During World War II, the United States government imprisoned approximately 120,000 Japanese Americans, two-thirds of whom were American-born citizens, half of whom were children. Through ethnographic interviews I explore how fragile youthful memories, trauma, and the soundscape of the War Relocation Authority (WRA) Incarceration Camps shaped the artistic trajectories of three such former “enemy alien” youth: two pianists and a koto player. Counterintuitively, Japanese traditional arts flourished in the hostile environment of dislocation through the high number ofnisei(second generation) participants, who later contributed to increasing transculturalism in American music following resettlement out of camp. Synthesizing Japanese and Euro-American classical music, white American popular music, and African American jazz, manyniseiparadoxically asserted their dual cultural commitment to both traditional Japanese and home front patriotic American principles. A performance of Earl Robinson and John Latouche's patriotic cantata,Ballad for Americans(1939), by the high school choir at Manzanar Incarceration Camp demonstrates the hybridity of these Japanese American cultural practices. Marked by Popular Front ideals,Ballad for Americansallowedniseito construct identities through a complicated mixture of ethnic pride, chauvinistic white Americanism allied with Bing Crosby's recordings of theBallad, and affiliation with black racial struggle through Paul Robeson's iconicBalladperformances.

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被监禁美国人的歌谣：二战集中营中的第二代日裔美国人音乐

二战期间，美国政府监禁了大约 12 万日裔美国人，其中三分之二是美国出生的公民，其中一半是儿童。通过人种学访谈，我探讨了战争搬迁管理局 (WRA) 监禁营的脆弱的青春记忆、创伤和音景如何塑造了三位前“敌人外星人”青年的艺术轨迹：两位钢琴家和一位古筝演奏家。与直觉相反，日本传统艺术在错位的敌对环境中蓬勃发展，通过大量的二生（第二代）参与者，他们后来在营地外重新安置后为增加美国音乐的跨文化主义做出了贡献。融合了日本和欧美古典音乐、美国白人流行音乐和非裔美国爵士乐，许多二生矛盾地断言他们对传统日本和国内爱国美国原则的双重文化承诺。厄尔·罗宾逊和约翰·拉图什的爱国清唱剧表演，美国人的民谣（1939 年），由 Manzanar 监禁营的高中合唱团表演，展示了这些日裔美国人文化习俗的混合性。以人民阵线理想为标志，美国人的民谣允许二生通过种族自豪感、沙文主义的白人美国主义与宾克罗斯比的录音结盟的复杂混合来构建身份民谣，以及通过保罗·罗伯森的标志性作品与黑人种族斗争的联系民谣表演。