sound of okinawa
听了nenes 上上台风以后...迷恋上了冲绳的声音...
三线铿锵响起的时候..
入云的女声回响在脑海..
http://www.viviwen.com/myway/dreamsound/nenes5.mp3
沖繩音樂散步
撰文/蔡雅雯聽見印尼女歌手德蒂庫妮亞唱「hana」時，我想起周華健和泰國的絲拉恰都翻唱過同一首沖繩民謠「花心」。知名的J-POP藝人安室奈美惠、Kiroro、Cocco等統統出身沖繩。只要談及日本地方特色，沖繩的音樂、舞蹈絕對當仁不讓、首先出列。就像張惠妹在90年代後期掀起的台灣原住民熱一樣，日本的沖繩熱尤其火熱，從民謠復興的力量出發，橫掃全日本、東亞及歐美。不僅令得過往長期活在邊緣陰影下、飽受不公平對待的沖繩人重拾自我認同，也一掃民謠老土的刻板印象，年輕人開始主動學三線、唱方言歌謠。
沖繩熱的關鍵期是二次大戰。其實，追溯近代歷史，原名琉球的沖繩，由於兼具戰略、貿易的海島位置炙手可熱，自十世紀群雄割據的三山時代以來，到1429年尚巴志統一天下建立琉球王朝後，依然輪番稱臣於中國、日本之下，直至1879年正式納入日本版圖，改名為沖繩縣。不料二次大戰的戰敗，使得沖繩從1945年到1972年淪於美軍基地的控管。沖繩歷史的顛沛流離，造就了文化上的混血性格，也豐富了音樂的多元化。第二次世界大戰，可說是沖繩民謠史上重要的分水嶺。
戰前的沖繩音樂，清一色是古典音樂（琉球王朝以來的宮廷音樂）和傳統民謠。沖繩傳統民謠又稱「島唄」（shima uta），編制基礎是三線（sanshin）加人聲，三線是15世紀時從中國傳來的樂器，以特製的爪（tsume）撥彈，音色圓潤。與後來傳到日本本土的三味線，其疾速鏗鏘的音色大為迥異。打擊樂器扁鼓、三板，通常是祝舞（kacyashi）或祖靈祭舞（eisa）時加入，助長節奏與氣氛。一片循規蹈矩聲中卻有異類。1927年在大阪，普久原朝喜創立的沖繩民謠獨立廠牌「丸福（marufuku）」，集合年輕歌手，將曼陀林、小提琴應用於民謠伴奏中，新鮮的風格當時蔚為人氣，也為戰後民謠革新的風潮埋下種籽。
戰後雖然百廢待興，第一首沖繩創作民謠卻搶先在屋嘉的俘虜收容所內誕生，是為「屋嘉之歌」，開啟了以舊曲填新詞、新詞重編舊曲的沖繩新民謠創作模式。值得一提的是，無論到哪裡總隨身攜帶三線的老一輩沖繩人，戰時物資缺乏的情況下，索性用行軍床的鐵柱、空罐頭、降落傘的繩子組成簡易三線（kankara sanshin）。聽來心酸，許多沖繩人卻靠著這把克難三線，熬過無數晨昏。
沖繩民謠的第一個黃金期，始於戰後本土娛樂的全力復興，不管是劇團演出或電影播放，一定有民謠秀的共演，只要演出就會爆滿。專職的民謠藝人紅極一時，被尊為民謠歌神的嘉手剎林昌、及沖繩民謠史上的重要元老登川誠仁、津波恆德等等，全都在此時嶄露頭角。
1965年左右，進入第二個民謠黃金期，因應越戰爆發，隨著大量美軍入境的爵士樂、搖滾樂，襲捲了沖繩全境。許多知名搖滾樂團遠渡重洋來到沖繩勞軍，西風東漸的結果是，沖繩本土民謠藝人得到啟蒙，新民謠搖滾的元祖於焉誕生，即喜納昌吉。他是第一位將沖繩民謠插電的歌手，歌詞多半諷喻時政，成名曲「酒鬼老頭（haisai ojisan）」旋律輕快明朗，卻被本土樂評評為「非民謠非搖滾」，拒絕在廣播節目中播放。但他直言：「我不會唱民謠，也不會唱搖滾，我只會唱自己的歌。」這首歌後來光在沖繩就大賣了30萬張，他的發言也被視為是OKINAWA-POP潮流的先鋒，取材搖滾、根植沖繩的流行音樂型態就此定型。
他所開的民謠live俱樂部極為成功，一時間如雨後春筍般人人跟進，沖繩各地共計200家以上。市場過度飽和的結果，加上80年代卡拉OK的興起，聽人唱不如自己唱，沖繩民謠藝人在本地的熱度漸漸退燒。
反而是1972年沖繩主權回歸日本之後，在東京、大阪相繼舉辦的琉球嘉年華，讓其他日本人領教了沖繩民謠之美。喜納昌吉和Champloose成團後唱的「花」，也傳唱進日本大街小巷。受到他們樂風影響刺激的年輕後輩更是不計其數，尤其非沖繩出身的日本人，經常是透過喜納昌吉的歌而對沖繩民謠一見鍾情。這些人在邁入90年代之後，紛紛成為沖繩音樂的中堅份子，終於引爆了最大的UCHINA-POP熱潮，沖繩熱從民謠革新一路蔓延到飲食舞蹈觀光，三線的製造及銷售量一躍千里，訂單全都來自日本各地而非沖繩。英國廠牌World Cercuit所選輯的「沖繩音樂散步」專輯，極一舉囊括了沖繩當代最受矚目的樂團與歌者。
以非沖繩人唱沖繩歌成功，其中最具代表性的就是由宮澤和矢領軍的The Boom，1993年以沖繩音階編曲而成的「島唄」，狂賣150萬張，是一首沖繩調味自然絕佳的流行歌曲。強調沖繩原汁原味的如安場樂集（An-chang Project）的「唱歌這種茶飯事」和「我是幸福的」，親赴沖繩極西的與那國島，向村民請益教唱古老民謠。所創造出的沖繩音樂世界，不僅感動了歐洲人的耳朵，躍登「FOLK ROOTS」樂評雜誌封面人物、專題報導，也受邀歐洲音樂節演出。
沖繩民謠比照地理分區，分為沖繩本島、宮古、八重山、奄美四大音樂文化區，其中八重山被稱為「民謠的寶庫」，安場樂集情有獨鍾的與那國島屬於此區，極南之島波照間的歌謠從前更有「寶庫之寶」的美稱，由後富底周二所唱的「波照間島（hateruma）」專輯可見其美。
跨國或跨界合作也成為一種民謠革新的方式。最為世人熟知的八重山民謠「安里屋之歌（asatoya yunta）」，吸引?本龍一與沖繩出身的樂團「NENES」合作，將其電子搖滾化重唱；大工哲弘則與爵士樂手共同演出吟唱，企圖開發民謠的可能性。曾經在喜納昌吉的Champloose樂團，擔任吉他手表現出色的平安隆，單飛之後反而以絕佳的三線彈奏技巧，與夏威夷吉他手伯斯曼（BobBrozman）攜手合作，把東西方絃樂器的不同特質融匯貫通，在「螢火虫」和「慢慢來」專輯裡賦與沖繩民謠新氣象。
沖繩熱繼續進行中。民謠在沖繩，是生活的方式，並不會被時代所淘汰，只會與時並進。或許，下一場熱浪將襲你而來。
聽沖繩音樂不可不知的幾個名詞
1.三線:沖繩民謠的主要樂器。15世紀時從中國傳來的三弦改良而成，以特製的爪（tsume）撥彈，音色圓潤，琴身覆以蛇皮。其後登錄日本本土，變身三味線，覆以貓皮，音色疾速鏗鏘。有人這麼說：「在日本，客廳的裝飾品是刀；在沖繩就是三線。」三線之於沖繩人，具有傳家寶的價值，不管會不會彈三線，家家戶戶肯定會有一把。
2.扁鼓、三板:
沖繩特有的打擊樂器，尤其是在跳祭祖舞（eisa-）時一定會用到。
3.喜納昌吉:
對於西方人或不熟悉沖繩民謠的日本人來說，只要一提到沖繩音樂就一定會想到的代表人物。他是第一位將沖繩民謠插電的歌手，歌詞多半諷喻時政，懷抱和平理想，「以樂器取代武器」是他從七○年代延續至今的名言。有人曾經開玩笑說過，如果沖繩要獨立，那麼第一個會被推舉出來當首領的，肯定是喜納昌吉。
4.安里屋之歌:
沖繩民謠的入門歌曲。幾乎所有的沖繩民謠手都曾在專輯唱過的一首歌。也是受到阪本龍一的喜愛，將其電子化並邀請NENES樂團合唱，首度躍上國際舞台的沖繩民謠。
5.八重山民謠:
沖繩民謠像地理分區一般，也分為沖繩本島、宮古、八重山、奄美等四大音樂文化圈。其中八重山被稱為「民謠的寶庫」。安場樂集情有獨鍾的與那國島即屬於此區。致力八重山民謠復興的代表樂人為大工哲弘。
nenes
http://www.ne.jp/asahi/okinawa/shimauta/nenes_whiteback01.jpg１９９０年夏、沖縄音楽界の第一人者・知名定男のもとに結成。９１年４月にリリースしたファーストアルバム【IKAU／イカウー】が話題を呼び、９７年まで立て続けにアルバムを発表。数多くのライブをこなし、２度のヨーロッパツアーをも成功させ、名実共にその地位を確立した。１９９９年１１月１５日、沖縄コンベンション劇場での公演を節目とし、メンバーを一新。２０００年九州沖縄サミット時には、ロシア・フランス・イタリアで行ったミュージカル風の琉球民族芸能公演【島唄の世界】に、沖縄芸能派遣団の一員として参加。これによって成長を遂げ、０２年３月に発表したアルバム【美らうた／チュラウタ】では、今までとは違う新しい世界を樹立したが、０３年１２月末日をもって再びメンバーを一新。
２００４年１月１日よりバトンを託された現メンバーも又、プロデューサーの知名定男と共に、これまで培ってきた世界を更に大きく広げ、その力強く暖かい歌声と、どんなジャンルでも吸収してしまう柔軟な音楽性で、多くの人々を魅了し続けている。
NENES --- FROM FOLK ROOTS- January / February 1998
Okinawans have never needed much excuse for a festival. For hundreds of years they have been celebrating festivals such as the summer Eisa Festival, the Okinawan version of 'Obon', a time when people pay respect to the spirits of the departed. It's one of Japan's most colourful festivities, hundreds of people parade down the street and dance the 'katcharsee', a wild dance to the sound of big booming taiko drums, echoed by the rattle of the hand held parlanque drum and the incessant cry of "Eisa".So it might seem a bit strange that the local Okinawan government feels the need to organise the annual Gran Festa in Ryukyu. Eisa parades took place in Okinawa's biggest city, Naha and in Koza (now known officially as Okinawa City), as well as a series of concerts in October this year. But, as I said before, Okinawans love festivals, so even if this was for the benefit of tourists, there were no shortage of participants.
At the inaugural festival three years ago, the so-called "Big Three", Shockichi Kina, Rinken Band and Nenes had played for the first (and probably last) time together. This year only the female quartet Nenes were featured in the "Shima Uta no Sekai" night at the Naha City Hall.Nenes have gone through something of a change in the last couple of years. A new record company, a new backing band , called the Sadao China Gakudan, and most importantly a new singer, Eriko Touma replacing the 'Sisters' (as Nenes means in Okinawan dialect) former leader Misako Koja. Despite these changes however their music has remained relatively unchanged. Wonderful female harmony vocals set over a luscious texture of synthesisers, sanshin (the three stringed snake skin banjo) and percussion. While their music might not have changed too much, the group's reputation in Japan and overseas has certainly progressed.
The first time I had seen the group and interviewed them in Okinawa some five years ago for Folk Roots, at their Shima Uta snack bar in Koza, the four women had doubled up as both 'hostesses' and performers. It had been only me and two locals drinking and enjoying the music back then. How things have changed. The night before their concert in Naha in October, the women had performed as they do most nights, at the brand new and considerably more spacious Shima Uta Live House in Ginowan City. They no longer serve the drinks, and that night the club was packed with locals and fans from all over Japan. Even one of Japan's youngest and most popular manga artists was there for inspiration. If the group has become sort of hip in Japan, for 'western' musicians they have become perhaps Japan's "most want to work with" band.
Firstly, Ry Cooder joined them for their superb album Koza Dabasa. Then Michael Nyman declared after hearing and then visiting them in Okinawa that he wanted to make Okinawan music his "life work", he may even produce their next album. More recently Peter Rowan visited Shima Uta and now wants to work with the band, and one of the leading figures of the UK Asian Underground scene Talvin Singh has requested them to sing on his new album.
The Naha concert was the first time for the band to showcase material from their new and seventh original album, Akemodoro-unai. As on their previous albums the music is a perfect blend of modern and traditional, from those heartaching Okinawan ballads to upbeat reggaefied numbers, with even a touch of rap at some point. With it's diverse range of influences from China, southeast Asia and beyond, this is distinctly island music, in that indefinable way. Japanese guitar duo Gontiti play on a couple of numbers, giving an easy relaxed feel to the proceedings. Another standout track is the Southern All Stars (a mega famous Japanese rock band) cover of Heiwa no Ryuka, their second recent excursion into the Japanese pop and rock world. The latest single (not featured on the album) was penned by Spitz, one of the current pop faves in Japan. Nenes have never been afraid to experiment; from Brazilian music to Indonesian to reggae, from lilting pop to hard core trad, they have found strength in diversity, and this album is no exception.
If anything the new band is tighter and the sound bigger than before, and the live show was in various stages, a slick, uplifting and charming affair. The energy levels didn't hit the red too often , but by the end everyone had their arms in the air, dancing the katcharsee. Nenes toured Europe and played in New York in 1994. The concerts received rave reviews and drew people in the know from local Okinawans to a sprinkling of stars, especially for the London show. The down side being that a CD supposedly released by Sony France to coincide with the tour, mysteriously disappeared without trace.
The group now look set to return to Europe in 1998, with a possible WOMAD slot at Rivermead under discussion. A CD release (or two) should also surface sometime in the year. Okinawan music still remains one of the undiscovered jewels of the world. Could 1998, 21 years after Shokichi Kina first transformed the local scene with his racing hit Haisai Ojisan, be the year that internationally Okinawan music finally comes of age? Okinawa is an island of paradise and paradox. In Japanese terms, the place is crawling with foreigners, some 50,000 US military and personnel are based there. However, the Okinawans are less impressed or swayed by the latest Western trends than anywhere else in Japan, and the foreigners devoid of the usual wide-eyed fascination that grips most first time visitors. Just about all the Military are unaware when they occasionally venture off base to cruise down Chuo Park Avenue in downtown Koza (Okinawa City) they are in the heart of Okinawa's local music scene. The Teruya (of Rinken Band fame) family house and store is literally just a stone's (or in this case, sanshin or sanba) throw away. The Motown of Okinawan music, Marafuku Records have their studios just up the hill and Shokichi Kina's retreat is perched on the hills overlooking the city. On the environs of the Kadena Air Base just to the south is the original Shima Uta nightclub where Nenes started out performing. Okinawans are clearly used to foreigners, and to many, those 'foreigners' include the Japanese themselves. Much of the west coast is littered with resort hotels, packed in summer with visitors from the mainland who come for the superb beaches and to marvel at the fast disappearing coral. For the Japanese too, Okinawa represents a foreign land. Get off the plane at Naha and the atmosphere is decidedly south east Asian. There's less of the bright neon and teaming streets of Tokyo, Osaka or any of the main cities on the mainland of Japan. The pace is slower, the people are more relaxed and speak their own dialect. They are prone to swoon over a swine, and appear happiest tucking into every conceivable part of a pig. They drink sakŽ from bottles with a poisonous snake wrapped inside as a pick-me-up. Well, for Japanese you couldn't get more foreign that that.
On the face of it, the sprawling military bases and gaudy hotels, seem to co-exist happily alongside the local neighbourhoods. However the population's tolerance, belies a proud nature. The Okinawans are a people who not only strive to keep their tradition alive, but revel in it. In a sense today is no different to the past. Okinawa, and the other islands that make up the Ryukyu chain have due to their strategic position, always provided an important trading link between south east Asia and Japan, China and Korea. The resulting interchange of influences has resulted in a unique and colorful culture, and the music 'Shima Uta' (island songs) has been blessed with that indefinable quality of island music. The instrument at the heart of the music, the snake skinned banjo ,the sanshin, is believed to have come from China about 600 years ago, and the Okinawan pentatonic scale is identical to that used in some areas of Indonesia and related to scales used in Polynesia and Micronesia.
Throughout a tragic history of feuding for the island's control by it's neighbours, and in the face of much adversity, the Okinawans have refused to sit back and allow their island and culture to be dominated. During the second world war 150,000 citizens, a third of the population were killed, and music played a pivotal role in restoring strength to the people. They haven't been afraid to experiment either, but have realised for it to survive, the music has to grow. It's this attitude that spurned the first wave of Okinawan bred rock, born out of the clubs surrounding the American bases during the wild years of the Vietnam war, and 1972 when Okinawa was returned to Japan from the US. Primarily with Shokichi Kina and Champloose, whose first and classic album was previously re-released on GlobeStyle (CDORB 072).
Music has always been a part of the Okinawan daily life, and in contrast to Japan where traditional music is studied to a strict regiment, they learn to play music, sing and dance purely for the fun of it. Wherever you go on the island you'll likely to hear music; piped out on the beaches, and along shopping malls, in bars, and if you're lucky an impromptu performance on a beach. Before long you too find yourself dancing the katcharsee,with your arms raised and hands waving to the rhythm.
The relatively brief history and attitude of the group Nenes, draws many parallels to the history and people of Okinawa itself. A fierce tradition and proud identity countered by an uncanny sense for updating Okinawan music with extraneous colours. The group were formed in 1990 in an attempt to make min'yo (folk music) accessible to the young in Okinawa. In the process the band have recorded some of the most compelling Okinawan folk and pop ever, starting in 1991 with 'Ikawu' for an independent label. An album now considered a seminal work of the subsequent Okinawan roots music movement in Japan. Although arguably removed, the Japanese could at last claim there is a homegrown roots music in Japan to rival anything produced in the world.
When I first met the female singers of Nenes back in 1993, (for a Folk Roots cover feature in September 1993) at the Shima Uta bar, despite some success life appeared to have changed little. They were still serving the drinks, acting as 'hostesses' as well as playing for the odd customer on the tiny stage. They revealed their 'Japaneseness' by referring to the the group's mentor, composer and sanshin player Sadao China as 'sensei', an honorific term meaning 'teacher'. Such hierarchical talk seemed slightly at odds with the informality of music in Okinawa, but I soon learnt traditional musicians are held in the highest esteem. They were rather bemused by the interest of a westerner, after all not one American had set foot inside the bar. Since then however, a steady stream of Western musicians and Japanese have made the journey to their revamped Shima Uta Live House in Ginowan, where the women no longer have to serve the drinks. Michael Nyman, Peter Rowan and George Winston have all hung out there. Recording partners for Nenes have included Ry Cooder, David Lindley (on the brilliant 1994 album Koza Dabasa) and Talvin Singh. Recording locations have ranged from Los Angeles to Bali and Hawaii, but I get the feeling that Sadao China is happier with the world coming to Okinawa rather than him having to venture outside. Their first attempts to launch an international career in 1994 with a brief tour of Europe, a date in Newport USA and the release in France of their third album 'Ashibi' failed to gain momentum, but earned the band a few choice fans and a cult status.
Over seven albums,(plus one 'best of') Nenes have essentially stayed close to Sadao China's original formula. The four women's enchanting chorus vocals and China's sanshin are weaved around a rich variety of keyboard textures, stringed instruments and percussion. Some albums have stayed closer to the tradition than others, while the instrumentation and influences have been adjusted in varying measures; from Balinese gamelan and Brazilian samba to Mexican and Hawaiian music to rap and reggae. There have been personnel changes, and Akemodoro Unai is Nenes' first album without their former main vocalist Misako Koja, (replaced by Erika Touma) and 'sound producer' and keyboard player Kazuya Sahara. The original backing group Spiritual Unity has been replaced by the Sadao China Band, although it still features some of the former musicians. One of the most notable additions on Akemodoro Unai are Japanese acoustic guitar duo Gontiti, who render a tranquil accompaniment on a couple of tracks (Shima Yakara and Erabu no Komori uta). Nenes also try their hand at a song written by one of the many Japanese artists inspired by Okinawa, Keisuke Kuwata, leader of perhaps Japan's most enduring rock band, Southern All Stars who originally had a hit in Japan with Heiwa no Ryuka.
Which brings us to the biggest paradox of all. For all it's qualities as a living roots music in Okinawa with an ever vibrant local scene and a strong following on the mainland, to the outside world the music of Okinawa remains one of the undiscovered jewels of the Orient. Perhaps this CD can provide the key to unlock a treasure chest that is literally brimming with infectious music. Just bursting to get out. :shocked:,靠,刚才还在听上上台风的东东 上上台风是什么？ 拷贝下来。。。
还是听了和月才对日本的三味线感兴趣的 其实冲绳人不是“日本人”……也是日本列岛上家世最悲惨的民族
对了NENES 97年那张我缺一首，波波你有没有，《明……》 http://www.internet-okinawa.com/uchinapop/06-2001/nenesdisco.jpg Originally posted by administrator at 4-1-2004 00:12:
其实冲绳人不是“日本人”……也是日本列岛上家世最悲惨的民族
对了NENES 97年那张我缺一首，波波你有没有，《明……》
对，琉球嘛，以前听和月时查过些资料，说冲绳民谣是独立于日本民谣自成一派体系的，非常特别。
很抱歉，没听过nenes的专辑，呵呵，我并不熟悉冲绳民谣。 好好听哦~~~~~~
谢谢xyang给我的内内~~ 从此爱上三弦～ Originally posted by 回音波 at 2004-4-3 22:48:
对，琉球嘛，以前听和月时查过些资料，说冲绳民谣是独立于日本民谣自成一派体系的，非常特别。
很抱歉，没听过nenes的专辑，呵呵，我并不熟悉冲绳民谣。
波姐你想听我可以给你传! Originally posted by frente! at 4-10-2004 11:18:
波姐你想听我可以给你传!
那就太好了，帮我传world FTP吧:lol: 死frente!~~~~~
眼睛里面只有姐姐妹妹.....
其实我的nenes都是在小笨那里拿的~
而小笨就是在frente!那里 嘿嘿........ Originally posted by xyang at 2004-4-10 23:33:
死frente!~~~~~
眼睛里面只有姐姐妹妹.....
其实我的nenes都是在小笨那里拿的~
而小笨就是在frente!那里 嘿嘿........
哈哈~别吃醋!小苯那些是我刻给他的!:irony:
4年前买到过上上台风的蝶
当时很兴奋，不过后来感觉一般了，还是喜欢他们翻Beatles那首Let it be有个冲绳民谣团和黑白合姊妹（那个所谓的Darkwave团）还做过一张，不敢恭维
留心一下，冲绳民谣原盘里面有一个系列 Originally posted by lingernw at 4-16-2004 04:22:
有个冲绳民谣团和黑白合姊妹（那个所谓的Darkwave团）还做过一张，不敢恭维
黑百合算darkwave团哦。。。。。。:chill:
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