Connect Magazine Japan #95 July 2020

Page 32

A FOLKIN’ GOOD TIME

My Journey from Japanese Traditional Folk Music to 8-bit Technofolk

32

Photo: Zen Sasaki Erica Park (Kyoto) I stumbled upon Japanese traditional folk music the same way a horror film heroine might trip into a dark, deep pit in an old, creepy mansion: by accident. And much like said heroine who suddenly wakes up in said mysterious, deep pit, I don’t even know how I got here. The last thing I remember was wondering about Japanese instruments and typing “Japanese traditional songs” into a YouTube search bar, before being sucked in by the strums of shamisens and the dynamic vocals of Japan’s traditional folk singers. Although it’s usually put under the umbrella term “min’yo,” there is no exact name for the genre Japanese traditional folk music belongs to. Sometimes they’re called inaka bushi (country melodies), other times they’re called inaka buri (country tunes), or even hinata uta (rural songs). However, I think min’yo, whose kanji roughly translates to “the people’s chant,” is a weirdly accurate description of these simple, yet intriguing songs. For simplicity’s sake, I’m going to be referring to them as min’yo from here on out. In the same way certain foods or adorable mascots are part of a prefecture’s identity, min’yo songs are another way for many regions in Japan to further distinguish themselves. Originally sung by the lower class, their purposes vary from work songs sung while toiling away in fields, to sacred religious chants performed during ceremonies. Many songs tend to have imagery of nature or details of everyday life, and often performances incorporate special dances or instruments. Take for example Japan’s oldest min’yo song: “Kokiriko-bushi.” Hailing from Gokayama village in Toyama prefecture, “Kokiriko-bushi” illustrates the natural flora and fauna of the village during the harvest season. A performance of “Kokiriko-bushi” is visually intriguing as well; performers move slowly across the stage in uniquely shaped straw hats, as others play the iconic binzasara instrument: an accordion-like apparatus consisting of many wooden slats that


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Letter from the Community Editor

2min
pages 128-129

by Nathan Post

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page 143

by Mark Christensen In Jesus’s Name (R)Amen by Erica Park

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pages 114-119

Bad Guys Doing Good

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pages 130-133

Journey Through Magic by Lillian

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pages 120-127

Letter from the Travel Editor

2min
pages 112-113

Vamos Tokyo Carajo! by Niall Devine

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pages 102-105

Letter from the Sports Editor

2min
pages 100-101

Creating Through Cosplay

14min
pages 88-99

Capturing Tokyo’s Music Scene

4min
pages 86-87

Letter from the Arts Editor

2min
pages 84-85

Terrace House: A Window into Japanese

8min
pages 80-83

At Home in the World by Connor Mclead

6min
pages 76-79

Interview with Kabuki Actor Taiki

15min
pages 66-73

Letter from the Culture Editor

2min
pages 74-75

1000 Worlds Clash at Tokyo Game Show

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pages 56-65

Letter from the Entertainment Editor

2min
pages 54-55

6 Festivals in 6 Days: The Tohoku Tour

8min
pages 42-45

Fall Styles in Kyoto by Madelin Yochum

6min
pages 50-53

Vouge’s Fashion Night Out by T. Harris

5min
pages 48-49

Letter from the Fashion & Beauty Editor

2min
pages 46-47

Letter from Events Editor

2min
pages 36-37

The Snake that Played with Fire

5min
pages 38-41

A Folkin’ Good Time by Erica Park

8min
pages 32-35

From Dust to Dust by Michelle Zacharias

8min
pages 28-31

Finding Community Against All Odds

7min
pages 14-17

Working for the Kyoryokutai

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Ohara Gozaimasu by Mike Clapis

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pages 22-27

Letter from the General Section Editors

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pages 20-21

Slaying the Cosplay Game

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Japansplaining by Hannah Lukow

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Letter from the Assistant Head Editor

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