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As official records and personal recollections become increasingly accessible, new perspectives are opening for the study of China's Cultural Revolution. Beyond political and textual analysis, there are new possibilities for us to understand the sensory experience of the Cultural Revolution and its impact on subject formation. Focusing on music and opera, and encompassing the inner and outer worlds of individuals and/or their collective affairs, this symposium will be the first of its kind in analyzing the audio dimension of the Cultural Revolution. Speakers will investigate the tensions and interactions between politics and aesthetics, between the center and the periphery, and those between subjectivity and sensuality, in order to explore how the revolution was experienced by the people, and how the sensory was re-translated into political actions or indifferences. We believe this approach is important for us to understand how "culture" plays an essential part in this Cultural Revolution.
April 12, 2013(Friday)
Conference Room, University Service Centre for China Studies, 8/F, Tin Ka Ping Building
Theme: Model Peking Operas & their Transplantations
8:30am – 9:00am
Registration
9:00am – 9:30am
Opening Remark
LAI Chi Tim, The Chinese University of Hong Kong
GAO Qi, The Chinese University of Hong Kong
TSAI Tsan Huang, The Chinese University of Hong Kong
9:30am – 11:00am
The Dragon River Reaches the Borders: the Rehabilitation of Ethnic Music in Model Opera
Rowan PEASE, SOAS, University of London
The West is Red: The Uyghur Adaptation of Qizil Chiragh (Red Lantern) during China's Cultural Revolution
Chuen-Fung WONG, Macalester College
Chairperson: LEE Ou-fan, The Chinese University of Hong Kong
11:00am – 11:30am
Coffee Break
11:30am – 1:00pm
National Development, Internationalism, and Third World Cinema in the Cultural Revolution
Ban WANG, Stanford University
Sonic Imaginary after Cultural Revolution
Nancy Yunhwa RAO, Rutgers University
Chairperson: WANG Shaoguang, The Chinese University of Hong Kong
1:00pm – 2:30pm
Lunch
2:30pm – 4:45pm
Breaking Bad: The Body, the Voice, and the Villain in Amateur Performance of Yangbanxi
Laurence CODERRE, University of California, Berkeley
The Making of Revolutionary Cantonese Operas during the Cultural Revolution
PANG Laikwan, The Chinese University of Hong Kong
Chairperson: YU Siu Wah, The Chinese University of Hong Kong
4:45pm – 5:30pm
General Discussion
April 13, 2013 (Saturday)
Conference Room, University Service Centre for China Studies, 8/f, Tin Ka Ping Building
Theme: Music, Dance and Film
9:30am – 11:00am
The Color Scheme of Three Revolutionary Epics in Socialist China (1964-2006): Red Legend, Grey Performance, or Black Restoration to Capitalism
Xiaomei CHEN, University of California, Davis
Singing in the Dark: Film and Cultural Revolution Musical Culture
Paul CLARK, University of Auckland
Chairperson: WU Ka Ming, The Chinese University of Hong Kong
11:00am – 11:30am
Coffee Break
11:30am – 1:30pm
Enjoying Propaganda Art:The Aesthetic Experience of Cultural Revolution Music
Barbara MITTLER, University of Heidelberg
Making the Confucianist Meditative Tool into the Maoist Revolutionary Weapon? The Chinese Seven-stringed Zither Qin in the Era of Cultural Revolution
TSAI Tsan Huang, The Chinese University of Hong Kong
Chairperson: Denise HO, The Chinese University of Hong Kong
1:00pm – 2:30pm
Lunch
2:30pm – 4:00pm
Jiang Qing's View on Art and Its Embodiment in the Model Operas
DAI Jiafang, Central Conservatory of Music
Musical-dramatic Experimentation in the Yangbanxi: A Case for Precedence in the Great Wall
John WINZENBURG, Hong Kong Baptist University
Chairperson: TSAI Tsan-Huang, The Chinese University of Hong Kong?
4:00pm – 4:30pm
Coffee Break
4:30pm – 5:30pm
Closing Discussion
Chairperson: Rachel HARRIS, SOAS, University of London
Speakers:
Xiaomei CHEN, Chair and Professor, Department of East Asian Literatures and Cultures, University of California, Davis Bio
Paul CLARK, Professor of Chinese, School of Asian Studies, University of Auckland Bio
Laurence CODERRE, PhD Candidate, University of California, Berkeley Bio
DAI Jiafang, Professor and Head, Institute of Music Research, Central Conservatory of Music
Barbara MITTLER, Professor in Modern China, University of Heidelberg Bio
PANG Laikwan, Professor, Department of Cultural and Religious Studies, The Chinese University of Hong Kong Bio
Nancy Yunhwa RAO, Associate Professor, Mason Gross School of the Arts, Rutgers UniversityBio
Rowan PEASE, Senior Teaching Fellow, Department of Music, SOAS
TSAI Tsan-huang, Assistant Professor, Department of Music, The Chinese University of Hong Kong Bio
Ban WANG, William Haas Professor in Chinese Studies and Chair, Department of East Asian Languages and Cultures, Stanford University Bio
John WINZENBURG, Assistant Professor, Department of Music, Hong Kong Baptist University Bio
Chuen-Fung WONG, Associate Professor, Department of Music, MacalesterCollege Bio
Chairpersons/Discussants:
Rachel HARRIS, Senior Lecturer, Department of Music, SOAS, University of London
Denise HO, Assistant Professor, Centre for China Studies, The Chinese University of Hong Kong
LEE Ou-fan, Sin Wai Kin Professor of Chinese Culture, Faculty of Arts, The Chinese University of Hong Kong
TSAI Tsan-Huang, Assistant Professor, Department of Music, The Chinese University of Hong Kong
WANG Shaoguang, Professor, Department of Government and Public Administration, The Chinese University of Hong Kong
WU Ka Ming, Assistant Professor, Department of Cultural and Religious Studies, The Chinese University of Hong Kong
YU Siu Wah, Associate Professor, Department of Music, The Chinese University of Hong Kong
The Color Scheme of Three Revolutionary Epics in Socialist China (1964-2006):
Red Legend, Grey Performance, or Black Restoration to Capitalism
Xiaomei CHEN, University of California, Davis Content
Singing in the Dark: Film and Cultural Revolution Musical Culture
Paul CLARK, University of Auckland Content
Breaking Bad: The Body, the Voice, and the Villain in Amateur Performance of Yangbanxi
Laurence CODERRE, University of California, Berkeley Content
Jiang Qing's View on Art and Its Embodiment in the Model Operas
DAI Jiafang, Central Conservatory of Music Content
Enjoying Propaganda Art: The Aesthetic Experience of Cultural Revolution Music
Barbara MITTLER, University of Heidelberg Content
The Making of Revolutionary Cantonese Operas during the Cultural Revolution
PANG Laikwan, The Chinese University of Hong Kong Content
Sonic Imaginary after Cultural Revolution
Nancy Yunhwa RAO, Rutgers University Content
The Dragon River Reaches the Borders: the Rehabilitation of Ethnic Music in Model Opera
Rowan PEASE, SOAS, University of London Content
Making the Confucianist Meditative Tool into the Maoist Revolutionary Weapon? The Chinese Seven-stringed Zither Qin in the Era of Cultural Revolution
TSAI Tsan Huang, The Chinese University of Hong Kong Content
Third World Internationalism in the Peking Opera Haigang (On the Dock)
Ban WANG, Stanford University Content
Musical-dramatic Experimentation in the Yangbanxi: A Case for Precedence in the Great Wall
John WINZENBURG, Hong Kong Baptist University Content
The West is Red: The Uyghur Adaptation of Qizil Chiragh (Red Lantern) during China's Cultural Revolution
Chuen-Fung WONG, Macalester College Content
http://www.cuhk.edu.hk/crs/crconference/abstracts.html |
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发表于 2015-4-14 01:19:12