Songs of the 3.11 Triple Disaster in Japan’s Tohoku Region
PDF

How to Cite

Kaneko, N. (2019). Songs of the 3.11 Triple Disaster in Japan’s Tohoku Region. MUSICultures, 46(1), 106 - 127. Retrieved from https://journals.lib.unb.ca/index.php/MC/article/view/29349

Abstract

The earthquake, tsunami, and nuclear accident that struck Northeast Japan on March 11, 2011 (3.11) prompted an array of local, national, and global musical responses. Based on ethnographic fieldwork, this article examines three songs that were newly composed in response to 3.11. I argue that these songs serve as means of optimistic attachments that simultaneously emphasize currently unachievable fantasies of the good life (Berlant 2011), and also foster the Japanese sociocultural aesthetic of gambaru (to persevere, to endure). I demonstrate how these songs serve as catalysts to inspire movements toward recovery and revival for 3.11 survivors.

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).