Ainu Ceremonial Music and Dance: "Restored" and Recontextualized
PDF

How to Cite

Renner, N. (2012). Ainu Ceremonial Music and Dance: "Restored" and Recontextualized. MUSICultures, 39(1). Retrieved from https://journals.lib.unb.ca/index.php/MC/article/view/20001

Abstract

At the Ainu Culture Festival I attended in 2010, an ensemble of twelve young adults called Team Nikaop performed what they describe as “restorations” (fukugen) of Ainu ceremonial music and dance incorporating historical videos and other documents. This article explores the way that images of Ainu ceremonial music and dance used in Japanese museums and tourist centres throughout the 20th century are recontextualized through subtle gestures in Team Nikaop’s restorations onstage and behaviour offstage and in everyday life to balance old stereotypes with new meanings that contribute to the festival’s goal of garnering respect for Ainu culture.
PDF
  • The author retains copyright over the work.
  • The author grants the journal owner (The Canadian Society for Traditional Music / La Société canadienne pour les traditions musicales) an exclusive license to publish the work.
  • The author may post a pre-print or post-print version of the work (see definitions below) on a personal website for up to twelve months after the work is published in MUSICultures. After twelve months, the pre-print version must be replaced with the published version.
  • The author may deposit the published PDF of the work in a non-commercial online repository twelve months after the work is published in MUSICultures, or any time thereafter.
  • Any such deposit must include a link to the work on the MUSICultures website, e.g., https://journals.lib.unb.ca/index.php/MC/article/view/19996

A pre-print is a work-in-progress—a contribution not yet accepted, or perhaps even submitted, to MUSICultures.

A post-print is the version of a contribution after peer review and acceptance by MUSICultures, with revisions completed.

The published version is the PDF file of a contribution as it appears in MUSICultures.

Please note that academia.edu and ResearchGate.com are both for-profit repositories; authors may not deposit the published PDF of the work in these repositories until after the journal’s embargo period.

For permission to reprint or translate material from MUSICultures, please contact Heather Sparling, General Editor of MUSICultures (heather_sparling@cbu.ca).