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Japanese in the Samba”: Japanese Brazilian Musical Citizenship, Racial Consciousness, and Transnational Migration

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Japanese in the Samba”: Japanese Brazilian Musical Citizenship, Racial Consciousness, and Transnational Migration “JAPANESE IN THE SAMBA”: JAPANESE BRAZILIAN MUSICAL CITIZENSHIP, RACIAL CONSCIOUSNESS, AND TRANSNATIONAL MIGRATION by Shanna Lorenz B.A., Reed College, 1995 M.A., University of Pittsburgh, 1999 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2007 UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Shanna Lorenz It was defended on November 27, 2007 and approved by Bell Yung, Professor, Department of Music Mary Lewis, Professor, Department of Music Hermann Herlinghaus, Professor, Hispanic Languages and Literatures Dissertation Director: Andrew Weintraub, Associate Professor, Department of Music ii Copyright © by Shanna Lorenz 2007 iii “JAPANESE IN THE SAMBA”: JAPANESE BRAZILIAN MUSICAL CITIZENSHIP, RACIAL CONSCIOUSNESS, AND TRANSNATIONAL MIGRATION Shanna Lorenz, PhD University of Pittsburgh, 2007 This doctoral dissertation is an ethnographic study of musical culture among Japanese Brazilians in São Paulo, Brazil. Specifically, the study explores how the musical culture of this community has changed in recent years as a result of the dekasegui movement, the migration of hundreds of thousands of Japanese Brazilians who have traveled to Japan since 1990 in search of work. In order to explore these questions, I conducted fieldwork between May and November of 2003 on three musical groups, Zhen Brasil, Ton Ton Mi, and Wadaiko Sho, each of which have found different ways to invoke, contest, and reinvent their Brazilian and Japanese musical heritages. By exploring these groups’ musical practices, texts, dance, costumes, and discourses of self-definition, this study offers insight into shifts in the ethnic self-definition and racial consciousness of the Japanese Brazilian community that have taken place as the result of face-to-face contact between Japanese Brazilians and Japanese under the conditions of contiguous globalization. This study contributes to our current understandings of the impact of circular forms of migration on the musical culture and ethnic identity of diasporic communities in the contemporary world. iv TABLE OF CONTENTS ACKNOWLEDGEMENTS ....................................................................................................................... IX 1.0 INTRODUCTION .............................................................................................................................. 1 1.1 HISTORICAL BACKGROUND ............................................................................................ 4 1.1.1 Nikkei Immigration ..................................................................................................... 4 1.1.2 Ethnicity in Brazil ....................................................................................................... 7 1.1.3 The Dekasegui Experience ........................................................................................ 11 1.2 THEORETICAL FRAMEWORK ........................................................................................ 13 1.3 RESEARCH QUESTIONS .................................................................................................... 16 1.4 LITERATURE REVIEW ...................................................................................................... 20 1.5 METHODOLOGY ................................................................................................................. 26 1.5.1 Interviews ................................................................................................................... 28 1.5.2 Recordings ................................................................................................................. 29 1.6 ORGANIZATION .................................................................................................................. 30 2.0 ZHEN BRASIL’S JAPANESE BRAZILIAN GROOVE .............................................................. 33 2.1 UNCANNY GINGA ................................................................................................................ 33 2.2 HISTORICAL CONTEXT .................................................................................................... 36 2.3 ALLIES ................................................................................................................................... 40 2.4 BIOGRAPHY ......................................................................................................................... 47 2.5 NEW BEGINNINGS .............................................................................................................. 53 2.6 PERFORMANCE .................................................................................................................. 59 2.7 JAPANESE BRAZILIAN MIMESIS ................................................................................... 69 2.8 A COMMUNITY DIVIDED .................................................................................................. 76 v 3.0 SETSUO KINOSHITA AND SAMBA TAIKO .............................................................................. 81 3.1 AFRO TAIKO INCURSIONS ................................................................................................ 81 3.2 THE STUDENTS ................................................................................................................... 87 3.3 BECOMING BRAZILIAN .................................................................................................... 97 3.4 NIKKEI GINGA ....................................................................................................................115 3.5 KINESTHETIC ACCENT ...................................................................................................123 3.6 TAIKO DE SAMBA ...............................................................................................................130 4.0 BEATING HEART/BEATING DRUM .........................................................................................140 4.1 BEATING HEART/BEATING DRUM ...............................................................................147 4.2 HISTORICAL CONTEXT ...................................................................................................155 4.3 CONTEMPORARY SOUNDS .............................................................................................162 4.4 UCHINÂ POP ARRIVES .....................................................................................................168 4.5 DIASPORIC STIRRINGS ....................................................................................................175 5.0 CONCLUSION ................................................................................................................................182 APPENDIX A ............................................................................................................................................193 REFERENCES ..........................................................................................................................................194 vi LIST OF TABLES Table 1: Ethnic and Gender Distribution of Thirty-Five Taiko Students...................................................... 92 Table 2: Musical Preferences of Twenty-Five Taiko Students ..................................................................... 95 vii LIST OF FIGURES Figure 1: Zhen Brasil in “Japanese” Attire ................................................................................................... 34 Figure 2. Adolfo Mizuta Playing the Triangle .............................................................................................. 48 Figure 3. Zhen Brasil Performing “Kapotaro Nomato” ................................................................................ 72 Figure 4: A Shime Daiko from Setsuo Kinoshita’s Ensemble ..................................................................... 82 Figure 5: Setsuo Kinoshita Taiko Ensemble ................................................................................................ 88 Figure 6: Setsuo Kinoshita Taiko Ensemble ................................................................................................ 89 Figure 7: Nagadō Daiko from Setsuo Kinoshita’s Ensemble ....................................................................... 90 Figure 8: Setsuo Kinoshita, Tokinonagare Tour ........................................................................................... 97 Figure 9: Michikazu Sasaki and Kumiko Teraguchi Perform “Odaiko” .....................................................113 Figure 10: Setsuo Kinoshita Performing “Futbol” in a Brazilian Soccer Jersey .........................................113 Figure 11: Kumiko Teraguchi Performing “Futbol” in a Japanese Soccer Jersey .......................................114 Figure 12: Comparison Between Okedō Daiko Rhythm in “Taiko de Samba” and Typical Surdo Rhythms from Conventional Samba ...........................................................................................................................132 Figure 13: Oscillogram and Spectogram of “Taiko de Samba”...................................................................135 Figure 14: Oscillogram and Spectogram of Caixa and Surdo Samba Demonstration ................................135 Figure 15: Ton Ton Mi ................................................................................................................................146 Figure
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