Cultural Representaion and Political Unconsiousness : A Basic Study of African Musics in Comtemporary Japanese Popular Culture.
| Project/Area Number |
07801045
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
文化人類学(含民族学・民俗学)
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| Research Institution | Kyushu Kyoritsu University |
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Principal Investigator |
KEIDA Katsuhiko Kyushu Kyoritsu University, Economics, Assistant Professor, 経済学部, 助教授 (10195620)
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| Project Period (FY) |
1995 – 1996
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| Project Status |
Completed (Fiscal Year 1996)
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| Budget Amount *help |
¥1,800,000 (Direct Cost: ¥1,800,000)
Fiscal Year 1996: ¥500,000 (Direct Cost: ¥500,000)
Fiscal Year 1995: ¥1,300,000 (Direct Cost: ¥1,300,000)
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| Keywords | Africa / African Music / Ethnic Music / World Music / Black Culture / Cultural Studies / Cultural Anthropology / Globalization / ワールドミュージック / 文化表象 / CS(カルチュラル・スタディーズ) / ポピュラー音楽 / オリエンタリズム / 植民地(コロニアル)言説 / ポスト植民地言説 / 権力 |
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| Research Abstract |
In my research results I pointed out that reflections on the conjuncture of globalization, economic advantage and african musics as part of World Music have a possibility of making some 'new imaginations of Africa' in Japan. As Russell points out as follows (see Russell, J.G., 1992 : 314-315), "The representation of blaks follows conventions largely derived from Western racial categories and hierachies. ---While Japanese themselves often fail to recognize these images as racist (a response not unlike whites first confrontes with their black stereotypes), Japanese representation of blaks tends to be condescending and to debase, dehumanaize, exoticize, and peripheralize the black Other---", I must say that Japanease representation of blacks (especcialy 'of africans') is sitll reporpduced through Japanese popular culture, even consuming african popular musics. However, I found that the point Russell insisted on is only one negative aspect of popular culture. African musics as World Music have been accepted in alternative ways did not abondon difference and otherness as the 'imagined' locality within the system of global cultural reproduction. For example, Mama du Dumbia, who came from Paris via Mali and a famous gutarist in Euorpe, has started his musical performance with his group 'Mandinka' including someJapanese performers. Why he diecided playing his musics in Japan as his home town? For only getting Japan Money? No, he also see a possibility making up new images, new relationships between Africa and Japan.
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Report
(3 results)
Research Products
(2 results)
