666:
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.
366:
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)
677:
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,
502:
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
224:
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
665:
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
681:
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
390:
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,
229:
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
672:
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
534:
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
474:
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
627:). 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
200:
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.
616:
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.
85:
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:
643:. 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.
649:
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
682:
extemporaneous nature: lyric songs, or love songs in particular, must have been quickly replaced while people had a strong incentive to preserve epic songs.
455:
252:
396:
392:
141:
662:
491:
260:
669:
658:
646:
542:
674:
335:
373:
preference to the traditional shima-uta to the shima-uta that was changing itself rapidly with its success in the mainland Japanese market
439:
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
654:
503:
shin min'yō (contemporary folk music) and even to pop music. He used his radio programs and musical events to popularize the name
650:
487:
was heavily influenced by Yanagita Kunio. Resisting commercialism, he searched for songs transmitted by local communities.
342:
but played an important role in publicizing shima-uta, showed a varying attitude toward the word. In his monograph titled
507:
in Okinawa. Uehara was different from Nakasone in that he engaged in transforming folk songs into popular music.
495:
891:
Takahashi Miki 高橋美樹 (2002). ""Shimauta" ni matsuwaru sho-gainen no seiritsu katei: Okinawa o chūshin to shite"
989:
287:
as a product of society and communal space. Takahashi notes that although Kazari's monograph of 1933 used
519:
33:
631:(pick) made of thinly sliced bamboo instead of Okinawa's thick plectrum made of water buffalo horn
17:
546:
400:
984:
593:
tetrachords can be found. In this respect, Northern Amami stands in sharp contrast with the
515:
303:
also gained public acceptance throughout Japan when the national broadcasting organization
58:
8:
323:
839:
Takashima Masaharu 高嶋正晴 (2003). "Rekōdo kara miru senzen sengo no Amami shimauta bunka"
424:
314:
to describe Amami's traditional songs, some people from outside the Amami Islands used
606:
280:
217:
65:. It became known nationwide in the 2000s with the success of young pop singers from
815:
Shimauta ni matsuwaru sho-gainen no seiritsu katei: Amami shotō o chūshin to shite"
245:
In modern Japanese academia, Amami's traditional songs were described by the term
594:
471:
463:
350:, probably due to the book's academic nature. In 1981, however, he published the
295:
apparently interchangeably, the revised edition of 1966 almost exclusively chose
570:
450:
Musicologist Takahashi Miki identified two persons who had popularized the term
221:
66:
467:
404:
276:
70:
978:
459:
408:
319:
74:
54:
411:
sang pop songs in the style of shima-uta. This series of events helped make
610:
578:
268:
574:
395:
won grand prizes in the All-Japan Folk Song Contest. He was followed by
550:
108:
371:(1999). Takanashi conjectured that by doing this Ogawa had shown his
326:, praised shima-uta as "Amami's spirit and embodiment" while he used
247:
152:
121:
116:
628:
624:
511:
339:
331:
235:
184:(lit. comforting songs). In a broader sense, shima-uta also covers
640:
382:, a local newspaper of the Amami Islands, and found that the word
620:
171:
639:
Shima-uta shares its 8-8-8-6 syllable structure with Okinawa's
498:. Around 1970, he visited Amami Ōshima and was taught the name
310:
While the natives of the Amami Islands chose the academic term
32:
This article is about the genre. For the song by The Boom, see
522:" (島唄). It became a smash hit in Japanese market and the name
359:
239:
62:
678:
shortly after kinsei kouta became common in mainland Japan.
549:
with the so-called tetrachord theory. There are four major
526:
came to be associated with Okinawa pop in mainland Japan.
431:, which causes a conflict of interest with those who see
304:
838:
458:, who is known for his research on folk songs of the
307:
began to use the term in its radio programs in 1947.
767:
Nihon min'yō taikan (Okinawa–Amami): Amami shotō hen
619:
Today shima-uta is sung to the accompaniment of the
155:), associated with rice planting, sailing, etc., and
890:
812:
318:proactively. In his preface to Kazari's 1966 book,
938:
916:
781:
976:
867:
737:
415:become recognized as a regional brand of Amami.
92:(religious songs sung by priestesses) including
886:
884:
882:
808:
806:
804:
802:
800:
378:As for popular culture, Takahashi analyzed the
195:
209:
139:(songs for annual events) including songs for
46:
960:
932:
775:
879:
832:
797:
518:, released an Okinawa-inspired song titled "
494:, a radio personality and songwriter of the
161:, which are sung at recreational gatherings.
910:
863:
861:
733:
731:
443:in local communities and were described as
427:'s folk songs are sometimes referred to as
251:(folk songs), a term which can be found in
275:(1949). These authors were influenced by
165:In a narrower sense, shima-uta refers to
53:is a genre of songs originating from the
858:
817:<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".
760:
758:
756:
754:
752:
728:
954:
418:
14:
977:
605:scales are prevalent. Southern Amami (
132:is further divided into three genres:
749:
234:is sometimes indicated by the use of
80:
613:) are similar to northern Okinawa.
24:
238:(シマ), instead of the conventional
25:
1001:
685:
496:Ryukyu Broadcasting Corporation
283:, who developed the concept of
845:Ritsumeikan gengo bunka kenkyū
841:レコードからみる戦前・戦後の奄美<しまうた>文化
819:Ritsumeikan gengo bunka kenkyū
490:The other important figure is
483:, Nakasone's understanding of
454:in Okinawa Prefecture. One is
435:as a regional brand of Amami.
13:
1:
893:「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
813:Takahashi Miki 高橋美樹 (2003). "
722:
330:in academic contexts, in the
939:Hokama Shuzen 外間守善 (1995). "
917:Hokama Shuzen 外間守善 (1995). "
782:Hokama Shuzen 外間守善 (1995). "
386:(島唄, 島歌) gradually replaced
346:(1979), he exclusively used
196:History of conceptualization
7:
529:
369:Amami shima-uta e no shōtai
27:Folk music in Amami Islands
10:
1006:
741:Amami shimauta e no shōtai
362:(島唄). He noted that while
265:Amami Ōshima min'yō taikan
31:
868:Ogawa Hisao 小川学夫 (1979).
738:Ogawa Hisao 小川学夫 (1999).
634:
380:Nankai Nichinichi Shinbun
210:
47:
34:Shima Uta (The Boom song)
899:
892:
847:
840:
821:
257:Amami Ōshima minzoku-shi
547:Japanese musical scales
479:with mainland Japanese
403:in 1990. In the 2000s,
112:(children's songs), and
961:Ono Jūrō 小野重朗 (1977).
281:Japanese folkloristics
180:(lit. room songs) and
704:Kadeku Nabekana bushi
569:. In Northern Amami (
447:in academic writing.
169:and is also known as
771:(in Japanese). 1993.
516:Yamanashi Prefecture
419:Okinawa and The Boom
59:Kagoshima Prefecture
990:Japanese folk music
941:Nantō kayō no keifu
514:, a rock band from
324:Kanagawa Prefecture
769:日本民謡大観（沖縄・奄美）奄美諸島篇
425:Okinawa Prefecture
352:Amami no shima-uta
338:, who was born in
322:, a novelist from
216:means "island" in
81:Names and concepts
48:シマウタ, しまうた, 島歌, 島唄
946:Nantō bungaku-ron
924:Nantō bungaku-ron
789:Nantō bungaku-ron
334:spelling (しまうた).
16:(Redirected from
997:
970:
969:
958:
952:
951:
936:
930:
929:
914:
908:
907:
888:
877:
876:
871:Amami min'yō-shi
865:
856:
855:
836:
830:
829:
810:
795:
794:
779:
773:
772:
762:
747:
746:
735:
374:
344:Amami min'yō-shi
279:, the father of
215:
213:
212:
142:hachigatsu-odori
61:of southwestern
52:
50:
49:
21:
1005:
1004:
1000:
999:
998:
996:
995:
994:
975:
974:
973:
959:
955:
937:
933:
915:
911:
902:(in Japanese).
901:
894:
889:
880:
866:
859:
850:(in Japanese).
849:
842:
837:
833:
824:(in Japanese).
823:
811:
798:
780:
776:
764:
763:
750:
736:
729:
725:
688:
637:
595:Okinawa Islands
532:
456:Nakasone Kōichi
421:
372:
358:was written in
207:
198:
83:
44:
37:
28:
23:
22:
15:
12:
11:
5:
1003:
993:
992:
987:
972:
971:
968:(in Japanese).
953:
950:(in Japanese).
931:
928:(in Japanese).
909:
878:
875:(in Japanese).
857:
831:
796:
793:(in Japanese).
774:
748:
745:(in Japanese).
726:
724:
721:
720:
719:
713:
710:Kantsume bushi
707:
701:
695:
687:
684:
636:
633:
531:
528:
492:Uehara Naohiko
420:
417:
405:Hajime Chitose
397:Tōhara Mitsuyo
393:Tsukiji Shunzō
277:Yanagita Kunio
261:Kazari Eikichi
197:
194:
163:
162:
156:
146:
126:
125:
113:
105:
82:
79:
71:Hajime Chitose
26:
9:
6:
4:
3:
2:
1002:
991:
988:
986:
985:Amami culture
983:
982:
980:
967:
963:
957:
949:
945:
942:
935:
927:
923:
920:
913:
905:
898:
897:Okinawa Bunka
887:
885:
883:
874:
870:
864:
862:
854:(2): 163–171.
853:
846:
835:
828:(2): 149–161.
827:
820:
816:
809:
807:
805:
803:
801:
792:
788:
785:
784:Amami no kayō
778:
770:
766:
761:
759:
757:
755:
753:
744:
740:
734:
732:
727:
717:
716:Yachabō bushi
714:
711:
708:
705:
702:
699:
696:
693:
692:Asabana bushi
690:
689:
686:Notable songs
683:
679:
676:
671:
667:
664:
660:
656:
652:
648:
647:Hokama Shuzen
644:
642:
632:
630:
626:
622:
617:
614:
612:
611:Yoron Islands
608:
604:
600:
596:
592:
588:
584:
580:
576:
572:
568:
564:
560:
556:
552:
548:
544:
543:Koizumi Fumio
540:
538:
527:
525:
521:
517:
513:
508:
506:
501:
497:
493:
488:
486:
482:
478:
473:
469:
465:
461:
457:
453:
448:
446:
442:
438:
434:
430:
426:
423:Confusingly,
416:
414:
410:
406:
402:
398:
394:
389:
385:
381:
376:
370:
365:
361:
357:
353:
349:
345:
341:
337:
333:
329:
325:
321:
320:Shimao Toshio
317:
313:
308:
306:
302:
298:
294:
290:
286:
282:
278:
274:
273:Dai Amami shi
270:
266:
262:
258:
254:
250:
249:
243:
241:
237:
233:
228:
223:
219:
206:
201:
193:
191:
187:
183:
179:
175:
173:
168:
160:
157:
154:
150:
147:
144:
143:
138:
135:
134:
133:
131:
123:
119:
118:
114:
111:
110:
106:
103:
99:
95:
91:
88:
87:
86:
78:
76:
72:
68:
64:
60:
56:
55:Amami Islands
43:
42:
35:
30:
19:
965:
962:
956:
947:
944:
940:
934:
925:
922:
918:
912:
903:
896:
872:
869:
851:
844:
834:
825:
818:
814:
790:
787:
783:
777:
768:
765:
742:
739:
715:
709:
703:
698:Bashō nagare
697:
691:
680:
675:kinsei kouta
668:
657:and Amami's
645:
638:
618:
615:
602:
598:
597:, where the
590:
586:
582:
579:Kikai Island
571:Amami Ōshima
566:
562:
558:
554:
541:
536:
533:
523:
509:
504:
499:
489:
484:
480:
476:
451:
449:
444:
440:
436:
432:
428:
422:
412:
409:Atari Kōsuke
399:in 1989 and
387:
383:
379:
377:
368:
363:
355:
351:
347:
343:
327:
315:
311:
309:
300:
299:. The term
296:
292:
288:
284:
272:
269:Nobori Shomu
264:
256:
253:Shigeno Yūkō
246:
244:
231:
226:
222:Amami Ōshima
204:
202:
199:
189:
185:
182:nagusami-uta
181:
177:
170:
166:
164:
158:
148:
140:
136:
129:
127:
115:
107:
101:
97:
93:
89:
84:
75:Atari Kōsuke
67:Amami Ōshima
40:
39:
38:
29:
743:奄美のシマウタへの招待
591:miyakobushi
575:Tokunoshima
567:miyakobushi
551:tetrachords
336:Ogawa Hisao
267:(1933) and
190:shigoto-uta
178:zashiki-uta
149:shigoto-uta
979:Categories
964:Nantō kayō
943:南島歌謡の系譜".
906:(2): 1–54.
723:References
607:Okinoerabu
153:work songs
122:folk songs
109:warabe-uta
919:Ryūka-ron
848:立命館言語文化研究
822:立命館言語文化研究
706:(かでく鍋加那節)
553:, namely
545:analyzed
524:shima-uta
520:Shima Uta
510:In 1992,
505:shima-uta
500:shima-uta
485:shima-uta
477:shima-uta
452:shima-uta
437:Shima-uta
433:shima-uta
429:shima-uta
413:shima-uta
384:shima-uta
364:shima-uta
356:shima-uta
316:shima-uta
289:shima-uta
227:shima-uta
203:The word
186:gyōji-uta
167:asobi-uta
159:asobi-uta
137:gyōji-uta
41:Shima-uta
786:奄美の歌謡".
670:Ono Jūrō
629:plectrum
625:shamisen
530:Features
512:The Boom
354:, where
340:Hokkaido
332:hiragana
259:(1927),
236:katakana
218:Japanese
128:Amami's
90:kami-uta
69:such as
18:Shimauta
712:(かんつめ節)
700:(芭蕉ながれ)
621:sanshin
581:), the
537:utakake
472:Yaeyama
464:Okinawa
367:in his
172:sanshin
921:琉歌論".
718:(野茶坊節)
663:nagare
635:Origin
599:ryūkyū
587:min'yō
559:min'yō
555:ryūkyū
481:min'yō
468:Miyako
445:min'yō
388:min'yō
348:min'yō
328:min'yō
312:min'yō
301:min'yō
297:min'yō
293:min'yō
285:min'yō
248:min'yo
130:min'yo
117:min'yo
98:tahabë
948:南島文学論
926:南島文学論
873:奄美民謡誌
791:南島文学論
694:(朝花節)
659:omori
655:kwēna
641:ryūka
603:ritsu
583:ritsu
563:ritsu
460:Amami
401:Rikki
360:kanji
242:(島).
240:kanji
232:shima
220:. In
205:shima
102:kuchi
94:omori
63:Japan
966:南島歌謡
900:沖縄文化
661:and
653:and
651:umui
609:and
601:and
589:and
577:and
565:and
470:and
407:and
291:and
188:and
174:-uta
100:and
73:and
441:uta
305:NHK
271:'s
263:'s
255:'s
981::
904:37
895:.
881:^
860:^
852:15
843:.
826:15
799:^
751:^
730:^
585:,
573:,
561:,
557:,
539:.
466:,
462:,
375:.
192:.
176:,
124:).
96:,
77:.
57:,
623:(
214:)
211:島
208:(
151:(
145:,
120:(
104:,
51:)
45:(
36:.
20:)
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