This research elucidates various responses of the Yao to the social consequences of civilizing projects historically implemented by a powerful ‘Other’ to them, that is, the successive... Show more This research elucidates various responses of the Yao to the social consequences of civilizing projects historically implemented by a powerful ‘Other’ to them, that is, the successive Chinese imperial and post-imperial states. The Yao are one of the 56 nationalities in today’s China. The research reveals that the Yao’s reactions to the state’s civilizing force are gendered, as manifested in a religious domain. The research shows that Yao men embrace the power of ‘otherness’ that an imperial Daoist cosmology and manuscripts in Chinese entail, while Yao women sustain indigenous culture and belief by ‘singing’. A textual analysis of the probable products of female singing—narratives about goddesses of fertility—points to two types of Yao reaction in the position of women. On the one hand, the narratives embody a symbolic ‘space of negotiation’ in which Yao struggle to claim their agency, but the natural power of female fertility that symbolizes the layer of indigenous culture and belief is eventually domesticated. On the other hand, the narratives convey Yao’s criticisms of the social consequences of imperial Chinese state governance, imposed in the form of patrilineal ideology in marriage and kinship, showing also how different women sought their escape from that. Show less
Popular music in Chinese languages both reflects and influences how its audiences perceive themselves and their position in the world around them. This book analyses the role of popular music in... Show morePopular music in Chinese languages both reflects and influences how its audiences perceive themselves and their position in the world around them. This book analyses the role of popular music in identity formation through detailed comparisons of the pop star Faye Wong, the rock band Second Hand Rose and the electrofolk artist Xiao He, in five thematic chapters. Chapter 1, Place, follows the history of popular music through Shanghai, Hong Kong, Taipei and Beijing, concluding that language is defining. Chapter 2, Genre and Classification, argues that genre distinctions, and by extension class identities, are secondary to affiliations along region, gender, generation and marketability. The psycho-analytical approach of chapter 3, Sex, Gender, and Desire, explores how popular music reiterate and challenge stereotypes surrounding the passive beauty, coolness and brotherhood. Chapter 4, Theatricality, argues that theatrical performances negotiate the boundary between stage world and ordinary reality through make-believe and reflectiveness. Finally, chapter 5, Organizing Music, submits that music happens through reproduction, variation and selection, and in constant interaction with ecologies and collectives. In the end, this book itself strives to make these sounds, images and texts available for the incessant, piecemeal work of worldmaking. Show less
