Challenging conventional understandings of time and memory, Christopher T. Nelson examines how contemporary Okinawans have contested, appropriated, and transformed the burdens and possibilities of the past. Nelson explores the work of a circle of Okinawan storytellers, ethnographers, musicians, and dancers deeply engaged with the legacies of a brutal Japanese colonial era, the almost unimaginable devastation of the Pacific War, and a long American military occupation that still casts its shadow over the islands. The ethnographic research that Nelson conducted in Okinawa in the late 1990s-and his broader effort to understand Okinawans’ critical and creative struggles-was inspired by his first visit to the islands in 1985 as a lieutenant in the U.S. Marine Corps. Nelson analyzes the practices of specific performers, showing how memories are recalled, bodies remade, and actions rethought as Okinawans work through fragments of the past in order to reconstruct the fabric of everyday life. Artists such as the popular Okinawan actor and storyteller Fujiki Hayato weave together genres including Japanese stand-up comedy, Okinawan celebratory rituals, and ethnographic studies of war memory, encouraging their audiences to imagine other ways to live in the modern world. Nelson looks at the efforts of performers and activists to wrest the Okinawan past from romantic representations of idyllic rural life in the Japanese media and reactionary appropriations of traditional values by conservative politicians. In his consideration of eisā, the traditional dance for the dead, Nelson finds a practice that reaches beyond the expected boundaries of mourning and commemoration, as the living and the dead come together to create a moment in which a new world might be built from the ruins of the old.

Challenging conventional understandings of time and memory, Christopher T. Nelson examines how contemporary Okinawans have contested, appropriated, and transformed the burdens and possibilities of the past. Nelson explores the work of a circle of Okinawan storytellers, ethnographers, musicians, and dancers deeply engaged with the legacies of a brutal Japanese colonial era, the almost unimaginable devastation of the Pacific War, and a long American military occupation that still casts its shadow over the islands. The ethnographic research that Nelson conducted in Okinawa in the late 1990s—and his broader effort to understand Okinawans’ critical and creative struggles—was inspired by his first visit to the islands in 1985 as a lieutenant in the U.S. Marine Corps.Nelson analyzes the practices of specific performers, showing how memories are recalled, bodies remade, and actions rethought as Okinawans work through fragments of the past in order to reconstruct the fabric of everyday life. Artists such as the popular Okinawan actor and storyteller Fujiki Hayato weave together genres including Japanese stand-up comedy, Okinawan celebratory rituals, and ethnographic studies of war memory, encouraging their audiences to imagine other ways to live in the modern world. Nelson looks at the efforts of performers and activists to wrest the Okinawan past from romantic representations of idyllic rural life in the Japanese media and reactionary appropriations of traditional values by conservative politicians. In his consideration of eisā, the traditional dance for the dead, Nelson finds a practice that reaches beyond the expected boundaries of mourning and commemoration, as the living and the dead come together to create a moment in which a new world might be built from the ruins of the old.

Haunted by the past, ordinary Okinawans struggle to live with the unbearable legacies of war, Japanese nationalism, and American imperialism. They are caught up in a web of people and practices - living and dead, visible and immaterial - that exert powerful forces often beyond their control. In When the Bones Speak, Christopher T. Nelson examines the myriad ways contemporary Okinawans experience, remember, and contest sacrifice. He attends to the voices of those who find their vocation in service to others, from shamans, fortune-tellers, laborers, and artists to dead soldiers, war survivors, antiwar activists, and Christian missionaries. Nelson shows how the memories of past sacrifices, atrocities, and exploitation as well as residual trauma shape modern life in Okinawa and the possibility and hope for creative action grounded in the everyday. Offering new understandings of colonial transformation, wartime violence, and military occupation, Nelson writes from the intersection of temporalities and possibilities, where the hard finality of the past may be broken open to reveal a “not yet” that has always remained just beyond reach.

Haunted by the past, ordinary Okinawans struggle to live with the unbearable legacies of war, Japanese nationalism, and American imperialism. They are caught up in a web of people and practices - living and dead, visible and immaterial - that exert powerful forces often beyond their control. In When the Bones Speak, Christopher T. Nelson examines the myriad ways contemporary Okinawans experience, remember, and contest sacrifice. He attends to the voices of those who find their vocation in service to others, from shamans, fortune-tellers, laborers, and artists to dead soldiers, war survivors, antiwar activists, and Christian missionaries. Nelson shows how the memories of past sacrifices, atrocities, and exploitation as well as residual trauma shape modern life in Okinawa and the possibility and hope for creative action grounded in the everyday. Offering new understandings of colonial transformation, wartime violence, and military occupation, Nelson writes from the intersection of temporalities and possibilities, where the hard finality of the past may be broken open to reveal a “not yet” that has always remained just beyond reach.

Challenging conventional understandings of time and memory, Christopher T. Nelson examines how contemporary Okinawans have contested, appropriated, and transformed the burdens and possibilities of the past. Nelson explores the work of a circle of Okinawan storytellers, ethnographers, musicians, and dancers deeply engaged with the legacies of a brutal Japanese colonial era, the almost unimaginable devastation of the Pacific War, and a long American military occupation that still casts its shadow over the islands. The ethnographic research that Nelson conducted in Okinawa in the late 1990s-and his broader effort to understand Okinawans’ critical and creative struggles-was inspired by his first visit to the islands in 1985 as a lieutenant in the U.S. Marine Corps. Nelson analyzes the practices of specific performers, showing how memories are recalled, bodies remade, and actions rethought as Okinawans work through fragments of the past in order to reconstruct the fabric of everyday life. Artists such as the popular Okinawan actor and storyteller Fujiki Hayato weave together genres including Japanese stand-up comedy, Okinawan celebratory rituals, and ethnographic studies of war memory, encouraging their audiences to imagine other ways to live in the modern world. Nelson looks at the efforts of performers and activists to wrest the Okinawan past from romantic representations of idyllic rural life in the Japanese media and reactionary appropriations of traditional values by conservative politicians. In his consideration of eisā, the traditional dance for the dead, Nelson finds a practice that reaches beyond the expected boundaries of mourning and commemoration, as the living and the dead come together to create a moment in which a new world might be built from the ruins of the old.

Challenging conventional understandings of time and memory, Christopher T. Nelson examines how contemporary Okinawans have contested, appropriated, and transformed the burdens and possibilities of the past. Nelson explores the work of a circle of Okinawan storytellers, ethnographers, musicians, and dancers deeply engaged with the legacies of a brutal Japanese colonial era, the almost unimaginable devastation of the Pacific War, and a long American military occupation that still casts its shadow over the islands. The ethnographic research that Nelson conducted in Okinawa in the late 1990s—and his broader effort to understand Okinawans’ critical and creative struggles—was inspired by his first visit to the islands in 1985 as a lieutenant in the U.S. Marine Corps.Nelson analyzes the practices of specific performers, showing how memories are recalled, bodies remade, and actions rethought as Okinawans work through fragments of the past in order to reconstruct the fabric of everyday life. Artists such as the popular Okinawan actor and storyteller Fujiki Hayato weave together genres including Japanese stand-up comedy, Okinawan celebratory rituals, and ethnographic studies of war memory, encouraging their audiences to imagine other ways to live in the modern world. Nelson looks at the efforts of performers and activists to wrest the Okinawan past from romantic representations of idyllic rural life in the Japanese media and reactionary appropriations of traditional values by conservative politicians. In his consideration of eisā, the traditional dance for the dead, Nelson finds a practice that reaches beyond the expected boundaries of mourning and commemoration, as the living and the dead come together to create a moment in which a new world might be built from the ruins of the old.

Haunted by the past, ordinary Okinawans struggle to live with the unbearable legacies of war, Japanese nationalism, and American imperialism. They are caught up in a web of people and practices - living and dead, visible and immaterial - that exert powerful forces often beyond their control. In When the Bones Speak, Christopher T. Nelson examines the myriad ways contemporary Okinawans experience, remember, and contest sacrifice. He attends to the voices of those who find their vocation in service to others, from shamans, fortune-tellers, laborers, and artists to dead soldiers, war survivors, antiwar activists, and Christian missionaries. Nelson shows how the memories of past sacrifices, atrocities, and exploitation as well as residual trauma shape modern life in Okinawa and the possibility and hope for creative action grounded in the everyday. Offering new understandings of colonial transformation, wartime violence, and military occupation, Nelson writes from the intersection of temporalities and possibilities, where the hard finality of the past may be broken open to reveal a “not yet” that has always remained just beyond reach.

Haunted by the past, ordinary Okinawans struggle to live with the unbearable legacies of war, Japanese nationalism, and American imperialism. They are caught up in a web of people and practices - living and dead, visible and immaterial - that exert powerful forces often beyond their control. In When the Bones Speak, Christopher T. Nelson examines the myriad ways contemporary Okinawans experience, remember, and contest sacrifice. He attends to the voices of those who find their vocation in service to others, from shamans, fortune-tellers, laborers, and artists to dead soldiers, war survivors, antiwar activists, and Christian missionaries. Nelson shows how the memories of past sacrifices, atrocities, and exploitation as well as residual trauma shape modern life in Okinawa and the possibility and hope for creative action grounded in the everyday. Offering new understandings of colonial transformation, wartime violence, and military occupation, Nelson writes from the intersection of temporalities and possibilities, where the hard finality of the past may be broken open to reveal a “not yet” that has always remained just beyond reach.