‘Nada Sou Sou’ – Hawaiian Connection


Not many are aware that Kealiʻi Reichel‘s “Ka Nohona Pili Kai” (“The Living By the Sea” – Kuhi) is a Hawaiian cover of “Nada Sou Sou.” This fusion is a testament to the song’s universal appeal. See the Hawaiian and English lyrics below.

Keali’i Reichel “Ka Nohona Pili Kai”

Reichel in a duet on “Nada Sou Sou” and “Ka Nohona Pili Kai.” Sound check at Nakano Sun Plaza, Tokyo, 7 Sep. 2011, during Reichel’s Japan Tour.

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‘Nada Sou Sou’: Cultural Fusion

Updated 11/22/13, 6/4/14

“Nada Sou Sou” (涙そうそう )1 was a hit single released by Natsukawa Rimi (夏川 りみ) in 2001. It inspired a movie by the same name, released on 30 Sep. 2006.2

“Nada Sou Sou” was composed by BEGIN and written by Moriyama Ryoko (森山 良子). Moriyama released the song in 1998. Here’s a quote describing the collaboration:

Moriyama and Begin met after performing at lives together in the late 1990s. Moriyama asked Begin to write her an Okinawan-style song. The song’s title on the demo tape she received was “Nada Sōsō,” an Okinawan language phrase meaning “large tears are falling” (to compare, the Japanese phrase would be namida ga poroporo kobore ochiru (涙がぽろぽろこぼれ落ちる?)). When Moriyama found out the meaning of the phrase, it reminded her of the death of her older brother. She kept the title, and based the lyrics she wrote around these feelings.3

The YouTube videos below capture performances by Natsukawa, Moriyama, and others. For me, the most moving is Moriyama’s.

The tremendous success of this song may be an indication that the future of Okinawan music lies in fusion with Japan’s more mainstream sound. Together, they create a sound that’s both unique and moving.

Natsukawa’s MV version with lyrics in English:

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Uema Ayano (上間綾乃): Okinawan Soul

Last updated 3/25/19 1:52pm

Uema Ayano 上間綾乃

Uema Ayano 上間綾乃. Visit her Facebook page and her YouTube page.

To get a feel for what it means to be Okinawan, turn to their folk music, or Okinawa minyo. For me, a sansei in the U.S. with Okinawan roots, Uema’s performance provided the first real connection to Okinawa minyo. (See the YouTube videos below for examples of her music, especially 県道節 Kendoobusi.) Until I heard her sing, I couldn’t relate to the folk songs of my forefathers. They sounded strange and alien to ears that nursed on Bob Dylan, the Beatles, and Gabby Pahinui. Through Uema’s artistry, I began to feel the power and energy, the vibrancy, of the Okinawan soul as it reverberated through minyo. It sounded fresh and current, happening — not dead and long gone. With this introduction, I began to explore other Okinawan artists, and I’ll share what I’m learning in future posts. For background information about Uema, especially her albums, see “Ayano Uema: Uta-sha” (Power of Okinawa, 5.31.12).

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Commodore Perry’s Narrative of Japan Expedition 1852-1854 (RAW TEXT)


[posted in Liuchiuan 3/16/16]

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