| Mia Nakamura | Last modified date：2024.03.04 |
Professor /
Department of Design Futures /
Faculty of Design
Presentations
| 1. | Mia Nakamura, Why are co-creative arts beneficial for people with dementia?: Insights from action research on improvisational drama workshops in Japan, The National Competence Center for Culture, Health and Care, 2023.12, [URL]. |
| 2. | Mia Nakamura, Co-Creative Arts Programs for People with Dementia and their Carers: Carers’ Attitude Change and the Role of Artists, International Conference on Cultural Policy Research, 2022.09. |
| 3. | Mia Nakamura, How to conduct a music workshop for diversity and inclusion, Performing Arts and Conviviality, 2021.06, [URL]. |
| 4. | Mia Nakamura, The real root of evaluation problems, The 11th International Conference on Cultural Policy Research (ICCPR 2020), 2021.03, [URL]. |
| 5. | Mia Nakamura, Yukiyo Sugiyama, Facilitator roles and strategies for social inclusion workshops, Social Impact of Making Music, The 5th International SIMM-posium, 2021.02, [URL]. |
| 6. | Mia Nakamura, Musical cocreation for diverse participants: How could it be both artistic and inclusive, Special Research Project, Performing Arts and Conviviality, Preparatory Session, 2019.08. |
| 7. | Mia Nakamura, Dual assessment for collaborative artistic activities fostering inclusive culture, International Conference on Cultural Policy Research, 2018.08, [URL]. |
| 8. | Mia Nakamura, Articulating the processes and social effects brought forth by socially engaged music-making projects: A case of the Ensembles Asia Orchestra, Social Impact of Making Music, The 2nd International SIMM-posium, 2017.07, [URL]. |
| 9. | Mia Nakamura, The Otto & Orabu Ensemble: Facilitation-based distributed creativity in Japan, Music Composition as Interdisciplinary Practice, 2016.06. |
| 10. | Mia Nakamura, Musical editing for empowerment and social transformation, Min-On Music Research Institute, 2016.06. |
| 11. | Mia Nakamura, An interdisciplinary study of music activities after the 2011 Great East Japan Earthquake, Social Impact of Making Music, 1st International SIMM-posium, 2015.10, 東日本大震災後の音楽活動による調査報告. |
| 12. | Mia Nakamura, The 2011 Japan Earthquake and music: “The Power of Music” and recovery songs, International Council for Traditional Music, Study Group on Music and Minorities, 2014.07, In the aftermath of the 2011 Great East Japan Earthquake “the power of music” received remarkable attention. Not only various musical performances within and outside the country were consciously devoted to the disaster victims, but also many musical activities in the disaster area took place to encourage people, hoping for fast recovery. While mass media frequently used the phrase “the power of music” for any musical activity without reservation, sincere musicians confronted the question of what music could do for the crisis, exploring the potential of musical mediation. I have been conducting research on the musical activities during the disaster recovery, funded by Japan Society for the Promotions of Science. The research project consists of three parts: 1) textual analyses of newspaper articles regarding musical activities after the 2011 earthquake, 2) ethnographical studies of particular musical activities in the disaster areas, and 3) interdisciplinary investigation of musical effect on human beings in time of crisis. For the ICTM conference in particular, I will discuss the use of music among different groups of people, which the disaster abruptly divided: those who live in the disaster area (i.e. the newly formed minority group), and those who do not (i.e. the majority). Are there differences in the use of music between the minority and the majority groups? How could these different positioned people be bridged through musical activities? What are common in the musical practices of the aftermath regardless of the people’s positions? And above all, what can we learn about “the power of music” through the experience of the earthquake?. |
| 13. | Mia Nakamura, Musical experience as embodied memory-work: Linking sociological findings to neuroscientific explanations, International Conference on “Music and the Body" (University of Hong Kong, 香港大学), 2012.03, Department of Music and the Centre for the Humanities and Medicine, The University of Hong Kong 主催のシンポジウムでの発表。事例研究を通じて明らかになった「音楽と記憶」に関する知見と神経学的議論との接合をはかる。著書『音楽をひらく』第3〜5章に発展する内容。. |
| 14. | Mia Nakamura, The Living Together Lounge for people who are both HIV-positive and HIV-negative: A monthly live music event as "ritualistic art" in Tokyo, SocArts Symposium 2010 on "Music-Conflict-Transformation" (University of Exeter, イギリス), 2011.05, SocArts (Sociology of the Arts Group at Exeter University, 代表：Tia DeNora） 主催のシンポジウムでの発表。著書『音楽をひらく』第5章、および論文 "Retelling, Memory-work, and Metanarrative" に発展。. |
| 15. | Mia Nakamura, "Gender-creative" as a safer-sex strategy, 7th International Congress on AIDS in Asia and the Pacific（神戸コンベンションセンター）, 2005.07, シンポジウム "Safe-T Lessons from TGs" における、HIV予防行動とジェンダー規範との相関性に関する発表。本大会のメインテーマは "Bridging Science and Community"。. |
| 16. | Mia Nakamura, Authenticating the female gidayū: Gender, westernization and governmental policy in Japanese performing arts, 44th Annual Meeting, The Society for Ethnomusicology (Austin, アメリカ）, 1999.11, アメリカ民族音楽学会全国大会での発表。論文 "Authenticating the Female Gidayū" に発展。. |
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