Racial essences and historical invisibility: Chinese opera in New York, 1930

Nancy Yunhwa Rao

17 citations0/0 files storedCambridge Opera Journal

No readable copy stored yet — this record is metadata only.

No open-access location is known for this record yet.

Literature note Cite in a project Citation map

Theater, Performance, and Music History Musicology and Musical Analysis Asian American and Pacific Histories

Abstract

Describing the performances of two Chinese opera groups – the visiting famous opera singer Mai Lan-fang and his troupe on Broadway and the local San Sai Gai troupe in Chinatown – and their reception by non-Chinese Americans, this essay tracks various formations and effects of Chinese images in 1930s New York that were deeply imprinted in popular imagination. The regrettable invisibility of Chinese opera in American music history is a result of such a pre-constructed concept of Chineseness.

Paper brief

Loading…

Cite this work

Citation unavailable for this work.

BibTeX RIS CSL-JSON

No public copy is stored for this record, so only the metadata is cited.

Citations in this library

Citation map →

Stored only when both papers are in the corpus — 17 citations exist upstream.

Cited by

2011The Public Face of Chinatown: Actresses, Actors, Playwrights, and Audiences of Chinatown Theaters in San Francisco during the 1920s 2009The Color of Music Heritage: Chinese America in American Ultra-Modern Music 2010Rekindling Ancient Values: The Influence of Chinese Music and Aesthetics on Harry Partch 2005(Re)cycling Culture: Chinese Opera in the United States

Imported from OpenAlex (CC0) — nothing here is generated.