Volume 38, Issues 1-2, 2008: Folklore Forum
Permanent link for this collectionhttps://hdl.handle.net/2022/3216
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Item From the Guest Editor(Department of Folklore and Ethnomusicology, Indiana University, 2008) Yun, KyoimItem Review of Jack Zipes' "Hans Christian Andersen: The Misunderstood Storyteller"(Department of Folklore and Ethnomusicology, Indiana University, 2008) Stanzak, SteveItem Review of Huang Sui-chi's "Essentials of Neo-Confucianism: Eight Major Philosophers of the Song and Ming Periods"(Department of Folklore and Ethnomusicology, Indiana University, 2008) Kuang, Lanlan (Diane)Item "Neither Fish nor Fowl": Constructing Peranakan Identity in Colonial and Post-Colonial Singapore(Department of Folklore nad Ethnomusicology, Indiana University, 2008) Hardwick, Patricia AnnThis article traces the way in which political processes influence the creation and presentation of Peranakan ethnic identity during the colonial and post-colonial period in Singapore. Peranakan culture combines southern Chinese and Malay traditions and is unique to the nations of Singapore, Malaysia, and Indonesia. Peranakan identity began to emerge in the seventeenth century and flourished under the British administration of the Straits Settlements and British Malaya in the late nineteenth and early twentieth centuries. Associated with the British colonial system, Peranakan identity was suppressed by early Singaporean nationalists. Aspects of Peranakan identity including women’s costume and Peranakan material culture are currently celebrated by the Singaporean nation as emblems of its unique past, as individuals claiming to be Peranakan are encouraged to assimilate to majority Chinese culture.Item Liminal States: Life as an Indie Musician on Taiwan(Department of Folklore nad Ethnomusicology, Indiana University, 2008) Hagood, MackIn this paper, I examine the liminal states of Taiwanese guitarist/composer Huang Wan-ting, particularly as these states articulate with similar liminal states of “indie music” and the island of Taiwan. I use the term ‘liminal’ in a non-ritual sense to refer to a structural position on the interstices of recognized roles and identities. In addition, I propose a second type of liminality: a position of choice assumed by subjects for some advantage—in Wan-ting’s case, artistic. As an indie musician, Wan-ting attempts to maintain a position on the edge of the music mainstream, bringing new sounds into popular music. While she has tried to find a Taiwanese political identity through her song lyrics, Wan-ting does not consider herself to be a "Taiwanese musician” and creates music for a transnational indie audience. Wan-ting claims her music is more popular with foreigners than Taiwanese. Like an independent Taiwanese state, her career may need foreign recognition to exist.Item Review of Laura Gonzenbach's "The Rober with a Witch's Head: More Stories from the Great Treasury of Sicilian Folk and Fairy Tales"(Department of Folklore nad Ethnomusicology, Indiana University, 2008) Gay, David EltonItem Conversation with Roger L. Janelli(Department of Folklore nad Ethnomusicology, Indiana University, 2008) Gage, Sue-Je LeeItem Front Matter, Folklore Forum, Folklore of East Asia, Volume 38, Number 1, 2008(Department of Folklore nad Ethnomusicology, Indiana University, 2008) Burbach, Elizabeth A.Item Performing the 'Traditional' in the South Korean Musical World(Department of Folklore nad Ethnomusicology, Indiana University, 2008) Finchum-Sung, HilaryThis article examines contemporary, traditional music culture in South Korea through a close look at one South Korean musician, Yi Ji-young. Yi Ji-young, a kayagm (12- string zither) performer known for her work with composers of experimental music, has become, for many, a muse through which the emerging genre of new ‘traditional' or ‘national' music is finding its voice. Through interviews and a brief examination of her musical lineage, this article highlights the complexities of transforming a musical tradition. The artist's activities are entwined with discourse regarding tradition in South Korea. While the discourse regarding ‘tradition' provides an interpretive lens through which music performance can be viewed, the construction of a new traditional music incorporates an artist's personal experiences, notions of aesthetic validity, and competence. A focus on factors such as these makes possible a more nuanced analysis of the musician's role in, as well as an appreciation of the contingent nature of, the construction of a contemporary Korean music.Item Contributors, Folklore Forum 38(1)(Department of Folklore nad Ethnomusicology, Indiana University, 2008-11-07) Burbach, Elizabeth A.Item Review of "Katherine Borland. Unmasking Class, Gender, and Sexuality in Nicaraguan Festival"(Department of Folklore nad Ethnomusicology, Indiana University, 2008) Burbach, Elizabeth A.Item From the Editor-in-Chief(Department of Folklore nad Ethnomusicology, Indiana University, 2008) Burbach, Elizabeth A.Item Japanese Folklore Studies and History: Pre-War and Post-War Inflections(Department of Folklore nad Ethnomusicology, Indiana University, 2008) Bronson, AdamBy exploring the relationship of Yanagita Kunio and folklore studies (minzokugaku) in reverse chronology, I argue that latent political and disciplinary concerns undergird minzokugaku’s reputation as a marginalized social science distinct from anthropology and history. The intellectual boundaries among these disciplines were founded on Yanagita’s rejection of anthropology’s Euro-centric comparative framework and history’s concern for elites. Yanagita’s double-rejection partially explains minzokugaku’s marginality within the academy and its appropriation by activists and intellectuals in the post-war era.