Invented Okinawan Youth Culture : Turing Local Culture into Public Culture

本研究是对冲绳流行文化特别是青年文化的考察，它提供了一种既不模仿民族专制主义形式，也不模仿同化主义形式的冲绳认同模式：历史意义上的冲绳认同重建是前者的一个案例，而以日本本土标准取代冲绳现实则是后者的一个案例。与这些通过记忆的恢复和通过同化的统一来实现起源的强有力的叙述相对立的是“第三空间“的叙述，可以说，这是青年文化创造的空间。冲绳市（Koza）是这一创作的源头：这座城市充满了音乐、戏剧和其他文化活动。通过考察松竹影团的活动，我试图与批判性地参与知识界关注的问题（即冲绳人的身份问题）的新出现的美学形式达成一致。为了讨论他们的活动，我在理论上依赖于文化研究中阐述的一系列概念：费尔南多·奥尔蒂斯的“跨文化”概念和尼格尔·卡西娅·坎克林尼的“杂交文化”。“这些概念突出了一个过程，而不是一个产品，文化创造，发生在界面上的多种文化与不均衡的权力。因此，以古扎为例，这里的青年文化是冲绳生活中的矛盾性的叙述的强大力量之间协商的产物。与其他“地区”和其他“历史“相比，我注意到我所描述的冲绳青年文化并不是独特的，而是共同的：例如，二十年代在美国的非裔美国人中创造了哈莱姆文艺复兴。今后，我将提出一个呼吁“冲绳现代主义“，一个当代美学和政治运动。

This research is an investigation of Okinawan popular culture, especially youth culture as it offers a model of Okinawan identity that simulate the forms neither of ethnic absolutism nor of assimilationism : the reconstruction of Okinawan identity in historical terms is a case of the former, while the replacement of Okinawan reality with the standard of Japanese mainland is a case of the latter. Against these powerful narratives of origin by the recovery of memory and of unity through assimilation posited is the narrative of "third space, " as it were, the space the youth culture creates. Okinawa city (Koza) is the source of this creation : this city is full of music, theater, and other cultural activities. By examining the activities of the theatrical group, Shochiku Kagekidan, I have tried to came to terms with the newly emergent aesthetic form that critically engages in the issues of intellectual concern : namely, the question of Okinawan identity.In order to discuss their activities I relied theoretically on the series of concepts articulated in cultural studies : Fernando Ortiz's notion of "transculturation" and Nestor Carcia Canclini's "hybrid culture." These notions highlight a process, rather than a product, of cultural creation that occurs in the interface of multiple cultures with uneven power. Thus, the youth culture in Koza, for example, is a product of negotiation between the powerful forces of narratives proposed to rearticulate the contradiction in the Okinawan life.In comparison with other "regions" and other "histories, " I have noted that what I have described for Okinawan youth culture is not unique but common : for example, the creation of Harlem Renaissance in the twenties among the African Americans in the United States. I will present in the future a call for "Okinawan Modernism, " a contemporary aesthetic and political movement.