Between Alterity and Identity

Baranovitch, Nimrod

doi:10.1177/009770040102700303

Cited by 23 publications

(2 citation statements)

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“…1 The discourse of Chineseness is often initiated by the issue of ethnicity, building upon the view that the Han are dominant in Chineseness, a 'self' category understood through contrast with all the ethnic minority 'others'. Ethnic minorities have been turning from 'other', to 'self' as they begin to define Chineseness not in opposition to, but as part of, the Chinese self (Baranovitch, 2001;Yan and Santos, 2009).…”

Section: Introductionmentioning

confidence: 99%

Cultural exploitation in Chinese politics: Reinterpreting Liu Sanjie

Liu¹

2021

Prometheus

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Liu Sanjie is a typical Chinese legendary figure, adapted from folk custom and transformed during many historical and political stages. By comparing the musical film Liu Sanjie with the landscape performing art Impression Liu Sanjie, this paper explores how Liu Sanjie is reconstructed in the Impression to be in accord with contemporary demands (shidaixing). In the film, made during the 1960s, Liu Sanjie was promoted as a heroine fighting against the privileged classes, but in the Impression, her class struggle has been erased and only a harmonious and abstract legend remains. Her ethnicity is promoted by Han elites as not exclusive Zhuang, but shared equally with Han, Miao and Dong ethnicity in an imagined community to propagate a sense of ethnic harmony and unified Chineseness. Her transformation from a realistic character, full of a rebelling spirit, to an abstract and disembodied ‘sense of harmony’, is a complete reinterpretation of a Chinese historical legend. Utilizing a term from Wang Ban (1997), ‘the sublime figure of history’, which refers to an ideology aestheticized by the party state for securing its governance, this paper refers to the bold artistic treatment of Liu Sanjie for cultural exploitation as ‘Liu Sanjie's sublime’. The paper explores the evolutionary progress of Liu Sanjie from class revolution to art revolution in response to political requirements. The author is a stage-trained performing artist, specialized in both Western opera and Chinese classical and folk singing and dance. He is also a critic and art consultant in the Chinese landscape performing arts industry. These professional roles have allowed privileged access to the top people in this industry.

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Section: Introductionmentioning

confidence: 99%

Cultural exploitation in Chinese politics: Reinterpreting Liu Sanjie

Liu¹

2021

Prometheus

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“…82 China clearly has a strong central policy of controlling and integrating its southwestern minority nationalities. 83 The region is politically sensitive because it touches several international borders, is rich in natural resources important to national development, provides a substantial portion of the country's diet through intensive agriculture, and is a land of migration for the surplus lowland population. 84 Han immigration to the south-west and Tibet are symptoms of a political desire eventually to outnumber locals and take final political, economic and cultural control over these margins.…”

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confidence: 99%