第１３回研究会の内容をご紹介します！
少しずつあたたかくなってきたような気がします今日この頃です。みなさまいかがお過ごしでしょうか。
今回は、2016年2月23日火曜日14:00より東京大学本郷キャンパスで行われた第１３回研究会の内容をご紹介します。
Kevin Fellezsさん (Assistant Professor, Department of Music, Columbia University)による "Tokyo, Hawai'i: Japanese and Japanese/American Guitarists Circumnavigating the Brown Pacific."と題したご報告でした。
以下にご報告者のケヴィンさんによる英文の報告要旨と、井上貴子さんによる研究会の状況について記した文章を掲載します。
ケヴィンさん、井上さん、まことにありがとうございました！
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Tokyo, Hawai’i: Japanese Guitarists Circumnavigate the Brown Pacific
Kevin Fellezs
ABSTRACT
I examine the ways in which Japanese guitarists who perform Hawaiian slack key guitar articulate Hawaiian values such as aloha (love, welcome) and kuleana (responsibility). My starting point is a question George Lipsitz asks, namely, “Which kinds of cross-cultural identification advance emancipatory ends and which ones reinforce existing structures of power and domination?” When we consider the three Japanese guitarists I discuss and their relation to Hawaiian music and culture, I want to avoid answers to Lipsitz’s important question that can quickly sink into a morass of uncritical accusations or equally unconsidered celebrations. Instead, I want to think through the possibilities of the formation of a Japanese slack key guitar style. I think the question of whether there might be something called a Japanese Hawaiian music might actually be more a productive question. Japanese musicians have been performing Hawaiian music for at least eighty years, arguably longer. Is it possible, then, after such a long period of crosscultural activity to have true collaboration rather than mere appropriation? Can Japanese guitarists manifest a real investment in aloha and its articulation through Hawaiian slack key? Do Japanese guitarists of Hawaiian slack key produce, using Lipsitz’s frame, the kinds of cross-cultural identifications that advance or diminish emancipatory social relations?
In beginning to answer these questions, I provide a short history of ki ho’alu, or Hawaiian slack key guitar, followed by a brief description of Japan’s historical relationship to Hawai’i and Hawaiian culture. In order to provide a context for a discussion of three Japanese guitarists – Yamauchi Yuki “Alani,” Agnes Kimura, and Slack Key Marty – I review the ways in which the Hawaiian concept of “aloha,” or love and welcome, has been utilized by non-Hawaiian actors, particularly the Japanese tourism industry. Yamauchi, Kimura, and Marty provide three distinct ways in which Hawaiian culture is accessed and performed. In what ways are their discursive and performative activities liberatory? In what ways are they problematic? I am not interested in indicting any of the artists. However, the fraught history of Native Hawaiian cultural suppression and dispossession require us to think about the kuleana, or responsibility, any artist bears in using Hawaiian musical expression as their own. In this light, what might a “Japanese slack key guitar” idiom articulate?
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アメリカのコロンビア大学から、日本におけるハワイ音楽受容の調査のために来日中のKevin Fellezs氏に、調査の経過報告をしていただいた。英語による報告であつたため、参加者は少数であったが、充実したディスカッションと共に、現地ハワイと日本のスラック・キー・ギターの様々なバージョンを聴き比べることができて、とても刺激的な内容であった。
