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China boasts many great musical traditions, these traditions have made an indelible mark on Chinese culture that has been felt by every generation.
This study reviews the history and present state of ethnic minority popular music in Mainland China. A primary focus is on the influence of government policy with regards to authenticity in association with ethnic minorities and mainstream popular music artists. The indie popular group, Shanren, which has strong ties to minority music and culture in China, is used as a case study to examine how authenticity is achieved through visual, aural, and linguistic connections to the social reality of the rural ethnic minority community, as well as migrant workers who are drawn to major urban centers in China, such as Beijing. Perceptions of authenticity are important considerations for their major audience, the Wenyi qingnian (“literary youth”), which refers to urban youth born primarily in the 1980s and 1990s. This demographic generally appreciates indie rock music and is a fundamental audience for indie minority bands, categorizing popular musicians as either Tu (raw, folk, native and authentic) or Chao (fashion, artificial and modernized). This study offers a model for examining how authenticity with regards to these categories is determined and its implications for future public perception.
Based on extensive fieldwork and documentary research in China, this book is a chronicle of the musical history of Lijiang County in China's southern Yunnan Province. It focuses on Dongjing music, a repertoire borrowed from China's Han ethnic majority by the indigenous Naxi inhabitants of Lijiang County. Used in Confucian worship as well as in secular entertainment, Dongjing music played a key role the Naxi minority's assimilation of Han culture over the last 200 years. Prized for its complexity and elegance, which set it apart from "rough" or "simpler" indigenous Naxi music, Dongjing played an important role in defining social relationships, since proficiency in the music and membership in the Dongjing associations signified high social status and cultural refinement. In addition, there is a strong political component in its examination of the role of indigenous music in the relation of a socialist state to its ethnic minorities. The first in English on this rich musical tradition, this book is also unique in providing a complete history of the music in a single region in China over the twentieth century. It integrates individual, local, and national histories with musical experience and musical change. Ethnic music in China provides a vivid example of the tremendous cultural changes over the past century, and the tradition continues to evolve as China encourages ethnic diversity within a unified socialist nation. The book includes a case study of China's tourist trade and its policies toward minorities.
This much-needed volume explains who ethnic minorities are and how well do they do in China. In addition to offering general information about ethnic minority groups in China, it discusses some important issues around ethnicity, including ethnic inequality, minority rights, and multiculturalism. Drawing on insights and perspectives from scholars in different continents the contributions provide critical reflections on where the field has been and where it is going, offering readers possible directions for future research on minority ethnicity in China. The Handbook reviews research and addresses key conceptual, theoretical and methodological issues in the study of ethnicity in China.
Gender, ethnicity, and nation in China, as seen through an ethnography of the changing cultural production of the Miao, a minority population.
Using ethnographic data collected in China and South Korea between 2004 and 2011, author Sunhee Koo provides a comprehensive view of the music of Koreans in China (Chaoxianzu), from its time as manifestation of a displaced culture to its return home after more than a century of amalgamation and change in China. As the first English-language book on the music and identity of China’s Korean minority community, Sound of the Border investigates diasporic mutations of Korean culture, influenced by power dynamics in the host country and the constant renewal of relationships with the homeland. Between the 1860s and the 1940s, about two million Koreans migrated to China in search of economic opportunity and political stability. Settling primarily in the northeastern part of China bordering the Russian Far East, these Koreans had flexibility in crossing geopolitical and cultural boundaries throughout the first half of the twentieth century. In 1949, the majority of Koreans in China accepted their new citizenship designation as one of the PRC’s fifty-five official national minorities. The subsequent partition of the Korean peninsula in 1953 further politicized their ethnic identity, and for the next forty years they were only authorized to interact with North Korea. It was only in the early 1990s that Chaoxianzu were able to renew their relationship with South Korea, although they now faced new challenges due to an ethno-national prejudice as it focused on the nation’s industrial advancement as the most prominent measure of its social superiority. Sunhee Koo examines the unique construction of diasporic Korean music in China and uses it as a window to understanding the complexities and diversification of Korean identity, shaped by the ideological and political bifurcation and post–Cold War political resurgence that have affected Northeast Asia. The performances of Korean Chinese musicians—positioned between their adopted state and the two Koreas—embody a complex cultural intersection crisscrossing ideological, political, and social boundaries in historical and present-day Northeast Asia. Migrants enact their agency in creating a unique sound for Korean Chinese identity through navigating cultural resources accessed in their host and the two distinctive motherlands.
China has been ethnically, linguistically, and religiously diverse. This volume recasts the pedagogical and policy challenges of minority education in China in the light of the state's efforts to balance unity and diversity. It brings together leading experts including both critical voices writing from outside China and those working inside China's educational system. The essays explore different aspects of ethnic minority education in China: the challenges associated with bilingual and trilingual education in Xinjiang and Tibet; Han Chinese reactions to preferential minority education; the ro.