East Asian Languages and Cultures

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Browsing East Asian Languages and Cultures by Type "Book chapter"

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    An Unexpected Voice: Performance, Gender, and Protecting Tradition in Korean Mask Dance Dramas
    (Routledge, 2017) Saeji, CedarBough T
    The book chapter discusses the difficulties and tensions of preserving tradition in an art that traditionally was performed entirely by men, but now has many women involved.
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    Cosmopolitan Strivings and Racialization: The Foreign Dancing Body in Korean Popular Music Videos
    (Peter Lang, 2016) Saeji, CedarBough T
    This chapter discusses visible non-Koreans as dancers or actors within music videos and what that says about cosmopolitan strivings.
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    Islam in China
    (Rowman & Littlefield, 2013) Brose, Michael C.
    When you, kind reader, think of the “Islamic World,” is China included? When you think about the kinds of religions practiced in China, does Islam come to mind? You will undoubtedly conjure up images of Daoism, Buddhism, qigong and other body-cultivation techniques, and perhaps Confucian family rituals like “ancestor worship.” Connecting “Islam” to “China” may also bring to mind sectarian violence involving some members of the Turkic Uyghur community in northwestern China. Although Muslims have lived in China since the seventh century and there are today somewhere between twenty and sixty million Muslims in China, very few histories of China and very few works that describe or analyze the “Islamic World” include any discussion of Islam in China. This is a surprising lack of recognition given that there are almost as many Muslims in China as the entire population of Syria or Saudi Arabia, and more than in Malaysia!
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    It's Fantastic Baby: Eine Einführung in die Koreanische Popmusik
    (Mitteilungen des Museums für Völkerkunde Hamburg, 2017) Saeji, CedarBough T
    K-Pop, oder koreanische Popmusik, ist eines der spannendsten kulturellen Formate. Es ijemandem zu erklären, der die Form nicht kennt, kann jedoch etwas kompliziert sein. Dieses viel gehörte (und gesehene) musikalische Format kombiniert gebräuchliche Wendungen, einfache Instrumentation und Konventionen, die man in Popmusik rund um die Welt hören kann, innerhalb eines territorial verorteten oder hybridisierten Formats. Es ist kein Genre – der K-Pop-Sound ist sehr variabel, und gerade fließende Genregrenzen sind eines der ersten Merkmale, das die Fans in ihm antreffen. Ein- und dieselbe Gruppe, oder sogar ein- und dasselbe Album, können verschiedene Genres zeigen. Populäre Songs in letzter Zeit kombinierten Elemente aus Trap, Reggae, R&B, langsamen Balladen, Alternativ-Rock und natürlich Hip-Hop im selben Album.
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    Protection and Transmission of Korean Folk Theatre
    (National Gugak Center, 2015) Saeji, CedarBough T
    [First two paragraphs] Without transmission, without passing on traditional knowledge, the arts will come to an end. In these pages, I will summarize my major findings related to the protection and transmission of yeonhui (Korean folk theatre). However, I ask the reader to consider this chapter as the broad brushstrokes of a much more complicated story, because there are significant differences in the transmission environments and practices among yeonhui groups– some unavoidable and related to their location or dramatic content, others tied to chance, such as the charisma of a leader. My own path to comprehending these processes was primarily gleaned from interviews and participant-observation, the standard tools of ethnographic research. After beginning formal research in 2004, I practiced one type of pungmul (drumming while dancing) and three different mask dance dramas in seven different settings. I also observed rehearsals and performances and talked with a range of practitioners and enthusiasts ranging from beginning students to National Human Treasures from dozens of arts, and from academics to employees at the Cultural Heritage Administration.
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    Replacing Faith in Spirits with Faith in Heritage: A Story of the Management of the Gangneung Danoje Festival
    (Routledge, 2018) Saeji, CedarBough T
    First paragraph of introduction: The government of the Republic of Korea (hereafter Korea) first began to protect intangible cultural heritage on a national level in 1962 when the Cultural Property Protection Law (CPPL) came into effect. This comprehensive heritage legislation established a methodology through which the rich performative and artistic traditions of the country could be saved from extinction (or resurrected). Each certified artist was to transmit his or her skills and regularly perform or exhibit artistry. From March 2016, intangible cultural heritage was removed from the CPPL and is now governed by the Intangible Cultural Heritage Safeguarding and Promotion Law (ICH-SPL). The implications for Korean intangible heritage managed for both preservation and promotion will become clearer with time, but it is significant that the new law was deemed necessary to bring Korean management of intangible cultural heritage into greater conformance with UNESCO’s Convention for the Safeguarding of the Intangible Cultural Heritage (2003).