The COVID-19 pandemic stirs up strong nationalist and localist sentiments; places pride themselves on containing the virus more effectively: We are doing better. We call this ‘biopolitical nationalism’, understood by us as the dynamics between body, geopolitics and affect. When looking at mainland China, Taiwan and Hong Kong, we analyse how the biopolitical efforts of these places are being compared, applauded and supported. Under a discourse of life and survival, this celebration of biopolitical control does not fall into the classic reproduction of capital, but speaks to geopolitical identification. Biopolitics has morphed into a field of competition, of rivalry, of nationalistic – or, perhaps more generally, localist – power games. What can we do as Cultural Studies scholars?

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This introduction starts with an exploration of the ambiguity of the idea of Europe. In particular, two tropes – Europe-as-theory and Europe-as-power – continue to haunt knowledge production and cultural studies in Asia. How to proceed? What should cultural studies do if it is to embrace this historical conjuncture of shifting modes of knowledge and power production, how to deal with its Anglocentrism and Eurocentrism? While this special issue allies itself with attempts to unsettle Eurocentrism in knowledge production, it is not making any plea for regionally-rooted practices or theories. It argues for better understanding, dialogue and cross-fertilisation between cultural studies and area studies. The former needs the latter’s sensibility to spatial and cultural context as much as the latter needs the former’s theorisations. This introduction is an opening. It opens up not only to the ensuing articles but, more importantly, an occasion for the inevitable encounter argued for in this special issue.

This article explores the possibility of cosmopolitics, using the global magazine franchise Vogue as our starting point. Drawing on Saito's conceptualizations of cosmopolitanism, we investigate whether Vogue promotes cosmopolitan engagement, which we define as promotion of human diversity, cultural omnivorousness and cosmopolitics. Our analysis focuses on racial diversity and health, two moral issues recently addressed by Vogue itself. We present a content analysis of Vogue and media coverage of Vogue in China, the Netherlands and the USA. We conclude that Vogue, because of its global basis, high status and reliance on visual materials, has the potential to address and unite transnational publics around global issues. However, the success of such attempts depends on local cultural and institutional contexts and the role of local actors, who may adopt, but also reframe or ignore, attempts to promote cosmopolitan engagement.

In this introduction to this special issue on creative labour in East Asia, we explore how the creative industries discourse, and related debates around creative labour, continue to be haunted by a Eurocentric cum Anglocentric bias. The critical language of this discourse often directs all discussion of “inequality”, “precarity” and “self-exploitation” of creative labour towards a critique of “neoliberalism”, thus running the risk of overlooking different socio-political contexts. We point at the urgency to contextualize and globalize, if not decolonize, creative work studies, including the debates surrounding precarity. This special issue explores the nuanced situations of governance and labour experiences in the cultural economies of East Asia.

Every year, Miss China Europe, a transnational beauty pageant organized for the Chinese diaspora, is held in the Netherlands. The hypervisuality of Chinese diasporic women at the event stands in painful contrast to their everyday invisibility, whether in the Netherlands, China, or elsewhere in the world. Informed by intersectional and transnational feminist scholarship, this empirical study zooms in on one group of women, ethnic Chinese born and/or growing up in the Netherlands, to identify and recuperate their neglected lived experience in a particular historical-cultural context. It takes their own voices as central, hopefully to contribute to their visibility. It aims to provide an understanding of diasporic Chinese women as living in the dynamics not only of their multiple subordinations but also of their subjective consciousness, experienced autonomy, and agency. Drawing insights from the subjective accounts of both contestants and audiences of Miss China Europe, I suggest that one way to foreground marginalized women's agency is to understand their intersectionality in terms of movements and sensory experiences. On the one hand, while the contestants articulated a readiness to perform their modern and yet Chinese selves, they were making movements along two intersecting axes of inequality and power relations - Chineseness and Dutchness - precisely to negotiate their sense of inequality and power relations. On the other hand, among the audiences, two major topics - the blood issue (or whether Chineseness should be defined by ancestry) and the language problem (or whether Chineseness should be defined by the ability to speak Chinese) - were raised regularly, underscoring a complex viewing experience of seeing and hearing, of the tension between visual and audio identifications.

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