Robots and Affirmative Choreographies

2020 ◽  
pp. 78-108
Author(s):  
J. Lorenzo Perillo
Keyword(s):  
Hip Hop ◽  
Model Minority ◽  
University Of California ◽  
Folk Dance ◽  
Filipino American ◽  
Model Minority Stereotype ◽  
Dance Theater ◽  
Admissions Policies ◽  
Born Again ◽  
The Relationship

This chapter centers dance theater as an entry point into the relationship between race-based admissions policies (affirmative action) and dance-based articulations of racial agency. The chapter focuses on Pilipino culture nights (PCNs), student-produced annual performances that typically work to affirm a connection to the homeland through the performance of traditional folk forms. However, for Home (2000), a University of California–Berkeley PCN, the dancers and choreographers used hip-hop to emphasize U.S.-based cultural formations. While existing scholarship focuses on the “born again” mode of traditional folk dance within the culture night genre, the analysis centralizes Filipino American use of street dance styles (popping and robotic dancing). The configuration of these elements exaggerates ideologies of multiculturalism and post-raciality in an innovative response to the model minority stereotype.

Too Asian? The model minority stereotype in a Canadian context.

2020 ◽  
Vol 11 (4) ◽  
pp. 223-232
Author(s):  
Jessica K. Padgett ◽  
Evelina Lou ◽  
Richard N. Lalonde ◽  
Joni Y. Sasaki
Keyword(s):  
Model Minority ◽  
Model Minority Stereotype ◽  
Canadian Context

scholarly journals White Pop, Shiny Armour and a Sling and Stone: Indigenous Expressions of Contemporary Congregational Song Exploring Christian-Māori Identity

Religions ◽  
2021 ◽  
Vol 12 (2) ◽  
pp. 123
Author(s):  
Shannon Said
Keyword(s):  
Hip Hop ◽  
Minority Groups ◽  
Cultural Backgrounds ◽  
Congregational Song ◽  
Christian Worship ◽  
Pentecostal Churches ◽  
The Relationship ◽  
Sydney Australia

It has taken many years for different styles of music to be utilised within Pentecostal churches as acceptable forms of worship. These shifts in musical sensibilities, which draw upon elements of pop, rock and hip hop, have allowed for a contemporisation of music that functions as worship within these settings, and although still debated within and across some denominations, there is a growing acceptance amongst Western churches of these styles. Whilst these developments have taken place over the past few decades, there is an ongoing resistance by Pentecostal churches to embrace Indigenous musical expressions of worship, which are usually treated as token recognitions of minority groups, and at worst, demonised as irredeemable musical forms. This article draws upon interview data with Christian-Māori leaders from New Zealand and focus group participants of a diaspora Māori church in southwest Sydney, Australia, who considered their views as Christian musicians and ministers. These perspectives seek to challenge the relationship between Indigenous and non-Indigenous relations within a church setting and create a more inclusive philosophy and practice towards being ‘one in Christ’ with the role of music as worship acting as a case study throughout. It also considers how Indigenous forms of worship impact cultural identity, where Christian worship drawing upon Māori language and music forms has led to deeper connections to congregants’ cultural backgrounds.

Questions of style: notes on Italian hip hop

Popular Music ◽  
1995 ◽  
Vol 14 (3) ◽  
pp. 333-348 ◽  
Author(s):  
Tony Mitchell
Keyword(s):  
Communist Party ◽  
Political Party ◽  
Hip Hop ◽  
Rock Music ◽  
Public Image ◽  
Slow Process ◽  
Explosive Material ◽  
The Public ◽  
Music And Politics ◽  
The Relationship

In his article ‘Rock music and politics in Italy’, Umberto Fiori deploys the example of an open-air concert by Genesis in Tirrenia in the province of Pisa, promoted in the summer of 1982 by the Italian Communist Party (PCI) as part of its annual Feste dell'Unita, as a summary example of de-politicisation of the consumption and production of rock music in Italy, and the institutionalisation of the oppositional, dissenting aspects of rock music that had previously been so potent there throughout the 1970s. To Fiori, the Genesis concert representedan unmistakeable step forward in the slow process of the ‘normalisation’ of the relationship between rock and politics in Italy. Explosive material until a few years before, rock music in the 1980s seems to have returned to being a commodity like any other, even in Italy. The songs are once again simply songs, the public is the public. The musicians are only interested in their work, and the organisers make their expected profits. If they happen to be a political party, so much the better: they can also profit in terms of public image and perhaps even votes. … Italy now learnt how to institutionalise deviation and transgression. An ‘acceptable’ gap was re-established between fiction and reality, desire and action, and music and political practice. (Fiori 1984, pp. 261–2)

scholarly journals Reassessing Japanese American Collective Memory Through Gene Oishi’s Internment Narratives

2021 ◽  
Author(s):  
Nicolangelo Becce
Keyword(s):  
Collective Memory ◽  
Model Minority ◽  
Second World War ◽  
Japanese Americans ◽  
Japanese American ◽  
World War ◽  
True Self ◽  
Direct Response ◽  
Model Minority Stereotype ◽  
Second World

Seven decades after Japanese Americans were interned during the Second World War, former journalist and internment survivor Gene Oishi published Fox Drum Bebop (2014). The protagonist, Hiroshi, had been introduced in Oishi’s previous memoir, In Search of Hiroshi (1988), as “quasi-fictional” and “neither American nor Japanese, but simply me”. Yet, in the same memoir, Oishi had also described his inability to write about ‘Hiroshi’, thus settling on ‘Gene’ as a main character and waiting 28 more years before publishing a book about his true self. A comparison between the two books highlights that In Search of Hiroshi was written as an attempt at telling a story that would implicitly support the ‘model minority’ myth by offering an account of the internment experience as a direct response to the sociopolitical constraints related to the request by Japanese Americans for redress from the U.S. government. On the other hand, the more recent Fox Drum Bebop represents a fictional retelling of Oishi’s memoir which reveals the limits of the collective memory of the internment as developed during the redress years by openly defying the ‘model minority’ stereotype while at the same time once more denouncing the injustices suffered by the Japanese American community during the war. This essay focuses on Oishi’s double narrative as a reassessment of the collective memory of the internment experience and of its lasting effects on Japanese Americans.

Overcoming constraints of the model minority stereotype to advance Asian American health.

2021 ◽  
Vol 76 (4) ◽  
pp. 611-626
Author(s):  
Jacqueline H. J. Kim ◽  
Qian Lu ◽  
Annette L. Stanton
Keyword(s):  
Asian American ◽  
Model Minority ◽  
Model Minority Stereotype ◽  
Asian American Health
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