African American Music:

A look from both sides of the Pacific

By Christopher Gillyard (2008-2009 Amherst-Doshisha Fellow)

    Growing up as an African American, I felt I owned the rights to activities and information that belonged solely to my ethnic group. When it came to certain slang and foods, I was everyonefs main source of knowledge, their go to guy. The fact that Ifm a musician also gave me the highest authority when dealing with contemporary Hip-Hop and R&B. Having not only lived in the land, but also being raised in the culture that it was created in, I figured there was no way anyone outside of this world could have a bigger interest than me, let alone teach me anything new. Then, in 2007, I stepped foot in Tokyo for the first time. Outside of a McDonaldfs in Shibuya, I noticed a young Japanese man covered from head to toe in things so familiar to me that it through my head for a spin. He wore large, all white sneakers with no scuff marks to be seen. His blue jeans and button-up plaid shirt were extremely baggy, with only the shirtfs top button being fastened. His long, black hair had been corn rowed straight back, partially covered by the bandana that wrapped around his head. On top of all this, he was crypt-walking in the street to the sounds of some rap being played over the loud speakers near Hachiko station. Normally my reaction would be to join in the festivities and possibly test the strangerfs dancing ability against mine, but I was too taken away by the sight in front of me. How was it that this man living 4,000 miles away still resembled a Californian hip-hopper? The only thing different I could find at first glance was his non-African American looking attributes. From that day forward, my interest was piqued, and I felt compelled to discover exactly how much the Japanese knew about the world I laid claim to. How deep did their knowledge of Kanye West and Kool Herc go? Did they know what influences Ray Charles had on todayfs music and what influences came before him? Is there something they know that I donft? What exactly is it that I know? All of these questions and more are what have brought me to Kyoto 2 years later.


Christopher, right
    Before perusing the thoughts of others, I had to delve deeper into myself and see what knowledge I actually possessed. Upon further review, it was obvious that I had a basic understanding on most any music derived from an African American influence, but nothing with any real substance. With that in mind, I thought it prudent to better inform myself before examining the understanding of others. After schooling myself, I found a few avenues into the African American culture here in Kyoto and started exploring. My three biggest interactions include the Doshisha University Gospel Choir, a Blues/Jazz/Classic R&B band member named Take, and my friend Tac who works at a Hip-Hop dance studio and club. Ifve had experience with all three of these activities in the states, so I tried going into these situations keeping my prior involvements in mind.

Different location,same great feel
    The gospel choir here is split into two classes of students and elder members around the community. All the songs we sing are tunes Ifve known since I was a child,and despite some trouble with pronunciation, all of the members have no problem memorizing the lyrics. The only thing lacking at times is the Gospel energy that goes into these songs. Due to the quiet nature of Japanese society, it was difficult to get the choir to come out of its shell at times. Still, the community feel exist, and shines through brightly during performances.
    I was introduced to my blues-singing friend Take through a multitude of other friends Ifve made during my stay here. Hefs a part of a band called the Four Aces and The Twins with his twin brother Chikashi, and they play in bars all over the Kansai area. Besides the lyrics of the songs he sings, Take speaks very little English. This confused me because I had no idea someone could sing lyrics with such soul and not understand what he was saying. I learned later that he had full understanding of not only the words, but the feeling behind the songs. I was blessed with the opportunity to perform with him during a solo show at my favorite shot bar. It was the best feeling Ifve had singing since I entered Japan, and I look forward to joining him again sometime soon in the future.
    Looking for a place to take dance lessons, I met Tac through a mutual friend. Not being much of a dancer himself, I learned that Tac was an aspiring rapper andlearned English in a year while living in Canada through rap. Ifve been invited repeatedly to events at the dance club he works at, full of poppinf, lockinf, breakinf, and any other form of Hip-Hop dance you can think of. Ifve had the pleasure of challenging a few people on the dance floor while he looked on. After every event, wefd have long talks about rap here and back in the states, and I thank him profusely for giving me a familiar place to go to for Hip-Hop.
    All of these experiences have involved different people in different areas with different connections to these styles of music. Many of them will never meet each other or have any other connection than through me. None of them have grown up in the burrows of New York or the hoods of Baltimore, though few have been lucky enough to visit. Despite their separation from what I know as the gactual existenceh of this music, all of these people have the right to call themselves a member of the Gospel, Blues, and Hip-Hop community. It may be true that theyfve learned a few things from me, but they taught me that such a thing as music canft be confined to those who originated it. Each style has grown and adapted to its new surroundings and has become better for it. Itfs still evolving into an extremely different beast, becoming more grandiose than its predecessor every day, and itfs clear now that I have no license to it as it stands today.

    The articles were reproduced and modified by the gDoshisha University Staff English Club News gTopicsh No.7. (dated on May 30, 2009)

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