Ryo Ikeshiro and Atau Tanaka provide a helpful insight into the different movements that make up the sound art scene in Japan in their article. They describe sound in Japan to be “aural signatures closely bound to its history, nature and culture. Initially, this brings to mind to beauty of Japanese culture, like its nature scapes. Ikeshiro and Tanaka talk of sort of instrument, shishi odoshi, bell chimes in temples, and chanting of sutra by monks. A narrative is being painted about the “nice” parts of Japanese culture.

Moving forward in the article, Ikeshiro and Tanaka speak on the influence of the Meiji Reformation on Japanese sound. To me, beginning to read this passage, I was immediately brought back to my brief time of studying colonialism in a political context last year. Based on my knowledge about the Meiji Reformation, I was expecting to be reading how, for example, the countries that were colonised by Japan had an impact on Japanese sound. However, it was only touched on to show the Western influence on Japan’s sound, with the writers of the article describing this influence as being “embraced” but “held apart”.

Japan, although has had vast amounts of changes, has still kept true to its culture even from the Edo period- marked by its development of a rich cultural peace and its upholding of its class system, including the Samurai Class. However, would Japan have been able to hold onto these small amounts of its authentic culture if its hadn’t submitted to the West’s pressure to “Westernise”? In a bid to force Japan to begin trading with the West, the US sent Commodore Perry with a fleet of “black ships” in 1853 (after many attempts from other Western states), and a Treaty of Amity and Commerce, essentially subjecting Japan to participating in Colonialism; whether that be by subjecting to Western rule, or becoming a power themselves.

So it’s very easy to see how Japan’s sound was influenced by the West, if the West held that much power over them, which began the Meiji transformation. But Japan chose the latter option; become a power themselves. To avoid becoming colonised, Japan’s nation strengthened. A policy of Sonno Joi, meaning to ‘res†ore the Emperor, expel the Barbarian’ was introduced, the second part of this phrase an indication to Japan’s first policy in its move towards reformation- to expel foreign peoples, or in Japan’s words, “barbarians”. The beginning of the Meiji period was marked by the coup of 1867.

Considering Japan became a colonial power, it’s hard not to wonder how much of Japan’s culture and soundscape is made up of those countries it colonised.

It would be a shame, however, for me to dwell too much on this omission of history in the article, as its insights into the different sound movements in Japan will be very useful going forward in my understanding of sound art.

Key Terms and Takeaways:
Wabi-sabi: the beauty of imperfection 🙂