ABOUT OUR SPEAKER
Minako Waseda (Japan) received her Ph.D. in musicology from the University of California, Santa Barbara and currently teaches at Tokyo University of the Arts, Kunitachi College of Music, Keio University and Waseda University. Her major field of study is Japanese-American musical culture and related musical fields in Japan. Her publications include “Minzoku ongakugaku 12 no shiten” (12 Perspectives on Ethnomusicology, co-author, 2016), “Happyōkai bunkaron” (Amateur Stage Performance Culture, co-author, 2015), "Gospel Music in Japan: Transplantation and Localization of African American Religious Singing," Yearbook for Traditional Music 45 (2013), and “Minyō kara mita sekai ongaku” (Folk Song as World Music, co-author, 2011).
“Japanese-American Musicians as Pioneers of Japanese Hawaiian Music”
Lecture Registration Information and Schedule
Time: 7:00PM Start (Doors Open 6:30PM)
Location: YIS Library, (YIS Campus)
258 Yamate-cho, Naka-ku, Yokohama
Fee: Free Admission. Advance registration required.
Advance registration required.
Tour Limit: 30 people
Registration: Please contact the ICJC office at 045.263.8009 or by email at firstname.lastname@example.org. Space is limited, so please register early.
ABOUT THIS LECTURE
“The development of “Hawaiian music” in Japan began in the early 1930s with the appearance of the Haida Brothers and Buckie Shirakata, Japanese-American musicians from Hawaii. These nisei or second-generation Japanese–American musicians not only introduced Hawaiian music to Japan, but also created new repertoires by fusing elements of Japanese popular music with those from Hawaiian music. Their adaptability to Japanese popular music was presumably cultivated in Hawaii, where it was extremely popular in the Japanese community, and then strengthened after their arrival in Japan. Their “bi-musicality” enabled them to create Japanese Hawaiian music simultaneously exotic and accessible to the Japanese. With various musical examples, this lecture identifies the nisei musicians as a vector for cultural transmission and transformation, and reveals a unique aspect of Japanese popular music history which has nonetheless received little academic attention.