Hip-hop dance originated in the Black neighborhood of New York popular global youth cultures in an unprecedented fashion. As in the 1970s and developed as one of the most a global youth culture, it was introduced to C...Hip-hop dance originated in the Black neighborhood of New York popular global youth cultures in an unprecedented fashion. As in the 1970s and developed as one of the most a global youth culture, it was introduced to China's Mainland 30 years ago, underwent a series of rises and falls, and gradually transformed into a local scene under the influence of neighboring countries and regions. As hip-hop dance localizes in China, it has incorporated local ingredients such as Chinese traditional culture. Meanwhile, its function such as bodybuilding is also strengthened but the features such as competitiveness are weakened. The localization of hip-hop dance in China's Mainland reflects the globalization of the youth culture, which is featured by local hybridity, multicultural interactions, and conflicting interdependence with public media and commerce. This trend endows the global youth culture with a richer and more complex style and also shows that youth play an active part in generating the new forms and new styles of youth culture.展开更多
In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese dia...In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.展开更多
文摘Hip-hop dance originated in the Black neighborhood of New York popular global youth cultures in an unprecedented fashion. As in the 1970s and developed as one of the most a global youth culture, it was introduced to China's Mainland 30 years ago, underwent a series of rises and falls, and gradually transformed into a local scene under the influence of neighboring countries and regions. As hip-hop dance localizes in China, it has incorporated local ingredients such as Chinese traditional culture. Meanwhile, its function such as bodybuilding is also strengthened but the features such as competitiveness are weakened. The localization of hip-hop dance in China's Mainland reflects the globalization of the youth culture, which is featured by local hybridity, multicultural interactions, and conflicting interdependence with public media and commerce. This trend endows the global youth culture with a richer and more complex style and also shows that youth play an active part in generating the new forms and new styles of youth culture.
文摘In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.
