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Six months of hanging out in smoky, grungy "genbas," or Japanese hip-hop
clubs, gave cultural anthropologist Ian Condry insight into how American rap
music and attitudes were being transformed by the youth in Japan.
But he couldn't figure out the mirror balls.
Every club, from large to small, had a mirror ball that sent glittering light
into the sweaty haze above the Japanese hip-hop fans, artists, music
executives and first-timers.
So "I had to develop my own philosophy of the mirror ball," Condry, associate
professor of Japanese cultural studies, told an audience on March 1 during a
discussion of his new book, "Hip-Hop Japan: Rap and the Paths of Cultural
Globalization" (2006, Duke University Press). That philosophy highlights the
relationships within the hip-hop community, he explained.
The mirror ball illuminated "no single star on stage but rather spotlighting
and then passing over all of the participants," Condry said, reading from his
book. "The dynamic interaction among all these actors is what brings a club
scene to life. Mirror balls evoke this multiplicity, splashing attention on
each individual for a moment and then moving on--not unlike the furtive
glances of desire between clubbers in a zone of intimate ...
MIT

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