A Reader- Foreword by Akwasi Asabere-Ameyaw
Edited By George J. Sefa Dei
22. Re/Membering In—Between “Japan” and “The West”: A Decolonizing Journey through the Indigenous Knowledge Framework Kimine Mayuzumi 350
This chapter begins with my calligraphy. I wrote the poem above on a quiet Saturday morningwhile sitting in a straight posture with my calligraphy brush. I wrote the poem in the Japanese tanka style as an instinctive expression of my feelings toward the academy within which I resided and later read it in front of my “Women in Higher Education” class. More recently, rewriting the poem in calligraphy enabled me to (re)embody the meaning that I intended to convey at the time it was created and reconnect to the hiragana (Japanese-based characters) and kanji (Chinese-based char- acters), which allow me to convey a heightened level of expression compared to the English alpha- bets. To this (re)embodiment experience through my tanka in calligraphy style, I wish to apply the notion of “re/membering,” which Jeong-eun Rhee (2006) effectively applied to her decolonizing text. It refers to [T]he double acts of remembering (recalling) and re-membering (becoming a member again). ‘Remembering’ brings the silenced history and the voice of the marginalized back to [one’s] mind and ‘re- membering’ continuously affirms [one’s] solidarity or belonging to the voice of the displaced (p. 597). By foregrounding this experience of writing the poem in calligraphy using hiragana and katakana, I remember or recall my connection to the cultural knowledge that I had for gotten since my move to the West and re-member or once again become a member of the group that reclaims such cultur- al knowledge as a legitimate way of knowing. The...
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