Sho Asano: Performing Arts and Empathy

Since ancient times, performing arts have existed wherever people gather. I used to believe that the reason culture and performing arts attract people lay in the technique and beauty of expression. However, I now believe that the true nature of the center of a circle of people is the instinctive human function of "empathy" that occurs through performing arts. Since I began thinking this way, I have been able to love my "individuality" more. As a result, the sound I produce has changed, and I have been able to overcome technical barriers that I could not cross before.

Since debuting as a professional at the age of 17, it hasn't always been easy. Especially until my mid-20s, I was constantly worrying about what moving music was and whether my musicality was wrong. I think my desire for someone to "recognize me" was manifesting too strongly. I went through a process of trial and error, changing the thickness of the shamisen skin and the material and size of the plectrum (bachi), and I would get depressed when things didn't go well, only to pull myself together again—those days continued until quite recently. However, now I have relaxed, the pressure is gone, and I have returned to the feeling I had when I simply couldn't help but enjoy playing the shamisen.

Folk songs (min'yo) are one of the musical genres inseparable from the Tsugaru Shamisen. At one time, folk songs were a huge hit throughout Japan. However, times have changed, and it is rare for today's youth to "empathize" with folk songs. Therefore, while continuing new challenges such as collaborations with jazz, pop, and folk arts from various countries, I want to develop folk songs into music that a wide range of generations can "empathize" with. Furthermore, I want to convey the excellence of folk songs as a classical performing art and the inherent wonder of the shamisen not only to Japan but to the world.

As 2020 begins, the Tokyo Olympics will finally be held this year. Now that the world is focusing on Japan, one of my major themes over the past few years has been what kind of music and entertainment I should transmit to the world as someone involved in Japanese traditional performing arts. I want to make the shamisen a global instrument like the guitar, banjo, or violin.

I do not believe that borders, races, and cultures can be crossed so easily. However, I have a dream. "Music that all of humanity can empathize with"—this is my grand dream.