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Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) Red Sonic Trajectories - Popular Music and Youth in China de Kloet, J. Publication date 2001 Link to publication Citation for published version (APA): de Kloet, J. (2001). Red Sonic Trajectories - Popular Music and Youth in China. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:08 Oct 2021 L4Trif iÏLK m BEGINNINGS 0 ne warm summer night in 1991, I was sitting in my apartment on the 11th floor of a gray, rather depressive building on the outskirts of Amsterdam, when a documentary on Chinese rock music came on the TV. I was struck by the provocative poses of Cui Jian, who blindfolded himself with a red scarf - stunned by the images of the crowds attending his performance, images that were juxtaposed with accounts of the student protests of June 1989; and puzzled, as I, a rather distant observer, always imagined China to be a totalitarian regime with little room for dissident voices. -
An Ideological Analysis of the Birth of Chinese Indie Music
REPHRASING MAINSTREAM AND ALTERNATIVES: AN IDEOLOGICAL ANALYSIS OF THE BIRTH OF CHINESE INDIE MUSIC Menghan Liu A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill Esther Clinton © 2012 MENGHAN LIU All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis project focuses on the birth and dissemination of Chinese indie music. Who produces indie? What is the ideology behind it? How can they realize their idealistic goals? Who participates in the indie community? What are the relationships among mainstream popular music, rock music and indie music? In this thesis, I study the production, circulation, and reception of Chinese indie music, with special attention paid to class, aesthetics, and the influence of the internet and globalization. Borrowing Stuart Hall’s theory of encoding/decoding, I propose that Chinese indie music production encodes ideologies into music. Pierre Bourdieu has noted that an individual’s preference, namely, tastes, corresponds to the individual’s profession, his/her highest educational degree, and his/her father’s profession. Whether indie audiences are able to decode the ideology correctly and how they decode it can be analyzed through Bourdieu’s taste and distinction theory, especially because Chinese indie music fans tend to come from a community of very distinctive, 20-to-30-year-old petite-bourgeois city dwellers. Overall, the thesis aims to illustrate how indie exists in between the incompatible poles of mainstream Chinese popular music and Chinese rock music, rephrasing mainstream and alternatives by mixing them in itself. -
Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)
"THE SCREAMING SUCCESSOR": EXPLORING THE CHINESE METAL SCENE IN CONTEMPORARY CHINESE SOCIETY (1996-2015) Yu Zheng A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2016 Committee: Jeremy Wallach, Advisor Esther Clinton Kristen Rudisill © 2016 Yu Zheng All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This research project explores the characteristics and the trajectory of metal development in China and examines how various factors have influenced the localization of this music scene. I examine three significant roles – musicians, audiences, and mediators, and focus on the interaction between the localized Chinese metal scene and metal globalization. This thesis project uses multiple methods, including textual analysis, observation, surveys, and in-depth interviews. In this thesis, I illustrate an image of the Chinese metal scene, present the characteristics and the development of metal musicians, fans, and mediators in China, discuss their contributions to scene’s construction, and analyze various internal and external factors that influence the localization of metal in China. After that, I argue that the development and the localization of the metal scene in China goes through three stages, the emerging stage (1988-1996), the underground stage (1997-2005), the indie stage (2006-present), with Chinese characteristics. And, this localized trajectory is influenced by the accessibility of metal resources, the rapid economic growth, urbanization, and the progress of modernization in China, and the overall development of cultural industry and international cultural communication. iv For Yisheng and our unborn baby! v ACKNOWLEDGMENTS First of all, I would like to show my deepest gratitude to my advisor, Dr. -
Maintaining the Rage
China Supplement 41 appearance. It should be noted, of the neighbourhood committees higher echelons of the party would however, that the mass-line in polic will aid the police in maintaining require a degree of political move ing was strengthened, not as a result social order in the community. What ment the current leadership is clear of the triumphant march forward of the mass line in policing is less com ly not willing to countenance. In socialism but, on the contrary, of a petent at doing—and in the present place of reform, the current leader crisis in policing brought on by political climate this is possibly a ship offers to resurrect Lei Feng and economic reform. fatal flaw— is policing middle and Mao. For all too many Chinese, how high ranking party and government ever, Lei Feng and Mao are not a Will such resurrections, then, lead officials who are involved in corrupt means by which China can go ‘back China ‘back to the future’, back to a practices. to the future' but are themselves popular/populist form of socialism? back in the past. For all too many Probably n ot, althou gh these The ultimate question, then, is not Chinese, it's now time to move for measures will continue to function whether we go ‘back to the future’ ward. adequately, to be maintained and but whether the mass line in polic even extended. Campaigns will ing is capable of doing anything lower—albeit temporarily—certain other than policing the masses. To MICHAEL DUTTON1 teaches in political science at Melbourne University. -
Western China, Popular Culture, and the Ambiguous Centrality of the Periphery Kevin Latham SOAS, University of London
Western China, Popular Culture, and the Ambiguous Centrality of the Periphery Kevin Latham SOAS, University of London his essay explores various diverse and divergent representations of Western China1 in Chinese media and popular culture with the aim of considering how they, and their reappropriations, reproductions, and reinventions still populate TChina’s contemporary cultural landscape. In this way the essay will identify ways in which the peripherality of Western China has played, and continues to play, a key role in the constitution of mainstream Chinese popular culture. In particular, the essay will focus on examples from three different periods of Chinese cultural history: the Ming dynasty novelJourney to the West, revolutionary popular culture of the 1950s and 1960s, and cinema and television in the early post- Mao period. 1 Defining “Western China” is already problematic. China’s Western Development Plan (see below) designates Western China as the six provinces of Gansu, Guizhou, Qinghai, Shaanxi, Sichuan, and Yunnan, as well as the five autonomous regions of Xinjiang, Tibet, Inner Mongolia, Guangxi, and Ningxia. Other Chinese government definitions of Western China leave out Inner Mongolia and Guangxi from this list and include the municipality of Chongqing. However, geographically, both of these definitions include some regions—such as Shaanxi and Guizhou—that are actually fairly “central” in location. Some Chinese participants in the Perth symposium pointed out that they and, by implication, some other Chinese would consider, in their popular imaginary, Sichuan, Shaanxi, and some areas of the Yellow River valley to be part of “Central” China. However, in this essay the term “Western China” does not refer to a rigidly defined geopolitical territory, nor do I seek to identify the geographical boundaries of popular conceptualizations of what is or is not Western or Central China. -
Eadbanging Against Repressive Regimes
Mark LeVine FREEMUSE (Freedom of Musical Expression) The World Forum on Music and Censorship is an international organisation advocating freedom of expression for musicians and composers worldwide OUR MAIN OBJECTIVES ARE TO – Document violations – Inform media and the public – Describe the mechanisms of censorship – Support censored musicians and composers – Develop a global support network eadbanging against YOU CAN SUPPORT US – VISIT FREEMUSE.ORG – the world’s largest knowledge base on music censorship H repressive regimes ensorship of heavy metal in the Middle East, C North Africa, Southeast Asia and China F R E E M U S E Y Mark LeVine eadbanging against H repressive regimes ensorship of heavy metal in the Middle East, CC North Africa, Southeast Asia and China F R E E M U S E 3 Headbanging against repressive regimes. Heavy metal in the Middle East, North Africa, Southeast Asia and China By Mark LeVine Published by Freemuse Editor-in-Chief: Marie Korpe Graphic design: Mik Aidt Cover: Guitarist of an Iranian heavy metal band Printed in Denmark by Special-Trykkeriet Viborg Report no. 09/2009 • © Freemuse 2009 • ISSN 1601-2127 • ISBN 978-87-988163-3-1 The views in the report do not necessarily represent the views of Freemuse. Other publications by Freemuse • ‘1st World Conference on Music and Censorship’, 2001, ISBN: 87-988163-0-6 • ‘Can you stop the birds singing? – The Censorship of Music in Afghanistan’ by John Baily, 2001, ISSN: 1601-2127 • ‘A Little Bit Special – Censorship and the Gypsy Musicians of Romania’ Y by Garth Cartwright, 2001, ISSN: 1601-2127 • ‘Playing With Fire – Fear and Self-Censorship in Zimbabwean Music’ by Banning Eyre, 2001, ISSN: 1601-2127 • ‘Which way Nigeria? – Music under threat: A Question of Money, Morality, Self-censorship and the Sharia’ by Jean Christophe Servant, 2003, ISSN: 1601-2127. -
Following the Footprints of Music in Tiananmen Square Protests Wang Meng
From the Highest Court to the Furthest Wasteland: Following the Footprints of Music in Tiananmen Square Protests Wang Meng Music has always been an important component of social movements. As the one and only protest of its scale and influence in China, the 1989 Tiananmen Square protests was a lively music venue. Protesters sang revolutionary songs and played rock music on cassette tapes players in the tent city. At night, the square turned into a concert and dance floor. (Gordon & Hinton, 1995) Cui Jian and Hou Dejian, the two most popular musicians at the time, performed for the protesters on the square. The singers’ featured songs, “Nothing to My Name” (Yiwusuoyou) and “Descendants of the Dragon” (Long de chuanren) became unofficial anthems of the protesters. Hou was deeply involved in the protest by joining the hunger strike initiated by Liu Xiaobo and was one of the negotiators at the dawn of June 4th with the military. In an interview with Tiananmen student leader Wuer Kaixi, he emphasized the importance of singers in the movement: “The people who are most influential among young people are not (the dissident intellectuals) Fang Lizhi and Wei Jingsheng, but singers such as Cui Jian.” (Huang, 2001) In Hong Kong, Concert for Democracy in China was held for 12 hours nonstop to raise money for the protesters on May 27th. After the crackdown, music became an important means of commemorating the protests and preserving memories and protecting legacies against state propaganda and collective amnesia. Even new generations who were born after 1989 wrote songs in memory of the protest. -
China Pop Love, Patriotism and the State in China’S Music Sphere
115 CHINA POP LOVE, PATRIOTISM AND THE STATE IN CHINA’S MUSIC SPHERE ANDREAS STEEN Popular culture in China is highly dynamic, involving individuals and private companies, both local and international, as well as state-governed institutions. The mass media and new communication technologies naturally play an impor- tant role in production, selection and dissemination, while also increasing in- teraction with international trends and standards. Sheldon H. Lu underscores popular culture’s importance in today’s China by emphasizing that it is “a dein- ing characteristic of Chinese postmodernity”.1 To him, three factors are crucial, namely it’s potential to undermine the censorship and “hard-line” cultural he- gemony of the Chinese Communist Party (CCP), its rise as a “major player in the commodiication process,” and “its sugar-coated apoliticism, [which] paciies the masses and represses the memory of China’s political reality” (ibid.). Popular cul- ture, therefore, is the battleground of various ideologies, forces and interests. Its ambivalent and complex entanglement with politics, society and the musical in- dustry is also addressed in the work of other scholars, such as Kevin Latham, who expresses that “understanding Chinese popular culture very often requires care- ful attention to how precisely the state is involved in and related to forms of social and cultural activity and practices. Popular culture does not exist outside of or in contrast to the state but very often in a constant and evolving dialogue with it.”2 This article looks at both conlicts and dialogue in the realm of popular music and attempts to lay out the main contours of China’s current popular music scene. -
Title the Cultural Politics of Introducing Popular Music Into China's
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by HKU Scholars Hub The cultural politics of introducing popular music into China's Title music education Author(s) Ho, WC; Law, WW Citation Popular Music And Society, 2012, v. 35 n. 3, p. 399-425 Issued Date 2012 URL http://hdl.handle.net/10722/175532 This is an electronic version of an article published in Popular Music And Society, 2012, v. 35 n. 3, p. 399-425. The Journal Rights article is available online at: http://www.tandfonline.com/doi/abs/10.1080/03007766.2011.5679 16 1 The Cultural Politics of Introducing Popular Music into China’s Music Education The Cultural Politics of Introducing Popular Music into China’s Music Education Wai-Chung Ho and Wing-Wah Law Since embarking on its course of economic reform and opening up to the world in the late 1970s, China has moved from a planned economy to a socialist-market economy; the resultant social and cultural changes have been many, and are reflected in the country’s school music curriculum. This paper first introduces the historical background of popular music in the community and in school music in China in the twentieth century. Second, it explores the reform of music education that has, from the turn of the millennium, included popular music in school music education. This is followed by a discussion of the integration of popular music into the school curriculum in terms of how music education and cultural politics are shaped by the social and political relationships between: (i) contemporary cultural and social values and traditional Chinese ideologies; (ii) collectivism and individualism; and (iii) nationalism and globalism. -
Accessing to Chinese Rock Music Wave from 1980S Through 1990S
2020-3929-AJHA 1 Accessing to Chinese Rock Music Wave from 1980s Through 2 1990s 3 4 Chinese rock music wave was a controversial cultural phenomenon from 1980s 5 through 1990s, which could be regarded as a prism of social changes in 6 contemporary China. It was usually regarded as a subversive subculture and 7 opposite to mainstream culture. This thesis tries to rethink the cliches of Chinese 8 rock music wave from an external sociological perspective as well as musical and 9 textual analysis. The emergence of Chinese rock music was deeply rooted in the 10 background of reform and opening up, in which the ideology and social structure 11 was undergoing a holistic change. By involving in the process of globalization, 12 cultural imports impacted Chinese contemporary cultural pattern. In the matter 13 artistic feature, contemporary culture in China was stratified into dominant 14 culture, elite culture, popular culture and folk culture. Chinese rock music makers 15 adopted and responded all the cultural patterns initiatively, rather than make a 16 voice of dissent on behalf of a certain minority. In the matter of participating 17 groups, many individuals lost or give up their original posts during the social 18 transformation and spill out of the social structure. They had different social 19 status and habitus (Bourdieu) previously, and, by entering into rock music circle, 20 facilitated the genesis of a social subfield. Conversely, as an emergent subfield, 21 Chinese rock music wave accommodated many scattered individual during the 22 social change. This thesis hereto conclude that the subversive figure is only a 23 superficially commercial tag. -
Rock and Roll and Its Cultural Legacy in Post-Socialist China" (2013)
Connecticut College Digital Commons @ Connecticut College East Asian Languages and Cultures Department East Asian Languages and Cultures Department Honors Papers 2013 Rock and Roll and its Cultural Legacy in Post- Socialist China Cameron Ruscitti Connecticut College, [email protected] Follow this and additional works at: http://digitalcommons.conncoll.edu/eastasianhp Part of the East Asian Languages and Societies Commons, and the Music Commons Recommended Citation Ruscitti, Cameron, "Rock and Roll and its Cultural Legacy in Post-Socialist China" (2013). East Asian Languages and Cultures Department Honors Papers. 5. http://digitalcommons.conncoll.edu/eastasianhp/5 This Honors Paper is brought to you for free and open access by the East Asian Languages and Cultures Department at Digital Commons @ Connecticut College. It has been accepted for inclusion in East Asian Languages and Cultures Department Honors Papers by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. Rock and Roll and its Cultural Legacy in Post-Socialist China An Honors Thesis Presented by Cameron Ruscitti To The Department of East Asian Languages and Cultures In partial fulfillment of the requirements for Honors in the Major Field Connecticut College New London, Connecticut May 3, 2013 Ruscitti 2 I would like to express my sincerest gratitude to: Professor Yibing Huang Professor Dale Wilson Professor Tek-wah King The Department of EALC CISLA Modern Sky Entertainment Peter Donaldson Jackie Zhang Mengyou Zhang and, of course, my family and friends Ruscitti 3 Introduction It has been said many times over that the current generation doesn’t need rock. -
Table of Contents and Contributors
Contents List of Entries viii List of Contributors ix Introduction and Acknowledgments xxx Joan Lebold Cohen xxxviii Volume 1 Abacus to Cult of Maitreya Volume 2 Cultural Revolution to HU Yaobang Volume 3 Huai River to Old Prose Movement Volume 4 Olympics Games of 2008 to TANG Yin Volume 5 Tangshan Earthquake, Great to ZUO Zongtang Image Sources Volume 5, page 2666 Index Volume 5, page 2667 © 2009 by Berkshire Publishing Group LLC List of Entries Abacus Asian Games BORODIN, Mikhail Academia Sinica Asia-Pacific Economic Cooperation Boxer Protocol (Xinchou Treaty) Acrobatics Atheism Boxer Rebellion Acupuncture Australia China Friendship Society Boycotts and Economic Adoption Australia-China Relations Nationalism Africa-China Relations Auto Industry BRIDGMAN, E. C. Agricultural Cooperatives Autonomous Areas British American Tobacco Movement BA Jin Company Agriculture Bamboo British Association for Chinese Agro-geography Bank of China Studies American Chamber of Commerce Banking—History British Chamber of Commerce in in China Banking—Modern China Ami Harvest Festival Banque de l’Indochine Bronzes of the Shang Dynasty An Lushan (An Shi) Rebellion Baojia Brookings Institution Analects Baosteel Group Buddhism Ancestor Worship Beijing Buddhism, Chan Anhui Province Beijing Consensus Buddhism, Four Sacred Sites of Antidrug Campaigns Bian Que Buddhism, Persecution of Anti-Spiritual Pollution Campaign Bianzhong Buddhism, Pure Land Anyang Bishu Shanzhuang Buddhism, Tibetan Aquaculture Black Gold Politics Buddhist Association of China Archaeology and