In this paper, I explore the identity of Okinoerabu islanders from the aspect of performing arts, focusing on the ‘eisa’ dance. The people of Okinoerabu matter-of-factly regard themselves as residents of Kagoshima Prefecture, and are conscious that they differ culturally from those of residents of the neighboring administrative district of Okinawa. Nevertheless, they have throughout history received cultural influence from Okinawa and have empathy to the culture of Okinawa.

  Okinawan culture, more specifically the performing arts, have exerted influence on Okinoerabu, particularly after Okinoerabu came under the control of the Satsuma clan in the seventeenth century. At the end of the Edo Period (mid-nineteenth century), while still under Satsuma rule, every village of Okinoerabu was obliged to perform dances to express appreciation for the services of clan officials. Dancing masters from Okinawa were invited to instruct Okinoerabu dancers. By the middle of the Meiji Era (early twentieth century), the Okinawa Shibai, a commercial theatrical company performing court dances of the former Ryukyu Kingdom, frequently visited Okinoerabu and had considerable influence on the performing arts there. After the Second World War, persons wishing the master that dance form began to go to and train on the island of Okinawa.

  Another performing art, the ‘eisa’, was introduced into Okinoerabu in 1993 and soon became a popular performance, as well as being established as a new form of folk entertainment. Although Okinoerabu had in the past been influenced by Okinawa entertainment, the ‘eisa’ was embraced as a truly new form of entertainment. The ‘eisa’ dance accompanied by dramatic drumming, soon came to be accepted as a performing art sharing in common elements of existing performing arts. As such the ‘eisa’ became a familiar performance in Okinoerabu.

  Elements shared with existing Okinoerabu performing arts include melody, rhythm, musical scale, as well as a performance type. The ‘eisa’ is also a Buddhist invocation dance. All of these elements made the ‘eisa’ a welcome part of Okinoerabu performing arts and it spread quickly throughout the island. In fact, the people of Okinoerabu now consider ‘eisa’ to be a local tradition.

  In this way, the people of Okinoerabu feel empathy to the performing arts of Okinawa, while not being a part of Okinawa politics and prefectural administration. In other words, the people of Okinoerabu since 1993 welcomed the ‘eisa’ as one aspect of their identity expressed in the performing arts, and as such is a vehicle to derive part of their identity from Okinawa.

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  This article analyzes the educational function of “Mo Ashibi,” an Okinawan traditional custom. Prior to World War II, midnight feasts known as “Mo Ashibi” were held in fields (Mo). During these feasts, young men and women formed a circle and sang and danced to the music of the Okinawan shamisen. This gave rise to a great variety of folk songs and dances, which were passed on to future generations. Improvisatorially, self-composed poems were recited, and men sparred in the traditional martial arts before the dances began.

  It can be said “Mo Ashibi” had a big educational power by the function which produces culture and cultural communication. Additionally, for a time, the feast had another function which was the only opportunity for men and women of Okinawan farming villages to find a marriage partner.

  The field was an important place where people made friends, and it also had a recreational function. There, the dances, songs, and traditional martial arts were indivisibly connected with the function of finding a marriage partner. The lifestyle reform movement tried to abolish the Mo Ashibi feast. However, as this article shows, the custom persisted until the 1940s in some areas.

  I visited Okinawa several times for fieldwork, questioning the locals about how this ceremony was performed and their experience. My findings indicate that in the absence of Mo Ashibi, it is difficult to pass down the cultural legacy of Okinawa i.e, songs, dances, and martial arts.

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本発表では、沖縄戦で被害をうけた故郷へ、飼養・食用の豚や薬、衣類、学用品などを送る資金集めのため、ハワイの沖縄系移民たちによっておこなわれた盆踊り（）大会や演芸会、そして唄をとりあげる。具体的には、ひとりの沖縄系二世の女性の生活誌・生活史に着目する。そして、ハワイと沖縄を架橋するこの女性の記憶と記録、および唄と踊りの舞台にみる、ハワイ、沖縄、日本、アメリカ（軍）の関係性をよみとくことを目的とする。

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三池炭鉱が存在した大牟田・荒尾には、明治末期の集団移住を起点とするユンヌンチュ(与論島住民)が「大牟田・荒尾地区与論会」を組織して奥都城(集団納骨堂)の運営や三線教室の開催をしている。近年、大牟田夏祭りの「一万人の総踊り」にて、彼らは独自の法被をまとい、子どもたちに太鼓を持たせて炭坑節などを踊っている。本発表ではこうした動きをとらえながら、日本の中のエスニシティや文化的多様性を改めて考えたい。

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This paper analyzes the global marketing activities of electronics industry enterprises in Asian Newly Industrializing Economies (A-NIES), by comparing case-study of Acer Group in Taiwan and Samsung Electronics in South Korea, both of which have been successfully catching up with Japanese and US corporations and developing into the global players. The prevalence of information technologies due to the IT revolution has enabled some of the A-NIES' enterprises to react promptly to diversifying and fluctuating consumers demands in the global market. Acer Group has achieved to establish the flexible and decentralized marketing model by restructuring its organizations enough to cope with these new demands. Samsung Electronics is seeking to be the biggest DRAM producer in coordination with the trend of establishing worldwide supply chain among the leading corporations by developing open-architectured production system. Concentrating its management resources on DRAM production, Samsung can become one of the most influential enterprises in the global semiconductor market. This study shows the importance of corporate reorganization to meet consumers needs and productive specialization. At the same time, however, both enterprises face some technological or financial difficulties. They need to renovate their marketing strategies in order to become more sophisticated or profitable players in the contemporary global market.

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