UlasanAnime.com – Japanese people have a reputation when it comes to music, a perception that may not fully capture the diverse musical pursuits of individuals. While many Japanese students seek to hone their artistic talents in world-class institutions globally, the cultural stereotype might associate them with specific musical inclinations. From an American perspective, this stereotype could even extend to all East Asians.
This brings us to a crucial point: when discussing music, particularly jazz, in the context of “Sakamichi no Apollon” (Kids on the Slope), it’s essential to be racially aware of the language used. Statements that are racially insensitive are unfortunate and should be avoided.
A discussion about jazz in “Sakamichi no Apollon” is fundamentally intertwined with discussions of race. The inclusion of what might be interpreted as “coon” language in episode four is particularly noteworthy. It can be seen as a Japanese attempt to portray American White-Black racism concerning jazz, creating a complex layering of cultural representation. In this regard, “Sakamichi no Apollon” engages with racism in a manner akin to how a Japanese entity might approach the subject – perhaps producing a technically sound product that satisfies many but misses the deeper emotional core or “soul.” While there’s nothing inherently wrong with the anime, and certainly no more wrong than being Japanese, it can feel more like a typical shoujo manga than a profound exploration of racism. This is comparable to how high-performance Japanese cars, like the 2014 NSX or IS-F, might be excellent but not quite reach the nuanced depth of their European or American counterparts.
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Regarding the association between race and music, the history of jazz offers much to consider. The demographics of jazz musicians in 1912 and 2012, and the evolution of its perception, highlight a persistent “race tag” attached to the genre. This phenomenon is not unique to jazz; it’s reminiscent of how, in America, more white individuals now listen to rap music than Black individuals.
Personally, the race themes in “Sakamichi no Apollon” might not resonate deeply, feeling more like fan service. The character of a Christian, half-American boy born out of wedlock is a specific narrative element. Reflecting on a visit to an alma mater, where undergraduate jazz majors, predominantly Black due to the school’s location and affordability, performed. The presence of white drummers brought to mind a white, upper-class New Englander roommate who played drums for a jazz club at a different university. The question arises: does this racial diversity in jazz matter, and do we truly understand its implications, as suggested by Akira?
When it comes to themes of classism, anime and manga often demonstrate a greater capacity for accurate portrayal.
