Journal articles: 'Asian Arts'

1

Bell, Carl. "Asian martial arts and resiliency." Ethnicity and Inequalities in Health and Social Care 1, no. 2 (December 2008): 11–17. http://dx.doi.org/10.1108/17570980200800016.

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Choi, Heeyoung. "Multicultural Musicscape for National Pride: Performing Arts of East-Asian Diasporas in Hawai‘i before WWI." Asian Culture and History 12, no. 1 (February 28, 2020): 9. http://dx.doi.org/10.5539/ach.v12n1p9.

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This study investigates stage performances of Asian immigrants in the U.S., focusing their cultural interactions in Hawai‘i prior to World War II. Previous studies of Asians in the U.S. during the early twentieth century have focused on their separate ways of preserving homeland culture or presentation of mainstream American culture to express a sense of belonging to the host society and relieve anti-Asian sentiments. Despite increasing cultural interactions in cities during this period, the discussion of cultural exchanges among immigrant communities have received limited attention. This study expands previous perspectives by examining the performing arts to demonstrate that diverse multicultural events in Hawai‘i were important tools to promote respective Asian ethnic groups’ cultural identities, foster interactions among young adults of Asian ancestry, and inspire their national pride. The Asian diasporas in Hawai‘i constituting a majority of the local population, despite foreign-born Asian immigrants’ limited access to U.S. citizenship, appreciated opportunities to curate their own ethnicity on stages and culturally interact with other ethnic groups. The multicultural experiences ultimately instilled the satisfaction and national pride into the young adults of Asian ancestry.

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Benitez, Kristina, Frena Bloomfield, and Leong Mo-ling. "The 7th Festival of Asian Arts." Ethnomusicology 29, no. 1 (1985): 121. http://dx.doi.org/10.2307/852332.

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Daugherty, Diane, and Phillip B. Zarrilli. "Asian Martial Arts in Actor Training." Asian Theatre Journal 13, no. 1 (1996): 135. http://dx.doi.org/10.2307/1124311.

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Phruksachart, Melissa. "The Bourgeois Cinema of Boba Liberalism." Film Quarterly 73, no. 3 (2020): 59–65. http://dx.doi.org/10.1525/fq.2020.73.3.59.

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If what characterizes Asian American radical politics in 2020 is an articulation of the difference between, and interrelatedness of, the Asian diasporic elite and the migrant poor, the 2018 Asian American films Crazy Rich Asians and Searching achieved mainstream success by celebrating the emergence of the former. The media paratexts of Crazy Rich Asians used race-consciousness as putative resistance, engendering “messianic visibility”—an over-investment in cinematic identification as possessing transformative, even curative, political and personal potential for liberal cisheteronormativity. Meanwhile, Searching's marketing as a film not about race was a significant talking point in the U.S. press. Its colormuteness functioned to normalize the entanglement of Asian diasporic elites in the ranks of Silicon Valley's digital empire. The films’ lack of friction in relation to surveillance capitalism and neoliberal empire ultimately highlights the contradictions of race and/as resistance in the present moment.

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Chen, Feng. "Performing race and remaking identity: Chinese visual artists in New York during the COVID-19 pandemic." Journal of Contemporary Chinese Art 9, no. 1 (July 1, 2022): 201–25. http://dx.doi.org/10.1386/jcca_00062_1.

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The mass shooting in Atlanta that killed eight people including six Asian women in March 2021 marked the new peak of the unceasing waves of anti-Asian violence since the outbreak of COVID-19 in the United States. In this context, this article examines how a group of Chinese visual artists in New York perform and remake their Asian identity on social media in response to a surge in hatred towards and violence against Asians in the United States following the outbreak of COVID-19. Based on my analysis of their visual rhetoric and media activism, I identify three approaches that this group of Chinese visual artists use to perform and remake their Asian identity. First, they performed their Asian identity by developing various visual rhetorics to combat and denounce anti-Asian discourse and hate crime. Second, their Asian identity emerged when they created new visual rhetoric to reimagine what it meant to be Asian in the United States. The new visual rhetoric enriched the understanding of Asian-ness and diversified the experiences of being Asian in the United States by overtly or subtly challenging Asian stereotypes as a product of the western imagination. Lastly, they claimed their Asian identity through seeking racial justice in a larger social context in collaboration with other racial minority groups.

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Hiramoto, Mie. "Wax on, wax off: mediatized Asian masculinity through Hollywood martial arts films." Text & Talk 35, no. 1 (January 1, 2015): 1–23. http://dx.doi.org/10.1515/text-2014-0028.

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AbstractThis paper examines the mediatization of Asian masculinity in representative Hollywood martial arts films to expose the essentialism on which such films rely. Asian martial arts films are able to tap into viewers’ familiarity with idealized images of Asian masculinity; such familiarity is an essential part of the pleasure provided by these films and hence of their economic success. This study focuses on non-Asian (that is, western) protagonists’ appropriation of Asian masculinity because it succinctly encapsulates precisely how western hegemonies co-opt and commodify Asian-ness for their own purposes. Such appropriation is a use of intertextuality that not only allows western viewers to easily access a simplified model of Asian masculinity, but also allows them to reference earlier works to further facilitate the mediation and mediatization of Asian masculinity. This is a process which continues to Other and exoticizes Asian identities, even as it ostensibly carves out a niche for Asian bodies and identities in the institution of the film industry.

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Priest, Graham. "The Martial Arts and Buddhist Philosophy." Royal Institute of Philosophy Supplement 73 (August 21, 2013): 17–28. http://dx.doi.org/10.1017/s1358246113000246.

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My topic concerns the martial arts – or at least the East Asian martial arts, such as karatedo, taekwondo, kendo, wushu. To what extent what I have to say applies to other martial arts, such as boxing, silat, capoeira, I leave as an open question. I will illustrate much of what I have to say with reference to karatedo, since that is the art with which I am most familiar; but I am sure that matters are much the same with other East Asian martial arts.

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9

Nichols, Richard. "A "Way" for Actors: Asian Martial Arts." Theatre Topics 1, no. 1 (1991): 43–60. http://dx.doi.org/10.1353/tt.2010.0001.

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YoungIl, Na. "The Future of Asian Traditional Martial Arts." International Journal of the History of Sport 33, no. 9 (June 12, 2016): 893–903. http://dx.doi.org/10.1080/09523367.2016.1233866.

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Cox, John C. "Traditional Asian Martial Arts Training: A Review." Quest 45, no. 3 (August 1993): 366–88. http://dx.doi.org/10.1080/00336297.1993.10484094.

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Erdman, Joan L. "Inside Tradition: Scholar-Performers and Asian Arts." Asian Theatre Journal 8, no. 2 (1991): 111. http://dx.doi.org/10.2307/1124538.

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13

Singh, Jasjit. "What ‘value’ South Asian arts in Britain?" South Asian Popular Culture 14, no. 3 (September 2016): 155–65. http://dx.doi.org/10.1080/14746689.2017.1294808.

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14

Ley, Graham. "Diaspora Space, the Regions, and British Asian Theatre." New Theatre Quarterly 27, no. 3 (August 2011): 215–28. http://dx.doi.org/10.1017/s0266464x11000431.

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In 1996 Graham Ley compiled for NTQ a record of the first twenty years of Tara Arts, the London-based British Asian theatre company. In this essay, he tests the theoretical concept of a third space for diaspora culture against the experience of two leading British Asian theatre companies, and considers the contrasting role of an Asian arts centre. From 2004 to 2009 Graham Ley led an AHRC-funded research project on ‘British Asian Theatre: Documentation and Critical History’, and has co-edited with Sarah Dadswell two books soon to be published by the University of Exeter Press: British South Asian Theatres: a Documented History and Critical Essays on British South Asian Theatre. He has earlier published in NTQ on Australian theatre and enlightenment and contemporary performance theory, and is presently Professor of Drama and Theory at the University of Exeter.

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15

Saha, Anamik. "Funky Days Are (Not) Back Again: Cool Britannia and the Rise and Fall of British South Asian Cultural Production." Journal of British Cinema and Television 17, no. 1 (January 2020): 6–23. http://dx.doi.org/10.3366/jbctv.2020.0505.

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This article explores the conditions that led to the rise and fall of British South Asian cultural production. Following a high point in the 1990s when for the first time a South Asian diasporic presence was felt in British popular culture, across television, film, music, literature and theatre, Asians have now returned to the periphery of the cultural industries. But this is not a simple case of British Asians falling in and out of fashion. Rather, as this article explores, British Asian cultural producers were enabled but then ultimately constrained by shifts in cultural policy (and specifically ‘creative industries’ policy) and, more broadly, by the politics of multiculturalism in the UK and beyond. In particular, it focuses on the moment of New Labour and ‘Cool Britannia’ as a significant cultural and political moment that led to the rise and subsequent demise of British Asian cultural production. Through such an analysis the article adds to the growing body of work on race and production studies. It demonstrates the value of the historical approach, outlined by the ‘cultural industries’ tradition of political economy, which is interested in how historical forces come together to produce a particular set of institutional and social arrangements that shape the practices of British Asian creative workers. While the article foregrounds television and film, it explores the field of British Asian cultural production more broadly and, in doing so, marks the ascendency of the ‘diversity discourse’ that characterises cultural policy in the present day.

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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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Meegama, Sujatha Arundathi. "Curating the Christian Arts of Asia." Archives of Asian Art 70, no. 2 (October 1, 2020): 151–71. http://dx.doi.org/10.1215/00666637-8620357.

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Abstract This essay examines the transformation of the Asian Civilisations Museum (ACM) into a global art histories museum. An analysis of the new Christian Art Gallery and its objects that date from the eighth through the twentieth century illuminates the ways in which the ACM engages with global art histories in a permanent gallery and not only through special exhibitions. This essay begins with a history of the ACM and its transition from a museum for the “ancestral cultures of Singapore” to one with a new mission focusing on multicultural Singapore and its connections to the wider world. Hence, taking a thematic approach, the ACM's new galleries question how museums generally display objects along national lines or regional boundaries. This essay also brings attention to the multiple mediums and functions of Christian art from both the geographical locations that usually are associated with Asian art and also from cultures that are rarely taught or exhibited, such as Timor-Leste, the Philippines, Sri Lanka, and Vietnam. While showcasing the different moments that Christianity came to Asia, the museum also emphasizes the agencies of Asian artistic practitioners in those global encounters. Although appreciative of the ways in which the ACM's Christian Art Gallery reveal the various tensions within global art histories and break down hegemonic constructions of Christian art from Asia, this essay also offers a critique. Highlighting this unusual engagement with Christian art by an Asian art museum, the new gallery reveals that museums and exhibitions can add to the conversations on global art histories.

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Ocón, David. "Cultural Diplomacy and Co-operation in ASEAN: The Role of Arts and Culture Festivals." Hague Journal of Diplomacy 17, no. 2 (November 15, 2021): 277–305. http://dx.doi.org/10.1163/1871191x-bja10081.

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Summary Beyond their traditional role as entertainment, form of expression and meeting spaces within local communities, arts and culture festivals can perform various functions. They can serve as showcases of artistic pride, signal openness towards cultural diversity, support the local economy, contribute to reducing political tension and provide grounds to consolidate international relationships. On occasion, such festivals function as tools to support the vision of a multilateral co-operation institution, as is the case of the Association of Southeast Asian Nations (ASEAN). Through a comprehensive review of the arts and culture festivals curated in ASEAN, this article investigates the festivals’ ulterior motivations. A range of economic, political, diplomatic, and organisational logics explain the evolution of such festivals during the last fifty years. The article concludes that arts and culture festivals have remained a compelling and instrumental co-operation mechanism in ASEAN, but formats and approaches need substantial revision.

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19

Mok, Olivia. "Translational migration of martial arts fiction East and West." Target. International Journal of Translation Studies 13, no. 1 (November 8, 2001): 81–102. http://dx.doi.org/10.1075/target.13.1.06mok.

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This paper explores the translational phenomenon of why so little of martial arts fiction has been translated into Western languages, compared to the copious amount into other Asian languages. Investigation into the translational migration of martial arts fiction demonstrates that the “normal” position assumed by translated literature tends to be a peripheral one. However, different patterns of behaviour can be observed, depending on the hegemonic relations between source and target cultures. In the West, martial arts fiction in English translation is being relegated to an extremely peripheral position. But martial arts fiction is able to make inroads into Asian countries, to the extent of stimulating a new literary form or (re)writing martial arts fiction in some indigenous languages.

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Murthy, Dhiraj. "Representing South Asian alterity? East London's Asian electronic music scene and the articulation of globally mediated identities." European Journal of Cultural Studies 12, no. 3 (July 16, 2009): 329–48. http://dx.doi.org/10.1177/1367549409105367.

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In the years since the London tube bombings, popular depictions of British Asians have been increasingly `othered' at best, and stereotyped as dangerous terrorists at worst. Asian self-representation continues to be a critically-needed intervention. East London's Asian electronic music scene serves as a means to represent the voices of young urban British Asians, attempting to bring them from peripheral alterity and render them visible in mainstream British popular culture. The music, which blends synthesized electronic music with South Asian musical stylings, has brought musicians from both the South Asian diaspora and the subcontinent to perform in `Banglatown', East London. These regular globalized performances of the scene, an aspect rarely investigated, have challenged locally bounded British Asian identities.

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21

Cohen, Matthew Isaac. "Introduction: Global Encounters in Southeast Asian Performing Arts." Asian Theatre Journal 31, no. 2 (2014): 353–68. http://dx.doi.org/10.1353/atj.2014.0047.

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Swalwell, Melanie. "Introduction: ‘Asian’ Media arts in/and New Zealand." MEDIANZ: Media Studies Journal of Aotearoa New Zealand 9, no. 1 (2006): 1–2. http://dx.doi.org/10.11157/medianz-vol9iss1id83.

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23

Moenig, Udo, Minho Kim, and Hyun Min Choi. "Traditional martial arts versus martial sports: the philosophical and historical academic discourse." Revista de Artes Marciales Asiáticas 18, no. 1 (May 13, 2023): 41–58. http://dx.doi.org/10.18002/rama.v18i1.7604.

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There have been a variety of attempts by scholars to neatly define and categorize Asian martial arts terminology, often in connection with martial arts history, philosophy, and practical training activities. Overall, the English term ‘martial arts’ is typically linked to East Asian fighting activities. In comparison, Western fighting methods, such as boxing and wrestling, are almost never referred to as ‘martial arts’ but mostly labeled ‘sports’ or ‘combat sports.’ This is reflected in the basic split of the broader martial arts community, which is between the so-called traditionalists and the modernists. The former often stress spirituality and mysticism and claim that the primary aim of martial arts is self-defense, while the latter are commonly affiliated with sports training and competitive events. The rift between the two camps is not settled and it represents the main reason of the many conflicting opinions and arguments articulated in the martial arts discourse. The principle method of this study is an extensive literature review with the aim to clarify the confusion by pointing out the many paradoxes present in the historical and philosophical narratives in connection with practical training activities of the martial arts. Besides, this article represents also a critique of the general, academic discourse about the Asian martial arts, which often appears disingenuous and is generally dominated by the traditionalists.

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Watt, James C. Y., and Zhixin Jason Sun. "Asian Art." Metropolitan Museum of Art Bulletin 59, no. 1 (2001): 25. http://dx.doi.org/10.2307/3269166.

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Hearn, Maxwell K., Alfreda Murck, Suzanne G. Valenstein, Hiroshi Onishi, Steven M. Kossak, and Martin Lerner. "Asian Art." Metropolitan Museum of Art Bulletin 49, no. 2 (1991): 89. http://dx.doi.org/10.2307/3258941.

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Watt, James C. Y., Martin Lerner, Alfreda Murck, Barbara B. Ford, Maxwell K. Hearn, and Steven M. Kossak. "Asian Art." Metropolitan Museum of Art Bulletin 48, no. 2 (1990): 84. http://dx.doi.org/10.2307/3258961.

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Watt, James, Martin Lerner, Alfreda Murck, Barbara Ford, Maxwell K. Hearn, and Steven M. Kossak. "Asian Art." Metropolitan Museum of Art Bulletin 47, no. 2 (1989): 80. http://dx.doi.org/10.2307/3259905.

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Choi, Bok Kyu. "Can We Learn Martial Arts Through Books? The Revival of Korean Fight Books Through Transmission and Reconstruction." Acta Periodica Duellatorum 8, no. 1 (October 15, 2020): 199–228. http://dx.doi.org/10.36950/apd-2020-012.

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Fight books can be defined as texts specialising in the theories of martial arts and the instruction of techniques (for future generations) based on actual experience of real fighting and training. According to this definition, today's efforts to reconstruct classical martial arts based upon historic fight books, in both East and West, are attempts to resurrect something extinct. Traditional East Asian martial artists, however, often argue that there are substantial limits in the reconstruction process of, for example, medieval European martial arts given the discontinuity of embodied knowledge, especially when compared to the Asian arts’ presumed strong transmission from generation to generation without interruption. Both seem quite different, but they share the epistemological assumption that authentic archetypes of martial arts did exist at some point in the past and believe it possible to transmit or reconstruct them in the present. This paper examines the limitations to the hypothesis of the existence of martial arts archetypes by examining the discourse surrounding the inherited tradition of the Muyedobotongji in Korea. The authors of the Muyedobotongji successfully synthesised and standardised contemporary East Asian martial arts and shared that knowledge from the perspective of Joseon[1] in the late eighteenth century. Now, after 200 years, we must do our part to breathe new life into it for this era.

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Sorrell, Neil. "Dance and Music in South Asian Drama: Report of Asian Traditional Performing Arts 1981." Galpin Society Journal 41 (October 1988): 162. http://dx.doi.org/10.2307/842750.

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Zhao, Pengfei. "Minor Feelings in the Wake of the Atlanta Attack: How a Mom of Asian Descent Spent the First 100 hours in the Aftermath." Cultural Studies ↔ Critical Methodologies 21, no. 4 (June 1, 2021): 351–54. http://dx.doi.org/10.1177/15327086211019954.

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This autoethnographic writing documents how a family of Chinese descent spent their first 100 hours after the Atlanta Shooting on March 16, 2021, in which a White gunman killed eight people, including six Asian women. It bears witness to the rise of the anti-Asian racism in the United States during the COVID-19 pandemic and offers a snapshot of the private life of a family of Asian descent in the dawn of the Stop Asian Hate Movement. Drawing on Korean American poet Cathy Park Hong’s term minor feelings, this essay explores how emotions, rooted in racialized lived experience and triggered by the mass shooting, evolved, shifted, and fueled the sentiments that gave rise to the Stop Asian Hate Movement. Compared with the more visible violence against Asians and Asian Americans displayed on social media, it interrogates the less visible traumatic experience that haunts Asian and Asian American communities.

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Diercks, Femke, Menno Fitski, Marije Jansen, and Anna Slaczka. "Recent Asian Acquisitions." Rijksmuseum Bulletin 63, no. 4 (December 15, 2015): 408–21. http://dx.doi.org/10.52476/trb.9838.

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Huang, Alexander C. Y. "Asian Shakespeare 2.0." Asian Theatre Journal 28, no. 1 (2011): 1–6. http://dx.doi.org/10.1353/atj.2011.0002.

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Wong, Wendy S. "Modern Asian Design." Journal of Design History 33, no. 3 (September 1, 2020): 273–75. http://dx.doi.org/10.1093/jdh/epaa014.

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King, Barnaby. "Landscapes of Fact and Fiction: Asian Theatre Arts in Britain." New Theatre Quarterly 16, no. 1 (February 2000): 26–33. http://dx.doi.org/10.1017/s0266464x00013439.

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In the first of two essays which use academic discourses of cultural exchange to examine the intra-cultural situation in contemporary British society, Barnaby King analyzes the relationship between Black arts and mainstream arts on both a professional and community level, focusing on particular examples of practice in the Leeds and Kirklees region in which he lives and works. This first essay looks specifically at the Asian situation, reviewing the history of Arts Council policy on ethnic minority arts, and analyzing how this has shaped – and is reflected in – current practice. In the context of professional theatre, he uses the examples of the Tara and Tamasha companies, then explores the work of CHOL Theatre in Huddersfield as exemplifying multi-cultural work in the community. He also looks at the provision made by Yorkshire and Humberside Arts for the cultural needs of their Asian populations. In the second essay, to appear in NTQ62, he will be taking a similar approach towards African-Caribbean theatre in Britain. Barnaby King is a theatre practitioner based in Leeds, who completed his postgraduate studies at the University of Leeds Workshop Theatre in 1998. He is now working with theatre companies and small-scale venues – currently the Blah Blah Blah company and the Studio Theatre at Leeds Metropolitan University – to develop community participation in theatre and drama-based activities.

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Ōbayashi, Taryō, Yves Bonnefoy, Wendy Doniger, and Taryo Obayashi. "Asian Mythologies." Asian Folklore Studies 53, no. 2 (1994): 351. http://dx.doi.org/10.2307/1178652.

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Kim, Ki-Il. "Communication of Body Image through East Asian Performing Arts." Institute for Korean Christinity Culture 17 (June 30, 2022): 153–80. http://dx.doi.org/10.33199/kiccs.2022.17.5.

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양진방. "Ground Thoughts of the Eastern Asian Martial Arts Culture." Journal of Korean Alliance of Martial Arts. 15, no. 3 (December 2013): 15–36. http://dx.doi.org/10.35277/kama.2013.15.3.15.

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Matsukawa, Yuko. "Yellow Light: The Flowering of Asian American Arts (review)." Journal of Asian American Studies 4, no. 1 (2001): 85–88. http://dx.doi.org/10.1353/jaas.2001.0005.

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Bautista, Alfredo, Ana Moreno-Núñez, Rebecca Bull, Farina Amsah, and Swee-Fuan Koh. "Arts-related pedagogies in preschool education: An Asian perspective." Early Childhood Research Quarterly 45 (2018): 277–88. http://dx.doi.org/10.1016/j.ecresq.2017.12.005.

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Dave, Shilpa, Amy Ling, and Sheng-mei Ma. "Mapping Asian American Voices in Literature and the Arts." Contemporary Literature 42, no. 3 (2001): 656. http://dx.doi.org/10.2307/1209001.

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Kartomi, Margaret J. "“Traditional Music Weeps” and Other Themes in the Discourse on Music, Dance and Theatre of Indonesia, Malaysia and Thailand." Journal of Southeast Asian Studies 26, no. 2 (September 1995): 366–400. http://dx.doi.org/10.1017/s0022463400007141.

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One of the most remarkable features of the past twenty years of scholarship on the Southeast Asian performing arts has been the sparking off of ideas between Southeast Asian-born scholars, whether trained in Southeast Asian universities or overseas, and Western scholars of the Southeast arts who live in North America, Australia, Europe, Japan and elsewhere. In colonial Indonesia (until 1945) and Malaysia (until 1957), research agendas of Dutch and British scholars respectively had complied with the social, economic and political priorities of the colonial powers and associated local court-centred artistic interests, though not always consciously. In Thailand, which was the only country in the region not to be colonized by a European power, Thai scholars had been actively researching their own court performing arts in the late colonial era but were nevertheless influenced by the colonial ethos of the region. In the past twenty years or so, the developing dialogue and contradictions between Southeast Asian and foreign scholars, each with their own partly distinctive assumptions and methodologies based on the priorities of their respective traditions and governments, have resulted in a healthy divergence, convergence, and cross-fertilization of ideas.

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Yun, Sehyun, Hyeungok Kang, and Sung-Ryung Lyu. "Going Beyond the (Un)awakened Body: Arts-Based Collaborative Autoethnographic Inquiry of Korean Doctoral Students in the United States." Journal of International Students 12, S2 (August 21, 2022): 88–105. http://dx.doi.org/10.32674/jis.v12is2.4345.

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Three Korean female doctoral students studying at U.S. higher education institutions address our lived experiences in this paper. By drawing on Critical Race Theory (CRT) and Asian Critical Theory (AsianCrit), we reflected upon the feelings and experiences that we swallowed to survive. We used collaborative autoethnography with artistic methods, such as digital collage and poetry, to share how we have wrestled with feelings of shame when reckoning our embodied knowledge of race and racism. Using CRT and AsianCrit, we disrupted racial stereotypes regarding Asians and their invisibility in racial discourses. We end with suggestions for providing support to Asian international students exploring racialized discourse and positioning themselves as qualified professionals and political agents. In sharing our stories, we hope to illuminate lived experiences that have been neglected, misunderstood, silenced, and forgotten.

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Flora, Reis. "Dance and music in south asian drama:Chhau, mahĀkĀlĪpyĀkhanandyakshagĀba(report of asian traditional performing arts 1981)." Musicology Australia 9, no. 1 (January 1986): 73–76. http://dx.doi.org/10.1080/08145857.1986.10415170.

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Park, Jennifer C. "Cultivating STEAM Literacy: Emphasizing the Implementation of the Arts through Reading Practices Supporting the Asian Diaspora." Asia-Pacific Science Education 7, no. 2 (November 18, 2021): 586–614. http://dx.doi.org/10.1163/23641177-bja10034.

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Abstract This paper explores the cultivation of STEAM literacy through the employment of practices derived from traditional reading strategies. This teaching and learning framework focuses on utilizing multimodal texts to increase exposure and opportunities for students to creatively explore diverse realms of STEM through the arts. Featuring student-centered endeavors through self-selected texts and in-class reading practices followed by tiered scaffolded discourse engagements, this framework initiates greater interest, autonomy, and culturally and linguistically authentic practices enhancing STEAM literacy. Embedded in the implications is the deconstruction of frequently aggregated STEM data that “overrepresents” the Asian demographic. Using the lens of the model minority myth, this paper attempts to disaggregate the Asian category, illuminating the actual diaspora that makes up the Asian and Asian American communities, many of which are not represented in STEM fields. Through more reading opportunities and fostering discourse practices, the arts contribute greater inclusion, cultivating STEAM literacy for all students.

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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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Pérez-Gutiérrez, Mikel, Carlos Gutiérrez-García, and Eduardo Álvarez del Palacio. "Repertorio bibliográfico anotado de monografías de artes marciales asiáticas publicadas en España." Revista de Artes Marciales Asiáticas 8, no. 1 (August 2, 2013): 21. http://dx.doi.org/10.18002/rama.v8i1.836.

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Aim: The aim of the present study was to create an annotated bibliography of all Asian martial arts monographs published in Spain until 2009.Method: Main national and international databases, martial arts bibliographies as well as the own Asian martial arts monographs were used for data mining. The documentary analysis of monographs, the presentation of references and the preparation of the bibliography structure was determined by UNE 50-104-1994, UNE 50-103-1990, UNE 50-121-1991 rules together with the previous work developed by the authors.Results/Conclusions: A total number of 1.564 bibliographic entries, referring to 2.403 editions of martial arts monographs were obtained. These references were grouped in 17 categories and 40 subcategories. The present study has gathered more than a century of history of martial arts monographs, becoming a reference work for academics and martial arts fans.

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Fitski, Menno, Marije Jansen, William Southworth, and Ching-Ling Wang. "Recent Acquisitions: Asian Art." Rijksmuseum Bulletin 69, no. 1 (March 15, 2021): 71–95. http://dx.doi.org/10.52476/trb.9608.

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Van Campen, Jan. "Acquisitions Asian Export Art." Rijksmuseum Bulletin 60, no. 3 (September 15, 2012): 268–79. http://dx.doi.org/10.52476/trb.9880.

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Abe, Stanley K. "Archives of Asian Art." Archives of Asian Art 62, no. 1 (2012): iv. http://dx.doi.org/10.1353/aaa.2012.0004.

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Poshyananda, Apinan. "Positioning Contemporary Asian Art." Art Journal 59, no. 1 (March 2000): 10–13. http://dx.doi.org/10.1080/00043249.2000.10791975.

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Journal articles on the topic 'Asian Arts'

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