To begin an examination of sonic infrastructures in Nairobi that construct and sustain an imaginary of China-Kenya relations, this paper focuses on the “remixing” of Chinese kung fu films by Kenyan DJs. I explore the work of and discourse around DJ Afro, a celebrated Kenyan popular culture figure renowned for his manipulation of foreign film soundtracks and multilingual narrations in Swahili, Sheng, English, and various Kenyan indigenous languages. DJ Afro is particularly well known for his remixes of Chinese kung fu films, such as the 1978 Drunken Master. His narrations, which use the plot and characters of films as a template to construct localized meanings, often deviate from the original story of the films altogether. This practice of remediation has shaped the musical imaginaries of Kenyan musicians, including gospel singer Jabadii and producer Slikback. Both artists have released music that lyrically and musically address China-Kenya engagements and note, in my interviews with them, the “remixed” films as key sources of inspiration. By examining DJ Afro’s work and audience, his film narration practices, and the circulation of his “remixes” in makeshift theaters and movie shops, I draw attention to an informal mediatization of “China” in Kenya. I address the cultural conception of DJs in Kenya and their role in facilitating global cultural flows. Moreover, I argue that the creative processes through which Kenyan DJs and musicians vernacularize Chinese sounds, signs, and stories not only produce a local Kenyan cosmopolitanism but also a critical source of revenue for the Kenyan creative industry.

In this article, I discuss the process of building a community through the musical practice of taiko, addressing aspects related to the production of locality, identity, and the creation of a network of relationships among Japanese-Brazilians and lovers of Japanese culture in the city of Atibaia, Brazil. Taiko groups are percussive sets of traditional drums originating in Japan from the 1950s that have spread around the world, mainly in immigrant communities. In Brazil, the proliferation of the practice began in the 2000s, with the arrival of sensei Yukihisa Oda in the country. Employing an ethnographic perspective, which encompasses participant observation, interviews, analysis of audio/video material, and bibliographical survey, I narrate events experienced in a three-year fieldwork (2020-2023) with Kawasuji Seiryu Daiko, the group of Japanese drums from Atibaia, a relevant Japanese-Brazilian community in São Paulo state. From this experience in the field, it will be possible to investigate how a communal musical practice could be used as a tool for well-being and quality of life for its participants through the sharing of a vast joint repertoire, which encompasses signs of Japanese culture and the use of their own vocabulary, configuring a symbolic rediscovery for many descendants and lovers of Asian culture. This practice can also be used as an expression of relationships, identity, and belonging. Furthermore, the article seeks to discuss how taiko performances can impact the way in which members of this community are seen by the society that surrounds them, debating stereotypes and prejudices.

In the early 1980s, Hip-Hop music made its entry into the popular music scene in Japan. After over 40 years of development, the most vibrant scene today is being energized by rappers from Okinawa, the prefecture that has hosted 32 United States military bases since the Pacific War. Okinawan Hip-Hop's close ties to American culture have significantly influenced its development and contributed to its vibrancy in the contemporary Hip-Hop music scene in Japan. The lyrics and themes of Okinawan Hip-Hop artists often narrate the struggles, aspirations, and experiences of the locals, shedding light on issues such as identity, social challenges, and the impact of the U.S. Military Base. The genre has become a powerful means of expression for the Okinawan people, granting them a voice to share their perspectives and stories.

In 2023, the compilation album "098RADIO vol.1" was released, featuring songs from various artists from Okinawa. Awich, a female rapper representing Japan and hailing from Okinawa, was the mastermind behind this project. The album had evolved and integrated with Okinawan dialect and culture, resulting in a unique blend of traditional Okinawan elements and contemporary Hip-Hop styles. Based on music analysis, primary sources and fieldwork in Japan, I explore the intricate interplay of music and memory within the context of Okinawan popular music, shedding light on how its distinct and nostalgic qualities serve as reflections of Okinawan cultural and political identities, regional and national affiliations, longstanding and contentious U.S. military presence as well as a distant Other to mainland Japan.