Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West, coedited by ... more Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West, coedited by Christian Utz and Frederick Lau, was first conceived at the international conference ‘Unlimited Voices: Contemporary Vocal Music in the Era of Globalization’ at the University of Tokyo in 2008. This volume contains fourteen chapters in total including: the introduction by Utz and Lau, twelve individual contributions organized into three parts – ‘Global Perspectives on the Voice’, ‘Voices of/in Art music’ and ‘Voices of/in Popular Music and Media Art’ – and the afterword by Nicholas Cook. This publication can be paired with Locating East Asia in Western Art Music, which was edited by Yayoi Uno Everett and Frederick Lau.1 Additionally, several years later the Music, Words and Voice: Reader, which focuses on the topic of voice and vocal music, was edited by Martin Clayton.2 Since then there have not been many book-length publications on the topic. The editors of this volume state that their motivation was to produce a volume which exclusively focuses on ‘intercultural dimensions of the musical voice’ and fill the gap in scholarly studies of vocal music that examine cross-cultural dynamics (3). The intellectual and cultural backgrounds of the authors are indeed very diverse and include composition, musicology, ethnomusicology, media studies, and history and are from across the globe including Europe, North America, and Asia. Each contributor offers a range of case studies focusing on specific artists and vocal works to describe and analyse various artistic and cultural influences from both East Asia and the West. I shall briefly outline each chapter as follows: The Introduction (chapter 1) begins with the premise that the human voice and vocal expressions are deeply individual yet socially and culturally organized. It is suggested that
... The Editorial Board consists of Erik Zurcher, Wang Gungwu, Om Prakash, Dru Gladney, Amiya K. ... more ... The Editorial Board consists of Erik Zurcher, Wang Gungwu, Om Prakash, Dru Gladney, Amiya K. Bagchi, James C. Scott, Jean-Luc ... vi Contents 7 South Asian music in Britain 104 GERRY FARRELL WITH JAYEETA BHOWMICK AND GRAHAM WELCH 8 Idealization and ...
This paper examines the ways in which hip-hop has taken root in Korean popular culture. The proce... more This paper examines the ways in which hip-hop has taken root in Korean popular culture. The processes that began in the early 1990s include appropriation, adaptation and ‘cultural reterritorialisation’. By looking at recent Korean hip-hop outputs and their associated contexts, this paper explores the ways in which Korean hip-hop has gained its local specificities. This was achieved by combining and recontextualising Afro-American and Korean popular musical elements and aesthetics in its performance and identification in the context of the consumption and commodification of Korean hip-hop as a ‘national(ised) cultural product’.
Page 1. HAE-KYUNG UM Listening patterns and identity of the Korean diaspora in the former USSR, T... more Page 1. HAE-KYUNG UM Listening patterns and identity of the Korean diaspora in the former USSR, This article examines ... Um 1996). Political and social influences on the musics of the Korean diaspora in the former USSR As ...
This article explores the relationships between the political aspirations and aesthetic endeavour... more This article explores the relationships between the political aspirations and aesthetic endeavours expressed in the Chinese Korean dance drama, The Spirit of Changbai Mountain, and how they relate to the political, cultural and ethnic identity of this migrant community. The nationality policies and socialist ideology of cultural production in China give shape to this dance drama, which depicts a collective history of the Korean minority as full members of the Chinese multi-ethnic socialist state. While political conformity is explicitly stated in the accompanying Chinese prose, more subtle, poetic expressions of different emotions are articulated through the non-verbal medium of dance and music whose meanings are drawn from the shared experiences specific to this ethnic community. Additionally, the aesthetic differentiation made by the Chinese Korean artists between their dance and those of their homelands illustrates how Korean tradition is identified and interpreted in this diaspo...
Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West, coedited by ... more Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West, coedited by Christian Utz and Frederick Lau, was first conceived at the international conference ‘Unlimited Voices: Contemporary Vocal Music in the Era of Globalization’ at the University of Tokyo in 2008. This volume contains fourteen chapters in total including: the introduction by Utz and Lau, twelve individual contributions organized into three parts – ‘Global Perspectives on the Voice’, ‘Voices of/in Art music’ and ‘Voices of/in Popular Music and Media Art’ – and the afterword by Nicholas Cook. This publication can be paired with Locating East Asia in Western Art Music, which was edited by Yayoi Uno Everett and Frederick Lau.1 Additionally, several years later the Music, Words and Voice: Reader, which focuses on the topic of voice and vocal music, was edited by Martin Clayton.2 Since then there have not been many book-length publications on the topic. The editors of this volume state that their motivation was to produce a volume which exclusively focuses on ‘intercultural dimensions of the musical voice’ and fill the gap in scholarly studies of vocal music that examine cross-cultural dynamics (3). The intellectual and cultural backgrounds of the authors are indeed very diverse and include composition, musicology, ethnomusicology, media studies, and history and are from across the globe including Europe, North America, and Asia. Each contributor offers a range of case studies focusing on specific artists and vocal works to describe and analyse various artistic and cultural influences from both East Asia and the West. I shall briefly outline each chapter as follows: The Introduction (chapter 1) begins with the premise that the human voice and vocal expressions are deeply individual yet socially and culturally organized. It is suggested that
... The Editorial Board consists of Erik Zurcher, Wang Gungwu, Om Prakash, Dru Gladney, Amiya K. ... more ... The Editorial Board consists of Erik Zurcher, Wang Gungwu, Om Prakash, Dru Gladney, Amiya K. Bagchi, James C. Scott, Jean-Luc ... vi Contents 7 South Asian music in Britain 104 GERRY FARRELL WITH JAYEETA BHOWMICK AND GRAHAM WELCH 8 Idealization and ...
This paper examines the ways in which hip-hop has taken root in Korean popular culture. The proce... more This paper examines the ways in which hip-hop has taken root in Korean popular culture. The processes that began in the early 1990s include appropriation, adaptation and ‘cultural reterritorialisation’. By looking at recent Korean hip-hop outputs and their associated contexts, this paper explores the ways in which Korean hip-hop has gained its local specificities. This was achieved by combining and recontextualising Afro-American and Korean popular musical elements and aesthetics in its performance and identification in the context of the consumption and commodification of Korean hip-hop as a ‘national(ised) cultural product’.
Page 1. HAE-KYUNG UM Listening patterns and identity of the Korean diaspora in the former USSR, T... more Page 1. HAE-KYUNG UM Listening patterns and identity of the Korean diaspora in the former USSR, This article examines ... Um 1996). Political and social influences on the musics of the Korean diaspora in the former USSR As ...
This article explores the relationships between the political aspirations and aesthetic endeavour... more This article explores the relationships between the political aspirations and aesthetic endeavours expressed in the Chinese Korean dance drama, The Spirit of Changbai Mountain, and how they relate to the political, cultural and ethnic identity of this migrant community. The nationality policies and socialist ideology of cultural production in China give shape to this dance drama, which depicts a collective history of the Korean minority as full members of the Chinese multi-ethnic socialist state. While political conformity is explicitly stated in the accompanying Chinese prose, more subtle, poetic expressions of different emotions are articulated through the non-verbal medium of dance and music whose meanings are drawn from the shared experiences specific to this ethnic community. Additionally, the aesthetic differentiation made by the Chinese Korean artists between their dance and those of their homelands illustrates how Korean tradition is identified and interpreted in this diaspo...
P’ansori is the quintessential traditional Korean musical drama, in which epic tales are sung and... more P’ansori is the quintessential traditional Korean musical drama, in which epic tales are sung and narrated by a solo singer accompanied by a drummer. Drawing on her extensive research in Korea and its diasporas, Haekyung Um describes and analyses the creative processes of p’ansori, weaving into her discussion musical, social and cultural aspects that include the evolution of p’ansori performance, origins and historical development, textual and musical materials, stylistic features of different p’ansori schools, transmission of knowledge, aesthetics, and changing interpretations of tradition. Also explored is the complexity of historical and contemporary influences that give shape to p’ansori as a ‘living tradition’ across the ages and into the present, and as a cultural icon with an enduring narrative and emotional impact. Social, economic and political dynamics are created in the nexus of traditional feudal values, colonial modernity and nationalism. The impact of aspects of late modernity such as technology, mass media, migration and globalization, has transported p’ansori into digital and transnational domains. By bringing all these creative and contextual processes together, Haekyung Um explains how a tradition is created, maintained and redefined by the dynamic interactions of agents, values, meanings, strategies, identities and artistic hybridity.
In an age of globalization, performance is increasingly drawn from intercultural creativity and l... more In an age of globalization, performance is increasingly drawn from intercultural creativity and located in multicultural settings. This volume is the first to focus on the performing arts of Asian diasporas in the context of modernity and multiculturalism. The essays locate the contemporary performing arts as a discursive field in which the boundaries between tradition and translation, and authenticity and hybridity are redefined and negotiated to create a multitude of meaning and aesthetics in global and local contexts.
With contributions from scholars of Asian studies, theatre studies, anthropology, cultural studies, dance ethnology and musicology, this truly interdisciplinary work covers every aspect of the sociology of performance of the Asian diasporas.
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With contributions from scholars of Asian studies, theatre studies, anthropology, cultural studies, dance ethnology and musicology, this truly interdisciplinary work covers every aspect of the sociology of performance of the Asian diasporas.