具体描述
An important centre of dancehall reggae performance, sound clashes are contests between rival sound systems: groups of emcees, tune selectors, and sound engineers. In World Clash 1999, held in Brooklyn, Mighty Crown, a Japanese sound system and the only non-Jamaican competitor, stunned the international dancehall community by winning the event. In 2002, the Japanese dancer Junko Kudo became the first non-Jamaican to win Jamaica's National Dancehall Queen Contest. High-profile victories such as these affirmed and invigorated Japan's enthusiasm for dancehall reggae. In "Babylon East", anthropologist Marvin D. Sterling traces the history of the Japanese embrace of dancehall reggae and other elements of Jamaican culture, including Rastafari, roots reggae, and dub music. Sterling provides a nuanced ethnographic analysis of the ways that many Japanese involved in reggae as musicians and dancers, and those deeply engaged with Rastafari as a spiritual practice, seek to reimagine their lives through Jamaican culture. Sterling considers Japanese performances and representations of Jamaican culture in clubs, competitions, and festivals; in the city and the countryside; in song lyrics, music videos and on websites; and, in texts including reggae magazines, travel writing, fiction, and self-help books. He illuminates issues of race, ethnicity, gender, sexuality, and class as he discusses topics ranging from the cultural capital that Japanese dancehall artists amass by immersing themselves in dancehall culture in Jamaica, New York, and England, to the use of Rastafari as a means of critiquing class difference, consumerism, and the West's and Japan's colonial pasts. Encompassing the reactions of Jamaica's artists to Japanese appropriations of Jamaican culture, and the two countries' relative positions in the world economy, "Babylon East" is also a rare ethnographic analysis of Afro-Asian cultural exchange and global discourses of blackness beyond the African diaspora.
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Babylon East: Performing Dancehall, Roots Reggae, and Rastafari in Japan considers contemporary Japanese’ engagement with Jamaican culture since 1960s. The author, Marvin Sterling, approaches this topic in a globalized context, conducting multi-sited resea...
评分Babylon East: Performing Dancehall, Roots Reggae, and Rastafari in Japan considers contemporary Japanese’ engagement with Jamaican culture since 1960s. The author, Marvin Sterling, approaches this topic in a globalized context, conducting multi-sited resea...
评分Babylon East: Performing Dancehall, Roots Reggae, and Rastafari in Japan considers contemporary Japanese’ engagement with Jamaican culture since 1960s. The author, Marvin Sterling, approaches this topic in a globalized context, conducting multi-sited resea...
评分Babylon East: Performing Dancehall, Roots Reggae, and Rastafari in Japan considers contemporary Japanese’ engagement with Jamaican culture since 1960s. The author, Marvin Sterling, approaches this topic in a globalized context, conducting multi-sited resea...
评分Babylon East: Performing Dancehall, Roots Reggae, and Rastafari in Japan considers contemporary Japanese’ engagement with Jamaican culture since 1960s. The author, Marvin Sterling, approaches this topic in a globalized context, conducting multi-sited resea...
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评分这本书最吸引我的地方，在于它带来的那种强烈的“代入感”。我感觉自己不仅仅是在看一个故事，而是真正地生活在了那个时代背景下，亲历了主角们的每一次欢笑和泪水。作者在营造情感共鸣方面，简直是天赋异禀。特别是描写友情和背叛的那些片段，情感的张力强大到让我心跳加速，甚至能感受到那种撕裂般的痛苦。而且，这本书的配乐感非常强，即使是沉默的场景，也仿佛能听见背景中低沉的旋律在推动着情绪的发展。与市面上很多快餐式阅读材料不同，这本书的后劲非常足，读完很久之后，那些人物的命运和他们所处的困境依然会时不时地跳出来，提醒着我这段旅程的深刻意义。这是一次非常完整且令人满足的阅读体验。
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