By Lara-Sophie Boleslawsky (Vancouver Arts Colloquium Society) Photos by Noriko Nasu-Tidball Walking in, one is greeted by a jovial atmosphere; the afternoon sunlight filters into the room, illuminating the dark wood of the piano at the front of the room. There is a small buzz, with the audience waiting in anticipation for the concert to begin. We begin with the classics: Jane Perrett’s soprano voice is soars as she sings ‘Quando Me’n Vo’, teasing her lover as Musetta in Puccini’s La bohème. It is then Gerard Satamian’s turn to take the stage, and the tone immediately shifts as he laments love in Poulenc’s heartbreaking ‘Les chemins de l’amour’. Each performer embodies not only their respective characters, but also the songs themselves. It is a truly magnificent spectacle, and the brief intermission is needed, if only to refresh after the emotional outpour of each performance.      Indeed, we are treated not only to Jane Perrett and Gerard Satamian’s brilliant voices, but also to breathtaking piano instrumentals by Jane’s son, David. Performing classics such as Chopin’s ‘Prelude in B Minor’ and Beethoven’s first movement of ‘Leichte Sonate in G Major’ he brings a voice to these songs, flitting about the room as if truly alive.      Following the intermission is a brief performance by mezzo soprano Ayako Komaki. She beams brightly before beginning her performance, only to transform before our very eyes, becoming the tragic Queen Dido, mourning her own lamentable future whilst singing ‘When I am Laid in Earth’. The intensity present in the room soon reconstructs, with Jane Perrett’s rendition of the classic Disney tune, ‘When You Wish Upon A Star’, whereupon everyone is urged to join in. Continuing along this nostalgic frame, Gerard Satamian ends the concert with ‘If I Were A Rich Man’...

By Katherine Dornian (Vancouver Arts Colloquium Society) Photo Courtesy of Salome Nieto In a quiet, bare studio at the Shadbolt Centre for the Arts, I watch Salome Nieto being born. Her movements are slow and deliberate, full of pause. She falls into herself and then unfolds, slowly, evoking something fragile and primeval, facing the world for the first time. Behind her, poet Shauna Paull approaches with deliberate steps. In a shy, vaguely singsong voice, she speaks of water, light, and my mind leaps to the quiet of a first creation. In the background, original music plays, vaguely evoking Tchaikovsky’s Swan Lake. Shauna watches Salome’s transformation, watches as she looks around in wonder and fear. Soon Salome embraces her, childlike and seeking comfort, and a deeply intimate connection is established before she is sent back out on her own to discover. All this time, producer Eduardo Menesses has been scribbling away at his notes, muttering quietly with the lighting and sound directors. When the song ends, he calls Salome over to work out some transitions, then asks her genuinely, what she felt while performing the scene. So has this process gone for over a year and a half – this constant cycle of meditation, observation and dialogue that’s gone into the production of Umbral. “It grows organically out of what we have to say,” says Salome. “It’s not about a product; we’re working together to create an experience.” The production, co-created by Salome and Eduardo with the help of their close-knit community of artists, is a reflection on human nature, as well as a commentary on the reality of war. It integrates an interdisciplinary mix of poetry, video, music and visual arts to support the core element of the show and Salome’s strongest talent, butoh...

THANK YOU! Our heartfelt thanks to Canada Y.C. Music Orchestra and all of our friends of Kerrisdale Community for an amazing time at Chinese Lunar New Year Concert on February 27th, 2016! The musicianship in Canada Y.C. Music Orchestra was at a very high caliber! Please come back next year!   Photos by Noriko...

By Sean Yoon Photos by Noriko Nasu-Tidball Born and raised in Kerrisdale through the late 70s, Dr. Krishna Pendakur can be described as someone whose work speaks about his passion towards helping this country, this city he grew up in and this world in which economic inequality represses the poor. Dr. Krishna Pendakur is currently a professor of economics at Simon Fraser University. His work in economics fundamentally seeks to develop a toolkit to describe and measure efficiently the landscape of social issues impacting our well-being such as economic inequality, discrimination, and poverty.   It was during his bachelor studies in sociology at UBC when Krishna ventured towards a 4th year course title in economics which was welfare economics. This course introduced the economic aspects to the issues of social welfare and economic inequality that Krishna had been interested in for a long time. His interest in economics grew, eventually leading to his doctoral studies at UC Berkeley. Krishna’s research at the time was focused on the distribution of income vs. the distribution of consumption and on the measurement of household characteristics such as the cost of raising children, which you need to know in order to measure the distribution of income or consumption. In particular, if you want to measure inequality and the data you have is household-level data, then you need to have some way of comparing apples and oranges, like families with children to families without children. They have different needs so if they have more money it doesn’t mean that they’re better off; you have to have a way to scale or deflate household incomes per household characteristics.   Much of Krishna’s research was done in collaboration with his brother Dr. Ravi Pendakur, a professor in the Department of Public...

By Katherine Dornian Photo Courtesy of Bhavna Solecki Therapist, businesswoman, activist, healer, philosopher – it’s difficult to pin down an exact title for what Bhavna Solecki does, since her work is all-encompassing enough to defy simple description. As the founder of Inner Evolution Healing Centre and now as a member of the planning committee for the Kerrisdale Permaculture Garden, Bhavna seeks to foster mental, spiritual and community balance in everything she does. For the past 15 years, Bhavna has run her holistic practice with the goal of building communities around the pursuit of “mindfulness” – the harmony of the mind, body and soul achieved through healing foods, meditation, exercise, and other curative pursuits. Though she holds a BA in psychology, her practice is primarily based upon Shiatsu and ancient Indian and Chinese medicine. It also features a significant amount of spiritual counselling, which she believes is directly linked to mental and physical health. “Doctors may try to take away pain,” she tells me. “But you cannot do that unless you first identify its source.” Because of this, Bhavna finds that therapy becomes a very immersive experience; she cites the paramount importance of fostering relationships with her clients, putting empathy at the forefront of her approach to healing. “If you don’t feel it, you can’t help,” she says, and makes a point of telling me that she uses the word “help”, not “treat”. Her process must be team effort with the individual, who must be willing to fully participate. Since she gives full autonomy to her patients, she trusts that they will take that step towards healing when they are ready, at which point she is truly able to help them. It is this act of trust that Bhavna states is one of the most...

By Lara-Sophie Boleslawsky Photo by Noriko Nasu-Tidball     “When I teach, I am motivated by the students, rather than the content.” Bassett begins her interview citing her teaching doctrine. Her remarkable journey is peppered with people, daily encounters, art…in short, a cultural interaction with the Japanese language.           Nestled in the midst of the vibrant neighbourhood of Kerrisdale, Martha Bassett and I sit, enjoying the view of misty trees and dew-covered leaves and bushes before us. Bassett is currently a Japanese language teacher at the Senior Campus at St. George’s School in Vancouver. Yet, she is far from just an instructor in the language: Bassett is responsible for the inauguration of the Japanese language program at St. George’s. Since 1992, Bassett has been sharing her love of Japanese language and culture with her students. “In order to sustain interest, there is a lot of other stuff we do, other than language,” Bassett remarks. Indeed, in addition to the language itself students in her classes are exposed to Japanese food, film, history and art, to name a few.            We enjoy green tea, imported from Japan; its delicate simplicity seems to reflect our tranquil surroundings. It is here that we begin Martha Bassett’s remarkable journey. And it is here that we return full circle, like the ever-rising sun.                      Despite being born and raised in Southern California, Bassett remarks that Japanese culture was always a part of her early childhood. Her father, being a soldier in the Second World War, regarded the Japanese as a “worthy enemy” and Bassett recalls, “Asia was always in the background”. Her appreciation for Asian culture suited her well in her early adult years when Bassett found herself wanting to travel. With little formal education, Bassett was inevitably drawn...

Copies of “The Limited Edition” are now available for $10 each.  You can now reserve your copy by calling 604-257-8100 or email to hondakeiko@gmail.com, and pick up at the Kerrisdale Community Centre reception desk during 2016. First-Come, First-Served!   Acknowledgements    “Three years on a stone (will make a stone warm)” is the Japanese proverb meaning that perseverance will win out in the end. THE KERRISDALE PLAYBOOK RE-COLLECTION is the celebration of cultural transformation with our last full four years of continuous convivial “conversation” with the community. In this limited edition, we have selected 16 articles out of over 150, which represent a unique expression of the life force coursing throughout our community. Acknowledgments almost always begin by saying there are countless people to thank. This is particularly true this time. I want to thank all of the people, the interviewees, and readers over the past four years who have contributed to the Kerrisdale Playbook for great conversations. They have all inspired me. In particular though, I want to thank my team comprised of the 30 devoted young and the young-at-heart over the last four years. They all have brought their wholehearted work and created a new culture – the equivalent of what Barbara Ehrenreich would call – “Dancing in the Streets.” The new culture is symbolically a collection of community stories that evoke joy and exuberance in taking time to appreciate what’s around us, finding connections with people and nature, and expressing creativity in everyday life. Each and every article has offered a genuine, life-affirming and community-engaging conversation that allows us to find joy in the other fellow. Bravo to the team and what a pleasure to work with all of you! Of course I want to thank the Kerrisdale Community Centre Society...

By Sean Yoon Photos by Noriko Nasu-Tidball     If I were to ask you the question, “What is sake?” How would you respond? I think the prevailing image in most of our minds would be of something poured from a small, slender flask container called a tokkuri into small cups to drink exclusively with Japanese cuisine at a Japanese restaurant. This is arguably the more traditional image of sake, but rejecting this image and pouring sake from a Bordeaux style wine bottle instead is Masa Shiroki, an artisan sakemaker based in Granville Island. To Masa, sake is wine and it can be enjoyed in many different settings, not just as an accompaniment to Japanese cuisine. “I wanted people to consider sake as wine because it is called rice wine in the first place and people know that. Every time I ask the question to people, ‘So how would you translate sake to English?’ People pause for a second and reply, ‘It’s a rice wine right?’ You just said it. It’s a wine. So think of the sake I’m pouring for you as wine and in order to do that, I thought it would be important to change the image of sake visually, so I decided to use Bordeaux style wine bottles. At his store in Granville Island which is titled, “Artisan SakeMaker,” Masa currently produces fresh domestic premium sake called “Osake,” sourcing purely local ingredients from BC and is the first of its kind in Canada. The rice used for the sake is grown on leased land with partnering farms in Abbotsford and South Surrey, totalling 16 acres of farmland. Sustainability is a major concern for Masa, who takes special care to ensure that all of the sake being produced under his business...

By Sean Yoon Photos by Noriko Nasu-Tidball On the corner of West 4th Avenue and Stephens Street is a clothing business that strives to produce premium quality men’s casual/dress shirts, jeans, suits, coats and accessories personally tailored to meet your needs and fit you comfortably. A clothing label which began in 2002, this brand is Andy Yuen Couture, where Couture stands for tailoring using superior quality fabrics and materials. Alongside the use of premium materials is the quality of customer service with a focus on person to person, face to face interaction that is provided by Andy Yuen, who is currently functioning as the tailor, designer and CEO for the brand. Andy asserts that, “Great clothing starts with great fabric.” The Andy Yuen Couture label uses high quality fabrics such as Supima and Egyptian Giza 45 or 87 cottons carefully selected for their softness, strength and lustre, or brilliance of colour. New pure wools are also used, which are chosen for their long staple yarns, double twisted and milled in Italy for superior durability. In addition, they are certified to be clean and skin friendly. For Andy, clothing can often be described in terms of taste, where he says, “With food, you pay for the quality of taste and in clothing, it’s the feel and touch.” Andy devotes himself to bring awareness to and educating customers about the advantages in quality that premium fabrics can provide. Andy Yuen was 3 years old when he arrived in Canada with his family from Hong Kong. Having settled in a small town in the prairies with a population of around 1100 people, Andy’s father was looking for tailoring jobs as he was an experienced tailor by profession, but there simply were no opportunities available at the time....

  What were the most memorable events of 2015?     Watch our 6 minute highlight reel of the Year in Review!       Best wishes for 2016 Kerrisdale Community Centre  ...

By Josh Coward Photos courtesy of Josh Coward   Seventy years ago, on the baseball diamond located on Oppenheimer Park, in what used to be the heart of “Japan town” in Vancouver, the great Vancouver Asahi Baseball Team played it’s last game. In their daily lives, those Canadians of Japanese descent were not allowed access to certain jobs no matter how well educated they were. They were socially segregated at public places all the time. Only on the ball park were these “Japs” able to prove themselves as equals. The story of the Vancouver Asahi Baseball Team is not just about baseball, it was also how they played the game. In order to counteract the adverse conditions, the manager, Harry Miyasaki introduced a strategic style of offence and defense, putting great emphasis on discipline and training. This new type of baseball came to be known as ‘smartball’ or ‘brainball.’ The Asahi baseball team was a symbol of the Japanese Canadian struggle for equality and respect, and despite being disbanded and interned, left a legacy of inspiration for future generations of all Canadians.  Now, 70 years after the disbandment of a great team, a new spark begins to flicker. On October 11, 2014 a group of Japanese Canadian and Japanese people got together to revive this legendary team and formed the Canadian Nikkei Youth Baseball Club (CNYBC).   The CNYB is dedicated to creating healthy communities through the game of baseball. Inspired by the legacy of the Asahi Baseball team, for their skill, perseverance and accomplishments, it is our dream to bring back the Asahi Baseball Team to the Nikkei Community and Canada. We are a new club and are open to all, without regard to gender, ethnic origin or residency.   At the CNYBC we are...

By Katja De Bock Have you ever been in a situation of déjà vu before? Have you sometimes recognized places, tastes, smells or faces even though you’re sure you’ve never seen them in your life? In your present life, that is.   When Vancouver Island filmmaker Connor Gaston was four years old, he told his parents that in a past life, he was a carpenter named Peter, and fell off a roof. Gaston grew up in a Christian household and his parents had their faith challenged when they started looking into their son’s stories.   Some twenty years later, Gaston, an accomplished director of short films, researched cases of presumed reincarnation for a feature film screenplay.   The result, the buzz-making BC feature film The Devout, premiered at the Vancouver International Film Festival (VIFF) on October 2nd and director Connor Gaston promptly won the BC Emerging Filmmaker Award at the festival.   “I’ve always been interested in supposed accounts of reincarnation, and in theories about the afterlife in general,” says Gaston. “I read about a specific case where a little boy remembered a past life with incredible detail. He grew up in a Christian household and the parents had their faith challenged when they started looking to their son’s stories. This crisis of faith the family faced was so enticing to me. ‘What a great premise,’ I thought. The idea of reincarnation is so prevalent in society’s hive mind, but there really aren’t many movies about it. So I started writing.”   The Devout follows a young, devoted Christian family in a small Bible belt town, where the unthinkable happens. Darryl and Jan’s four-year-old daughter, Abigail, has terminal cancer with only weeks to live. Bedridden at home, Abi, while playing with her rocket ship toy, mumbles...

By Kenta Motoike Photography by Alan Peng November 2nd will mark a significant milestone in Irene Ronnie’s life as she will become a centenarian and will be receiving a letter from the Queen herself. This distinction is a turning point for Irene that recognises her as a both a subject and a person. However, in order to appreciate such a milestone, the significance of this milestone can only be conveyed through context. At one point Irene even jokingly mentioned the Queen’s letter is just “for your own ego and no other reason”. Thus, the Playbook has decided to provide this context and insight through a personal interview of Irene and her experiences. What was it like growing up? Same as school kids as everywhere I suppose. Everyone was Scottish there; the atmosphere was filled with “Scottishness”. Is that a word? I was born in Aberdeen and went to school in there. Nothing unusual about the school, I had the usual courses and exams. I was not a great sportswoman, more of the bookish type. What was it like in school? The courses were the regular courses, we learned according to our age and we had the usual examinations. All together I enjoyed school as I’m quite studious by nature. Speaking through my own personal experience, I simply liked school; I liked the discipline that gave me a sense of direction. It directed you in your thinking and you could argue there was never anything to stop you from discussing what you wanted to talk about. You had the chance to argue with the teacher if you didn’t agree what they said. How did you get involved with the Air Force? At a certain age you had to decide what you were going to join,...

By Jasmine Teng Photogtaphy by Jasmine Teng The WaterMe project is created by Jasmine Teng, a high school senior at Crofton House School. Jasmine grew up in Shanghai and moved to Vancouver five years ago. Ever since then, she has been an active member of the community and student at her school. Strongly connected to nature and the environment, Jasmine has always wanted to contribute to the community by bringing a little green into the city. Jasmine Teng is very involved in her school; she is a student leader and an active member of numerous extra-curricular. As it is her final year in high school, Jasmine has set a goal for herself to be more active in her community outdoor the ivy walls of Crofton House. With her involvement in local senior homes and this project along the way, Jasmine Teng hopes to leave an impact in her community before she goes off to college. Currently in her grade twelve year, Jasmine is putting together an art portfolio for college applications. Interested in both creative and academic aspects of design, Jasmine hopes to study both facets in university which consequently is actually how the WaterMe project came about. The WaterMe project was originally created in response to a prompt of an admission challenge. The prompt was to created a three-dimensional gift that demonstrated human spirit. When the word “gift” came to mind, Jasmine immediately thought of an interactive project. Being a student leader at her school, Jasmine has always been involved with her community. In her grade ten year, Jasmine was part of an outdoor education program at her school in which she spent a lot of time in nature and its surroundings. Ever since, Jasmine has tried to keep a conscientious mind and incorporate...

  By Sean Yoon   Having been invited by artist Colleen McLaughlin Barlow to attend the opening of her latest exhibition, “Whale Dreams” on September 30th, 2015, I arrived at the UBC Beaty Biodiversity Museum mindful of images I had seen of her work through her website. So in a sense, before I walked into the exhibition, I carried preconceived ideas of what I was to see and experience. The exhibition turned out to be highly different from what I expected, in a visually heightened, enlightening way to be able to experience her artwork in person. In particular, I recall being fascinated to observe the guests engaging with her art by taking pictures, conversing about her artwork in groups, as well as participating in some of the activities set up in the exhibition such as a drawing station where guests are instructed to draw blind contours of whale bone structures set up in front of them. Just as the Beaty Biodiversity Museum emphasizes how important the interconnectedness, or connection between human beings and nature is, Colleen’s art revealed a similar vein of thinking as we the spectators are made to contemplate the whale bones not just as one animal’s remains, but as a spectral symbol of our own mortality, our own bones residing within us. The exhibition provides an excellent opportunity to experience this in person, as well as check out the huge 26-metre long blue whale skeleton suspended in the museum’s atrium. If you have the chance, I would definitely recommend taking the time to visit the exhibition at the Beaty Biodiversity Museum in UBC before it ends on February 14th, 2016.   October 1, 2015 – February 14, 2016 Beaty Biodiversity Museum 2212 Main Mall Website beatymuseum.ubc.ca  ...

By Sean Yoon Photos: Sean Yoon/Alan Peng/Kenta Motoike/Chris Kay/Glen Phillips   When I turned into Christopher Kay and Glen Phillips’ neighbourhood on the 25th of July, I got a chance to look at how exactly placemaking (converting public space like boulevards into unique spaces of creativity) would go on to impact and shape communities. On the converted boulevard in front of Chris and Glen’s duplex is a sitting area with two worn lawn chairs and a bright red parasol, along with tree cover above to hide from the sun. Right beside the sitting area is a strange hedge figure in the shape of a bear, adding a sense of quirkiness to the area and in front is a raised bed with a spot reserved for a dinosaur sculpture in the shape of a stegosaurus. Before the interview took place, I was able to relax in one of those chairs for a few minutes and I got the sense that it would be an excellent place to hang out on a hot summer afternoon. For Chris and Glen, the sitting area came to be characterized as a common room space shared with the neighbours where they could just hang out and socialize. I was able to recognize the friendship between Chris, Glen and their neighbours as a group of residents sat on the curb outside their homes, watching the interview take place and occasionally conversing with us.   Moving from Yaletown to Kitsilano two years ago, Chris is a scientist in genetics striving for a PhD, while his partner Glen is a business owner coming from a business and science background. It was last winter back in February when Chris said to Glen, “We’ve got to do something weird. We’ve got to do something really...

By Sean Yoon Photographs: Sean Yoon/Alan Peng/Kenta Motoike   Situated within a ten minute drive from Kerrisdale Community Centre lies Southlands Farm, a rare plot of the last remaining class 1 agricultural soil in Vancouver. Being a much needed break away from the bustling noise of the city, I was pleasantly surprised when I found that Southlands Farm was not traditional in the sense where crops are grown in rows, but was instead highly efficient in the form of a polyculture space raising chickens, horses, ducks, honeybee hives; as well as integrating within the space a wide variety of produce such as apples, grapes, chicken and duck eggs, tomatoes, lettuce, kale, rhubarb, basil and other herbs. Feeling at ease among the sounds of people chatting, chickens running around and delightful atmosphere of the farm, I had the opportunity to walk around the farm and talk with Jordan Maynard, who is a manager and co-owner of the farm with his family.   Before I set out for the interview, while I was looking through the Southlands Farm website, I discovered that the conceptualization of Southlands Farm began in 2008 with a simple, but highly significant vision, which was and continues to be, “to farm in a sustainable way that could demonstrate to neighbours that true food security was possible within the city.” This statement raised some questions to my mind, such as what does food security mean and why is it an important concept to keep in mind in the context of Vancouver as a city? Jordan eloquently explained to me the concept of food security in Vancouver below.   “Food security is about having access to good food and in Vancouver right now and especially with the drought in California, we don’t have a...

 By Ellen McLaren Photos: Barb Mikulec   Steady drum beats reverberated throughout the hall, deep voices singing out a canoe journey song. Water nowhere in sight, the audience was still transported to riverbanks and shorelines, chants pulsing with imaginary currents. The Coastal Wolf Pack performance group then transitioned into an honor song, equally stirring – the friendly chatter preceding the opening ceremony had long since faded to a murmur, listeners all sitting in respectful silence. The auditorium had filled, organizers and volunteers leaving their booths to catch a moment of the final canoe journey song before the performers descended from the stage, still singing as they exited the room. Applause broke out as the Musqueam Band’s celebration of National Aboriginal Day was set into motion. Taking place every summer solstice, June 21, National Aboriginal Day is a time for all Canadians to honor the cultures and contributions of First Nations, Inuit, and Métis peoples. Festivities take place across the country as people, both within and outside Aboriginal communities, gather to learn about and appreciate Canada’s foundational societies. In Musqueam, the celebration took place a few days early on June 19, a sunny Friday afternoon. The day started with emcee Gordon Grant, who carried on a lively banter with each person he introduced to the stage. Chief Wayne Sparrow gave opening remarks, first acknowledging Musqueam’s elders and then extending welcome to visitors to Musqueam. This included the new Vancouver Chief of Police, Adam Palmer, who was there with a number of his force, all relaxed and chatting with other attendees. The crowd was decidedly mixed, attendance among Musqueam Band’s community traditionally high, but with a sizeable number of outside participants also present. Fellow intern Amy Cheng and I were there representing Kerrisdale Playbook, hoping for...

By Amy Cheng Photos Courtesy of Joanne Nakonechny   Art is not just about those usual paintings that hang on our walls. Rather, art is a way of understanding and unraveling how people piece their worlds together, with the medium being infinite. For Joanne Nakonechny, an avid connoisseur of textiles, this is especially true.   Joanne’s appreciation with textiles dates back to her childhood and that hasn’t dimmed. “While growing up, my mother regularly knitted and sewed, and in turn, she taught me how to cross-stitch, knit, and sew,” she fondly recalls. Additionally, she also has an aunt who is a weaver. Despite being well over ninety years of age, her aunt is still enthralled by the different perspectives in using Ukraine colours and patterns into her material work. ”It’s so incredibly inspiring,” Joanne gushes. Being surrounded by all those materials and inspirations involved in her mother’s and her aunt’s creative processes since young, her nascent fascination with textiles only grew. The more she wove, the more ideas came to her. And before she knew it, she was enamoured by a euphoric sense of freedom.   “I’m not only working with my hands, but I’m also working with various colours and my mind—thinking of the endless possibilities to the patterns. And within those frameworks, there is this constant rewarding engagement with chaos, which I just love,” she adds. “I understand that this can be overwhelming, but as long as you maintain within the weave structures, you have a hundred degrees of freedom. And this freedom is exactly what enables you to explore and find yourself within those very structures and boundaries,” Joanne explains. After all of her years of working with textiles, Joanne is still discovering herself in the process. For her, working with...

By Ellen McLaren Photos: Noriko Nasu-Tidball   Drums almost all handmade, leather skins are stretched taught across recycled wine barrels, wood still fragrant. In North America, this is the norm among taiko, percussionists finding it more practical to make their own drums than import them from Japan, where the prices run much higher. Since his entrance into the taiko world, Doug Masuhara has joined the ranks of BC drum makers. His odaiko, the largest taiko drums, sound rich and deep, craftsmanship clearly on par with musicality. Not that Doug would ever say so himself. Despite his success with taiko – establishing his own performing group, Tetsu Taiko, and managing several practicing circles – Doug remains exceptionally humble. He attributes many of his accomplishments to the hard work of his daughters, without whom he may have never tried out taiko drumming at all. Until 2000, taiko had no presence in Doug’s life. A Vancouver native, Masuhara is sansei, third generation Japanese Canadian. Growing up, he mostly connected with his Japanese heritage through his grandparents. Other than that, however, his homelife remained fairly western in nature. Certainly, traditional Japanese drumming was not something frequently heard. It was only fifteen years ago, at the Steveston Buddhist Temple, that Doug had his first introduction to taiko. In a workshop led by Shinobu Homma, of Chibi Taiko, a Burnaby based drumming group, Doug began his taiko lessons. Initially organized for children at the temple, “I was the only adult there,” he says, “and I was the most nervous!” They practiced mostly on car tires, using bachi drumsticks, also homemade from wooden dowelling.             Under the tutelage of Shinobu and his assistant instructor Naomi Shikaze, for two and a half years Doug, his daughters, and a handful of other students...