| 研究実績の概要 |
Combining archival research and ethnographic interviews, this research investigated the experiences of Okinawan women and of Filipino musicians, and focused on musicians who began performing jazz and pop/rock music during the American Occupation years (1945-1972), or who later began playing in on- and off-base clubs. Interviews with older Filipino and Okinawan jazz musicians revealed the importance of the Filipino musicians as role-models, teachers and rivals to Okinawan musicians. Filipinos were often recruited from the Philippines, but on leaving Okinawa returned not just there but moved to various American-related destinations. The experiences of Okinawan female jazz and pop/rock vocalists show similarities and differences in reasons for beginning to perform and in encounters with American (male) audiences and club managers. Many women left performing in favor of family responsibilities. However, for all the (former) singers and musicians interviewed, having performed (for American [military] audiences) remained important in their memories and identities. This research revealed the ethnic and gendered/sexualized, as well as the political-economic and historical, complexities, contradictions and continuities related to the embodied experiences and identities of the Filipino musicians and Okinawan singers investigated. The research also contributes to understanding the transnational networks of popular music performance in Asia connected through American military base towns as local sites of the performance-based production of a global American-inspired modernity.
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