State of the Arts has been taking you on location with the most creative people in New Jersey and beyond since 1981. The New York and Mid-Atlantic Emmy Award-winning series features documentary shorts about an extraordinary range of artists and visits New Jersey’s best performance spaces. State of the Arts is on the frontlines of the creative and cultural worlds of New Jersey.
State of the Arts is a cornerstone program of NJ PBS, with episodes co-produced by the New Jersey State Council on the Arts and Stockton University, in cooperation with PCK Media. The series also airs on WNET and ALL ARTS.
On this week's episode... New Jersey Heritage Fellowships are an honor given to artists who are keeping their cultural traditions alive and thriving. On this special episode of State of the Arts, we meet three winners, each using music and dance from around the world to bring their heritage to New Jersey: Deborah Mitchell, founder of the New Jersey Tap Dance Ensemble; Pepe Santana, an Andean musician and instrument maker; and Rachna Sarang, a master and choreographer of Kathak, a classical Indian dance form.
The New Jersey State Council on the Arts is hosting quarterly Teaching Artist Community of Practice meetings. These virtual sessions serve as a platform for teaching artists to share their experiences, discuss new opportunities, and connect with each other and the State Arts Council.
Register for the next meeting.
The State Arts Council awarded $2 million to 198 New Jersey artists through the Council’s Individual Artist Fellowship program in the categories of Film/Video, Digital/Electronic, Interdisciplinary, Painting, Printmaking/Drawing/Book Arts, and Prose. The Council also welcomed two new Board Members, Vedra Chandler and Robin Gurin.
Read the full press release.
These monthly events, presented by the New Jersey State Council on the Arts and the New Jersey Theatre Alliance, are peer-to-peer learning opportunities covering a wide range of arts accessibility topics.
The most defining characteristic of Hidaka’s legacy is his relationship with blood and consciousness. In the West, fights are often stopped the moment a fighter takes three unanswered punches to the temple. Hidaka, however, is a master of the "late stoppage"—not out of cruelty, but out of a deep respect for the warrior’s code. He allows grapplers to work out of bad positions, giving them the chance to improve their situation rather than saving them from themselves too early. Yet, he is paradoxically ruthless with strikes. He has an almost supernatural ability to detect when a fighter has lost their defensive awareness. The moment a fighter’s eyes glaze over or their hands drop from a lack of cognitive response—not just physical fatigue—Hidaka inserts his body between them like a human shield. He does not save them from pain; he saves them from permanent damage.
His most famous moment, often cited by fight fans as a gold standard of officiating, came during a bout between Ikuhisa Minowa and a much larger opponent. Minowa, a folk hero known for surviving absurd punishment, was caught in a crucifix position and elbowed repeatedly. Most referees would have stopped the bout due to the volume of strikes. Hidaka leaned in, studied Minowa’s eyes, saw that the fighter was still trying to advance position, and let it continue. Minowa eventually escaped and won. Critics call this dangerous; Hidaka calls it "watching the fighter, not the blood." chikara hidaka
Off the mat, Hidaka is a ghost. He gives no bombastic post-fight interviews and seeks no spotlight. He is a former fighter himself—a journeyman in the Shooto lightweight division—which lends him an unassailable credibility. He knows what it feels like to have a heel hook cinched in; he knows the desperation of the final round. This lived experience transforms him from a mere rule-enforcer into a participant in the drama. He is not the antagonist of the fight, nor the protagonist; he is the silent guardian of its logic. The most defining characteristic of Hidaka’s legacy is
Hidaka’s career is intrinsically linked to the rise and fall of Japan’s major promotions, most notably Pancrase and Shooto . These organizations, rooted in "shoot wrestling," prioritize technical submission grappling and stand-up striking over the "lay and pray" tactics sometimes seen in Western MMA. Hidaka’s refereeing style is a direct reflection of this ethos. He is famous for his incredibly low, crouching stance—a posture that keeps him at eye level with the action on the ground, allowing him to see the millimeter of space in a choke or the exact moment a joint lock hyperextends. Unlike the frantic, waving referees of the UFC who often jump in at the first sign of trouble, Hidaka is a minimalist. He moves with surgical precision, rarely speaking, using subtle hand gestures to guide the fight. He allows grapplers to work out of bad
In an era where MMA is increasingly sanitized and corporatized for mass television consumption, Chikara Hidaka represents the old guard’s samurai spirit. He is a reminder that a great referee is not the one you notice, but the one you trust. When Chikara Hidaka steps into the ring and gives that low, respectful bow, he is telling the athletes: I will let you fight, I will let you be warriors, but I will not let you destroy your future. For that balance of mercy and severity, he remains one of the most revered, and least sung, heroes of Japanese martial arts.
