A Contemporary History of the Chinese Zheng traces the twentieth- and twenty-first-century development of an important Chinese musical instrument in greater China.The zheng was transformed over the course of the twentieth century, becoming a solo instrument with virtuosic capacity. In the past, the zheng had appeared in small instrumental ensembles and supplied improvised accompaniments to song. Zheng music became a means of nation-building and was eventually promoted as a marker of Chinese identity in Hong Kong. Ann L. Silverberg uses evidence from the greater China area to show how the narrative history of the zheng created on the mainland did not represent zheng music as it had been in the past. Silverberg ultimately argues that the zheng’s older repertory was poorly represented by efforts to collect and promote zheng music in the twentieth century. This book contends that the restored “traditional Chinese music” created and promulgated from the 1920s forward—and solo zheng music in
A global, useable history of feminism that incorporates alternative starting points and new thinkers, challenging the presumed priority of European feminism and offering a reinterpretation of the historical record. Feminism's origins have often been framed around a limited cast of mostly white and educated foremothers, but the truth is that feminism has been and continues to be a global movement. For centuries, women from all walks of life have been mobilizing for gender justice. As the last decade has reminded even the most powerful women, there is nothing "post-feminist" about our world. And there is much to be learned from the passion and protests of the past. Historian Lucy Delap looks to the global past to give us a usable history of the movement against gender injustice--one that can help clarify questions of feminist strategy, priority and focus in the contemporary moment. Rooted in recent innovative histories, the book incorporates alternative starting points and new thinkers
“This publication assembling the practices and discourses of ‘Asian contemporary performance’ is assuredly a statement of ‘the world we have made’ for the now and the future, as well as a means of connecting TPAC and other ‘worlds.’ ”－Ruo-Yu LIU, Chairwoman of Taipei Performing Arts Center“While it is now hardly unusual to find choreographers working in an exhibition setting, or visual artists performing on a stage, it is still rare to see practitioners from the different fields working together, as can be found at ADAM.”－John Tain, Head of Research at Asia Art Archive“With various understandings from multiple disciplines, life journeys and international practices, this publication is neither a collected manifesto, nor an imprint of harmony and integration. On the contrary, it is the very embodiment of incarnations and trajectories of the world history and the network of contemporary corporeality.”－Chun-Yen WANG, Art Critic“The anthology sheds light on contemporary, situated approaches
A gripping middle-grade history that offers a fresh look at the groundbreaking 1963 March on Washington for Jobs and Freedom by spotlighting the protest's radical roots and the underappreciated role of Black women--includes a wealth of contemporary black-and-white photos throughout. Six decades ago, on August 28, 1963, Dr. Martin Luther King Jr. delivered his iconic "I Have a Dream" speech during the March on Washington for Jobs and Freedom--a moment often revered as the culmination of this Black-led protest. But at its core, the March on Washington was not a beautiful dream of future integration; it was a mass outcry for jobs and freedom NOW--not at some undetermined point in the future. It was a revolutionary march with its own controversies and problems, the themes of which still resonate to this day. Without diminishing the words of Dr. King, More Than a Dream looks at the march through a wider lens, using Black newspaper reports as a primary resource, recognizing the overlooked wo
Internationally renowned and a crucial classroom text, The Arts of China has been revised and expanded by the late Michael Sullivan, with Shelagh Vainker. This new, sixth, edition has an emphasis on Chinese art history, not as an assemblage of related topics, but as a continuous story. With updated attributions and dating throughout and a revised bibliography, it reflects the latest archaeological discoveries, as well as giving increased attention to modern and contemporary art and to calligraphy throughout China’s history, with additional discussions of work by women artists. Visual enhancements include all new maps, and approximately one hundred new color illustrations—bringing the total to well over four hundred color illustrations.Written in the engaging and lucid style that is Sullivan's hallmark, The Arts of China is readily accessible to general readers as well as to serious students of art history. Sullivan's approach remains true to the way the Chinese themselve
Where Are the People?How Could the People’s Bodies Voice Themselves in the Form ofTheatrical Aesthetics?At That Time, the Audience Really Stood Up.In this evening, theater practitioners initiated the conversation with physical action. They engage with contemporary issues through their unique performance styles. From a discursive context, they enter the scene of resistance and undertake the labor of performance. Their performance is not just the preface to a series of dialogues, but also a witness to thirty years of People’s Theater.“People’s theater” belongs to the people.It is the theater created by the people and speaks for the people as it has appeared in history in diverse forms.People theater in Inter-Asian Societies began to grow in a cross-region, which included Jakarta, Manila, Bangkok, Kuala Lumpur, Hong Kong, Tokyo, Busan, Maputo, Beijing, Shanghai, Hualien, Taichung, and Taipei. Through the writings and images written down by theatrical artists from these spaces, we can figu
