JUN IIDA QUARTET

This project will examine the topic of cultural hybridity of the American Nikkei in the 21st century as related to the Japanese diaspora, through the context of music of the African diaspora and Black American Music (often referred to as the jazz tradition).

The proposed project is a full LP length concept album examining the topic of cultural hybridity of the American Nikkei (“of Japanese lineage”) in the 21st century, as a result of the Japanese diaspora. Since the turn of the 20th century (post Meiji Restoration), an influx of diasporic activity has led to both conscious and subconscious hybridization of the Nikkei identity. This evolution was often driven by an unsolicited demand for cultural assimilation in the face of differing race relations, ethnic stereotyping, and other patterns of discrimination in the United States. As a consequence of these circumstances, a singularly unique yet nuanced American Nikkei culture has been realized.

This phenomenon can be contextualized through parallel analysis of music of the African diaspora, and more specifically Black American Music (often referred to as the jazz tradition). The African diaspora has become the paradigmatic example of diaspora in the 20th century, with the relation between its music and diasporic sensibilities being undeniable. Specifically, Black American Music is a distinctive cultural amalgamation of an extensive array of influences, from West African drum choirs to the Cuban habanera. In a climate where injustice was inherently built within the racial construct, Black American Music was born both as a means of unique self expression, as well as defiance in the face of adversity.