By Hae-kyung Um
In an age of globalization, functionality is more and more drawn from intercultural creativity and found in multicultural settings. This quantity is the 1st to target the appearing arts of Asian diasporas within the context of modernity and multiculturalism. The essays find the modern acting arts as a discursive box within which the limits among culture and translation, and authenticity and hybridity are redefined and negotiated to create a mess of which means and aesthetics in worldwide and native contexts.With contributions from students of Asian experiences, theatre reports, anthropology, cultural reports, dance ethnology and musicology, this actually interdisciplinary paintings covers each element of the sociology of functionality of the Asian diasporas.
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Additional info for Diasporas and Interculturalism in Asian Performing Arts: Translating Traditions (Routledgecurzon--Iias Asian Studies Series)
Sample text
And if in the process they make money for themselves and for the modernizing Chinese state who would begrudge them? In the case of the minorities, tourists visit ethnic villages wishing to see the ‘real’ culture before it is swept away by modernization. One scholar has described the ascendancy of the tourism promoted by the state and capitalist elites in China and elsewhere as ‘a triumph of “false modernity”’. On the other hand, he is not nearly so hard on the villagers whom these tourists visit.
This was because foreigners withdrew or held back their investments, but Chinese capital from abroad tended to fill the gap left by the partial Western and Japanese withdrawal. Yen Ching-hwang (1998: 166–7) claims ‘[t]he huge Overseas Chinese investments in Guangdong, Fujian and other coastal provinces are among the main causes for the rapid economic transformation of these regions’. The cultural and social interconnections these investments have brought with them have also been immense. The Chinese diasporas have exercised a very lively impact on Chinese lifestyle, ideas and cultural tastes, including in the performing arts, and have themselves been heavily influenced by the PRC.
It became increasingly difficult for troupes to survive financially, let alone make profits, due to declining audiences. There was a variety of reasons for the dwindling numbers in audiences, but the rise of television was certainly a major one. The 1989 crisis certainly did no good to theatre, because it temporarily reversed the weakening force of censorship without the funds of the past. After a brief period of uncertainty, the 1990s saw gathering momentum in the commercialization of Chinese society, with nationalism replacing Marxism/Leninism in ideological terms.