Tokyo Press Check: Making Face
In 1985 I worked in Tokyo, overseeing a large book project designed for the Brooklyn Museum. My presence there, as a young American woman directing the project, was a unique experience for both me and the male printing and publishing personnel. I was fascinated by the Japanese culture, their use of language, the role of alcohol, sleep and women. And how they used their faces as masks, hiding their true feelings. Being polite. Pretend. 1986
Pretend
We live behind or faces. But still there are the eyes, looming like large uncurtained windows. How well we know that if any stranger walking past can peer in. And so we make our faces into masks. And having memorized the ones of our own land, we are shocked when we discover abroad that we do not even know basic facial vocabulary.
One day in a small market in Tokyo, I came across some masks that were offered for sale. They were beautifully made and had an intensity of expression that was startling. I bought three and have since learned what a rich heritage they have in the theater and art and life of Japan. These masks are my interpretations of classical theatrical masks, from the shrine dances of Kagura and Bugaku dance drama to the classic Noh tragedies of feudal Japan and the animated Bunraku puppet shows that have survived to fascinate audiences of today.
In Japanese theater, the mask controls the wearer. In the solemn ceremony of putting on the mask, the actor gives himself over to the soul of the mask, hoping that he may project the vital essence of the mask itself. Small wonder that wearing a mask in Japan, in the theater or in daily life, is an act of honor and respect.
Details: 9 ¼” x 7 ½” x ¾”; 36 pages; edition 40
Poetry: Ginny Hoyle
Nevermind
Never mind
the furtive glances.
I know what you see.
Small woman.
American.
Making demands
You do not understand.
If “hai” means yes
It’s a poor disguise.
Because there’s a “hai hai”
on your lips,
But there’s a “no no”
In your eyes.
