Podcasts about Cantonese opera

On this episode of Below the Radar B-Sides, our host Am Johal is joined by Ming Wong, Singapore-born and Berlin-based contemporary artist. Together, they chat about Ming's artistic practice, his research into Cantonese Opera cinema, approach to pedagogy, and the advantages of being at the fringe looking in. You can see Ming's installation “Vast Oceans, Endless Skies / 海闊天空” in the Chinese Canadian Museum's exhibition Dream Factory: Cantopop Mandopop 1980s-2000, on until May 31, 2026. Resources: Ming Wong: https://www.mingwong.org/ Chinese Canadian Museum exhibition: Dream Factory: Cantopop Mandopop 1980s-2000: https://www.chinesecanadianmuseum.ca/exhibitions/dream-factory-cantopop-mandopop-1980s-2000 Ming Wong: 2023 SFU Fall Audain Visual Artist in Residence artist talk: https://www.sfu.ca/sca/projects---activities/audain-visual-artist-in-residence/ming-wong.html Bio: Ming Wong (b. 1971, Singapore) currently lives and works in Berlin. His interdisciplinary practice incorporating performance, video and installation unravels ideas of ‘authenticity' and the ‘other' with reference to the act of human performativity. In recent years, he has had strong theatrical interests in the intersection of sci-fi and traditional Chinese culture, particularly Cantonese opera. Wong uses this speculative association to tackle issues such as Chinese modernity, the role of popular culture in building national identities. His works often assemble languages and personalities to create their own “World Cinema”. Cite this episode: Chicago Style Johal, Am.. “Re-enactments, Theatre, and Cantonese Opera — with Ming Wong.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, August 12, 2025. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/btr-bsides-ming-wong.html.

Chinese star Xin Zhilei won the Best Actress award at the 82nd Venice International Film Festival on Saturday, becoming the second actress from the Chinese mainland to receive the honor, more than three decades after Gong Li's historic win in 1992.当地时间周六，中国演员辛芷蕾在第82 届威尼斯国际电影节上斩获最佳女演员奖，成为继 1992 年巩俐历史性获奖后，第二位摘得该荣誉的中国内地女演员。With her vivid portrayal of a woman trapped in a love triangle in the arthouse flick The Sun Rises on Us All, Xin received the Volpi Cup for Best Actress from Zhao Tao, also a famous Chinese actress who served as one of this year's international jurors.在影片《日掛中天》中，辛芷蕾生动演绎了一位深陷情感纠葛的女性角色。这部艺术电影的颁奖环节，由本届电影节国际评审团成员、中国知名演员赵涛为辛芷蕾颁发了最佳女演员沃尔皮杯。Directed by Cai Shangjun, who is regarded as a leading figure in Chinese neo-noir cinema, the film — shot in multiple cities across South China's Guangdong province — tells the story of two former lovers who reunite after seven years, only to find their encounter ending in tragedy at the hands of an inescapable fate.《日掛中天》由中国新黑色电影代表导演蔡尚君执导，取景于中国南方广东省多个城市。影片讲述了一对昔日恋人时隔七年重逢，却在命运的捉弄下，最终以悲剧收场的故事。Overcome with joy, Xin, the 39-year-old actress, tearfully said in her acceptance speech: "This feels like a dream. Over a decade ago, when I first started in the film industry, I made a bold claim — I wanted to become an international superstar on a world-class stage. Back then, I faced a lot of ridicule."39 岁的辛芷蕾在领奖时难掩激动，含泪发表获奖感言：“这感觉像一场梦。十几年前刚进入电影行业时，我曾大胆立下目标 —— 要在世界级舞台上成为国际巨星。那时，我遭到了不少嘲讽。”Having begun her showbiz career in 2005, the actress overcame many difficulties to stand on the award stage in Venice, one of the three most prestigious film festivals in Europe. She said she felt proud of herself and encouraged all women by saying: "If you have a dream, dare to dream big and dare to go for it. Who knows — one day it might just come true, just like it did for me."辛芷蕾于2005 年开启演艺生涯，历经诸多挑战，最终站上了欧洲三大顶级电影节之一 —— 威尼斯国际电影节的领奖台。她表示，为自己感到骄傲，同时鼓励所有女性：“只要心怀梦想，就大胆去畅想、勇敢去追逐。说不定有一天，梦想就会像我这样，照进现实。”The film's title is inspired by a line from a Cantonese Opera, which is based on a script by Ming Dynasty (1368-1644) playwright Tang Xianzu. The original work depicts a tragic romance between a poet and a young woman during the Tang Dynasty (618-907).该片片名灵感源自一部粤剧的台词，而这部粤剧改编自明代（1368-1644 年）戏曲家汤显祖的剧本。原著讲述了唐代（618-907 年）一位诗人与一名女子之间的悲情爱情故事。Xin revealed she was captivated by her character — an ordinary person striving to overcome a painful past and build a better life. She explained that the character is difficult to define as simply "good" or "bad", and that audiences may find her choices challenging to understand.辛芷蕾透露，自己被所饰演的角色深深吸引—— 这个普通人物努力摆脱痛苦过往、追寻美好生活的经历极具感染力。她解释道，这个角色难以简单用 “好” 或 “坏” 来定义，观众或许会对角色的选择感到费解。Recounted through a delicate and nuanced narrative, the film focuses not on a dramatic plotline, but on the inner emotional journey of a woman grappling with her own tsunami-like feelings, added Xin.辛芷蕾补充说，影片采用细腻入微的叙事手法，并未侧重紧张刺激的剧情，而是聚焦于女性角色的内心情感历程，展现她如何应对汹涌如潮的复杂情绪。According to her agency, filming in Guangdong was challenging due to the humid temperatures, which frequently left Xin's costume and hair drenched. Despite this, she gave her best performance in every scene.据辛芷蕾所属经纪公司介绍，影片在广东拍摄期间，当地潮湿的气候给拍摄带来不小挑战，辛芷蕾的戏服和头发常常被汗水浸湿。即便如此，她在每一场戏中都展现出最佳状态。A native of Northeast China's Heilongjiang province, Xin first earned international recognition for the 2016 Chinese film Crosscurrent, which won the Silver Bear for Outstanding Artistic Contribution for Cinematography at the 66th Berlin International Film Festival. Her most popular roles include an emperor's favored concubine in the hit costume drama Ruyi's Royal Love in the Palace (2018) and a mysterious restaurant operator in Hong Kong auteur Wong Kar-wai's directorial TV debut Blossoms Shanghai (2023).辛芷蕾籍贯为中国东北黑龙江省。2016 年，她凭借中国电影《长江图》首次获得国际关注，该片曾在第 66 届柏林国际电影节上荣获杰出艺术贡献银熊奖（摄影奖）。她的代表作还包括 2018 年热门古装剧《如懿传》中饰演的皇帝宠妃，以及 2023 年香港导演王家卫首部电视剧《繁花》中塑造的神秘餐厅经营者。In an earlier interview, director Cai recalled that because the film is told from a woman's perspective, it placed particularly high demands on casting the female lead. After an initial struggle — having reached out to around 20 actresses and 10 actors for the two leading roles — Cai finally chose Xin, with the recommendation from his wife and co-writer, Han Nianjin, who saw Xin on a variety show and was impressed by her natural, easygoing and decisive temperament.导演蔡尚君在早前采访中回忆，由于影片以女性视角展开叙事，对女主角的选角要求极高。起初，为男女主角两个核心角色，剧组接触了约20 位女演员和 10 位男演员，选角工作一度陷入困境。最终，在妻子兼联合编剧韩念瑾的推荐下，蔡尚君确定由辛芷蕾出演。韩念瑾此前在一档综艺节目中关注到辛芷蕾，被她自然随性、果断干练的气质所打动。Cai said that China's film industry has undergone a significant transformation in recent years, challenged by a shrinking box office, as well as the unprecedented expansion of short videos and micro-dramas. In this climate, an enduring event like the Venice International Film Festival becomes a cherished destination for artists, he added.蔡尚君表示，近年来中国电影行业经历了显著变革，不仅面临票房下滑的压力，还受到短视频和微短剧爆发式发展带来的冲击。他认为，在此背景下，威尼斯国际电影节这样具有持久影响力的国际影展，成为了电影人珍视的展示平台。

The American West was the meeting ground for numerous races and cultures; Native Americans, Hispanics, Anglo Americans, African Americans, and Chinese immigrants. During Westward Expansion, each group brought their own musical tradition and expressed themselves through song. We examine their stories of oppression, resistance, and peace, told through music.Find the full transcript of this episode including citations at our website:https://www.americanhistoryremix.com/episodeguide/music-and-raceIn this episode we cover…Introduction [00:00-03:15]Native Americans [03:15-07:01]Blackface Minstrelsy [07:01-10:56]The Banjo [10:56-13:46]Chinese Immigrants & Yellowface [13:46-17:06]Cantonese Opera [17:06-19:20]Chinese Immigration [19:20-21:39]Racial Hierarchy [21:39-23:03]Pan-Indian Identity [23:03-25:02]Ghost Dance [25:02-28:29]Mexican Americans [28:29-30:31]Corridos [30:31-33:56]Cantonese Songs [33:56-36:15]Immigration & Sexuality [36:15-38:18]Natives & the Overland Trail [38:18-42:15]Indianist Movement [42:15-44:12]African American Performers [44:12-47:02]Cross-Racial Love [47:02-49:00]Diversity in the West [49:00-50:14]Conclusion [50:14-51:54]To dive deeper into these topics (affiliate links):David Dary, Seeking Pleasure in the Old Westhttps://tinyurl.com/Seeking-PleasureLaurent Dubois, The Banjo: America's African Instrumenthttps://tinyurl.com/The-BanjoMarlon K. Hom, Songs of Gold Mountain: Cantonese Rhymes from San Francisco Chinatownhttps://tinyurl.com/Songs-of-GoldKrystyn R. Moon, Yellowface: Creating the Chinese in American Popular Music and Performance, 1850s-1920shttps://tinyurl.com/Moon-YellowfaceMelissa Parkhurst, To Win the Indian Heart: Music at Chemawa Indian Schoolhttps://tinyurl.com/To-Win-the-Indian-HeartIrwin Siber and Earl Robinson, ed., Songs of the Great American Westhttps://tinyurl.com/Songs-of-the-GreatJudith Vander, Shoshone Ghost Dance Religion: Poetry Songs and Great Basin Contexthttps://tinyurl.com/Shoshone-Ghost-DanceMusic Credits:"Corrido de Joaquín Murrieta" by Luis Méndez and Guadalupe Bracamonte from the recording entitled Raíces Latinas: Smithsonian Folkways Latino Roots Collection, SFW40470, courtesy of Smithsonian Folkways Recordings. (p) 2002. Used by permission.“Ghost Dance Song” performed by Red Shadow Singers. Used with permission. Turtle Lodge (Sagkeeng First Nation, Manitoba, Canada) and Red Shadow Singers. “Spanish is the Loving Tongue” by Charles Badger Clark and Billy Simon. Arranged by Lara Randby. Performed by Matt Stutzman. Used with permission.“Oh! Susanna” By Stephen Foster. Performed by Tom Roush.“Navajo War Dance no. 2” by Arthur Farwell. Performed by Chris Brewer, 2024.  Public Domain.“Rosa Cheng Artist Video” by Rosa Cheng, Published 2021. Permission granted by Rosa Cheng, Artistic Director of the Vancouver Cantonese Opera.Support the show

[@ 5 min] Alright, this week…we go Inside the Huddle with Julia Bullock (!!!). The distinctive soprano and muse of John Adams just wrapped the Met premiere production of Antony and Cleopatra and is sticking around Lincoln Center with her collaborators at American Modern Opera Company for the upcoming Run AMOC Festival. Somehow, she agreed to spend her only 30 minutes of downtime with us! [@ 29 min] And then, in “Home Team,” we bring you a second exclusive interview with Elijah McCormack. The male soprano, who is set to star in Haymarket Opera's production of Artaserse, helps us celebrate Pride Month and the totally queer excesses of Italian opera seria during the high Baroque! [@ 52 min] Plus, in the ‘Two Minute Drill'…Donald Trump earns rave reviews in a Cantonese Opera, but his ticket sales at home are tanking at the Kennedy Center… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

Ethnomusicologist Edwin Porras joins Rebecca to speak about Chinese musical influences in Cuba, which date back to the mid-19th century. The double-reeded suona was adopted by Santiago conga groups around 1915, becoming an unmistakable musical signifier for conga santiaguera.**Fun fact: Cuba was the first destination for Chinese laborers in the Americas, before even the U.S.**Songs played:Example of Cantonese operaLion dancing musical accompaniment (field recording)Caridad Amaran and Georgina Wong performing excerpt of Cantonese opera in Havana (field recording)De Oriente a Occidente, Diana FuentesPaso Franco en la loma de Tivolí, Conga Paso FrancoSend us a textSupport the showIf you like this podcast, please subscribe and give us a 5-star rating on Apple PodcastsFollow The Clave Chronicles on Twitter, Instagram, and Facebook @clavechronicleshttps://theclavechronicles.buzzsprout.comIntro and outro music: "Bengo Latino," Jimmy Fontanez/Media Right Productions

A new theatre production called Fai Studio wants to share traditional cantonese stories with the city. The couple from Hong Kong is holding demos, lectures and performances to introduce the art form. Information Morning's Feleshia Chandler has that story.

State of the Arts Episode 129: The Asian Heritage Month Special just released! Cantonese opera is an elaborate form of performance that combines extravagant costumes, striking makeup, lively theatrics and powerful vocals. I warmly recall my grandparents using the slang word "douk douk chong" to refer to Cantonese opera. This astonishing form of opera was first performed during the reign of the Ming Dynasty Emperor Jiajing from 152 to 1567. Originally based on the older forms of Chinese opera, Cantonese opera began to add local folk melodies, Cantonese instrumentation, and eventually even Western popular tunes. Two different types of styles make up the Cantonese Opera repertoire—Mo, meaning "martial arts," and Mun, or "intellectual"—wherein the melodies are entirely secondary to the lyrics. Mo performances are fast-paced, involving stories of warfare, bravery and betrayal. The actors often carry weapons as props, and the elaborate costumes may be as heavy as actual armor. Mun, on the other hand, tends to be a slower, more polite art form. The actors use their vocal tones, facial expressions, and long flowing "water sleeves" to express complex emotions. Most of the Mun stories are romances, morality tales, ghost stories, or famous Chinese classic tales or myths. Today, Hong Kong is at the center of efforts to keep Cantonese opera alive and thriving. The Hong Kong Academy for the Performing Arts offers two-year degrees in Cantonese Opera Performance, and the Arts Development Council sponsors opera classes for the city's children. Through such concerted effort, this unique and intricate form of Chinese opera may continue to find an audience for decades to come. This episode is a tribute to the majestic, the beguiling, the dramatic form of theatre known as Cantonese Opera.

Inhale a tank and keep getting high, because we are back for our fourth season of new/old Wie is de Mol episodes - and we're going back to 2014's offering in Hong Kong & the Philippines! Over these nine weeks, three guys who never signed up for a cultural experience - Logan, Michael & Bindles - are recapping and looking back at all that happened on the trip through two countries Michael & Logan know very well between them, continuing with the second episode and elimination of Owen. In this episode - we worry the season won't be easy to follow, Bindles explains the envelopes, another Amazing Race lie is exposed, we query why Susan & Owen were picked for the night at the opera, Jan-Willem's hatred of Cantonese Opera comes back to bite him, Michael praises Susan's face, there's a correction to last week's shock, Logan creates a new rule, we delight in the placement of the Black Exemption, Aaf fulfils her destiny, we wonder what you should pick in the market, there's a small bit of desired kleptomania, we try and tweak the Black Exemption, Jennifer gets overwhelmed, Tygo is a heel, Logan reveals his latest suspects and we wonder if we need to eulogise this week's eliminated player. You can find us on Facebook, Twitter, Instagram & YouTube or you can tweet Michael, Logan & Bindles directly! We will see you next week for Episode 3! Please note: This season is intended on being spoiler-free, so please watch the episodes along with us. As with our Oregon coverage, there are no spoilers due to Logan not having seen the season before. However, any season we have already covered (WIDM 10, 18-22 and Renaissance; Belgie 4-10) is fair game though. Additional note: Most seasons have a lull after the first couple of episodes. Not this one - next week, prepare for the rise of a brand new character!

From the corner of Spadina and Dundas in the heart of Toronto's Chinatown, two friends, Helen and Justin, find themselves led to an old and abandoned theatre after receiving a cryptic note. Known as The Standard in the early 1920s, during the height of Canada's Chinese Immigration Act, this venue had a history of renting its space to Cantonese Opera performers. Once inside, Helen and Justin run into the theatre's mysterious and charismatic caretaker, Mr. Sing, who muses enthusiastically about the theatre's history of Cantonese Opera performance.A gripping thriller from award-winning playwright Marjorie Chan, The Standard Sing shines an honest light on the history of the Chinese Canadian experience in Toronto and brings the echoes of this experience to the forefront…suggesting that they may not be at rest…CREDITS:Written by Marjorie Chan, Directed by Aaron JanFeaturing: Derek Kwan, Richard Lam, and April LeungSound Design & Composition by Debashis Sinha

A conversation with Ping Chong, an American contemporary theater director, choreographer, video and installation artist who was raised in New York City's Chinatown. Internationally recognized as a director, and a creator of interdisciplinary theater work, Ping discusses the influence of Cantonese Opera,  using the "physical body" as an element of performance in theatre, and his take on the American Dream.

The Capitol Weekly Podcast welcomes Maeley Tom, a longtime legislative staffer and Democratic Party stalwart who played a pioneering role as one of the first Asian women in California's capitol. Tom's new memoir, "I'm Not Who You Think I Am" has just been published, and she joins (from a safe social distance) editor John Howard to chat about her career in Sacramento and the amazing backstory that led her there. The daughter of Cantonese Opera stars, Tom's childhood was anything but average, and she gained a resilience that served her well when she entered the nearly all-white, nearly all-male world of the state legislature in 1974. Tom knew and worked with many leading political figures, including Lou Papan, Art Torres, Maxine Waters, Willie Brown, Bill Clinton and Ronald Reagan. Through triumphs and scandal, Tom has maintained her commitment to giving the Asian American community a stronger voice in public affairs. I'm Not Who You Think I Am is available at Amazon: https://www.amazon.com/Not-Who-You-Think-Political-ebook/dp/B089JM466H

In 1938, Gar Yin was just 19 years old when she boarded a boat from Hong Kong to Vancouver. It was during the years of The Chinese Exclusion Act, which banned Chinese immigrants from entering Canada. But Gar Yin had something special: Cantonese Opera. Her troupe was allowed into the country, and Gar Yin set out on a national tour. When the tour was over... Gar Yin decided to stay, setting off a chain of events that have since become family legend. Gar Yin's granddaughter Julia Hune-Brown tells her story.

Helen Kwan Yee Cheung, a 2013 M.A. University of Alberta graduate, pursued studying the Chinese community history in Edmonton through the lens of Cantonese Opera. She found that Cantonese Opera had elements of several social functions: cultural entertainment, philanthropy, and homeland politics. In this audio story, Helen talks about Cantonese Opera being used as a platform for the politics in China.

Helen Kwan Yee Cheung, a 2013 M.A. University of Alberta graduate, pursued studying the Chinese community history in Edmonton through the lens of Cantonese Opera. She found that Cantonese Opera had elements of several social functions: cultural entertainment, philanthropy, and homeland politics. In this audio story, Helen talks about Cantonese Opera providing cultural entertainment not only for the viewers/listeners, but also for the performers.

Helen Kwan Yee Cheung, a 2013 M.A. University of Alberta graduate, pursued studying the Chinese community history in Edmonton through the lens of Cantonese Opera. She found that Cantonese Opera had elements of several social functions: cultural entertainment, philanthropy, and homeland politics. In this audio story, Helen talks about Cantonese Opera playing a philanthropic role in the community.

Ch.162 Cantonese Opera by Bob Van Dyne

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

The story of popular entertainment in American immigrant communities is only just beginning to be told. Chinatown Opera Theater in North America by Nancy Yunhwa Rao from University of Illinois Press (2017) addresses the history of Cantonese Opera performed in Chinatowns in cities across North America with a primary focus on San Francisco, New York City, and Vancouver during the 1920s. Using a wealth of archival material, including extensive records from the U.S. Immigration Service, Rao provides an enormous amount of information about the theaters, companies, performers, and repertoire of this operatic genre. She contextualizes the performance of Cantonese Opera within the cultural life of Chinese communities, explains the print materials and recordings that circulated the music, and details the significant impact that exclusionary governmental immigration policies had on this theatrical tradition and Chinese immigrants in Canada and the United States. Rao’s book not only offers information about this performance tradition that has never been published before, it also provides a model for the kind of work that still needs to be done on musical and theatrical entertainment in many other ethnic communities in North America. Chinatown Opera Theater in North America has been awarded the 2019 Association for Asian-American Studies Performance and Media Studies Book Award, the Irving Lowens Book Award from the Society for American Music for the best book published in 2017, and the 2018 Music in American Culture Award from the American Musicological Society. Nancy Yunhwa Rao is a professor of music at Rutgers University where she is the Head of Music Theory. One of the leading scholars in the study of Chinese American music, her work has appeared in many journals including the Cambridge Opera Journal, the Journal of the Society for American Music, and Music Theory Spectrum. She has received an NEH Research Fellowship and ACLS Scholar in China Fellowship to support her work on the intersections between China and the West, particularly in contemporary Chinese music. In 2007, she won the Irving Lowens Article Award from the Society for American Music for an essay on the music of Ruth Crawford Seeger. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices