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 | |||||
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Total |
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Calendar year
(or fiscal year beginning in)
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(a) 2018 | (b) 2019 | (c) 2020 | (d) 2021 | (e) 2022 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 1 | Gifts, grants, contributions, and membership fees received. (Do not include any "unusual grant.") .. | 6,086,437 | 5,291,959 | 5,381,125 | 5,809,634 | 5,407,078 | 27,976,233 |
| 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 | 6,086,437 | 5,291,959 | 5,381,125 | 5,809,634 | 5,407,078 | 27,976,233 |
| 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) .. | 941,210 | |||||
| 6 | Public support. Subtract line 5 from line 4. | 27,035,023 | |||||
Calendar year
(or fiscal year beginning in)
![]() |
(a) 2018 | (b) 2019 | (c) 2020 | (d) 2021 | (e) 2022 | (f) Total | |
|---|---|---|---|---|---|---|---|
| 7 | Amounts from line 4.. | 6,086,437 | 5,291,959 | 5,381,125 | 5,809,634 | 5,407,078 | 27,976,233 |
| 8 | Gross income from interest, dividends, payments received on securities loans, rents, royalties and income from similar sources... | 1,705,119 | 1,650,046 | 2,136,315 | 1,546,223 | 1,596,947 | 8,634,650 |
| 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.).. | 173,521 | 289,908 | 18,652 | 87,810 | 311,326 | 881,217 |
| 11 | Total support. Add lines 7 through 10 | 37,492,100 | |||||
Calendar year (or fiscal year beginning in) ![]() |
(a) 2018 | (b) 2019 | (c) 2020 | (d) 2021 | (e) 2022 | (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) 2018 | (b) 2019 | (c) 2020 | (d) 2021 | (e) 2022 | (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) |
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| 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) |
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| 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): |
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| 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 2022 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-2022 |
(iii) Distributable Amount for 2022 |
|
|---|---|---|---|---|
| 1 Distributable amount for 2022 from Section C, line 6 | ||||
|
2
Underdistributions, if any, for years prior to 2022 (reasonable cause required-- explain in Part VI).
See instructions. |
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| 3 Excess distributions carryover, if any, to 2022: | ||||
| a From 2017....... | ||||
| b From 2018....... | ||||
| c From 2019....... | ||||
| d From 2020....... | ||||
| e From 2021....... | ||||
| fTotal of lines 3a through e | ||||
| g Applied to underdistributions of prior years | ||||
| h Applied to 2022 distributable amount | ||||
|
i
Carryover from 2017 not applied (see instructions) |
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| j Remainder. Subtract lines 3g, 3h, and 3i from line 3f. | ||||
| 4Distributions for 2022 from Section D, line 7: | ||||
| $ | ||||
| a Applied to underdistributions of prior years | ||||
| b Applied to 2022 distributable amount | ||||
| c Remainder. Subtract lines 4a and 4b from line 4. | ||||
|
5
Remaining underdistributions for years prior to 2022, if any. Subtract lines 3g and 4a from line 2. If the amount is greater than zero, explain in Part VI. See instructions. |
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|
6
Remaining underdistributions for 2022. Subtract lines 3h and 4b from line 1. If the amount is greater than zero, explain in Part VI. See instructions. |
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|
7 Excess distributions carryover to 2023. Add lines 3j and 4c. |
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| 8 Breakdown of line 7: | ||||
| a Excess from 2018..... | ||||
| b Excess from 2019..... | ||||
| c Excess from 2020..... | ||||
| d Excess from 2021..... | ||||
| e Excess from 2022..... | ||||
| Facts And Circumstances Test |
|---|
| Return Reference | Explanation |
|---|---|
| SCHEDULE A, PART II, LINE 10, EXPLANATION OF OTHER INCOME: | MISC INCOME - 2018 AMOUNT: $ 17,059. 2019 AMOUNT: $ 187,268. 2020 AMOUNT: $ 17,739. 2021 AMOUNT: $ 7,056. 2022 AMOUNT: $ 20,262. REIMBURSEMENTS - 2018 AMOUNT: $ 156,462. 2019 AMOUNT: $ 102,640. 2020 AMOUNT: $ 913. 2021 AMOUNT: $ 80,754. 2022 AMOUNT: $ 291,064. |
| 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 | APRIL 29JULY 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. ATTENDANCE WAS 2,400 IN-PERSON VISITORS AND 1,493 VISITORS ONLINE. JAPAN SOCIETY JOINED MUSEUMS FOR ALL FOR THIS EXHIBITION AND ACCEPTS CULTURE PASS. ATTENDANCE: 2,400 IN-PERSON VISITORS 1,493 EXHIBITION ONLINE VISITORS REFASHIONING: CFGNY AND WATARU TOMINAGA NOVEMBER 18, 2022FEBRUARY 19, 2023, ON SITE AND ONLINE VIA 3D TOUR REFASHIONING: CFGNY AND WATARU TOMINAGA WAS JAPAN SOCIETY'S FIRST EXHIBITION DEVOTED TO THE ART OF CONTEMPORARY FASHION. COMPRISED OF TWO DISTINCT YET COMPLEMENTARY INSTALLATIONS, THE SHOW BROUGHT TOGETHER THE WORK OF NEW YORK-BASED CFGNY AND TOKYO-BASED WATARU TOMINAGA, TWO EMERGING FASHION LABELS THAT EXPLORE THE INTERSECTIONS BETWEEN FASHION, ART, AND IDENTITY. USING CLOTHING, ACCESSORIES, TEXTILES, SCULPTURE, AND VIDEO, REFASHIONING EXAMINED THE WAYS IN WHICH CFGNY AND TOMINAGA EXPERIMENT WITH THESE MEDIUMS BEYOND CONVENTIONAL DRESS TO TEST POPULAR NOTIONS OF GENDER AND SELF. ANCILLARY PROGRAMS INCLUDED A TALK WITH THE ARTIST; A WORKSHOP, "REFASHION YOUR WARDROBE WITH SKY CUBACUB, AND AN EXCLUSIVE PRESENTATION OF CFGNY'S RUNWAY-PERFORMANCE, "FASHION MAX 2." IN-PERSON ATTENDANCE WAS 2,691 AND 3,973 ONLINE VISITORS. KYOHEI INUKAI MARCH 17JUNE 25, 2023, ON SITE AND ONLINE VIA 3D TOUR KYOHEI INUKAI IS THE FIRST INSTITUTIONAL SOLO EXHIBITION OF KYOHEI INUKAI (19131985), A MOSTLY UNKNOWN, BUT PROLIFIC JAPANESE AMERICAN ARTIST. THE SHOW INCLUDED INUKAI'S PAINTINGS AND SCREEN PRINTS OF ILLUSIONARY, ABSTRACT LINES AND SHAPES FROM THE LATTER YEARS OF HIS CAREER, FROM THE 1960S THROUGH THE 1080S, MANY OF WHICH HAVE NEVER BEFORE BEEN EXHIBITED. ALONGSIDE THESE WORKS WERE A SERIES OF SUMI-E, OR JAPANESE INK PAINTINGS, THAT SERVE AS A COUNTERPOINT TO THE ARTIST'S SINGULAR CURVILINEAR FORMS AND COLOR PALETTES WITH TRADITIONAL JAPANESE ART. THIS EXHIBITION IS INDICATIVE OF JAPAN SOCIETY'S DEDICATION TO EXHIBITING THE WORK BOTH OF WELL-KNOWN AND UNDERAPPRECIATED ARTISTS OF JAPAN AND THOSE OF JAPANESE AMERICANS HERITAGE. THIS RARE PRESENTATION OF AN UNDERRECOGNIZED ARTIST'S LEGACY BUILDS UPON JAPAN SOCIETY'S ONGOING MISSION TO EMBRACE AND SHOWCASE DIVERSE NARRATIVES OF ART AND ARTISTS OF JAPAN AND THE JAPANESE DIASPORA. PROGRAMS PLANNED TO ACCOMPANY THE EXHIBITION INCLUDED FILM & ART NIGHT: CELEBRATING AAPI HERITAGE MONTH FEATURING A FILM SCREENING OF TOTALLY F***ED UP, DIRECTED BY GREGG ARAKI. TICKET HOLDERS RECEIVED FREE ADMISSION TO THE INUKAI EXHIBITION; AND A FAMILY ART DAY: PRINTING WITH SHAPES DURING WHICH FAMILIES TOURED THE EXHIBITION WITH A FUN ACTIVITY SHEET AND MADE THEIR OWN PRINTS. GALLERY ATTENDANCE WAS 3,664 ON-SITE AND APPROXIMATELY 2,000 VISITORS ONLINE. |
| PART III - LINE 4B: PERFORMING ARTS | PERFORMING ARTS TOTAL FY23 ATTENDANCE: 3,568 JAPAN SOCIETY PRESENTED EIGHT DIVERSE PROGRAMS IN 2022-2023 AS FOLLOWS: 1. YUKIO MISHIMA'S HANJO BY TOSHIO HOSOKAWA SEPTEMBER 14: CONTEMPORARY OPERA TALK AND LIVE MUSIC. PRESENTED WITH CATAPULT OPERA AND NYU SKIRBALL CENTER, PRIOR TO THE NORTH AMERICAN PREMIER OF THE OPERA HANJO BY TOSHIO HOSOKAWA BASED ON YUKIO MISHIMA'S MODERN NOH PLAYS AT THE SKIRBALL CENTER. THE PROGRAM WITH CONDUCTOR NEAL GOREN AND DIRECTOR LUCA VEGGETTI BEGAN WITH AN INTRO TO MISHIMA'S ORIGINAL SCRIPT BY PROFESSOR SATOKO NAITO, UNIVERSITY OF TURKU, FINLAND AND CONTINUED WITH A VIDEOTAPED, SUBTITLED INTERVIEW WITH COMPOSER TOSHIO HOSOKAWA. THE PROGRAM ENDED WITH LIVE SINGING OF THE OPERA'S CENTERPIECE ARIA BY SOPRANO ERI NAKAMURA. INSPIRED BY THE LONG-DISTANCE LOVE BETWEEN HANAKO, A GEISHA GIRL, AND HER PARAMOUR YOSHIO, HANJO TELLS THE STORY OF HANAKO'S DIZZYING EXPERIENCE WHEN A MAN CALLING HIMSELF YOSHIO REAPPEARS AFTER A LONG ABSENCE. COMMISSIONED BY/PREMIERED AT FESTIVAL D'AIX-EN-PROVENCE IN 2004, HANJO HAS BEEN PRESENTED AT SEVERAL EUROPEAN OPERA HOUSES AND JAPANESE CONCERT HALLS. ATTENDANCE WAS 177 GUESTS. 2. 9000 PAPER BALLOONS OCTOBER 28: PERFORMANCE, FOLLOWED BY A METLIFE MEET-THE-ARTISTS RECEPTION (ALL FREE TO TICKETHOLDERS) OCTOBER 29: PERFORMANCE, FOLLOWED BY A POST-PERFORMANCE DISCUSSION WITH THE ARTISTS OCTOBER 30: PERFORMANCE CREATED DURING A RESIDENCY AT THE HERE ARTS CENTER, 9000 PAPER BALLOONS EXPLORES THE TRUE STORY OF PAPER BALLOON BOMBS THAT FLOATED FROM JAPAN TO THE US DURING WWII. IN THIS WORK, JAPANESE ARTIST MAIKO KIKUCHI AND AMERICAN PUPPETEER SPENCER LOTT PORTRAY THEIR OWN GRANDPARENTS TO EXPLORE/RECONCILE A DIFFICULT PERIOD IN OUR SHARED HISTORIES. THE STORY FOLLOWS THE PATH OF ONE BALLOON FROM JAPAN, ACROSS THE PACIFIC TO A SMALL TOWN IN OREGON. THE STORY TAKES A TRAGIC TURN WHEN THE BALLOON IS DISCOVERED BY A YOUNG AMERICAN BOY. JAPAN SOCIETY WAS PLEASED TO PRESENT THE FIRST LIVE PERFORMANCE OF 9000 PAPER BALLOONS, FOLLOWING ITS WORK-IN-PROGRESS SHOWING AT HERE'S CULTUREMART IN MARCH 2019 AND VIRTUAL PREMIERE IN FALL 2021. TWO OF THE PERFORMANCES ON OCTOBER 28 AND 29 BEGAN AT 7:30 PM. TO REACH A WIDE AUDIENCE, WE SCHEDULED A MATINEE ON OCTOBER 30 FOR THOSE WHO PREFER TO ATTEND AFTERNOON EVENTS. DUE TO THE PANDEMIC, THE IN-PERSON PREMIERE AT HERE PIVOTED TO ONLINE. WE WORKED WITH MAIKO AND SPENCER, AS WELL AS THE SHOW'S DIRECTOR/DRAMATURG AYA OGAWA TO ACTUALIZE AN IN-PERSON PREMIERE FOR THIS EXCEPTIONAL PIECE. A TOTAL OF 683 PEOPLE ATTENDED; ALL THREE PERFORMANCES SOLD OUT. 3. BEHIND-THE-SCENES OF MY NEIGHBOR TOTORO NOVEMBER 10: CONTEMPORARY THEATER TALK THIS EVENING CONVERSATION FEATURED PUPPETEER BASIL TWIST ON HIS COLLABORATION WITH JOE HISAISHI AND THE ROYAL SHAKESPEARE COMPANY'S STAGING OF STUDIO GHIBLI'S MY NEIGHBOUR TOTORO AT THE BARBICAN IN LONDON, IN COLLABORATION WITH NIPPON TV. A TOTAL OF 207 PEOPLE ATTENDED. 4. KITA NOH: KOTEI (THE EMPEROR)| MAKURA JIDO (CHRYSANTHEMUM BOY) DECEMBER 1*: KOTEI (THE EMPEROR) PERFORMANCE, FOLLOWED BY A TICKETED SOIRE DECEMBER 2*: MAKURA JIDO (CHRYSANTHEMUM BOY) PERFORMANCE, FOLLOWED BY AN ARTIST Q&A DECEMBER 3*: KOTEI (THE EMPEROR) PERFORMANCE, FOLLOWED BY AN ARTIST Q&A DECEMBER 3: NOH MOVEMENT WORKSHOP (SOLD OUT) * WITH PRE-PERFORMANCE LECTURES BY PROFESSOR THOMAS HARE, PRINCETON UNIVERSITY. PROMINENT MEMBERS FROM THE KITA NOH SCHOOL, INCLUDING AKIYO TOMOEDA, LIVING NATIONAL TREASURE DESIGNATED BY THE JAPANESE GOVERNMENT, PERFORMED WORKS FROM NOH'S CLASSICAL REPERTOIRE: KOTEI (THE EMPEROR) AND MAKURA JIDO (CHRYSANTHEMUM BOY). EACH STORY ADDRESSES THEMES OF HEALTH: KOTEI RECOUNTS THE JOYOUS OF CURE OF DISEASE, AND MAKURA JIDO CELEBRATES LONGEVITY, WE ASKED THE KITA NOH SCHOOL TO PERFORM THESE TWO PIECES AS A PRAYER TO HASTEN THE END OF THE PANDEMIC. BOTH OFFERINGS WERE PERFORMED IN JAPANESE WITH ENGLISH SUPERTITLES CREATED BY JAPAN SOCIETY. SET IN THE TANG DYNASTY, KOTEI TELLS THE STORY OF THE DEITY SHOKI, WHO RESCUES THE AILING EMPRESS YANG GUIFEI AND PLEDGES HIS ALLEGIANCE TO EMPEROR XUANZONG. ALSO SET IN CHINA, MAKURA JIDO IS ABOUT A BOY WHO HAS JOYFULLY LIVED FOR 700 YEARS BY DRINKING AN IMMORTAL ELIXIR FROM THE DEW OF A CHRYSANTHEMUM LEAF. BOTH PROGRAMS WERE PRECEDED BY SHORT TRADITIONAL PIECES, INCLUDING MAI-BAYASHI, IN WHICH A PERFORMER WITHOUT A COSTUME OR MASK DANCES TO LIVE MUSIC; SHIMAI, IN WHICH A PERFORMER WITHOUT A COSTUME OR MASK DANCES TO CHANTING; AND SU-BAYASHI, FEATURING MUSIC ONLY, PERFORMED BY FOUR NOH MUSICIANS. A TOTAL OF 735 PEOPLE ATTENDED THIS PROGRAM. ON DECEMBER 2, 2022, WE OFFERED A SPECIAL 90-MINUTE NOH PERFORMANCE AND WORKSHOP LED BY TOMOEDA AKIYO AND MEMBERS OF KITA NOH SCHOOL FOR JAPAN SOCIETY SCHOOL PARTNERSHIP HIGH SCHOOLS, WHICH WAS FREE OF CHARGE. FORTY-EIGHT STUDENTS, ALONG WITH FIVE CHAPERONES FROM BRONX COLLABORATIVE HIGH SCHOOL AND THE YOUNG WOMEN'S LEADERSHIP SCHOOL IN MANHATTAN WATCHED AN EXCERPT FROM KOTEI, THEN LEARNED ABOUT NOH'S HISTORICAL BACKGROUND, COSTUMES AND MASKS, VOICING, AND MUSICAL INSTRUMENTS. THE EXPERIENCE ENDED WITH A Q&A SESSION WITH THE ARTISTS. |
| PART III - LINE 4B: PERFORMING ARTS CONT. | 5. NOTE TO A FRIEND JANUARY 12: PERFORMANCE, FOLLOWED BY A METLIFE MEET-THE-ARTISTS RECEPTION JANUARY 14: PERFORMANCE, FOLLOWED BY AN ARTIST Q&A JANUARY 15: MATINEE PERFORMANCE A CO-PRODUCTION FROM JAPAN SOCIETY AND TOKYO BUNKA KAIKAN, COMMISSIONED/PRESENTED BY THE SOCIETY, MADE ITS WORLD PREMIERE AS PART OF PROTOTYPE FESTIVAL'S 2023 AND PART OF OUR SERIES CELEBRATING THE LIFE OF RYUNOSUKE AKUTAGAWA. PULITZER PRIZE-WINNING COMPOSER DAVID LANG'S HOUR-LONG OPERA, NOTE TO A FRIEND, WAS BASED ON THREE COMBINED/REIMAGINED TEXTS (NOTE TO A CERTAIN OLD FRIEND, AND "DEATH REGISTER") BY NOVELIST RYUNOSUKE AKUTAGAWAWIDELY REGARDED AS THE FATHER OF THE JAPANESE SHORT STORY. (HE IS BEST KNOWN FOR IN A GROVE, WHICH INSPIRED AKIRA KUROSAWA'S LANDMARK 1950 FILM RASHOMON.) THE RESULT WAS A STUNNING, HAUNTING MONODRAMA ADDRESSING HUMANITY'S ETERNAL FASCINATION WITH DEATH, LOVE, FAMILY AND SUICIDE. YOSHI OIDA, PARIS-BASED OPERA DIRECTOR, DIRECTED THE WORLD PREMIERE FOR THE VOCALIST THEO BLECKMANN. FOLLOWING THE WORLD PREMIERE AT THE SOCIETY, THE PRODUCTION HAD ITS ASIA PREMIERE AT TOKYO BUNKA KAIKAN (FEBRUARY 4-5), AS PART OF OUR TWO-CITY TOUR. A TOTAL OF 499 PEOPLE ATTENDED. 6. AKUTAGAWA FEBRUARY 23: PERFORMANCE, FOLLOWED BY A METLIFE MEET-THE-ARTISTS RECEPTION FEBRUARY 24: PERFORMANCE, FOLLOWED BY A POST-PERFORMANCE DISCUSSION WITH THE ARTISTS FEBRUARY 25: PERFORMANCE FEBRUARY 24: MASTERCLASS (SOLD OUT) FEBRUARY 25: FAMILY WORKSHOP (SOLD OUT) AN INTERNATIONAL COLLABORATION BETWEEN PUPPETEERS KORYU NISHIKAWA V AND TOM LEE, WITH LIVE MUSIC BY YUKIO TSUJI, AKUTAGAWA IS A PORTRAIT OF RYUNOSUKE AKUTAGAWA. REALIZED BY THE TRADITIONAL KURUMA NINGYO PUPPETRY STYLE AND ENHANCED BY VIDEO IMAGES, AKUTAGAWA EXPLORES THE AUTHOR'S ARTISTIC INSIGHT AND FRAGILE EMOTIONAL STATE. PARTNERING WITH TOM LEE ALLOWED US TO REACH MANY PEOPLE WHO MIGHT NOT OTHERWISE HAVE KNOWN ABOUT OUR PROGRAMS. WHILE OUR E-NEWSLETTER AND WEB PRESENCE ARE STILL THE MOST EFFECTIVE MEANS TO REACH PEOPLE, A SIGNIFICANT NUMBER OF PEOPLE ATTENDED DUE TO THEIR INTEREST IN PUPPETRY AND/OR TOM LEE. ALL THREE PERFORMANCES WERE SOLD OUT WITH A TOTAL OF 749 PEOPLE IN ATTENDANCE. WE ORGANIZED TWO PUBLIC WORKSHOPS FOR GROUPS OF 15 ATTENDEES. THE FIRST WAS A MASTERCLASS BY NISHIKAWA FOR PROFESSIONAL PUPPETEERS TO LEARN, AS TOM LEE DID, THE INTRICACIES OF KURUMA NINGYO PUPPETRY. DUE TO HIGH DEMAND, WE RELEASED ADDITIONAL TICKETS FOR OBSERVERS. THE SECOND WAS A PUPPETRY WORKSHOP FOR CHILDREN AGES FIVE AND OLDER. IN THIS WAY, WE HOPED TO SEED OPPORTUNITIES FOR FUTURE COLLABORATION/AVENUES FOR THE CONTINUATION OF THIS TRADITIONAL ART. 7. 17TH INSTALLMENT - PLAY READING SERIES: I'M TRYING TO UNDERSTAND YOU, BUT MARCH 13: PLAY READING, FOLLOWED BY A Q&A WITH YURI YAMADA AND NJ AGWUNA. I'M TRYING TO UNDERSTAND YOU, BUT BY PLAYWRIGHT YURI YAMADA AND DIRECTED BY NYC-BASED NJ AGWUNA IS CENTERED AROUND A DICEY CONVERSATION BETWEEN A COUPLE, WHICH BEGINS AS AN UNINTENDED PREGNANCY REVEAL. NJ AGWUNA LED A HANDPICKED CAST OF TALENTED LOCAL ACTORS FOR THIS OFF-KILTER PRESENTATION. A TOTAL OF 62 PEOPLE JOINED US FOR THIS READING. AN ARCHIVED VIDEO ON OUR YOUTUBE CHANNEL ALLOWS US TO FURTHER ENGAGE WITH AUDIENCES ONLINE. 8. EXTINCTION RITUALS (SOLD OUT) JUNE 9: PERFORMANCE, FOLLOWED BY A CONVERSATION WITH XIMENA GARNICA, SHIGE MORIYA, SHINNECOCK/MONTAUK ELDER JENNIFER E. CUFFEE-WILSON JUNE 10: PERFORMANCE, FOLLOWED BY A CONVERSATION WITH XIMENA GARNICA, SHIGE MORIYA, THE CAST. JAPAN SOCIETY HOSTED TWO WORK-IN-PROGRESS SHOWINGS OF LEIMAY: EXTINCTION RITUALS. CREATED BY THE NYC-BASED CHOREOGRAPHER/DIRECTOR/DESIGNER-DUO XIMENA GARNICA AND SHIGE MORIYA (LEIMAY), THIS PIECE IS A CONTEMPORARY FUNERARY RITE, EXPRESSING GRIEF FOR THE LOSS OF BIODIVERSITY AND ENVIRONMENTS ON OUR PLANET. THE TOTAL ATTENDANCE WAS 378, WITH 100% CAPACITY BOTH NIGHTS. FOR THIS WORK, XIMENA AND SHIGE COLLABORATED WITH ARTISTS, SCIENTISTS, AND COMMUNITY MEMBERS IN NY, COLOMBIA, AND JAPAN. ALONGSIDE THE WIDER COMMUNITY, INDIVIDUAL COLLABORATORS INCLUDE CAROLINA OLIVEROS (VOCALIST/COMPOSER), KAORU WATANABE (MUSICIAN/COMPOSER), AND JENNIFER E. CUFFEE-WILSON (SHINNECOCK AND MONTAUK ELDER AND ACTIVIST), AMONG OTHERS. IN ADDITION TO THE SHOWINGS AT THE SOCIETY, LEIMAY CONDUCTED WORKSHOPS/COMMUNITY EXCHANGES IN BROOKLYN AND ESOPUS, NY, AS WELL AS AT MA'S HOUSE & ARTIST STUDIO ON THE SHINNECOCK RESERVATION IN SOUTHAMPTON, NY. |
| PART III - LINE 4C: MEDIA AND MARKETING | MEDIA & 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 AND MEMBERS, 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), PR/MEDIA (ENGLISH AND JAPANESE LANGUAGE), MARKETING/ADVERTISING/CREATIVE STRATEGY DEVELOPMENT AND EXECUTION, GRAPHIC DESIGN (DIGITAL AND PRINT), VIDEOGRAPHY, EXTERNAL PARTNERSHIPS, AND COMMUNITY ENGAGEMENT. IN 2022-23, 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 REDESIGNED 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 1,107,676. MANAGEMENT AND GENERAL EXPENSES 208,829. FUNDRAISING EXPENSES 153,277. TOTAL EXPENSES 1,469,782. |
| FORM 990, PART XI, LINE 9: | FOREIGN CURRENCY EXCHANGE LOSSES -70,467. |
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