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Most discussions of socialist development within nation-states focus exclusively on the state, leaving civil society out of the picture. By looking into the realm of theater in two socialist countries, the author broadens this view.
Most discussions of socialist development within nation-states focus exclusively on the state, leaving civil society out of the picture. By looking into the realm of theater in two socialist countries, the author broadens this view.
CD contains musical excerpts referenced in the text.
A theoretical examination of the influence of political and social movements on the art of dance.
Shortlisted for the EuroSEAS Humanities Book Prize 2022 Quyền Văn Minh (b. 1954) is not only a jazz saxophonist and lecturer at the prestigious Vietnam National Academy of Music, but he is also one of the most preeminent jazz musicians in Vietnam. Considered a pioneer in the country, Minh is often publicly recognized as the “godfather of Vietnamese jazz.” Playing Jazz in Socialist Vietnam tells the story of the music as it intertwined with Minh’s own narrative. Stan BH Tan-Tangbau details Minh’s life story, telling how Minh pioneered jazz as an original genre even while navigating the trials and tribulations of a fervent socialist revolution, of the ideological battle that was the Cold War, of Vietnam’s war against the United States, and of the political changes during the Đổi Mới period between the mid-1980s and the 1990s. Minh worked tirelessly and delivered two breakthrough solo recitals in 1988 and 1989, marking the first time jazz was performed in the public sphere in the socialist state. To gain jazz acceptance as a mainstream musical art form, Minh founded Minh Jazz Club. With the release of his debut album of original compositions in 2000, Minh shaped the nascent genre of Vietnamese jazz. Minh’s endeavors kickstarted the momentum, from his performing jazz in public, teaching jazz both formally and informally, and contributing to the shaping of an original Vietnamese voice to stand out among the many styles in the jazz world. Most importantly, Minh generated a public space for musicians to play and for the Vietnamese to listen. His work eventually helped to gain jazz the credibility necessary at the national conservatoire to offer instruction in a professional music education program.
The Oxford Handbook of Musical Repatriation is a significant edited volume that critically explores issues surrounding musical repatriation, chiefly of recordings from audiovisual archives. The Handbook provides a dynamic and richly layered collection of stories and critical questions for anyone engaged or interested in repatriation or archival work. Repatriation often is overtly guided by an ethical mandate to "return" something to where it belongs, by such means as working to provide reconnection and Indigenous control and access to cultural materials. Essential as these mandates can be, this remarkable volume reveals dimensions to repatriation beyond those which can be understood as simple acts of "giving back" or returning an archive to its "homeland." Musical repatriation can entail subjective negotiations involving living subjects, intangible elements of cultural heritage, and complex histories, situated in intersecting webs of power relations and manifold other contexts. The forty-eight expert authors of this book's thirty-eight chapters engage with multifaceted aspects of musical repatriation, situating it as a concept encompassing widely ranging modes of cultural work that can be both profoundly interdisciplinary and embedded at the core of ethnographic and historical scholarship. These authors explore a rich variety of these processes' many streams, making the volume a compelling space for critical analysis of musical repatriation and its wider significance. The Handbook presents these chapters in a way that offers numerous emergent perspectives, depending on one's chosen trajectory through the volume. From retracing the paths of archived collections to exploring memory, performance, research goals, institutional power, curation, preservation, pedagogy and method, media and transmission, digital rights and access, policy and privilege, intellectual property, ideology, and the evolving institutional norms that have marked the preservation and ownership of musical archives-The Oxford Handbook of Musical Repatriation addresses these key topics and more in a deep, richly detailed, and diverse exploration.
In the mid-1980s Cuba began a process of ‘rectificacion’—a reform process that has bucked the trends of economic and political liberalization that are reshaping the global order. Sustaining an official commitment to socialism in the face of economic crisis and international pressures, Cuba's survival seems puzzling indeed. Sheryl Lutjens uses the C
The development of post-socialist cities has become a major field of study among critical theorists from across the social sciences and humanities. Originally constructed under the dictates of central planners and designed to serve the demands of command economies, post-socialist urban centers currently develop at the nexus of varied and often competing economic, cultural, and political forces. Among these, nationalist aspirations, previously simmering beneath the official rhetoric of communist fraternity and veneer of architectural conformity, have emerged as dominant factors shaping the urban landscape. This book explores this burgeoning field of research through detailed cases studies relating to the cultural politics of architecture, urban planning, and identity in the post-socialist cities of Eurasia. This book was published as a special issue of Nationalities Papers.
First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.