Tales Of Southeast Asia S Jazz Age

Luis Borromeo was the Philippines's "King of Jazz," who at the height of his popularity created a Filipino answer to the Ziegfeld Follies. Miss Riboet was a world-famous Javanese opera singer who ruled the theater world. While each represented a unique corner of the entertainment world, the rise and fall of these two superstar figures tell an important story of Southeast Asia's 1920s Jazz Age. This artistic era was marked by experimentation and adaption, and this was reflected in both Borromeo's and Riboet's styles. They were pioneering cultural brokers who dealt in hybrids. They were adept at combining high art and banal entertainment, tradition and modernity, and the foreign and the local. Leaning on cultural studies and the work on cosmopolitanism and modernity by Henry Jenkins and Joel Kahn, Peter Keppy examines pop culture at this time as a contradictory social phenomenon. He challenges notions of Southeast Asia's popular culture as lowbrow entertainment created by elites and commerce to manipulate the masses, arguing instead that audiences seized on this popular culture to channel emancipatory activities, to articulate social critique, and to propagate an inclusive nationalism without being radically anticolonial.

From the 1920s on, popular music in Southeast Asia was a mass-audience phenomenon that drew new connections between indigenous musical styles and contemporary genres from elsewhere to create new, hybrid forms. This book presents a cultural history of modern Southeast Asia from the vantage point of popular music, considering not just singers and musicians but their fans as well, showing how the music was intrinsically bound up with modern life and the societal changes that came with it. Reaching new audiences across national borders, popular music of the period helped push social change, and at times served as a medium for expressions of social or political discontent.

A major historian tells the dramatic and untold story of the shadowy networks of revolutionaries across Asia who laid the foundations in the early twentieth century for the end of European imperialism on their continent. This is the epic tale of how modern Asia emerged out of conflict between imperial powers and a global network of revolutionaries in the turbulent early decades of the twentieth century. In 1900, European empires had not yet reached their territorial zenith. But a new generation of Asian radicals had already planted the seeds of their destruction. They gained new energy and recruits after the First World War and especially the Bolshevik Revolution, which sparked utopian visions of a free and communist world order led by the peoples of Asia. Aided by the new technologies of cheap printing presses and international travel, they built clandestine webs of resistance from imperial capitals to the front lines of insurgency that stretched from Calcutta and Bombay to Batavia, Hanoi, and Shanghai. Tim Harper takes us into the heart of this shadowy world by following the interconnected lives of the most remarkable of these Marxists, anarchists, and nationalists, including the Bengali radical M. N. Roy, the iconic Vietnamese leader Ho Chi Minh, and the enigmatic Indonesian communist Tan Malaka. He recreates the extraordinary milieu of stowaways, false identities, secret codes, cheap firearms, and conspiracies in which they worked. He shows how they fought with subterfuge, violence, and persuasion, all the while struggling to stay one step ahead of imperial authorities. Undergound Asia shows for the first time how Asia’s national liberation movements crucially depended on global action. And it reveals how the consequences of the revolutionaries’ struggle, for better or worse, shape Asia’s destiny to this day.

This is a book by and about Frank O. Etheridge, an African-American musician from an age of cultural explosion. The decade after World War II saw the coming-of-age of marginalized cultures, and in North America a new voice emerged among peoples of African descent. Etheridge performed in a period when some of the greatest cultural producers of the African-American heritage assumed center-stage. From Shanghai to Singapore; from India to Africa and beyond, Frank Etheridge left us a detailed record of his travels in his unpublished manuscript. The book contains his views, insights, and international itinerary during the 1920s. His book is an important volume in the annals of African-American history, not just for its content, but for what it means and symbolizes. Its readers will journey with him, see through his eyes, understand race and racial prejudice as lived in ordinary skin, and sample culture. Some of Etheridge’s reflections and personal biases will seem like unpleasant contradictions from the way we think about racial prejudice today. However, these jarring moments of dissonance are rich learning opportunities that will connect us to his times, while unraveling a greater understanding of ourselves in our current moment. This manuscript, published for the first time, will be accompanied by editorial commentary written by Professor Ben Vinson III, and will be of great interest to students and scholars of African American history.

Steampunk takes on Southeast Asia in this anthology The stories in this collection merge technological wonder with the everyday. Children upgrade their fighting spiders with armor, and toymakers create punchcard-driven marionettes. Large fish lumber across the skies, while boat people find a new home on the edge of a different dimension. Technology and tradition meld as the people adapt to the changing forces of their world. The Sea Is Ours is an exciting new anthology that features stories infused with the spirits of Southeast Asia's diverse peoples, legends, and geography.

Global Jazz: A Research and Information Guide is an annotated bibliography that explores the global impact of jazz, detailing the evolution of the African American musical tradition as it has been absorbed, transformed, and expanded across the world’s historical, political, and social landscapes. With more than 1,300 annotated entries, this vast compilation covers a broad range of subjects, people, and geographic regions as they relate to interdisciplinary research in jazz studies. The result is a vivid demonstration of how cultures from every corner of the globe have situated jazz—often regarded as America’s classical music—within and beyond their own musical traditions, creating new artistic forms in the process. Global Jazz: A Research and Information Guide presents jazz as a common musical language in a global landscape of diverse artistic expression.

Yellow Music is the first history of the emergence of Chinese popular music and urban media culture in early-twentieth-century China. Andrew F. Jones focuses on the affinities between "yellow” or “pornographic" music—as critics derisively referred to the "decadent" fusion of American jazz, Hollywood film music, and Chinese folk forms—and the anticolonial mass music that challenged its commercial and ideological dominance. Jones radically revises previous understandings of race, politics, popular culture, and technology in the making of modern Chinese culture. The personal and professional histories of three musicians are central to Jones's discussions of shifting gender roles, class inequality, the politics of national salvation, and emerging media technologies: the American jazz musician Buck Clayton; Li Jinhui, the creator of "yellow music"; and leftist Nie Er, a former student of Li’s whose musical idiom grew out of virulent opposition to this Sinified jazz. As he analyzes global media cultures in the postcolonial world, Jones avoids the parochialism of media studies in the West. He teaches us to hear not only the American influence on Chinese popular music but the Chinese influence on American music as well; in so doing, he illuminates the ways in which both cultures were implicated in the unfolding of colonial modernity in the twentieth century.

Jazz Diaspora: Music and Globalisation is about the international diaspora of jazz, well underway within a year of the first jazz recordings in 1917. This book studies the processes of the global jazz diaspora and its implications for jazz historiography in general, arguing for its relevance to the fields of sonic studies and cognitive theory. Until the late twentieth century, the historiography and analysis of jazz were centred on the US to the almost complete exclusion of any other region. The driving premise of this book is that jazz was not ‘invented’ and then exported: it was invented in the process of being disseminated. Jazz Diaspora is a sustained argument for an alternative historiography, based on a shift from a US-centric to a diasporic perspective on the music. The rationale is double-edged. It appears that most of the world’s jazz is experienced (performed and consumed) in diasporic sites – that is, outside its agreed geographical point of origin – and to ignore diasporic jazz is thus to ignore most jazz activity. It is also widely felt that the balance has shifted, as jazz in its homeland has become increasingly conservative. There has been an assumption that only the ‘authentic’ version of the music--as represented in its country of origin--was of aesthetic and historical interest in the jazz narrative; that the forms that emerged in other countries were simply rather pallid and enervated echoes of the ‘real thing’. This has been accompanied by challenges to the criterion of place- and race-based authenticity as a way of assessing the value of popular music forms in general. As the prototype for the globalisation of popular music, diasporic jazz provides a richly instructive template for the study of the history of modernity as played out musically.