This presentation explores overseas performances of Japanese traditional music after WW2, particularly in 1960-70s, from a viewpoint of ‘internationalization.’ The Japanese government considers traditional music an effective tool to show Japanese presence in the world in terms of cultural diplomacy. For musicians of Japanese traditional music, ‘internationalization’ means to perform in foreign countries and many of them believe international success can add prestige to their artistic careers. In general, when performing traditional music in foreign countries, artists will make efforts to be understood and accepted by the audience of a different cultural background. As often happens, however, once literacy is cultivated, audience will no longer be satisfied with the same content and presentation method. This leads sometimes to an introduction of new style pieces into a concert program. 

This presentation focuses four concert tours of Japanese imperial court music gagaku; 1959 (USA), 1970 (Europe), 1973 (USA), and 1976 (Europe). The first two were conducted by Kunaichō Gakubu (宮内庁楽部, Imperial Gagaku Department), while the third by an amateur (semi-professional) group Ono Gagakukai 小野雅楽会that premiered a new work “Sōgū 遭遇II,” a fusion of gagaku and western orchestra composed by Ishii Maki 石井真木. The fourth tour was carried out again by Gakubu in which, despite being a very conservative group, they tried Ishii’s “Sōgū II.” This presentation clarifies there were several stages for ‘internationalization’ of gagaku and it was promoted in conjunction with domestic trends, the development of amateur groups and the increase of new works for gagaku by composers of western idioms in Japan. If we call a performance overseas ‘external internationalization,’ the new fusion works composed inside Japan could be ‘internal internationalization.’