Me and the dragon: a lyrical engagement with the politics of Chineseness

The poetics of resistance and the politics of crossing borders: Korean hip-hop and ‘cultural reterritorialisation’

“…The emerging concept of ‘inter-Asia popular music’ (Shin 2009a) also signifies these increasing trends of cultural and musical flows within and across regions – the phenomenon of the Korean Wave being the representative example (Chua and Iwabuchi 2008). At the same time, however, the notions of local identity, nation and nationalism have not disappeared altogether; instead they appear to have been reconfigured and intensified by a variety of policies of domestic institutions and cultural politics (Chow 2009; Dairianathan 2009; Ho 2009; Jian and Liu 2009; Mori 2009). What lies between global and local, according to Biddle and Knights (2007, p. 2), are nation-states and social units acting like nations which operate as a ‘mediator’ between global and local.…”

Unisonance in kung fu film music, or the Wong Fei-hung theme song as a Cantonese transnational anthem

“…Yu Siu-wah (2013: 166) Chow 2009). Like the Wong Fei-hung song, some of these tunes later became popular in the PRC as well, where their meanings were (mis)appropriated for the nation-state.…”

No alternatives, always more, willful optimism: New editors of the European Journal of Cultural Studies in conversation

“…This is my way of doing cultural studies and trying to tell better stories, in my dual capacity as a cultural studies student, and a cultural producer. As I wrote in an autobiographical essay on this duality (Chow, 2009), sometimes ‘I, a lyrical writer, try to write what I have read from cultural studies into a cultural product’; while other times, I invite myself, ‘a cultural studies student, to read the product back into cultural studies’. In the end, I do remember the Deleuzian mantra of TIAM: there is always more .…”