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“[Jang] is someone who, in his youth, spent a lot of time in the trenches in terms of collegiate civil rights activism,” Kim said.
Asai talked about Jang’s use of purely instrumental music as a medium for advocacy.
“[Music] has been an important vehicle for social and political expression,” Asai said. “Lyrics help communicate ideas, but sometimes music has a certain energy and, depending on the context, you don’t need to have lyrics… the context itself speaks for the music.”
Asai also spoke of Jang’s use of jazz along with symphonic, gospel and Asian music styles to produce an original sound.
“Jazz is quite an open form, so you can create some interesting hybrid music with it,” she said.
Asai offered her perspective on America’s race relations as well.
“The problem is the racial dialogue in this country is between black and white,” Asai said. “Asians are not part of that conversation. Neither are Latinos. So there’s a certain invisibility that goes along with that.”
Asai said that the attention Jang’s works bring to Asian-American history is important because this narrative is rarely presented elsewhere.
“A lot of people don’t even know about the concentration camps for Japanese-Americans during World War II,” Asai said. “That history has been spotty in textbooks and in classrooms.”
Jang continues to work to improve diversity in music, even within his own ensembles.
“My ensembles in the ‘80s were predominantly men, but I’m trying to change that and I’m also trying to include young people,” he said. “The role of the artist is to interpret the past, define the present and to imagine the future.”
Photo courtesy Northeastern Center for the Arts