Performing Chinatown

In 1938, China City opened near downtown Los Angeles. Featuring a recreation of the House of Wang set from MGM's The Good Earth, this new Chinatown employed many of the same Chinese Americans who performed as background extras in the 1937 film. Chinatown and Hollywood represented the two primary sites where Chinese Americans performed racial difference for popular audiences during the Chinese exclusion era. In Performing Chinatown, historian William Gow argues that Chinese Americans in Los Angeles used these performances in Hollywood films and in Chinatown for tourists to shape widely held understandings of race and national belonging during this pivotal chapter in U.S. history. Performing Chinatown conceives of these racial representations as intimately connected to the restrictive immigration laws that limited Chinese entry into the U.S. beginning with the 1875 Page Act and continuing until the passage of the Immigration and Nationality Act of 1965. At the heart of this argument are the voices of everyday people including Chinese American movie extras, street performers, and merchants. Drawing on more than 40 oral history interviews as well as research in more than a dozen archival and family collections, this book retells the long-overlooked history of the ways that Los Angeles Chinatown shaped Hollywood and how Hollywood, in turn, shaped perceptions of Asian American identity.

The Chinatown opera house provided Chinese immigrants with an essential source of entertainment during the pre “World War II era. But its stories of loyalty, obligation, passion, and duty also attracted diverse patrons into Chinese American communities Drawing on a wealth of new Chinese- and English-language research, Nancy Yunhwa Rao tells the story of iconic theater companies and the networks and migrations that made Chinese opera a part of North American cultures. Rao unmasks a backstage world of performers, performance, and repertoire and sets readers in the spellbound audiences beyond the footlights. But she also braids a captivating and complex history from elements outside the opera house walls: the impact of government immigration policy; how a theater influenced a Chinatown's sense of cultural self; the dissemination of Chinese opera music via recording and print materials; and the role of Chinese American business in sustaining theatrical institutions. The result is a work that strips the veneer of exoticism from Chinese opera, placing it firmly within the bounds of American music and a profoundly American experience.

“Enlightening, nuanced, and honest.”—Lisa See Set against the glittering backdrop of Los Angeles during the gin-soaked Jazz Age and the rise of Hollywood, this debut book celebrates Anna May Wong, the first Asian American movie star, to bring an unsung heroine to light and reclaim her place in cinema history. Before Constance Wu, Sandra Oh, Awkwafina, or Lucy Liu, there was Anna May Wong. In her time, she was a legendary beauty, witty conversationalist, and fashion icon. Plucked from her family’s laundry business in Los Angeles, Anna May Wong rose to stardom in Douglas Fairbanks’s blockbuster The Thief of Bagdad. Fans and the press clamored to see more of this unlikely actress, but when Hollywood repeatedly cast her in stereotypical roles, she headed abroad in protest. Anna May starred in acclaimed films in Berlin, Paris, and London. She dazzled royalty and heads of state across several nations, leaving trails of suitors in her wake. She returned to challenge Hollywood at its own game by speaking out about the industry’s blatant racism. She used her new stature to move away from her typecasting as the China doll or dragon lady, and worked to reshape Asian American representation in film. Filled with stories of capricious directors and admiring costars, glamorous parties and far-flung love affairs, Not Your China Doll showcases the vibrant, radical life of a groundbreaking artist.

Imagining China: early nineteenth-century writings and musical productions -- Towards exclusion: American popular songs on Chinese immigration, 1850-1882 -- Chinese and Chinese immigrant performers on the American stage, 1830s-1920s -- The sounds of Chinese otherness and American popular music, 1880s-1920s -- From aversion to fascination: new lyrics and voices, 1880s-1920s -- The rise of Chinese and Chinese American vaudevillians, 1900s-1920s

‘Chinatowns’ are familiar places in almost all major cities in the world. In popular Western wisdom, the restaurants, pagodas, and red lanterns are intrinsically equated with a self-contained, immigrant Chinese district, an alien enclave of ‘the East’ in ‘the West’. By the 1980s, when these Western societies had largely given up their racially discriminatory immigration policies and opened up to Asian immigration, the dominant conception of Chinatown was no longer that of an abject ethnic ghetto: rather, Chinatown was now seen as a positive expression of multicultural heritage and difference. By the early 21st century, however, these spatial and cultural constructions of Chinatown as an ‘other’ space – whether negative or positive – have been thoroughly destabilised by the impacts of accelerating globalisation and transnational migration. This book provides a timely and much-needed paradigm shift in this regard, through an in-depth case study of Sydney’s Chinatown. It speaks to the growing multilateral connections that link Australia and Asia (and especially China) together; not just economically, but also socially and culturally, as a consequence of increasing transnational flows of people, money, ideas and things. Further, the book elicits a particular sense of a place in Sydney’s Chinatown: that of an interconnected world in which Western and Asian realms inhabit each other, and in which the orientalist legacy is being reconfigured in new deployments and more complex delimitations. As such, Chinatown Unbound engages with, and contributes to making sense of, the epochal shift in the global balance of power towards Asia, especially China.

Between the mid-1930s and the late '40s the centre of the jazz world was a two-block stretch of 52nd Street in Manhattan. Dozens of crowded basement clubs played host to legends like Charlie Parker and Billie Holiday. These clubs defied the traditional boundaries between art and entertainment, and between the races.

Dangerous Crossings interprets disputes in the United States over the use of animals in the cultural practices of nonwhite peoples.

The basic structures and principles of Jeet Kune Do (JKD), the martial arts system developed by the iconic Bruce Lee, are revealed in this insightful handbook. Step-by-step lessons illustrate JKD's two basic stances and demonstrate how to perform fundamental footwork, kicking, countering, and defensive moves. The most effective aspects of JKD are highlighted, as are some of its lesser-known tools and approaches. This invaluable manual is a must-have for JKD novices and trained experts alike.