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• W2891094657 abstract "A 2003 documentary film Viva Tonal: The Dance Age (Tiaowu shidai 跳舞時代)1 traces the dissemination of popular song (and dance) from Japan tocolonial Taiwan in the 1930s. The Office of the Governor General (so-tokufu総督府) first allowed records to be imported from Japan en masse in 1928.Yet, the affordability and the content did not suit the native population, 90percent of which were natives. It was not until 1933 when the ColumbiaRecord Company of Japan (コロムビア・レコード) set up its operation onthe island that the popular music scene took off. With the introduction of therecording industry, not only Western style popular music and dances (foxtrot,among others)2 were introduced and popularized; it also changed the waytraditional native music and theater were transmitted and appreciated. Thehead of Columbia Records in Taiwan, Kashiwano Seijiro-柏野正次郎, knew thatthe long term viability of the company required localization of the recordingbusiness, having native musicians compose for the native audience.Viva Tonal relates the musical history of the colonial period (throughinterviews with employees of the record company, singers, composers, andconsumers), detailing the liberating effect of the new music on the youthpopulation who embraced it ardently. Paradoxically, with the new recordingtechnique, the traditional local music could be preserved on record and circulated, making the music available anytime and anywhere, in places removedfrom the live theater. Thus the new music did not take over the native musicscene; rather, it was instrumental in propagating native music, not just traditional performance genres3 but also, for the first time, a new generation ofcomposers who emerged to write popular songs suited to the local taste.4 Thefilm documents the decade from 1930 when recorded music (accompanied bydistinctive dances) created a lively and giddy youth culture. It follows closelyLi Keun-cheng, a Taipei oldies deejay with an obsessive passion for ’30smusic who takes the viewer on a voyage of discovery, to meet surviving singers,composers, and record aficionados of the era. The era ended in 1940 when theSino-Japanese War exploded and then war was initiated with the US. Thecolonies were plunged into a period of total warfare (kessenki 決戦期), inwhich the music scene was almost completely replaced by patriotic songs(aikokuka 愛国歌) and military songs (gunka 軍歌).The introduction of Western/Japanese music brought not only entertain-ment to the island colony but also a measure of artistic and individual freedom. One of the popular sayings of the time was “renew the world, practicefree love” (ishin sekai jiyu-ren’ai 維新世界, 自由戀愛). The music broughtalong the concept of “freedom” and helped advance a forward-looking viewof “free love” (jiyu-ren’ai 自由恋愛). Song lyrics such as: “I know only thecivilized times and like to socialize openly” (「阮只知文明時代, 社交愛公開」) or “I’m a civilized woman, traveling about footloose and fancy-free”(「阮是文明女, 東西南北自由志」), indicate that the sense of freedom wasnot limited to romance alone but was also associated with social opennessand geographical mobility. The film proposes a new understanding of coloniallife as, for women especially, pleasurable and liberating. For the ordinaryyoung men and women living in an isolated colony, it must have felt empowering to link oneself to the global music/dance scene (albeit through themediation of the Japanese colonial culture). It is also interesting to note thatlexical items such as ishin (維新 restoration, revolution) and bunmei (文明civilization) are political terms that were coined in the early Meiji era. Jiyu-ren’ai is a concept that was discussed and practiced primarily since the turn ofthe century. While the transfer of technology was relatively uncomplicated increating a synchronicity of consumption of music between the colony and themetropole, the use of these now arcane terms is indicative of the existence of atime lapse in ideals and language.Studies of Japanese colonialism in recent years have seen a paradigm shift,from a mostly metropole-centric view toward one focusing on the dynamicinteraction between the metropole and the colonies. Thus the colonies and themetropole are no longer seen as comprising a static relationship of dominatorand dominated. Recent studies of trans-cultural exchange within the colonialcontext have been stimulating, investigating the circulation of knowledge andmaterial culture within the Japanese empire. An example is the social sphereformed by the use of the Japanese language, which impacted in various wayson local intellectual productions, creating shared cultural communities unifiedby the circulation of popular and literary texts. These researches highlight thecentrality of language in cultural and intellectual productions. Personal experiencesare almost always mediated by language, usually through autobiographicaland fictional works.This article, by contrast, focuses on intercultural artistic flows between themetropole and the colonies that are direct and unmediated via verbal language.Instead, it will treat a language expressed through somatic movements andnot words, a body language that is contextualized within the framework of theuniversal, avant-garde vernacular that is called modern dance. This is a differentmode of transmission, conveying knowledge and modernity through themedium of the human body. We will consider the bodies of two dancers fromJapan’s colonies, Choi Seung-hee 崔承喜 최승히 (1911-1969?) of Cho-sen 朝鮮 and Tsai Jui-yueh蔡瑞月 (1921-2005) of Taiwan. These two women are primeexamples of how knowledge and (colonial) modernity circulated within theJapanese empire; we watch them participate in these cultural transactions overmany years. Like the popular music mentioned above, the development of moderndance aids in exploring the diverse patterns and trajectories of knowledge flow andcultural exchanges within the empire, and in the global movement of avant-gardeart. This is reflected in the remarkable lives of two women, colonial subjects,who came from the colonies to the metropole to study modern dance under aJapanese master. When they returned to their respective countries after thewar, they brought with them artistry obtained in Japan and initiated the fieldof modern dance in their own countries. Unfortunately, they were also purgedruthlessly in their own countries during the post-colonial/cold war period.My choice of these two female artists as objects of inquiry and comparisonserves multiple purposes. First and foremost, a comparison of figures fromcolonial Taiwan and Korea sheds light on how colonialism works in general,and on an East Asian model specifically. It breaks with the standard delineation of colonialism emphasizing juxtaposition and antagonism that is oftenframed in an East-West dichotomy (as in British colonialism in India) or as acontest among civilizations (as is the case with European powers in Africaand the Americas). By focusing on intra-Asian comparison, I hope tobroaden this binary East-West trope and engage in a more diverse comparative process. I also attempt to propose a transaesthetical5 framework to lookat artistic and cultural flows within the Japanese empire during the highcolonial period and their consequences for post-colonial East Asia.The intertextual reading of the journeys that these two women took shows somesimilarities but also reveals many differences. Within the context of Japanesecolonialism, the surface narratives of these two colonial subjects are intriguinglyanalogous – they share the excitement of discovering a new art form, then aredriven to find a new language of self-expression, they travel across the sea toTokyo against the objections of their families, and in the end both come intoconflict with the new masters of their newly liberated homelands in the postcolonial era. Thus both face a paradox as post-colonialism does not bringtrue emancipation, but these similarities should not obscure subtle divergences (“incommensurability” in Susan S. Friedman’s 2011 discourse) in theway the two women were treated by their own countries, differences that arosebecause of the divergent geo-political positions of Taiwan and Korea. In thiscase, the overarching trans-regional narratives like traditional Confucianvalues and Japanese colonization were superseded by the polarities of a newordering of the world, the Cold War." @default.
• W2891094657 created "2018-09-27" @default.
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• W2891094657 date "2014-10-17" @default.
• W2891094657 modified "2023-09-23" @default.
• W2891094657 title "Body (language) across the sea: gender, ethnicity, and the embodiment of post-/colonial modernity" @default.
• W2891094657 doi "https://doi.org/10.4324/9781315772257-19" @default.
• W2891094657 hasPublicationYear "2014" @default.
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