655:
personal feelings. He also considered that the introduction of sanshin helped the transition from the long, relatively free verse forms to the short, fixed verse form. As for Amami, Hokama emphasized Amami's internal development from omori to nagare and from nagare to shima-uta. Although shima-uta's 8-8-8-6 syllable structure is likely to have been formed under the influence of
Okinawa's ryūka, he considered it of secondary importance.
355:
had referred to songs of isolated communities, it became increasingly frequent that shima-uta was performed for outsiders. He contrasted Amami's shima-uta with mainland
Japanese min'yō, which he thought had been transformed into show business, and he replaced the kanji form (島唄) with katakana (シマウタ)
666:
of mainland Japan, which has the 7-7-7-5 syllable structure. He dismissed the hypothesis that the first stanza of omoro of the later stage partly showed the 8-8-8-6 pattern, which he reanalyzed as kwēna-like 5-3, 5-3, and 5-5-3. He dated the formation of ryūka to the first half of the 17th century,
491:
by local singers. He stuck to the mixed writing (島うた). He claimed that the name had been used in
Okinawa too, but Takahashi found no evidence to support his claim. His notion of shima-uta was drastically different from that of academics: he applied the term not only to traditional folk songs but to
213:
and other islands, it also means (one's own) community within the island. Such a semantic extension can be understood by the fact that many communities had little contact with the outside because they were geographically isolated by the vast sea in the front and heavy mountains in the back. Thus
654:
emerged. Epic songs then evolved into lyric songs, including Amami's shima-uta and
Okinawa's ryūka. He claimed that the development of lyrical ryūka from epic omoro happened in the 15th to 16th centuries, when Okinawan people were supposedly liberated from religious bondage and began to express
670:
Ogawa questioned the transition from epic songs to lyric songs. He suggested the possibility that both types of songs had co-existed for a long time. The most critical weakness of his hypothesis is the lack of attested lyric songs from earlier times. He attempted to explain this by their
379:
from 1959 to the early 1980s. A similar change can be observed in the titles of records published by Amami Ōshima-based
Central Gakki. The transition might have been boosted by the change of the name of Amami's major min'yō content to shima-uta taikai in 1977. In 1979,
218:
originally means songs transmitted in one's own community. A report states that elderly people only refer to their own community's songs as shima-uta; songs from other communities are not considered shima-uta. In written
Japanese, the specialized meaning of
661:
simply saw shima-uta as a derivation from
Okinawa's ryūka. He also supported the transition from epic songs to lyric songs. However, his theory is radically different from Hokama's in that the 8-8-8-6 form was formed under the influence of
523:
Shima-uta is often performed alternatively by a pair of a man and a woman. When one sings, the other must answer. One must choose and sing the most appropriate song in reply to the other's song. This style of performance is called
463:
Islands. He borrowed the term from an
Okinawa-based community of Amami people but extended its referent to folk songs of these four archipelagoes. He consistently used the hiragana form (しまうた). Although he contrasted
616:). There is no consensus on when sanshin were introduced to Amami, but it is clear that until recently only wealthy families owned them. In any case, Amami has developed its own variant of sanshin, e.g., using a
189:
Today shima-uta is recognized as a genre of songs both in academics and in popular culture. However, musicologist
Takahashi Miki shows that recognition has only been developed relatively recently.
605:
Probably the most distinct feature of shima-uta is its extensive use of falsetto, which is usually avoided in mainland Japan and
Okinawa. Male and female voices are usually of the same pitch.
74:
Although shima-uta is often considered to represent Amami's musical tradition, it is just one of various music genres. Amami's traditional songs can be classified into three categories:
632:. It is generally agreed by scholars that this is an innovative form that emerged relatively recently. However, there remains a disagreement over exactly how it evolved.
638:
considered that the earliest form of songs were incantations that were sometimes chanted rather than sung. From such incantations, epic songs such as Okinawa's
671:
extemporaneous nature: lyric songs, or love songs in particular, must have been quickly replaced while people had a strong incentive to preserve epic songs.
444:
241:
385:
381:
130:
651:
480:
249:
658:
647:
635:
531:
663:
324:
362:
preference to the traditional shima-uta to the shima-uta that was changing itself rapidly with its success in the mainland Japanese market
428:
is not a native term of Okinawa, Miyako or Yaeyama but was introduced from Amami in the 1970s. Okinawa's folk songs were simply called
643:
492:
shin min'yō (contemporary folk music) and even to pop music. He used his radio programs and musical events to popularize the name
639:
476:
was heavily influenced by Yanagita Kunio. Resisting commercialism, he searched for songs transmitted by local communities.
331:
but played an important role in publicizing shima-uta, showed a varying attitude toward the word. In his monograph titled
496:
in Okinawa. Uehara was different from Nakasone in that he engaged in transforming folk songs into popular music.
484:
880:
Takahashi Miki 高橋美樹 (2002). ""Shimauta" ni matsuwaru sho-gainen no seiritsu katei: Okinawa o chūshin to shite"
978:
276:
as a product of society and communal space. Takahashi notes that although Kazari's monograph of 1933 used
508:
22:
620:(pick) made of thinly sliced bamboo instead of Okinawa's thick plectrum made of water buffalo horn
535:
389:
973:
582:
tetrachords can be found. In this respect, Northern Amami stands in sharp contrast with the
504:
292:
also gained public acceptance throughout Japan when the national broadcasting organization
47:
8:
312:
828:
Takashima Masaharu 高嶋正晴 (2003). "Rekōdo kara miru senzen sengo no Amami shimauta bunka"
413:
303:
to describe Amami's traditional songs, some people from outside the Amami Islands used
595:
269:
206:
54:. It became known nationwide in the 2000s with the success of young pop singers from
804:
Shimauta ni matsuwaru sho-gainen no seiritsu katei: Amami shotō o chūshin to shite"
234:
In modern Japanese academia, Amami's traditional songs were described by the term
583:
460:
452:
339:, probably due to the book's academic nature. In 1981, however, he published the
284:
apparently interchangeably, the revised edition of 1966 almost exclusively chose
559:
439:
Musicologist Takahashi Miki identified two persons who had popularized the term
210:
55:
456:
393:
265:
59:
967:
448:
397:
308:
63:
43:
400:
sang pop songs in the style of shima-uta. This series of events helped make
599:
567:
257:
563:
384:
won grand prizes in the All-Japan Folk Song Contest. He was followed by
539:
97:
360:(1999). Takanashi conjectured that by doing this Ogawa had shown his
315:, praised shima-uta as "Amami's spirit and embodiment" while he used
236:
141:
110:
105:
617:
613:
500:
328:
320:
224:
173:(lit. comforting songs). In a broader sense, shima-uta also covers
629:
371:, a local newspaper of the Amami Islands, and found that the word
609:
160:
628:
Shima-uta shares its 8-8-8-6 syllable structure with Okinawa's
487:. Around 1970, he visited Amami Ōshima and was taught the name
299:
While the natives of the Amami Islands chose the academic term
21:
This article is about the genre. For the song by The Boom, see
511:" (島唄). It became a smash hit in Japanese market and the name
348:
228:
51:
667:
shortly after kinsei kouta became common in mainland Japan.
538:
with the so-called tetrachord theory. There are four major
515:
came to be associated with Okinawa pop in mainland Japan.
420:, which causes a conflict of interest with those who see
293:
827:
447:, who is known for his research on folk songs of the
296:
began to use the term in its radio programs in 1947.
756:
Nihon min'yō taikan (Okinawa–Amami): Amami shotō hen
608:
Today shima-uta is sung to the accompaniment of the
144:), associated with rice planting, sailing, etc., and
879:
801:
307:proactively. In his preface to Kazari's 1966 book,
927:
905:
770:
965:
856:
726:
404:become recognized as a regional brand of Amami.
81:(religious songs sung by priestesses) including
875:
873:
871:
797:
795:
793:
791:
789:
367:As for popular culture, Takahashi analyzed the
184:
198:
128:(songs for annual events) including songs for
35:
949:
921:
764:
868:
821:
786:
507:, released an Okinawa-inspired song titled "
483:, a radio personality and songwriter of the
150:, which are sung at recreational gatherings.
899:
852:
850:
722:
720:
432:in local communities and were described as
416:'s folk songs are sometimes referred to as
240:(folk songs), a term which can be found in
264:(1949). These authors were influenced by
154:In a narrower sense, shima-uta refers to
42:is a genre of songs originating from the
847:
806:<しまうた>にまつわる諸概念の成立過程: 奄美諸島を中心として".
749:
747:
745:
743:
741:
717:
943:
407:
966:
594:scales are prevalent. Southern Amami (
121:is further divided into three genres:
738:
223:is sometimes indicated by the use of
69:
602:) are similar to northern Okinawa.
13:
227:(シマ), instead of the conventional
14:
990:
674:
485:Ryukyu Broadcasting Corporation
272:, who developed the concept of
834:Ritsumeikan gengo bunka kenkyū
830:レコードからみる戦前・戦後の奄美<しまうた>文化
808:Ritsumeikan gengo bunka kenkyū
479:The other important figure is
472:, Nakasone's understanding of
443:in Okinawa Prefecture. One is
424:as a regional brand of Amami.
1:
882:「しまうた」にまつわる諸概念の成立過程: 沖縄を中心として
802:Takahashi Miki 高橋美樹 (2003). "
711:
319:in academic contexts, in the
928:Hokama Shuzen 外間守善 (1995). "
906:Hokama Shuzen 外間守善 (1995). "
771:Hokama Shuzen 外間守善 (1995). "
375:(島唄, 島歌) gradually replaced
335:(1979), he exclusively used
185:History of conceptualization
7:
518:
358:Amami shima-uta e no shōtai
16:Folk music in Amami Islands
10:
995:
730:Amami shimauta e no shōtai
351:(島唄). He noted that while
254:Amami Ōshima min'yō taikan
20:
857:Ogawa Hisao 小川学夫 (1979).
727:Ogawa Hisao 小川学夫 (1999).
623:
369:Nankai Nichinichi Shinbun
199:
36:
23:Shima Uta (The Boom song)
888:
881:
836:
829:
810:
246:Amami Ōshima minzoku-shi
536:Japanese musical scales
468:with mainland Japanese
392:in 1990. In the 2000s,
101:(children's songs), and
950:Ono Jūrō 小野重朗 (1977).
270:Japanese folkloristics
169:(lit. room songs) and
693:Kadeku Nabekana bushi
558:. In Northern Amami (
436:in academic writing.
158:and is also known as
760:(in Japanese). 1993.
505:Yamanashi Prefecture
408:Okinawa and The Boom
48:Kagoshima Prefecture
979:Japanese folk music
930:Nantō kayō no keifu
503:, a rock band from
313:Kanagawa Prefecture
758:日本民謡大観（沖縄・奄美）奄美諸島篇
414:Okinawa Prefecture
341:Amami no shima-uta
327:, who was born in
311:, a novelist from
205:means "island" in
70:Names and concepts
37:シマウタ, しまうた, 島歌, 島唄
935:Nantō bungaku-ron
913:Nantō bungaku-ron
778:Nantō bungaku-ron
323:spelling (しまうた).
986:
959:
958:
947:
941:
940:
925:
919:
918:
903:
897:
896:
877:
866:
865:
860:Amami min'yō-shi
854:
845:
844:
825:
819:
818:
799:
784:
783:
768:
762:
761:
751:
736:
735:
724:
363:
333:Amami min'yō-shi
268:, the father of
204:
202:
201:
131:hachigatsu-odori
50:of southwestern
41:
39:
38:
994:
993:
989:
988:
987:
985:
984:
983:
964:
963:
962:
948:
944:
926:
922:
904:
900:
891:(in Japanese).
890:
883:
878:
869:
855:
848:
839:(in Japanese).
838:
831:
826:
822:
813:(in Japanese).
812:
800:
787:
769:
765:
753:
752:
739:
725:
718:
714:
677:
626:
584:Okinawa Islands
521:
445:Nakasone Kōichi
410:
361:
347:was written in
196:
187:
72:
33:
26:
17:
12:
11:
5:
992:
982:
981:
976:
961:
960:
957:(in Japanese).
942:
939:(in Japanese).
920:
917:(in Japanese).
898:
867:
864:(in Japanese).
846:
820:
785:
782:(in Japanese).
763:
737:
734:(in Japanese).
715:
713:
710:
709:
708:
702:
699:Kantsume bushi
696:
690:
684:
676:
673:
625:
622:
520:
517:
481:Uehara Naohiko
409:
406:
394:Hajime Chitose
386:Tōhara Mitsuyo
382:Tsukiji Shunzō
266:Yanagita Kunio
250:Kazari Eikichi
186:
183:
152:
151:
145:
135:
115:
114:
102:
94:
71:
68:
60:Hajime Chitose
15:
9:
6:
4:
3:
2:
991:
980:
977:
975:
974:Amami culture
972:
971:
969:
956:
952:
946:
938:
934:
931:
924:
916:
912:
909:
902:
894:
887:
886:Okinawa Bunka
876:
874:
872:
863:
859:
853:
851:
843:(2): 163–171.
842:
835:
824:
817:(2): 149–161.
816:
809:
805:
798:
796:
794:
792:
790:
781:
777:
774:
773:Amami no kayō
767:
759:
755:
750:
748:
746:
744:
742:
733:
729:
723:
721:
716:
706:
705:Yachabō bushi
703:
700:
697:
694:
691:
688:
685:
682:
681:Asabana bushi
679:
678:
675:Notable songs
672:
668:
665:
660:
656:
653:
649:
645:
641:
637:
636:Hokama Shuzen
633:
631:
621:
619:
615:
611:
606:
603:
601:
600:Yoron Islands
597:
593:
589:
585:
581:
577:
573:
569:
565:
561:
557:
553:
549:
545:
541:
537:
533:
532:Koizumi Fumio
529:
527:
516:
514:
510:
506:
502:
497:
495:
490:
486:
482:
477:
475:
471:
467:
462:
458:
454:
450:
446:
442:
437:
435:
431:
427:
423:
419:
415:
412:Confusingly,
405:
403:
399:
395:
391:
387:
383:
378:
374:
370:
365:
359:
354:
350:
346:
342:
338:
334:
330:
326:
322:
318:
314:
310:
309:Shimao Toshio
306:
302:
297:
295:
291:
287:
283:
279:
275:
271:
267:
263:
262:Dai Amami shi
259:
255:
251:
247:
243:
239:
238:
232:
230:
226:
222:
217:
212:
208:
195:
190:
182:
180:
176:
172:
168:
164:
162:
157:
149:
146:
143:
139:
136:
133:
132:
127:
124:
123:
122:
120:
112:
108:
107:
103:
100:
99:
95:
92:
88:
84:
80:
77:
76:
75:
67:
65:
61:
57:
53:
49:
45:
44:Amami Islands
32:
31:
24:
19:
954:
951:
945:
936:
933:
929:
923:
914:
911:
907:
901:
892:
885:
861:
858:
840:
833:
823:
814:
807:
803:
779:
776:
772:
766:
757:
754:
731:
728:
704:
698:
692:
687:Bashō nagare
686:
680:
669:
664:kinsei kouta
657:
646:and Amami's
634:
627:
607:
604:
591:
587:
586:, where the
579:
575:
571:
568:Kikai Island
560:Amami Ōshima
555:
551:
547:
543:
530:
525:
522:
512:
498:
493:
488:
478:
473:
469:
465:
440:
438:
433:
429:
425:
421:
417:
411:
401:
398:Atari Kōsuke
388:in 1989 and
376:
372:
368:
366:
357:
352:
344:
340:
336:
332:
316:
304:
300:
298:
289:
288:. The term
285:
281:
277:
273:
261:
258:Nobori Shomu
253:
245:
242:Shigeno Yūkō
235:
233:
220:
215:
211:Amami Ōshima
193:
191:
188:
178:
174:
171:nagusami-uta
170:
166:
159:
155:
153:
147:
137:
129:
125:
118:
116:
104:
96:
90:
86:
82:
78:
73:
64:Atari Kōsuke
56:Amami Ōshima
29:
28:
27:
18:
732:奄美のシマウタへの招待
580:miyakobushi
564:Tokunoshima
556:miyakobushi
540:tetrachords
325:Ogawa Hisao
256:(1933) and
179:shigoto-uta
167:zashiki-uta
138:shigoto-uta
968:Categories
953:Nantō kayō
932:南島歌謡の系譜".
895:(2): 1–54.
712:References
596:Okinoerabu
142:work songs
111:folk songs
98:warabe-uta
908:Ryūka-ron
837:立命館言語文化研究
811:立命館言語文化研究
695:(かでく鍋加那節)
542:, namely
534:analyzed
513:shima-uta
509:Shima Uta
499:In 1992,
494:shima-uta
489:shima-uta
474:shima-uta
466:shima-uta
441:shima-uta
426:Shima-uta
422:shima-uta
418:shima-uta
402:shima-uta
373:shima-uta
353:shima-uta
345:shima-uta
305:shima-uta
278:shima-uta
216:shima-uta
192:The word
175:gyōji-uta
156:asobi-uta
148:asobi-uta
126:gyōji-uta
30:Shima-uta
775:奄美の歌謡".
659:Ono Jūrō
618:plectrum
614:shamisen
519:Features
501:The Boom
343:, where
329:Hokkaido
321:hiragana
248:(1927),
225:katakana
207:Japanese
117:Amami's
79:kami-uta
58:such as
701:(かんつめ節)
689:(芭蕉ながれ)
610:sanshin
570:), the
526:utakake
461:Yaeyama
453:Okinawa
356:in his
161:sanshin
910:琉歌論".
707:(野茶坊節)
652:nagare
624:Origin
588:ryūkyū
576:min'yō
548:min'yō
544:ryūkyū
470:min'yō
457:Miyako
434:min'yō
377:min'yō
337:min'yō
317:min'yō
301:min'yō
290:min'yō
286:min'yō
282:min'yō
274:min'yō
237:min'yo
119:min'yo
106:min'yo
87:tahabë
937:南島文学論
915:南島文学論
862:奄美民謡誌
780:南島文学論
683:(朝花節)
648:omori
644:kwēna
630:ryūka
592:ritsu
572:ritsu
552:ritsu
449:Amami
390:Rikki
349:kanji
231:(島).
229:kanji
221:shima
209:. In
194:shima
91:kuchi
83:omori
52:Japan
955:南島歌謡
889:沖縄文化
650:and
642:and
640:umui
598:and
590:and
578:and
566:and
554:and
459:and
396:and
280:and
177:and
163:-uta
89:and
62:and
430:uta
294:NHK
260:'s
252:'s
244:'s
970::
893:37
884:.
870:^
849:^
841:15
832:.
815:15
788:^
740:^
719:^
574:,
562:,
550:,
546:,
528:.
455:,
451:,
364:.
181:.
165:,
113:).
85:,
66:.
46:,
612:(
203:)
200:島
197:(
140:(
134:,
109:(
93:,
40:)
34:(
25:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.