S3E6: In the Dust Behind Barbed Wire — The Rhythm of FandangObon

Welcome back to Japanese America! In our annual July Obon Special, we explore how the traditional summer dance circle has expanded into a massive, multi-ethnic movement of resistance, collective healing, and cross-cultural solidarity. 

In this episode, we feature powerful clips from the new documentary Nobuko Miyamoto: A Song in Movement—a brilliant co-production between the Japanese American National Museum (JANM) and PBS. We trace the incredible journey of how an early 1980s request for the first English-language Obon song evolved into FandangObon: an iconic Los Angeles festival fusing Japanese Obon, Mexican Fandango, and West African drum traditions. 

Along the way, Michelle shares her nostalgic memories of childhood Obon festivals in Japan (complete with a loophole for bad manners), while Koji stands firm on his lifelong stance that "gangsters don't dance"—unless, of course, a childhood crush was involved. We also dive into what our ancestors might think of Koji's legendary Minor League baseball dance moves. 

What We Discuss in This Episode:

• The First English Obon Song: How Reverend Masao Kodani of Senshin Buddhist Temple challenged icon Nobuko Miyamoto to bridge a cultural gap in the early 1980s. 
• Obon as Resistance: A poignant look at how Japanese Americans kept the Obon tradition alive behind barbed wire in WWII concentration camps, dancing in the camp dust as an act of survival. 
• The Birth of FandangObon: The magical moment Nobuko stepped into a Mexican Fandango workshop, recognized the shared community structure of the participatory circle, and fused it with Obon. 
• LA Cultural Synthesis: Artists Quetzal Flores and Martha Gonzalez reflect on what it means to find collective healing, beauty, and joy through intergenerational solidarity. 
• Cultural Nuances & "The Rules": Michelle and Koji discuss the differences between Japanese and American street manners, the multi-layered nature of Japanese spirituality (Shinto shrines, Christmas, and Buddhist funerals), and sharing cross-cultural clothing like yukata and happi coats with respect. 
• The Ultimate Dance-Off: Michelle challenges Koji's rhythm, prompting Koji to defend his skills using Minor League classics like "The Chicken Dance," "The Bus Driver," and "The Q-Tip". 

Featured Voices & Film Credits

• Nobuko Miyamoto: Legendary activist, musician, dancer, and founder of Great Leap. 
• Reverend Masao Kodani: Former head minister of Senshin Buddhist Temple. 
• Quetzal Flores & Martha Gonzalez: Grammy Award-winning musicians and pillars of the LA Fandango/Son Jarocho movement. 
• The Film: Audio clips featured in this episode are pulled directly from Nobuko Miyamoto: A Song in Movement, a co-production by the Japanese American National Museum (JANM) and PBS. 

Links & Resources Mentioned

• Watch the Movie: Stream the full documentary right now on PBS: Nobuko Miyamoto: A Song in Movement on PBS. (https://www.pbs.org/video/nobuko-miyamoto-a-song-in-movement-gjvy7f/)
• Learn More: Visit the Japanese American National Museum for exhibitions, history, and community resources. (www.janm.org)

Follow & Support Us

Enjoyed the episode? Grab your uchiwa fan, head to your local temple, and step into the circle this summer! Don't forget to rate, review, and subscribe! 

Transcript

0:04

So in the early 80s... Reverend Mas. Came forward and asked me, Well, Could you write? A song for Obon. Obon is one of these moments In the Japanese community that People. Of all generations come together. There had never been a song in English about Obon. This was a way of my learning About Japanese tradition, Which I will Wasn't really brought up in. And then also artistically to begin to feel more freedom about. Creating in this circle form. Something magical happens in that circle. I think that's the magnet. Keeps people coming to Obon. They want that moment. They can just be themselves. And just feel connected. To their community. Be connected to their own identity. Their own history. People talk about solidarity. People talk about unity. But how do you feel it? It's like a big hug. You know, It was like, How can I express my love for people? Welcome back to Japanese America. It is July 2026. And we are stepping direct Into our annual obon special. This year, We are talking about. A massive. Beautiful revolution of the traditional circle. That's right. That voice you just heard belongs to the absolute icon, Nobuko Miyamoto. Back in the early 1980s, Reverend Masao Kodani, Right here in Little Tokyo, Asked her to write the very first... English language obon song. Which completely opened up the festival to a whole New generation. Now, You might be wondering where these incredible audio clips are coming from today. We are pulling these moments from the fantastic new documentary Nobuko Miyamoto A song in movement. Which is a brilliant co-production. Between the Japanese American National Museum And PBS. It's an amazing film that captures your incredible life. And legacy. But before we dive into how that single song grew into Fandango Obon. The legendary LA festival that fuses Japanese Obon, Mexican Fandango and African drum traditions. Obon is a huge part of growing up. Japanese American. What is your absolute best? Most vivid obon memory from childhood. And be honest, When you go To the festivals today, Do you actually get out there and Dance. Um. To be honest with you, My family did not go to Obon. So. It wasn't until I became an adult that I went to bon, Soo I don't have any childhood memories. And In terms of Dancing, I do not dance what I always tell. Oh, You don't. No, I tell my son. Gangsters don't dance. So. That's what I don't dance. What about you? Do you have memories from... Obon is in your childhood? Yes, I... So I grew up in Japan and... We used to go to obon dance. Nearby elementary school? And After You know, When you enter... They give you a little Ticket For an ice cream bar on the way out. And. Walking home eating that ice cream bar It's my memory. Like, I love that. You know, Because Usually. Japanese parents Don't let you walk and eat. Really? But. Yeah that 's true that 's not that 's Bad manner walking You know, Eat and walk? No. That's like one of the only time. Mom. Let me Eat and walk. The ice cream bar and, You know, Walking home. I love that. So wait, When Japanese people come to America and they see all these people walking around eating, Do they... Freak out about that. Or do they just say Americans are rude anyway? Maybe. not in 21st century, But... Like when I was growing up, That was like, No, No, Like you don't do that. Only Americans. What about you? Do you dance? Get out there and dance when you go to Obon. Yeah, We used to dance and we... In a circle and it was so much fun. You don't know, You don't have to know the movement. You just, You know, Copy whatever. People are doing on a Stage. And So that's great. Do your kids dance at obon? Or do they not do that? No, I... My kids don't dance. Yeah, It was funny. Actually, The first time that I went, Sorry, When I first started working at the museum, It was kind of the first time I really had. A Japanese-American experience. And I remember her just being like, Shocked because The volunteers, The older volunteers, Would always just break out into Obon dance, Even not during Obon season. Like they would do it right now. And I was like, Wow, They're... They're always line dancing. I have no idea what's going on. So were they in line or were they in a circle? They'd be in a circle. Yeah And then they just start dancing, And I'm like, What's going on? And I had to ask somebody because My mom didn't do any of that kind of stuff. Yeah. And it's like, It's all, It's always the basic thing. Papa and Gappa and then go back. Forward. And it'll go. Now, Papan-gapan, You go forward and then backward, Forward. Backwards so you don't go too too fast And then there's the song, Shiawase wa. 歩い て こ ない. Well, Why don't your kids dance? Because I don't Take them to Obon. Ah, Oh no. What kind of parent are you? Well, To be fair... What about... What about you? Maybe we are gangsta. We don't dance. No, We, Yeah, When we go to Obon now, We're. They're in. Exclusively just to grab food. And to play a few games and then go home. We're not there to do any cultural stuff. Maybe watch a couple... Performances or something, But... I'm trying not to stay there that long. Oh, So you don't... Because The dance don't start till it gets dark. Yes, Exactly. That's way too long. I'm already home. Resting. Well, You should try this ear. Maybe they can... Maybe. You're not gonna be... Too much of a gangster. Gangsta this year and... I think the only, I mean, To be honest with you, Thinking back to my childhood, The only way I would have ever danced was if I liked a girl. And she was there at the same time, And I had to dance with them. But other than that, I don't imagine. I don't imagine I would have ever... Got up and dance. But, Yeah, But the... Dance with a girl... Or boy, It's not like... Western dance that you don't hold your, You know, Dance. Of course, But what I mean is that I would have only had to dance because somebody else was dancing and I wanted to be next to them. Not that I would be like slow dancing or anything, But... Yeah, Yeah. I can't just stand there. That person's dancing. So I don't have to like do something. Yeah. Yeah. But other than that, I can't imagine. Maybe I'm too... But if... First of all, You gotta get an outfit. Yukata? Yeah. And maybe you get in a mood. Maybe. Maybe. Yeah. Whether you dance every single song or just enjoy the energy, There is no denying the power of that space. Let's head back to our conversation with Nobuko. Where she describes how she first had to absorb the tradition to create that Very first English Obon song. Because Nobuko wasn't raised deeply immersed in traditional Japanese music, Finding the right sound meant she had to act as a medium for a lot of different musical styles. It came about by my absorbing or being a medium for... Other people. Mas fed to me all this different kind of Indian music. Buddhist music and Folk music and eventually It just came to me how it should sound. She brought those sounds straight into the community. Leading to a long legacy of teaching classes. And preparing generations of dancers to step up onto the floor. This is where. I taught. Many, Many, Many, Many dance classes. Many performances were prepared here. Yeah. But as Nobuko dug deeper into the history of Obon in America, She realized that this dance wasn't just a joyful summer celebration. It was a profound act of survival. And resilience. During World War II, Too when Japanese Americans were forced out of their homes. And into concentration camps. They fought to keep the summer tradition alive. Behind barbed wire. The community has created a system. To sustain this tradition. This tradition was also done In camp. I now look at it and say, Well, That was an act of resistance. When it was against the laws of the concentration camps, People came together to dance in a circle in the dust behind barbed wire. Joy in remembering the past. In embracing the sorrow Close your eyes, Let it go, From your kokoro, Just dance. Reclaiming that circle meant everything to the post-war community. Nobuko realized that the physical structure of moving together in a circle holds a unique kind of magnetism. Something magical happens in that circle. I think that's the magnetic... Keeps people coming to Obon. They want that moment. They can just be themselves. And just feel connected. To their community. Be connected to their own identity. Their own history. Decades later that Exact same circle became a Bridge to other communities in Los Angeles. When Nobuko attended, A Mexican Fandango workshop. She realized that the participatory circle was completely mirrored the spirit of Obon. The form looked very similar to me. I said, You know. I wonder what will... Happen if we combine fandango with a Obon. That single idea completely transformed the cultural landscape of LA. Bringing multi-ethnic communities together to share taiko drums and dance. Musician Quetzal Flores remembers the moment it all came full circle for him. Nobuko came to a Fandango workshop. Saw the circle and was like, Oh, This is like Obon What I started seeing in that space was All these people from The movement back in the day. All these Japanese American folks said, My parents used to kick it with. So exciting because it was like full circle for me. And the beauty of this collaboration is that it didn't just stop at a performance. It became a collective problem. Process of healing and finding joy. Amidst the struggle of everyday life. We've never had... A process to heal. We've never just sat back really collectively engaged in healing practices. Amid the struggle, We have to find moments of rupture and beauty and joy. It is just so incredible to see a Crowd in hapi coats, Dancing right alongside musicians playing West African drums and And Son Haracho Music. It really embodies what A day is all about. But Koji lookin at the footage. How did it feel seeing that journey from the 1980s to today? When I was watching the documentary it made me really happy. I mean. When I think of what America is supposed to be, This is what I think it is. It's kind of... You know, All a mix of different cultures. It's a mix of, People Celebrating their culture and like not ignoring their culture, But celebrating it and joining with other people. You know, It reminds me of when my son was younger. And we'd have a taco guy come out. And cook. And then my... And then I'd also like, We'd be cooking like. Chicken teriyaki on the grill. And it just feels very, You know, This is what, Like, What we're supposed to be doing as a country, Because we're a country of immigrants. And that we celebrate. And we honor. And we... And we kind of have. Have a lot of fun. So I think when I watch. When I watched that kind of, Um, When I watch this journey that Nobuko went through, I'm really touched. By at all. What about you? In 2026, People get offended. When somebody dressed up. I think. The different culture And stuff Like racial appropriation. Why people don't get, You know, Why don't... Why can't Relax a little bit and share an experience. Different culture. And Have fun. I really like that. I think there's different kinds of... That. I mean... I think... Before a lot of it was. Racial stereotypes. Like the geisha, For example. You know, Like that's kind of like, Yeah. But if you're just wearing a happi coat. You know. Yeah, But no, But like some people get... Like super upset, Like, Oh, Why is he wearing? Outfit Or... Like, Relax, Enjoy. I don't know, Like, Why can't you share the experience and have fun? And I think a lot of it also is. Where... The person who's wearing it, Where they're coming from. If they're coming from a place, I think, Of... You know, I'm trying to learn. I'm trying to have... I'm trying to experience. I want to... Gain knowledge, Then... I think it's fine. But when it comes from a place of like. You know? Yeah. Asians are exotic prostitutes. I know. Geisha's are not. Prostitute. Yeah, Yeah, Yeah. And people just like... I know, I know. I have different... Idea or like people translate it in a different way in their head. But yeah. I don't know. But when Americans think of geisha, They think of prostitutes. Yeah, but they are not... Prostitutes. I know, But that's what they think. You can say it a million times, But it's still... Yeah, This is too sad. When certain Words come to America, It just gets translated in a different way. Did you have any other thoughts when you were watching the Documentary. I really like that. But you've me you mix together with the African beats. And then Japanese dance You know, The Mexican dances. But like Fandango Obon. What's Fandango? I like when I see When I hear a fandango, I... I think of you know Aol, No, It's that AOL music phone. A movie phone. Let's see. Oh, It's a... Vibrant community-focused celebration of music and dance. Rooted in the coastal state of Veracruz. It centers around Son Jorja- Heracle? Right, Or Horatio. A lively musical style where musicians play traditional instruments and dancers perform a rhythmic percussion footwork. Called Zapoteto on a Wooden Platform. Called a Tyrema. So it's kind of a party. Community ritual, Cultural expression. I mean, It's kind of sounds like a lot like Obon. Yeah, Except minus the... The dead part, But... No, No, No. Obone is the dead part. No, No, That's what I mean. No, No, No. The Fandango doesn't have that element to it. Oh, Yeah, Yeah, In Japan... During the obon season, There are cucumbers and eggplants. With that. Two sticks. They make it look like an animal. And They are. Placed by the front gate of the house? Because Rise those animals and come back to you. That's crazy. I know, I know. But you... You don't see that. In city but you still see those In a countryside like our. Eggplant. Nasu and Kyuri With the toothpick. To make it look like an animal. Was your family... I mean, Your family was Christian though, Right? Yeah, My parents are Christians. But in Japan... But they still go to Obon? Well, Obon is a party. You gotta have a girl. And besides... Being a Japanese... When you are born, You are taken to, Not my family, But... Usually, In average, Japanese people when they are born, They are going to be born again Shinto shrine to get good luck splashed over them. And then... They would celebrate Christmas. And they would celebrate obon and when you get married, People want to... Have. Christian wedding? But when you die, You want to have the Buddhist funeral. That's us. Japanese. For our listeners who want to experience this story visually, Where can people actually go to see this film? You can actually stream the full film, Nobuko Miyamoto, A song in movement right now on PBS. We will have the direct link to the video on PBS in our show notes so you can watch it easily. Definitely go check out The film. Koji. Before we wrap things up completely, And say goodbye. I have one last question for you. Nobuko talks about the dance circle being like a giant hug an ultimate expression of love for our community. So looking forward into this summer's festival season. Who do you think? Our ancestors are looking down and Judging more out There on the hot Asphalt. And more importantly, Who do you think is the better dancer between me and you. My ancestors are judging me because I don't dance, But... I'm going to say that you're a better dancer than me. I mean, I don't even dance. Oh. What do you think? I mean. I assume you think me too. Well, I, You know, I... been to many baseball games as a Japanese person And I learned. The Q-tip move. And the bus drivers. And And chicken dance. I could do any dances. What? Wait, Where? Are you talking about Japanese baseball games or? American baseball games. No, American. Yeah, You go to like AAA games and... It's all about chicken dancing. Doing Q-tips. Q-tips. What? Have you ever seen anybody doing Q-tips? I've never seen anybody do a Q-tip song. What? Well, Bus driver. Oh my God. No. Oh my gosh. Oh, I'm more American than you are. Well, I repeat, Gangsters don't dance. That's why. Oh. A massive thank you to Nobuko Miyamoto, Quetzal florist Martha Gonzalez N. Everyone keeping the spirit of Fandango Bon thriving across Southern California. Obon Season is officially here. Get your Uchiwa fan ready. Find a local temple and don't just watch from the sidelines. Get out there and step into the circle. We'll see you out there on the dance floor. Not me. But don't go too far after festival season ends because next time on Japanese America, We're diving into one of the most Monumental chapters in our community's history. The fight for Japanese American redress. We are going to look up. But grassroots organizing. The intense political battles and the... Profound legacy of the Civil Liberties Act of 1988. It's a story of trauma, Justice, And what it truly means to hold a nation accountable. You won't want to miss it. Alrighty. Can't wait. Bye. Bye. Dance? Dance with them