This book explores dance and choreography as sites for the articulation of new theoretical and historical paradigms in inter-Asia cultural studies. It covers a range of dance works, artists, genres, and media, from Kathak to K-pop flash mob dance, Cold War diplomacy to avant-garde dance collaborations, and festival dance to dance on screen.
This book explores dance and choreography as sites for the articulation of new theoretical and historical paradigms in inter-Asia cultural studies. It covers a range of dance works, artists, genres, and media, from Kathak to K-pop flash mob dance, Cold War diplomacy to avant-garde dance collaborations, and festival dance to dance on screen.
Emily Wilcox is Associate Professor of Chinese Studies at William & Mary, USA. She is the author of Revolutionary Bodies: Chinese Dance and the Socialist Legacy, co-editor of Corporeal Politics: Dancing East Asia, and co-creator of the Chinese Dance Collection at the University of Michigan. Her co-edited book Teaching Film from the People's Republic of China will be published in 2024. Soo Ryon Yoon researches performance and racial-gender politics in Korea. She has written for positions: asia critique, Performance Research, Corporeal Politics: Dancing East Asia, and Realisms in East Asian Performances among others. Yoon has taught at Northwestern University, Yale University, Lingnan University, and Ewha Womans University. She is currently a National Research Foundation Academic Research Professor at the Institute for East Asian Studies, Sungkonghoe University.
Inhaltsangabe
Introduction 1. "Gangnam Style" in Dhaka and inter-Asian refraction 2. Performing Bandung: China's dance diplomacy with India, Indonesia, and Burma, 1953-1962 3. Choreographing neutrality: dance in Cambodia's Cold War diplomacy in Asia, 1953-1970 4. Geographies of the classical: Kathak across India and Hong Kong 5. Inter-Asian dance as method, artistic research as method: Nam Hwayeon's work on Choi Seung-hee 6. The aesthetics of intercultural method: from process to procession in new Indonesian and Indo-Australian dance 7. Bharatanatyam and Buddhist diplomacy: inter-Asia significations in Santha Bhaskar's Anweshana: The Search for Nalanda 8. "The nightingale is a graceful dancer": Bulbul Chowdhury, dance heritage, and the new nation-state of Pakistan 9. Dancers in the Japanese entertainment troupe of comfort in the 1940s: traveling along the Burma-China frontline 10. Dancing me from South to South: on Wu-Kang Chen and Pichet Klunchun's intercultural performance 11. Japanese dancers, Bollywood dance: finding authenticity at Tokyo's Namaste India Festival 12. Multicultural dance-making in Singapore: Merdeka, youth solidarity and cross-ethnicity, 1955-1980s
Introduction 1. "Gangnam Style" in Dhaka and inter-Asian refraction 2. Performing Bandung: China's dance diplomacy with India, Indonesia, and Burma, 1953-1962 3. Choreographing neutrality: dance in Cambodia's Cold War diplomacy in Asia, 1953-1970 4. Geographies of the classical: Kathak across India and Hong Kong 5. Inter-Asian dance as method, artistic research as method: Nam Hwayeon's work on Choi Seung-hee 6. The aesthetics of intercultural method: from process to procession in new Indonesian and Indo-Australian dance 7. Bharatanatyam and Buddhist diplomacy: inter-Asia significations in Santha Bhaskar's Anweshana: The Search for Nalanda 8. "The nightingale is a graceful dancer": Bulbul Chowdhury, dance heritage, and the new nation-state of Pakistan 9. Dancers in the Japanese entertainment troupe of comfort in the 1940s: traveling along the Burma-China frontline 10. Dancing me from South to South: on Wu-Kang Chen and Pichet Klunchun's intercultural performance 11. Japanese dancers, Bollywood dance: finding authenticity at Tokyo's Namaste India Festival 12. Multicultural dance-making in Singapore: Merdeka, youth solidarity and cross-ethnicity, 1955-1980s
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