黒人研究の会第 62 回年次大会 2016年6月25日（土）−26日（日）日本大学生産工学部津田沼校舎スプリングホール（39号棟6階）（京成大久保駅より徒歩10分またはＪＲ津田沼駅からバス10分）日本大学生産工学部には校舎が2つあります。大会会場は実校舎ではなく津田沼校舎です。 http://www.cit.nihon-u.ac.jp/access キャンパスマップは本プログラム最終ページをご覧ください。大会テーマ：ポピュラーカルチャー Japan Black Studies Association (Established in 1954) The 62nd Annual JBSA Conference June 25–26, 2016 Tsudanuma Campus, Nihon University http://www.cit.nihon-u.ac.jp/en/access.html (Note: There are two campuses. Please come to Tsudanuma campus, not Mimomi.) *See the back cover for Access. Conference Theme: Popular Culture 一般参加歓迎（Open to the Public） 1 Day Saturday, June 25 13:00- 受付／Registration Spring Hall (6th Floor, Building 39) ＊大会当日の会費・懇親会費払込みは受け付けておりません。事前納入にご協力ください。総合司会 : 坂下史子（黒人研究の会事務局長、立命館大学） Conference Chair: Fumiko SAKASHITA (JBSA Secretary-General, Ritsumeikan University) 14:00-15:55 Session 1: Gender and Sexuality in the African Diaspora セッション１（英語） *20 min. for presentation and 15 min. for Q & A Chair: Akiko MIZOGUCHI (Tokyo Woman s Christian University) 司会 : 溝口昭子（東京女子大学） Reggae: Reflecting on Its Early Socio-Political Messages and Black Pride Philosophy Garcia Chambers (Toyo University) Contemporary Visualizations of the Black Queer Body: New Artwork by Zanele Muholi and Adejoke Tugbiyele Joseph L. Underwood (Stony Brook University) Move Your Groove Thang to Keep Your Soul Intact : Queering Twerking Cienna Davis (Freie Universität Berlin) ̶ 1̶ 16:05-16:25 代表挨拶／Welcome Remarks 木内徹（黒人研究の会代表、日本大学） Toru KIUCHI (JBSA President, Nihon University) 16:30-17:40 基調講演／Keynote Address The Soul Wide World: New Directions in Global Black Culture Studies Tanisha C. Ford (University of Massachusetts Amherst) 司会 : 坂下史子 Presided by: Fumiko SAKASHITA (JBSA Secretary-General) 18:10-20:00 懇親会／Reception Cafeteria Creation Commons (2nd Floor) 司会 : 小泉泉（フェリス女学院大学） Presided by: Izumi KOIZUMI (Ferris University) ＊懇親会費は６千円（学生３千円）です｡要事前申込。 ̶ 2̶ 2 Day Sunday, June 26 9:30- 受付／Registration Spring Hall (6th Floor, Building 39) 10:00-11:55 Session 2 (Individual Papers presented in Japanese) セッション２（自由論題・日本語） *各発表20分、質疑応答15分司会 : 神本秀爾（久留米大学） Chair: Shuji KAMIMOTO (Kurume University) サラ・バートマンは語ることができるか ―『ホッテントット・ヴィーナス』における失われた歴史の回復 (Can Sarah Baartman Speak?: Recovery of Lost History in Hottentot Venus) 山本直子（龍谷大学） Naoko YAMAMOTO (Ryukoku University) 占領下の日本における『混血児』をめぐる問題―アフリカ系アメリカ人の視点から (The Problem of the Mixed-Race Children in Japan under U.S. Military Occupation: From the Perspective of African Americans) 岡田泰弘（名古屋外国語大学） Yasuhiro OKADA (Nagoya University of Foreign Studies) ブーツ・ライリーとポリティカル・ヒップホップの現在 (Boots Riley and the Current State of Political Hip Hop) 鳥居祐介（摂南大学） Yusuke TORII (Setsunan University) 12:00-13:00 昼食／Lunch 13:10-13:55 総会／JBSA Break Business Meeting (Members only) ̶ 3̶ 14:00-16:35 Session 3: Politics of Representation セッション３（英語） *20 min. for presentation and 15 min. for Q & A Chair: Yuko TOKISATO (Kansai University) 司会 : 時里祐子（関西大学） Politics of Representation: The Black Hero in Vietnam War Fiction Shirley A. James Hanshaw (Mississippi State University) Television s Race Race, 1968-1971: The Making of Black Representation in the TV Sitcom Julia Demetria Rougeaux Shabazz (University of Massachusetts Amherst) AfroAsian Representations in the Works of Aaron Woolfolk Zachary Price (University of California, Los Angeles) Playing in the Dark: Black Characters in Video Games Amircar Shabazz (University of Massachusetts Amherst) 16:40- 閉会挨拶／Closing Remarks 西本あづさ（黒人研究の会副代表、青山学院大学） Azusa NISHIMOTO (JBSA Vice President, Aoyama Gakuin University) ̶ 4̶ The 62nd Annual Conference presents: Keynote Address The Soul Wide World: New Directions in Global Black Culture Studies by Tanisha C. Ford (University of Massachusetts Amherst) Black American culture has global resonances. In this talk, cultural studies scholar Tanisha Ford will trace some of the global dimensions of 1970s soul culture―with its funky music, political symbols such as the Black Power clenched fist, and its fashion: Afros, leather jackets, and dashikis. In mapping the transnational life of soul, Ford will offer methodological strategies for studying black culture beyond borders. *For this year s keynote talk JBSA has invited Dr. Ford, who represents ASALH (Association for the Study of African American Life and History) and its sister organization ABWH (Association of Black Women Historians). Tanisha C. Ford, Ph.D. Keynote Speaker: Dr. Ford is an assistant professor of Women, Gender, Sexuality Studies at the University of Massachusetts Amherst. She is invested in research, public history, and grassroots community initiatives that bring the often marginalized voices of young women of color around the world to the forefront. Her first book Liberated Threads: Black Women, Style, and the Global Politics of Soul (UNC Press, Fall 2015) uncovers how and why black women use beauty culture and fashion as a form of resistance and cultural-political expression. Her other publications have grappled with issues of race, gender and representation in popular culture; African fashion, labor, and economics in the age of social media; and hip hop culture and social activism. Her research has been published in the Journal of Southern History, NKA: Journal of Contemporary African Art, and The Black Scholar. Her public writing and cultural commentary has been featured in diverse media outlets and publications including the The Root, The New Yorker, NPR: Code Switch, Fuse, News One, New York City s HOT 97, The Feminist Wire, Vibe Vixen, Feministing, and New Black Man. Ford is a highly sought-after public speaker. She has been invited to give lectures and serve as a roundtable discussant at institutions including: The University of London (School for Advanced Study), University of Pennsylvania, Princeton University, University of Chicago, New York University, Rutgers University, Duke University, Fordham University, The School for Visual Arts (NYC), and Parson s The New School for Design (School of Fashion). Professor Ford earned a Ph.D. (with distinction) in U.S. History at Indiana University-Bloomington. Her research has been supported by the Andrew W. Mellon Foundation, Ford Foundation, Schomburg Center for Research in Black Culture, Center for Black Music Research, Organization of American Historians, University of London, University College London (Institute of the Americas), and the University of Michigan (Dept. of Afroamerican and African Studies). ̶ 5̶ 発表要旨／ Abstract Session 1 (English) 第1セッション（英語） Reggae: Reflecting on Its Early Socio-Political Messages and Black Pride Philosophy Garcia Chambers (Toyo University) Reggae, now a world-wide popular genre and musical art form, emerged in the mid 20th Century from Jamaica in conditions of dire socio-economic and socio-political blight. As such the lyrical contents of the works of pioneers such as Bob Marley, Peter Tosh, and Jimmy Cliff express these realities, suggest solutions, and empowered the downtrodden not only within Jamaica and the wider Afro-Caribbean communities but also people across the world empathetic to or experiencing oppressions and discrimination. A content analysis of selected works from these three giants of Reggae will highlight some of these early socio-political messages and Black pride philosophy. This content analysis will serve as a backdrop to questioning the impact and relevance or rhetoric of the messages and philosophies. Contemporary Visualizations of the Black Queer Body: New Artwork by Zanele Muholi and Adejoke Tugbiyele Joseph L. Underwood (Stony Brook University) Contemporary black artists are increasingly employing their artistic practice as a means to advocate for social justice. Exploring queer identity, artists Zanele Muholi (active worldwide, based in South Africa) and Adejoke Tugbiyele (Nigerian descent, active in New York) are two exemplary artists who are gaining in international renown for their creations. Muholi is a premier photographer who considers herself an activist. Her series of portraits of black lesbians, entitled Faces and Phases, has been shown worldwide. I have published an analysis on the shifting meaning of this series, depending on both how it is displayed and the exhibition s larger context. The presentation I am proposing for your conference would draw from this research, including an analysis of Muholi s latest series of self-portraits and a comparison with Tugbiyele s work. Drawing inspiration from popular culture, Tugbiyele employs found materials and seemingly disjunctive objects to create sculptural installations that speak to the continued oppression of LGBT individuals. Works, such as Homeless Hungry Homo (2014), speak profoundly about persistent discrimination in the workforce that leads to economic crises. As an active sharper of the African Diaspora culture, Tugbiyele s work is an important component of understanding how black individuals navigate their sexuality in various sociopolitical climates of the 21st century. In comparing these two artists, I intended to demonstrate the multifaceted experiences of contemporary black LBGT individuals. Through this discussion it becomes evident that black artists remain an important voice in documenting the particular climates of this underrepresented, and frequently oppressed, segment of the population. Move Your Groove Thang to Keep Your Soul Intact : Queering Twerking Cienna Davis (Freie Universität Berlin) The cultural relevance of dancing with one s backside in black communities across the world has never required codification, yet in 2014 twerk was added to the Oxford Dictionaries Online. This addition to the English vocabulary, albeit informally, significantly marks the popular appropriation of traditional African dance aesthetics into mainstream culture and the death of twerking s subversive power. In this text, I instead use twerq (T-W-E-R-Q) to argue that divorcing twerqing from its fetishized appropriation within mainstream culture re-opens the subversive space for resisting the damaging historical connotations ̶ 6̶ of black female sexuality. This altered spelling reclaims twerqing s power to provoke and subvert legacies of black female sexual defamation and invokes the queer subjectivity of black female subjects who resist the male gaze, the white hegemonic gaze, and the pornographic gaze to embrace the internal satisfaction she finds in moving her groove thang. While acknowledging the popularity of hip hop in our culture, I will depart from the academic tendency of interlocking the discourse of black female sexuality to mainstream hip hop by instead observing the emancipatory and subversive potentials of black female sexuality in regards to twerqing through a visual and lyrical reading of the music video QueenS by the Seattle-based, alternative Hip Hop & RnB duo THEESatisfaction and director dream hampton. Session 2 (Japanese) 第2セッション（日本語）サラ・バートマンは語ることができるか― 『ホッテントット・ヴィーナス』における失われた歴史の回復 (Can Sarah Baartman Speak?: Recovery of Lost History in Hottentot Venus) 山本直子（龍谷大学） Naoko YAMAMOTO (Ryukoku University) バーバラ・チェイス＝リブー（Barbara Chase-Riboud）の歴史小説、『ホッテントット・ヴィーナス』（Hottentot Venus, 2003）では、19 世紀のヨーロッパで見世物にされたアフリカ人女性、サラ・バートマンの人生が描かれている。本発表では、バートマンについての歴史的研究を参考にしながら、小説において、マイノリティの視点から見た歴史がどのように再現されているのか検証する。 The purpose of this paper is to examine the ways in which Barbara Chase-Riboud attempts to recover the lost history of a minority woman in her novel Hottentot Venus. In this literary work, the author deals with the life of the African woman, Sarah Baartman, who was exhibited as Hottentot Venus in nineteenth-century Europe. Baartman is a victim of early-modern European colonialism. Her white male spectators gaze upon her body not only as a racial curiosity but also as a savage sexual object. Baartman is also a victim of slavery because she is defined as a slave in a wider social and cultural context. 占領下の日本における『混血児』をめぐる問題―アフリカ系アメリカ人の視点から (The Problem of the Mixed-Race Children in Japan under U.S. Military Occupation: From the Perspective of African Americans) 岡田泰弘（名古屋外国語大学） Yasuhiro OKADA (Nagoya University of Foreign Studies) 本報告では、占領下の日本で生まれたアメリカ人男性と日本人女性の「混血児」をめぐる問題について、アフリカ系アメリカ人の視点から考察する。太平洋を挟んだ日本とアメリカの黒人コミュニティにおける日本人「混血児」に対する支援のネットワークの形成と、アメリカ黒人メディアの言説における日本人「混血児」の受容について論じることにより、日本社会における「混血児」に対する差別と偏見に焦点を当ててきた先行研究を批判的に再考する。 My paper examines the problem of the mixed-race children (konketsuji) in Japan under U.S. military occupation from the perspective of African Americans. Using major black newspapers and popular magazines as primary sources, this paper will analyze the black press representations of the mixed-race children, especially those fathered by African Americans. It will focus on the black press s coverage of the trans-Pacific commitments, both in the U.S. and Japan, to the welfare of those biracial children. ̶ 7̶ ブーツ・ライリーとポリティカル・ヒップホップの現在 (Boots Riley and the Current State of Political Hip Hop) 鳥居祐介（摂南大学） Yusuke TORII (Setsunan University) 過去20年、ヒップホップが音楽産業の主力商品となり、また業界の寡占化が進んだことで、政治的信条を前面に出すポリティカル・ヒップホップが継続的に聴衆を得ることは非常に難しくなっている。このような中、ブーツ・ライリー（Boots Riley, 1971- ）は公然と共産主義者を名乗り、資本主義体制を揶揄するラップで革命を呼びかけながら、米国内外で高い評価を受け、長いキャリアを築いている。本報告では、彼の例外的な成功の理由を問うことを通じて、ポリティカル・ヒップホップの現在を明らかにしたい。 Boots Riley (1971-), the rapper and frontman of Oakland-based hip-hop group The Coup, is a political activist and self-professed communist. Over the last two decades, Riley has released a series of politically charged albums and toured nationally and internationally, both as a musician and a public speaker on race and class struggles. In the meantime, hip hop has become one of the most commercialized, corporate media-driven genres in the United States, marginalizing those artists who do not conform to marketable stereotypes. This paper examines the current state of political hip hop and how Riley has managed to get his messages across against the odds with his unique approach to art and politics. Session 3 (English) 第3セッション（英語） Politics of Representation: The Black Hero in Vietnam War Fiction Shirley A. James Hanshaw (Mississippi State University) An extensive corpus, consisting of more than twenty-five novels, portrays the African American experience in Vietnam. However, because many of these narratives interrogate or are largely critical of America s engagement in the war, they have received scant scholarly critical attention, despite good reviews. Authors of these narratives use vernacular forms and African American cultural memory to develop the character of the black hero who carries a particular burden, which necessitates his forging a definition of himself in a hostile society. Interestingly, most of the novels about the black experience in Vietnam foreground the search for identity. This connection between self-knowledge and bravery undergirds heroic quests in most cultures. However, for the hero of African descent, whose sense of self-worth is constantly undermined and fragmented by racism and emasculation, this connection is more a determinant of whether or not the quest for wholeness will be fulfilled. Psychological fragmentation resulting from racist treatment before, during and after the war, prompts the black protagonist in Vietnam War fiction to seek wholeness of self and connection with the black community, through cultural memory, to survive. Consequently, using vernacular theory, my critical analysis of selected novels will demonstrate that the extent to which the black hero in African American Vietnam War fiction is able to (re)connect with black cultural memory determines his ability to survive not only the war in Vietnam but also the effects of racism upon his return home. ̶ 8̶ Television s Race Race, 1968-1971: The Making of Black Representation in the TV Sitcom Julia Demetria Rougeaux Shabazz (University of Massachusetts Amherst) This paper examines one of the most significant television shows of the 1960s, Julia, and explains why the series, which featured one of the only representations of an African American family in television programming, is still relevant today. It looks at how the series and the image of its star, Diahann Carroll, reflected an urban sensibility and contained many elements that both contradicted and affirmed deeply rooted stereotypes of blacks and women in popular culture. The series represents an historic shift in the development of television on many levels; most particularly it was a watershed event for the civil rights struggle and its concern for diversity in media. AfroAsian Representations in the Works of Aaron Woolfolk Zachary Price (University of California, Los Angeles) In the mid-1990s Aaron Woolfolk returned from a two-year stint on the Japan Exchange Teaching Program and entered the MFA film program at Columbia University. Woolfolk then went on to shoot two short films in Kochi, Japan; Eki and Black Sheep. In 1999 Woolfolk began pitching and raising money for his first feature film, Harimaya Bashi. Eleven years later Harimaya Bashi was shot making Woolfolk the first African American ever to shoot a feature narrative film in Japan. Harimaya Bashi focuses on the story of Daniel Holder (Black) who goes to Japan to claim some important family items after the sudden death of his estranged son in rural Kochi, Japan. While there, he discovers some secrets his son left behind including his racially mixed granddaughter. In addition to the three films, Woolfolk has explored AfroAsian relations in Los Angeles through his award winning play, Bronzeville, which focuses on Japanese American internment in conjunction with Black southern migration to Los Angeles during World War II. This paper uses Woolfolk s works to explore AfroAsian juncture and disjuncture and asks some of the following questions: How do Black filmmakers shape and contribute to representations of AfroAsian relations globally? What are the impacts of Black representations in Japan when content is produced by Black cultural producers? How does such cultural production then get picked up in the US? Similar to W.E.B. Du Bois whose economic and political interests in Asia pointed toward an Afro Asia futurism do Black filmmakers stand a better chance at resolving financing challenges by turning toward Asia? This was the case with Harimaya Bridge and with Will Smith s version of Karate Kid 2010 which was in part financed by the Chinese government. Yet, as Woolfolk s work suggests, AfroAsian relations are always intertwined with US militarism and larger issues of racial capitalism. Both projects point toward Black-Japanese relations being a constant refrain on Du Bois s theories of the world color line within a contested Pacific Rim fraught with the legacy of colonialism and neo-liberalism. Playing in the Dark: Black Characters in Video Games Amircar Shabazz (University of Massachusetts Amherst) Riffing on The William E. Massey Sr. Lectures in the History of American Civilization that Toni Morrison gave in 1992, this paper will discuss whiteness and blackness in the imagination of video game makers. It will encompass a review of the scholarly literature and discuss how the emerging makers world is poised to give young African Americans greater opportunities to imagine themselves beyond stereotypical and normalized roles. Interviews with young gamers inform the arguments presented. ̶ 9̶ 本大会に関する問い合わせ先: 木内徹（黒人研究の会代表、大会会場校責任者） 275-8576 習志野市新栄 2-11-1 日本大学生産工学部実校舎 Email: [email protected] 坂下史子（黒人研究の会事務局長） Email: [email protected] Contact Persons (concerning this conference): Toru KIUCHI (JBSA President, Nihon University) Email: [email protected] Fumiko SAKASHITA (JBSA Secretary-General, Ritsumeikan University) Email: [email protected] ｢黒人研究の会｣について｢黒人研究の会｣ (Japan Black Studies Association) は1954年に神戸市外国語大学で発足した、アフリカやアメリカ、カリブ、ヨーロッパ、日本を含むアジアなどにおける〈黒人〉の文化や歴史を研究する会です。60余年にわたり月例会や年次全国大会などを通じて、地道な活動を続けてきました。会による編著書・訳書も数冊刊行しています。最近は国際交流活動も増えてきました。研究会および本大会に関する問い合わせは、以下までお願いします。 603-8577 京都市北区等持院北町56−1 立命館大学文学部坂下史子研究室内黒人研究の会事務局 Japan Black Studies Association (est. 1954) The Japan Black Studies Association (JBSA) was established at Kobe City University for Foreign Studies on June 22, 1954. We have an annual meeting in late June and publish our official journal, Black Studies, once a year, and a newsletter twice a year. Japan Black Studies Association c/o Fumiko Sakashita College of Letters Ritsumeikan University 56-1 Tojiin-Kitamachi, Kita-ku Kyoto 603-8577, Japan Website: http://home.att.ne.jp/zeta/yorozuya/jbsa/ Facebook: https://www.facebook.com/japanblackstudiesassociation/ ̶ 10 ̶ 日本大学生産工学部津田沼キャンパスマップ Tsudanuma Campus Address: College of Industrial Technology Nihon University 1-2-1 Izumi-cho, Narashino City, Chiba 275-8575 (10-minute walk from Keisei-Okubo Station) Building 39 ↑Main Access to the Conference Site: Entrance