Drumming Through Princess of China: Intercultural Encounters in a Hollywood Music Video
The powerful performance rhetoric of North American drumming tells a story of Japanese American and Asian American survival, defiance, and joy, but I ask whether the politicized Asian American body created by taiko can be reconciled with the performance venues actually available to its musi...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Inglés |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2019
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7545 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7545_oai |
| Aporte de: |
| Sumario: | The powerful performance rhetoric of North American drumming tells a story of Japanese American and Asian American survival, defiance, and joy, but I ask whether the politicized Asian American body created by taiko can be reconciled with the performance venues actually available to its musicians. I explore how several members of the Los Angeles based group to which I belonged performed in Princess of China (2012) a music video by Chris Martin from Coldplay featuring Rihanna. This video is an unapologetic orientalist mash up, drawing freely from Chinese, Japanese, Thai, and Indian elements. Its loose narrative is based on two Chinese martial arts films, Crouching Tiger Hidden Dragon House of Flying Daggers, with the insertion of a White/Anglo hero and a dark heroine, Rihanna as a Chinese princess. I ask how and why my teacher and fellow performers would choose to perform in it as like players. I offer two performers’ thoughts on the shoot and the struggle for self representation in a popular music environment with little or no cultural accountability. I conclude by reflecting on how there are no pure spaces for Asian American or Japanese American self determination. |
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