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[Ryukyuan Music] Folk and Classical Music of the Ryukyu Islands

[Ryukyuan Music] Folk and Classical Music of the Ryukyu Islands
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[Ryukyuan Music] Folk and Classical Music of the Ryukyu Islands

When it comes to Ryukyuan folk songs, the simple sanshin accompaniment, the drum rhythms, and the distinctive Ryukyuan vocal style really leave an impression! With just a little listening, you can tell it’s traditional Okinawan music—its presence is deeply tied to a culture that has developed in its own unique way.

I’d like to introduce Ryukyuan folk music, which you could say is filled with the roots of Okinawa! I’ll cover a wide range—from songs often called Okinawan pop that incorporate elements of traditional folk music, to the classical repertoire known as Ryukyuan classical music that was performed in the Ryukyu Kingdom.

These are timeless masterpieces that sing of the Ryukyuan spirit passed down for hundreds of years.

[Ryukyuan Music] Folk and Classical Music of Ryukyu (1–10)

Nankuru SongRinken Band

Rinken Band is an Okinawan pop group formed in 1977 that debuted in 1987.

They have continually released music that fuses Okinawan instruments such as the sanshin and island drums with modern instruments.

“Nankuru” is an Okinawan word meaning “things will work out somehow.” In addition to their original songs, they also perform traditional Okinawan pieces arranged in the distinctive Rinken Band style.

Akamabushi

Okinawa Yaeyama Classical Folk Song “Akagama-bushi” (Akanma-bushii) (Honchōshi)
Akamabushi

This is a folk song from Yaeyama in Okinawa.

In Yaeyama, it is performed as a celebratory song at New Year and on festive occasions.

The song tells the story of a renowned horse named Akama, owned by the Yaeyama official Oshiro Shiban.

The king of Ryukyu desires the horse and orders it to be presented to him, but the horse resists and the official is about to be punished.

Moved by the bond of trust between the official and the horse, the king returns the horse.

Daughter JintoyoYoriko Ganeko

Gin-tōyō, daughter of Yoriko Ganeko
Daughter Jinto-yo Ganeko yoriko

Yoriko Gajumaru has been on stage since she was 10 and made her debut in 1977.

The song she released in 1978 became a huge hit.

It’s said that this song has relatively few Okinawan dialect lyrics and is easier to understand, but it’s still hard to grasp, isn’t it? By the way, “Jintoyō” is a chant meaning something like “That’s true,” “Yeah, that’s right,” or “Indeed.”

Hello UncleShoukichi Kina & Champloose

Shoukichi Kina & Champloose – Haisai Ojisan
Haisai Ojisan Shoukichi Kina & Champloose

One of Okinawa’s most prominent artists, Shoukichi Kina, released this as his debut song, which he is said to have written when he was in middle school.

The “uncle” who appears in the song supposedly became the way he is because of tragic experiences in the war, and behind the cheerful melody lies a deep wish for peace.

Ken Shimura’s “Weird Uncle,” sung in one of his comedy sketches, is a very famous parody of this song.

Akata Shuriden

"Akata Sun Dunchi" by Rimi Natsukawa
Akata Shuriden

This song is said to be a children’s tune that was sung during the Miroku-Umuke (Mīrukū Unkee) festival in Akata, Shuri, Naha City, Okinawa, a ceremony centered around the Ishikawa family since the Ryukyu Kingdom era.

Although it died out in the early Showa period, it began to be sung again in 1994.

It was also broadcast on NHK Educational TV as one of the children’s songs known nationwide, so some of you may have heard it.

Kagiya-de Fūbushi

Ultra-rare: Kagiyade Fubushi (with subtitles)
Kagiya-de Fūbushi

Among Ryukyuan classical music, this is a well-known standard piece.

It is a celebratory song often performed at festive occasions such as weddings.

The lyrics are, of course, written in the Okinawan dialect and express the joy of a happy event.

Onna-bushi

Onna Bushi / Kamechiyo Kochi
Onna-bushi

It is based on a poem by Onna Nabe, a female poet from the Ryukyu Kingdom era.

After seeing a posted notice that said “Do not leave the village,” issued to secure tax revenue and labor, she criticizes the government of the time by essentially saying, “Surely they can’t mean to forbid me from going to see my lover outside the village, can they?”

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