Defining the right path: aligning Islam with Chinese socialist core values at Ningbo’s Moon Lake Mosque

Brown, Melissa Shani; O’Brien, David

doi:10.1080/14631369.2019.1636637

Cited by 11 publications

(2 citation statements)

References 12 publications

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“…Since 2018, the national flag must be raised outside all religious venues across China, though they have been required outside of mosques in Xinjiang and monasteries in Tibet for far longer (Brown and O’Brien, 2019: 8). The flags are a polyvalent symbol in these contexts: “The ‘flagging’ of national identity at religious sites is explicitly aimed at inculcating a nationalist consciousness, but it also inversely flags religious sites – and the religious – as those in need of such reminders” (Brown and O’Brien, 2019: 9). At tourist sites such as Kashgar, the ubiquitous flags also become a symbol of political power, a form of visual territorialisation.…”

Section: Conceptualising Touristic Infrastructures Of Memorymentioning

confidence: 99%

“Making the Past Serve the Present”: The Testimonial Tourist Gaze and Infrastructures of Memory in Xinjiang Uyghur Autonomous Region (XUAR), China

Brown

O’Brien

2022

Journal of Current Chinese Affairs

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In this article, we explore how tourism in Xinjiang is politically weaponised. Commodifying Uyghur cultural heritage for tourism allows the Chinese Communist Party (CCP) to insist it is not committing cultural genocide, but actually “conserving” Uyghur culture. This directly bears on the CCP’s internment of Muslim minorities in “re-education” camps, ostensibly to target Islamic “extremism.” We explore how tourism to Xinjiang is presented as a “success” of the camps and conscripted into the “Sinicisation” of the region and the secularising of minorities’ cultures. Places and practices are deconstructed as cultural heritage, and reconstructed to provide tourists with “exotic” experiences of “wonderful Xinjiang.” This transforms the “tourist gaze” into a “testimonial” one: tourists to Xinjiang are made into witnesses that “Xinjiang is beautiful” and Uyghurs are “happy.” In this, touristic development and tourists themselves are key agents in the CCP’s territorialisation of Xinjiang, the sinicisation of Uyghur culture, and the legitimation of the violence of the camps.

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Section: Conceptualising Touristic Infrastructures Of Memorymentioning

confidence: 99%

“Making the Past Serve the Present”: The Testimonial Tourist Gaze and Infrastructures of Memory in Xinjiang Uyghur Autonomous Region (XUAR), China

Brown

O’Brien

2022

Journal of Current Chinese Affairs

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“…Official policies over the past few years have focused upon the ‘Sinicization’ of religions. In a speech in 2016, President Xi stated that religious groups needed to ‘merge religious doctrines with Chinese culture’, another speech later emphasized that ‘religions in China must be Chinese in orientation’ (quoted in Brown and O’Brien, 2019: 6–7). Not all religions are rendered equally suspect, however, and the problematizing of Islam is of course linked to both the localized issue of ethnic conflict in Xinjiang, as well as global Islamophobia.…”

Section: Nezha (2019) And/as the ‘National Style’mentioning

confidence: 99%

Contemporizing the National Style in Chinese Animation: The Case of Nezha (2019)

2021

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In this article, the authors explore the popular animation Nezha (2019), examining the idea that it typifies the ‘national style’. Expanding the work of other scholars who have demonstrated the changeability of the ‘national style’, here they examine this notion in regard to the way in which Nezha (2019) represents ‘Chineseness’ at this particular socio-political moment. Methodologically, they focus their analysis largely upon the film’s narrative and aesthetics, drawing on a number of reviews as counterpoints for the way in which it was interpreted to situate it in popular discourses. The authors argue that Nezha (2019) presents a national image in which traditions and modernity are interwoven, and the focus upon the ‘technological’ – its digitality – constitutes a refiguring of animation in China as symbolic of modernity. Narratively and aesthetically mediating between the past and the present, Nezha (2019) embodies a ‘national style’ which is on one hand hybrid in its inter/nationality, but also culturally delimited in terms of which cultural heritages are held up as emblematic of the nation.

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Introduction

Fleming¹,

Harrison²

2020

Chinese Urban Shi-Nema

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Defining the right path: aligning Islam with Chinese socialist core values at Ningbo’s Moon Lake Mosque

Cited by 11 publications

References 12 publications

“Making the Past Serve the Present”: The Testimonial Tourist Gaze and Infrastructures of Memory in Xinjiang Uyghur Autonomous Region (XUAR), China

“Making the Past Serve the Present”: The Testimonial Tourist Gaze and Infrastructures of Memory in Xinjiang Uyghur Autonomous Region (XUAR), China

Contemporizing the National Style in Chinese Animation: The Case of Nezha (2019)

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