GUEST MIC: Karaoke: A Brief Introspective

by Matteo Dredd, another historic member of Val's Japan 'roking crew

To the academic, karaoke is an interesting concept, since it functions as a socio-cultural phenomenon of significant depth. First, it is a cultural hybrid; while that term is losing its usefulness after fifteen years of well-intentioned (mis)appropriation, it still aptly presents, in my opinion, the métissage of traditions – performance of song, music and dance – which describes a typical karaoke experience. Second, karaoke is often a social event; as this blog shows, the group dynamics involved in it are complex and engaging. Third, karaoke proposes new notions of aesthetics, by intermixing what had been previously designated ‘high’ and ‘low’ culture, it challenges established narratives pertaining to each form, presenting them in potentially subversive relationships to one another.

My own experience of karaoke began and ended – with one exception – in Japan, where karaoke is an established cultural tradition. For our group, karaoke was most often an evening pursuit. Without wishing to incite the field-note approach of full-blown ethnography, I recall: entering through swishing, automated doors; the obligatory (and largely genuine) irrashaimasse; engaging with the hosts while organising a room at the front desk, appropriating free soft drinks on the way to the booths; imbibing the ‘quality’ of the particular room, which ranged from basic to ultra (post)modern; selecting songs from the Japanese and foreign song directories; belting these out as required; dancing; adjusting (messing with) the lighting, sound and TVs; ordering drinks, snacks and desserts through the ubiquitous intercom system.

I genuinely enjoyed karaoke, and it added a dimension to my musical identity which has proven beneficial in my professional musical life. Initially, the musician in me did baulk at the concept; the aesthete within shivered at the prospect of ‘the great unwashed’ circumventing years of practice and training, by unashamedly and unpreparedly taking it to the stage. However, I learned not to judge: the inclusive nature of karaoke is its big draw, and while it is a judicious leveller in some respects, I think it reinforces, rather than challenges, what one already knew about co-participants’ musical abilities!

Anyone with some time on their hands might try helping out the wikipedia ‘roke page, which is highly informative, but in need of some structural work. Scholastically-oriented minds could have a look at ‘Using Karaoke in the Classroom’ by Wagner and Brick (Music Educators Journal, Vol. 79, No. 7 (Mar., 1993), pp. 44-46); or Karaoke around the World: Global Technology, Local Singing by Toru Mitsui and Shuhei Hosokawa. Let’s enjoying; and as one might read in Japan: to sing with friends, all my wonderful life, a best wish!