Not so many young people are interested in traditional music,’ but this Akita, Japan group aims to change that. Japan Folk Song Umewaka Group

Folk music may sound vastly different from region to region, but its foundations rarely alter. Life, love and — most importantly — drink have been the cornerstones of a good tune since man made his first melody.

Case in point? Witness Akita, Japan's Japanese Folk Song Musicians, a troupe of minstrels dedicated to its particular corner of the globe and its own storied past. Performing what is known as the Umewaka style of Min'yo (traditional folk songs), this collective celebrates one of the country's richest pools of traditional music, a dedication it is slated to bring to Canada for the first time ever this month.

“Each area in Japan has its own songs and styles, which are deeply rooted in the community. Most of the songs came from their work, stories, drinking parties and festivals,” explains Yukiko Tsutsui, a former Akita resident who relocated to Banff in 2005 to become a musician and host of the Japanese Musiquest show on Nelson's Kootenay Co-op Radio. A devout fan of Umewaka Min'yo, Tsutsui has been brought on as tour co-ordinator for Japanese Folk Song Musicians.

“It is said that Akita has the largest number of Min'yo songs in Japan,” she continues. “There were so many unknown songs, they didn't even have titles. [Group founder] Umewaka Asano organized every Min'yo song in Akita. There are several styles in Akita, like Mutsumi-kai for example, but all of them perform the same songs Umewaka organized.”

To that extent, Japanese Folk Song Musicians have become heralded as the genre's greatest asset. Led by renowned Shamisen (a three-stringed instrument) player Michitsugu Umewaka, the collective — completed by Eriko Asano (vocals), Haruka Asano (vocals, Taiko drum), Tetsuya Fujii (Shakuhachi, a bamboo flute) and Shuichiro Asano (Shamisen) — has been honoured with innumerable awards for its inimitable grace in performing these legendary songs.

Its greatest accomplishment, however, is attaining Japan's most prestigious grant, the Arts and Cultural Exchange Program, a fund which allows the troupe the financial means to realize this inaugural tour of Canada with a stop at Calgary's Central United Church on June 12. While the endeavour breeds excitement amongst the players, for Michitsugu in particular, it is of even greater significance. Having lived in Calgary from 2004 to 2008 in order to introduce Japanese-Canadians to traditional Japanese music, the excursion is also a homecoming of sorts, whereby he hopes to compel younger audiences to embrace their heritage.

“He feels it is very important to bring this traditional Japanese music to the younger generation,” Tsutsui states. “Many Min'yo musicians and listeners are seniors. Not so many young people are interested in traditional music. They are more into pop, rock, hip hop, R&B... those kind of major music genres. He is really wishing they'll become interested in this traditional music. Moreover, he feels it is important that they also perform this traditional music to deliver to the younger people.”

Regardless of attendees’ ages, Japanese Folk Song Musicians are clearly excited at this once-in-a-lifetime opportunity. Still, it does come with a price. Many of the performers have never set foot outside of Japan, much less engaged in conversation other than via their native tongue. Tsutsui admits it should make for an interesting time.

“This is definitely a rare opportunity to see the first-class Min'yo,” she says. “We are looking very forward to seeing everyone and hope these performances will be a cultural bridge between Canada and Japan... [but] all the members except for Michitsugu have never been to any foreign countries and don't speak English. They're very excited to deliver the traditional music from their hometown but at the same time, they're a bit nervous. If you've seen Lost in Translation, I think maybe the same kind of things happen to them.”