ECFG-Vietnam-Mar-19.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
373 CONCLUSION Throughout the 20Th Century, Vieät-Nam Was at The
CONCLUSION Throughout the 20th century, Vieät-Nam was at the intersection for most of the international powers in politics and culture: France, China, the Soviet Union, and the United States. For more than a century, the changes in aesthetics in Vieät-Nam roughly followed the course of the nation’s relations with these foreign powers. Inevitably, they left their traces in Vietnamese culture, more or less, according to their approaches to Vieät-Nam. The conclusion locates these changes at four turning points in Vietnamese art history and reviews Socialist Realism in the post-doi moi context. Consideration is also given to the introduction of alternative art schools that might challenge current Vietnamese institutions and help nurture a new generation of creative visual artists. Such institutions might fill the gaps between current Vietnamese art theory and practice and their relationship to the global art world. These alternative art schools could also disseminate a more complete and objective account of Vieät-Nam’s art history, which as outlined in the introduction, is one of the governing principles of this thesis. The four turning points: The four turning points of change are: the introduction of western influences under colonialism, the adoption of Socialist Realism in North Vieät-Nam, the pursuit of individuality and expressive art in South Vieät-Nam and the transformation in visual arts under doi moi. At the beginning of the 20th century, the first influential turning point was already in progress with the imposition, in the late 19-century, of French colonial values, which were, and still are, most apparent in the architectural landscape and the adoption of western styled clothing. -
University of California Santa Cruz the Vietnamese Đàn
UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music -
Art at the Crossroads: Lacquer Painting in French Vietnam
126 Art at the Crossroads Art at the Crossroads: Lacquer Painting in French Vietnam Lisa Bixenstine Safford, Hiram College During the last phase of French occupation in Vietnam (1887–1954), a new and unique direction for pictorial arts was inaugurated that continues to inform the country’s art scene to this day.1 In a culture that lacked a developed painting tradition from which to draw inspiration, painting with lacquer formed a distinctive and novel medium that could be applied to fresh artistic subjects. In 1925 the arts first began to evolve rapidly thanks to the creation of the École Superieure de Beaux Arts d’Indochine, a new school in Hanoi that was founded by the relatively unknown French painters Victor Tardieu (1870– 1937) and Joseph Inguimberty (1896–1971).2 Together with other artists such as Nguyễn Vạn Thọ (1890–1973, better known as Nam Sơn), who was sent to Paris for a year of training in 1924 for his new post as an art instructor,3 they embarked on a mission civilisatrice to educate promising artisans (thợ vẽ) so that they would advance to the status of “artists” (hoạ sĩ) and subsequently sign their works as individual creators.4 The French colonial view that La France d’Asie possessed no distinctive artistic and cultural identity was central to the school’s inception.5 Thus, the school set about creating a new cultural identity that was grafted from a modernist French pictorial language of art. The students’ training in European artistic styles eventually merged with East Asian and indigenous wood-based, folk craft sources, the privileging of which can be read as a rejection of French style. -
Locating Vietnamese Contemporary Art Scene
Locating Vietnamese contemporary art scene An ethnographic Hong-Ngoc TRIEU attempt from afar TRI14437741 Abstract. Initially, as a student majored in Design Cultures, I was intrigued in Vietnam precisely because I barely knew anything about the art history of my country. Having exposed to the studies of Design Cultures and Histories, I set out to fnd how Vietnamese art history is chronicled by putting it in a complex relationship with the sociocultural and political background. Identifying and locating art from a place like Vietnam that rarely fgures in art history cannot be done overnight as I am thousand miles away from the happenings. This essay, thus, is my humble attempt to look at Vietnam’s contemporary art scene through an afar-ethnographic approach mainly by fexible design methods such as interview, survey, case study, discourse analysis and participant observation. Given how little experience in the real-world research and history learning that I possess, my fndings are based on personal analysis, percep-on and hence, do not necessarily reflect other’s views on the same topic. Entrance to contemporary art scene: tracing the Vietnamese art history In order to investigate the Vietnamese reform in 1986, where restriction on contemporary art scene, I am essentially artistic creativity were steadily relaxed asking the question of how it is and hence allowed artist greater freedom constructed and perceived within the art of expression and facilitating exposure to community and the stream of Vietnamese contemporary trends in both Asian and history of art. While world contemporary Western art. However, unlike the world art had started and risen to prominence contemporary art with its rich outline of since the 1950s - 1960s, its Vietnamese artistic movements in term of quantity, counterpart only came into existence in the diversity and quality, Vietnamese latter decades of the twentieth century; contemporary art scene has barely seen therefore, it is relatively new to the public. -
Vietnamese Aesthetics from 1925 Onwards
CHAPTER 3: VIETNAMESE SOCIALIST REALISM: THE ARTS OF THE DEMOCRATIC REPUBLIC OF VIEÄT-NAM (THE NORTH) 1945-1975 Figure 1: Communal House at Döông Xaù Village, Gia Laâm District in Haø Noäi’s outskirts, photograph taken by Boi Tran Huynh. 131 This chapter examines the change in Vietnamese aesthetics in the Democratic Republic of Vieät-Nam, hereafter ‘the North’, from 1945 to 1975. In this era, Socialist Realism was established and applied to every aspect of the arts, which became a vehicle to serve the ideology of Marxism. Its relations shaped Vieät- Nam’s international agenda with the Communist bloc, especially with the Soviet Union and the People’s Republic of China. During this period, Vieät-Nam adopted and developed these two influences while the French influence became subtler. The conflict between North and South Vieät-Nam led to an emphasis on the fabrication of new aesthetics, aimed toward forging a national identity within the orbit of international Communism. Simultaneously, attempts were made to eliminate individualism in the art of Modernism with the assertion that it represented western decadent bourgeois art. Interestingly, it was in this context that a number of artists deviated from the Socialist mainstream and, through personal style and expression, produced artworks that counterbalanced the official view. Also, two private art collectors established themselves as alternative patrons to the arts. COMMUNISM AS A WAY OUT OF COLONIALISM: Hoà Chí Minh, (fig2) founded the Democratic Republic of Vieät-Nam on the 2nd of September 1945. In the Independence Declaration that he delivered in Ba Ñình Square to some 400,000 freedom-hungry Vietnamese and a small number of World War II American officers and other foreigners, Hoà Chí Minh deliberately used quotes from the 1776 American Declaration of Independence and the 1789 French Declaration of the Rights of Man and the Citizen. -
Captain Song
Kaohsiung Fishermen 高 雄 漁 民 The story to be told after 40 years: Humanity at its best! Above photo is from the internet, showing a big Taiwanese fishing ship and a smaller fishing boat similar to mine. Chapter I: An Unforgettable, Humble Journey across the South China Sea After living almost 38 years in the USA I moved to Brisbane, Queensland Australia at the end of December 2016. I was very much done with my 30-year engineering career and wanted to retire early so that I could enjoy my life a little bit. My Aussie-citizen wife and I finally got a nice waterfront apartment where we could see and visit the river or the beach every day. Chevron Island, a view from our living room in Surfers Paradise, Queensland, Australia I am staying at the number-one tourist attraction in Australia: Surfers Paradise in the City of Gold Coast, not too far from Brisbane, State Capital. There are only 25 million Australians in the whole country but each year there are more than 12 million tourists that visit this wonderful city alone. What’s a lucky life you may say! I could have embraced the fresh air, great tropical fruits, beautiful view, warm sea water, and relaxing atmosphere for the rest of my life on this earthy Paradise. Seeing the river, ocean and ships perhaps made me think about the story of how I got here. I am a Vietnamese American, meaning a US citizen born in Vietnam; South Vietnam to be exact. Just a brief history lesson here, per the Geneva Agreement, Vietnam was divided into two halves on July 20th, 1954. -
Anniversary Journalism and the Public Commemoration of the End of the War in Vietnam
Global Media Journal German Edition Vol. 6, No. 2, Autumn/Winter 2016 URN:nbn:de:gbv:547-201600631 “New Wine in an Old Bottle”? – Anniversary Journalism and the Public Commemoration of the End of the War in Vietnam Christina Sanko Abstract: April 30th, 2015 marked the 40th anniversary of the end of the war in Vietnam. This article discusses the role of Vietnamese journalism in the coverage of this commemorative date as well as the history and events it is linked with. It addresses the question of how coming to terms with the past plays out in the journalistic field of an increasingly globally connected and economi- cally continuously growing Vietnam. By means of qualitative content analysis and expert interviews with Vietnamese media professionals the paper characterizes the nature of anniversary journalism on this particular event and elaborates on its meaning for the construction of cultural memory in Vietnam. In that context, it also touches upon transnational relations with and controversies of re- membrance in Vietnamese diasporic communities. The study found that anniversary journalism in Vietnam goes beyond the mere coverage of a single commemorated day along state ideological lines and constitutes part of a larger context of cultural memory in Vietnam and the diaspora. It is itself subject to change over time and of tensions between state, economic, professional and personal interests in a vastly changing, but still state-controlled media environment. Such tensions can re- sult in ambiguities, vagueness and the coexistence of a variety of narratives in the reporting. De- spite slight liberation tendencies, however, anniversary journalism on the contentious meaning of April 30th does not represent a transnational forum for negotiating the past in Vietnam and its di- aspora. -
An Oral History of the South Vietnamese Civilian Experience in the Vietnam War Leann Do the College of Wooster
The College of Wooster Libraries Open Works Senior Independent Study Theses 2012 Surviving War, Surviving Memory: An Oral History of the South Vietnamese Civilian Experience in the Vietnam War Leann Do The College of Wooster Follow this and additional works at: https://openworks.wooster.edu/independentstudy Part of the Oral History Commons, and the Social History Commons Recommended Citation Do, Leann, "Surviving War, Surviving Memory: An Oral History of the South Vietnamese Civilian Experience in the Vietnam War" (2012). Senior Independent Study Theses. Paper 3826. https://openworks.wooster.edu/independentstudy/3826 This Senior Independent Study Thesis Exemplar is brought to you by Open Works, a service of The oC llege of Wooster Libraries. It has been accepted for inclusion in Senior Independent Study Theses by an authorized administrator of Open Works. For more information, please contact [email protected]. © Copyright 2012 Leann Do The College of Wooster Surviving War, Surviving Memory: An Oral History of the South Vietnamese Civilian Experience in the Vietnam War by Leann A. Do Presented in Partial Fulfillment of the Requirements of Senior Independent Study Supervised by Dr. Madonna Hettinger Department of History Spring 2012 TABLE OF CONTENTS Acknowledgements ii List of Figures iv Timeline v Maps vii Chapter One: Introduction 1 The Two Vietnams Chapter Two: Historiography of the Vietnam War 5 in American Scholarship Chapter Three: Theory and Methodology 15 of Oral History Chapter Four: “I’m an Ordinary Person” 30 A Husband and -
Music and Theatre Art of Vietnam
Music and theatre art of Vietnam This comprehensive trip explores the best sights of Vietnam with stunning landscapes, fascinating cultures, friendly people ‐ plus some exhilarant cities. The main attractions feature the image of both the new and the old city of Hanoi, the imaginary world of Halong Bay, the romance and peacefulness of Hue and Hoian, the hustle and bustle of Saigon and the fertile land of Mekong Delta, the sea paradise of Phu Quoc. HANOI – HOA BINH – HALONG – HUE – DANANG – HOI AN – SAIGON – MEKONG DELTA 13days 12 nights Day 1 Arrive in Hanoi distinct culture and the daily activities of the Muong Arrive in Hanoi, transfer to hotel check‐in. The rest of day people. We will be entertained by their unique “gong” is at leisure. music shows while sipping their local special whiskey “Chuoi Rung”. The highlight of the tour would be to their Day 2 Hanoi City tour – Ca Tru Singing (B,L,D) spectacular stilted homes which are hand‐crafted with After breakfast, our morning tour includes Ho Chi Minh local hardwood and palm‐leaf thatch roofing. We visit a Mausoleum (façade only), the One Pillar Pagoda, Hoan local home where we will see women sitting by the looms Kiem Lake, Ngoc Son Temple and the marvelous Confucian with beautiful pieces of brocade weaving. Have lunch in Temple of Literature. Lunch at local restaurant. Afternoon, town and visit the Muong’s cultural Heritage Museum in enjoy 1‐hour pedicab ride through Hanoi’s Old Quarters. the afternoon before driving back to Hanoi. On the return After dinner at local restaurant, we enjoy Vietnamese ca drive we visit Thay Pagoda, a Buddhist temple located at tru, recognized by UNESCO as Intangible Cultural Heritage the foot of Sai Son Mountain, around 30 kilometres south‐ in 2009. -
VIETNAM Eyecontemporary Vietnamese
VIETNAM EYE Contemporary Vietnamese Art To India a lovely grand-daughter VIETNAM EYE Contemporary Vietnamese Art edited by Serenella Ciclitira Sponsored by Art director First published in Italy in 2016 Founder of Global Eye Programme We would like to thank the following Supported by Marcello Francone by Skira Editore S.p.A. David Ciclitira Vuong Duy Bien, Vice Minister, Palazzo Casati Stampa Design Ministry of Culture, Sports and Tourism, via Torino 61 Editor Luigi Fiore Socialist Republic of Vietnam 20123 Milano Serenella Ciclitira Editorial coordination Italy H. E. Cecilia Piccioni, Ambassador of Italy Eva Vanzella www.skira.net Curators to the Socialist Republic of Vietnam Copy editor © 2016 Parallel Serenella Ciclitira H. E. Giles Lever, Ambassador of the Ministry of Culture, Sports and Tourism Emanuela Di Lallo Contemporary Art Nigel Hurst United Kingdom to the Socialist Republic © 2016 Skira editore Layout Niru Ratnam of Vietnam Serena Parini All the staff at the Italian Embassy in Hanoi All rights reserved under Local Advisors international copyright Minh Do Tran Luong conventions. No part of this book may Vi Kien Thanh Special thanks to AIA Embassy of Italy, Hanoi be reproduced or utilized Event and Account Director in any form or by any means, Art Vietnam Gallery Belinda Laubi electronic or mechanical, Zoe Butt including photocopying, recording, or any information Project Coordinator & Artist Liaison CHON Gallery Hanoi storage and retrieval system, Kwok Shao Hui Craig Thomas Gallery without permission in writing Galerie Quynh Event Coordinator from the publisher. Judith Hughes Ngo Quang Minh Printed and bound in Italy. Mizuma Art Gallery, Tokyo First edition Authors of the Essays Thavibu Art Advisory Nguyen Quan ISBN: 978-88-572-3360-4 All collectors who have loaned works Niru Ratnam Distributed in USA, Canada, All the artists without whom this book Central & South America Vietnamese Partner would not have been possible by Rizzoli International Minh Do Publications, Inc., 300 Park All PCA staff Avenue South, New York, NY 10010, USA. -
The Vietnam War, As Seen by the Victors How the North Vietnamese Remember the Conflict 40 Years After the Fall of Saigon
8/5/2015 How the North Vietnamese Remember the Vietnam War, 40 Years After the Fall of Saigon The Atlantic G L O B A L The Vietnam War, as Seen by the Victors How the North Vietnamese remember the conflict 40 years after the fall of Saigon Soldiers convene in the jungle along the Ho Chi Minh Trail in this wartime sketch by Nguyen Minh Dinh, the late father of Vietnam National University professor Nguyen Dai Co Viet. Courtesy of Nguyen Dai Co Viet E L I S A B E T H R O S E N A P R 1 6 , 2 0 1 5 HANOI, VIETNAM—Forty years ago, on April 30, 1975, Nguyen Dang Phat experienced the happiest day of his life. http://www.theatlantic.com/international/archive/2015/04/thevietnamwarasseenbythenorthvietnamese/390627/ 1/10 8/5/2015 How the North Vietnamese Remember the Vietnam War, 40 Years After the Fall of Saigon The Atlantic That morning, as communist troops swept into the South Vietnamese capital of Saigon and forced the U.S.-backed government to surrender, the North Vietnamese Army soldier marked the end of the war along with a crowd of people in Hanoi. The city was about to become the capital of a unified Vietnam. “All the roads were flooded by people holding flags,” Nguyen, now 65, told me recently. “There were no bombs or airplane sounds or screaming. The happy moment was indescribable.” The event, known in the United States as the fall of Saigon and conjuring images of panicked Vietnamese trying to crowd onto helicopters to be evacuated, is celebrated as Reunification Day here in Hanoi. -
Vietnamese Americans LESSONS in AMERICAN HISTORY
Vietnamese Americans LESSONS IN AMERICAN HISTORY STRADLING TWO SOCIAL WORLDS V The Experience of Vietnamese Refugee Children in the United States Min Zhou Professor of Sociology, University of California, Los Angeles Carl L. Bankston, III Assistant Professor of Sociology, Tulane University INTRODUCTION Educators, counselors, school administrators, juvenile authorities, and others who work with young people today routinely come into contact with the children of Vietnamese refugees. e story of Vietnamese Americans is one of very rapid growth. In the early 1970s, there were fewer than 15,000 Vietnamese in the United States. According to the U.S. Immigration and Naturalization Services (U.S. INS), the United States admitted only 4,561 Vietnam-born persons between 1961 and 1970; most were exchange students, trainees, or diplomats on nonimmigrant visas, along with a small number of wives of U.S. servicemen, while almost none were children (Skinner, 1980; Zhou & Bankston, 1998). After the fall of Saigon in 1975, Vietnamese Americans became members of one of America’s largest refugee groups, and, thus, increasingly visible in the American ethnic mosaic. By 1990, the group numbered over 615,000, a 40-fold increase in just 15 years; and even this figure understates the true size of the Vietnamese-origin population, since it excludes no fewer than 200,000 Sino-Vietnamese (ethnic Chinese), who fled Vietnam and arrived in the United States as part of the larger refugee outflow from Southeast Asia (Rumbaut, 1995a). At the turn of the new millennium, this refugee group is on the verge of becoming the third largest Asian American group, following the Chinese and Filipinos.1 ere were virtually no Vietnamese students in American elementary or secondary schools before 1975.