Fukuoka Asian Culture Prize

Fukuoka Asian Culture Prize

The Fukuoka Prize (福岡アジア文化賞?) is an award established by Fukuoka City and the Yokatopia Foundation to honor the outstanding work of individuals or organizations in preserving or creating Asian culture. There are three prize categories: Grand Prize, Academic Prize, and Arts and Culture Prize.

In 1989, Fukuoka city held the Asia-Pacific Exposition (referred to as ‘Yokatopia’) with the concept of interaction between the Asia-Pacific region. The prize program was inaugurated in the following year to carry on the spirit of the Expo, and ever since then, the prizes have been given annually and the related official events including the award ceremony and the public forums by the prize winners have been held in every September, also known as ‘Asian Month’ in Fukuoka. In 1999, the school visits were added into the program to give a special lecture to children by the prize winners.

Read more about Fukuoka Asian Culture Prize:  Geographical Focus, Past Recipients, External Links

Famous quotes containing the words asian, culture and/or prize:

    Exploitation and oppression is not a matter of race. It is the system, the apparatus of world-wide brigandage called imperialism, which made the Powers behave the way they did. I have no illusions on this score, nor do I believe that any Asian nation or African nation, in the same state of dominance, and with the same system of colonial profit-amassing and plunder, would have behaved otherwise.
    Han Suyin (b. 1917)

    Anthropologists have found that around the world whatever is considered “men’s work” is almost universally given higher status than “women’s work.” If in one culture it is men who build houses and women who make baskets, then that culture will see house-building as more important. In another culture, perhaps right next door, the reverse may be true, and basket- weaving will have higher social status than house-building.
    —Mary Stewart Van Leeuwen. Excerpted from, Gender Grace: Love, Work, and Parenting in a Changing World (1990)

    It is impossible to think of Howard Hughes without seeing the apparently bottomless gulf between what we say we want and what we do want, between what we officially admire and secretly desire, between, in the largest sense, the people we marry and the people we love. In a nation which increasingly appears to prize social virtues, Howard Hughes remains not merely antisocial but grandly, brilliantly, surpassingly, asocial. He is the last private man, the dream we no longer admit.
    Joan Didion (b. 1934)