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The Han Lens: Media Representation and Public Reception of Chinese Ethnic Minorities: a Case of Ayanga

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The Han Lens: Media Representation and Public Reception of Chinese Ethnic Minorities: a Case of Ayanga THE HAN LENS: MEDIA REPRESENTATION AND PUBLIC RECEPTION OF CHINESE ETHNIC MINORITIES: A CASE OF AYANGA A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in Communication, Culture, and Technology By Zhengyan Cai, B.A. Washington, D.C. April 28, 2021 Copyright 2021 by Zhengyan Cai All Rights Reserved ii THE HAN LENS: MEDIA REPRESENTATION AND PUBLIC RECEPTION OF CHINESE ETHNIC MINORITIES: A CASE OF AYANGA Zhengyan Cai, B.A. Thesis Advisor: Diana M. Owen, Ph.D. ABSTRACT This research examined the ways that ethnic minorities are depicted in mainstream media representations in China and how the public accepts and consumes such depictions. It provides a case study of the Inner Mongolian singer Ayanga, who made his debut in the media in 2012 and gained great popularity in a musical talent show in 2018. The thesis put various media texts produced by related fans communities into a database for analysis. By looking into the media strategies used by the state power structure and the majority ethnic group of China, a country where the dominant mainstream Han group makes up over 90% of the national population, the study discovers how representations of ethnic minorities help to construct the Han's subjectivity in China's nationality. iii ACKNOWLEDGEMENTS I would like to first say thank you to my thesis advisor, Professor Owen. Without you, I would not be able to finish this thesis. I have received a lot of help and support from you. My gratitude also goes to Professor Macovski. You are the one who helped me to start this research project from scratch and guided me to broaden my academic career. I would like to thank Professor Tinkcom as well, who is my second reader. And also thank you for hosting the thesis colloquium throughout the semester. All the professors who have once be me instructor deserve my thankfulness for showing me the diverse world and helping me explore it. All my classmates are being very nice and supportive, especially my classmates in CCTP 615 and my colleagues in the Global Media Group. My friend Shawn Bordon also deserves my gratitude, thank you for being my proofreader. And thanks Ai-Hui for helping all thesis writers going through the process of all the affairs related with thesis writing. My especial thanks go to my friend Qie, who helped me collecting research literatures in several of my papers. And also thanks to all who have attended my thesis defense. Finally, I would like to thank my family, especially my mother, for supporting my education. Thank you for supporting me to pursue my academic goals in many ways. iv TABLE OF CONTENTS Introduction: Ethnic Minorities in China and the Case of Ayanga .............................................. 1 Chapter 1: Literature Review on Previous Research of Ethnic Minorities ................................. 5 The Highly Sexualized Minorities ........................................................................................... 7 Primitivity and the Construction of Modernization ............................................................... 11 The Exotic Objectified Minorities ......................................................................................... 14 Symbolic and Fluid Ethnicity ................................................................................................ 16 Conclusion ............................................................................................................................. 19 Chapter 2: Ethnic Spectrum of Representations on Stage ......................................................... 20 “Steeds Return” at 11th Chinese Minority Games ................................................................ 21 “Why Not” at the Gala of 2nd “Belt and Road” International Cooperation Summit Forum . 28 Chapter 3: Domestication and Assimilation toward “Internal Others” ..................................... 35 Language Segregation in Subtitles and Among Singers ........................................................ 36 Images in and not in Mongolian Lyrics ................................................................................. 50 Chapter 4: Public’s Acceptance of Ethnic Minorities in the Fandom ....................................... 58 Methodology for the Analysis of Ayanga in “Real Person Slash” ........................................ 60 Corpus and Sample ............................................................................................................ 61 Method ............................................................................................................................... 63 Units of Analysis................................................................................................................ 66 Findings.................................................................................................................................. 67 Ayanga in Reality-Based Real Person Slash ..................................................................... 67 Point of View ................................................................................................................. 70 v Hometown and Ethnicity in the Plot .............................................................................. 70 Hometown and Ethnicity in Personal Pronouns ............................................................ 72 Conclusion ..................................................................................................................... 74 Ayanga in Fantasized Real Person Slash ........................................................................... 75 An Inner Mongolian Goes to a Psychologist ................................................................. 76 Hawthorns ...................................................................................................................... 79 Conclusion: The Han Lens......................................................................................................... 87 References .................................................................................................................................. 90 vi LIST OF FIGURES Figure 2.1.1 Opening of the Performance “Steeds Return.” ...................................................... 24 Figure 2.1.2 The Central Female Dancer. .................................................................................. 25 Figure 2.1.3 Dancers All Dancing in Pairs. ............................................................................... 27 Figure 2.2.1 Info-graph of the Medley....................................................................................... 29 Figure 2.2.2 Ayanga and the Dancers in “Why Not.” ............................................................... 30 Figure 2.2.3 Singers of the Medley as Shown in the Subtitle. ................................................... 31 Figure 2.2.4 The Egyptian-style Dancers. ................................................................................. 32 Figure 3.1.1 Bilingual Subtitles for an English Song. ............................................................... 37 Figure 3.1.2 Monolingual Subtitles for a Japanese Song........................................................... 38 Figure 3.1.3 Summarized Translation of the Mongolian Song “Steeds Return.” ..................... 38 Figure 3.1.4 Bilingual Subtitles for an English Song in Super Vocal........................................ 39 Figure 3.1.5 Bilingual Subtitles for an Italian Song in Super Vocal.......................................... 40 Figure 3.1.6 Monolingual Subtitles for a Mongolian Song in Super Vocal. ............................. 40 Figure 3.1.7 Summarized Chinese Subtitle and Bilingual English-French Subtitle on YouTube for a French Song in Super Vocal.. ............................................................................................ 41 Figure 3.1.8 Ayanga’s Interview in “Telling You” in 2014 Broadcast by Inner Mongolia Satellite TV. ............................................................................................................................................. 42 Figure 3.2.1 Ayanga’s Three Album Covers. ............................................................................ 57 vii LIST OF TABLES Table 3.1.1. Songs Performed by Ayanga in Super Vocal.. ....................................................... 43 Table 3.1.2. Songs Performed by Ayanga in Singer 2019. ........................................................ 45 Table 3.1.3. Songs Performed by Ayanga in Our Songs. .......................................................... 46 Table 3.2.1. Songs in Ayanga’s 2016 Album “Shar Grassland.” .............................................. 51 Table 4.1. Coding Table............................................................................................................. 64 Table 4.2. General Content Coding and Counts. ....................................................................... 68 viii INTRODUCTION: ETHNIC MINORITIES IN CHINA AND THE CASE OF AYANGA Among researches focusing on the state’s policy and strategy in media presentations of ethnic minorities in China, there are both domestic and foreign scholars that have made great contribution to the topic. The researches of media studies of ethnic minorities in China has a preference of focusing on films, fine arts, and printed works such as pictorials and newspapers. In addition, the works prefer to do studies chronically
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