Asian American Experimental Theater and Solo Performance

2019 ◽  
Author(s):  
Dan Bacalzo
Keyword(s):  
United States ◽  
Asian American ◽  
The United States ◽  
Experimental Theater ◽  
Avant Garde ◽  
Wide Range ◽  
Racial Perceptions ◽  
And Performance ◽  
The 1960S ◽  
A Minor

Beginning in the 1960s and continuing into the present day, a wide range of performers and playwrights have contributed to Asian American experimental theater and performance. These works tend toward plot structures that break away from realist narratives or otherwise experiment with form and content. This includes avant-garde innovations, community-based initiatives that draw on the personal experiences of workshop participants, politicized performance art pieces, spoken word solos, multimedia works, and more. Many of these artistic categories overlap, even as the works produced may look extremely different from one another. There is likewise great ethnic and experiential diversity among the performing artists: some were born in the United States while others are immigrants, permanent residents, or Asian nationals who have produced substantial amounts of works in the United States. Several of these artists raise issues of race as a principal element in the creation of their performances, while for others it is a minor consideration, or perhaps not a consideration at all. Nevertheless, since all these artists are of Asian descent, racial perceptions still inform the production, reception, and interpretation of their work.

Zines, Half-Lives, and Afterlives: On the Temporalities of Social and Political Change

PMLA ◽  
2011 ◽  
Vol 126 (1) ◽  
pp. 140-150 ◽  
Author(s):  
Janice Radway
Keyword(s):  
United States ◽  
Science Fiction ◽  
Special Interest ◽  
Political Change ◽  
The United States ◽  
Alternative Press ◽  
Wide Range ◽  
Do It Yourself ◽  
Mainstream Society ◽  
The 1960S

The term zine is a recent variant of fanzine, a neologism coined in the 1930s to refer to magazines self-published by Aficionados of science fiction. Until zines emerged as digital forms, they were generally defined as handmade, noncommercial, irregularly issued, small-run, paper publications circulated by individuals participating in alternative, special-interest communities. Zines exploded in popularity during the 1980s when punk music fans adopted the form as part of their do-it-yourself aesthetic and as an outsider way to communicate among themselves about punk's defiant response to the commercialism of mainstream society. In 1990, only a few years after the first punk zines appeared, Mike Gunderloy made a case for the genre's significance in an article published in the Whole Earth Review, one of the few surviving organs of the 1960s alternative press in the United States. He celebrated zines' wide range of interests and the oppositional politics that generated their underground approach to publication.

Film Theory in the United States and Europe

2017 ◽  
Author(s):  
Warren Buckland
Keyword(s):  
United States ◽  
Academic Discipline ◽  
Rapid Development ◽  
Film Theory ◽  
The United States ◽  
Avant Garde ◽  
Reality Effect ◽  
The Subject ◽  
The 1960S ◽  
The University

Since the 1960s, film theory has undergone rapid development as an academic discipline—to such an extent that students new to the subject are quickly overwhelmed by the extensive and complex research published under its rubric. “Film Theory in the United States and Europe” presents a broad overview of guides to and anthologies of film theory, followed by a longer section that presents an historical account of film theory’s development—from classical film theory of the 1930s–1950s (focused around film as an art), the modern (or contemporary) film theory of the 1960s–1970s (premised on semiotics, Marxism, feminism, and psychoanalysis), to current developments, including the New Lacanians and cognitive film theory. The second section ends with a very brief overview of film and/as philosophy. The article covers the key figures and fundamental concepts that have contributed to film theory as an autonomous discipline within the university. These concepts include ontology of film, realism/the reality effect, formalism, adaptation, signification, voyeurism, patriarchy, ideology, mainstream cinema, the avant-garde, suture, the cinematic apparatus, auteur-structuralism, the imaginary, the symbolic, the real, film and emotion, and embodied cognition.

Imagining European Identity: French Elites and the American Challenge in the Pompidou–Nixon Era

2010 ◽  
Vol 19 (2) ◽  
pp. 133-149 ◽  
Author(s):  
AURÉLIE ÉLISA GFELLER
Keyword(s):  
United States ◽  
Foreign Policy ◽  
The United States ◽  
European Identity ◽  
History Writing ◽  
Charles De Gaulle ◽  
Wide Range ◽  
The 1960S ◽  
Year Of Europe ◽  
De Gaulle

AbstractCharles de Gaulle has cast a long shadow over French political history and history writing. In exploring the French response to the United States' 1973 ‘Year of Europe’ initiative, this article challenges the dominant scholarly paradigm, which emphasises continuity between the 1960s and the 1970s. Drawing on a wide range of French and US archives, it demonstrates that renewed concerns about US power spurred the French elites both to reappraise the value of collective European action in foreign policy and to foster a pioneering concept: a politically anchored – as opposed to a geographically circumscribed – ‘European identity’.

Introduction

2018 ◽  
Author(s):  
Simeon Man
Keyword(s):  
United States ◽  
Asian American ◽  
American History ◽  
The United States ◽  
Racial Minorities ◽  
Asian American History ◽  
The 1960S ◽  
Race War

The introduction begins with a question many racial minorities, whether directly or indirectly, faced in the 1960s: do you want to join the army or go to jail? The question, I contend, not only reflected the austerity of racialized life in the United States at the time but also broadly reflected a governing logic that emerged globally in the post-1945 age of decolonization. The introduction lays out the book’s central arguments by explaining three important concepts: the “decolonizing Pacific,” “soldiering,” and “race war.” It situates the book within Asian American history and U.S. history, and it suggests the need to broaden our conception and approach to these fields by engaging with global histories of empire and decolonization.

Contemporary Asian American Dance

2020 ◽  
Author(s):  
Yutian Wong
Keyword(s):  
United States ◽  
World War Ii ◽  
20Th Century ◽  
San Francisco ◽  
Chinese Text ◽  
Asian American ◽  
The United States ◽  
The Body ◽  
Japanese American ◽  
Wide Range

Contemporary Asian American dance includes a wide range of choreographic approaches, movement vocabularies, aesthetic traditions, and philosophies toward the body. Referencing either time or genre, the “contemporary” in contemporary Asian American dance can refer to work that includes high-art concert productions that utilize modern and postmodern movement vocabularies, reworkings of traditional Asian movement practices, or popular dance practices. Contemporary Asian American dance also encompasses work that is created by Asian American choreographers, choreography that addresses Asian American experiences or history, or work that is performed by Asian American dancers. As a field of study, Asian American dance studies is concerned with an analysis of how the critical reception of choreography by Asian American choreographers is entangled with the history of Orientalism in both American modern dance history and the racialization of Asian Americans in US history. Beginning in the early 20th century, choreographer Michio Ito (1892–1961) navigated his training in German expressionist dance with public expectations of performing recognizable Japaneseness in the face of growing anti-Japanese sentiments on the West Coast of the United States in the years before the United States officially entered World War II. In the later half of the 20th century, Mel Wong (1938–2003) faced similar issues after leaving the Merce Cunningham Dance Company to pursue his own choreography. While Merce Cunningham’s adoption of the Chinese text the I-Ching was considered a choreographic breakthrough in the development of chance procedure that would revolutionize the definition of what is considered dance, Mel Wong faced critics and funding organizations who found Wong’s own use of ritual and Asian philosophy to be incomprehensible or inauthentic. The question of authenticity in relationship to the use of traditional Asian vocabularies runs the gamut from the performance of depoliticized folk dance forms such as those performed by the San Francisco Chinese Folkdance Association to the purposeful invention of Japanese American taiko repertory by organizations such as San Jose Taiko during the 1960s Asian American movement. In contrast, choreographers such as Eiko (1952–present), Koma (1948–present), and Shen Wei (1968–present) are not concerned with the question of Asian American authenticity and have been creating work that stakes a claim in universal themes of humanity and the environment or the relationship between movement and visual art. Understanding the work of choreographers such as Eiko & Koma and Shen Wei as contemporary Asian American dance is enabled by the transnational turn in Asian American studies to include work by choreographers whose work does not directly represent traditional understandings of the Asian American experience rooted in themes such as the trauma of immigration, intergenerational conflict, or national belonging.

The Political Economy of Federal Health Programs in the United States: An Historical Review

1978 ◽  
Vol 8 (1) ◽  
pp. 55-77 ◽  
Author(s):  
Louise B. Russell ◽  
Carol S. Burke
Keyword(s):  
United States ◽  
Medical Care ◽  
Occupational Safety ◽  
Structural Changes ◽  
Historical Review ◽  
The United States ◽  
Health Programs ◽  
Legislative History ◽  
Wide Range ◽  
The 1960S

In the 1960s the federal government of the United States added a wide range of new health programs—Medicare, Medicaid, health manpower training, occupational safety, and others—to its long-established support for biomedical research and hospital construction. Total federal health outlays rose from $5 billion in 1965 to almost $37 billion in 1975. This paper describes the legislative history of federal health programs and reports the recent trends in expenditures by functional category. The expenditures of major programs are related to the populations they serve and data are presented to document the enormous inflow of resources to medical care during the last 10 years. This inflow has been induced by the structural changes in the medical care market first set in motion by private health insurance, and accelerated by the new federal programs. Designing some way to control it is a major problem in health policy for the late 1970s.

The Hungarian Sebeok

2021 ◽  
Vol 17 (4) ◽  
pp. 633-638
Author(s):  
Vilmos Voigt
Keyword(s):  
United States ◽  
70Th Birthday ◽  
Hungarian Academy ◽  
The United States ◽  
Home Culture ◽  
Research Activities ◽  
Wide Range ◽  
The 1960S ◽  
Academy Of Sciences ◽  
Foreign Member

Abstract It was never a secret that Thomas A. Sebeok was born in Hungary, and he always referred to his Hungarian background. He emigrated from Hungary (1936) to England and later (1937) to the United States, where he Americanized his family name, Sebők. As a scholar, he started Finno-Ugric studies (not only in Hungarian, but also in Cheremis). Sebeok continued as a general linguist, and then as a communication expert. From the 1960s, he became a semiotician, a key figure in building an international semiotic network. Sebeok often visited Hungary in connection with his research activities. He was a foreign member of the Hungarian Academy of Sciences, and became Honorary Professor at Loránd Eötvöspapers University in Budapest. Such was the respect he garnered that an international congress was organized in Budapest in honor of his 70th birthday, and his papers and books were also translated into Hungarian. From his very wide range of interests, I mention here only the Hungarian context of studying animal signs. Prolific writer, excellent organizer, and eloquent speaker, Sebeok is unforgettable as a world-renowned person – with many ties to his home culture, which he referred to as his “Hungarian frame.”

Having Their Say, Leaving Their Mark

2020 ◽  
Vol 1 (1) ◽  
pp. 141-153
Author(s):  
Adolphus G. Belk ◽  
Robert C. Smith ◽  
Sherri L. Wallace
Keyword(s):  
United States ◽  
Civic Engagement ◽  
Political Science ◽  
Black People ◽  
The United States ◽  
The Political ◽  
Historical Documents ◽  
Adverse Conditions ◽  
The 1960S ◽  
Independent Organization

In general, the founders of the National Conference of Black Political Scientists were “movement people.” Powerful agents of socialization such as the uprisings of the 1960s molded them into scholars with tremendous resolve to tackle systemic inequalities in the political science discipline. In forming NCOBPS as an independent organization, many sought to develop a Black perspective in political science to push the boundaries of knowledge and to use that scholarship to ameliorate the adverse conditions confronting Black people in the United States and around the globe. This paper utilizes historical documents, speeches, interviews, and other scholarly works to detail the lasting contributions of the founders and Black political scientists to the discipline, paying particular attention to their scholarship, teaching, mentoring, and civic engagement. It finds that while political science is much improved as a result of their efforts, there is still work to do if their goals are to be achieved.

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