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Journal articles on the topic 'Asian American artists'
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1
Schultz, Stacy E. "Asian American Women Artists: Performative Strategies Redefined." Journal of Asian American Studies 15, no. 1 (2012): 105–27. http://dx.doi.org/10.1353/jaas.2012.0000.
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De Lara, Marlo Jessica. "Reclaiming Filipino America through Performance and Film." JOMEC Journal, no. 11 (July 6, 2017): 41. http://dx.doi.org/10.18573/10.18573/j.2017.10142.
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Filipino Americans are the fourth largest migrant group in America and the second largest Asian population in the United States. Migration from the Philippines is constant and has increased dramatically in the last sixty years. Filipino Americans participate as the ‘Asian American’ identity/race but the specificity of Philippine-U.S. relations and migration pathways make this inclusion a misfit. As a former territory and with complex shifting migration policies, Filipinos have been considered by the U.S. government an ambiguous population, falling just out of reach of national visibility. As the population has continued to grow, Filipino Americans have shared narratives and begun conversation to address the constant cultural negotiation and struggles within the social and racial structures of America. Since the 1980s, a Filipino American cultural and artistic movement or ‘moment’, has emerged with artists, dancers, performers, and filmmakers. These artists make critical interventions that disavow the American empire. The works make comment upon the ramifications of being an unrecognized Asian colony and the systemic challenges of immigration assimilation. An example of a work from this cultural moment is Jose Antonio Vargas’ autobiographical documentary Documented (2013). The film, intended as an up close and personal account of an undocumented migrant in the United States, also serves as an example of current Filipino American cultural productivity and visibilization. By studying this artistic movement, one can approach deeper understandings of citizenship and national belonging(s) in the current transnational climate and the border crossings that circumscribe the Filipino American diaspora.
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Vikram, Anuradha. "Spectres of orientalism: Patty Chang and Chinese American art in the pandemic." Journal of Contemporary Chinese Art 9, no. 3 (November 1, 2022): 353–85. http://dx.doi.org/10.1386/jcca_00071_1.
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This article addresses the work of Chinese American interdisciplinary artist Patty Chang over a 25-year period that begins with her groundbreaking short form videos in the 1990s, and considers transitional works in the mid-2000s that led the artist to create two major bodies of work connecting identity issues with climate change since 2009. I discuss Chang’s influence on subsequent generations of Chinese American and Asian American artists, her prescient use of online aesthetics and her complex engagement with the political, social and ecological realities of mainland China and neighbouring Uzbekistan. After contextualizing Chang’s influence through the lens of her inclusion in the group exhibition Wonderland with nine other Chinese Diasporic artists, I consider the impact of COVID-19 and anti-Asian violence in the United States and globally on the direction of Chang’s work and discuss the experience of curating her recent project during the pandemic shutdown.
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Machida, Margo L. "Pacific Itineraries: Islands and Oceanic Imaginaries in Contemporary Asian American Art." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 9–34. http://dx.doi.org/10.1163/23523085-00302002.
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This essay focuses on the Asia Pacific region and selected works by contemporaryus-based Asian American artists that engage shared themes of trans-Pacific journeys, circulation, conflict, and convergence between Asian diasporic, Indigenous, and other groups. The Pacific, with more islands than the world’s other oceans combined, is above all an island realm. Accordingly islands and associated oceanic imaginaries exert a powerful hold on works by artists who trace their ancestral origins to coastal East and Southeast Asia and Oceania. These artists’ endeavours underscore the idea of islands as multi-located historic and affective subjects within global systems of cross-cultural exchange. Through the different levels of focalization they provide, the featured artworks render insights into the formation of complex, multiple points of attachment as contemporary artists cross and re-cross borders: physical, temporal, and psychic.
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Mok, Christine. "East West Players and After: Acting and Activism." Theatre Survey 57, no. 2 (April 13, 2016): 253–63. http://dx.doi.org/10.1017/s0040557416000107.
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“Where are all the Asian actors in mainstream New York theatre?” What began as a plaintive status update on Facebook launched a full-scale investigation by Asian American actors that culminated in a report titled “Ethnic Representation on New York City Stages” and the formation in the fall of 2011 of an advocacy group, the Asian American Performers Action Coalition (AAPAC). AAPAC's findings were disheartening. In the preceding five years, Asian Americans had received only 3 percent of all available roles in not-for-profit theatre and only 1.5 percent of all available roles on Broadway. The percentage of roles filled by African American and Latino actors, in contrast, had increased since 2009. According to the report, “Asian Americans were the only minority group to see their numbers go down from levels set five years ago.” The data AAPAC compiled were both surprising in their concreteness and unsurprising in their bleakness. The Facebook query sparked an active digital conversation that touched a collective sense of discord just below the surface for many Asian American theatre artists, especially actors. Ralph Peña, artistic director of Ma-Yi Theatre Company, invited key Facebook commenters to hold a more formal conversation about access, embodiment, and Asian American representation. This group, many of whom were artists in midcareer, trained at top conservatories, and fostered in New York City's vibrant Asian American theatre community, became the Steering Committee of AAPAC. The members of the Steering Committee channeled their frustration and anger into archive fever by researching and documenting ethnic representation on Broadway and in sixteen of the largest not-for-profit theatres in New York City over a five-year period. In front of an audience of three hundred, members of AAPAC presented their findings at a roundtable at Fordham University on 13 February 2012 that included prominent artistic directors, agents, directors, casting directors, and producers and was moderated by David Henry Hwang. With the report in hand, AAPAC members roused the New York theatre community with a series of town hall–style meetings and urged theatrical production gatekeepers to do, if not better, then, something.
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Kim, Rose M. "Unsettled visions: Contemporary Asian American artists and the social imaginary." Visual Studies 25, no. 2 (September 3, 2010): 194–95. http://dx.doi.org/10.1080/1472586x.2010.502679.
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Lin, Jenny. "Poetics of Cross-Cultural Relation: Critical Performances by Artists kate-hers RHEE and Patty Chang." Konturen 12 (2022): 96–127. http://dx.doi.org/10.5399/uo/konturen.12.0.4917.
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This article explores anti-racist, feminist performance and video art by kate-hers RHEE and Patty Chang. Parodic performances of awkward sexual encounters in works such as RHEE’s The Chocolate Kiss (2013) and Chang’s The Product Love (2009) embody and deconstruct identity formation within transnational German and Asian American contexts. I explore how RHEE and Chang distinctly challenge sexist and racist stereotypes and the objectification of Asian women, while problematizing cultural categorization through (mis)translations and poetic relations. The article illuminates how these artists complicate Asian American identities via variegated explorations of critical race theories and connected histories of cross-cultural representation.
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Desai, Dipti. "There Was So Much Silence Growing Up…: Artistic Interventions of Tomie Arai and Flo Oy Wong." Asian Diasporic Visual Cultures and the Americas 6, no. 3 (December 8, 2021): 217–37. http://dx.doi.org/10.1163/23523085-06030002.
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Abstract This essay explores the specific artworks of Asian American artists Tomie Arai and Flo Oy Wong as complex articulations between culture, identity, history, and memory. Based on oral history interviews that were integral parts of their artistic processes, Arai and Wong created works that explored the family histories and memories of Asian immigrants and Asian Americans living in New York City’s Chinatown and California. Their artworks open up a space to explore memory as a way of knowing that is shaped not only by what is said, but more importantly by what is not said—by silences and secrets.
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Han, Chong-suk, and Edward Echtle. "From Merging Histories to Emerging Identities: An “Asian” Museum as a Site of Pan-ethnic Identity Promotion." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 2 (2007): 33–54. http://dx.doi.org/10.36650/nexus5.2_33-54_hanetal.
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In this paper, we explore the significance of the Wing Luke Asian Museum (WLAM) in Seattle, Washington as a site where pan-ethnic Asian American identity can be promoted by analyzing the strategies employed by the staff and artists of the WLAM to promote, foster and disseminate a larger Asian Pacific Islander American pan-ethnic identity. We argue that museums are a significant site that can “provide a setting for persons of diverse Asian backgrounds to establish social ties and to discuss their common problems and experiences.”
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Philip, Leila. "Islands of Clay." Asian Diasporic Visual Cultures and the Americas 1, no. 1-2 (February 24, 2015): 131–54. http://dx.doi.org/10.1163/23523085-00101007.
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Toshiko Takaezu (1922–2011) was an important postwar Asian-American artist from Hawai‘i. My exploration of Takaezu’s work is closely informed by scholarship on hybridity and performative identity, which examines artists with hyphenated identities that bridge multiple personal and cultural formations. Takaezu has occupied an ambiguous and fluid space between cultures, artistic traditions, and assigned gender roles as Asian and American, as potter and sculptor, and as a woman who paid deference to traditional Japanese female culture but was also a pioneer artist who consistently identified with male forms of power. The essential paradoxes of Takaezu’s life and her struggle to find ways to create and perform her ethnicity without becoming trapped within it make her a fascinating case study. Her work reflects the implications of transnational flows and circulations; her clay works speaks to a heritage of migration, dispersal and the need to recapture a sense of lost homeland.
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김현주. "Representation of American History by Asian American Women Artists in the 1980s and '90s." Korean Bulletin of Art History ll, no. 47 (December 2016): 101–24. http://dx.doi.org/10.15819/rah.2016..47.101.
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Lytle, Tiffany J. "Apsara Aesthetics and Belonging: On Mixed-Race Cambodian American Performance." Genealogy 7, no. 4 (December 8, 2023): 97. http://dx.doi.org/10.3390/genealogy7040097.
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The image of the Apsara, a celestial dancer in Cambodian myth, is closely associated with Cambodian cultural preservation practices like Cambodian classical dance. The Apsara, its aesthetic features and its association with Cambodian cultural preservation have taken on new meaning in Cambodia’s diasporic communities. In the diaspora, Apsara aesthetics have come to symbolize Cambodian heritage, history and identity, becoming a major feature of performances by Cambodian diasporic artists. However, orientalist expectations of Asian performers in the diaspora, paired with both the forgotten history of colonial intervention in Cambodian arts and state-sanctioned initiatives towards Cambodian nationalism, contributes to orientalist (and thus racialized) expectations of Cambodian diasporic performance. Mixed-race artists fail to fit neatly into the dominant narratives of Cambodian performance and have been marginalized by the Cambodian diasporic community’s dominant conceptions of performance that are rooted in cultural preservation. As people that sit outside of the aestheticized markers of Cambodian-ness, mixed-race artists often struggle to have their work and their subjectivities recognized by their communities. To circumvent questions of their racial legibility, mixed-race Cambodian American artists construct performances that are strategically padded with markers of Khmer identity by engaging with Apsara aesthetics. This article will explore how three different SoCal-based artists have negotiated their Cambodian American identity and cultural politics through performance and/or performance related materials (ads, images, etc.). I will be using examples from the work of music artist and violinist Chrysanthe Tan, theater practitioner Kalean Ung, and autoethnographic engagement with my own creative projects to show how examining the work of multi-racial Cambodian American performing artists can bring forth the complex dynamics of Cambodian diasporic cultural politics and belonging.
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Wu, Ellen D. "““America's Chinese””: Anti-Communism, Citizenship, and Cultural Diplomacy during the Cold War." Pacific Historical Review 77, no. 3 (August 1, 2008): 391–422. http://dx.doi.org/10.1525/phr.2008.77.3.391.
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With the onset of the Cold War, the federal government became concerned with the impact that the status and treatment of Chinese Americans as a racial minority in American society had on perceptions of the United States among populations in the Asian Pacific. As a response, the State Department's cultural diplomacy campaigns targeting the Pacific Rim used Chinese Americans, including Betty Lee Sung (writer for the Voice of America) and Jade Snow Wong and Dong Kingman (artists who conducted lectures and exhibitions throughout Asia). By doing so, the government legitimated Chinese Americans' long-standing claims to full citizenship in new and powerful ways. But the terms on which Chinese Americans served as representatives of the nation and the state——as racial minorities and as ““Overseas Chinese””——also worked to reproduce their racial otherness and mark them as ““non-white”” and foreign, thus compromising their gains in social standing.
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Galella, Donatella. "Democracy, “Democracy (Reprise),” and the Asian American Ambivalence of Soft Power." Theatre Journal 76, no. 1 (March 2024): 23–43. http://dx.doi.org/10.1353/tj.2024.a929510.
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Abstract: In Soft Power (2019), David Henry Hwang and Jeanine Tesori deconstruct and demonstrate the affective power of American musicals by reversing The King and I (1951). Soft Power satirizes democracy, white supremacy, and gun violence with whiteface, meta-propaganda, and a sweeping Broadway-style score. In the torch song “Democracy” and its reprise, the artists articulate Asian American ambivalence about US democracy: hope in its promise to lift everyone, despair in its rootedness in racism, and cognizance of musical theatre as a delivery system for ideology. This article uses repetition, interviews, reviews, and dramaturgy to consider Soft Power , soft power, and democracy.
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Wang, ShiPu. "The Challenges of Displaying “Asian American”: Curatorial Perspectives and Critical Approaches." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 12–32. http://dx.doi.org/10.36650/nexus5.1_12-32_wang.
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This essay delineates the issues concerning AAPI art exhibitions from a curator’s perspective, particularly in response to the changing racial demographics and economics of the past decades. A discussion of practical, curatorial problems offers the reader an overview of the obstacles and reasons behind the lack of exhibitions of AAPI works in the United States. It is the author’s hope that by understanding the challenges particular to AAPI exhibitions, community leaders, and patrons will direct future financial support to appropriate museum operations, which in turn will encourage more exhibitions and research of the important artistic contribution of AAPI artists to American art.
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Soe, Valerie. "Open-Source Identities: Identity and Resistance in the Work of Three Asian American Artists." Amerasia Journal 40, no. 2 (January 2014): 1–24. http://dx.doi.org/10.17953/amer.40.2.q8580270271u3866.
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Ho, Ang-Cheng Kris, and Fernando Martin Pastor. "The Mutual Influence between Asian Cultures and American Minimalist Music: An Essential Channel for Aesthetic Exchange." Malaysian Journal of Music 11, no. 1 (August 4, 2022): 33–52. http://dx.doi.org/10.37134//mjm.vol11.1.3.2022.
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This research aims to show the mutual influence between Asian cultures and American minimalist music. This cultural exchange that started with John Cage, before continuing with Toru Takemitsu and then, Tan Dun, has been a fruitful channel of communication for new compositions in both continents. The paper explores the close connection between early minimalist composers (Reich, Glass, La Monte Young, and Terry Riley) and Asian music and philosophies (Zen Buddhism and Spirituality) as well as some of the ramifications of these traditions over the past five decades. The concept of minimalism was first applied in the arts as a return to simplicity, in tune with Asian philosophies. For some artists, the practice was already present in Asian arts before it appeared in the West. The minimalistic endeavour starts with the experimental works of Cage and Feldman; followed by the movement “Fluxus”. This coincided with what is often considered early minimalism, leading to the great variety of styles and mix of compositional techniques employed by current Asian composers influenced by American minimalism. This paper also analyses the use of minimalism in the Western and Asian curriculum.
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Ouyang, Lei X. "“Systems Are Changeable”: Reading Moments through Movements." Ethnomusicology 68, no. 2 (2024): 325–47. http://dx.doi.org/10.5406/21567417.68.2.09.
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Abstract This article considers how recent moments of racism and violence in the United States, ethnomusicology, and the Society for Ethnomusicology are linked to larger movements. I examine the work of Asian American and Asian Canadian artists and activists to engage with conversations about violence, racialization, and solidarity. I bring these conversations in concert with recent discussions of racism in music studies to connect moments to movements and examine models for change through processes of decolonization. I call upon readers to embrace discomfort, listening, and reflection to engage with work that is relational and intergenerational and that demonstrates hope, care, and solidarity.
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Kim, Elaine H. ""Bad Women": Asian American Visual Artists Hanh Thi Pham, Hung Liu, and Yong Soon Min." Feminist Studies 22, no. 3 (1996): 573. http://dx.doi.org/10.2307/3178131.
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Storti, Anna M. Moncada. "Racist Intimacies; or, The Femme Alter Ego and Her Retribution." differences 35, no. 1 (May 1, 2024): 97–133. http://dx.doi.org/10.1215/10407391-11101348.
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Cultural depictions of Asian/white miscegenation have long been a source of fascination for scholars within Asian American and sexuality studies. Such a long-standing interest has not only provided key insights into the Orientalist structure of racialized sexuality, but it has also kept our sights set, perhaps too set, on deciphering the Asian woman both in the context of romance and as an object of desire. This essay recasts the narrative of Asian/white sexuality as one of minoritarian retribution, making the argument that insofar as Asian femininity forms the object of racist desires, it can also function as the basis for feminist revenge. The author contemplates racial fetishism through twenty-first-century feminist cultural production, namely the work of mixed-race artists Chanel Matsunami Govreau and Maya Mackrandilal, showing how neoliberal multiculturalism has become further embedded within the infrastructure of everyday encounters, giving rise to something we might call the erotic life of anti-racism.
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Park, Eunyoung. "Solidarity through Text Production: Godzilla Asian American Art Network and Korean American Artists in New York in the Early 1990s." Journal of the Association of Western Art History 60 (February 29, 2024): 7–30. http://dx.doi.org/10.16901/jawah.2024.02.60.007.
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Maria Rhodora G. Ancheta. "Flippin’: Contemporary Filipino-American Stand-up Comedy and Abjection as a Tactic of In/exclusion." Asiatic: IIUM Journal of English Language and Literature 16, no. 1 (June 24, 2022): 23–40. http://dx.doi.org/10.31436/asiatic.v16i1.2486.
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The rise of new, multicultural stand-up comics in the United States appears to have created new spaces for the presentation of long-peripheralised ethnic groups in the country. Deploying the observational humour, a signal contribution of American stand-up comedy, the stand-up comedy acts of contemporary Filipino- American comic artists provide a refocusing on Filipinos, on the Philippines, on Filipino migration to the United States, and on Filipino-American hybrid practices. Thus, they grant force and leverage to Filipino-Americans as a potent American ethnic group, especially as we consider the fact that they constitute the second-largest Asian-American group in the US. Based on this background, this paper aims to interrogate the re/de/constructions of the Philippines and Filipino- ness as transnational ideations that are sifted through the performance of these Filipino-American experiences in stand-up comedy across multimedia streams. It will focus on the contemporary stand-up comic act by Jo Koy, currently one of the most ubiquitous and famous of Filipino-American stand-up comics. Thus, to examine the Filipino/Philippines as transnational originary, and Filipino- American-ness as a nexus of these transnational traffics, the paper will use Julia Kristeva’s theory of abjection, supported by John Limon’s adoption and critique of this concept in his reference to stand-up comedy and humour.
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Ty, Kim Soun, Shirley Suet-ling Tang, Parmita Gurung, Ammany Ty, Nia Duong, and Peter Nien-chu Kiang. "Hira Makes a Sound: Nepali Diasporic Worldviewing through Asian American Studies Praxis during the COVID-19 Anti-Asian Hate Pandemics." Religions 14, no. 3 (March 20, 2023): 422. http://dx.doi.org/10.3390/rel14030422.
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In this article, we offer a specific example from our programmatic research and teaching praxis during the COVID-19 anti-Asian hate pandemic period. We demonstrate how Asian American Studies community-centered knowledge coproduction and narrative generational wealth investment can address critical experiences of young learners from underrepresented, religiously-diverse populations through content that supports culturally sustaining child development and challenges disparately impactful realities of racism, misrepresentation, and systemic Western biases which undermine their health and wellbeing. Focusing on religious themes in relation to child development was not an explicit intention of our collaboratively developed storybook project titled, Hira Makes a Sound. Nevertheless, centering a women-led, intergenerational Nepali immigrant story in both our process and final product necessarily led to foregrounding religious, cultural, and spiritual dimensions of diasporic family and community life that are essential to coping and development for the fictional lead character, Hira, and her loved ones. Robust story data themes—paradoxically grounded in the ether of a shared Gurung worldview—provide generative lessons for researchers, educators, artists, and community advocates who work with or need to account for the lived experiences of young learners within religiously diverse, multi-generational immigrant family households and community ecologies.
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Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.
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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion in Melbourne, Gartner fears that ‘there are people in this community […] thinking that […] it is the demise of all they believe in their British heritage’. The focus of the article, though, is not the promotion of Asian culture but how to overcome Asian indifference to Australia and the problem of bringing Australian artists to the notice of Asian impresarios and audiences. Australian cultural cringe wins out over Australian Asia-literate political correctness. In another corner of the continent the director and playwright Peter Copeman has been attempting to replace ‘the Euro-American hand-me-downs and imitations’ of mainstream Australian theatre with a theatre project which explores ‘attitudes of the dominant Anglo-Celtic and the Vietnamese minority cultures towards each other, using the intercultural dialectic as the basis of dramatic conflict’.
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Popkin, Lionel. "Uday Shan-Kar and Me: Stories of Self-Orientalization, Hyphenization, and Diasporic Declarations." Arts 12, no. 3 (May 18, 2023): 106. http://dx.doi.org/10.3390/arts12030106.
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This article discusses how orientalism has operated and continues to operate within the North American artistic landscape of dance artists. The author starts by focusing on Uday Shankar (1900–1977), one of the major, though often overlooked, figures over the last 100 years of South Asian (and predominantly Indian) dance performance on the concert stage in the diasporic context, to consider how orientalism, the desire for authenticity, a nationalist agenda, religious fundamentalism, economic necessities, multi-cultural initiatives, and diversity desires all interact and coalesce to form an undercurrent of limited potentials about how and why South Asian dance can exist within the American performance discourse. In an auto-ethnographic move, the author then juxtaposes Shankar’s historical legacy with a new artistic project by the author (b. 1969), entitled Reorient the Orient, premiering in 2024. The writing uses archival sources such as photographs, programs, publicity materials, featured essays, newspaper previews, reviews, filmed dance footage, choreographic analysis, and personal reflections to explore how social factors and personal ambitions create awkward relationships within orientalism’s manifestations in the diasporic U.S. performance landscape.
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Puteri, Aisha Maura. "COUNTERING HIP-HOP AS A BLACK SPACE: HOW “THE OTHERS” STRUGGLED TO FIND SPACE IN RAP BATTLE CULTURE AS ANALYZED IN 8 MILE (2002) AND BAD RAP (2016)." Rubikon : Journal of Transnational American Studies 10, no. 2 (October 30, 2023): 204. http://dx.doi.org/10.22146/rubikon.v10i2.76853.
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This article analyzes the normativity of the black race in rap music and how it affected Asian American and White American MCs in Rap Battle (specifically Jin the MC, Dumbfoundead, and Eminem), the importance of rap battle in connection between race and rap, and how rap battle’s connection with race and rap contributed to Jin the MC, Dumbfoundead, and Eminem’s success factors as they tackled racist attacks from their rap battle opponents. The corpus of the study is a documentary about Asian American’s struggle in the hip-hop industry called Bad Rap (2016), as well as Eminem’s revised-autobiography film 8 Mile (2002). The study uses De La Garza and Ono’s CRT (2016) tenets and Edgar and Sedwick’s New Criticism (1999) to discover the importance of Rap Battle in the connection between race and rap as well as the ways that black-originated music affected the nonblack MCs mentioned; specifically, in their performance characteristics, strategies to battle racist attacks from the opponents, as well as their recognition and career development in the industry. Following that, the researcher discussed a gap within racial and sociocultural aspects of black normativity in rap and how it contributed to the ‘success factors’ of these mentioned artists, while racist attacks played a strong role from Black American opponents.
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Goffe, Tao Leigh, Shannon Gleeson, Atif Khan, Austin Kocher, Christin Washington, Judith Salcido, Rewa Phansalkar, et al. "The World We Became: Map Quest 2350, A Speculative Atlas Beyond Climate Crisis." Asian Diasporic Visual Cultures and the Americas 7, no. 1-2 (December 7, 2022): 5–49. http://dx.doi.org/10.1163/23523085-07010002.
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Abstract Tackling how racial justice and climate crisis are entangled, this essay introduces a speculative cartography experiment entitled The World We Became: Map Quest 2350. A collaboration between a collective of artists, poets, academics, curators, architects, and activists, this digital humanities project maps global ecological crises and shared Black, Asian, Pacific, Middle Eastern, Latin American, Caribbean, and Indigenous futures. Intentionally produced in a multimedia format, the born-digital speculative design experiment features visual and audio components presenting a planetary vision of the year 2350 as an underwater future in ruins. The atlas connects five transnational imaginaries that rescript the geographic boundaries of what we currently understand to be South Asia, the South Pacific, the Middle East, North America, Latin America, and the Caribbean. Situating nation-state borders as recent constructs, in this creative exercise the natural environment becomes a model for imagining interspecies relationality and co-presence. Mangroves and atolls form portals to speculative futures of non-human existence beyond the climate crisis and the impact of racial extractive capitalism. Anchored in five locales, the collective text brings together a global vision of survivance addressing migration, dispossession, Asian diaspora, Native sovereignty, Black fugitivity, and broader questions of global indigeneity. With life emerging from the ruins, this atlas forms a digital blueprint of suboceanic futures and the practice of interrogating what justice could mean in the far future.
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FRIEZE, JAMES. "The Mess Behind the Veil: Assimilating Ping Chong." Theatre Research International 31, no. 1 (February 10, 2006): 84–100. http://dx.doi.org/10.1017/s0307883305001884.
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While there are Chinese-American dimensions to Ping Chong's theatre, the frequent application of the label ‘Asian-American’ to Chong reflects a problematic tendency to see certain artists as ‘ethnic’. ‘Postmodern’ and ‘multimedia’ are the two other labels that stick to, and have often distorted, his work. My overview of Ping Chong's oeuvre, and its critical reception, homes in on selected Chong pieces and on particular critical habits. While there are many continuities and discontinuities within a career spanning fifty pieces and three decades, I suggest that Chong oscillates, both visually and thematically, between surface and depth, like the Barthesian ‘outsider within’ who partly inhabits/partly mythologizes the culture(s) they encounter, and who is always changing. There is a need for greater recognition of the distinctiveness of Chong's authorial signature, the multiplicity of his influences, and the ways in which his work challenges the narratives and categories used to study performance.
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Mar, Eric, Jensine Carreon, Wei Ming Dariotis, Russell Jeung, Philip Nguyen, and Isabelle Pelaud. "Serve the People! Asian American Studies at Fifty: Empowerment and Critical Community Service Learning at San Francisco State University." AAPI Nexus Journal: Policy, Practice, and Community 16, no. 1-2 (September 23, 2019): 111–36. http://dx.doi.org/10.36650/nexus16.1-2_111-136_maretal.
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This essay reflects on five decades of growth of the nation’s first Asian American Studies Department at San Francisco State University (SFSU AAS), focusing on its primary commitment to community empowerment and critical “community service learning” (CSL) and also highlighting past and present struggles, challenges, and innovations. This collectively written analysis summarizes SFSU AAS departmental approaches to CSL and community-based participatory research and highlights two case studies: (1) refugees from Burma community health needs research and advocacy in Oakland and (2) the Diasporic Vietnamese Artists Network. We conclude by describing how we are applying our model and building support for critical CSL and argue that AAS and ethnic studies must reclaim CSL from the dominant “charity-based” model or risk losing our social justice orientation and commitment to empowerment and self-determination for our communities.
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Mahmoud, Jasmine. "Seattle’s Episodic Companies of Color." Theater 54, no. 2 (May 1, 2024): 71–87. http://dx.doi.org/10.1215/01610775-11127546.
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Two early twenty-first century ensembles of color in Seattle—and their methods—anchor this article. The first: sis Productions, which started in 2000 as “Sex in Seattle,” an episodic and humorous theatrical series about the romantic relationships of Asian American women. Conceived of by theater artists Kathy Hsieh, Moi, Serin Ngai, and Amy Villarama Waschke, sis developed brainstorming and scripting methods to collectively storytell at Theatre Off Jackson, Annex Theatre, Nippon Kan Theatre, Center House Theatre, Bathhouse Theatre, and Hugo House, and other venues across Seattle. The second: the Black Collectivity Project, a movement-based ensemble led by Nia-Amina Minor, David Rue, marco farroni, and Akoiya Harris, which conducted historical research about the lives and movements of twentieth century Seattle-based Black artists, including dancer Syvilla Fort, and staged their embodied histories via workshops and productions at 12th Avenue Arts, On the Boards, and other Seattle venues. Through an ethnographic and archival approach, Jasmine Mahmoud argues that both ensembles created specific methods to unearth and represent stories in exceptionally unexpected ways that formally emancipated how minoritized people and their histories are portrayed.
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Shulgina, O. M. "A.L. Gorbunkov and Iconographic Sources of the Walrus Ivory Carving Art of the Chukchi and Asian Eskimos in the First Third of the 20th Century." Art & Culture Studies, no. 3 (August 2022): 184–219. http://dx.doi.org/10.51678/2226-0072-2022-3-184-219.
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This article traces the history of the establishment and development of the walrus ivory carving art of the Chukchi and Asian Eskimos through the lens of the question of “the far” and “the near”. This question is examined based on a range of sources used by A.L. Gorbunkov, the first art director of ivory carving workshops in Chukotka, during his interaction with local artists. The novelty of the research topic and the introduction of Gorbunkov’s diary entries into scientific circulation prove the relevance of the selected problem, which has not been sufficiently covered in the research literature before. Revealing the materials of the former Scientific Research Institute of Art Industry (NIIKhP), the author attempts to consider the process of the establishment and development of the walrus ivory carving arts and crafts of Chukotka in the first third of the 20th century not in isolation but holistically, taking into account the cultural and historical context and the experience gained by the experts of NIIKhP by the 1930s. The analysis of “the far” (pictures and ornaments on various ritual objects or household items, ancient petroglyphs on a site close to Pegtymel, drawings on walrus skins, materials of ethnographic expeditions, folklore of the peoples of the Far North) and “the near” (among which is the sculpture of American Eskimos and works by a number of American and European artists) origins of the walrus ivory carving art of Chukotka in the 1930s allows representing the genesis of the Chukchi and Asian Eskimo handicraft in the first third of the 20th century and demonstrating the correlation of traditions and innovations in the new phase of this craft. The complex tasks of the research condition the use of the historical, cultural, and chronological approach, the comparative method and formal stylistic analysis. The author comes to the conclusion about the important role of Gorbunkov in the successful combination of traditional and modern trends in the art form under research: based on national artistic practices, Gorbunkov updated the assortment and themes of ivory carving products in accordance with the new demands of the epoch.
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Rosa, John. "Small Numbers/Big City: Innovative Presentations of Pacific Islander Art and Culture in Phoenix, Arizona." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 1 (2007): 59–78. http://dx.doi.org/10.36650/nexus5.1_59-78_rosa.
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This resource paper provides an overview of how the small but growing Pacific Islander and Asian American community in Phoenix has sustained, developed, and preserved its culture and art in the absence of a permanent AAPI art or cultural museum. This article gives examples of such alternative formats and includes details on dance, music, and other folk cultural practices. Metropolitan statistical areas with AAPI populations comparable to Phoenix include Minneapolis, Atlanta, and Dallas. Phoenix community groups use small, temporary displays at annual AAPI cultural festivals. One approach is a ?museum on wheels? ? a used tour bus filled with certified reproductions of artifacts on loan from the Bishop Museum in Honolulu. Native Hawaiians also collaborate with the more numerous Native American organizations that can provide venues for indigenous arts. Universities and state humanities councils are frequent sources of funding for AAPI artists. MSAs with Pacific Islander populations most comparable to Phoenix (in the range of 10,000 to 15,000) are the U.S. Southwestern cities of Las Vegas and Salt Lake City. Pacific Islanders in these cities might be most likely to employ display formats and strategies similar to those used in Phoenix.
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Abreu, Mariana. "Black Epistemologies and Music: A Dialogue with Emicida's Sobre crianças, quadris, pesadelos e lições de casa." Hispania 107, no. 2-3 (June 2024): 353–65. http://dx.doi.org/10.1353/hpn.2024.a929133.
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Abstract: The arts have consistently been interlocutors for Black scholarship in the humanities. Poetry, literature, and music are sources of knowledge for theorizing social realities. This relates to two elements: (a) an epistemology that values the production and spread of oral, subjective, and aesthetic forms of knowledge; (b) the systematic exclusion of Black people from academic spaces, especially in Latin American contexts, which encourages alternative practices of reflection and registry. Many artists actively consider what is produced in the cultural margins to be a strong locus of political and intellectual creativity. In Brazil, the rapper Emicida has been trying to make his artistic projects catalysts for philosophical reflection. His album Sobre crianças, quadris, pesadelos e lições de casa resonates with Asian, African, Black Atlantic, and Latin American sources of knowledge including religious practices, pop culture, and philosophy. It discusses themes such as love, race, racism, history, family, environmental crisis, and work relations through the combination of musical styles from Brazil, specifically, and the Black Atlantic, more generally. This article establishes a dialogue with the theories and debates suggested by this album, thus situating its contribution to Black scholarship and epistemology.
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Ngoei, Wen-Qing. "Exhibiting Transnationalism after Vietnam: The Alpha Gallery’s Vision of an Artistic Renaissance in Southeast Asia." Journal of American-East Asian Relations 29, no. 3 (September 20, 2022): 271–99. http://dx.doi.org/10.1163/18765610-29030004.
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Abstract This essay examines the Alpha Gallery, an independent artists’ cooperative that Malaysians and Singaporeans established, which staged art shows during the 1970s to spark an artistic renaissance in Southeast Asia. The cooperative’s transnational vision involved showcasing Balinese folk art as a primitive and, therefore, intrinsically Southeast Asian aesthetic, while asserting that it shared cultural connections with the Bengali Renaissance of the early 20th Century. Alpha’s leaders believed these actions might awaken indigenous artistic traditions across Southeast Asia. Their project underscores the lasting cultural impact of colonialism on Southeast Asia and the contested character of the region. Alpha’s condescending view of Balinese folk art echoed the paternalism of Euro-American colonial discourses about civilizing indigenous peoples that persisted because its key members received much of their education or training in Britain and the United States, a by-product of their countries’ pro-U.S. trajectory during the Vietnam War. Equally, Alpha’s transnationalism ran counter to Southeast Asian political elites’ fixation with pressing art toward nation-building. Indeed, the coalescing of nation-states does not define the region’s history during and after the Vietnam War. Rather, non-state actors like Alpha’s members, in imagining and pursuing their versions of Southeast Asia, contributed to the persistent contingency of the region.
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Abdullah, Farid. "MENCUKIL SEJARAH DAN ESTETIKA UKIYO-E." Jurnal Dimensi Seni Rupa dan Desain 9, no. 1 (February 1, 2012): 25–34. http://dx.doi.org/10.25105/dim.v9i1.954.
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AbstractHistory and aesthetic of Ukiyo-e was a portrait of East culture, an effect of increased trade and communication between Asian and European countries during the late 19 century, caused a cultural collision; both East and West exprerienced change as a result of reciprocal influences. asian art provided European and North american artists and designers with new approaches to space, color, drawing conventions, and subject matter that were radically not similar witrh Western tradition . Ukiyo-e defines an art movement of Japan's Takogawa period ( 1603-1867) . Revitalized graphic design during the last decade of the nineteeth century. AbstrakSejarah dan estetika seni Ukioyo-e adalah kepingan dari budaya Timur, dampk dari meningkatnya perdangan dan komunikasi anatara negeri-negeri Asia dan Eropa selama abad 19 Masehi. di mana hal ini menyebabkan benturan budaya . Baik pengalaman Barat dan Timur sebagai bentuk sebab akibat yang saling mempengaruhi. Seni rupa Asia kemudian disediakan oleh seniman dan desainer dari Eropa dan Amerika dengan pendekatan baru terhadap ruang warna, penedekatan dalam menggambar dan tema gambar, di mana secara dramatis tidak memiliki kesamaan dengan tradisi Barat. Seni UKiyo-e menjelaskan tentang satu gerakan pada periode Togugawa Jepan ( 1603-1867). Seni Ukiyo-e telah berhasil menghidupkan desain grafius selama dekade terakhir dari abad ke 19
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Son, Elizabeth W. "Transpacific Acts of Memory: The Afterlives of Hanako." Theatre Survey 57, no. 2 (April 13, 2016): 264–74. http://dx.doi.org/10.1017/s0040557416000119.
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In producing Chungmi Kim's eponymous Hanako (1999), the first Asian American play on the topic of “comfort women,” East West Players (EWP) provided a critical space for addressing this devastating chapter of Asian history and showing its relevance to communities in the United States. It also inadvertently launched the play on a ten-year transpacific journey as Comfort Women (2004) in New York and as Nabi (2005–9) throughout South Korea and Canada. Hanako dramatizes the intergenerational bonds between a Korean American university student, her grandmother, and Korean “comfort women” survivors who travel to New York to give their public testimonies. As the play develops, one learns that the grandmother has been repressing her own memories of enslavement as one of an estimated two hundred thousand young girls and women euphemistically called “comfort women” whom the Japanese Imperial military forced into sexually servicing its troops in the years leading up to and during World War II. Survivors kept their wartime experiences a secret from the public until the early 1990s, when a social movement for redress emerged in Asia. Over the past two and a half decades, activists and artists from around the world have joined survivors in their quest for justice. The recent agreement in 2015 between South Korea and Japan to “resolve” the “comfort women” issue sparked outcry from survivors and their supporters for its insincerity and inadequacy, further galvanizing the movement. Hanako and its afterlives as Comfort Women and Nabi are part of the transpacific culture of political activism and artistic expression that contends with the ongoing struggle over the history of “comfort women.”
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Ellis, Paul. "MTV vs. Channel V." Asian Case Research Journal 05, no. 02 (December 2001): 167–201. http://dx.doi.org/10.1142/s0218927501000147.
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The American music channel MTV was the first to broadcast music television in Asia when it entered the market via Star TV's satellite feed in 1991. However, when Rupert Murdoch's News Corporation acquired Star TV two years later, MTV left the scene over a disagreement regarding the amount of local programming and a new player emerged in the form of Star TV's own Channel V. In contrast to the global approach of MTV, Channel V placed more emphasis on local artists and VJs and for a while enjoyed a monopoly position in the market. Later, in 1995, MTV returned to Asia with a new strategy of adapting the content while projecting a common brand image. MTV has since enjoyed rapid growth in the region resulting in fierce competition between the two channels. In 1999 the rivalry manifested itself in an escalating war of words between Steve Smith of Channel V and Frank Brown of MTV with each alleging that the other was misrepresenting distribution figures. The case documents this feud and its effect on advertisers in the context of the emerging Asian market for televised music.
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Cateforis, Alex. "My Fate is in Your Hand." Undergraduate Research Journal for the Humanities 2, no. 1 (April 1, 2017): 48–59. http://dx.doi.org/10.17161/1808.23873.
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Yasuo Kuniyoshi (1889-1953) was a Japanese-American émigré artist active and successful in the United States from the mid-1920s until his death. However, despite his artistic achievement and integration into American culture, Kuniyoshi’s life and fate turned tragic as the Pacific War erupted, which intensified extreme racism toward the people of Japanese heritage and increased nationalism in the United States. Kuniyoshi’s 1950 painting My Fate is in Your Hand reveals the artist’s dual and conflicted identity, his social and political fate in the U.S. after Pearl Harbor, and suggests that a year before his death, the artist no longer controlled his fate. A majority of white Americans and the conservative American art world rejected him as an Asian “other.” Kuniyoshi grew weary, stressed, and anxious, an artist caught between success and rejection and his split Japanese and American identity. In this essay, I argue that each major portion of the work’s title— “My,” “Fate,” and “Your Hand”— reveals the symbolic meaning of the painting and suggests the artist’s inner state in 1950. I also analyze four of Kuniyoshi’s earlier works to provide insight into the meaning of My Fate is in Your Hand and to tell the story of the Japanese-American artist.
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Peleggi, Maurizio. "When art was political: Historicising decolonisation and the Cold War in Southeast Asia through curatorial practice." Journal of Southeast Asian Studies 50, no. 4 (December 2019): 645–54. http://dx.doi.org/10.1017/s0022463420000107.
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In Asia, and in Southeast Asia in particular, the Cold War was far from cold, witnessing the most deadly conflicts and political massacres of the second half of the twentieth century. Also, the clash of ideologies there did not follow a binary logic but included a third force, nationalism, which was rooted in the anticolonialist movements of the interwar years and played a significant role even in countries that decolonised peacefully after the end of the Second World War. The Cold War thus overlapped with the twin process of decolonisation and nation-building, which had its founding moment at the Asian-African Conference at Bandung in 1955, where the non-aligned camp, which advocated a neutral position vis-à-vis the two rival blocs, coalesced (one year ealier, the anticommunist Southeast Asia Treaty Organization had been established). Postcolonial aspirations to national progress that tied socioeconomic development to the civic and cultural elevation of the citizenry were widely shared among newly decolonised countries. By the mid-1960s, however, the utopian ‘Bandung Spirit’ had lost ground to Cold War realpolitik; intra-Asian and communal conflicts fomented by Cold War enmities (the Sino–Indian War of 1962, the Indo–Pakistani War of 1965, Indonesia's anticommunist purges of 1965–66) along with the escalation of the Vietnam War and the consequent exacerbation of regional divisions, belied governments’ earlier commitment to human rights, Third World solidarity and world peace. The authoritarian involution of several Asian countries that were often American allies, redoubled by the opening of their economies to multinational corporations, led many artists and intellectuals to embrace political activism. The conception of art as a revolutionary instrument in the service of the masses had been famously articulated by Mao Zedong at the Yan'an Forum in 1942. In China, Mao's prescriptions on art were sidelined, though never officially repudiated, only in the early 1990s, following the end of the Cold War and the adoption of a socialist market economy, by acknowledging the necessity ‘to respect and guarantee the creativity of individuals’.
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Robinson, Greg. "The Debate Over Japanese Immigration: The View from France." Prospects 30 (October 2005): 539–80. http://dx.doi.org/10.1017/s0361233300002179.
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The story of the Issei — the 100,000 Japanese immigrants who traveled to Hawaii and the United States during the turn of the 20th century — is an epic of survival amid hardship. Through the efforts of labor contractors backed by the Japanese consulate, the majority of the newcomers were recruited to undertake heavy labor on Hawaiian plantations. Others settled on the mainland, predominantly on the nation's Pacific Coast, where they worked as farmers, fishermen, railroad workers, and agricultural laborers. Smaller contingents of students, artists, and professionals also crossed the ocean and scattered through the United States. As the immigrants became established, many brought over “picture bride” wives and started families. Through careful saving of wages and communal self-help, numerous immigrant laborers bought farms and established small businesses, churches, and community institutions. At the same time, they were victimized by widespread racial prejudice and discriminatory legislation. Like other Asian immigrants, they were barred from naturalization by federal law, and therefore from voting, and in many states the Issei were forbidden to marry whites or to practice certain professions. In Hawaii, the white planter class limited educational opportunity and kept Issei in menial labor positions. On the West Coast, white laborers and political leaders, who rigidly excluded Asian workers from unions, organized movements to exclude the Issei from residence on the grounds that they depressed wage scales through their willingness to work for lower pay. Following the “Gentlemen's Agreement” of 1907–8, the entry of Japanese laborers into the country was largely restricted. Shortly thereafter, in response to demands by white farmers enraged by competition from their Issei counterparts, California and neighboring states enacted alien land acts, which forbade all Japanese and other “immigrants ineligible to citizenship” from owning agricultural land. As a result, the Issei were forced to take short-term leases on land or to put their holdings in the names of white colleagues or of their own children, the Nisei (American-born citizens of Japanese ancestry). Exclusionist pressure, founded on nativist opposition to the alleged racial danger posed by the Issei to the American population, flared up again following World War I and climaxed in the Immigration Act of 1924, which outlawed all Japanese immigration to the United States.
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Coorlawala, Uttara Asha. "Writing out otherness." Studies in South Asian Film & Media 4, no. 2 (October 1, 2012): 143–56. http://dx.doi.org/10.1386/safm.4.2.143_1.
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Increasingly, global–local situations call for theory to honour culturally diverse discourses and histories. This article is concerned with the ways that critical writings affect material concerns of dancers. The article stages crises of alterity; writing from the underside, I call attention to the need to acknowledge multiple subjectivities and locations. Alterity compels Asian artists to negotiate whiteness as praxis, and as theories of performance. However, even as writings valorize resistance and interventions of performance, by what theories are we restraining performers?2 Is the dancer-as-subaltern3 always to be the data that validates western theory and theorizing – regardless of the origin and commitments of the writer? How may the other, redefine himself or herself and be heard? I attend to the discomforts of participant-observation when writing about performances; to the discomforts produced by dichotomizing gazes on bodies that perform nationality. I attend to the performance of pluralities of Asianness from within the glass walls of a hothouse inside Euro-American dance discourse. Much has been said about intertexts and performance, but what about tacit knowledge that flies below the radar of ‘the cultural’?4 We need to consider intracultural epistemologies of perception such as the Natya Shastra discourses. This article asks how do we write non-violently so that identities can travel amidst moving spaces, cultural, personal, theoretical, performative spaces.
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Matsumoto, Valerie J. "“A Living Artist with Open Eyes”: the Transnational Journey of Mitsu Yashima." Asian Diasporic Visual Cultures and the Americas 6, no. 1-2 (July 6, 2020): 71–91. http://dx.doi.org/10.1163/23523085-00601005.
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Mitsu Yashima (1908–1988) was a political dissident and artist in two countries. In prewar Japan, she became a proletarian rights activist; during World War ii she continued to oppose Japanese militarism by working for the United States government. In her later years, she opposed US militarism during the Vietnam War. In San Francisco, she became an admired cultural worker in the Asian American movement. Examining her life offers rare glimpses of a woman’s efforts to forge a career in the male-dominated art worlds of twentieth-century Japan and the US. Her transnational life expands the boundaries of Japanese American history, which has long focused on late-nineteenth and early-twentieth century immigration to the US West and Hawaiʻi. Her activism also challenges the perception that only third-generation Japanese Americans joined the Asian American movement of the 1960s-1970s. Yashima’s concern for human rights and peace fueled her art, political engagement, and community building.
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Hyunh, Matt, Leah Lakshmi Piepzna-Samarasinha, and curated by Mimi Khúc. "The Crip Tarot Card." South Atlantic Quarterly 120, no. 2 (April 1, 2021): 389–91. http://dx.doi.org/10.1215/00382876-8916130.
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The Crip is one of thirty cards in the Asian American Tarot, an original deck of tarot cards I curated as part of my hybrid book arts project on mental health, Open in Emergency (first published in 2016 and then in an expanded second edition in 2019/2020). Each card names an archetype that structures the psychic and material life of Asian Americans, and draws upon knowledge production in Asian American studies and Asian American communities to theorize that archetype’s shape and reach. Each features original art and text, a collaboration between a visual artist and a scholar or literary writer. Each ends with guidance, a gentle directive to the reader for what to do now that they have drawn this card in a tarot reading. The Asian American Tarot is art-meets-scholarship-meets-wellness-practice-equals-magic-for-our-times. The Crip is the twenty-sixth card in the major arcana, and it is here welcoming us all on our disability journeys.
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Lee, Chaeeun. "Between Abstraction and Materiality: Carlos Villa and the Politics of Asian American Art." Asian Diasporic Visual Cultures and the Americas 8, no. 1-2 (May 22, 2023): 15–42. http://dx.doi.org/10.1163/23523085-08010002.
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Abstract In the 1970s and early 1980s, Filipino American artist Carlos Villa developed a set of experimental methods and idioms—namely, abstraction, abject sensibility, and intense materiality—that would accompany his renewed interest in self-identity and community expression. While these strategies coincided with the broader artistic tendency of the 1960s and ’70s toward unconventional materiality and a deliberately indecorous sensibility, Villa’s far-reaching concern for the racialized condition of Filipinx America compels a reconsideration of his work vis-à-vis the historical and discursive contexts of Filipinx America. This article combines formal analysis with readings from Filipinx/Asian American studies and critical theory to argue that Villa’s experimental methods expose and reroute the multifarious ways in which Filipinx America has been subjected to the violence of the visual regimes of colonialism and modernity. They reorient the predicaments of Filipinx America towards imagining alternative modes of existence and possibilities of freedom, and a rethinking of the politics of Asian American art.
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Ho, Fred. "Beyond Asian American Jazz: My Musical and Political Changes in the Asian American Movement." Leonardo Music Journal 9 (December 1999): 45–51. http://dx.doi.org/10.1162/096112199750316802.
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The author addresses the interconnection between making revolutionary Asian American music and the conditions for its development as contextualized by the ideological and political orientation from the Movement and its organizations. He discusses his own musical and political development as a leading revolutionary Chinese/Asian American artist.
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Bussey, Nicole. "Deconstructing Desire: Criticism of Western Romantic Narratives in Mitski's "Your Best American Girl" Music Video." Nota Bene: Canadian Undergraduate Journal of Musicology 17, no. 1 (June 18, 2024): 74–87. http://dx.doi.org/10.5206/notabene.v17i1.17194.
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Mitski Miyawaki, a Japanese American indie-rock artist professionally known as Mitski, wrote her 2016 song, “Your Best American Girl,” from the perspective of a woman who is unable to have a relationship with her love interest due to their different racial and cultural backgrounds. The accompanying music video engages with the song’s social message while adding nuance and complexity to it. Many of the lyrics portray Mitski’s feelings of isolation as an Asian American woman, especially through their employment of Japanese cultural symbols, while the music video uses parody, camera angles, and Americana iconography to further illustrate Mitski’s experiences of isolation. This essay analyzes the subtle ways in which “Your Best American Girl” subverts Asian stereotypes and destabilizes white patriarchal structures that are perpetrated by popular media, particularly through white centrality in the indie-rock genre. Comparison of “Your Best American Girl” to Lana Del Rey’s “Born to Die” music video reveals how “Your Best American Girl” uses parody techniques to criticize this white centrality. Further, its references to PJ Harvey allows Mitski to occupy a similar position of musical authenticity and command respect. Through lyrical, musical, and visual storytelling, “Your Best American Girl” chronicles Mitski’s journey towards self-acceptance, while critiquing the pervasive whiteness in romantic narratives.
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Price, Zachary. "Remembering Fred Ho: The Legacy of Afro Asian Futurism." TDR/The Drama Review 60, no. 2 (June 2016): 48–67. http://dx.doi.org/10.1162/dram_a_00547.
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What is Afro Asia? What are the political and cultural connections between Black Americans and Asian Americans? What does jazz have to do with martial arts? In 1997 Fred Ho began creating a series of Afro Asian jazz martial arts performance pieces that brought together a synthesis of martial arts practitioners, dancers, and jazz artists, reflecting the legacy of the Bandung Conference of 1955.
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Mallet, Julien. "Insularity and Musical Horizons in Madagascar. Local Networks, Global Connection and Vice Versa." Youth and Globalization 4, no. 2 (February 10, 2023): 178–94. http://dx.doi.org/10.1163/25895745-04020010.
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Abstract In Madagascar, musical genres that were previously exclusively regional have been broadcast nationwide for a few years. One of the notable changes concerning representations lies in the transition from identity referents linked to regional and/or ethnic affiliations to referents (assigned by the capital’s media) belonging to a globalizing register: mafana music (“hot music”). Artists, taken in this category, have migrated to the capital and are building new musical forms combining regional or ethnic repertoires and international modern forms, in particular by affirming and claiming a Black belonging through borrowings from modern African and North American musical genres. The article will focus on reflecting on globalization as a horizon. An alarming economic reality, an unequal social order, strong relations of domination and dependence at the local, national and global levels, are realities that strongly mark Madagascar. However, we will see how the actors of the music studied come in part and in their own way to challenge this context by an original local/global articulation. From the so-called mafana music we will see how local music genres were formed and have built meaning by connecting to global horizons. Carried in part by young women from dominated regions and marginalized communities and who have become stars, this phenomenon refers to multiple imaginaries. It is among other things to be understood in a context of inter-ethnic relations at the national level, inherited from the colonial system and mobilizing stereotyped representations between merina (historically dominant ethnic group, of the capital) and coastal, through oppositions “white” / “black”, “Asian type” / “African type”, “civilized” / “savage”, unbridled /measured sexuality... The article will focus on analyzing the processes of positive reappropriation of these stereotypes (transition from the status of black women / coastal mainty to that of national black stars) and the articulation of the phenomenon to new regional (Indian Ocean) and international (France) mobilities through community networks that are set up via the diaspora and the internet (Youtube, Facebook). At the heart of identity reformulations, these musics shake up categories and the established order. Taken in emerging markets, deploying through new networks and circulations from below, they are at the center of contemporary mutations where insularity and expanded horizons are entangled.
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Sawada, Emilia. "Of Mothers and Mutants." Aztlán: A Journal of Chicano Studies 49, no. 1 (2024): 13–46. http://dx.doi.org/10.1525/azt.2024.49.1.13.
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This essay brings counterhumanist and queer feminist approaches to bear on issues of maternity, intimacy, loss, cartography, and affect. I turn to Mario Acevedo Torero’s mural The Rage of La Raza (1974) to consider lost histories, lost subjects, and—extending Sylvia Wynter—a genre of loss. I contend that Torero memorializes Mexican Indigenous and Asian American mothers who, rendered absent by the violences of US legislation and court rulings, continue to haunt the legal and extralegal systems of classification that have “queered” their Chicanx and mixed-race Asian American children as mutants and outsiders. By conjuring these ghost mothers, this artist resists the erasure of unruly intimacies between Europe, Africa, Asia, and the Americas, and related genealogies of knowledge, that has enabled racial, settler, and imperial regimes of liberal humanist governance. Furthermore, in using the mural as a map, Torero expands the borderlands into Asian waters, allowing the viewer to feel and think beyond the strictures of dominant nationalisms. Ultimately, this essay demonstrates the valuable interventions that Chicanx aesthetic practices can make within multiple subfields of critical ethnic studies, settler colonial studies, and Chicanx feminist studies.
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Schleitwiler, Vince, Abby Sun, and Rea Tajiri. "Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri." Film Quarterly 73, no. 3 (2020): 66–78. http://dx.doi.org/10.1525/fq.2020.73.3.66.
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This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.