- Department of Music, Dunedin, Otago, New Zealand
- +64(0)34798885
Henry Johnson
University of Otago, Music, Faculty Member
- Music, Musicology, Ethnomusicology, Festivals and music, Island Studies, Channel Islands (Europe), and 38 moreEndangered Languages, Cultural Sustainability, Performance Studies, Festivals, Languages, French language, Language Teaching, Sociology of Music, Music and Language, Music and Politics, Music and Media, Language, Language and Power, Language Testing, Cultural Heritage, Heritage Tourism, Heritage Conservation, Cultural Heritage Management, Heritage Studies, Minority Languages, European Charter for Regional or Minority Languages, Performance, Japanese traditional music, ResearchGate, Japanese Studies, Multiculturalism, Japanese Language And Culture, Diaspora Studies, Japan, History of New Zealand, Japanese Culture, Taiko, Drumming and Percussion, Japanese diaspora, New Zealand, Drumming, Taiko Drumming, and North American Taikoedit
- Professor, University of Otago, New Zealand Division of Humanities, University of Otago, New Zealand Associate Dean I... moreProfessor, University of Otago, New Zealand
Division of Humanities, University of Otago, New Zealand
Associate Dean International, Humanities (2014–2016)
Head of Department of Music (2006–2012)
Acting Head of Department of Music (2004)
Programme Coordinator of Performing Arts Studies (2002–2004)edit
This article foregrounds the cultural and spiritual significance of Lihou, a small tidal island within the Bailiwick of Guernsey in the Channel Islands (part of the British Isles). While Lihou has often been overlooked in scholarly... more
This article foregrounds the cultural and spiritual significance of Lihou, a small tidal island within the Bailiwick of Guernsey in the Channel Islands (part of the British Isles). While Lihou has often been overlooked in scholarly discourse, this study reveals the island's rich history intertwined with spirituality, folklore and geographical features. Applying a multi-sited archipelagic framework, the article examines Lihou's cultural connections and geographic comparisons to other islands and sacred sites on both sides of the English Channel, highlighting its role as a location of religious exception and holiness. Drawing on insights from the field of island studies and archipelagic theory, the article explores how Lihou forms part of a broader network of interconnected sacred islands, transcending its physical boundaries. By contextualising Lihou within this framework, the article contributes to a deeper understanding of small island cultures and their spiritual significance, emphasising the importance of multisited geographical perspectives for island studies.
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Research Interests: Archaeology, Anthropology, Ethnomusicology, Icon, Citation, and 3 moreHonour, Ethno Musicology, and ICON
During the latter part of the nineteenth-century gold-mining era in Central Otago, New Zealand, Won Kee was a well-known Chinese merchant living in Cromwell. His activities centred on offering a base for supplying Chinese miners, yet at... more
During the latter part of the nineteenth-century gold-mining era in Central Otago, New Zealand, Won Kee was a well-known Chinese merchant living in Cromwell. His activities centred on offering a base for supplying Chinese miners, yet at the same time he provided a link between the disparate cultures that made up this migrant setting. While little is known of Won Kee's roots, he was active in bringing the Chinese and European populations together, holding regular cultural celebrations and being effective in charitable activities that benefited all in the local community. While contributing to the rethinking of music in the making of New Zealand, this discussion examines Won Kee's creative community activities that offered a setting for intercultural understanding in colonial context. This paper is a historico-biographical discussion of Won Kee in a setting of creativity, inter-cultural intervention, and discrimination. Including a short biography of what is known about Won Kee's background, the study focuses on several distinct case studies as a way of analysing discrete examples of Chinese creativity that contributed to the musical making of New Zealand in the late nineteenth century, yet is so often void in discourse on New Zealand's music history. The aim of the paper is to add a new perspective to music in New Zealand, and offer insight on the importance of understanding this sphere of the nation's musical creativity in a nineteenth-century goldmining setting.
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The Minquiers and Écréhous reefs are located in different parts of the Gulf of St Malo between the British island of Jersey and the French mainland. As a part of the Bailiwick of Jersey, they are geographically very close to the... more
The Minquiers and Écréhous reefs are located in different parts of the Gulf of St Malo between the British island of Jersey and the French mainland. As a part of the Bailiwick of Jersey, they are geographically very close to the international sea border between Jersey and France, and have had a history of disputed sovereignty. Due to their respective geographical locations and histories, the Minquiers and Écréhous are important sites for the field of Island Studies because of their existence as “border islands”. This article offers a study of these reefs in their spatial context of land and sea, discussing contemporary issues, including fishing, environmentalism and tourism, and offering cross perspectives in terms of their political, economic and cultural connections with Jersey and France. They exist in a context of immense spatial change with substantial tidal ebbs and flows, and between mainlands and historically contested maritime terrains. Such a study helps show how the Minqu...
Research Interests: Human Geography, Tourism Studies, Island Studies, Cultural Tourism, Jurisdiction, and 13 moreAdventure Tourism, France, Environmentalism, Tourism, Fishing, Channel Islands (Europe), Islands, Maritime Boundary, Reef, Environmental Preservation through Tourism, Territorial Waters, Islands and Archipelagos, and Aquapelago
Research Interests: Japanese Studies, Multiculturalism, New Zealand Studies, Ethnomusicology, Japanese Language And Culture, and 15 moreMigration, Cultural Identity, National Identity, International Migration, Migration Studies, Diaspora Studies, Japan, History of New Zealand, Japanese Culture, Drumming and Percussion, Taiko, Japanese diaspora, New Zealand, Drumming, and North American Taiko
This paper discusses cultural sustainability in the context of linguistic heritage on the island of Jersey (one of the Channel Islands just off the north of France) in three spheres of analytical and critical enquiry: language... more
This paper discusses cultural sustainability in the context of linguistic heritage on the island of Jersey (one of the Channel Islands just off the north of France) in three spheres of analytical and critical enquiry: language revitalisation, intervention and popular music. Over the past century, the island's indigenous language, called J rriais, has undergone a period of rapid decline because of increased anglicisation, and the number of native speakers of Jerriais is now so low that the language might be labeled as severely endangered (UNESCO, 2012). While song has been a long tradition of entertainment amongst Jerriais speakers, and in the twentieth century became a tool for helping to celebrate the language (Johnson, 2008), in 2012, local Jerriais educators commissioned a local musician to arrange a selection of old and recent songs using the local language, and to produce recordings in a pop music style that would accompany an educational resource (L'Office du J rriais,...
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The Bailiwick of Guernsey is a British jurisdiction in the Channel Islands comprising several islands and forming a binary with the neighbouring Bailiwick of Jersey. The Bailiwick is an archipelago of administrative similitude and... more
The Bailiwick of Guernsey is a British jurisdiction in the Channel Islands comprising several islands and forming a binary with the neighbouring Bailiwick of Jersey. The Bailiwick is an archipelago of administrative similitude and island-based jurisdictional difference. It is a dependency of the British Crown with a sense of independence and with identity and jurisdiction constructed within, between and across several island spheres. This is a setting of anomalous/autonomous territories, with the Bailiwick having a distinct geography of overlapping political jurisdictions that exhibit an administrative dialectics of place with islandness and archipelago-ness at the core of identity making. This article asks: How do the islands within the Bailiwick of Guernsey perform jurisdictional politics as territorial units? As well as discussing the islands’ top-down administrative structures, distinct emblems of politicised island identity in the form of anthems and postage stamps are consider...
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Jack [John] Stanley Body is a New Zealand composer whose eclecticism is culturally and geographically very wide; he is prolific in his creative outputs; he is well-known nationally and internationally within and across a range of... more
Jack [John] Stanley Body is a New Zealand composer whose eclecticism is culturally and geographically very wide; he is prolific in his creative outputs; he is well-known nationally and internationally within and across a range of compositional styles; and he is celebrated in New Zealand, having received a New Zealand Order of Merit (ONZM) in the New Year’s Honours (2001), and having been a Laureate of the Arts Foundation of New Zealand (2004).1 Jack Body was born in Te Aroha on 7 October 1944,2 and after high school his musical training took three main directions in the field of composition: firstly, at the University of Auckland between 1963 and 1967 under the guidance of Ronald Tremain (1923–98); secondly, with two short-term internships in 1969 and 1975 at the electronic music studio at Victoria University of Wellington with Douglas Lilburn;3 and thirdly, with Mauricio Kagel (1931–2008) in Cologne.4 In his mid-thirties, Body embarked on a career as a university lecturer in compos...
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The socio-cultural milieu of colonial New Zealand changed significantly in the 1860s as a result of the discovery of gold and the subsequent immigration of Chinese miners at the invitation of the Dunedin Chamber of Commerce. At first,... more
The socio-cultural milieu of colonial New Zealand changed significantly in the 1860s as a result of the discovery of gold and the subsequent immigration of Chinese miners at the invitation of the Dunedin Chamber of Commerce. At first, Chinese miners arrived from the Australian goldfields, where they had earlier migrated, and later from southern China and especially from Guangdong. The impact of this inward migration was immense and contributed much to New Zealand’s cultural diversity at the time, which comprised primarily settler British, who came from various parts of the British Isles, and indigenous Māori. Consequently, a particularly negative outcome of Chinese migration was the introduction of a discriminatory poll tax and immigration policy in 1881, with media reports often including discourse prejudiced against New Zealand’s Chinese population. However, in this setting of cultural difference, Chinese music performance was a distinct part of the sonic environment and was acknowledged in a number of newspaper articles, particularly in connection with inter-community relations for celebratory occasions or educational events. This paper offers a glimpse into New Zealand’s Chinese past with a focus on Chinese music performance in the nineteenth century as a distinct point of difference that helped bring disparate cultures together. The methodological orientation of the paper is historical in approach, and it assembles several primary sources comprising English language newspaper articles written by non-Chinese as a way of critically interpreting how and why Chinese and European communities interacted in a musical environment of difference.
Research Interests: History, Music, New Zealand Studies, Ethnomusicology, Chinese Studies, and 13 moreHistorical Ethnomusicology, China, Chinese Diaspora (Migration and Ethnicity), Chinese Music, History of New Zealand, China studies, Word and Music Studies, Chinese diaspora, New Zealand, New Zealand History, Music Studies, Music and Diaspora, and Chinese Traditional Visual Arts and Music
Charlie King (Li Kee Hing), as he was known, spent most of his life in the southern New Zealand gold-mining settlement of Waikaia. Arriving there in the mid 1870s, he was one of many Chinese miners in New Zealand, and he worked closely... more
Charlie King (Li Kee Hing), as he was known, spent most of his life in the southern New Zealand gold-mining settlement of Waikaia. Arriving there in the mid 1870s, he was one of many Chinese miners in New Zealand, and he worked closely with other miners from his village in China who had also travelled to New Zealand. Unlike many Chinese who eventually returned to China, Charlie King remained in New Zealand. Parts of his life story are remembered at the Switzers Museum in Waikaia, and he is particularly remembered for performing Chinese music as entertainment for locals. While some objects of material culture from the gold-mining era are displayed in the museum, Charlie King is also celebrated as a personality through image and text. These media representations display a historical narrative about his life, and feature a photograph of him playing a Chinese musical instrument. This paper explores Charlie King and Chinese music as it is represented through media-both representation through historical newspaper reports and through the media imagery found in the Switzers Museum display. Drawing on literature from the fields of migration studies, museology, musical biography, and cultural representation, this new research examines not only the sounds of the past through social history and media texts, but also ideas of difference, which in the case of this particular Chinese miner were negotiated in the colonial New Zealand setting through cultural identity and sound.
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The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a... more
The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.
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Amami Park is a nature and culture centre located in the Amami islands in the southwest of Japan. Objects are displayed on one site and marketed for tourists, whether on-island, in the Amami islands or more distant. This article discusses... more
Amami Park is a nature and culture centre located in the Amami islands in the southwest of Japan. Objects are displayed on one site and marketed for tourists, whether on-island, in the Amami islands or more distant. This article discusses Amami Park in terms of the themes of sea, land and islandness, which emerged as topics for discussion during the research process with regard to how Amami Park represents itself, and the cultural meaning of such presentation and its relevance in the tourist industry. Amami Park offers a range of media through which to showcase the history, nature and culture of the Amami islands, and it offers numerous objects, audiovisual displays and other types of media with much description, representation and celebration of local and archipelagic identity. In this island setting, the article discusses the objects and their presentation, focussing on theme park analysis, cultural tourism and self-representation. Drawing on theoretical ideas pertaining to the no...
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This article discusses ensemble drumming on Kikaijima (Kikai island) in Japan. We apply the metaphor of travel to these drum groups, which reveals how this small island culture is able to sustain, invent, or adopt styles of drumming... more
This article discusses ensemble drumming on Kikaijima (Kikai island) in Japan. We apply the metaphor of travel to these drum groups, which reveals how this small island culture is able to sustain, invent, or adopt styles of drumming within the national context as a result of its geographic location, cultural heritage, and island identity. Ethnographic research on Kikaijima revealed a deeply embedded notion of travel, which helps explain how and why Kikaijima’s ensemble drum groups exist on the island today. We use this metaphor with the aim of showing cultural flows in connection with cultures, histories, and islands.
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http://www.brill.com/products/book/shakuhachi The shakuhachi is a traditional Japanese end-blown bamboo flute with a long history in a wide array of social, cultural, and geographic spheres. This book unravels some of the roots and routes... more
http://www.brill.com/products/book/shakuhachi The shakuhachi is a traditional Japanese end-blown bamboo flute with a long history in a wide array of social, cultural, and geographic spheres. This book unravels some of the roots and routes connected with the shakuhachi, and discusses instrument types, construction process, social transmission, and performance practice. From the use of the instrument in court music from at least the eighth century, to the modern era that sees international shakuhachi festivals and workshops the world over, the instrument has been recontextualized in various social and cultural spheres. This book depicts and explains some of these contexts and transformations, and documents some of the many ways the shakuhachi has traveled to, within, and beyond its traditional cultural home.
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... Jack Body, Elaine Dobson, Gareth Farr, James Instone, Nigel Keay, Joanie Chung Yee Lee, John Rimmer, Anthony Ritchie, and Joko Susilo. ... A Central Javanese ensemble is based at the University of Otago, Victoria University of... more
... Jack Body, Elaine Dobson, Gareth Farr, James Instone, Nigel Keay, Joanie Chung Yee Lee, John Rimmer, Anthony Ritchie, and Joko Susilo. ... A Central Javanese ensemble is based at the University of Otago, Victoria University of Wellington, and in Auckland (formerly at Nelson ...
Research Interests: Engineering, Music, Musical Composition, Music Education, Musicology, and 15 moreNew Zealand Studies, Ethnomusicology, Indonesian Studies, Biography, Indonesia, Gamelan, Bronze, Contemporary Gamelan Practice, New Zealand, Flute, New and Traditional Gamelan Music, New Music for Gamelan, Javanese Gamelan, Balinese gamelan, and Melody
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The uninhabited yet socially active and culturally important Japanese island of Chikubu (Chikubu-shima) is situated towards the northern end of Lake Biwa in the Kansai region of Japan’s largest island of Honshū. Chikubu Island is linked... more
The uninhabited yet socially active and culturally important Japanese island of Chikubu (Chikubu-shima) is situated towards the northern end of Lake Biwa in the Kansai region of Japan’s largest island of Honshū. Chikubu Island is linked to Shintō and Buddhist ritualistic culture and hosts tens of thousands of day-tripper pilgrims who travel there each year. But its cultural significance is also carried beyond its aquatic margins through multimodal signification in Japanese traditional performing arts where meaning connected with the island is portrayed through visual and sonic media. Extending discourse on islands and performing arts, this article shows how one culturally noteworthy Japanese island is imagined within creative practices and how island meaning is embodied in settings that are far removed from the island’s physical or lake environment. Expanding the scope of Island Studies, select creative works are discussed in terms of how they represent Chikubu Island through sound ...
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Shintō, the national religion of Japan, is grounded in the mythological narratives that are found in the 8th-Century chronicle, Kojiki 古事記 (712). Within this early source book of Japanese history, myth, and national origins, there are... more
Shintō, the national religion of Japan, is grounded in the mythological narratives that are found in the 8th-Century chronicle, Kojiki 古事記 (712). Within this early source book of Japanese history, myth, and national origins, there are many accounts of islands (terrestrial and imaginary), which provide a foundation for comprehending the geographical cosmology (i.e., sacred space) of Japan’s territorial boundaries and the nearby region in the 8th Century, as well as the ritualistic significance of some of the country’s islands to this day. Within a complex geocultural genealogy of gods that links geography to mythology and the Japanese imperial line, land and life were created along with a number of small and large islands. Drawing on theoretical work and case studies that explore the geopolitics of border islands, this article offers a critical study of this ancient work of Japanese history with specific reference to islands and their significance in mapping Japan. Arguing that a cha...
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This article presents an ethnographic case study that discusses the festivalisation process of a public Diwali festival as celebrated in the southern city of Dunedin, Aotearoa New Zealand. In Aotearoa, support for Diwali festivals has... more
This article presents an ethnographic case study that discusses the festivalisation process of a public Diwali festival as celebrated in the southern city of Dunedin, Aotearoa New Zealand. In Aotearoa, support for Diwali festivals has spread with the growth and diversity of the Indian diaspora, including both top-down and ground-up backing. Differences in the urban location and demographic makeup of the Indian population have resulted in annual cultural festivals with major variations in size and scope. This has produced festivals with distinct governance structures that affect the organisational structure, participants, size and nature of the audience, and styles of performances. In this article, focus is given to the growing visibility of Diwali in Dunedin in terms of the interconnection of a festivalisation process in the national cultural sphere, and the intervention of key local individuals who work from the ground up to make the festival happen. We ask two main questions as a way of attempting to comprehend New Zealand's contemporary engagement with Diwali and how it is played out in a relatively small city in comparison to the large-scale events in the country's largest city, Auckland. How has Diwali become a form of festivalised culture? What role has intervention played in establishing the event? A new theoretical model is presented to assist in the developing of event portfolios by considering the strategic relationships between the host city, community and festival stakeholders.
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This article interrogates how the small Japanese island of Enoshima (江の島) signifies island heritage across space and place. Applying a critical approach at the intersection of island studies and heritage studies, Enoshima is explored... more
This article interrogates how the small Japanese island of Enoshima (江の島) signifies island heritage across space and place. Applying a critical approach at the intersection of island studies and heritage studies, Enoshima is explored through the lens of observational study in connection with the three interconnected themes of environment, ritual, and creative arts, with each illuminating knowledge on the place of the island in a broader terrestrial and cultural setting. Rather than looking in detail at heritage roots, emphasis is given to interpreting key thematic routes of heritage construction. This interdisciplinary line of inquiry consolidates and extends scholarly thought within the fi eld of island studies and pertains to island boundaries on the one hand and island signifi cation on the other. These interconnected and overlapping areas of thought offer a way of situating Enoshima within an interpretative scholarly framework where an island and its heritage are considered within and beyond the physical and geographic borders of land and sea.
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This study is about the use of a local language in music. It shows how music is used in Jersey as a tool to propagate the local language, Jèrriais, to maintain heritage and to create culture and community. In this context, some island... more
This study is about the use of a local language in music. It shows how music is used in Jersey as a tool to propagate the local language, Jèrriais, to maintain heritage and to create culture and community. In this context, some island activists, and especially local institutions within the heritage industry, are campaigning for the survival of Jèrriais through social, cultural and political means. As a study that is grounded in the field of ethnomusicology, this research looks at the sources, methods and findings of studies of songs using Jèrriais. Within this framework, the sources of tradition are investigated, giving particular attention to a recently instigated (invented) tradition of a Norman fête held annually at a Norman location. The paper shows the use of a minority yet highly significant language in the realm of music making that has the aim of helping sustain cultural heritage in the contemporary age. Music is engaged with the language of the locale, and in contexts that ...
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Japon. Teruhisa Fukuda, Maître de Shakuhachi. Offrande Musicale / Japan. Teruhisa Fukuda, Shakuhachi Master. Musical Offering. 2018. Archives internationals de musique populaire, Musée d'ethnographie de Genève, and Disques VDE-GALLO, MEG-AIMP CXV/ VDE-CD-1501. Recorded, edited and mastered by Ren...more
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Utilising an ethnographic approach, the authors explore the place and location of contemporary country music in the town of Gore in the south of the South Island.
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Ce texte envisage le phenomene de revitalisation culturelle constate a Jersey comme le contrepoids symbolique a un developpement tres lie a l’integration de l’ile a la sphere financiere mondiale. La premiere partie explique pourquoi cette... more
Ce texte envisage le phenomene de revitalisation culturelle constate a Jersey comme le contrepoids symbolique a un developpement tres lie a l’integration de l’ile a la sphere financiere mondiale. La premiere partie explique pourquoi cette evolution a eupour consequence, a travers l’anglicisation de l’ile, le declin de son heritage normand. La seconde montre que ce profond changement a dans un second temps declenche une reaction a travers des actions menees dans les domaines de la culture, de la langue et de l’education. Dans cet objectif de mettre en evidence les liens dialectiques entre heritage culturel et evolution economique, la recente revitalisation du Jerriais, declinaison locale du parler normand, est ici plus particulierement abordee.
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A review of Chris Rojek, Pop Music, Pop Culture (Polity, Cambridge, 2011) and Tara Brabazon, Popular Music: Topics, Trends & Trajectories (Sage, London, 2012).
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""This well researched volume tells the story of music education in Japan and of the wind band contest organized by the All-Japan Band Association. Identified here for the first time as the world’s largest musical competition,... more
""This well researched volume tells the story of music education in Japan and of the wind band contest organized by the All-Japan Band Association. Identified here for the first time as the world’s largest musical competition, it attracts 14,000 bands and well over 500,000 competitors. The book’s insightful contribution to our understanding of both music and education chronicles music learning in Japanese schools and communities. It examines the contest from a range of perspectives, including those of policy makers, adjudicators, conductors and young musicians. The book is an illuminating window on the world of Japanese wind bands, a unique hybrid tradition that comingles contemporary western idioms with traditional Japanese influences. In addition to its social history of Japanese school music programs, it shows how participation in Japanese school bands contributes to students’ sense of identity, and sheds new light on the process of learning to play European orchestral instruments. Content Level » Research David G. Hebert, PhD is a Professor of Music with the Grieg Academy, Bergen University College, Norway. He previously held academic positions with universities in the USA, Japan, Finland, Russia, and New Zealand, and has directed (or currently directs) music research projects on 6 continents. Widely published and cited as a scholar of global music education, he is chair of the Historical Ethnomusicology special interest group of the Society for Ethnomusicology. Keywords » All-Japan Band Association - European orchestral instruments - Japanese composers - Japanese influences - Tokyo Kosei Wind Orchestra - Yamaha - japanese schools - music education - wind bands - young musicians Foreword (by Bonnie Wade).- Part I: A social history of wind bands in Japanese schools. Chapter 1: Introduction: The world’s finest school bands and largest music competition.- Chapter 2: Where are these bands from?: An historical overview.- Part II: An ethnography of wind bands in Japanese schools. Chapter 3: An invitation to the Tokyo middle school.- Chapter 4: The band rehearsal ritual and its participants.- Chapter 5: Instruction in the Japanese school band.- Chapter 6: Scenes from the 50th AJBA national band competition.- Chapter 7: Winning in the band: Views from beneath and within.- Chapter 8: Winning in the band: Views from above and beyond.- Chapter 9: Japanese composers and wind band repertoire.- Chapter 10: Leadership and duty in the ensemble.- Chapter 11: Cooperative learning and mentorship in band.- Chapter 12: Organizational training of the Japanese band director.- Chapter 13: Corporate giants: Yamaha and the Tokyo Kosei Wind Orchestra.- Chapter 14: Metaphors of a Japanese band community.- Chapter 15: Musical identity in the band: Social class and gender.- Chapter 16: National identity in the Japanese school band.- Chapter 17: Ensemble ethos: Theorizing cultures of musical achievement.- Chapter 18: Conclusions.- Afterword.- Glossary.- Index""
Research Interests: Cultural Sociology, Ethnomusicology, History of Education, Japanese Language And Culture, Educational Anthropology, and 15 moreEducation History, Historical Ethnomusicology, Conceptual Metaphor, Japanese History, Cognitive Linguistics, Contrastive Analysis, History of Religion in Modern Japan, Anthropology of Education, Hybridity in Music, Comparative Education, Japanese music history, Japanese Composers, Japanese corporations and institutions, Comparative International Education, and Curriculum and Pedagogy
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ABSTRACT Japan has a variety of ‘guitars’ (using a wide definition of the term) and other types of lute. There are instruments that are considered traditional, or old in the Japanese historio-cultural context, many of which actually have... more
ABSTRACT Japan has a variety of ‘guitars’ (using a wide definition of the term) and other types of lute. There are instruments that are considered traditional, or old in the Japanese historio-cultural context, many of which actually have acknowledged roots from outside Japan; there are instruments with a form that was clearly transplanted as a result of the impact of western culture on Japan and the Japanisation of western music after around the middle of the nineteenth century; and there are new instruments that are the product of contemporary global flows and found in various spheres of Japanese society, culture, technology and media. Each of these helps to show the importance of guitars and other lutes in historical and present-day Japan, as well as offering the fields of ethnomusicology and organology topics for study that contribute to understanding local guitarscapes in a global context, as well as the impact these instruments have had on the lives of people connected to and associated with them. This article offers an analysis of two relatively new Japanese guitars, both of which emanate from Okinawa: the ichigo ichie (four strings) and the sanrere (three strings). This discussion is built around historical, ethnographic and critical approaches with the objective of showing both the breadth of the Japanese guitarscape, as well as providing two case studies through which to comprehend one sphere of the guitar phenomenon in Japan, and more specifically Okinawa as a peripheral region, as a global consumer and producer of the instrument.
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... The analy-sis continues through the complicated period of the 'fraternal war' between al-Amin and al-Ma'murn, and down to the advent of the TDurlurnids in 279/ 89293. A separate chapter is dedicated to the role of... more
... The analy-sis continues through the complicated period of the 'fraternal war' between al-Amin and al-Ma'murn, and down to the advent of the TDurlurnids in 279/ 89293. A separate chapter is dedicated to the role of copper issues from Kurfa at al-Raqqa/al-Rarfiqa. ...
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... 論文名, 著者名, 著者所属, 刊行物名, ISSN, 巻, 号, ページ, 出版者, 参考文献, 出版年, 年から 年まで. すべて CiNiiに本文あり CiNiiに本文あり、または連携サービスへのリンクあり. Report on the Asia in New Zealand Research Cluster, University of Otago. ...
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Exploring an array of captivating topics, from hybridized Buddhist music to AI singers, this book introduces Japanese music in the modern era. The twenty-five chapters show how cultural change from the late nineteenth century to the... more
Exploring an array of captivating topics, from hybridized Buddhist music to AI singers, this book introduces Japanese music in the modern era. The twenty-five chapters show how cultural change from the late nineteenth century to the present day has had a profound impact on the Japanese musical landscape, including the recontextualization and transformation of traditional genres, and the widespread adoption of Western musical practices ranging from classical music to hip hop.
The contributors offer representative case studies within the themes of Foundations, Heritage, Institutions, and Hybridities, examining both musical styles that originated in earlier times and distinctly localized or Japanized musical forms.
The contributors offer representative case studies within the themes of Foundations, Heritage, Institutions, and Hybridities, examining both musical styles that originated in earlier times and distinctly localized or Japanized musical forms.
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Looks at modern Japanese musical cultures, including music education, traditional music, western art music, and popular music. Provides perspectives on the relationship between Japanese music culture and global flows. Draws together new... more
Looks at modern Japanese musical cultures, including music education, traditional music, western art music, and popular music. Provides perspectives on the relationship between Japanese music culture and global flows. Draws together new research from international scholars working in the fields of cultural studies, ethnomusicology, history, theatre studies and related areas.
Koza Dabasa explores Okinawa's island culture and its ghosts of war through the lens of Nenes, a four-woman pop group that draws on the distinctiveness and exoticism of Okinawan musical tradition. Both a tropical island paradise and the... more
Koza Dabasa explores Okinawa's island culture and its ghosts of war through the lens of Nenes, a four-woman pop group that draws on the distinctiveness and exoticism of Okinawan musical tradition. Both a tropical island paradise and the site of some of the bloodiest battles of World War II, Okinawa has a unique culture and a contentious history. Its musical traditions are distinct from other parts of Japan, varying in instrumentation, poetic forms, and musical scales. Nenes marks its cultural difference as Okinawan by emphasizing its own exoticism, expressed through its music, fashion, imagery, and performance style. Henry Johnson listens to Koza Dabasa as a representation of Okinawa's relationship with the Japanese music industry and with the broader themes of international warfare and local tourism.
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This book is the first to explore style and spectacle in glam popular music performance from the 1970s to the present day, and from an international perspective. Focus is given to a number of representative artists, bands, and movements,... more
This book is the first to explore style and spectacle in glam popular music performance from the 1970s to the present day, and from an international perspective. Focus is given to a number of representative artists, bands, and movements, as well as national, regional, and cultural contexts from around the globe. Approaching glam music performance and style broadly, and using the glam/glitter rock genre of the early 1970s as a foundation for case studies and comparisons, the volume engages with subjects that help in defining the glam phenomenon in its many manifestations and contexts. Glam rock, in its original, term-defining inception, had its birth in the UK in 1970/71, and featured at its forefront acts such as David Bowie, T. Rex, Slade, and Roxy Music. Termed "glitter rock" in the US, stateside artists included Alice Cooper, Suzi Quatro, The New York Dolls, and Kiss. In a global context, glam is represented in many other cultures, where the influences of early glam rock can be seen clearly. In this book, glam exists at the intersections of glam rock and other styles (e.g., punk, metal, disco, goth). Its performers are characterized by their flamboyant and theatrical appearance (clothes, costumes, makeup, hairstyles), they often challenge gender stereotypes and sexuality (androgyny), and they create spectacle in popular music performance, fandom, and fashion. The essays in this collection comprise theoretically-informed contributions that address the diversity of the world’s popular music via artists, bands, and movements, with special attention given to the ways glam has been influential not only as a music genre, but also in fashion, design, and other visual culture.
Research Interests: Music, Popular Music Studies, Popular Music, Sociology of Music, History of Popular Music, and 19 moreBrazilian Music, Japanese Popular Music, Popular musicology, Popular Music & Gender, Japanese music history, Popular Music and Culture, Glamour, Korean Music, Sociology of Popular Music, Popular Music Genres, Glam Rock, Glitter Rock, Popular Music and Social Change, Popular Music and Popular Culture, Critical Theory and Cultural Studies, Glitter, Malaysian Popular Culture, Roxy Music, David Bowie and music, and Marc Bolan
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New Zealand has a number of active taiko (drumming) groups, each of which has distinct links to Japan. This paper introduces taiko in New Zealand in connection with the notions of authenticity and identity construction in transcultural... more
New Zealand has a number of active taiko (drumming) groups, each of which has distinct links to Japan. This paper introduces taiko in New Zealand in connection with the notions of authenticity and identity construction in transcultural context, for both Japanese and non-Japanese. The research focuses on the creative settings of musical performance, and explores the various ensemble taiko groups that are especially active in New Zealand. While investigating the ways identity is constructed for players, questions are asked about the local setting and the context of migration, and how these factors might influence the construction of a transcultural identity in New Zealand. A range of social and cultural influences offer a number of examples that show cultural flows, musical adoption, and identity construction for different reasons and in diverse case-study settings.
Research Interests: Japanese Studies, Multiculturalism, Ethnomusicology, Japanese Language And Culture, Identity (Culture), and 13 moreCultural Identity, National Identity, Diaspora Studies, Japan, History of New Zealand, Japanese Culture, Drumming and Percussion, Taiko, Japanese diaspora, New Zealand, Drumming, Taiko Drumming, and North American Taiko
Review of Identity, Language and Belonging on Jersey: Migration and the Channel Islands. By Jaine Beswick.
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At first glance, one might imagine that a book with the title Sounds of War would literally be about the acoustic environment pertaining to the cacophonous sounds of war, the noise of shooting and the explosions of armaments. Taken in its... more
At first glance, one might imagine that a book with the title Sounds of War would literally be about the acoustic environment pertaining to the cacophonous sounds of war, the noise of shooting and the explosions of armaments. Taken in its entirety, such a soundscape would do much to show the place of sound in the acoustic military theatre of war, as well as its impact on the victims of human atrocities. Rather than approaching war in terms of the active sounds of conflict, Emma Hanna’s book concerns the musical cultures of the British armed forces during the First World War. This is about the music that was produced, distributed and consumed within the war years, revealing detailed historical information about musical styles, contexts of performance and listening, and how music affected those serving in the armed services and the communities that supported them.
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Composing Japanese musical modernity: by Bonnie C. Wade, Chicago, University of Chicago Press, 2014, 271 pp., notes, glossary, bibliography, index, US$32.00 (paperback)
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This article considers two photographs that are thought to depict Chinese musical and celebratory involvement in Queen Victoria’s Diamond Jubilee celebration in Greymouth, New Zealand, in 1897. The discussion contextualises the event... more
This article considers two photographs that are thought to depict Chinese musical and celebratory involvement in Queen Victoria’s Diamond Jubilee celebration in Greymouth, New Zealand, in 1897. The discussion contextualises the event within the history of Cantonese migration to New Zealand and foregrounds Chinese involvement in public display as a way of recognising a significant community in a setting often fraught with discrimination. While there are still unanswered questions pertaining to the exact source of the two photographs, visual content analysis provides a way of interpreting their subject-matter in their historical context and connecting both photographs to the same event. Such detailed analysis helps in raising awareness of the extent of Chinese music-making in nineteenth-century New Zealand, along with the importance of Chinese participation in public celebrations as key community events displaying locality, identity, and empire.
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Shinjima ('New Island'), a relatively recent volcanic island in southwest Japan, has undergone cycles of settlement, depopulation and resettlement , mirroring similar circumstances encountered by many small island cultures in Japan.... more
Shinjima ('New Island'), a relatively recent volcanic island in southwest Japan, has undergone cycles of settlement, depopulation and resettlement , mirroring similar circumstances encountered by many small island cultures in Japan. Throughout its history, and in the vicinity of ongoing volcanic activity, the island has experienced periods of vulnerability and resilience, marked by fluctuations in its population and leading to shifts in the island's identity. Together, these phenomena are explained using the metaphor of fluidity, emphasising continuing changes in Shinjima's environmental, social and cultural existence. As discussed in this article, in today's context, Shinjima has emerged as an example of small island revitalisation that is distinct to its locale, embodying a multifaceted identity centred on cultural rejuvenation, environmental activism and micro-tourism. Positioning this study within the field of Island Studies, the article foregrounds Shinjima by documenting its dynamic history and emphasising recent transformations that have augmented and revitalised the small island's cultural narrative in the contemporary era.
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This article is a study of a photo of the Wellington Chee Kung Tong (Wellington Chinese Masonic Society) orchestra taken around 1925. As dominant themes, the photo especially signifies music and identity, and demands answers regarding how... more
This article is a study of a photo of the Wellington Chee Kung Tong (Wellington Chinese Masonic Society) orchestra taken around 1925. As dominant themes, the photo especially signifies music and identity, and demands answers regarding how it might be interpreted about 100 years after its creation: How and why was the photo fashioned? What can a viewer learn about the subject matter of the photo? Attention is given to
the detail of the musical instruments and their place within the image, which is the only known photo depicting members of the Chee Kung Tong and their instruments. The photo is significant for scholars across several fields of study, including music iconography, historical ethnomusicology and Chinese diaspora studies. Drawing on qualitative visual content analysis, this article interprets and discusses the musical elements of the photo as a way of contributing to knowledge about the instruments as an assemblage of meanings. The article is structured around the three dominant themes: (i) staging the image; (ii) uniforms; and (iii) musical instruments.
the detail of the musical instruments and their place within the image, which is the only known photo depicting members of the Chee Kung Tong and their instruments. The photo is significant for scholars across several fields of study, including music iconography, historical ethnomusicology and Chinese diaspora studies. Drawing on qualitative visual content analysis, this article interprets and discusses the musical elements of the photo as a way of contributing to knowledge about the instruments as an assemblage of meanings. The article is structured around the three dominant themes: (i) staging the image; (ii) uniforms; and (iii) musical instruments.
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During the latter part of the nineteenth-century gold-mining era in Central Otago, New Zealand, Won Kee was a well-known Chinese merchant living in Cromwell. His activities centred on offering a base for supplying Chinese miners, yet at... more
During the latter part of the nineteenth-century gold-mining era in Central Otago, New Zealand, Won Kee was a well-known Chinese merchant living in Cromwell. His activities centred on offering a base for supplying Chinese miners, yet at the same time he provided a link between the disparate cultures that made up this migrant setting. While little is known of Won Kee's roots, he was active in bringing the Chinese and European populations together, holding regular cultural celebrations and being effective in charitable activities that benefited all in the local community. While contributing to the rethinking of music in the making of New Zealand, this discussion examines Won Kee's creative community activities that offered a setting for intercultural understanding in colonial context. This paper is a historico-biographical discussion of Won Kee in a setting of creativity, inter-cultural intervention, and discrimination. Including a short biography of what is known about Won Kee's background, the study focuses on several distinct case studies as a way of analysing discrete examples of Chinese creativity that contributed to the musical making of New Zealand in the late nineteenth century, yet is so often void in discourse on New Zealand's music history. The aim of the paper is to add a new perspective to music in New Zealand, and offer insight on the importance of understanding this sphere of the nation's musical creativity in a nineteenth-century goldmining setting.
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After warning John McLean of a plot on his life in order to steal his gold, Chinese goldminer, Fan So, became a faithful servant and travelled with him from the Australian goldfields to Aotearoa New Zealand around the middle of the... more
After warning John McLean of a plot on his life in order to steal his gold, Chinese goldminer, Fan So, became a faithful servant and travelled with him from the Australian goldfields to Aotearoa New Zealand around the middle of the nineteenth century. While McLean became an important and recognised figure in New Zealand, little is known of Fan So. Yet within the scant reports that do mention him, he is portrayed as maintaining musical roots to his Chinese culture through the playing of a 'fiddle'. As part of a deconstruction of the dominant narrative that has so often defined music in a setting of elitism and inequality, this paper recognises Fan So's and other Chinese music making as an assemblage of creativity that demands critical inquiry in an era of colonialism, migration and discrimination. In this context, and adopting a critical historico-biographic perspective through the study of musicking, media sources and secondary literature, this paper is a study of what is known about Fan So, his association with the McLean family, and his music making activities in nineteenth-century New Zealand. The aim of the paper is to rethink what constitutes New Zealand music and to illustrate some of the ways that Chinese music contributed to the soundscape of Aotearoa's colonial past.
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The Bailiwick of Guernsey is a British jurisdiction in the Channel Islands comprising several islands and forming a binary with the neighbouring Bailiwick of Jersey. The Bailiwick is an archipelago of administrative similitude and... more
The Bailiwick of Guernsey is a British jurisdiction in the Channel Islands comprising several islands and forming a binary with the neighbouring Bailiwick of Jersey. The Bailiwick is an archipelago of administrative similitude and island-based jurisdictional difference. It is a dependency of the British Crown with a sense of independence and with identity and jurisdiction constructed within, between and across several island spheres. This is a setting of anomalous/autonomous territories, with the Bailiwick having a distinct geography of overlapping political jurisdictions that exhibit an administrative dialectics of place with islandness and archipelago-ness at the core of identity making. This article asks: How do the islands within the Bailiwick of Guernsey perform jurisdictional politics as territorial units? As well as discussing the islands' top-down administrative structures, distinct emblems of politicised island identity in the form of anthems and postage stamps are considered regarding the ways they contribute to island performativity and identity construction within their territorial setting.
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The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a... more
The late nineteenth century and early decades of the twentieth century saw the drum kit emerge as an assemblage of musical instruments that was central to much new music of the time and especially to the rise of jazz. This article is a study of Chinese drums in the making of the drum kit. The notions of localization and exoticism are applied as conceptual tools for interpreting the place of Chinese drums in the early drum kit. Why were distinctly Chinese drums used in the early drum kit? How did the Chinese drums shape the future of the drum kit? The drum kit has been at the heart of most popular music throughout the twentieth century to the present day, and, as such, this article will be beneficial to educators, practitioners and scholars of popular music education.
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Shintō, the national religion of Japan, is grounded in the mythological narratives that are found in the 8 th-Century chronicle, Kojiki 古事記 (712). Within this early source book of Japanese history, myth, and national origins, there are... more
Shintō, the national religion of Japan, is grounded in the mythological narratives that are found in the 8 th-Century chronicle, Kojiki 古事記 (712). Within this early source book of Japanese history, myth, and national origins, there are many accounts of islands (terrestrial and imaginary), which provide a foundation for comprehending the geographical cosmology (i.e., sacred space) of Japan's territorial boundaries and the nearby region in the 8 th Century, as well as the ritualistic significance of some of the country's islands to this day. Within a complex geocultural genealogy of gods that links geography to mythology and the Japanese imperial line, land and life were created along with a number of small and large islands. Drawing on theoretical work and case studies that explore the geopolitics of border islands, this article offers a critical study of this ancient work of Japanese history with specific reference to islands and their significance in mapping Japan. Arguing that a characteristic of islandness in Japan has an inherent connection with Shintō religious myth, the article shows how mythological islanding permeates geographic, social, and cultural terrains. The discussion maps the island narratives found in the Kojiki within a framework that identifies and discusses toponymy, geography, and meaning in this island nation's mythology.