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'We Are a Family'
‘WE ARE A FAMILY’ Small-town and Rural LGBTQ+ Queering Identity, Kinship and Familial Ties in Today’s China Sini Häyrynen Pro gradu East-Asian studies Faculty of Arts University of Helsinki May 2020 Tiedekunta – Fakultet – Faculty Koulutusohjelma – Utbildningsprogram – Degree Programme Humanistinen Itä-Aasian tutkimuksen maisteriohjelma Opintosuunta – Studieinriktning – Study Track Kiinan aineenopettajalinja Tekijä – Författare – Author Häyrynen Sini Iida Johanna Työn nimi – Arbetets titel – Title ‘We are a family’ – small-town and rural LGBTQ+ queering identity, kinship and familial ties in today’s China Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Pro gradu Toukokuu 2020 70 Tiivistelmä – Referat – Abstract Pro gradu-tutkielma ‘We are a family’ – Small-town and Rural LGBTQ+ Queering Identity, Kinship and Familial Ties in Today’s China on queerfeministiseen tutkimusteoriaan ja metodiikkaan pohjautuva kvalitatiivinen tutkimusprosessi, joka on toteutettu yhteistyössä kahdeksan mannerkiinalaisen, maaseudulta tai pikkukaupungeista Pekingiin, Shanghaihin ja Guangzhouhun muuttaneen queer-identifioituvan henkilön kanssa. Tutkielma keskittyy tarkastelemaan näiden kahdeksan henkilön elämää, haasteita ja haaveita sekä yksilötasolla että siinä yhteiskunnallisessa ja kulttuurisessa kontekstissa, joka muokkaa heihin kohdistuvia odotuksia ja sosiaalisia paineita. Tutkielmassa pyritään tietoisesti kohtaamaan haastateltavat yhteistyökumppaneina, joiden kanssa käydään keskustelua ennen ja jälkeen -
The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality. -
The New Chinese Documentary Film Movement for the Public Record
The New Chinese Documentary Film Movement For the Public Record Edited by Chris Berry, Lu Xinyu, and Lisa Rofel Hong Kong University Press The University of Hong Kong Pokfulam Road Hong Kong www.hkupress.org © 2010 Hong Kong University Press ISBN 978-988-8028-51-1 (Hardback) ISBN 978-988-8028-52-8 (Paperback) All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without prior permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. 10 9 8 7 6 5 4 3 2 Printed and bound by CTPS Digiprints Limited in Hong Kong, China Table of Contents List of Illustrations vii List of Contributors xi Part I: Historical Overview 1 1. Introduction 3 Chris Berry and Lisa Rofel 2. Rethinking China’s New Documentary Movement: 15 Engagement with the Social Lu Xinyu, translated by Tan Jia and Lisa Rofel, edited by Lisa Rofel and Chris Berry 3. DV: Individual Filmmaking 49 Wu Wenguang, translated by Cathryn Clayton Part II: Documenting Marginalization, or Identities New and Old 55 4. West of the Tracks: History and Class-Consciousness 57 Lu Xinyu, translated by J. X. Zhang 5. Coming out of The Box, Marching as Dykes 77 Chao Shi-Yan Part III: Publics, Counter-Publics, and Alternative Publics 97 6. Blowup Beijing: The City as a Twilight Zone 99 Paola Voci vi Table of Contents 7. -
“MY LIFE IS TOO DARK to SEE the LIGHT” a Survey of the Living Conditions of Transgender Female Sex Workers in Beijing and Shanghai
“MY LIFE IS TOO DARK TO SEE THE LIGHT” A Survey of the Living Conditions of Transgender Female Sex Workers in Beijing and Shanghai C Based on research in Beijing and Shanghai, China this report focuses on the daily life, working conditions, access to services, and legal frameworks for transgender female sex workers in China. Transgender female sex workers face a broad array of discrimination in social and policy frameworks, preventing this highly marginalized group’s access to a wide spectrum of services and legal protections. They experience amplifed stigma due to both their gender identity and their profession. Isolated and often humiliated when seeking public services, particularly in health care settings, has also led many to self-medicate and engage in dangerous transitioning practices, including on self-administered hormone use. In China, transgender people do not necessarily face outright legal penalties, but the absence of non- discrimination laws and lack of enforcement of overarching policies on non-discriminatory access to healthcare and HIV related services, means they are left without efective protection. As sex work is illegal in China, transgender sex workers are further oppressed by the police and, due to social and other factors, engage in high risk activities that put them at increased risk of HIV and STD infection. The research for this report illuminates that the community of female presenting sex workers is very complex and includes men who have sex with men, transgender individuals, and transsexuals. Their vulnerabilities to HIV and their varied health needs need to be carefully assessed, strategically targeted, and addressed. As China is in the process of drafting a new HIV/AIDS action plan for 2016-2020, now is a good opportunity to develop a specifc strategy on HIV prevention and care for the transgender community. -
THE HUKOU Advertising Hotline Is China's Internal Passport Here to Stay?
Follow Us on WeChat Now that's guangzhou that's shenzhen China Intercontinental Press THE HUKOU Advertising Hotline Is China's Internal Passport Here To Stay? 城市漫步珠三角 PLUS: 英文版 3 月份 Win a Stay at Banyan Tree Lijiang with the That's AR App 国内统一刊号: MARCH 2017 CN 11-5234/GO China Goes Mad for Beef An Interview with Amy Tan that’s PRD 《城市漫步》珠江三角洲 英文月刊 主管单位 : 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 : 五洲传播出版社 地址 : 北京西城月坛北街 26 号恒华国际商务中心南楼 11 层文化交流中心 11th Floor South Building, Henghua lnternational Business Center, 26 Yuetan North Street, Xicheng District, Beijing http://www.cicc.org.cn 总编辑 Editor in Chief of China Intercontinental Press: 慈爱民 Ci Aimin 期刊部负责人 Supervisor of Magazine Department: 邓锦辉 Deng Jinhui 编辑 : 梁健 发行 / 市场 : 黄静 李若琳 广告 : 林煜宸 Editor in Chief Jocelyn Richards Shenzhen Editor Sky Thomas Gidge Senior Digital Editor Matthew Bossons Shenzhen Digital Editor Bailey Hu Senior Staff Writer Tristin Zhang Editorial Assistant Ziyi Yuan National Arts Editor Andrew Chin Contributors Dr. Hsing K. Chen, Iain Cocks, Lena Gidwani, Mia Li, Noelle Mateer, Thomas Powell, Betty Richardson, Tongfei Zhang HK FOCUS MEDIA Shanghai (Head Office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 传真 : Guangzhou 上海和舟广告有限公司广州分公司 广州市麓苑路 42 号大院 2 号楼 610 室 邮政编码 : 510095 Rm 610, No. 2 Building, Area 42, Luyuan Lu, Guangzhou 510095 电话 : 020-8358 6125 传真 : 020-8357 3859 - 816 Shenzhen 深圳联络处 深圳市福田区彩田路星河世纪大厦 C1-1303 C1-1303, Galaxy Century Building, Caitian Lu, Futian District, Shenzhen 电话 : 0755-8623 3220 传真 : 0755-6406 8538 Beijing 北京联络处 北京市东城区东直门外大街 48 号东方银座 C 座 G9 室 邮政编码 : 100027 9G, Block C, Ginza Mall, No. -
Danceinternational Journey to Soif
$7.50 • SUMMER 2014 INTERNATIONAL danceGinette Laurin’s Journey to Soif A New Danseur Noble Crazy Cabaret Girls Galleryspace La Monarca GLOBAL REPORTS: FLAMENCO MEN IN JEREZ, ROMEO AND JULIET IN WINNIPEG, BACKSTAGE AT THE BOLSHOI PMA No.40050848 INTERNATIONAL danceCLASSICAL AND CONTEMPORARY DANCE IN CANADA AND ABROAD SUMMER 2014 VOL. 42 No. 2 Publisher Vancouver Ballet Society Editor Kaija Pepper Shakespeare’s Romeo and Juliet features a female Copy Editor Margaret Jetelina lead who goes through an intense emotional jour- Web Administrator & Gabriele Walkow Social Media Manager ney within the story’s tight time frame. The es- Web Design Spry sential Juliet is about tempestuous first love, but Art Direction, Design Brenda Finamore the enriching details are up to the actress/balle- & Production rina playing her. Fulfillment The Oyster Group The two ballet productions I’ve seen so far this Printing Horseshoe Press Inc. year had memorable Juliets. The Royal Winnipeg Photo: Steven Lemay Steven Photo: Mailing Mail-O-Matic Ballet’s delicate heroine — in Rudi van Dantzig’s Advertising Kelsey Jorssen 1967 version — was made even more ethereal by pink satin pointe shoes, whether danced by Amanda Green, Elizabeth Lamont or Sophia Lee (yes, DANCE INTERNATIONAL is published quarterly by the Vancouver Ballet Society and is available by I saw all three casts, on tour in Vancouver). By contrast, on my recent visit membership in the society or by subscription. to Dresden, the Semperoper Ballett’s Julia Weiss — in Stijn Celis’ 2013 con- Opinions expressed within are those of the temporary telling — was a thrillingly grounded young woman in white shirt, authors and do not necessarily represent the shorts and shoes. -
Royal Winnipeg Ballet
UNIVERSITY MUSICAL SOCIETY ROYAL WINNIPEG BALLET Monday Evening, November 19, 1990, at 8:00 Power Center for the Performing Arts Ann Arbor, Michigan Betty Family and Gweneth Lloyd, Founders Arnold Spohr, Artistic Director Emeritus John Meehan, Artistic Director William Riske, General Manager Earl Stafford, Music Director and Conductor Mark Godden, Resident Choreographer Andre Lewis, Associate Artistic Director David Moroni, School Director Dancers Laura Graham Evelyn Hart* Elizabeth Olds Stephen Hyde John Kaminski Runsheng Ying Caroline Gruber Suzanne Rubio Deborah Washington Mark Godden Diane Buck Tamara Hoffmann Mardyne Davey Gino Di Marco Jorden Morris Amy Brogan Tracy Koga Sara Mau Nina Menon Gisele Plourde Kerrie Souster Gail Stefanek Richard Dagenais Michel Faigaux Eric Hounsell David Lucas Andrew Robertson Eric Wolfram Apprentices: Cindy Winsor, Ingrid Lee-Kwen, Dominic de Wolfe 'On leave of absence Arnold Spohr, Artistic Advisor Nicholas Cernovitch, Resident Lighting Designer Catherine Taylor, Assistant to the Artistic Director Alia Savchenko, Senior Ballet Mistress Patti Caplette, Ballet Mistress Galina Yordanova, Guest Teacher Kerry McShane, Principal Pianist All lighting supervised by Jon Stettner. All costumes executed in the RWB wardrobe under the supervision of Anne Armit. The Royal Winnipeg Ballet appears by arrangement with Harold Shaw Concerts, New York, with the assistance of the Government of Canada. The Royal Winnipeg Ballet is under the distinguished Patronage of His Excellency, The Right Honorable Ramon John Hnatyshyn, P.C., C.C., C.M.M., C.D., Q.C., Governor General of Canada. The Royal Winnipeg Ballet gratefully acknowledges the support of the Canada Council, the Touring Office of the Canada Council, the Government of Canada, Arts Promotion Division, Department of External Affairs and International Trade, the Province of Manitoba, Department of Culture, Heritage and Recreation, the Manitoba Arts Council, the City of Winnipeg, the Winnipeg Foundation, private and corporate philanthropy. -
Alvin Ailey American Dance Theater
L If you want to make parks g reener, improve neighborhoods, even support the arts, the Community Foundation for communityfoundation Southeast Michigan can help. And keep your donation FOR SOUTHEAST MICHIGAN giving for generations to come. Visit CFSEM.org or call 1-888-WE-ENDOW for more information on how we can help. Scan the QR Code to find out more. CONTENTS Spring 2012 The Official Magazine of the Detroit Opera House WELCOME BRAVO is a Michigan Opera Theatre L ETTER FROM D AviD D ICHIERA .... ...... .. .. .... .. ...... ............ .... .. .. 4 publication. Jeff Strayer, Editor Mitch Carter, Contributing Editor ON STAGE H AROLD AND THE P URPLE C RAYON ..... ....... .. .. .... ...... .. ........ ........... 6 Contributors John Grigaitis Scott Stafford ALVIN AILEY A MERICAN D ANCE THEATER ... .. ... .. ... ........... 10 Publisher T HE P EARL FISHERS .. .... .. ............. .... ... .... .. .... ...... ........ ...... .... .. 16 Echo Publications, Inc. Royal Oak, Michigan C ONVERSATION WITH Z ANDRA R HODES .. ... .. .. .. .. .. .... 18 www.ec hopu blications. com Tom Putters, President TobyFaber, Advertising Sales Director B ARCELONA BALLET : SwAN LAKE .... .. .... ......... ............... .... .. .. ... 20 Physicians' services provided by Henry Ford Medical Center. I p AGLIACCI . ... .. .. .. .. ... .................. .. .. .... ... ..... ........ .. 2 4 CONVERSATION WITH jiLL G ARDNER .. .... .. .............. ........ .. .. 26 Pepsi-Cola is the official soft drink and juice provider of the Detroit Opera House. MOT CC: H.M.S . -
16 AUG – 15 SEP Touring Nationally
16 AUG – 15 SEP Touring nationally George Balanchine Vasily Vainonen Andrea Schermoly William Forsythe SERENADE FLAMES OF PARIS STAND TO REASON ARTIFACT II © THE GEORGE BALANCHINE TRUST PAS DE DEUX CONNECT WITH US rnzb.org.nz Vodafone is proud to be the digital connectivity facebook.com/nzballet partner of the Royal New Zealand Ballet – delivering twitter.com/nzballet mobile and broadband solutions to keep you and the instagram.com/nzballet Company connected almost everywhere they travel. youtube.com/nzballet Follow the RNZB on social media today. SERENADE George Balanchine ROYAL NEW ZEALAND BALLET © THE GEORGE BALANCHINE TRUST Artistic Director Patricia Barker INTERVAL Executive Director Lester McGrath Ballet Masters Clytie Campbell, Laura McQueen Schultz, Nicholas Schultz, Michael Auer FLAMES OF PARIS PAS DE DEUX Vasily Vainonen Principals Allister Madin, Paul Mathews, Simone Messmer §, Katharine Precourt, Mayu Tanigaito, PAUSE Nadia Yanowsky Soloists Sara Garbowski, Kate Kadow, Shaun James Kelly, Fabio Lo Giudice, Massimo Margaria, STAND TO REASON Andrea Schermoly Katherine Minor, Loughlan Prior, Joseph Skelton INTERVAL Artists Cadence Barrack, Luke Cooper, Rhiannon Fairless, Kiara Flavin, Madeleine Graham, Kihiro , 2018. Kusukami, Minkyung Lee, Yang Liu*, Anneliese ARTIFACT II William Forsythe Macdonald§, Nathan Mennis, Olivia Moore, Clare Schellenberg, Kirby Selchow, Katherine Skelton, , 2018. Laurynas Vėjalis, Leonora Voigtlander, Caroline Wiley, Wan Bin Yuan Stand to Reason to Stand Todd Scholar Teagan Tank Apprentices Georgia Baxter, Ella Chambers, Lara Stand to Reason to Stand Flannery, Vincent Fraola, Calum Gray, Kaya Weight On secondment Callahan Laird, New Zealand School of Dance Nicole Denney, Dmitri Kulev Classical Ballet Academy, California Arabella Moore, The Dance Education Centre, Tauranga § Guest dancer for Bold Moves. -
Introduction 1 Mapping Independent Chinese Documentary
Notes Introduction 1. I recognize that this term is conceptually ambiguous, occupying a somewhat vexed position in the history of documentary due to its association with cinéma vérité. Brian Winston (2007, p. 298) has pointed out that initially cinéma vérité referred not to observational documentary – or cinéma direct in French, the ‘fly on the wall’ format in which the director scrupulously erases his or her presence from the cinematic image – but to the particular form of French filmmaking pioneered by Jean Rouch, in which the docu- mentary director consistently inserts him or herself into the frame. However, the anglophone documentary tradition has, over time, tended to confuse the terms, attributing the central principle of cinéma direct to cinéma vérité. In consequence, the latter term is not applied with particular consistency to any single group of films, further dividing scholars over what distinguishes the two approaches. It is for this reason that Bill Nichols (1991, p. 38) has advocated doing away with the term altogether, and replacing it with the concepts of ‘observational’ and ‘interactive’ filmmaking. The situation is com- plicated still further in China, where different kinds of film practice have their own history and vocabulary, sometimes distinct from, sometimes inex- tricably bound up with, those we are more familiar with in Europe and the Americas. Nevertheless, the term vérité has acquired a less specialist currency associated precisely with the type of realism displayed in these films, a point often acknowledged by foreign critics of contemporary Chinese documentary. For this reason, I shall be using it as a general (non-Chinese) shorthand for the aesthetic that is the focus of this book. -
Queer Representations in Chinese-Language Film and the Cultural Landscape
ASIAN VISUAL CULTURES Chao and Landscape the Cultural Film Chinese-language in Representations Queer Shi-Yan Chao Queer Representations in Chinese-language Film and the Cultural Landscape Queer Representations in Chinese-language Film and the Cultural Landscape Asian Visual Cultures This series focuses on visual cultures that are produced, distributed and consumed in Asia and by Asian communities worldwide. Visual cultures have been implicated in creative policies of the state and in global cultural networks (such as the art world, film festivals and the Internet), particularly since the emergence of digital technologies. Asia is home to some of the major film, television and video industries in the world, while Asian contemporary artists are selling their works for record prices at the international art markets. Visual communication and innovation are also thriving in transnational networks and communities at the grass-roots level. Asian Visual Cultures seeks to explore how the texts and contexts of Asian visual cultures shape, express and negotiate new forms of creativity, subjectivity and cultural politics. It specifically aims to probe into the political, commercial and digital contexts in which visual cultures emerge and circulate, and to trace the potential of these cultures for political or social critique. It welcomes scholarly monographs and edited volumes in English by both established and early-career researchers. Series Editors Jeroen de Kloet, University of Amsterdam, The Netherlands Edwin Jurriëns, The University of Melbourne, -
Ashton – Filmed Records
Ashton – filmed records In the Dance Collection, New York Public Library www.nypl.org 1. Miscellaneous: 40 Years of Dance on BBC Television. (1994) [VHS, 91 min]. Excerpts from two BBC telecasts: Dance master class [excerpt] (1988, 8 min), which includes interviews with Sir Frederick Ashton, and footage of Ashton rehearsing Antoinette Sibley and Anthony Dowell in the ‘nocturne pas de deux’ from The Dream; and an excerpt from A Month in the Country (1978, 7 min.). London: British Broadcasting Corporation (BBC). Excerpt from American Ballet Theatre at 70: ‘Excerpts from The Dream’ (2010) [DVD, c. 15 min]. Works and Process at the Guggenheim, 9 May 2010. Performer: American Ballet Theatre. Dancers: Xiomara Reyes (Titania), Alexei Agoudine (Puck). Excerpt from American Ballet Theatre: A Cast of Characters: ‘Discussion 3’ (2012) [DVD, c.15min]. Recording of discussion and performance (Lovers scene) in the series Works and Process at the Guggenheim, 29 April 2012. Performer: American Ballet Theatre. Discussion speaker: John Meehan. Ashton to Stravinsky: A Study of Four Ballets with Choreography by Frederick Ashton (2004). Authors and presenters: Stephanie Jordan and Geraldine Morris. Director: Joanna Tamm. Rehearsals: Antoinette Sibley, Nicola Katrak, Frederic Franklin, Anthony Dowell. Dancers: Mara Galeazzi, Natasha Oughtred et al. The Australian Ballet: Opening Act 1962-1972 (2002) [DVD, 71 min]. Documentary on Australian Ballet, includes excerpts from: Les Rendezvous, Cinderella, and Façade. Producer and director: Sally Jackson. ScreenSound Australia and National Library of Australia. Ballerina (1987) [VHS]. Direction: Derek Bailey. Includes excerpts from Ashton’s Cinderella (danced by Antoinette Sibley), Thaïs (danced by Sibley and Anthony Dowell) and Marguerite and Armand (danced by Margot Fonteyn and Rudolf Nureyev).