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Ch.5: Haruomi Hosono and Japanese Self-Orientalism again showed how tricky Hosono was. The “Soy sauce music” defamiliarised the real Japan to mock the perception shaped by the west. In order to liberate his voice, he must reclaim the fantasy first. A contrast to the seemingly non-Japaneseness (actually Techno-orientalism) represented by the YMO.

Ch.5: Haruomi Hosono and Japanese Self-Orientalism again showed how tricky Hosono was. The “Soy sauce music” defamiliarised the real Japan to mock the perception shaped by the west. In order to liberate his voice, he must reclaim the fantasy first. A contrast to the seemingly non-Japaneseness (actually Techno-orientalism) represented by the YMO.

Ch.5: Haruomi Hosono and Japanese Self-Orientalism again showed how tricky Hosono was. The “Soy sauce music” defamiliarised the real Japan to mock the perception shaped by the west. In order to liberate his voice, he must reclaim the fantasy first. A contrast to the seemingly non-Japaneseness (actually Techno-orientalism) represented by the YMO.

Ch.5: Haruomi Hosono and Japanese Self-Orientalism again showed how tricky Hosono was. The “Soy sauce music” defamiliarised the real Japan to mock the perception shaped by the west. In order to liberate his voice, he must reclaim the fantasy first. A contrast to the seemingly non-Japaneseness (actually Techno-orientalism) represented by the YMO.

Ch.5: Haruomi Hosono and Japanese Self-Orientalism again showed how tricky Hosono was. The “Soy sauce music” defamiliarised the real Japan to mock the perception shaped by the west. In order to liberate his voice, he must reclaim the fantasy first. A contrast to the seemingly non-Japaneseness (actually Techno-orientalism) represented by the YMO.