• Sign up for new title announcements and special offers.

  • Intimate Distance: Andean Music in Japan

    Author(s): Michelle Bigenho
    Published: 2012
    Pages: 248
    Illustrations: 18 illustrations
    Sales/Territorial Rights: World
  • Cloth: $89.95 - In Stock
    978-0-8223-5220-4
  • Paperback: $24.95 - In Stock
    978-0-8223-5235-8
  • Quantity
  • Add To Bag
  • Acknowledgments ix

    1. Setting the Transnational Stage 1

    2. "What's Up with You, Condor?": Performing Indigeneities 32

    3. "The Chinese Food of Ethnic Music": Work and Value in Musical Otherness 60

    4. A Hobby, a Sojourn, and a Job 91

    5. Intimate Distance 122

    6. Gringa in Japan 149

    7. Conclusion: One's Own Music, Someone Else's Nation 167

    Notes 179

    Bibliography 201

    Index 219
  • Winner, 2012 LASA Section for Asia and the America Book Award

  • “Michelle Bigenho’s ambitious and valuable new book represents a welcome contribution on many fronts. Not only does this work introduce a little-known world of Japanese enthusiasts of Andean ‘folklore’ music, but it also reevaluates conceptual dichotomies in popular cultural studies.” — Taku Suzuki, Journal of Asian Studies

    “The book provides a much-needed insight into one of the many complex and imbalanced instances of cultural exchange.”  — Christiaan M. De Beukelaer, Popular Music

    “On the whole, Intimate Distance is a useful addition to the existing literature regarding ethnomusicological theory, specifically as it pertains to musical globalization and appropriation.” — Tenley Martin, Ethnomusicology Forum

    “The author masters a personal and self-reflexive narrative, yet maintains theoretical rigour, making this not only a helpful addition to anthropological and ethnomusicological literature, but also a book appealing to the non-specialized reader.” — Fiorella Montero Diaz, Journal of the Royal Anthropological Institute

    Intimate Distance is a valuable contribution to the anthropology of music, particularly with regard to the originality of the author’s topic, analytical approaches, and methodology.” — Catherine Gauthier-Mercier, Notes

    “Michelle Bigenho’s fascinating Intimate Distance is one of a growing number of recent multisited studies that explore a musical relationship in which Europe and North America are de-centered (as much as possible).”  — E. Taylor Atkins, Journal of Japanese Studies

    “Michelle Bigenho’s book is an excellent contribution to Latin American Studies, highlighting interdisciplinary connections with Asian Studies and ably conveying readers around the duality of Area Studies as the field was conceived after the Cold War.”  — Zelideth Maria Rivas, The Americas

    "Ultimately, Bigenho leaves her readers with an eloquent record of a transnational musical scene that may soon vanish despite the efforts of musical practitioners who reproduce intimacy and difference in their performance of indigenous Bolivian musical traditions that are not their own." — Shanna Lorenz, Ethnohistory

    "Bigenho has produced an intriguing study in musical ethnography that takes the field to new heights in the contemporary era. It will be of interest to ethnomusicologists, cultural anthropologists, and those with an interest in Japan and/or Bolivia more broadly." — Henry Johnson, Asian Ethnology

    Awards

  • Winner, 2012 LASA Section for Asia and the America Book Award

  • Reviews

  • “Michelle Bigenho’s ambitious and valuable new book represents a welcome contribution on many fronts. Not only does this work introduce a little-known world of Japanese enthusiasts of Andean ‘folklore’ music, but it also reevaluates conceptual dichotomies in popular cultural studies.” — Taku Suzuki, Journal of Asian Studies

    “The book provides a much-needed insight into one of the many complex and imbalanced instances of cultural exchange.”  — Christiaan M. De Beukelaer, Popular Music

    “On the whole, Intimate Distance is a useful addition to the existing literature regarding ethnomusicological theory, specifically as it pertains to musical globalization and appropriation.” — Tenley Martin, Ethnomusicology Forum

    “The author masters a personal and self-reflexive narrative, yet maintains theoretical rigour, making this not only a helpful addition to anthropological and ethnomusicological literature, but also a book appealing to the non-specialized reader.” — Fiorella Montero Diaz, Journal of the Royal Anthropological Institute

    Intimate Distance is a valuable contribution to the anthropology of music, particularly with regard to the originality of the author’s topic, analytical approaches, and methodology.” — Catherine Gauthier-Mercier, Notes

    “Michelle Bigenho’s fascinating Intimate Distance is one of a growing number of recent multisited studies that explore a musical relationship in which Europe and North America are de-centered (as much as possible).”  — E. Taylor Atkins, Journal of Japanese Studies

    “Michelle Bigenho’s book is an excellent contribution to Latin American Studies, highlighting interdisciplinary connections with Asian Studies and ably conveying readers around the duality of Area Studies as the field was conceived after the Cold War.”  — Zelideth Maria Rivas, The Americas

    "Ultimately, Bigenho leaves her readers with an eloquent record of a transnational musical scene that may soon vanish despite the efforts of musical practitioners who reproduce intimacy and difference in their performance of indigenous Bolivian musical traditions that are not their own." — Shanna Lorenz, Ethnohistory

    "Bigenho has produced an intriguing study in musical ethnography that takes the field to new heights in the contemporary era. It will be of interest to ethnomusicologists, cultural anthropologists, and those with an interest in Japan and/or Bolivia more broadly." — Henry Johnson, Asian Ethnology

  • "Michelle Bigenho does a brilliant job of combing the Japanese literature (in English), integrating theory, and pushing her own theoretical contribution. The creativity and analytic perspective of the approach makes the work add considerably to existing literature. To the ethnomusicological literature, Bigenho adds theoretical rigor and broad perspectives such as race projects, nationhood, and the ethnographic project. To the race literature, she adds a new transnational perspective that is grounded in performance." — Christine Yano, author of, Airborne Dreams: "Nisei" Stewardesses and Pan American World Airways

    "Michelle Bigenho's dazzling new book probes the fascinating, unexpected story of Japan's romance with Andean music. Her ethnography tacks between Bolivia and Japan, and illuminates an economy of music, livelihood, and attraction that Bigenho triangulates through her own research as an anthropologist and a mistress herself of the Andean fiddle. Her smart, sophisticated analysis speaks to debates about indigeneity, music and performance, and the dialectics of history, desire, and globalization in a multipolar world. It's a book as adroit, intricate, and sometimes very moving as the lilting Andean folk melodies that Bigenho and her Bolivian bandmates played so many nights as they toured throughout the islands." — Orin Starn, author of, Ishi's Brain: In Search of America's Last "Wild" Indian

  • Permission to Photocopy (coursepacks)

    If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;

    If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).

    Permission to Reprint

    If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).

    Images/Art

    Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions@dukeupress.edu.
    For book covers to accompany reviews, please contact the publicity department.

    Subsidiary Rights/Foreign Translations

    If you're interested in a Duke University Press book for subsidiary rights/translations, please contact permissions@dukeupress.edu. Include the book title/author, rights sought, and estimated print run.

    Disability Requests

    Instructions for requesting an electronic text on behalf of a student with disabilities are available here.

    Rights & Permissions Contact Information

    Email: permissions@dukeupress.edu
    Email contact for coursepacks: asstpermissions@dukeupress.edu
    Fax: 919-688-4574
    Mail:
    Duke University Press
    Rights and Permissions
    905 W. Main Street
    Suite 18B
    Durham, NC 27701

    For all requests please include:
    1. Author's name. If book has an editor that is different from the article author, include editor's name also.
    2. Title of the journal article or book chapter and title of journal or title of book
    3. Page numbers (if excerpting, provide specifics)
    For coursepacks, please also note: The number of copies requested, the school and professor requesting
    For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought
  • Description

    What does it mean to play "someone else’s music"? Intimate Distance delves into this question through a focus on Bolivian musicians who tour Japan playing Andean music and Japanese audiences, who often go beyond fandom to take up these musical forms as hobbyists and even as professional musicians. Michelle Bigenho conducted part of her ethnographic research while performing with Bolivian musicians as they toured Japan. Drawing on interviews with Bolivian musicians as well as Japanese fans and performers of these traditions, Bigenho explores how transcultural intimacy is produced at the site of Andean music and its performances.

    Bolivians and Japanese involved in these musical practices often express narratives of intimacy and racial belonging that reference shared but unspecified indigenous ancestors. Along with revealing the story of Bolivian music's route to Japan and interpreting the transnational staging of indigenous worlds, Bigenho examines these stories of closeness, thereby unsettling the East-West binary that often structures many discussions of cultural difference and exotic fantasy.

    About The Author(s)

    Michelle Bigenho is Associate Professor of Anthropology at Hampshire College. She is the author of Sounding Indigenous: Authenticity in Bolivian Music Performance.

Explore More
Share

Create a reading list or add to an existing list. Sign-in or register now to continue.


Contact Us

  • Duke University Press
  • 905 W. Main St. Ste 18-B
  • Durham, NC 27701
  • U.S. phone (toll-free): 888-651-0122
  • International: 1-919-688-5134
  • orders@dukeupress.edu