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PART IV Colonial desire, social memory and popular sensuality as performance genres
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PART IV Colonial desire, social memory and popular sensuality as performance genres
by Brian Shoesmith, Ned Rossiter, Allen Chun
Refashioning Pop Music in Asia
Cover
Half Title
ConsumAsiaN Book Series
Full Title
Copyright
Contents
Notes on contributors
Preface
Acknowledgements
Introduction: cultural imaginaries, musical communities, reflexive practices
PART I Musical cultures and culture industries
1 Capitalism and cultural relativity: the Thai pop industry, capitalism and Western cultural values
2 Popping the myth of Chinese rock
3 World music, cultural heteroglossia and indigenous capital: overlapping frequencies in the emergence of cosmopolitanism in Taiwan
PART II Local appropriations: from nation-building to happy pop and folk resistance
4 The imagined community of Maa Tujhe Salaam: the global and the local in the postcolonial
5 Global industry, national politics: popular music in ‘New Order’ Indonesia
6 The case of the irritating song: Suman Chatterjee and modern Bengali music
PART III Travelling theories, syncretic exoticisms, or diffusion by any other name?
7 Magical mystical tourism (debate dub version)
8 ‘Love Never Dies’: romance and Christian symbolism in a Japanese rock video
9 Japanese popular music in Hong Kong: what does TK present?
PART IV Colonial desire, social memory and popular sensuality as performance genres
10 Raising the ante of desire: foreign female singers in a Japanese pop music world
11 Pop music as postcolonial nostalgia in Taiwan
12 Popular music and interculturality: the dynamic presence of pop music in contemporary Balinese performance
References
Index
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9 Japanese popular music in Hong Kong: what does TK present?
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10 Raising the ante of desire: foreign female singers in a Japanese pop music world
Part IV
Colonial desire, social memory and popular sensuality as performance genres
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