Cultural Translations

shamisen repertoire. But they also expand on it. In their own compositions, they riff onthemes from the old songs, incorporating other instruments and elements from jazz,repertoire. classical, But flamenco, they also rock, expand the on blues it. In even their own techno. compositions, The music they is high riff on energy, themes and from it the isold highly songs, improvisational.” incorporating other Such instruments statements and from elements an array from jazz, of sources classical, are flamenco, strategically rock, the usedblues by Yoshida even techno. Brothers The music and their is high management energy, and it as is highly a form improvisational.” of online self-representation,Such statementsfrom suggesting an array that of sources their work are strategically remains connected used by Yoshida to Japanese Brothers traditional and their management music despite as a someovertly commercial qualities. In other words, the Yoshida Brothers have attempted toform of online self-representation, suggesting that their work remains connected to Japanese“translate” the essence of their traditional music into the familiar idiom of popular musictraditional music despite some overtly commercial qualities. In other words, the Yoshida Brothershave attempted to “translate” the essence of their music into the familiar idiom ofpreferred by young people today both in Japan and abroad. Their music, thereby,“remains in an ambiguous position” between traditional, folk and popular genres. 30 Thepopular proposed music model preferred could by be young applied people to the today high-profile both in Japan case and of abroad. the Yoshida Their music, Brothers thereby, as“remains demonstrated in an ambiguous below: position” between traditional, folk and popular genres. The proposedmodel could be applied to the high-profile case of the Yoshida Brothers as demonstrated below:32Pentagonal Analysis of Cultural Translation (PACT)Musical Example: Yoshida BrothersCultural Origins: Japanese Folk Music / Global Popular Music (techno,heavy metal, etc.)Specific Domain:A) Technological Adaptations StrongSalience ofHybridity:[ Strong / Med / Weak ]Figure 3: PACT-Yoshida BrothersExplanation/Evidence:Japanese shamisen with heavy-metal style guitar effects and technodance backing tracks.B) Idiomatic Conventions Medium Familiar popular music style accompaniment“Phantasm” or “flavor”? Syncretism of modern pop styles withC) Aesthetic Notions Weakhistorical musical practices.D) Creative Practices Weak Little evidence of new approaches.E) Receptive Contexts Strong TV advertising for videogames: new marketing approach.Figure 3: PACT-Yoshida BrothersMinna Padilla and the Helsinki Koto EnsembleAnother very interesting musician who merits some discussion is Ms. Minna Padilla, a FinnishMinna koto player Padilla and and leader the of Helsinki the Helsinki Koto Koto Ensemble, who agreed to an interview for theAnother very interesting musician who merits some discussion is Ms. Minna Padilla, apurposes of this research (on 10 February, 2011). One year earlier, in February of 2010, a crewFinnish koto player and leader of the Helsinki Koto Ensemble, who agreed to anfrom TV Tokyo had traveled to Helsinki to interview Minna for its show “Japan All Stars.” Theinterview for the purposes of this research (on 10 February, 2011). One year earlier, increw filmed her performing and teaching koto to children, and rehearsing with the Helsinki KotoFebruary of 2010, a crew from TV Tokyo had traveled to Helsinki to interview Minna forEnsemble. its show They “Japan also All interviewed Stars.” The Minna crew about filmed her her compositions, performing studies, and teaching and concerts koto in to Japan,as children, well as innovative and rehearsing techniques with for the koto Helsinki playing. Koto As Minna Ensemble. recalls, “The They film also crew interviewed said they were Minnaimpressed about her by compositions, my music when studies, they heard and The concerts Helsinki Koto Japan, Ensemble as well playing, as innovative and that techniquesit wasgreat for koto see playing. koto used As with Minna this kind recalls, of music “The group.” film crew Nowadays, said they Minna were maintains impressed a busy by performancemusic schedule when they as leader heard of The the Helsinki Koto Koto Ensemble, Ensemble with playing, concerts and in Japan that it and was at various great to seemyfestivals koto used and with embassy-affiliated this kind of music events group.” in Europe. Nowadays, 28 Typically billed Minna as maintains “Minna Padilla a busy and the HelsinkiKoto Ensemble,” these Finnish musicians perform original semi-improvisatory folk music30 See Michael S. Peluse, “Not your grandfather’s music: Tsugaru shamisen blurs the lines between folk,compositions traditional and that pop,” are Asian largely Music, inspired 32(2), by 57-80 Japanese (2005), music p. 76. and Peluse’s culture article yet also is a robust have roots previous in con- study thatfocuses on the Yoshida Brothers; however, there appear to be no previous studies of Helsinki KotoEnsemble, Tokyo Brass Style, and Moscow Pan-Asian Ensemble.28 MySpace: Minna Padilla, Helsinki Koto Ensemble, http://www.myspace.com/minnapadillathehelsinkikotoensemble14David G. Hebert