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Sound of the Border : Music and Identity of Korean Minority in China / Sunhee Koo; ed. by Frederick Lau.

By: Contributor(s): Material type: TextTextSeries: Music and Performing Arts of Asia and the PacificPublisher: Honolulu : University of Hawaii Press, [2021]Copyright date: ©2021Description: 1 online resource (240 p.) : 20 b&w illustrations, 2 mapsContent type:
Media type:
Carrier type:
ISBN:
  • 9780824889562
Subject(s): DDC classification:
  • 781.62/95705188 23/eng/20230216
LOC classification:
  • ML3746.7.Y3 K66 2021
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Romanization and Other Conventions -- Introduction -- Chapter 1. China’s Northeastern Border and Korean Migration to China -- Chapter 2. Korean Music in China: In the Past and in the Present Day -- Chapter 3. The Construction of Chaoxianzu Musical Identity -- Chapter 4. The Chaoxianzu Kayagŭm: Tradition Fused with Modernity -- Chapter 5. Musical Signs and Essentializing Chaoxianzuness -- Chapter 6. Chaoxianzu Vocal Music: Its Development and Dissemination -- Chapter 7. Returning to a Home Never Lived In? Chaoxianzu Musicians in South Korea -- Conclusion -- Notes -- Glossary -- References -- Index
Summary: 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.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780824889562

Frontmatter -- Contents -- Acknowledgments -- Romanization and Other Conventions -- Introduction -- Chapter 1. China’s Northeastern Border and Korean Migration to China -- Chapter 2. Korean Music in China: In the Past and in the Present Day -- Chapter 3. The Construction of Chaoxianzu Musical Identity -- Chapter 4. The Chaoxianzu Kayagŭm: Tradition Fused with Modernity -- Chapter 5. Musical Signs and Essentializing Chaoxianzuness -- Chapter 6. Chaoxianzu Vocal Music: Its Development and Dissemination -- Chapter 7. Returning to a Home Never Lived In? Chaoxianzu Musicians in South Korea -- Conclusion -- Notes -- Glossary -- References -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

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.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024)