About the Author:
Noriko Manabe is Associate Professor of Music Studies at Temple University. She has been conducting field research on the Japanese antinuclear movement since 2011 and on Japanese hip-hop, reggae, and EDM scenes since 2005. She was previously a ranked analyst researching the internet, media, and videogame industries at JP Morgan in Tokyo. She holds a PhD in Music from CUNY Graduate Center with concentrations in ethnomusicology and music theory.
Review:
Winner, John Whitney Hall Book Prize, Association for Asian Studies, 2017
"In a creative, interdisciplinary study, Manabe connects spatial theory and musical analysis to a sociological argument about political protest. . . The book and accompanying website, which presents footage from the protests, are wonderful teaching resources, and they will also change how we think about performance and social change. . . This timely book reminds us of the spaces of possibility, community, and hope possible through mobilization, creativity, and music." --Hall Prize Committee
Winner, BFE Book Prize, British Forum for Ethnomusicology, 2018
"In this moment of heightened and anxious scrutiny of cyberspace as a forum for both activism and manipulation, Manabe's book offers a thoughtful ethnographic look at a specific context for music and political action, in a variety of spaces both physical and virtual."--BFE Book Prize Committee
Honorable Mention, Alan Merriam Book Prize, Society for Ethnomusicology, 2016
"The committee was in awe of the scope, depth, and risk-taking of the author's research-- at demonstrations and festivals, and with both indie and major label recordings musicians and producers; and in cyberspace. Her command of policy and its legal implications was as strong as her expert performance ethnography and music analysis. This study teaches us a great deal about the techniques of messaging, and the ways music breaks through the walls of official and unofficial censorship."--Merriam Prize Committee
"[Manabe] was able to see the protests from the inside and make a very fine-grained analysis of the role of music in them. . . the analysis of the spaces of contention can be extended to other forms of cultural dissent seen in recent protests, both in Japan and around the world."--Wesley Sasaki-Uemura, University of Utah, in Japanese Studies
"The Revolution Will Not Be Televised . . . is much more than a music ethnography: it is relevant to the study of social movements, antinuclear politics, and collusion between governments and corporate media. . . . its rich detail and clear exposition make it ideal for course adoption. If instructors choose not to assign the whole book, individual chapters will work well in courses on anthropology, media studies, sociology, political science, history, ethnomusicology, and urban geography. The companion website is an important resource, as well, providing links to videos and sound clips that help readers experience post-3.11 musical protests themselves."--E. Taylor Atkins, Northern Illinois University, in H-Net Reviews
"[Manabe's] book is not just an examination of music's role in public protests but is an indispensable study of the systems of information control and resistance movements in post-Fukushima Japan. . . Manabe carefully delineates how the social and political culture of Japan exerts different pressures on musicians. . . It is a must-read for anyone interested in protest culture in Japan." --Rachel DiNitto, University of Oregon, in Journal of Popular Music Studies
"For anyone interested in music as a form of political expression, whether protest specifically or more generally, Noriko Manabe's The Revolution Will not Be Televised is essential reading. It draws upon a vast array of academic literature; it is informed by interviews with, and observations of, the key participants; and it never neglects to trace the intimate bonds between sound and action. It may be about one cause in one country, but its implications and insights extend far further than that."--John Street, University of East Anglia, in Music and Letters
"In her insightful and thought-provoking book, Manabe captures the Japanese national imagination of 3/11 and offers a scholarly background to the antinuclear movement along with a critical ethnography . . . With a skillful interpretive approach to critical thought, the detail is fascinating and the analyses (music and social) are intriguing. Manabe has produced an outstanding work in the study of music and protest in Japan."--Henry Johnson, University of Otago, Journal of Japanese Studies
"Although marketed as an ethnomusicology book, the potential readership is much broader:historians, political scientists, cultural anthropologists, and others will want to add this work to their reading lists....Manabe's participation in numerous demonstrations gives us a clear picture of what happens " on the ground".... The Revolution Will Not Be Televised is engaging and accessible, and the online materials are the icing on the cake that make this work so valuable."--Anne Prescott, Smith College, in Journal of Asian Studies
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