流行歌と横浜写真

年明けからの二つのイヴェント。両方終わりましたが、記録のため、ここにアップしておきます。

流行歌から考える東アジア：1920s〜70s：貴志俊彦『東アジア流行歌アワー――越境する音 交錯する音楽人』刊行記念トーク・イベント

  • 日時：2014年1月18日（土）　18:30〜20:00
  • 場所：MEDIA SHOP

20世紀初頭に登場した「流行歌」は，ＳＰレコード，ラジオ放送，トーキー映画というメディアの隆盛とともに，地域を超え，時代を超えて，トランスナショナルに広がっていきました。2013年に岩波書店から刊行された貴志俊彦『東アジア流行歌アワー――越境する音 交錯する音楽人』は，1920年代から70年代に至る東アジアの時代史を「流行歌」を軸に考察しようとしています。日本，中国，満洲，台湾，朝鮮，香港を包括する東アジアをひとつの文化空間として捉えた場合，軸となるのは「帝国圏」と「華語圏」というふたつの地政圏。第二次世界大戦から冷戦をひとつの連続した時間と措定し，植民地主義とポスト植民地，音楽産業における国際分業，そしてメディアの相互関係にスポットをあてていきます。そこに浮かび上がるのは東アジアにおける「ジャズ」の意味！　大きな視点から描かれたポピュラー音楽の歴史を巡って，歴史学，音楽学，社会学と領域を超えた研究者が討議を繰り広げます。

2-Day Seminar: Japanese Photography from the Meiji Period

  • January 23rd and 24th, 2014
  • National Museum of Denmark and The Royal Danish Academy of Fine Arts
  • January 23, 2014
    • 13:00-13:15 Welcoming by Christian Sune Pedersen, Keeper at The National Museum of Denmark
    • 14:15-13:45 Introduction to the collaboration between Museo delle Culture in Lugano, The Royal Danish Art Academy and The National Museum of Denmark by Martin Petersen, Curator, Senior Researcher, PhD at The National Museum of Denmark, Paolo Campione, Director of II Museo delle Culture in Lugano, and Carsten Juhl, Head of The Theory-Department at The Royal Danish Academy of Fine Arts
    • 13:45-14:15 Visual Culture in Japan around 1900 by Gunhild Borggreen, Associate Professor at The Department of Arts and Cultural Studies at The University of Copenhagen
    • 14:30-15:00 Introduction to the actual collection and to technical photographic issues typical for the Yokohama School by Moira Luraschi, researcher in charge of the Japanese photographs collection at Museo delle Culture in Lugano
    • 15:00-15:30 Intersections between globetrotter travel and commercial tourist photography by Allen Hockley, Chair, Asian and Middle Eastern Studies Program, Associate Professor, Department of Art History at Dartmouth College
    • 16:15-16:45 Introduction and vernacularization of photography in the nineteenth century Japan by Morihiro SATOW, Professor of Art History and Visual Culture in the Faculty of Design at Kyoto Seika University
  • January 24, 2014
    • 10:00-10:15 Introduction by Tijana Miskovic, Research Project Coordinator at The Royal Danish Academy of Fine Arts
    • 10:15-10:45 Some differences concerning spiritual investments in visual art between occidental and oriental aesthetics by Carsten Juhl, Head of The Theory-Department at The Royal Danish Academy of Fine Arts
    • 10:45-11:15 Technical and ideographic methods in the Yokohama School by Paolo Campione, Director at Museo delle Culture in Lugano
    • 11:15-11:45 What did globetrotters see in early Japanese photographs? by Allen Hockley, Chair, Asian and Middle Eastern Studies Program, Associate Professor, Department of Art History at Dartmouth College
    • 13:00-13:30 Bridging Japanese aesthetics from 19th century with contemporary art by Miwako Tezuka, Director, Japan Society Gallery in New York
    • 13:30-14:00 Tourism, Photography and Expositions: Yokohama Shashin and the Visual Culture of the Late 19th Century by Morihiro SATOW, Professor of Art History and Visual Culture in the Faculty of Design at Kyoto Seika University

As part of the exhibition “Girl with Parasol”, The National Museum of Denmark is currently (until April 28th 2014) showing a selection of Japanese hand-colored photographs from Ceschin-Pilone/ Fagioli Photographic Collection. In connection to this exhibition and with support from the Danish Agency for Culture, The National Museum of Denmark, The II Museo delle Culture – Lugano and The Royal Danish Academy of Fine Arts have collaborated on creating a 2-day seminar about Japanese photography form the Meiji period and its rich cultural historical and artistic significance.
The invited speakers will share their knowledge on Japanese photography in order to give the audience an impression of central questions from their professional and cultural fields.
The seminar takes the exhibited artworks as a starting point for introducing the audience to Japanese visual culture and photography. The artworks will also be contextualized within the framework of globetrotter tourist industry, which has had a significant importance for the Western view of Japan.
The seminar is going to present the Japanese aesthetic universe, its technical elements and ideographic methods, and it is doing so with the intention of connecting to contemporary art. The cultural and visual approach to an interpretation of Japanese art from the 19th century is in fact an important part of visual anthropology, because visual anthropology has to deal with central differences between Oriental and Occidental aesthetics and art.