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Cultural Representaion and Political Unconsiousness : A Basic Study of African Musics in Comtemporary Japanese Popular Culture.

文化表征与政治无意识：当代日本流行文化中非洲音乐的基础研究。

基本信息

批准号：
07801045
负责人：
KEIDA Katsuhiko
金额：
$ 1.15万
依托单位：
Kyushu Kyoritsu University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
1995
资助国家：
日本
起止时间：
1995 至 1996
项目状态：
已结题

项目摘要

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.

在我的研究结果中，我指出，对全球化、经济优势和非洲音乐作为世界音乐的一部分的结合的思考，有可能在日本产生一些“非洲的新想象”。正如罗素指出如下（见罗素，J.G.，1992：314-315），“黑人的代表遵循主要来自西方种族类别和等级制度的惯例。- 虽然日本人自己往往不承认这些图像是种族主义者（这一反应与白人首先面对他们的黑人刻板印象没有什么不同），日本人对黑人的描述往往是居高临下的，贬低、非人化、异国情调化和边缘化黑人其他人-"，我必须说，日本人对黑人的描述是如此的轻松，（特别是“非洲人的”）是通过日本流行文化，甚至消费非洲流行音乐。但是，我发现罗素坚持的观点只是流行文化的一个消极方面。作为世界音乐的非洲音乐以另一种方式被接受，并没有放弃作为全球文化再生产系统中“想象”的地方性的差异性和他者性。例如，从巴黎经马里来到欧洲的著名吉他演奏家Mama du Dumbia，已经开始了他的音乐表演，他的乐队“Mandinka”包括一些日本演员。为什么他选择在日本作为他的家乡演奏他的音乐？只为了得到日本的钱？不，他也看到了一种可能性，在非洲和日本之间建立新的形象和新的关系。