By Lynn Gordon
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Additional info for Maricopa Morphology and Syntax
This mid-twentieth-century phenomenon was largely due to the renewed friendship between the two countries after World War II. While there was still hatred of the Japanese among the older American generation who actually fought in the war, the young avant-garde community was ready for international exchanges. 97 Daisetz T. Suzuki and Allan Watts were largely responsible for introducing Zen philosophy and other Eastern thoughts to the United States. The Beat poets and writers, who could be found on both the East and West Coasts, incorporated Eastern thoughts into their underground culture.
The Emergence of Women Artists in the Postwar Japanese Avant-Garde Chances for public exposure were even slimmer for women artists, who were often segregated as jyoryu¯ (literally, artists “in the manner of women”) by the public. The term had a contemptuous connotation of bourgeois women indulging themselves in an artistic hobby, and only in the 1980s, with the emergence of a large number of women artists, did it become obsolete. Before World War II, societal pressures on women to conform to the patriarchal system were so great that many serious women artists needed to remain single by rejecting their families’ recommended marriages or by cutting family ties.
68 Although To¯no’s comment was exaggerated, the concert was received as an early sign of the anti-Art movement in Japan and was concurrent with young avant-garde artists’ employment of actions as artistic expressions. While Ichiyanagi called some of his works in this concert “Happenings,” the term did not become popular in Japan until Yoko Ono’s recital at the So¯getsu Art Center a half year later (see ﬁg. 10). Involving as many as thirty Japanese avant-garde luminaries as performers, Ono’s ﬁrst recital in Japan after her ten-year stay in the United States was generally received as the ﬁrst major happening in Japan.
Maricopa Morphology and Syntax by Lynn Gordon