The popular genre of sung and spoken performance—naniwabushi—was the biggest ‘craze’ during the first decade of the twentieth century in Japan. This article uncovers how Miyazaki Tōten (1870–1922), a revolutionary and thinker who became a naniwabushi balladeer, was instrumental in the rise of naniwabushi as a popular art form during the Russo-Japanese transwar period (1902–1909) and used it to engage in a practice of nihilist democracy. In using a transwar frame to examine the content, audiences, and contemporary reports of his performances, this article concludes that Miyazaki Tōten created ‘new’ naniwabushi to deliberately link the techniques and rhetoric of the Freedom and People’s Rights Movement from the 1880s to the Russo-Japanese War (1904–1905). He used naniwabushi to articulate his concepts of autonomous freedom, nihilism, and anarchist communitarianism in a time usually characterized by the heavy suppression of dissent. It counters the impression of the wholesale embrace of nationalism and support for Japanese imperialism and shows how Japan’s urban poor engaged in political discourse through popular entertainment that was critical of Japanese imperialism.

中文翻译：

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落花之歌：宫崎藤天和浪速的制作作为跨战时期日本民众异议的一种方式，1902年至1909年

流行的歌唱和口语表演类型——浪速——是二十世纪头十年日本最大的“热潮”。本文揭示了革命者和思想家宫崎东天（1870-1922）如何成为一名浪速Balladeer，在崛起中发挥了重要作用浪速作为日俄跨战时期（1902-1909）的一种流行艺术形式，并用它来从事虚无主义民主的实践。在使用跨战框架来审视其表演的内容、观众和当代报道时，本文得出的结论是宫崎东天创造了“新”浪速故意将1880年代自由民权运动的技巧和言论与日俄战争（1904-1905）联系起来。他曾经浪速在一个通常以严厉镇压异议为特征的时代，阐明他的自主自由、虚无主义和无政府主义社群主义的概念。它反驳了人们普遍拥护民族主义和支持日本帝国主义的印象，并展示了日本城市贫民如何通过批评日本帝国主义的大众娱乐参与政治言论。