIRECT RESULT OF JS'S PRODUCTION. SACHIYO TAKAHASHI'S SHEEP #1 NOVEMBER 4-7, 2021 INSPIRED BY AUTHOR OF THE LITTLE PRINCE ANTOINE DE SAINT-EXUPERY'S WRITINGS, SHEEP #1 FOLLOWS THE ADVENTURE OF A SHEEP IN SEARCH OF THE MEANING OF LIFE. IN THIS NOVEL PERFORMANCE, NY-BASED JAPANESE ARTIST SACHIYO TAKAHASHI MANIPULATED TINY FIGURINES THAT WERE MAGNIFIED WITH A VIDEO CAMERA AND PROJECTOR IN A UNIQUE STYLE CALLED "MICROSCOPIC LIVE CINEMA-THEATRE," COINED BY THE ARTIST. AN ABSTRACT STORYTELLING, SHEEP #1 WAS PRESENTED WITHOUT SPOKEN WORDS TO LIVE PIANO ACCOMPANIMENT. TAKAHASHI WAS RECENTLY AWARDED GRANTS BY THE JIM HENSON FOUNDATION IN 2017, 2018 AND 2021 FOR HER INNOVATIVE WORK IN THE FIELD OF PUPPETRY. IN THIS WORK, BY COMPOSITING SENSORY ELEMENTS IN A MINIMALIST MANNER, SHE EXPLORED THE BORDER BETWEEN NARRATIVE AND ABSTRACTION TO GENERATE DREAM-LIKE FABLES FOR THE SUBCONSCIOUS. SHOKO MATSUMURA'S COOKING UP DECEMBER 6, 2021 JS BEGAN ITS PLAY READING SERIES IN 2005 TO INTRODUCE THE MOST TOPICAL PLAYS BY UP-AND-COMING PLAYWRIGHTS IN JAPAN TO THEATERGOERS AND PROFESSIONALS IN THE U.S. FOR THIS ANNUAL SERIES, A PLAY IS TRANSLATED INTO ENGLISH FOR AN AMERICAN DIRECTOR TO TACKLE WITH LOCAL NYC ACTORS FOR A STAGED READING. WRITTEN BY FEMALE PLAYWRIGHT/DIRECTOR SHOKO MATSUMURA, COOKING UP IS THE 16TH INSTALLMENT OF THIS SERIES. THE PLAY IS AN AMALGAMATION OF REAL AND SURREAL INCIDENTS THAT OCCUR AT A SMALL FRENCH RESTAURANT IN JAPAN. THE STORY TAKES AN UNUSUAL TURN WHEN THE WIFE OF THE RESTAURANT'S CHEF ASKS HIS MISTRESS TO TAKE THE PLACE OF HER MISSING HOUSE CAT. JORDANA DE LA CRUZ, CO-DIRECTOR OF THE OBIE AWARD-WINNING PERFORMANCE VENUE JACK IN BROOKLYN, DIRECTED THIS ABSURD SOJOURN INTO THE PRIVATE LIVES OF THE RESTAURANT'S EMPLOYEES. MATSUMURA TOOK TAKE PART IN REHEARSALS AND A LIVE Q&A WITH THE AUDIENCE AND DIRECTOR. DURING WINTER 2022, OUR PROGRAMMING FOCUSED ON CONTEMPORARY AND TRADITIONAL DANCE AND MUSIC, WITH THEMES OF CROSS-CULTURAL UNITY AND PEACE. CONTEMPORARY DANCE FESTIVAL: JAPAN + EAST ASIA JANUARY 14 -15, 2022 WITH OUR 19TH CONTEMPORARY DANCE FESTIVAL: JAPAN + EAST ASIA, JAPAN SOCIETY BROUGHT ONE OF NEW YORK CITY'S MOST ANTICIPATED CONTEMPORARY DANCE EVENTS BACK AS A LIVE PROGRAM. THIS 19TH INSTALLMENT OF THE CONTEMPORARY DANCE FESTIVAL (FORMERLY KNOWN AS THE CONTEMPORARY DANCE SHOWCASE) FROM JAPAN AND EAST ASIA INCLUDED: FROM JAPAN, BUTOH ARTISTS KENTARO KUJIRAI AND BARABBAS OKUYAMA, WHO EMBODIED THE PHILOSOPHY OF YIN AND YANG IN THEIR HAUNTING DUET ENTITLED A HUM SAN SUI; DUO CHOI X KANG PROJECT FROM KOREA, WHO TWITCHED AND JERKED LIKE WINDUP TOYS TO THE SOUND OF A TICKING CLOCK IN THEIR COMICAL AND TECHNICALLY-DARING PIECE COMPLEMENT; AND FROM TAIWAN, MATHEMATICIAN-TURNED-CHOREOGRAPHER HAO CHENG USED THE STAGE AS HIS CHALKBOARD IN A SOLO THAT EXPLORED QUANTUM PHYSICS THROUGH REPETITIVE CIRCULAR MOTION. DUE TO THE ONGOING COVID-19 PANDEMIC, WHICH PREVENTED THE JAPANESE BUTOH ARTISTS FROM TRAVELLING TO NEW YORK CITY, A HUM SAN SUI WAS PRESENTED AS A PRE-RECORDED VIDEO. ON BOTH NIGHTS OF THE FESTIVAL, TICKED HOLDERS AND THE GENERAL PUBLIC WERE INVITED TO ARRIVE BY 6:45PM TO WATCH A SPECIAL 30-MINUTE SOLO PERFORMANCE IN JAPAN SOCIETY'S LOBBY TITLED FREESTEPS NINI, CHOREOGRAPHED BY WEI-CHIA-SU, THE FOUNDER OF ONE OF TAIWAN'S MOST-CELEBRATED DANCE COMPANIES HORSE. SHOMYO: BUDDHIST RITUAL CHANTSPIRAL MANDALA CEREMONY (RASEN MANDARA KAI-E) FEBRUARY 24-27, 2022 INTERDISCIPLINARY ARTIST TEI BLOW PRESENTED A REIMAGINED CONCERT OF COMPOSER YU KUWABARA'S SHOMYO PIECE SPIRAL MANDALA CEREMONY (RASEN MANDARA KAI-E). IN LIEU OF THE MONKS TRAVELLING TO THE U.S., BLOW CREATED AN IMMERSIVE ENVIRONMENT ON THE SOCIETY'S STAGE TO EXPERIENCE THIS ONE-HOUR-LONG SHOMYO PIECE FOR 12 PERFORMANCES. A LIMITED AUDIENCE CAPACITY OF 30-35 PEOPLE PER SESSION, SEATED ON FLOOR CUSHIONS AND BENCHES, WERE SURROUNDED BY SPEAKERS WHILE IMMERSED IN VISUALS CORRESPONDING TO KUWABARA'S COMPOSITION. IMAGES INCLUDED ENGLISH TRANSLATIONS OF A NAVAJO POEM USED IN THE WORK, AS WELL AS JAPANESE TEXT AND MANDALAS USED IN ESOTERIC BUDDHISM, FROM WHICH SHOMYO, THIS MILLENNIUM-OLD CHANTING RITUAL, ORIGINATES. THE IMAGES WERE PROJECTED ONTO A "CURTAIN" MADE OF VAPOR THAT DESCENDED LIKE A WATERFALL IN FRONT OF THE AUDIENCE IN THIS INTIMATE SPACE CREATED ENTIRELY ON THE STAGE OF THE SOCIETY'S AUDITORIUM. WAVES ACROSS TIME: TRADITIONAL DANCE AND MUSIC OF OKINAWA MARCH 18 - 19, 2022 IN CELEBRATION OF THE 50TH ANNIVERSARY OF OKINAWA'S RETURN TO JAPAN FROM THE U.S., A GROUP OF THE ISLANDS' MOST EXQUISITE DANCERS PERFORMED A DIVERSE REPERTOIRE OF OKINAWAN TRADITIONAL PERFORMING ARTS ACCOMPANIED BY LIVE MUSIC. HANDPICKED BY THE ARTISTIC DIRECTOR OF THE NATIONAL THEATRE OKINAWA MICHIHIKO KAKAZU, THE VERSATILE ARTISTS PERFORMED CLASSICAL COURT DANCES AND KUMIODORI DEVELOPED DURING THE PERIOD WHEN THE ARCHIPELAGO WAS AN INDEPENDENT KINGDOM CALLED RYUKYU (15TH-19TH CENTURIES). THE PROGRAM ALSO FEATURED POPULAR FARE FROM AFTER THE RYUKYU KINGDOM'S END, SUCH AS FOLK DANCES (ZO ODORI), TRADITIONAL ENSEMBLE MUSIC, AND A SHORT MUSICAL PLAY FROM THE MEIJI ERA (THE LATE-1800S). FROM THE BRIGHTLY-DYED BINGATA COSTUMES TO THE ISLAND MUSIC'S ICONIC USE OF PENTATONIC SCALES, THE HISTORY AND HERITAGE OF JAPAN'S SOUTHERNMOST PREFECTURE ENTHRALLED AUDIENCES. TWO IN-PERSON WORKSHOPS WERE HELD IN CONJUNCTION WITH THIS PROGRAM: AN INTRODUCTORY OKINAWAN DANCE CLASS AND A FAMILY OKINAWAN DANCE WORKSHOP. THIS PRODUCTION WAS ALSO PART OF A FIVE-CITY TOUR PRODUCED AND ORGANIZED BY THE SOCIETY THAT TRAVELED TO FURMAN UNIVERSITY (GREENVILLE, SC), THE KENNEDY CENTER (WASHINGTON, D.C.), LAFAYETTE COLLEGE (EASTON, PA) AND THE UNIVERSITY OF CHICAGO (CHICAGO, IL). |
| PART III - LINE 4B: PERFORMING ARTS CONT. | OKI: MUSIC OF THE AINU MAY 6, 2022 OKI KANO, KNOWN PROFESSIONALLY AS OKI, IS THE LEADING MUSICIAN OF AINU MUSIC. BORN IN HOKKAIDO WITH AINU ANCESTRY, HE GREW UP IN KANAGAWA PREFECTURE AND STUDIED INDUSTRIAL ARTS AT THE PRESTIGIOUS TOKYO UNIVERSITY OF THE ARTS. WHILE LIVING IN NYC AS A VISUAL ARTIST IN THE EARLY 1990S, HE RECOGNIZED THE ROOTS OF HIS IDENTITY AND TURNED HIS CAREER TOWARDS ADVOCATING FOR THE PRESERVATION AINU CULTURE. OKI HAS RECOVERED AND RECREATED TRADITIONAL MUSIC ON THE TONKORI, A STRINGED INSTRUMENT OF THE AINU PEOPLE, USING PRE-1970S RECORDINGS COLLECTED BY ETHNOMUSICOLOGISTS AS HIS ONLY GUIDES (SINCE NO MASTERS OF THE INSTRUMENT EXIST TODAY). THE RICH, REVERBERATING TWANG OF THE TONKORI STRINGS, WHICH ARE TRADITIONALLY MADE FROM DEER TENDONS, ALLOWED AINU SHAMANS TO COMMUNICATE WITH SPIRITS THAT CONTROL THE WIND, RAIN AND OTHER NATURAL PHENOMENA CALLED KAMUY. AS THE ONLY COMMERCIAL TONKORI PLAYER IN THE WORLD, HIS MUSIC HAS BEEN FEATURED IN THE FILM AINU MOSIR (2020), WHICH STREAMED ON NETFLIX. |
| PART III - LINE 4C: MEDIA AND MARKETING | THE MEDIA & MARKETING DEPARTMENT'S ROLE IS TO ELEVATE AWARENESS FOR THE INSTITUTION AND ITS VARIOUS INITIATIVES, WHILE COLLABORATING WITH PROGRAM, DEVELOPMENT, AND EXECUTIVE TEAMS TO DRIVE YEAR-ROUND EVENT ATTENDANCE, REGISTRATIONS, DONATIONS, MEMBERSHIP, AND BRAND ENGAGEMENT ALL GUIDED BY OUR U.S.-JAPAN BRIDGE-BUILDING MISSION. THROUGH OUR COLLECTIVE EFFORTS, WE AIM TO CULTIVATE NEW, DIVERSE AUDIENCES, DEEPEN ENGAGEMENT WITH EXISTING PATRONS, AND BUILD LONG TERM, SUSTAINABLE RELATIONSHIPS BENEFICIAL TO ALL AREAS OF THE ORGANIZATION. AT JAPAN SOCIETY, THE M&M TEAM IS MANAGED BY THE CHIEF MARKETING OFFICER AND ENCOMPASSES THE FOLLOWING AREAS: DIGITAL (WEBSITE, SOCIAL MEDIA, EMAIL), COMMUNICATIONS/PRESS (ENGLISH AND JAPANESE LANGUAGE), PRINT PUBLICATIONS, GRAPHIC DESIGN, CREATIVE STRATEGY, VIDEO AND PHOTOGRAPHY, ADVERTISING, EXTERNAL PARTNERSHIPS, AND COMMUNITY ENGAGEMENT. IN 2021-22, WE CONTINUED TO BROADEN OUR GEOGRAPHIC REACH, THROUGH CO-SPONSORSHIP AND CROSS-PROMOTION OF EVENTS WITH ORGANIZATIONS ACROSS THE COUNTRY AND GLOBALLY, AS WELL AS THROUGH OUR TRADITIONAL MEDIA OUTREACH AND SOCIAL MEDIA PROMOTION. IN ADDITION, THE M&M TEAM CONTINUED TO IMPROVE THE WEBSITE'S VISUAL AND FUNCTIONALITY ASPECTS TO CONTEMPORIZE OUR EXTERNAL IMAGE, UNIFY OUR PROGRAM THEMES, AND CREATE AN OPTIMIZED USER EXPERIENCE. OUR IMPROVED DIGITAL PRESENCE HELPS POSITION THE ORGANIZATION FOR AN IMPACTFUL AND DYNAMIC FUTURE. |
| FORM 990, PART VI, SECTION B, LINE 11B | THE FORM 990 IS INITIALLY REVIEWED BY THE FINANCE COMMITTEE CHAIRMAN AND THEN MADE AVAILABLE TO THE BOARD OF DIRECTORS PRIOR TO FILING WITH THE INTERNAL REVENUE SERVICE. |
| FORM 990, PART VI, SECTION B, LINE 12C | THE SOCIETY REQUIRES THE BOARD OF DIRECTORS AND EXECUTIVE OFFICERS TO COMPLETE THE CONFLICT OF INTEREST FORM. THE FORMS ARE THEN REVIEWED FOR ANY POSSIBLE CONFLICTS. |
| FORM 990, PART VI, SECTION B, LINE 15 | THE SOCIETY'S SALARY STRUCTURE, INCLUDING OFFICER COMPENSATION IS REVIEWED THROUGH EXTERNAL MARKET DATA TO DETERMINE THE COMPETITIVENESS OF ACTUAL SALARIES. |
| FORM 990, PART VI, SECTION C, LINE 19 | THE SOCIETY DOES NOT MAKE ITS GOVERNING DOCUMENTS OR CONFLICT OF INTEREST POLICY AVAILABLE TO THE PUBLIC. THE SOCIETY'S FINANCIAL STATEMENTS ARE POSTED ON THE INTERNET. |
| FORM 990, PART IX, LINE 11G | OTHER: PROGRAM SERVICE EXPENSES 971,522. MANAGEMENT AND GENERAL EXPENSES 181,849. FUNDRAISING EXPENSES 93,354. TOTAL EXPENSES 1,246,725. |
| FORM 990, PART XI, LINE 9: | FOREIGN CURRENCY EXCHANGE LOSSES -359,518. |
| Software ID: | |
| Software Version: |