Timothy Cheek
- Published in print:
- 1997
- Published Online:
- October 2011
- ISBN:
- 9780198290667
- eISBN:
- 9780191684821
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198290667.003.0006
- Subject:
- Economics and Finance, South and East Asia
This chapter discusses Deng Tuo's role as a ‘theory worker’ and a culture bearer. Frozen out of top positions of authority in journalism and the central administration, Deng Tuo became a theory ...
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This chapter discusses Deng Tuo's role as a ‘theory worker’ and a culture bearer. Frozen out of top positions of authority in journalism and the central administration, Deng Tuo became a theory worker, one of the foremost exponents of the bureaucratic version of Maoism after the Great Leap. Deng Tuo expressed this vision negatively as part of the critique of ultra-Leftism and positively as a reaffirmation of Party rules and predictable ideological methods. Within his service to bureaucratic Maoism, Deng Tuo maintained his twin roles. His cog-and-screw role was as Party theorist in his editorials and writings in Frontline and People's Daily and as factional researcher for Peng Zhen. Deng Tuo's culture bearer role was expressed in his formal Party writings and his role as ‘theory worker’ was predominantly expressed in his informal personal essays. The most famous of these are Evening Chats at Yanshan and Notes from a Three Family Village.Less
This chapter discusses Deng Tuo's role as a ‘theory worker’ and a culture bearer. Frozen out of top positions of authority in journalism and the central administration, Deng Tuo became a theory worker, one of the foremost exponents of the bureaucratic version of Maoism after the Great Leap. Deng Tuo expressed this vision negatively as part of the critique of ultra-Leftism and positively as a reaffirmation of Party rules and predictable ideological methods. Within his service to bureaucratic Maoism, Deng Tuo maintained his twin roles. His cog-and-screw role was as Party theorist in his editorials and writings in Frontline and People's Daily and as factional researcher for Peng Zhen. Deng Tuo's culture bearer role was expressed in his formal Party writings and his role as ‘theory worker’ was predominantly expressed in his informal personal essays. The most famous of these are Evening Chats at Yanshan and Notes from a Three Family Village.
Heather A. Diamond
- Published in print:
- 2008
- Published Online:
- November 2016
- ISBN:
- 9780824831714
- eISBN:
- 9780824869342
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824831714.001.0001
- Subject:
- Society and Culture, Pacific Studies
At the 1989 Smithsonian Folklife Festival (SFF), throngs of visitors gathered on the National Mall to celebrate Hawaiʻi's multicultural heritage through its traditional arts. The “edu-tainment” ...
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At the 1989 Smithsonian Folklife Festival (SFF), throngs of visitors gathered on the National Mall to celebrate Hawaiʻi's multicultural heritage through its traditional arts. The “edu-tainment” spectacle revealed a richly complex Hawaiʻi that few tourists ever see and one never before or since replicated in a national space. The program was restaged a year later in Honolulu for a local audience and subsequently inspired several spin-offs in Hawaiʻi. In both Washington, D.C., and Honolulu, the program instigated a new paradigm for cultural representation. This book uncovers the behind-the-scenes negotiations and processes that inform the national spectacle of the SFF. The book supplies an analysis of how the carefully crafted staging of Hawaiʻi's cultural diversity was used to serve a national narrative of utopian multiculturalism while empowering Hawaiʻi's traditional artists and providing a model for cultural tourism that has had long-lasting effects. The book positions the 1989 Hawaiʻi program within a history of institutional intervention in the traditional arts of the island's ethnic groups as well as in relation to local cultural revivals and the tourist industry. By tracing the planning, fieldwork, site design, performance, and aftermath stages of the program, the book examines the uneven processes through which local culture is transformed into national culture and raises questions about the stakes involved in cultural tourism for both culture bearers and culture brokers.Less
At the 1989 Smithsonian Folklife Festival (SFF), throngs of visitors gathered on the National Mall to celebrate Hawaiʻi's multicultural heritage through its traditional arts. The “edu-tainment” spectacle revealed a richly complex Hawaiʻi that few tourists ever see and one never before or since replicated in a national space. The program was restaged a year later in Honolulu for a local audience and subsequently inspired several spin-offs in Hawaiʻi. In both Washington, D.C., and Honolulu, the program instigated a new paradigm for cultural representation. This book uncovers the behind-the-scenes negotiations and processes that inform the national spectacle of the SFF. The book supplies an analysis of how the carefully crafted staging of Hawaiʻi's cultural diversity was used to serve a national narrative of utopian multiculturalism while empowering Hawaiʻi's traditional artists and providing a model for cultural tourism that has had long-lasting effects. The book positions the 1989 Hawaiʻi program within a history of institutional intervention in the traditional arts of the island's ethnic groups as well as in relation to local cultural revivals and the tourist industry. By tracing the planning, fieldwork, site design, performance, and aftermath stages of the program, the book examines the uneven processes through which local culture is transformed into national culture and raises questions about the stakes involved in cultural tourism for both culture bearers and culture brokers.
Sarah Morelli
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780252042867
- eISBN:
- 9780252051722
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5622/illinois/9780252042867.003.0003
- Subject:
- Music, Dance
This chapter situates Pandit Chitresh Das’s work within the history of first-generation Indian Americans and other South Asian culture bearers who helped influence US attitudes toward India’s culture ...
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This chapter situates Pandit Chitresh Das’s work within the history of first-generation Indian Americans and other South Asian culture bearers who helped influence US attitudes toward India’s culture and performing arts through the twentieth century. Like many who preceded him, Pandit Das experimented with various performative strategies to attract, educate, retain, and make his tradition comprehensible to audiences in the United States. This chapter considers two of his signature pieces, Twelve Minutes and The Train, in which he variously condensed and expanded on elements of the kathak tradition. With these and other innovations, Pandit Das worked to heighten the variety and virtuosity of his performances in response to the expectations of audiences and dance critics while remaining within the shifting, subjective parameters of tradition.Less
This chapter situates Pandit Chitresh Das’s work within the history of first-generation Indian Americans and other South Asian culture bearers who helped influence US attitudes toward India’s culture and performing arts through the twentieth century. Like many who preceded him, Pandit Das experimented with various performative strategies to attract, educate, retain, and make his tradition comprehensible to audiences in the United States. This chapter considers two of his signature pieces, Twelve Minutes and The Train, in which he variously condensed and expanded on elements of the kathak tradition. With these and other innovations, Pandit Das worked to heighten the variety and virtuosity of his performances in response to the expectations of audiences and dance critics while remaining within the shifting, subjective parameters of tradition.
