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Sylff@Tokyo:Fellow Attends Trilateral Dialogue on East Asian Security in Tokyo

May 29, 2014

Roger Cliff, right, with Leadership Development Director Mari Suzuki.

Roger Cliff, right, with Leadership Development Director Mari Suzuki.

Roger Cliff, who received a Sylff fellowship in 1991 while attending the Woodrow Wilson School of Public and International Affairs at Princeton University, visited the Tokyo Foundation on April 4 to participate in a dialogue on East Asian security. The day-long workshop on extended deterrence in East Asia, organized by the Tokyo Foundation, and the Atlantic Council, was attended by security experts from Japan, the United States, and South Korea.

Roger is a nonresident senior fellow at the Atlantic Council’s Brent Scowcroft Center on International Security, where he is engaged in the Center’s Asia Security Initiative as a specialist on East Asian security issues. The Brent Scowcroft Center is the Atlantic Council’s flagship international security program, analyzing how global trends and emerging security challenges will impact the United States, its allies, and global partners.

It was a great joy to see a Sylff fellow working with the Tokyo Foundation’s research fellows. He noted that he regularly checks the Foundation’s website and email newsletter and finds the information helpful, especially the articles by Tsuneo Watanabe, the Foundation’s director of foreign and security policy research and senior fellow.

Sylff was endowed at Princeton University in 1989, and Roger was one of the early fellows at the university. He has focused his research on East Asian security and US foreign policy toward the region and is now an expert producing cutting-edge analyses and developing strategies for how the United States can best work with like-minded countries to shape the future. Read his articles and comments here.

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The Tokyo Foundation is eager to keep track of the activities of Sylff fellows in various fields, so please keep us posted. Also, be sure to keep your contact information up-to-date. This is essential in enabling us to provide you the latest information on additional support programs and other initiatives.

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Music Connects Us All

May 12, 2014
By null

The seventh Sylff chamber music program, “New York-Paris-Vienna,” was held recently in Paris with a grant from the Tokyo Foundation. Here, Paris steering committee member Gretchen Amussen introduces some of the enthusiastic comments by the participating fellows and professors.

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From January 16 to 24, 2014, the Paris Conservatoire hosted eight Sylff musicians from Vienna’s University of Music and Performing Arts and New York’s Juilliard School, who joined forces with four professors and six Paris Sylff fellows for a week of chamber music, culminating in a magnificent concert in the Invalides Army Museum’s historic seventeenth-century Grand Salon. The musicians, representing eight nationalities, performed works by Tomasi, Ravel, Jolivet, De Falla, Villa-Lobos, and Mozart.

“Playing music with new people is always a challenge,” said French fellow and flutist Mathilde Calderini of the experience, “because first you have to ‘find’ each other. But in the end it’s worth it!”

For French fellows Lomic Lamouroux and Carl-Emmanuel Fisbach, who participated in last year’s Viennese encounter, as well as pianist Antoine Alerini, who had gone to New York several years ago, being the hosts meant taking responsibility for sharing French culture. For Lomic, “The human aspect is essential, which is why I wanted to spend time with other fellows so they could better understand our country, our art, and who we are, much as had been the case for me when I went to Vienna.” In fact, for all involved, the cultural dimension proved as important as the music making.

For Juilliard’s Francesca dePasquale, “It’s one thing to speak about the French sound for French composers and completely another to be in France, see the incredible architecture, art, museums, and learn about the kind of sound here. For me, this was very valuable as an artist.” Vienna’s Georgina Oakes agreed, saying “I can’t get over the beauty of the city, which I’m sure will continue to inspire my artistry.”

The cultural aspect of the week got off to a vibrant start with an afternoon tour of the city, followed by dinner at the Auberge des Pyrénées-Cévennes. Traditional French cooking from the Southwest and from Lyon was featured, allowing for new culinary discoveries. Georgina Oakes, doubtless the most adventurous, chose a dish featuring pig’s feet, which she joyfully shared with those sitting close to her. For Georgina, “tasting” a culture seemed as important as hearing a new language and visiting historic monuments.

The project began weeks earlier with the sending of hard-to-find scores and parts to the visiting fellows. Upon their arrival, complex rehearsal schedules were distributed, and students were taken on a tour of the Invalides Army Museum. Of particular interest to the visitors was Paris’s system of reserving time and space for personal practice at the Conservatoire: something that the French students take for granted but that others felt could be incorporated in their home schools. Rehearsals began shortly thereafter, with the sounds of music, animated discussion in multiple languages, laughter, and music-making reverberating late into the night.

One feature of the Paris Sylff project is that students and teachers perform together. For oboist and chamber music professor David Walter, when you “play a program with students, their minds are fresh and full of hope regarding the music. They are ready to jump in if you invite them to do so. You must participate in much the same way they do, and expect from yourself what you expect from them—which is quite demanding and not always comfortable.”

Guitar professor Jean-Marc Zwellenreuther mused that the Brazilian composer Hector Villa-Lobos, “himself a great traveller and lover of Paris, would have been happy to see and hear these young musicians who were so enthusiastic, generous, and kind.” Cellist and professor Diana Ligeti commented, “Speaking and understanding the differences in musical pedagogy in our respective countries made us stronger and more able to give a personal, authentic interpretation.” Flute professor Vincent Lucas noted there were “many exchanges in which each musician listened to one another and engaged with real complicity and intelligence—just as one does with professional musicians.” And French harpist and fellow Maureen Thiébaut said, “For several days, we worked, played, discussed, and almost lived together—doubtless the best way to build both the human and musical cohesion of the ensemble.”

What did the different styles and cultures bring to the music? For Lomic, “The difference in styles was not a break in creativity but just the opposite: What can be better than trying to find a common way of playing, thinking, and sounding, despite individual, cultural, or stylistic differences? The concert was a perfect illustration of these riches: Many different sounds, styles, and nationalities . . . and in the end, a united sound and performance.” Juilliard’s oboist Max Blair found the experience a more interactive one in terms of teaching and rehearsing. “It made me think about the process of collaboration in a new way: striving to find a cohesive interpretation of a piece in which each one knows when to lead and when to follow.”

The presence of unusual instruments—especially the Viennese oboe and French bassoon—was treasured by Juilliard’s Anton Rist: “I have learned about different playing and detaching styles as well as different instruments, and these have helped me to develop my ear for timbre and blend.” Above and beyond this, as Carl-Emmanuel suggested, coming together constituted an opportunity to develop a “healthy distance from one’s own culture, to listen, communicate, and interact fully.”

What did each learn from the other? For Juilliard’s Trevor Nuckols, “from my colleagues in Paris and Vienna, an incredible regard for exchanging ideas both musically and nonmusically, gaining thus a much more open-minded and wordly perspective.” For Lithuanian musicians Gleb Pysniak and Dalia Dedinskaite studying in Vienna, “from the Americans, friendship, care, precision in music; from the French: freedom, optimism, inspiration in music.” Or as French violist Marina Capstick put it, “the language of music is universal, and I could see this clearly during the seminar.” Anton Rist felt he developed his skills as a chamber musician, whereas Mathilde Calderini felt the experience provided an excellent opportunity to build her international professional network. As Georgina Oakes noted, “Music connects us all!”

The seminar experience led to enthusiastic suggestions for the future, such as adding a second concert or even a mini-tour. Vienna’s Julia Zulus suggested finding a work that would allow all members of the group to perform together. . . . All thoughts to take into consideration for future sessions!

As Vincent Lucas said, the “souvenir of this music-making is a lovely one,” and speaking for all the fellows, American Trevor Nuckols waxed eloquent: “Thank you for everything! I’d love to participate in another such international exchange opportunity. It has been a magical and life-changing experience!”

Gretchen Amussen
Born and raised in New York City, the Franco-American Gretchen Amussen studied music and French at university and then organ with Xavier Darasse at the Toulouse Conservatoire. Since 1992 she has worked at the Paris Conservatoire, where as Director for External Affairs and International Relations she has helped promote the Conservatoire, its students and teachers through an extensive worldwide network of educational and cultural organizations.

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Cars and Capitalism in Contemporary Hanoi

May 1, 2014
By 19597

Streets clogged with motorbikes in Hanoi have become familiar sights, as images are frequently featured in posters and magazines. Is there any room in this city now for automobiles, whose numbers are on the rise? Arve Hansen, a Sylff fellow at the University of Oslo in Norway, explores the socioeconomic transformation taking place in Vietnam through the lens of the nascent transition in the prevailing mode of personal transport from motorbikes to cars.

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Vietnam has undergone a radical socioeconomic transformation during the last three decades under a program of economic reforms known as Doi Moi (“renovation”), officially adopted in 1986. Vietnam has grown from being one of the poorest countries in the world into to a middle-income, emerging economy, and the country is now frequently cited as a success story in economic development. Vietnam has moved from a planned to a market economy under a model described by the Vietnamese government as a “market economy with a socialist orientation.”

These changes make Vietnam an extremely interesting case in the study of both development and consumption. My PhD research into this topic in Vietnam focuses on what appears to be an ongoing transition away from motorbikes as the principal form of transport toward four-wheel automobiles in Hanoi. (It was thanks to Sylff Research Abroad that I was able to conduct long-term fieldwork in Hanoi, something absolutely vital to my project.)

My research approaches the trend as seen from the perspective, respectively, of the government, industry, car dealerships, and consumers. I have particularly emphasized the view of the consumer, using the car both to illustrate the ongoing changes in Hanoi as well as to analyze consumption trends more generally.

“Land of the Honda”

Motorbikes in downtown Hanoi_photo by Huong Nguyen

Motorbikes in downtown Hanoi (photo by Huong Nguyen)

Vietnam used to be a country of bicycles but quickly became the “land of the Honda” during the 1990s following the start of the Doi Moi reforms. Today, in a country of 88 million people, there are around 35 million motorbikes. The sea of motorbikes in Vietnamese cities is now an iconic image of the country and one of the most popular motives for photographs by tourists. It has also created a highly individual transport situation, in contrast to the collective ideals of socialism.

Now, the passenger car is increasingly making its way into the streets, in the process clogging up traffic and making the motorbike more dangerous. My interest in Vietnamese automobility started several years ago while riding around the narrow streets of Hanoi on a motorbike and seeing how automobiles, struggling to make their way through traffic, were unfit for those streets. I asked myself why anyone would choose to drive a car there.

The answer is, of course, quite complex. It can also be very interesting as a starting point for understanding the socioeconomic changes and development challenges Vietnam is facing. The automobile is still a very expensive luxury; in fact, Vietnam is one of the most expensive places to buy a car due to high taxes. This, at the same time, makes the car a powerful expression of the inequalities embedded in the new economic system. The limited availability of the car also strengthens its position as a potent status symbol. A striking sight in the narrow streets of Hanoi is the frequency of very big luxury cars. This is a sharp break with the country’s socialist past, when displays of personal wealth were frowned upon and could lead to serious trouble.

In post–Doi Moi Vietnam, the automobile is one of the most obvious symbols of the new reality, in which getting rich is considered glorious and displaying personal wealth has become normal. In contemporary Hanoi, expensive cars are used actively to display wealth—sometimes strategically to show business partners that you are successful.

Advantages and Drawbacks

 The new traffic in Hanoi (photo by Huong Nguyen)

The new traffic in Hanoi (photo by Huong Nguyen)

Although the car is very much a status symbol, this is not the only reason that people buy them. Most of the purchasers with whom I talked report they were motivated more by safety and family reasons, as transporting one’s family on a small motorbike can be dangerous. The car also allows you to stay cool (and white!) under the scorching sun and dry during the frequent periods of heavy rain. There is also a paradoxical relationship between air pollution and car consumption: riding in a car allows you to temporarily escape the dangerously deteriorating urban air quality. The car is thus both a powerful agent in causing air pollution and a means of escaping from it.

The private car has had a central place in capitalist (and sometimes socialist) development and industrialization around the world. In Vietnam, the car in many ways represents a development dilemma. The car industry is targeted to play a leading role in scaling up Vietnam’s industrialization, with foreign investment (particularly from Japan) leading to positive linkages with, and technological diffusion to, the rest of the Vietnamese economy.

Among many other things, this requires a larger domestic market for cars. Studies have shown, however, that the streets of Vietnam’s cities cannot accommodate a transition to private cars as a predominant means of transportation. In Hanoi, the growing number of cars is already significantly increasing the frequency of traffic jams and further deteriorating the toxic air quality. Greener cars, though, are part of neither the transportation nor industrial plans of Vietnam.

In global discourse, the automobile is frequently (and deservingly) attacked as being one of the most environmentally destructive aspects of private consumption. In Hanoi I spoke with foreign environmentalists who argued that Vietnam needs to realize that the car belongs to the past.

The Car as the Future

Traffic and street vendor in Hanoi (photo by Arve Hansen)

Traffic and street vendor in Hanoi (photo by Arve Hansen)

Moving beyond private car consumption may be a worthy ideal, but the argument that the car is history fundamentally fails to understand the position of the car in an emerging economy like Vietnam. In this context, the car represents the future. From the government side, moreover, the car industry and private car ownership are symbols of economic success. And for the growing ranks of the middle class, replacing the motorbike with a car is emerging as one of their main aspirations.

The motorbike is still king in the streets of Hanoi, although it is increasingly being forced into an interesting coexistence with four-wheel vehicles. Most car owners keep their motorbikes as well and choose their mode of transport in a flexible manner, with motorbikes being used for shorter distances and to go downtown, while the car is used for travelling with the family, attending important meetings, or leaving the city. In this way the car also supports the creation of new practices among the middle class, such as travelling outside the city for a weekend holiday.

While people often heap blame on the motorbike for all traffic problems in Hanoi, in a city with very limited public transport options and lack of infrastructure, the motorbike is the main reason why mobility is still fairly good. The government has decided that it will limit the number of motorbikes in the future. Given the lack of alternatives, this may pave the way for the car. It will be interesting to see what the future holds for the two-wheeled icon of contemporary Hanoi.

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