Mr. Kishu Hasegawa
Head Teacher, Saga Goryu

The variety and contrast of the seven school demonstrations offered an important glimpse into the world of ikebana in Japan. From classicism, both dry and passionate, to pure spontaneity, from sculptural monumentality to micromanaged color composition detail to eclectic playfulness, Convention attendees were given a rich banquet of ikebana culture, organization and aesthetic impulse as well as tradition in various forms and flavors.

Here was a rare opportunity to experience and compare the magic of various ikebana heritages and to see this magic manifest in the sorcerers of ikebana. Each artistic tradition has its own power and genius, and the men and women who are the main receptacles of this power have a special place in this world that we ordinary mortals will never experience. Standing at the pinnacle of a venerable artistic organization involves not only might but mighty responsibility. In these demonstrations, the task of projecting out to fill a huge stage as well as capturing and holding an audience of over 1,000 experienced ikebana people is hardly easy. Clever theater is helpful but only goes so far, content and art must be present and take the lead. And at some point the magic appears, and, if we are lucky, it will enhance our lives.

The hotel's extravagant Uzushio space in the center of the spiral ramp leading down from the lobby was the venue for eight overseas members' demonstrations on October 28 and 29.Spectators could sit in chairs placed in front of the demonstrations or find a revealing height on the ramp to see the highly experienced artists from various countries set standards of excellence, and, hopefully, inspire all present to do the same.

Free style ikebana for large spaces was beautifully demonstrated by Mrs. Metz with five small and one large arrangement. She prepared materials from her hometown in Nagasaki Prefecture. Her arrangements were full of ideas and surprising containers. She masterfully combined natural and artificial materials in the style of the Aratame School, of which she is the president for California.

In the spontaneous and composition-sensitive Ichiyo persuasion, Mrs. Winkler, Past President of I.I. Pittsburgh Chapter, made three ikebana. These wet e persimmons, cockscomb, etc. in an unglazed stoneware vase; an arrangement of bittersweet in bronze vases emulating bamboo stalks; and an unconventional composition of pinks inserted into pliant calla lily stalks arranged horizontally.

A master of Misho-Ryu in her home city of Basel, Switzerland, Mrs. Maier, in creating her three ikebana, also demonstrated the V-shaped supports used by the school. In three ceramic cylinders, she arranged a kakubana with cherry blossoms, conifer branches and mums. Prairie gentians were arranged free style in a glass basin, and three metal cylinders formed a composition of eucalyptus and flame lilies.

A teacher of the Sogetsu School, Mrs. Anttonen is Finnish and lives in Sweden In the free style Sogetsu tradition, she made three stunning ikebana, using two ceramic vases. The first ikebana in yellow and white blooms with blue-sprayed willow expressed the colors of both the Swedish and Finnish flags; the other incorporated driftwood that Ms. Anttonen had brought from Sweden. The third one was arranged in a tall pottery container.

A Master of Enshuryu as well as president of the London Chapter, Mrs Robeitson is very active in ikebana circles in the UK and Europe. In classical containers (usubata), she used aspidistra and other materials, such as pine, bittersweet, anthurium, etc. to demonstrate the styles of the Enshuryu. She also showed the audience an antique hand scroll containing the technical secrets of the Enshuryu (Etuhuryu no densho).

A Senior Professor of Ikenobo, Mrs. Lener used opposite sides of a single large metallic cylinder to demonstrate two different modern styles - shoka shimputai and rikka shimputai. The shoka shimputai arrangement focused on white lilies and the rikka shimputai used Chinese-lantern lilies, etc. This unorthodox demonstration provided a fine example of how to expand the creative potential of a single container.

As Vice-President of Moscow Prospective Chapter and president of the Moscow Chapter of the Sogetsu School, Mrs. Munduzbaeva is very active as an organizer and demonstrator. She is part of the first delegation from Russia and demonstrated three free style ikebana utilizing modern containers. The first one utilized New Zealand flax, rose of Sharon and bird of paradise; the second, bittersweet, lily, aspidistra; the third contained weeping willow brought from Moscow.

Both a Sub-Grand Master of Ohara School and president of Ohara Swizerland Chapter, Mr. Mutti created two ikebana in basic styles expressing impressions of the Swiss Alps and of Mt Fuji. These both used bleached, inverted mitsumata branches, roses, and baby's breath; the orientation of the first was vertical and the second was inclining. The third arrangement was a landscape moribana in an eared ceramic vase using foliage branches.