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JAPAN LETTER 2

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Koto

JAPAN LETTER 2

3 ≠’ËªÿÉπ “√

The koto came to Japan from China in the 6th century. It was initially used only within the Imperial Court,however during the Edo period the koto became popular among wealthy people as a sign of culture (particularlyfor young girls and women). Music only for koto, called sokyoku, was played for a time by a class of blindmusicians. It is from these musicians that the early classical compositions and techniques arose.

The koto is a long, hollow instrument, about six feet (180 cm) long and 14 inches (35 cm) wide, made frompaulownia wood, often called Empress Tree (kiri). The shape of the koto is said to resemble that of the dragon,and the names of various parts of the koto correspond to various parts of the dragon. There are 13 stringsstretched lengthwise over movable bridges, called ji, and tied at each end of the body. They were originallymade from silk, but nowadays nylon or tetlon is commonly used. The strings are tuned according to theplacement of the bridges. During performance the bridges can also be moved for different tunings. For theplayer, it is challenging because each piece that is played needs to have the bridges set to the right tuning; it isappealing because of the wide variety of tunings that can be created. This is one aspect that has helped to keepthe instrument alive and well; the ability to adjust to various musical and cultural settings across time and place.

The modern 13-string koto originates from the gakuso of Japanese court music. In 16th century, Kenjun(1547-1636), a Buddhist priest who lived in Northern Kyushu, began to compose for the instrument, calling theoriginal style çTsukushié after the region. Yatsuhashi Kengyo (1614-1685), a gifted blind musician from Kyoto,learned from Kenjun and transformed the limited repertoire by adding new techniques, making new tunings, andwriting new compositions. His most well-known composition, çRokudan no Shirabeé (Study in Six Steps)remains the most well-known and often played classical koto piece today. It was during the Edo period(1603-1867) that the koto developed from an exclusive court instrument into a uniquely Japanese instrumentwith a voice all its own, with its own indelible sound that has become an intricate part of Japanese art and culture.

Western music was introduced in Japan at the beginning of the Meiji Period (1868-1912). The blindcomposer, innovator and performer Miyagi Michio (1894-1956) was the first Japanese composer to combine,with great creative inspiration, Western and traditional koto music. He not only wrote over 300 new works forthe instrument, he invented the very popular 17-string bass koto, created new playing techniques, expandedtraditional forms, and in general restored popularity to the genre with his charismatic and down-to-earthpersonality. Since that time, composers such as Sawai Tadao (1937-1997) have furthered Miyagiûs vision bycontinuing to compose and perform works that continue to stretch the instrument in new directions. Because ofthe integrity, creativity and determination of some very talented musicians and the devotion and dedication of theirstudents, the thousand-year old Japanese koto is still as vibrantly alive and appealing as ever.


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Hotel Grand Asiaπƒ¡≈ ∏√√¡æƒ°…“Narumol Thammapruksa

1Asian Theatre Collaboration, Setagaya Public TheatreParticipants:

Indonesia - Azuzan JG, Dindon WS, Rochmad TonoMalaysia - Jo Kukathas, Nam Ron, Loh Kok ManSingapore - Haresh Sharma, Invan HengAmerica - Josh Fox

Philippines - Jose Estrella, Rody Vera, Herbert GoThailand - Pradit Prasartthong, Narumol ThammapruksaJapan - Takeshi Kawamura, Tatsuo Kaneshita

Producer: Matsui KentaroProject Manager: Eishi Minako

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Requirements ‡ªìπ‚®∑¬å∑’Ë®”‡ªìπµâÕßµÕ∫ §” —Ëß∑’ËµâÕß∑”µ“¡ ·≈–Õÿª°√≥å∑’Ë®—¥À“‡æ◊ËÕª√–°Õ∫°“√· ¥ß·¡â∫“ß§√—Èß¡—πÕ“®‰¡à‡¢â“°—π‡Õ“‡ ’¬‡≈¬ ‡√“Õ“®¡’ require-ments ¡“°∂÷ß¬’Ë ‘∫√“¬°“√ ‡æ◊ËÕ‡ªìπ‚®∑¬å ”À√—∫°“√· ¥ß‡æ’¬ßÀâ“π“∑’

Think Tank ‡ªìπ‡ ¡◊Õπ∂—ßÕÕ° ‘‡®π∑’Ë§Õ¬‡µ‘¡„Àâ°—∫π—°¥”πÈ”∑—ÈßÀ≈“¬ ®”‡ªìπµâÕßª√–°Õ∫¥â«¬§πµ—Èß·µà Õß§π¢÷Èπ‰ª (Àâ“¡∑”ß“π‡¥’Ë¬«) æ—≤π“ theme §‘¥§âπ proto-text§—¥‡≈◊Õ°µ—«≈–§√ (®“° 16 §π∑’Ë¡’) ·≈–π”°√–∫«π°“√‰ª®π°√–∑—Ëß°“√· ¥ß‡ √Á® ‘Èπ §≈â“¬Ê °—∫ Engine „π§√—Èß°àÕπ·µàµà“ß°—π∑’Ë Engine ®–‰¡à¡’ºŸâ°”°—∫ ·µà think tank ®– “¡“√∂°”°—∫ À√◊Õ‡™‘≠„§√°Á‰¥â∑’ËÕ¬ŸàπÕ° think tank ¢Õßµπ¡“™à«¬°”°—∫

Super structure §◊Õ°≈ÿà¡§π∑’Ë·µà≈– Think Tank‡ πÕ™◊ËÕ„Àâ‡ªìπµ—«·∑π ‡æ◊ËÕ∑”Àπâ“∑’Ë§≈â“¬ dramaturge°”Àπ¥∑‘»∑“ß ∑”‚§√ß √â“ß∑’Ë‡™◊ËÕ¡‚¬ß‡Õ“°“√· ¥ß¢Õß·µà≈–°≈ÿà¡‡¢â“¥â«¬°—π

‡√“ √ÿª«à“ ‡√“®– √â“ß≈–§√¿“¬„π¢âÕ®”°—¥∑’Ë¡’Õ¬Ÿà‚¥¬‰¡à‡™‘≠§π®“°¿“¬πÕ°¡“√à«¡· ¥ß °”°—∫ ÕÕ°·∫∫‡«∑’‰ø ·≈–‡ ◊ÈÕºâ“ ‡√“®–¡’·µàºŸâ™à«¬∑’Ë¡“®“°‚√ß≈–§√‡∑à“π—ÈπŒ“‡√™°≈à“««à“ çLimitation as a way of stimulationé

2 Engine A - ‡√◊ËÕß This is Our City Engine B - ‡√◊ËÕß Fly Me to the Moon Engine C - ‡√◊ËÕß God Speed Me You Black Emperor

3 ¢Õ¢Õ∫§ÿ≥°“√ π—∫ πÿπ®“°»Ÿπ¬å«—≤π∏√√¡ª√–‡∑»øî≈‘ªªîπ å(Cultural Center of the Philippines - CCP) ‡Õ◊ÈÕ‡øóôÕ ∂“π∑’Ë·≈–∫ÿ§≈“°√


‡√“ ”√«®°—∫¥—°∑’Ëµ—«‡√“«“ß‡Õ“‰«âµ—Èß·µà·√°‡√‘Ë¡ «à“®–µâÕß∑”Õ–‰√·ª≈°„À¡à,Õ–‰√∑’Ë‡ªìπµâπ©∫—∫, Õ–‰√∑’Ë·µ°µà“ß‰ª®“°§πÕ◊ËπÊ, µâÕß∫—ß§—∫„Àâµ—«‡Õß∑”ß“π°—∫°≈ÿà¡„À≠à (‡æ√“–§”«à“ collaboration) ∑—Èß∑’Ë∑”°—∫°≈ÿà¡‡≈Á°®–¡’ª√– ‘∑∏‘¿“æ¡“°°«à“, ®–µâÕß∑”≈“¬§«“¡‡ªìπ conventional (¢Õß≈–§√·∫∫ ¡—¬„À¡à∑’Ë„™â‡«∑’·∫∫°√Õ∫√Ÿª·≈–‡√◊ËÕß√“«‡ªìπ‡ âπµ√ßµ—Èß·µàµâπ®π®∫ √«¡‰ª∂÷ß≈–§√¬ÿ§À≈—ß ¡—¬„À¡à∑’Ë∑ÿ°Õ¬à“ß‡ªìπ¿“æµ—¥·ª– §π¥Ÿ°√–®—¥°√–®“¬ µ’§«“¡‰ª∑“ß„§√∑“ß¡—π)

°—∫¥—°‡À≈à“π’È„À≠àÀ≈«ßπ—°‡¡◊ËÕ‡√“«“ß‰«â‡Õß ‡√“°ÁµâÕß·À°¡—πÕÕ°¡“‡Õß

‚® §Ÿ§“∑— ®“°¡“‡≈‡´’¬ À¬‘∫§”æŸ¥¢Õßµ—È« (ª√–¥‘…∞å ª√– “∑∑Õß) ∑’Ë‡§¬æŸ¥‰«â«à“ ç„π‡¡◊Õß‰∑¬ ¡’æ√–æÿ∑∏√Ÿª∑’Ë¡’§«“¡ß¥ß“¡¬‘ËßÕ¬Ÿà¡“°¡“¬ ·µà‰¡à«à“®–¡ÕßÀ“µ√ß‰Àπ°Á‰¡à “¡“√∂∑√“∫‰¥â«à“„§√‡ªìπªØ‘¡“°√ ·µà»‘≈ªîπªí®®ÿ∫—π‡√“¡—«·µà°—ß«≈«à“®–µâÕß √â“ßß“π∑’Ë‡ªìπ™‘Èπ‡Õ°·≈–¡’≈“¬‡´Áπ°”°—∫ ·µà§π ¡—¬°àÕπ‡¢“¡’·√ß¢—∫∑’Ëµà“ß‰ª®“°æ«°‡√“é

∑ÿ°§π‡ß’¬∫‰ªæ—°„À≠à °àÕπ∑’Ë®–∂°°—πµàÕ„πª√–‡¥ÁπµàÕ‰ªçÕ–‰√§◊Õ·√ß∫—π¥“≈„®¢Õß§ÿ≥é

®“°°“√Õ¿‘ª√“¬µ≈Õ¥ Õß —ª¥“Àå ¡’ ‘Ëß∑’Ë‡√“µâÕßµ—¥ ‘π„®√à«¡°—πÕ’°¡“°¡“¬®–∑”≈–§√¬“« Õß™—Ë«‚¡ßÀ√◊Õ “¡«—π? ‡√◊ËÕß‡¥’¬«À√◊Õ “¡‡√◊ËÕß? „™âæ◊Èπ∑’Ë„π‚√ß≈–§√Õ¬à“ß‡¥’¬«À√◊Õ„™â¢â“ßπÕ°‚√ß≈–§√¥â«¬? ≈–§√‡√◊ËÕßÕ–‰√? Theme‡°’Ë¬«°—∫Õ–‰√? Õ–‰√‡ªìπ°√–∫«π°“√„π°“√∑”ß“π? ‚§√ß √â“ß¢Õß≈–§√‡ªìπ·∫∫ªî¥(fix) À√◊Õ‡ªî¥? (‡™àπ picaresque tale - µ—«≈–§√‡Õ°ÕÕ°‡¥‘π∑“ß ·«–‡ªìπæ—°Ê·µà≈–§√—Èß°Áæ∫°—∫µ—«≈–§√Õ’°À≈“¬µ—« À√◊Õ La Ronde - µ—«≈–§√ A æ∫°—∫ B,B æ∫°—∫ C, C æ∫°—∫ D ·≈– E, „π∑’Ë ÿ¥ E °Á°≈—∫¡“æ∫°—∫ A)

À≈—ß®“°·∫àß‡ªìπ°≈ÿà¡¬àÕ¬∂°‡∂’¬ßÕ¿‘ª√“¬∑’≈–ª√–‡¥Áπ ∑—Èß √â“ß model ·≈–‡¢’¬π diagram „π∑’Ë ÿ¥‡√“æ∫«à“ ‘Ëß∑’Ë‡√“ π„®√à«¡°—π·≈–ª√“°Ø„π°“√· ¥ß¢Õß‡√“Õ¬Ÿà∫àÕ¬§√—Èß ®π “¡“√∂ √ÿª‡ªìπ theme „À≠àÊ ‰¥â “¡°≈ÿà¡„À≠à §◊Õ

CULTURAL EXCHANGE PLAZA >>EXCHANGE PLAZA >>EXCHANGE PLAZA >>EXCHANGE PLAZA >>EXCHANGE PLAZA >>

JAPAN LETTER 6

1. migration/economy2. identity/alienation/isolation3. terrorism

®“°π—Èπ∑ÿ°§π‡ πÕ proto-text µ“¡ theme ∑—Èß “¡ ·≈–¥Ÿ«à“®–ª√– “π°—π‰¥âÕ¬à“ß‰√

µ—«Õ¬à“ß ‡™àπ ‚√¥’È‡¢’¬π character research µ—«≈–§√∑’Ë‡ªìπÀ≠‘ß™“«øî≈‘ªªîπ å™◊ËÕ ç¡’≈à“é ‡√’¬°µ—«‡Õß«à“∫’≈äÕ° ‡ªìπ‚ ‡¿≥’„πª√–‡∑»≠’ËªÿÉπ ™◊ËÕ®√‘ß§◊Õ≈Ÿ‡¥ ™◊ËÕ„πæ“ ªÕ√åµ§◊Õ≈‘π¥“ “¡’‡ªìπ¬“°Ÿ´à“ ‡∏Õ∂Ÿ°™à«¬‡À≈◊Õ‚¥¬Õß§å°√‡Õ°™π‡¡◊ËÕ∂Ÿ°∂“¡™◊ËÕ ‡∏Õ®”‰¡à‰¥â ‡æ√“–¡—ππ“π¡“·≈â« ‡∏Õ®÷ß√âÕß‰Àâ

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¥”¥‘Ëß Ÿà‡∫◊ÈÕß≈÷°

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‡√“æ∫°—π§√—Èß∑’ËÀ° ∑’Ë‡¡◊Õß¬“¡“°Ÿ™‘·≈–‚µ‡°’¬« „π‡¥◊Õπ¡°√“§¡∂÷ß¡’π“§¡ 2005



4 ¥‘π¥Õπ, Õ“´Ÿ´“π, ·≈–‚∑‚π ®“°Õ‘π‚¥π’‡´’¬ ·≈–πÈ”√âÕπ®“°¡“‡≈‡ ’¬5 çLisa and Samé “¡§Ÿà§◊Õ µ—È«-‚®, ‰Õ«“π-‚√¥’È, ‰Õ«“π-°∫6 ¢Õ¢Õ∫§ÿ≥°“√ π—∫ πÿπ®“° Yamaguchi Center for Arts andMedia (YCAM) ‡Õ◊ÈÕ‡øóôÕ ∂“π∑’Ë·≈–∫ÿ§≈“°√

JAPAN LETTER 8

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JAPAN LETTER 10

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10 ‡À≈◊Õ 14 §π ‡π◊ËÕß®“° Rochmad Tono ‰¡à “¡“√∂‡¢â“√à«¡„π§√—Èß ÿ¥∑â“¬‡π◊ËÕß®“°µ‘¥¿“√°‘® ·≈– Josh Fox ∂Ÿ°º—π ∂“π¿“æ‰ª™à«¬ß“π¥â“πÕ◊Ëπ·∑π

11 ≠’ËªÿÉπ “√

Testing the Water

Before stepping into the pond it is human nature to test the watertemperature by gingerly touching it with the foot.

Before starting to work with people that we just met we need to getacquainted with one another. Mr. Kentaro Matsui thus arranged for us tointroduce ourselves and present our solo performance at the SetagayaTheatre in Tokyo in March 2003.

Thereafter we determined our own direction by dipping our feet intothe pond to consider the probability of swimming in it.

In June of the same year in Bali we deepened our relationship whenwe experimented with new approaches and learned from one another ourmethods of creating plays. With increasing familiarity and feeling of safetywe became more trusting towards the water and nobody pulled their feetaway.

Dipping in

Bracing against the cold wind in the Kawaba Valley, we slowlylowered our bodies into the water. It was probably not too cold in Octoberfor the locals, but for us people from tropical countries it was a chillingexperience.

Twelve out of 16 directors1 volunteered to experiment directing us.We planned to produce 12 short plays in two weeks. We witnessed ideasthat were scattering about in the beginning coming together while webegan to tune in to one anotherûs wavelengths. Our interest in similarsocial issues slowly shaped our direction despite vast differences amongour theatrical forms. With increasing sense of enjoyment towards the waterthat was enveloping and supporting us, we began to fearlessly swim out,and then realized that we could not turn back anymore.


1Asian Theatre Collaboration, Setagaya Public TheatreParticipants:

Indonesia - Azuzan JG, Dindon WS, Rochmad TonoMalaysia - Jo Kukathas, Nam Ron, Loh Kok ManSingapore - Haresh Sharma, Invan HengAmerica - Josh Fox

Philippines - Jose Estrella, Rody Vera, Herbert GoThailand - Pradit Prasartthong, Narumol ThammapruksaJapan - Takeshi Kawamura, Tatsuo Kaneshita

Producer: Matsui Kentaro Project Manager: Eishi Minako

JAPAN LETTER 12

The first week was spent reviewing our pastproductions that came out of the four gatherings, andthe processes we went through. We selected thestructures, contents, themes, formats, and summarizedother technical aspects, while the second week wasspent planning towards our final production in Japannext year.

We created new lexicon for communication withinour own group.

Proto-text is a rough structure with enoughspace to fill in with new creation in the course of ourdiscovery. Colleagues were invited to participate inshaping the structure in the direction they thoughtsuitable, both in creating the contents or play scripts(devising style) along with script writers - Rody Verafrom the Philippines and Haresh Shamar from Singapore- the style with which we all were familiar, where thedirector would continue to write the script while theactors improvised in the process of rehearsal.

Requirements are equations that need to be solved,orders that have to be carried out, and props that haveto be prepared for the performance, even though theysometimes didnût fit together very well. We might haveover 20 requirements to be used for a five-minuteperformance.

Swimming and Diving in

At that moment, we took in a deep breath, held itin, and dove down.

At Setagaya Public Theatre, Tokyo in March of thefollowing year, we took a leap by producing a biggerperformance. Splitting into three groups (and callingeach group ùEngineû) according to our interests, weproceeded through the steps from the beginning to thecompletion of each performance. Our task was to haveall of the 16 members participating in different aspectsof the performance, whether it was acting, directing, orother forms of technical support.

The three plays2 lasting two hours, with contentsand presentation styles that were poles apart, provedthat every minute of the three weeks spent was not invain. Beyond our pride we also gained an eye-openingexperience that transcended romantic notion ofcross-cultural collaboration. It woke us up, pulled usdown to earth, and we found ourselves on the roughyet lush terrain. The reality was hidden within suchcomplexity.

October 2004 was our fifth gathering, isolated amidsta vast ocean and sitting in the same chair all throughthe two weeks, with our brains pushing against the tidewhile our hands and legs were left idling and wastingaway.

Cut off from the outside world at a residencewithin the compound of the Cultural Center of thePhilippines (CCP), perching atop the high Makilingmountain range3 where Imelda Marcos once entertainedher guests, we now took over.

2 Engine A - This is Our City Engine B -Fly Me to the Moon Engine C -God Speed Me You Black Emperor

3 The author wishes to thank the Cultural Center of the Philip-pines - CCP which provide the facility and support personnel.

13 ≠’ËªÿÉπ “√

Think Tank is like an oxygen tank that replenishes the divers.It requires at least two individuals (solo work is prohibited). It was used todevelop themes, discover proto-text, select the characters (from theexisting 16), and guide the process towards the completion of theperformance. Similarly to Engine from before, except that Engine requiresno director, while Think Tank must either direct or invite someone outsidethe Think Tank to help in directing.

Super structure is a group of individuals nominated by Think Tank tobe representatives and is responsible as dramaturge in determiningdirection and structure that connect together the performances from eachgroup.

We arrived at a conclusion that we would create a play withinour limitations without inviting people from outside to join us in acting,directing, stage, light, and costume designing, but would use only assis-tants from the theatre. As Haresh put it, çLimitation as a way of stimulation.é

In examining the traps that we laid down from the outset, we triedto identify what needed to be created anew, what could be used asprototypes, what were different from other peopleûs creations. We hadto force ourselves to work with a large group (because of the wordcollaboration) although it would have been more efficient to work withsmaller groups. Conventions (both in the form of modern theatre thatuses proscenium stage and the story that continues in a linear fashionfrom the beginning to the end, and in post-modern style where everythingwas a cut-and-paste picture, with the audience scattered about in theirinterpretations) must be abandoned.

These traps were immense.Since we set them ourselves, we alone had to break through them.

Jo Kukatas from Malaysia quoted Tua (Pradit Prasartthong) who oncesaid çIn Thailand we have so many exquisitely elegant Buddha statues,but no matter how hard you search, you would never find out who createdthem. But modern artists are so concerned about creating their master-pieces, which must have their signatures. People in the past had motiva-tions that were different from ours.é

We fell quiet for a long while before continuing our discussion on thenext issue:

çWhat is your inspiration?é


JAPAN LETTER 14

My proto-text was about two domestic helpersfrom different countries coming to work in Singapore.They showed their wounds to each other to seewho was more severely abused by their employers.Neither of them could remember their real namesbecause they changed names in their passports toomany times. One of them fell in love with a terrorist asthe plot continued in its increasing complexity.

Rody wanted to build on my storyline while I wasdrawn to the characters that he created. Since we werepassionate about the same issue we decided to be inthe same Think Tank. Haresh who was immersed inthe issue of migrant workers also joined us.

Takeshi and Tono were interested in producinga comedy play that would help the Japanese audienceto understand more about Indonesians by having thespirits of two young men, one Japanese and the otherIndonesian, switching bodies after a terrorist bombingattack. The pair then continued on with their livesunwittingly committing cultural faux pas.

Tatsuo and Nam Ron wanted to present theideology of two young men, one from Japan and theother from Malaysia, who joined a terrorist group underdifferent beliefs. One man wanted to fight for God, whilethe other wanted to fight for humanity. But the storyended in tragic love triangle.

Herbie and Jose from the Philippines wanted tocreate composite interesting scenes that would notalways be in smooth sequences such as an audition ofentertainers to work in Japanese bars, a gathering atthe park of Filipino domestic workers in Hong Kong tochat, gossip, borrow one anotherûs money, massage,and providing make-up services for each other.

During the two weeks of our discussion there wereso many things that required our collective decisions:Should our play be two-hours long, or three-days long?One story or three stories? Do we use only the spaceinside the theatre or do we include the space outsideas well? What title? What theme? What would theprocess of our tasks be like? Should the play structurebe fixed or flexible? (such as picaresque tale where theprotagonist begins a journey, makes periodic stopsand meets many other characters; or La Ronde wherecharacter A meets B, B meets C, C meets D and E,and finally E completes the cycle by meeting A).

After splitting into small groups, discussing oneissue at a time, creating models and writing numerousdiagrams, we finally recognize three themes that wereour common interests which appeared often in ourperformances:

1. migration/economy2. identity/alienation/isolation3. terrorism

After that everybody proposed proto-text accor-ding to the three themes and considered how toincorporate them into a performance.

For example, Rodyûs character research produceda character who is a Filipino woman named ùMilaû whocalled herself ùBelokû and works as a prostitute inJapan. Her real name is Ludes while the name in herpassport is Linda. Her husband is a Yakusa gangmember. When she was rescued by a Non-Govern-ment Organization and was asked her name, shecouldnût remember because it was so long ago, andthen she cried.

15 ≠’ËªÿÉπ “√

Jo was intrigued by a complex storyline such as to have eachcharacter disguised as many people and appearing in many places until noone is certain who is who. Only four lines of dialogue would be arrangeddifferently in each scene.

Josh wanted to combine old scenes and stories he produced inBali, Kawaba, and Tokyo into a new story. While Tua and Azuzan wasinterested in using body movement to create stories and insert themas short scenes between othersû performances.

Each Think Tank would determine its own direction under thetheme that was previously agreed upon. The performances would bedeveloped and presented in three months in Yamaguchi. They would thenbe integrated into three stories lasting two and a half hours.

In the end the title çHotel Grand Asiaé was selected out of almost50 that were proposed. The reason for the title was çWherever we traveledin Asian countries we would find hotels with grandiose names beginningwith the word ùGrandû or with the word ùAsiaû to make them look fancy, butinside they may have been only squalid establishments.é

I think this title not only explains very well the economic ambitionsof South East Asian countries, but also reflect rather accurately thepersonality of Asian citizens.

Before heading home Haresh offered himself as ùEmotional Consultantûas he had the foresight to say that çWe will be immersed in emotionalbattles.é


JAPAN LETTER 16

Gaining Depth

With eyes shut tightly we gathered all our strengthand pushed ourselves down deeper until we reachedthe bottom of the ocean.

Slowly we opened our eyes to blurry images unlikeanything we saw above the water. Dim light from abovewas not powerful enough to dispel quiet darkness un-derneath. Living organisms we had never seen beforegave us quite a fright.

Our sixth meeting was at Yamaguchi and Tokyofrom January to March 2005.

The issues of migration and identity/alienationwere quite concrete and we were able to relate tothem more easily, through our direct experience, thanterrorism, which our understanding of was based solelyon our assumptions and reactions to the events.Our research on this topic was only from texts, theInternet, documentary films, interviews, and discussions.Our studies of the history of Asia, the Middle East,the USA, and even Japan about terrorism, yielded onlya rough picture of the phenomenon. Even with helpfrom many of our Muslim friends4, although we foundthem somewhat helpful in enlightening us on Islam,we still could not penetrate into the soul of thecharacters that we wanted to create.

Dindon from Indonesia suggested that we shouldtouch on the topic of terrorism only as a social event,but Jo from Malaysia held a different opinion and thoughtthat we should do a character study to portray terroristsas flesh-and-blood human beings rather than an ab-stract or a symbol.

Takeshi viewed international terrorists as relatedto migration and identity because it involved migrationand a change of identity, and wanted to compare thisto the Japanese terrorists (Red Army) who supportedthe Palestinian struggle based on ideology and thenemotional involvement.

Rody then added that Jean Genet, the French authorwho penned çPrisoner of Loveé also joined the battlewith the PLO because of his sympathy for their cause,and his love for a young Palestinian man.

The Migration Group became larger when Kok Manfrom Malaysia joined Haresh and me in our group,because he wanted to create a love story betweena domestic worker and a terrorist. He asked otherperformers5 to improvise script in our proto-text andgave it the title çLisa and Sam.é

Our first presentation was made after two weeks,in a rather abstract manner. After receiving feedbackswe made another revised presentation, thought thatit wouldnût work, then abandoned it despite protestsfrom everybody. The four of us decided to give it up inorder to create a play about life after death instead,as it is another form of migration. Consequently, weproduced four short plays utilizing a combination ofinterviews, video presentations, and comedy, presentedto an audience at the Yamaguchi Center for Arts andMedia Theatre (YCAM)6 and decided to abandon itagain.

Dindon directed Jo and me as we played twospirits floating over the sea after the tsunami disaster.We moved slowly as we gently rolled a large sheet ofcloth that resembled gigantic waves while solemnchanting droned on in the background.

4 Dindon, Azuzan, and Tono from Indonesia, and Nam Ron fromMalaysia.5 çLisa and Samé the three pairs were Tua-Jo, Ivan-Rody, andIvan-Kop.

17 ≠’ËªÿÉπ “√

6 The author wishes to thank the Yamaguchi Center for Artsand Media Theatre -YCAM, which provide the facility andsupport personnel.

Nam Ron focused his attention on the rationale of terrorism. We triedto present many characters with conflicting personalities and behaviors:a young man (Herbie) who ran around the stage wielding a knife in onehand and carrying a cake in another; Nao, Japanese interpreter whoplayed a television cooking show host demonstrated with a smiling facewhile viciously cutting a slab of meat; Ivan played a journalist interviewinga terrorist; and I played a Thai Christian terrorist who would do anythingfor God. However, after the performance we decided not to continue andreturned to the story that we were originally interested in, which is çMahadhiéthe Muslim savior. We thus persuaded Tatsuo and Josh to reproduceçThe Three Criminalsé that we presented in Tokyo previously. It wasabout the view from three perspectives - American, Muslim, or Japanese- but who will save the world?

Azuzan directed Nam Ron and Jose in çLetter to Motheré from a sonwho left home to work overseas. The mother did not know that it wouldbe the last contact from her son.

Tua, Azuzan, Dindon, and Jo in çThree Sailorsé proposed questionsabout a forgotten god by portraying sailors in shabby clothes to representgod who liked to use witty phrases that made people think, and could seeinto the future. But they were left to drift about on a deserted boat in themiddle of the ocean. There was also a character ùBimaû from the MahaBharata who dove to the bottom of the ocean only to discover himself.

Jose and Herbie persuaded Rody, Haresh, and Ivan to join their groupin creating çSnap ShotséçSnap ShotséçSnap ShotséçSnap ShotséçSnap Shotsé which is a collage of pictures mocking Filipinoand Singaporean characters. There was a story of Ivan who was druggedwhile visiting Manila, Miss Gumamela who tried to pass the exam so shewould be selected to work as an actress in Japan, and many othersincluding a parade of beauty contestants from many countries.

Josh asked to direct Dindon, Tua, Azuzan, and me. He created ascene of a hotel with a blind writer and the ghost of his wife haunting him.

After the performance at Yamaguchi we evaluated it by splitting intothree groups according to our separate themes. Each group shared theiropinions in proposing a possible model to link all the performancestogether and create a new structure, and try to find reasons for ourconclusion.


JAPAN LETTER 18

We then proposed group representatives underthe name Super Structure consisting of Mr. Kentaro(Producer), Tatsuo, Jo, Rody, and Herbie. A tensethree-day meeting resulted in a model of each groupthat would subsequently be integrated into one, andproposed another stage of proto-text to present to thegroup for feedbacks and consensus.

But after we concluded we still could not end theprocess because of repeated protests based onpersonal opinion of çI donût like ité without any furtherexplanation except demands for the group to changethe agreement - which we did many times. This kind ofincident occurred a few times in Yamaguchi due to ourphilosophy of ùrecognizing everyoneûs voice.û

In the end we came to a conclusion, although itwas not the best but it was the one with minimalconflicts, nevertheless, it was very exhausting.

Before going to Tokyo, Tua gave us a prayer çTheArt of Compromiseé to be used when we are facedwith exasperation. He said collaborative efforts wouldbe very easy if you say the prayer:

çI donût agree with you at all, but I will do it be-cause I like you.

I donût agree with you at all, but I will do it becauseI care about others in the group.

I donût agree with you at all, but I will do it becauseI want the work to continue.

I donût agree with you at all, but I will do it becauseI donût want to hear you talk any more.é

Almost Drowned

We were almost out of breath. Only a month and ahalf away, only one more breath, then we will show youthe culmination of our three yearsû work.

We arranged our performance into three main sets:1. Miss Gumamela (played by Herbie), a trans-

vestite who wanted to become a Japayuki7 singer inJapan so she could save up enough money for a sexchange operation. Failing the audition, she had to sneakinto the country through illegal means. She landed inYokohama accompanied by a Karayuki8 ghost (playedby Jo). In the end she fulfilled her dream by becominga karaoke singer, falling in love with a Japanese manwho, upon discovering that she was a transvestite, beather up severely. The story ended with her choosingdrugs as final refuge.

Scenes from the story of Gumamela was alter-nated by Ivanûs true story who, as a tourist fromSingapore, fell victim to a conman in Manila and lostevery single piece of his possessions. Undaunted, hereturned to Thailand again after the tsunami disasterand tried to donate Prada, Louis Vitton, and Guccihandbags to survivors.

2. The Man and Woman Story portrayed characterswho played a game of life9 in which each created ascript for the other to follow their whims. Other charactersthat they did not create appeared unexpectedly and theplot changed uncontrollably. Who has been writing thescripts after all?

7 Japayuki is a Japanese word for women who work in Japan,mostly in the sex industry.8 Karayuki is a Japanese word for poor Japanese women in theearly 19th century who went to work as prostitutes in othercountries especially harbor towns in Asia.9 Tatsuo played a man who was a writer and wanted to direct

a womanûs life (Kop) by writing her story that she lost herhusband from a plane accident. She then went to look for herhusbandûs remains and was astonished that the crash wascaused by a terrorist bombing, but devastated when she learnedthat it was her husband who set off the bomb. Agonized, sheplucked out her eyes to end the game. The couple startedanother game by having her controlling it. She became a blindsuicide bomber who went to the South of Thailand, only to findthat the tsunami had killed everybody before she reached there.10 Because Rochmad Tono could not join the last meeting andJosh Fox was transferred to another post.

19 ≠’ËªÿÉπ “√


3. The Three Sailors appeared in various scenes and made sarcasticremarks on Gumamelaûs and Ivanûs na¨veté which exposed them todanger, and criticized the man and the woman who wanted to control theirdestiny. The power of the three sailors manifested itself in the form of adeity who created a gigantic wave, and the scene where Bima battledagainst the serpent, conquered it, and swam into his belly, and met thechild deity, Deva Rugi, who said ùI am no one but you yourself.û

For various reasons, we had to adjust the structure many times beforethings finally fell into place.

With much regrets, we decided to stop the production of çMahadhiébecause after many days we were unable to reach a conclusion. Membersthen spread out to help other groups.

We experienced a similar problematic situation in the ùMan-Womanûgroup when a new member refused to work in the direction laid out by thegroup since the beginning and wanted to abandon it and start from zeroagain. Old members then quit from the group to join with other groupswhile our time was running out.

The same member also demanded that we undo all of the originalmaster plan despite the fact that we already agreed upon it. The groupyielded to the demand and everything was consequently delayed.Problems in communication did not make things any easier. Many of usbecame distraught. It was only two days before our performance when werealized that we would not be able to abide by this memberûs demand andthe producer had to request that this person be dismissed from our groupso we could continue with the job with less stress.

lllll

JAPAN LETTER 20

Coming up for Air

On March 8 - 17, 2005, çHotel Grand Asiaé wasperformed at the Theatre Tram, Setagaya, and Tokyowith 14 directors and playwrights10 from the LohanJourney group with a slogan çCreating new fictions ofAsia.é

çThe show must go oné - we did all we could andsucceeded as we expected to (on the last day beforeour performance). Surely, with time constraint our workmay not have been perfect, but as professionals we didour best.

With a belief that output is parallel to process in itssignificance, we had to create the performance to forceourselves to squeeze out our ideas and turn them intoa performance. Rody said çLooking at our own belly isdifferent from having another person looking at us whilewe are looking at our belly. Therefore, we must askourselves what is important for us as artists, how arewe going to work together, how do we market this play,would the audience understand it.é

All of us, 16 directors and writers, are used totelling others to follow our directions. It was not easy tosit and work in the same room, to listen with humilitywhile maintaining our uniqueness and trying to acceptsuggestions from others. For me, this classroom isbeyond comparison with any other experiences.

Someone asked whether we would consider it asuccess when we began our journey together, but notall of us were there when we reached our destination.

Rody said, çAlthough we may be best at what wedo, that doesnût guarantee that we would be a goodworking partner. Working with others is a skill that needsto be learned and practiced.é

Kok Man added that practicing dharma to reachnirvana is no small task. Our groupûs name is çLohanûsJourneyé which means the journey of the 16 Arahatsor the enlightened ones. It is certain that many mayhave to stop or fall down during the trip and not all mayreach the destination. Although we are still not Arahats,the important thing is that we have started our journey.

Many notebooks we bought from a near-by shopcovered the tabletop in a pile. The stories that we noteddown were not just writing but were also memories ofour learning that would never leave us. We wavegood-bye so we will return and meet again.

Before we run out of air, we shot to the surfaceonce more, and took a big breath of fresh air to getready for a yet deeper dive next time.

21 ≠’ËªÿÉπ “√

10 Because Rochmad Tono could not join the last meeting and JoshFox was transferred to another post.

ACTIVITY REPORTSREPORTSREPORTSREPORTSREPORTS

¡Ÿ≈π‘∏‘‡æ◊ËÕ°“√æ—≤π“∑’Ë¬—Ëß¬◊π√à«¡°—∫§≥–°√√¡°“√ ‘∑∏‘¡πÿ…¬™π·Ààß™“µ‘, ‡§√◊Õ¢à“¬§«“¡√à«¡¡◊Õ‡æ◊ËÕøóôπøŸ™ÿ¡™π™“¬ΩíòßÕ—π¥“¡—π, ·≈–§≥–°√√¡°“√ª√– “πß“πÕß§å°√æ—≤π“‡Õ°™π„ππ“¡‡§√◊Õ¢à“¬§«“¡√à«¡¡◊Õ‡æ◊ËÕ°“√øóôπøŸ™ÿ¡™π·≈–∑√—æ¬“°√∏√√¡™“µ‘°√≥’ ÷π“¡‘ ‰¥â√à«¡°—π®—¥°“√ª√–™ÿ¡‡«∑’ “∏“√≥–π“π“™“µ‘«à“¥â«¬ ç°“√øóôπøŸ™’«‘µ·≈–™ÿ¡™π À≈—ß¿—¬æ‘∫—µ‘§≈◊Ëπ¬—°…å ÷π“¡‘: ‘Ëß∑â“∑“¬¬ÿ∑∏»“ µ√å ·≈–¢âÕ‡ πÕ∑“ßπ‚¬∫“¬é ‡¡◊ËÕ«—π∑’Ë 25-26°—π¬“¬π 2548 ≥ ‚√ß·√¡¡“√’‰∑¡å·Õπ¥å ª“√’ Õ√å∑®—ßÀ«—¥°√–∫’Ë °“√ª√–™ÿ¡„π§√—Èßπ’È‰¥â√—∫§«“¡√à«¡¡◊ÕÕ¬à“ß¥’¬‘Ëß®“°‡§√◊Õ¢à“¬Õß§å°√æ—≤π“‡Õ°™π∑—Èß ‘Èπ 44 Õß§å°√∑’Ë√«¡µ—«°—π∑”ß“π∫√√‡∑“ “∏“√≥¿—¬„Àâ°—∫°≈ÿà¡ª√–™“™π™“¬¢Õ∫∑’Ë‰¥â√—∫º≈°√–∑∫®“°‡Àµÿ°“√≥å§≈◊Ëπ¬—°…å ÷π“¡‘Õ—π‰¥â·°à °≈ÿà¡ºŸâÀ≠‘ß, ‡¥Á°, ·√ßß“π¢â“¡™“µ‘, ·≈–ª√–¡ßæ◊Èπ∫â“π

«—µ∂ÿª√– ß§å„π°“√ª√–™ÿ¡§√—Èßπ’È°Á‡æ◊ËÕ‡ªî¥‚Õ°“ „Àâ™ÿ¡™π∑’Ë‰¥â√—∫º≈°√–∑∫®“°«‘∫—µ‘¿—¬ ÷π“¡‘∑—Èß„π‡¡◊Õß‰∑¬ ·≈–µà“ßª√–‡∑»Õ“∑‘‡™àπ Õ‘π‡¥’¬, Õ‘π‚¥π’‡´’¬, »√’≈—ß°“, ¡—≈¥’ø å·≈–≠’ËªÿÉπ‰¥â·≈°‡ª≈’Ë¬πª√– ∫°“√≥å µ≈Õ¥®π‰µ√àµ√Õß§«“¡§◊∫Àπâ“¢Õß°“√∫√√‡∑“∑ÿ°¢å·≈–°“√øóôπøŸ∑’Ë‡°‘¥¢÷Èπ®π∂÷ß¢≥–π’È‚¥¬∂’Ë∂â«π ‡æ◊ËÕ™’È„Àâ‡ÀÁπ∂÷ß¢âÕÕàÕπ·≈–§«“¡≈â¡‡À≈«·≈–‚Õ°“ „π°“√‡µ√’¬¡°“√«“ß·ºπ‡æ◊ËÕ·°â‰¢

An International Public Forumon ùSustainable Long-term Rehabilitation for Marginalized Groups

Post-tsunami: Identifying Challenges, Strategies and Policy Recommendationsû

°“√ª√–™ÿ¡‡«∑’ “∏“√≥–π“π“™“µ‘«à“¥â«¬ ç°“√øóôπøŸ™’«‘µ·≈–™ÿ¡™π À≈—ß¿—¬æ‘∫—µ‘§≈◊Ëπ¬—°…å ÷π“¡‘:

‘Ëß∑â“∑“¬ ¬ÿ∑∏»“ µ√å ·≈–¢âÕ‡ πÕ∑“ßπ‚¬∫“¬é

‘Ëß‡À≈à“π’È√à«¡°—π Õ’°∑—Èß¬—ß‡ªìπ°“√‡ √‘¡ √â“ß§«“¡‡™◊ËÕ¡—Ëπ„πµπ‡Õß·≈–°“√æ÷Ëßæ“µπ‡Õß¢Õß™ÿ¡™π∑’Ë‰¥â√—∫º≈°√–∑∫®“°«‘∫—µ‘¿—¬ ÷π“¡‘ ºà“π°“√‡√’¬π√Ÿâ®“°ª√– ∫°“√≥å¢ÕßºŸâÕ◊Ëπ„π√–¥—∫µà“ßÊ °—π‰ª ‰¥â·°à ¿“¬„πª√–‡∑»¥â«¬°—π‡Õß®“°ª√–‡∑»Õ◊ËπÊ ´÷Ëß‰¥â√—∫º≈°√–∑∫®“°«‘∫—µ‘¿—¬ ÷π“¡‘ ·≈–®“°ª√–‡∑»≠’ËªÿÉπ∑’Ë¡’ª√– ∫°“√≥å°“√∑”‚§√ß°“√øóôπøŸÀ“¬π–¿—¬√–¬–¬“«¡“·≈â«

πÕ°®“°π’È‡«∑’‡ «π“ “∏“√≥–¬—ßÕ“®®–°àÕ„Àâ‡°‘¥À≈—°ª√–°—π∑’Ë«à“®–¬—ß§ß¡’°“√‡Õ“„®„ à°—∫§«“¡‡¥◊Õ¥√âÕπ¢Õß™ÿ¡™π∑’Ë‰¥â√—∫º≈°√–∑∫®“°«‘∫—µ‘¿—¬ ÷π“¡‘∑’Ë¬—ßª√– ∫Õ¬Ÿà„πµÕππ’È ‡æ◊ËÕ∑”„Àâ “∏“√≥™π¬Õ¡√—∫À≈—°°“√¢Õß°≈ÿà¡§π™“¬¢Õ∫∑’Ë‰¥â√—∫º≈°√–∑∫®“°«‘∫—µ‘¿—¬ Õ—π®–π”‰ª Ÿà°“√º≈—°¥—π·π«π‚¬∫“¬¢Õß√—∞∫“≈„Àâ‡ªìπ‰ª„π·π«∑“ß √â“ß √√§å·≈– “¡“√∂∑”‰¥âßà“¬¢÷Èπ„πÕπ“§µ °“√ª√–™ÿ¡„π§√—Èßπ’È‰¥â√—∫§«“¡ π„®‡ªìπÕ¬à“ß¡“°®“°ºŸâ‡¢â“√à«¡‡°◊Õ∫300 §π®“°ºŸâª√– ∫¿—¬„πæ◊Èπ∑’Ë ·≈–®“°Àπà«¬ß“πµà“ßÊÕ“∑‘ π—°«‘™“°“√ ¢â“√“™°“√®“°Àπà«¬ß“π¢Õß√—∞∑—Èß√–¥—∫®—ßÀ«—¥ ·≈–√–¥—∫ª√–‡∑» µ≈Õ¥®πÕß§å°√æ—≤π“‡Õ°™π·≈–Õß§å°√√–À«à“ßª√–‡∑»µà“ßÊ

JAPAN LETTER 22

The objectives of the forum are to bring togethertsunami victims from Thailand, Indonesia, India, Maldivesand Sri Lanka, along with earthquake, flood andtsunami victims from Japan, to share their experiencesand to build their self-confidence and self-reliance. Also,it would allow the communities affected by the tsunamiin Thailand to critically appraise the progress to datewith regards relief and rehabilitation, to identifyweaknesses and failures, and to prepare plans tocollaboratively address these. And, it would createa public platform to ensure a continued focus on theongoing difficulties faced by tsunami-affectedcommunities in Thailand, to promote strategies andpolicy recommendations for tackling them, and to getthe general public to adopt the cause of tsunami-affected marginalized groups in Thailand so that itbecomes easier to influence government policy in apositive direction. The forum was attended by nearly300 people who mostly come from 6 tsunami-affectedprovinces and representatives of NGOs working in theareas. And, there were some academia, governmentofficials from sub-district administrative offices, relevantstate agencies and international bodies joining the event.

The Sustainable Development Foundation (SDF),in collaboration with the National Human RightsCommission, the Save Andaman Network and theNGO-Coordinating Committee on Development, in thename of the Collaborative Network for the Rehabilita-tion of Andaman Communities and Natural Resources,organized an international public forum on ùSustainableLong-term Rehabilitation for Marginalized GroupsPost-tsunami: Identifying Challenges, Strategies andPolicy Recommendationsû at the Maritime Park andSpa Resort in Krabi province, Thailand, between the25th - 26th September 2005. The forum had been jointlyorganized by the members of the CollaborativeNetwork, a formation of 44 organizations that unitedafter the tsunami struck on the 26th December 2004 toprovide immediate and long-term relief for a number ofmarginalized victims, namely women, children, migrantworkers and small-scale fisher folk.

23 ≠’ËªÿÉπ “√

ACTIVITY REPORTS >>REPORTS >>REPORTS >>REPORTS >>REPORTS >>

‡®·ªπø“«πå ‡¥™—Ëπ °√ÿß‡∑æœ π‘µ¬ “√ Pulp‚√ß¿“æ¬πµ√å‡¡‡®Õ√å ´’π’‡æ≈Á°´å ·≈– Õ’®’«’ ‚¥¬‰¥â√—∫°“√ π—∫ πÿπ®“° ∂“π‡Õ°Õ—§√√“™∑Ÿµ≠’ËªÿÉπª√–®”ª√–‡∑»‰∑¬ ®—¥‡∑»°“≈¿“æ¬πµ√å≠’ËªÿÉπ 2005 - PostMillennium of Japanese Cinema - µ—Èß·µà«—π∑’Ë 4 ∂÷ß«—π∑’Ë 11 æƒ»®‘°“¬π 2548 ≥ ‚√ß¿“æ¬πµ√å‡¡‡®Õ√å´’π’‡æ≈Á°´å (‡´Áπ∑√—≈ ‡«‘≈¥å æ≈“´à“) ·≈–‚√ß¿“æ¬πµ√åÕ’®’«’ ‡¡‚∑√‚æ≈‘

‡∑»°“≈¿“æ¬πµ√å≠’ËªÿÉπªïπ’È‡ πÕ¿“æ¬πµ√å„πÀ—«¢âÕçPost Millennium of Japanese Cinemaé ‚¥¬§—¥‡≈◊Õ°¿“æ¬πµ√å 17 ‡√◊ËÕß∑’ËÕÕ°©“¬„π À «√√…„À¡à¡“©“¬„π‡∑»°“≈§√—Èßπ’È

πÕ°®“°°“√©“¬¿“æ¬πµ√å·≈â« ¬—ß‡™‘≠ §ÿ≥æ‘¡æ°“‚µ«‘√–, §ÿ≥∑√ß¬» ÿ¢¡“°Õπ—πµå ·≈–§ÿ≥‡√’¬«µ– ´Ÿ´Ÿ°‘∫ÿ§≈“°√¥â“π¿“æ¬πµ√å™“«‰∑¬·≈–™“«≠’ËªÿÉπ∑’Ë¡’™◊ËÕ‡ ’¬ß¡“‡ªìπ·¢°√—∫‡™‘≠æŸ¥§ÿ¬°—π„π«—π‡ªî¥‡∑»°“≈‡¡◊ËÕ«—π∑’Ë4 æƒ»®‘°“¬π 2548 ≥ ‚√ß¿“æ¬πµ√åÕ’®’«’ ‡¡‚∑√‚æ≈‘ ¥â«¬

‡∑»°“≈‰¥â√—∫§«“¡ π„®®“°ºŸâ™¡Õ¬à“ßÕ∫Õÿàπ‡™àπ‡§¬∑—ÈßºŸâ™¡¢“ª√–®” ·≈–ºŸâ™◊Ëπ™Õ∫¿“æ¬πµ√å≠’ËªÿÉπ

The Japan Foundation, Bangkok, Pulp Magazine,Major Cineplex and EGV with the support of theEmbassy of Japan in Thailand organized the JapaneseFilm Festival -Post Millennium of Japanese Cinema-from Friday 4 - Thursday 11 November 2005 at MajorCineplex (Central World Plaza) and EGV Metropolis.

The Japanese Film Festival of this year features aseries of films from the çPost Millennium of JapaneseCinemaé. 17 films that were released in Japan afterthe year 2000 were shown in the festival.

Apart from film screenings, Ms. Pimpaka Towira,Mr. Songyos Sukmakanant, promising Thai filmdirectors and Mr. Ryota Suzuki, a Bangkok- basedJapanese film critic and writer, were invited to joina talk session on the films at the opening screening on4 November 2005 at EGV Metropolis.

Many audiences paid attention to the Festival asusual, both from Japan Foundation members andJapanese film lovers.

‡∑»°“≈¿“æ¬πµ√å≠’ËªÿÉπ 2005

Japanese Film FestivalPost Millennium of Japanese Cinema

JAPAN LETTER 24

Master Degree Program in International Relations(MIR), Faculty of Political Science, ThammasatUniversity, in collaboration with the Japan WatchProject under Thailand Research Fund organized aninternational conference on ùJapan - ASEAN Beyondthe Economic Partnership: Toward the East AsianCommunity?û at the Wanwaithayakorn MeetingHall, Thammasat University Main Campus on 30th

September 2005. Also, the conference had beenjointly organized by the Japan Foundation, Bangkok toprovide a platform for discussion between academi-cians and officials, both Thai and foreign, about thefuture of the regional cooperation in Asia; and toprovide an opportunity for scholars of JapaneseStudies in Southeast Asian countries and Japanto strengthen their network. It was attended bynearly 150 people who mostly come from publicpolicy planning agencies, diplomatic corps, researchinstitutes, mass media, private sectors and interna-tional bodies. It had become the spotlight and timelyissue when many economic partnership agreementsbetween ASEAN countries and Japan concluded theirnegotiations and, are preparing for the first East AsianSummit in Kuala Lumpur, Malaysia in December 2005.

‚§√ß°“√ª√‘≠≠“‚∑ “¢“§«“¡ —¡æ—π∏å√–À«à“ßª√–‡∑»(MIR) §≥–√—∞»“ µ√å ¡À“«‘∑¬“≈—¬∏√√¡»“ µ√å √à«¡°—∫‚§√ß°“√ —πµ‘‰¡µ√’‰∑¬-≠’ËªÿÉπ ¿“¬„µâ ”π—°ß“π°Õß∑ÿπ π—∫ πÿπß“π«‘®—¬ ·≈– ‡®·ªπø“«πå‡¥™—Ëπ °√ÿß‡∑æœ ‰¥â√à«¡°—π®—¥°“√ª√–™ÿ¡π“π“™“µ‘‡√◊ËÕß ç·≈‰ª¢â“ßÀπâ“¿“¬À≈—ß§«“¡‡ªìπÀÿâπ à«π∑“ß¥â“π‡»√…∞°‘®√–À«à“ß≠’ËªÿÉπ°—∫Õ“‡´’¬π ·≈–°“√°â“«‰ª Ÿà§«“¡‡ªìπª√–™“§¡‡Õ‡™’¬µ–«—πÕÕ°?é ‡¡◊ËÕ«—π∑’Ë 30 °—π¬“¬π 2548 ≥ ÀâÕßª√–™ÿ¡‰«¬«√√≥¬“°√ µ÷°‚¥¡ ¡À“«‘∑¬“≈—¬∏√√¡»“ µ√å°“√ª√–™ÿ¡„π§√—Èßπ’È®—¥¢÷Èπ‡æ◊ËÕ‡ªî¥‚Õ°“ „Àâ¡’°“√·≈°‡ª≈’Ë¬π·≈–Õ¿‘ª√“¬√–À«à“ßπ—°«‘™“°“√·≈–ºŸâ°”Àπ¥π‚¬∫“¬∑—Èß‰∑¬·≈–µà“ßª√–‡∑»„πª√–‡¥Áπ°“√ √â“ß§«“¡√à«¡¡◊Õ¢Õß¿Ÿ¡‘¿“§‡Õ‡™’¬„πÕπ“§µ·≈–‡ªî¥‚Õ°“ „Àâπ—°«‘™“°“√∑“ß¥â“π≠’ËªÿÉπ»÷°…“„π‡Õ‡™’¬µ–«—πÕÕ°‡©’¬ß„µâ·≈–≠’ËªÿÉπ‰¥â √â“ß‡§√◊Õ¢à“¬∑“ß«‘™“°“√∑’Ë‡¢â¡·¢Áß√à«¡°—π °“√ª√–™ÿ¡„π§√—Èßπ’È‰¥â√—∫§«“¡ π„®®“°ºŸâ‡¢â“√à«¡‡°◊Õ∫ 150 §π®“°Àπà«¬ß“πµà“ßÊ Õ“∑‘ π—°«‘™“°“√ ¢â“√“™°“√·≈–ºŸâ°”Àπ¥π‚¬∫“¬®“°Àπà«¬ß“π¢Õß√—∞ µ≈Õ¥®π§≥–∑Ÿµ“πÿ∑Ÿµ·≈–‡®â“Àπâ“∑’Ë®“°Õß§å°√√–À«à“ßª√–‡∑»µà“ßÊÕ’°∑—Èß¬—ß‡ªìπ®ÿ¥ π„®¢Õß —ß§¡¿“¬À≈—ß°“√‡®√®“‡ªî¥‡ √’∑“ß°“√§â“√–À«à“ß≠’ËªÿÉπ·≈–ª√–‡∑»Õ◊ËπÊ „πÕ“‡ ’¬π‰¥â‡ √Á® ‘Èπ‰ª‰¡àπ“π ·≈–‡µ√’¬¡µ—« ”À√—∫°“√ª√–™ÿ¡ ÿ¥¬Õ¥§√—Èß·√°¢ÕßºŸâπ”®“°ª√–‡∑»µà“ßÊ „π‡Õ‡™’¬µ–«—πÕÕ°∑’Ë®–∂÷ß‡√Á«Ê π’È „π‡¥◊Õπ∏—π«“§¡ 2548

°“√ª√–™ÿ¡π“π“™“µ‘

International

Conference

‡√◊ËÕß ç·≈‰ª¢â“ßÀπâ“¿“¬À≈—ß§«“¡‡ªìπ

Àÿâπ à«π∑“ß‡»√…∞°‘®√–À«à“ß≠’ËªÿÉπ

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ª√–™“§¡‡Õ‡™’¬µ–«—πÕÕ°?é

on çJapan - ASEAN Beyond the

Economic Partnership: Toward the East

Asian Community?é

25 ≠’ËªÿÉπ “√

ACTIVITY REPORTS >>REPORTS >>REPORTS >>REPORTS >>REPORTS >>

Õß§å°√√–À«à“ßª√–‡∑»∑“ß¥â“πºŸâÕæ¬æ·≈–·√ßß“π¢â“¡™“µ‘ (International Organization for Migration: IOM) ”π—°ß“π¿Ÿ¡‘¿“§„π°√ÿß‡∑æœ ‰¥â®—¥°“√ª√–™ÿ¡‡™‘ßªØ‘∫—µ‘°“√‡æ◊Ë Õ ‡ √‘¡ √â“ß§«“¡‡¢â “„®Õ—π¥’√à «¡°—π√–À«à“ß ◊ËÕ¡«≈™π·≈–π—°æ—≤π“„πÕπÿ¿Ÿ¡‘¿“§Õ‘π‚¥®’π ‡æ◊ËÕ∑’ËºŸâ‡™’Ë¬«™“≠∑—Èß 2 ΩÉ“¬ “¡“√∂∑”ß“π√à«¡°—π„π°“√ àß‡ √‘¡¿“ææ®πå¢Õß·√ßß“π¢â“¡™“µ‘„π —ß§¡ µ≈Õ¥®πÀ“·π«∑“ß ”À√—∫ ◊ËÕ„π°“√ª°ªÑÕß ‘∑∏‘∑“ß°ÆÀ¡“¬¢Õß·√ßß“π‡À≈à“π—Èπ ·≈–∂à“¬∑Õ¥¢âÕ¡Ÿ≈¢à“« “√∑’Ë∂Ÿ°µâÕß·≈–‡ªìπ∏√√¡°“√ª√–™ÿ¡§√—Èßπ’È‡ªìπ°“√ª√–™ÿ¡µàÕ‡π◊ËÕß§√—Èß∑’Ë Õß À≈—ß®“°IOM ‰¥â®—¥°“√ª√–™ÿ¡§√—Èß·√°¢÷Èπ‡¡◊ËÕªï æ.». 2547 √à«¡°—∫Õß§å°√ ◊ËÕµà“ßª√–‡∑» Inter Press Service „πª√–‡¥Áπ«à“¥â«¬‡√◊ËÕß°“√§â“¡πÿ…¬å à«π°“√ª√–™ÿ¡„π§√—Èßπ’È‰¥â√—∫§«“¡ π„®®“°ºŸâ ‡¢â“√à«¡®“° ◊ËÕ¡«≈™π·≈–π—°æ—≤π“®“°ª√–‡∑»µà“ßÊ Õ“∑‘ ‰∑¬ ≈“« ‡«’¬¥π“¡ °—¡æŸ™“‡¡’¬π¡“√å (æ¡à“) ·≈–¡≥±≈¬Ÿπ“π®“°ª√–‡∑»®’πµ≈Õ¥®π·¢°∑’Ë‰¥â√—∫‡™‘≠¡“∫√√¬“¬·≈–ºŸâ —ß‡°µ°“√≥å®“°Àπà«¬ß“πµà“ßÊ °“√ª√–™ÿ¡ª√–°Õ∫‰ª¥â«¬°“√π”‡ πÕ√“¬ß“π∑“ß«‘™“°“√‡°’Ë¬«°—∫·π«‚πâ¡¢Õß·√ßß“π¢â“¡™“µ‘„π¿Ÿ¡‘¿“§®“°ºŸâ‡™’Ë¬«™“≠ “¢“µà“ßÊ ∑—Èßπ—°«‘™“°“√ ◊ËÕ¡«≈™π ·≈–‡®â“Àπâ“∑’ËÕß§å°√ Àª√–™“™“µ‘ πÕ°®“°π’È∑“ßºŸâ®—¥°“√ª√–™ÿ¡ ¬—ß‰¥âπ”ºŸâ‡¢â“√à«¡‰ª¥Ÿß“π„π ∂“π∑’Ëµà“ßÊ∑’Ë¡’·√ßß“π¢â“¡™“µ‘Õ“»—¬Õ¬Ÿà ‡æ◊ËÕ®–‰¥â√—∫∑√“∫¢âÕ¡Ÿ≈∑’Ë∂Ÿ°µâÕß·≈–·≈°‡ª≈’Ë¬πª√– ∫°“√≥å°—∫π—°æ—≤π“„πæ◊Èπ∑’Ë‡™àπ ∫â“π‡°√Á¥µ√–°“√, ™ÿ¡™π·√ßß“π™“«æ¡à“„π®—ßÀ«—¥ ¡ÿ∑√ “§√, ·≈–»Ÿπ¬å°—°°—πºŸâ‡¢â“‡¡◊ÕßÕ¬à“ßº‘¥°ÆÀ¡“¬¢Õß ”π—°ß“π°Õßµ√«®§π‡¢â“‡¡◊Õß °√ÿß‡∑æœ ‡ªìπµâπ

International Organization for Migration (IOM),Regional Mission in Bangkok organized a three-dayworkshop to enhance mutual understanding amongjournalists and practitioners in the Greater MekongSub-region (GMS) so that the two professional groupscan work together to promote the image of migrants insocieties, as well as to explore the ways in whichmedia can contribute to safe, gainful, and legal migra-tion, and to provide balanced and correct informationon the costs and benefits of migration. It was thefollow-up activities and second time that IOMconducted a series of workshop since they had heldthe first workshop in collaboration with Inter PressService last year on the issue of human trafficking.The second workshop this time has also drawn muchinterest among the target groups including ten (10) IGO/NGO practitioners, ten (10) journalists from Thailand,Lao PDR, Cambodia, Vietnam, Myanmar and Yunnanprovince of China as well as five (5) presenters andobservers from other organizations. The workshopconsisted of presentations by experts, media journalistsand practitioners followed by discussion. Four field visittours were arranged on the second day for interestedparticipants to get first-hand information and toobserve the current situation of international migrationsin Thailand including Burmese and Cambodiancommunities as well as the Shelters for women, girlsand boys in Nonthaburi province, and to learn theprocess of irregular migration managements at theImmigration Detention Center (IDC) in Bangkok.

°“√ª√–™ÿ¡‡™‘ßªØ‘∫—µ‘°“√

Workshop:

‡æ◊ËÕ àß‡ √‘¡°“√·≈°‡ª≈’Ë¬π¢âÕ§‘¥‡ÀÁπ

·≈–¡ÿ¡¡ÕßµàÕ¿“ææ®πå¢Õß·√ßß“π¢â“¡™“µ‘„π —ß§¡

√–À«à“ß ◊ËÕ¡«≈™π·≈–π—°æ—≤π“

The Image of Migrant in Society

çpromoting dialogue among media and

practitioners in Greater Mekong Sub-regioné

JAPAN LETTER 26

The Japan Foundation, Bangkok presented theart exhibition çAilleursé by Gerard Coste at JapanFoundation Art Space from December 1-21 2005.

Gerard Coste was born in France. He studiedpainting in Japan 30 years ago from his master IMAIToshimitsu, the late famous artist.

He finds his inspiration in the Zen concepts of çMué(emptiness), çInochié (inner strength) and çGu-Tetsué(thorough foolishness). His aesthetic code relies on theJapanese notions of çMaé (interval and harmony), çShoé(free calligraphy), and the basic colours, çKohakué,red and white meaning happiness in Japan, çAié, theblue used to dye yukatas, çKiné, the gold on whichscreens are painted, and çSumié, the black withthousand different hues, used for Sumie (Japanesepainting drawn in Indian ink) and Calligraphy.

To celebrate his 30 years of painting, he hasdecided to pay a tribute to his master, the late IMAIToshimitsu and to the Japanese friends who helpedhim at his debut. He will hold a major retrospectiveexhibition in Japan, next year. This exhibition in Bangkokwas a premiere of the show to come.

‡®·ªπø“«πå‡¥™—Ëπ °√ÿß‡∑æœ ‡ πÕπ‘∑√√»°“√»‘≈ª–çAilleursé ‚¥¬ ‡®Õ√å√“√å¥ §Õ ∑’Ë‡®·ªπø“«πå‡¥™—ËπÕ“√åµ ‡ª´ µ—Èß·µà«—π∑’Ë 1-21 ∏—π«“§¡ 2548

‡®Õ√å√“√å¥ §Õ ‡°‘¥∑’Ëª√–‡∑»Ω√—Ëß‡» ·≈–»÷°…“°“√«“¥¿“æ„πª√–‡∑»≠’ËªÿÉπ‡¡◊ËÕ 30 ªï∑’Ë·≈â«°—∫ ª√¡“®“√¬åÕ‘¡“Õ‘ ‚∑™‘¡‘∑´÷ »‘≈ªîπ™◊ËÕ¥—ßºŸâ≈à«ß≈—∫

‡¢“‰¥â·√ß∫—π¥“≈„®®“°§”®”°—¥§«“¡„π≈—∑∏‘‡´π ‡™àπ§”«à“ ç¡ÿé (§«“¡«à“ß), çÕ‘‚π®‘é (æ≈—ß™’«‘µ) ·≈– ç°ÿ-‡∑∑´÷é(§«“¡‰¡à√ŸâÕ—π∫√‘ ÿ∑∏‘Ï) ÿπ∑√’¬–¢Õß‡¢“¬—ßÕ‘ß°—∫§«“¡§‘¥·∫∫≠’ËªÿÉπ∑’Ë‡√’¬°«à“ ç¡–é (æ◊Èπ∑’Ë«à“ß·≈–§«“¡°≈¡°≈◊π), ç‚™é(≈“¬‡ âπÕ‘ √–) ·≈– ’æ◊Èπ∞“π∑’Ë‡√’¬°«à“ ç‚§Œ“§ÿé ÷Ëß§◊Õ ’·¥ß ·≈– ¢“« Õ—π‡ªìπ ’·Ààß§«“¡ ÿ¢„π≠’ËªÿÉπ çÕ“Õ‘éÀ√◊Õ ’πÈ”‡ß‘π∑’Ë„™â¬âÕ¡™ÿ¥¬Ÿ§“µ– ç§‘πé §◊Õ ’∑Õß∑’Ë„™â©“∫∫π©“°°—Èπ ·≈– ç ÿ¡‘é À√◊Õ ’¥”∑’ËÀ≈“°‡©¥ÕÕ°‰ªπ—∫æ—π ÷Ëß„™â„π°“√«“¥ ç ÿ¡‘‡Õ–é (¿“æ«“¥·∫∫≠’ËªÿÉπ∑’Ë«“¥¥â«¬À¡÷°Õ‘π‡¥’¬πÕ‘ß§å) ·≈–°“√§—¥µ—«Õ—°…√

‡æ◊ËÕ‡ªìπ°“√©≈Õß§√∫√Õ∫ 30 ªï ¢Õß°“√«“¥¿“æ‡¢“®÷ßµ—¥ ‘π„®®—¥ß“π√”≈÷°∂÷ßª√¡“®“√¬å Õ‘¡“Õ‘ ‚∑™‘¡‘∑´÷·≈–·°à¡‘µ√ À“¬™“«≠’ËªÿÉπ∑’Ë™à«¬‡À≈◊Õ‡¢“·µà‡√‘Ë¡·√° ‡¢“®–®—¥π‘∑√√»°“√√«∫√«¡º≈ß“π·µàÕ¥’µ„πªïÀπâ“∑’Ëª√–‡∑»≠’ËªÿÉπ π‘∑√√»°“√„π°√ÿß‡∑æœ ªïπ’È ∂◊Õ‡ªìπ°“√‡ªî¥µ—«π‘∑√√»°“√À≈—°∑’Ë®–µ“¡¡“

π‘∑√√»°“√»‘≈ª– çAilleursé

Art Exhibition çAilleursé‚¥¬ ‡®Õ√å√“√å¥ §Õ

by Gerard Coste

27 ≠’ËªÿÉπ “√

√”«ß∫ß

Bon Odori

SPECIAL FEATURE >>FEATURE >>FEATURE >>FEATURE >>FEATURE >>

¡’°“√‡µâπ√”·∫∫ª√–‡æ≥’Õ¬Ÿà¡“°¡“¬„π≠’ËªÿÉπ ·µà°“√‡µâπ√”∑’Ë‰¥â√—∫§«“¡π‘¬¡·≈–√Ÿâ®—°°—π·æ√àÀ≈“¬¡“°∑’Ë ÿ¥§ß‰¡àæâπ ç∫ßé À√◊Õ∑’Ë‡√’¬°°—π«à“ ç√”«ß∫ßé ºŸâ§π®–√” √–∫”∫ß π’È„π‡∑»°“≈∫ß ÷Ëß®—¥¢÷Èπ‡ªìπª√–®”∑ÿ°ªï„πƒ¥Ÿ√âÕπ∑—Ë«ª√–‡∑»≠’ËªÿÉπ

ç∫ßé À¡“¬∂÷ß°“√µâÕπ√—∫·≈–√–≈÷°∂÷ß«‘≠≠“≥¢Õß∫√√æ∫ÿ√ÿ… „π‡¥◊Õπ ‘ßÀ“§¡¢Õß∑ÿ°ªï®–¡’ —ª¥“Àå ”À√—∫®—¥ß“π∫ß √–À«à“ß‡∑»°“≈∫ß ¡“™‘°¢Õß§√Õ∫§√—«®–°≈—∫¡“√«¡µ—«°—π ‡æ◊ËÕ√à«¡æ‘∏’∫Ÿ™“«‘≠≠“≥∫√√æ™π ·≈–À«π√”≈÷°∂÷ß«—π‡°à“Ê ª√–‡æ≥’π’È√—∫‡¢â“¡“æ√âÕ¡°—∫æÿ∑∏»“ π“®“°ª√–‡∑»®’π

√–À«à“ß —ª¥“Àå∫ß ª√–™“™π®–¡“√«¡µ—«°—π∑’Ëæ◊Èπ∑’Ë‡ªî¥‚≈àß ‡™àπ «π “∏“√≥– ·≈–√à“¬√”°—∫∫∑‡æ≈ß·∫∫≠’ËªÿÉπ ∫∑‡æ≈ß‡À≈à“π—Èπ¡—°®–‡ªìπ‡æ≈ß∑’Ë§÷°§—° πÿ° π“π ‡æ◊ËÕ‡ªìπ°“√µâÕπ√—∫«‘≠≠“≥¢Õß∫√√æ∫ÿ√ÿ…∑’Ë°≈—∫¡“‡¬’Ë¬¡‡¬’¬π§π∑’Ë¬—ß¡’™’«‘µÕ¬Ÿà‡ªìπ°“√°√–∑”∑’Ë™à«¬„Àâ«‘≠≠“≥‡À≈à“π—Èπ¡’§«“¡ ÿ¢ ¬‘Ëß‰ª°«à“π—Èπ°“√√”«ßπ’ÈµâÕß®—¥„π‡«≈“°≈“ß§◊π ‡æ√“–™“«≠’ËªÿÉπ‡™◊ËÕ«à“«‘≠≠“≥®–°≈—∫¡“„π‡«≈“°≈“ß§◊π‡∑à“π—Èπ

‡∑§‚π‚≈¬’„π≠’ËªÿÉπ∑ÿ°«—ππ’Èæ—≤π“¢÷Èπ¡“Õ¬à“ß√«¥‡√Á«„π™à«ß√âÕ¬ªï °√–π—Èπ ™“«≠’ËªÿÉπ°Á‰¡à‡§¬≈◊¡‡≈◊Õπ¢π∫ª√–‡æ≥’¢Õßµπ ·≈–®—¥‡∑»°“≈∫ß√à«¡°—∫°“√√”∫ß‚Õ‚¥À√‘¢÷Èπ‡ªìπª√–®”∑ÿ°ªï‡™◊ËÕ·πà«à“™“«≠’ËªÿÉπ°Á®–¬—ß§ß√—°…“ª√–‡æ≥’π’ÈµàÕ‰ª‡æ◊ËÕ· ¥ß§«“¡‡§“√æµàÕ¥«ß«‘≠≠“≥∫√√æ∫ÿ√ÿ…¢Õßæ«°‡¢“

JAPAN LETTER 28

There are several traditional dances in Japan, but one of the most famous andcommon dances is Bon dance, which is called çBon Odorié in Japanese. People danceçBon Danceé in the Bon Festival. The Bon Festival is held every summer, in every districtin every city.

Bon means welcoming ancestorsû souls and holding a memorial service for the souls.There is a Bon week in August every year, and Bon continues for about a week. During Bon,all family members gather and hold a memorial service for their ancestors, and enjoy being ina reminiscent mood. This tradition comes from Buddhism in China.

In the Bon Festival, people gather at the open-space or parks, and dance with traditionalJapanese music. The music should be happy music to welcome the ancestorûs souls, andpeople have a duty to please them or entertain the ancestorûs souls. Moreover, the BonDance is normally held at night because Japanese people believe that ancestorsû souls comeback during the nighttime.

The technology in Japan has rapidly developed over a hundred years, but Japanesepeople have never forgotten the traditional heart, and hold Bon Festival and Bon Danceevery summer. Japanese people will definitely continue to venerate this tradition, andto pay respect to the soul of their ancestors when Bon Festival comes.

29 ≠’ËªÿÉπ “√

SPECIAL FEATUREFEATUREFEATUREFEATUREFEATURE

«—π≈Õ¬°√–∑ß

Loy Krathong Day

JAPAN LETTER 30

‡¡◊ËÕæŸ¥∂÷ßß“π‡µâπ√”·∫∫≠’ËªÿÉπ·≈â« (Bon Odori) ¡—°®–∑”„Àâ‡√“π÷°∂÷ßæ‘∏’°“√Õ¬à“ßÀπ÷Ëß¢Õß§π‰∑¬ ∑’Ë¡’®—¥¢÷Èπ„π‡«≈“‰≈à‡≈’Ë¬°—π π—Ëπ°Á§◊Õ «—π≈Õ¬°√–∑ß

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When talking about Bon Odori (Japanese dance), it makes us think of one of the festivalsin Thailand, which is usually held on Loy Krathong Day.

Loy Krathong Day is one of the most popular festivals of Thailand celebrated annually onthe Full-Moon Day of the Twelfth Lunar Month. It takes place at a time when the weather isfine as the rainy season is over and there is a high tide all over the country.

The word çLoyé means çto floaté and çKrathongé is a lotus-shaped bowl made ofbanana leaves or anything that can be floated. The Krathong usually contains a candle, threejoss sticks, some flowers and coins.

In fact, this festival has been inherited from India of the Brahmins. People offer thanks tothe Goddess of water. Candles and joss sticks are lighted and people make a wish and floattheir Krathongs on canals, rivers or even small ponds. It is believed that Krathong will carryaway sins and bad luck, and bring wishes that have been made for the coming New Year.Definitely, it is the time to be joyful and happy as the sufferings are floated away.

The festival usually starts in the evening when full moon appears in the sky. People of allwalks of life carry their Krathong to the nearby river or pond. After lighting candles and josssticks and making a wish, they gently place their Krathong on the water and let them driftaway till they are out of sight.

Moreover, a Beauty Queen Contest is also an important part of this festival and forthis occasion it is called çNang Noppamas Contesté. Noppamas is believed to been alive inSukhothai period. Old documents refer to her as the chief royal consort of a SukhothaiKing named çLithaié. She was said to have made the first decorated Krathong to float in theriver on this occasion.

In Bangkok, major places such as leading hotels and amusement parks organize theirLoy Krathong Festival, Krathong contest as well as Noppamas Contest as major annualfunctions.

For visitors to Thailand, Loy Krathong Festival is an occasion they should not miss.Everyone is invited to take part and share the joy and happiness.

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The Japan Foundation, Bangkok serves asa liaison office of The Japan Foundation,established by The Japanese governmentin 1972, to assist its full implementationof cultural exchanges between Thailandand Japan as well as to create networkswith affiliated cultural organizations andindividuals in Thailand

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Any suggestionand comments are welcome to:∑à“π “¡“√∂ àß§”·π–π”·≈–§«“¡§‘¥‡ÀÁπ¢Õß∑à“π¡“‰¥â∑’Ë:The Editor of Japan LetterThe Japan Foundation, BangkokSerm Mit Tower 10F159 Sukhumvit Soi 21 (Asokmontri Rd.),Bangkok 10110Tel: 0-2260-8560-4Fax: 0-2260-8565E-mail: [email protected]

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1. Japanese Education Reform 26 Feb 2006and the Human Resources

Development in the 2000s:

a Lesson for Thailand

2. 2nd Workshop of Japanese Feb 2006Studies in Khonkaen

NOTICETICETICETICETICE

February 2006

Notice

Documents

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