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Monic Hoi Kei Chen, piano, April 18, 2017
Get PDFThis is the concert program of the Monic Hoi Kei Chen, piano performance on Friday, April 28, 2017 at 8:00 p.m., at Marsh Chapel, 735 Commonwealth Avenue. Works performed were Mélancolie FP 105 by Francis Poulenc, Virtoso Etude III. The man I love by George Gershwin, arranged by Earl Wild, Sonata in E minor, Op. 7 by Edvard Grieg, IV. The Maiden and the Nightingale from Goyescas, Op. 11 by Enrique Granados, and Fantasia on a theme of Bartók by Béla Bartók, arranged by Monic Kei. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund
“Why Has the World Changed?”: Mediality, Liveness, Fan Practices and Japanese Visual kei Performances Post-COVID
Get PDFThis paper discusses the shifting mediality and fan practices of Japanese visual kei scene post-COVID fan hierarchy between the Japanese and international fans. The Japanese visual kei scene typically followed a traditional sense of liveness pre-COVID: during the performances fans were prohibited from making recordings or taking photographs; some artists would not upload their music or other content on free-to-use platforms, such as YouTube. In fact, some bands did not even make their content available on music streaming platforms, such as Spotify. Most of the online content that existed was only available on subscription-based platforms, which made it difficult to access for anyone that did not have a paid subscription. It also made it very difficult to share and spread the content across platforms. Additionally, international fans, or fans living outside Japan, had limited access to events and content, reinforcing a hierarchical structure within the fandom. However, once the pandemic started, visual kei artists had no choice but to start using online platforms to survive and so a shift began within the scene. Many artists turned to social media and online platforms to do online events, and eventually started making their content and music available on free-to-use platforms as well as music streaming platforms. This digitalization increased the visibility of international fans and began disrupting the established fan hierarchy. Today, many visual kei performers are utilizing a mixture of these two types of platforms. Through ethnographic observations at online and in-person events, this paper examines these shifts in mediality, performances, and fan hierarchies. It focuses on a concert held by the visual kei band 0.1g no gosan in July 2023 at a live house in Tokyo, exclusively for foreign fans. The analysis shows that this event was different from regular visual kei concerts in terms of mediality, performance style, and fan-performer intimacy. The cameras present were focused more on the international audience than on the performance itself, and there were close-contact interactions such as one-on-one conversations, handshakes, and hugs. The concert was also shorter and free to attend. These elements suggest that 0.1g no gosan may have been experimenting with new performance styles or seeking to create greater harmony between international and Japanese fans in the long run.departmental bulletin pape
Kei Koito, órgano (Japón)
No full textConcierto interpretado por la organista Kei Koito. Solisas de renombre internacional, ha sido invitada regularmente por los más prestigiosos festivales y series de conciertos en todo el mundo. Entre los primeros pueden ser mencionados los festivales de órgano de París, Strasbourg, Avignon, Viena, entre otros. Grabó en varios CDs la integral de la obra para órgano de J.S Bach con instrumentos históricos, incluídos el “Arte de lo fugo”; ello le mereció el Diapason d'or, el Choc du Monde de la Musique, 10 de Repertoire, 4 clefs de T élérama y ""Evénement exceptionnel""
Visual kei ja rappion estetiikka
Get PDFOpinnäytetyö käsittelee japanilaista alakulttuuria visual keitä ja sen yhteisiä piirteitä eurooppalaisen 1800-luvun dekadenssin taidesuuntauksen kanssa. Aluksi määritellään visual kei ja tarkastellaan sen suhdetta kirjoittajaan. Myös dekadenssi ja sen suhde japanilaiseen taiteeseen ja orientalismiin määritellään. Sen jälkeen esitellään visual kein ja dekadenssin yhteisiä teemoja: väkivaltaa, unia, sukupuolta ja sairautta. Lopuksi pohditaan niiden poliittisuutta.
Sekä visual keitä että dekadenssia leimaa synkkyys ja halu paeta ns. normaalia. Molemmat näkevät rappion väistämättömänä ja haluavat tehdä siitä kaunista.
Opinnäytetyön tarkoitus on selventää visual kein teemoja suhteessa kirjoittajaan ja hänen taiteeseensa. Vaikka visual kei on inspiroivaa, on siinä myös kritisoitavaa, eikä kirjoittajan näkökulma sen teemoihin ole välttämättä sama kuin visual kei -artisteilla.The thesis discusses the Japanese sub-culture called visual kei and its confluence with the 19th century European art trend called decadence. At first, visual kei and decadence are defined and the author’s relationship to visual kei is discussed. Decadence and its relationship to orientalism is also addressed. After that the thesis introduces the joint themes of visual kei and decadence: violence, dreams, gender and disease. In the end a few words are said on the political nature of them.
Both visual kei and decadence exemplify gloominess and will to escape the so called normal. They both see decay inevitable and want to turn it into something beautiful.
The purpose of the thesis is to determine the themes of visual kei as they apply to the author and his art. Although visual kei is inspiring, it has many aspects to be criticised. The author’s viewpoint to visual kei themes varies from that of the visual kei artist
Taflurut Nit: Towards an Inculturated Theology of the Communion of Saints for Kei People in Eastern Indonesia
Get PDFAncestor veneration is considered by some to be a primitive custom, outdated, and with no relevance to modern society. In this study, however, the researcher will show that ancestor veneration is alive and practiced in various cultures, especially among Kei people in East Indonesia to this day. This research focuses on ancestor veneration (Taflurut Nit) of the Kei people vis-a-vis the Catholic teachings on the Communion of Saints. Both the Kei ancestors and the Christian saints are revered because they are believed to be role models and wisdom figures for the members of their respective communities. Kei religious and cultural practices that focus on remembering, honoring, and expressing love for their ancestors and the saints have an important role in the lives of Kei Christians. The dissertation uses the process of inculturation to explore the potential of using the practices and beliefs of ancestor veneration among Kei people in re-articulating an aspect of the Christian faith. With the mutual interaction between the Judeo-Christian Tradition on the Communion of Saints and the present experience of ancestor veneration (Taflurut Nit) among Kei people, an inculturated theology for Kei Christians in East Indonesia is being proposed in response to the new evangelization envisioned by the Church
Persepsi Penggemar Visual Kei Pada Adegan Homoseksual Band Visual Kei
No full textSkripsi ini membahas tentang persepsi penggemar band visual kei di Jepang yang menyukai adegan homoseksual (hubungan percintaan sesama laki-laki) yang sering dipertontonkan artis band visual kei saat konser berlangsung. Tujuan dari penulisan skripsi ini adalah untuk memberitahukan kepada pembaca tentang budaya penggemar visual kei yang menyukai adegan-adegan homoseksual yaitu, adegan yang seperti apa dan mengapa mereka menyukainya. Penelitian ini menggunakan sumber data berupa survey angket dengan judul "Visual Kei bando ga BL mitaina koto o shitemo suki ni narimasuka". Hasil penelitian ini menyimpulkan bahwa para penggemar menyukaidan menyukai band-band visual kei khususnya the GazettE, Alice Nine, SCREW, ViViD, Sadie dan vistlip. Adegan yaoi sangat diminati oleh para penggemar terutama adegan berpelukan dengan anggota band visual kei lain saat konser berlangsung. Para penggemar menganggap adegan-adegan homoseksual yang terjadi pada konteks visual kei merupakan sesuatu yang wajar. Tetapi, dalam kehidupan nyata, mereka masih mengidentifikasi bahwa aktifitas seperti itu adalah sesuatu yang buruk
Cohort Analysis of Gender Role Attitudes: A Conservative Shift among the Younger Generation?
Get PDFこの論文は、永瀬圭・太郎丸博, 2014, 「性役割意識のコーホート分析 --若者は保守化しているか?--」『ソシオロジ』58(3): 19-33の英訳である。This paper is an English translation of the following paper: Nagase, Kei and Hiroshi Tarohmaru, 2014, "Cohort Analysis of Gender Role Attitudes: A Conservative Shift among the Younger Generation?, " Soshioroji, 58(3): 19-33
I Kei Dan Na Kei Yang Berubah Tak Beraturan
Get PDFLinguistik B.Jepang: I Kei Dan Na Kei Yang Berubah Tak Beratura
I Kei Dan Na Kei Yang Berkonjugasi Tak Beraturan
No full textLinguistik B.Jepang: I Kei Dan Na Kei Yang Berkonjugasi Tak Beratura
(Re)Locating Madness and Prophesy: An Interview with Kei Miller
Get PDFpeer reviewedIn this interview Kei Miller explains how madness in Jamaica differs from madness in England and how the figure of the "mad" person in Caribbean literature is usually depicted. He also reveals his motivations for portraying and giving interiority to such persons, including the Rastaman in The Cartographer Tries to Map a Way to Zion (2014) and Adamine in The Last Warner Woman (2010). In the second part of the interview Miller talks at length about the connection between madness and diaspora. He argues that the immigrant, like the colonizer, tries to change the new landscape into something that resembles "home," which is "a madness in and of itself.
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