By Deborah Wong
Communicate It Louder: Asian american citizens Making song records the diversity of musics - from conventional Asian via jazz, classical, and pa - which were created through Asian american citizens. This booklet isn't really approximately 'Asian American tune' yet relatively approximately Asian american citizens making song. This key contrast permits the writer to trace quite a lot of musical genres from Cambodian tune drama and karaoke, to Vietnamese pop, Asian-American hip hop and Laotian track. those different kinds shape a coherent set of questions on what it potential for Asian americans to make track, concerning the position of performativity in shaping social identities, and the ways that commercially mediated song can remodel person perceptions of time, area, and society. The ebook contains an audio CD of box recordings, made via the writer, of a number of of the
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Extra info for Speak it Louder: Asian Americans Making Music
Some, if not most, of the country’s leading musicians came to America or to France. The Lao situation is, therefore, very different from those of the Chinese and Koreans whose cultures (including music) survive intact in the old country. A significant part of the Lao musical heritage now resides in the West, and its extinction would represent a serious loss for the Lao. Khamvong is keenly aware of this possibility. fm Page 35 Wednesday, April 28, 2004 10:45 AM History, Memory, Re-Membering ∑ 35 Since coming to America, my lam have changed a lot.
I used to lam about romance and politics and propaganda. Now I stress Lao culture, its customs. There’s so much here in America that’s new — the old ways could disappear. So that’s what I lam about. Khamvong’s relationship to his work is different from the Chinese poets, who tended to seek places of solitude for their written meditations on time and history. Khamvong doesn’t create artifacts: his meditations are meant to be realized in the world of social interaction. They are meant to be performed — they cannot exist as artifacts because they vanish, as all utterances do, as soon as they are uttered.
He wants very much to be western” (Lim 1993: 18). In the very first scene, he carves a poem on the barracks wall as two fellow detainees quarrel out of boredom and frustration. The other two men derisively call him Li-Po (a famous poet of the eighth century), sing a “filthy peasant rhyme” at him (22–23) (much like some of those found in the 1911 collection addressed by Hom), and, when he drops his “coaching book” by mistake, they quickly burn it to protect him from deportation. Lee accepts their help but says, (resentfully) I am Lee Sung Fei, not (gesturing at the burnt contents in the spittoon) this Moy Fook Sing or whatever his name is!