Since the Fukushima nuclear power plant disaster, antinuclear activism has swelled into one of the most popular and passionate movements in Japan. The Revolution Will Not Be Televised shows that music played a central role in expressing antinuclear sentiments and mobilizing Japanese political resistance.
Since the Fukushima nuclear power plant disaster, antinuclear activism has swelled into one of the most popular and passionate movements in Japan. The Revolution Will Not Be Televised shows that music played a central role in expressing antinuclear sentiments and mobilizing Japanese political resistance.
Noriko Manabe is Assistant Professor of Music at Princeton University. She has been conducting field research on the Japanese antinuclear movement since 2011 and on Japanese hip-hop, reggae, and EDM scenes since 2005. She was previously a ranked analyst researching the internet, media, and videogame industries at JP Morgan in Tokyo. She holds a PhD in Music from CUNY Graduate Center with concentrations in ethnomusicology and music theory.
Inhaltsangabe
* I Section One: The Background * 1 Introduction: Analyzing political music under self-censorship * 2 The nuclear past and present: Structures of power and civil resistance * 3 Musicians in the antinuclear movement: Motivations, roles, and risks * II Section Two: Spaces of Protest * 4 Cyberspace: Playback and participation * 5.1 Demonstrations (1): Introduction to music in demonstrations * 5.2 Demonstrations (2): Emergence of sound demonstrations * 5.3 Demonstrations (3): The evolution of performance style in antinuclear demonstrations * 5.4 Demonstrations (4): Urban geography, music, and protest * 6 Festivals: Differing models of communication * 7 Recordings: Allegories, metaphors, and metonyms * 8 Conclusion: Protesting under (and against) constraints * Bibliography
* I Section One: The Background * 1 Introduction: Analyzing political music under self-censorship * 2 The nuclear past and present: Structures of power and civil resistance * 3 Musicians in the antinuclear movement: Motivations, roles, and risks * II Section Two: Spaces of Protest * 4 Cyberspace: Playback and participation * 5.1 Demonstrations (1): Introduction to music in demonstrations * 5.2 Demonstrations (2): Emergence of sound demonstrations * 5.3 Demonstrations (3): The evolution of performance style in antinuclear demonstrations * 5.4 Demonstrations (4): Urban geography, music, and protest * 6 Festivals: Differing models of communication * 7 Recordings: Allegories, metaphors, and metonyms * 8 Conclusion: Protesting under (and against) constraints * Bibliography
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