Kimi Coaldrake
Biographic Data
| ID | 216329 |
|---|---|
| NAME | Kimi Coaldrake |
| GIVEN NAMES | Kimi |
| FAMILY NAME | Coaldrake |
| SIGNATURE | COALDRAKE K |
| AFFILIATIONS | The University of Adelaide |
| VERIFIED | No |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1984 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 1 |
Sounding the Journey: The Silk Road Journey by Genjō Sanzō (602–664 CE) in Daylight, Moonlight Kitarō Live In Yakushiji
Since receiving international acclaim in the 1980s for the soundtrack of the popular NHK/CCTV documentary series The Silk Road, Kitarō has tapped into the cultural heritage of Asia. In 2001, Kitarō presented a live performance in the 1,300 year-old temple of Yakushiji in Nara, Japan, selecting works from his repertoire to pay homage to the Buddhist monk Genjō Sanzō, a significant figure in religious history who undertook an epic 16-year journey w…
Engaging History and Negotiating National Identity with Miki's Concerto Requiem (1981) at the 18th Biennial Festival of Arts in Adelaide, South Australia
Minoru Miki's Concerto Requiem, performed in the Festival in Adelaide in 1994, was part of the Artistic Director's new vision for Australia to ‘meld East and West in a new Australian-ness’. It also coincided with fiftieth-anniversary events to mark the end of the Pacific War. Miki, who was composer-in-residence at the Festival, was acutely aware of public perceptions of the Japanese as bitter enemies. He specifically requested that Concerto Requi…
Fine arts versus decorative arts: The categorization of Japanese arts at the international expositions in Vienna (1873), Paris (1878) and Chicago (1893)
One of the great intellectual conceits of the Western world in the nineteenth century was the invention of an artistic hierarchy, with the ‘fine arts’ considered more important than the ‘decorative arts’. This article investigates how the Western preoccupation with ‘fine arts’ affected the manner in which the Meiji period (1868–1912) Japanese government exhibited its nation's rich tradition of arts at international expositions. Expositions were t…
New age music and Japanese tradition: Kitaro Live in Yakushiji
This article examines the way that Kitaro, the internationally renowned composer and musician of new age music, recasts resources of traditional Japanese culture in his live performance in 2001 at Yakushiji, a 1300 year-old Buddhist temple in Nara, Japan. It focuses on Kitaro’s deployment of concepts from Japanese tradition and new age philosophies to address different audiences. It then examines his relationship with new age music by reference t…
Nishiki-e and Kumi-uta: Innovations in Edo Popular Prints and Music in Suzuki Harunobu's Descending Geese of the Koto Bridges (Kotoji no rakugan)
In late eighteenth-century Edo there was a tradition of popularising elite culture. Two artistic forms that were changed by this desire to innovate were theukiyo-eprint and music for thekoto(13-string zither). Theukiyo-eprint was developed from single colours into a full colour extravaganza (nishiki-e) by the need for patrons and artists to compete with each other in a growing market whilekotosong cycles, known askumi-uta, became standardised in …
Plucked Strings and Expanded Horizons: Tradition and Diversification in Japanese Musical Instrument Studies
Narrative music of the Kabuki theatre
Australian audiences are increasingly intrigued by the combination of sight, sounds and stories presented by Asian theatre troupes on tour with such varied programs as Vietnamese water puppets, Beijing opera and Japanese kabuki theatre. Such tours offer tantalising glimpses of traditional performing arts originating in previous centuries and meticulously preserved by their exponents. It is, however, often difficult to obtain specialist English-la…
Nomai Dance Drama: A Surviving Spirit of Medieval Japan
Sukeroku's Double Identity: The Dramatic Structure of Edo Kabuki
During the Tokugawa period kabuki was annually divided into four major production periods, comprising altogether about two hundred days of performance time.*PRODUCTION STARTING DATE kao-mise ("face-showing") 11th month, 1st day spring 1st month, 15th day bon (refers to bon festival) 7th month, 15th day farewell 9th month, 9th day Strictly speaking, two more periods can be added: the third-month and fifthmonth productions, beginning, respectively,…
Sounding the Journey: The Silk Road Journey by Genjō Sanzō (602–664 CE) in Daylight, Moonlight Kitarō Live In Yakushiji
Since receiving international acclaim in the 1980s for the soundtrack of the popular NHK/CCTV documentary series The Silk Road, Kitarō has tapped into the cultural heritage of Asia. In 2001, Kitarō presented a live performance in the 1,300 year-old temple of Yakushiji in Nara, Japan, selecting works from his repertoire to pay homage to the Buddhist monk Genjō Sanzō, a significant figure in religious history who undertook an epic 16-year journey w…
Fine arts versus decorative arts: The categorization of Japanese arts at the international expositions in Vienna (1873), Paris (1878) and Chicago (1893)
One of the great intellectual conceits of the Western world in the nineteenth century was the invention of an artistic hierarchy, with the ‘fine arts’ considered more important than the ‘decorative arts’. This article investigates how the Western preoccupation with ‘fine arts’ affected the manner in which the Meiji period (1868–1912) Japanese government exhibited its nation's rich tradition of arts at international expositions. Expositions were t…
Nishiki-e and Kumi-uta: Innovations in Edo Popular Prints and Music in Suzuki Harunobu's Descending Geese of the Koto Bridges (Kotoji no rakugan)
In late eighteenth-century Edo there was a tradition of popularising elite culture. Two artistic forms that were changed by this desire to innovate were theukiyo-eprint and music for thekoto(13-string zither). Theukiyo-eprint was developed from single colours into a full colour extravaganza (nishiki-e) by the need for patrons and artists to compete with each other in a growing market whilekotosong cycles, known askumi-uta, became standardised in …
Sukeroku's Double Identity: The Dramatic Structure of Edo Kabuki
During the Tokugawa period kabuki was annually divided into four major production periods, comprising altogether about two hundred days of performance time.*PRODUCTION STARTING DATE kao-mise ("face-showing") 11th month, 1st day spring 1st month, 15th day bon (refers to bon festival) 7th month, 15th day farewell 9th month, 9th day Strictly speaking, two more periods can be added: the third-month and fifthmonth productions, beginning, respectively,…
Narrative music of the Kabuki theatre
Australian audiences are increasingly intrigued by the combination of sight, sounds and stories presented by Asian theatre troupes on tour with such varied programs as Vietnamese water puppets, Beijing opera and Japanese kabuki theatre. Such tours offer tantalising glimpses of traditional performing arts originating in previous centuries and meticulously preserved by their exponents. It is, however, often difficult to obtain specialist English-la…
Nomai Dance Drama: A Surviving Spirit of Medieval Japan
New age music and Japanese tradition: Kitaro Live in Yakushiji
This article examines the way that Kitaro, the internationally renowned composer and musician of new age music, recasts resources of traditional Japanese culture in his live performance in 2001 at Yakushiji, a 1300 year-old Buddhist temple in Nara, Japan. It focuses on Kitaro’s deployment of concepts from Japanese tradition and new age philosophies to address different audiences. It then examines his relationship with new age music by reference t…
Nishiki-e and Kumi-uta: Innovations in Edo Popular Prints and Music in Suzuki Harunobu's Descending Geese of the Koto Bridges (Kotoji no rakugan)
In late eighteenth-century Edo there was a tradition of popularising elite culture. Two artistic forms that were changed by this desire to innovate were theukiyo-eprint and music for thekoto(13-string zither). Theukiyo-eprint was developed from single colours into a full colour extravaganza (nishiki-e) by the need for patrons and artists to compete with each other in a growing market whilekotosong cycles, known askumi-uta, became standardised in …
Plucked Strings and Expanded Horizons: Tradition and Diversification in Japanese Musical Instrument Studies
Engaging History and Negotiating National Identity with Miki's Concerto Requiem (1981) at the 18th Biennial Festival of Arts in Adelaide, South Australia
Minoru Miki's Concerto Requiem, performed in the Festival in Adelaide in 1994, was part of the Artistic Director's new vision for Australia to ‘meld East and West in a new Australian-ness’. It also coincided with fiftieth-anniversary events to mark the end of the Pacific War. Miki, who was composer-in-residence at the Festival, was acutely aware of public perceptions of the Japanese as bitter enemies. He specifically requested that Concerto Requi…
Fine arts versus decorative arts: The categorization of Japanese arts at the international expositions in Vienna (1873), Paris (1878) and Chicago (1893)
One of the great intellectual conceits of the Western world in the nineteenth century was the invention of an artistic hierarchy, with the ‘fine arts’ considered more important than the ‘decorative arts’. This article investigates how the Western preoccupation with ‘fine arts’ affected the manner in which the Meiji period (1868–1912) Japanese government exhibited its nation's rich tradition of arts at international expositions. Expositions were t…
Sounding the Journey: The Silk Road Journey by Genjō Sanzō (602–664 CE) in Daylight, Moonlight Kitarō Live In Yakushiji
Since receiving international acclaim in the 1980s for the soundtrack of the popular NHK/CCTV documentary series The Silk Road, Kitarō has tapped into the cultural heritage of Asia. In 2001, Kitarō presented a live performance in the 1,300 year-old temple of Yakushiji in Nara, Japan, selecting works from his repertoire to pay homage to the Buddhist monk Genjō Sanzō, a significant figure in religious history who undertook an epic 16-year journey w…
Art (9 works) · Visual arts (9 works) · History (6 works) · Japanese History and Culture (6 works) · Literature (6 works) · Asian Culture and Media Studies (5 works) · Aesthetics (4 works) · History (4 works) · Law (4 works) · The arts (4 works)