{"id":11335,"date":"2020-11-21T18:08:57","date_gmt":"2020-11-21T09:08:57","guid":{"rendered":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/?p=11335"},"modified":"2021-02-23T21:09:27","modified_gmt":"2021-02-23T12:09:27","slug":"fy2020vi-4kim","status":"publish","type":"post","link":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/en\/fy2020vi-4kim\/","title":{"rendered":"VI-4. \u201cIndonesian Music as \u201cWorld Music\u201d: Discourses of Japanese Music Critics\u201d (R2 FY2020)"},"content":{"rendered":"\n<div class=\"box-member\">\n<ul>\n<li><strong>Project Leader<\/strong> : Kim Yujin (National Museum of Ethnology)<\/li>\n<\/ul>\n<\/div>\n<h4 class=\"base_h4\">Outline of Research<\/h4>\n<p>What is \u201cIndonesian Music\u201d in the genre of \u201cWorld Music?\u201d In the 1980s and early 1990s, \u201cWorld Music\u201d was used as an umbrella term for all non-Western music by media in the Western world and from a Western perspective, including Japan. This study analyzes the writings of Japanese music critics on Indonesian music, which was the most acclaimed among Southeast Asian countries during the world music era.<\/p>\n<p>The study focuses on the discourses of three Japanese music critics\u2014Toyo Nakamura, Katsunori Tanaka, and Fumio Koizumi\u2014who are known as connoisseurs of Indonesian music and have raised the reputation of Indonesian music in Japan. Using the archives at the National Diet Library, <em>New Music Magazine and Music Magazine<\/em>, both of which have played an important role in the formation of the world music discourse and in valorizing Indonesian music, will be specifically analyzed. A field survey will be conducted in the Indonesian Music Museum (<em>Museum Musik Indonesia<\/em>) in Malang, East Java, It aims to collect materials on Indonesian musicians and performers who have performed in Japan, will also be conducted.<\/p>\n<h5 class=\"base_h5\">Description<\/h5>\n<p>The research will summarize the discourses of the respective music critics in Japan regarding Indonesian popular music.<\/p>\n<p>In Indonesia, the music genres known as <em>kroncong, dangdut, gamelan<\/em>, and <em>Jaipong<\/em> have been regarded as \u201cIndonesia\u2019s own music.\u201d Japanese music critics were among the first with a Western perspective to highly evaluate these Indonesian music genres, which subsequently became popular across Japan. Why did they find Indonesian music attractive among Southeast Asian countries, and how did they value it in the music media in Japan? This study examines the process by which Japanese music critics during the 1980s and early 1990s externally defined \u201cwhat In- donesian music is\u201d in light of the Indonesian domestic context.<\/p>\n<p>Previous studies that have treated Indonesian music as an example of \u201cWorld Music\u201d neglect the diversity and historical contexts of Indonesian music. This study analyzes what aspects of Indonesian music Japanese music critics have both valued and criticized (and sometimes excluded), and identifies the gaps in the evaluation of Indonesian music both in domestic and international contexts. While Japanese music critics have praised <em>kroncong, dangdut, gamelan, and Jaipong,<\/em> they have relatively dismissed Indonesian pop, rock, and jazz because these genres are not \u201cnon-Western.\u201d The category of World Music was created based on ethnocentric and ideological orientalism in Western countries and Japan. Within this categorization, specific Indonesian music genres such as <em>kroncong, dangdut, gamelan, and Jaipong<\/em> are considered \u201ctraditional,\u201d \u201cethnic,\u201d and \u201cexotic.\u201d The research compares Japanese and Western perceptions of Indonesian music, and examines how Japanese music critics have positioned Indonesian music in the category of world music. Using Indonesian music as a case study, it specifically investigates the role of Nakamura music magazines in making various \u201cethnic world music\u201d cool in urban Japan.<\/p>\n<p>What aspects of culture gain attention or are excluded? This project approaches this question in a comparative manner, and is particularly pertinent given the recent rise in the (re)evaluation of Southeast Asian pop culture in the Japanese domestic media and among international cultural exchange organizations in anticipation of the Tokyo Olympics.<\/p>\n<table class=\"table-caption\">\n<tr>\n<td><a href=\"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-content\/uploads\/2021\/02\/fy2020vi-4-1.jpg\"><img decoding=\"async\" src=\"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-content\/uploads\/2021\/02\/fy2020vi-4-1.jpg\"\/><\/a><br \/>\nIndonesian Music Museum\u2019s Analog Record Collection <\/td>\n<td><a href=\"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-content\/uploads\/2021\/02\/fy2020vi-4-2.jpg\"><img decoding=\"async\" src=\"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-content\/uploads\/2021\/02\/fy2020vi-4-2.jpg\" \/><\/a><br \/>\nToyo Nakamura\u2019s Indonesian Music Collection (Source: The Toyo Nakamura Collection Database)<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>Project Leader : Kim Yujin (National Museum of Ethnology) Outline of Research What is \u201cIndonesian Music\u201d in th [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_locale":"en_US","_original_post":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/?p=11335","_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false},"version":2}},"categories":[19],"tags":[20,29],"class_list":{"0":"post-11335","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-type-vi","7":"tag-indonesia","8":"tag-japan","9":"en-US","10":"czr-hentry"},"jetpack_publicize_connections":[],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8oDLW-2WP","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/posts\/11335"}],"collection":[{"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/comments?post=11335"}],"version-history":[{"count":3,"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/posts\/11335\/revisions"}],"predecessor-version":[{"id":12055,"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/posts\/11335\/revisions\/12055"}],"wp:attachment":[{"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/media?parent=11335"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/categories?post=11335"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www-archive.cseas.kyoto-u.ac.jp\/ipcr\/wp-json\/wp\/v2\/tags?post=11335"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}