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positions 6:2 0 1998 by Duke University Press. who came to hear me were looking for dreams. I couldnât appear on stage in monpe. That would be depressing for me and my audience.â But she did not characterize her actions as subversive. âI had no such logic. It was just my character. I do things when I want to do them and if I donât want t o . . . I donât.ââ Awaya Norikoâs self-described role as a âpatriotic entertainer,â and her insistence that her gaudy style furthered Japanâs âholy crusadeâ rather than subverted it, are illustrative of a relatively unexamined aspect of Japanâs wartime experience: the positive roles of the arts and artists in a society where free artistic expression was considered dangerous. T h e typical way to treat wartime cultural life is to note the various official bans and unofficial limits on artistic expression and to regard all artistic products of such a society as aesthetically negligible and therefore unworthy of study. T h e few extant surveys of the history of jazz music in Japan write off the war years with the phrase âtotal jazz banâ (xettaijaxu &zshi) and insist that the music
positions asia critique – Duke University Press
Published: Sep 1, 1998
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