Does Buddhism have a diversity problem?

Bronze Buddha at Todaiji Temple, Nara, Japan

This bronze statue of Buddha, at 15 meters (almost 50 feet, or five stories) tall, is the largest bronze statue of Buddha in the world. It sits in one of the largest wooden structures in the world, Todaiji Temple in Nara, Japan. I shot this photo during a 2011 trip.

An excellent, thoughtful and thought-provoking article on Huffington Post about the lack of diversity in the Buddhism community in the U.S., “Buddhist ‘People Of Color Sanghas,’ Diversity Efforts Address Conflicts About Race Among Meditators” got me pondering about race and religion. The article, by Jaweed Kaleem, HuffPo’s National Religion Reporter, focuses on Buddhist groups throughout the country but specifically in Seattle, which are almost entirely run by older white practitioners of Buddhism and meditation. This lack of diversity, Kaleem says, has led to a subculture of Buddhist “sanghas,” or groups, of color — white folk not allowed.

Here in Seattle, one of the least racially diverse cities with one of the largest Buddhist communities in the country, a controversial movement in American Buddhism is forming. A handful of exclusive “people of color” Buddhist groups have started to meet each week, far away from the long-established — and almost entirely white — major Buddhist meditation centers that have dominated the Pacific Northwest’s well-known Buddhist scenes. Many members, who have until now shied away from meditation and Buddhism, say practicing away from the white majority, among whom they say they don’t feel welcome, has spiritually empowered them — and they wouldn’t have it any other way.

It’s part of the same demographic tsunami that washed away hopes of a Republican White House and Senate a few weeks ago, but scaled to spirituality. As someone who often enters a room looking for people of color as a measure of diversity, I certainly understand one black woman’s reaction in the article when she attended an all-white Buddhist group’s meeting — she felt she didn’t fit in.
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Elena Moon Park’s “Rabbit Days and Dumplings” serves Asian children’s music for all ages

rabbit days and dumplings - elena moon parkI have a soft spot for children’s music, especially if they’re traditional folk songs of any culture. But the children’s music that really tugs at my heart are the timeless melodies I grew up with as a kid in Japan.

So when I listened to Elena Moon Park and Friends’ beautiful and fun album, “Rabbit Days and Dumplings,” I was most enchanted by “Akatombo” (“Red Dragonfly”) which opens with fingerpicked guitar and is joined by a flute whistling the gorgeous, lazily floating melody I remember from my childhood. Park and executive producer/guitarist Dan Zanes sing both in English and phonetic Japanese, and the music is rounded out with flutes, the buzuk, an Arabic stringed instrument, and koto, the Japanese harp that looks like a surfboard with strings.

The album is chock-full of such world music mashups of culture while the songs are treated with respect for their cultural origins. On some of the songs, Park brings in guest singers to handle the Japanese, Chinese and one Tibetan song.
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Dim Sum Warriors manga goes to print from digital, raises money for Sandy Relief

Yen Yen Woo and Colin Goh are a hyper-creative husband-and-wife team who came up with a brilliant idea: “Dim Sum Warriors” an interactive comic book about kung fu-fighting sim sum characters that’s available as an iPad app. Yeah, it sounds kinda corny but it’s super cool.

The app has all the action and coolness quotient of manga, but has an added educational bonus: It helps teach Mandarin. As you read the story, you can either read the dialogue bubbles in English or switch to Chinese, and hear the dialogue with a touch.

I invited the couple to be panelists on the comics panel at the V3con for Asian American Digital Media this past August, and they were great.
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Jimmy Tsutomu Mirikitani, 1920-2012

Filmmaker Linda Hattendorf posted the sad news today on the Facebook page for “The Cats of Mirikitani,” the wonderful and powerful documentary she made in 2006:

It is with deep deep sorrow that we must share the sad news that our dear friend Jimmy Mirikitani passed away on Sunday October 21. He was 92 years old. Thank you for all the love you have shown him; his friends and fans meant the world to him.

There will be a public memorial on December 9 at 5 pm in New York at the Japanese American Association, 15 West 44th Street, 11th floor, New York, NY 10036. All are welcome.

Mirikitani turned 92 this past summer, just before he visited Denver for a whirlwind weekend for an opening reception at a gallery exhibit of his artwork, and a screening of Hattendorf’s film. (The video above is from the gallery opening, when he was presented with a birthday cake.)

Mirikitani and the filmmaker, along with the film’s producer Masa Yoshikawa, had been on the road for a week already, and attended a pilgrimage to the Tule Lake internment camp from San Francisco. After Denver, the trio were headed to New Mexico for another screening and art exhibit.

He was adorable, a feisty old man full of good humor and the determined energy that served him through his long journey through the edges of American society.
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