Criticizing and reconsidering the idea of "double consciousness" and "creole culture" by investigating black music, especially dancehall reggae, of Zainichi Korean

1. 31st JKSF Culture Department
TAIYO IKEDA (Grad School of Kobe Univ.)
BEYOND “DOUBLE CONSCIOUSNESS”
AND “CREOLE”
〜THE PRACTICE OF BLACK MUSIC
BY ZAINICHI KOREAN〜

2. CONTENTS
1. Introduction
-About “Double Consciousness” and
“Creole”
2. Method
-About “Motif Analysis”
3. Result of research
4. Consideration
-CHOZEN LEE, CHEHON, and PUSHIM
5. Conclusion
6. Discussion points

3. BLACK MUSIC IN ALL OVER THE
WORLD…

4. ALSO IN
JAPAN!!

5. BLACK MUSIC IN ACADEMIC FIELD
Paul Gilroy “Black Atlantic” (2006)

6. “DOUBLE
CONSCIOUSNESS”
Britain Africa
Africa Japan
China Samoa

7. THE HISTORY OF “OPPRESSION” AND

8. “CREOLE CULTURE”
New
Style
Africa
Europe
Native

9. CRITICIZES…
Creole
Culture
EVERY MIXED CULTURE CAN BE SAID

10. THREE ZAINICHI KOREAN REGGAE
PUSHIM
CHOZEN
LEE
CHEHON

11. MOTIF ANALYSIS (Mita 1967)
Music Joy
Family Friends
Life Sadness
Rain Love
War Anger
Social
Issues
Politics
Alcohol Life
Home Identity

12. CHOZEN LEE
~THE INTERNATIONAL
“BAD JAPANESE”~

13. CHEHON
~FROM “ZAINICHI”
TO “YELLOW
BADMAN”~

14. PUSHIM
~AS A WIFE,
AS A MOTHER,
AS A WOMAN~

15. CONCLUSION 1 (DOUBLE
IDENTITY
JAPAN
KOREAJAMAICA

16. CONCLUSION 2 (CREOLE?)
Crossing a border
/ Marriage / Others
Getting the new
way of expressing
themselves
(ex: New
Language or
Relationships)
Reconstruction
and Reproduction
of Culture
And Future?

17. DISCUSSION
1. HOW ARE THE WAYS OF EXPRESSION
OF SELVES IN OTHER GENRES OF
MUSIC?
2. HOW WILL THOSE WAYS CHANGE IN
THE FUTURE?