‘Hana’ (花) – The Most Moving Okinawa Minyo

Last Updated 3/25/19  2:32 pm

“Hana” (花) was written and composed by Kina Shoukichi (喜納昌吉). The full title is “Subete no Hito no Kokoro ni Hana O” (すべての人の心に花を), and a rough English translation is “Flowers for Your Heart.” It’s from Kina’s 1980 album, Blood Line. Ry Cooder played guitar on that album.1 The original 1980 recording featured Kina Tomoko, Shoukichi’s wife.2

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Update 7/6/15: The best version I’ve heard has once again been removed from YouTube. It’s taken me a long while to get to this update. The video below is very similar to the version, which I had considered the best, that had been removed from YouTube. This version3 is different, but they both feature Kina Tomoko, whose voice makes whatever version the best. This version also includes Ry Cooder on slide guitar, and you can hear the Hawaiian influence that he picked up while jamming with Gabby in Honolulu.

[NO LONGER AVAILABLE ON YOUTUBE]

We owe the discovery of this classic to Jon, who emailed me (loochoo77@gmail.com) the link with the following message on 10/14/14:

My Mother was Japanese (born in Hawaii) and that was how I first heard Sayuri Ishikawa’s version back in the early nineties. I listen to everything from punk to classical and that got me hooked on enka music (at least Hibari & Ishikawa). Soon after, she let me know that the writer of the song was performing on Japanese television and that was when I first heard of Kina Shoukichi. I didn’t think too much of his version (he’s not much of a singer) so my interest in him stopped there. When I did the search yesterday, the first thing that popped up was a video of Kina Shoukichi & Ry Cooder. I’m a Ry Cooder fanatic and I found out that he played on the original recording. I found the original (I think) on Youtube and now I have to find that record.

P.S.: One of Ry Cooder’s records is called Chicken Skin Music and he plays with Gabby Pahinui on slack-key.

Jon, my apologies for the long delay in getting this up. We can’t thank you enough for providing this link. Hopefully, this video will remain up so that people the world over can enjoy what I consider the most moving Okinawa minyo.

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Update 1/2/16: Sincerest apologies to Mimi for the long delay in adding this Malagasy group version of “Hana” to this post. I had planned to insert it in the main post but simply forgot. This morning, while adding another rendition, I stumbled upon this comment and corrected my oversight. Tarika Sammy, with Henry Kaiser and David Lindley, does a soulful rendition that captures the spirit of Kina Tomoko’s original. This has to be among the best covers to date. Thanks to Mimi for calling our attention to this version from Madagascar.

[NO LONGER AVAILABLE ON YOUTUBE]

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The following version — which I added to this article on 1/14/14 — by a singer (Nidawan Asavataweechok — see Haohaodangdang’s update below) that I’m not familiar with, comes very close to the original and is very moving. Her voice is much more musical, though, different from Kina Tomoko’s in the original, which was emotionally raw and, thus, moving in a different way.

นิด นิดาวรรณ [Nidawan Asavataweechok]- Hana (花). Uploaded to YouTube by nidmahuizhen on 8/9/13.
[NO LONGER AVAILABLE ON YOUTUBE]

Update 7/19/14 from Haohaodangdang: “The first singer whose name is in Thai scripts, is Nidawan Asavataweechok, a Thai singer from Chulalongkorn University who won first prize in the Chinese Song singing competition. In Sep 23rd on 2012, she took the courage to take part in THE VOICE in Thailand with her Chinese songs and won many hearts and support. Her songs were usually Teresa Teng’s but she sangs other songs and Hana is her first attempt and you can see she imitated Rimi Natsugawa (夏川 りみ).”

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‘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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