Program the 62nd Annual Conference in Chiba, Japan on June 25

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)
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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。
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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)
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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)
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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). ̶
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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
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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.
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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.
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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.
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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/
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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