Kyushu University Academic Staff Educational and Research Activities Database
List of Papers
Mia Nakamura Last modified date:2021.06.01

Associate Professor / Sound Culture, Arts Management / Department of Communication Design Science / Faculty of Design

1. Mia Nakamura, Musical Conviviality in the otto & orabu Ensemble, MINPAKU Anthropology Newsletter, 49, 3-5, 2020.04, [URL].
2. , [URL].
3. Mia Nakamura, Retelling, Memory-Work, and Metanarrative: Two Musical-Artistic Mediations for Sexual Minorities and Majorities in Tokyo, Music and Arts in Action, 4, 2, 3-23, 2014.04, Music is not only something to play, but it is also a way to produce a new sharable metanarrative through musical practice, which could represent a renewed set of social values in which people of diverse backgrounds are appreciated. The present paper explores this aspect of music, examining two musical activities held in Tokyo, Japan. One is “Prelude”, an annual music festival for music circles of sexual minorities and their supporters, and the other is “Living Together Lounge”, a monthly club event for those who are both HIV-positive and negative. These activities aim to create community empowerment and social transformation among minority and majority groups. While those involved are aware of musical aspects being an integral part of the events, the ways in which music plays a central role has not been well articulated. This is partly because the declared mission of each event has no overt connection to music, but more significantly because there has been no proper way, either commonly or academically, available to describe what is happening performatively in the practices of these events. The present study thus attempts to examine the unuttered aspects of these practices through ethnographic and interdisciplinary investigations. It reveals that the musical practices with various artistic engagements represent tangible memory-work in which participants are enabled to retell existing musical works in their own ways, producing a new sharable metanarrative and acquiring an acknowledgement of the retelling in public. Creating this musico-ritualistic practice is itself a work of art, which eventually becomes a life resource for those who take part in the events and a means of transforming a social situtation of conflict..
4. Mia Nakamura, VIc Munoz, Ednie Kaeh Garrison, TransPedagogies: A Roundtable Dialogue, Women's Studies Quarterly, 36, 3-4, 288-308, 2008.12, 「トランス」をめぐる教育に関するテクスト・ダイアローグ。複数の提言とディスカッションを紙面上でおこなうという先進的な試み。.
5. Mia Nakamura, Authenticating the Female Gidayū: Gender, Modernization, and Nationalism in Japanese Performing Arts, 音楽学(日本音楽学会), 51, 2, 94-110, 2006.02, 女流義太夫に「正統性」が付与されてきた過程を民族誌的及び系譜学的アプローチを用いて分析することで、女流義太夫が、正統化のプロセスにおいて、大衆芸能からより洗練された(西洋的な意味での)芸術へという変質を要求された一方、伝統芸能保護というナショナリスティックな政策の中で、伝統的なジェンダー観を受け入れることを余儀なくされたことを指摘する。.
6. Mia Nakamura, Searching for the Meta-Narrative of Das Lied von der Erde: Narrativity and "Melancholic Dialectic", 音楽学(日本音楽学会), 45, 1, 42-66, 著者名「Kiwamu Nakamura」で発表, 1999.11, マーラーの『大地の歌』に潜在するナラティヴィティ(音楽作品の特定のテクストが有している、音楽がいかにも何かを物語っているよう聞き手に感じさせる力)に着目することによって、この音楽が「メランコリー的弁証法」というメタナラティブを有していることを明らかにする。.