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Contested Memories: Hat Boi/Tuong Pe...

University of California, Los Angeles., Ethnomusicology 0472.

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Contested Memories: Hat Boi/Tuong Performance as Technology of Memory in Vietnam and the Diaspora.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Contested Memories: Hat Boi/Tuong Performance as Technology of Memory in Vietnam and the Diaspora./
Author:	Tran, Kim Nguyen.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	285 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-08(E), Section: A.
Contained By:	Dissertation Abstracts International78-08A(E).
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10263331
ISBN:	9781369669190

Contested Memories: Hat Boi/Tuong Performance as Technology of Memory in Vietnam and the Diaspora.
Tran, Kim Nguyen.

Contested Memories: Hat Boi/Tuong Performance as Technology of Memory in Vietnam and the Diaspora. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 285 p.

Source: Dissertation Abstracts International, Volume: 78-08(E), Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2017.

At its core, this project is about memory, the relationship between memory and official histories, and the role that the performing arts have in constructing our cultural memories. Through multi-sited fieldwork in Vietnam (Hanoi, Tam Ky&grave;, Quy Nhon, and Ho&grave; Chi Minh City) and the Vietnamese refugee community of southern California, my research focuses on the musical theatre genre hat bo&dotbelow;i, with origins that can be traced as far back as the eleventh century. This art form has undergone transformations during Vietnam's tumultuous history, through French colonialism, independence, a communist revolution, recent economic reforms, and in the refugee community that fled the war. The myriad ways (films, fiction, memoirs, photographs, political speeches, memorials) in which Vietnamese history, especially the war, has been told, are often highly contested. This dissertation centers around the social and political meanings ascribed to hat bo&dotbelow;i today across national and diasporic communities, and how hat bo&dotbelow;i is a medium through which the negotiation and construction of contested memories have taken place. In Vietnam, I examine three state-sponsored hat bo&dotbelow;i troupes and their performances at a highly political national competition, organized by the government. In this state-sponsored competition, I look at the ways in which performances of hat bo&dotbelow;i have been able to both sustain and subvert nationalist memories. In southern California, I argue that performances of hat bo&dotbelow;i are framed in the context of nostalgia, loss, and longing for a no longer existing homeland, and in the context of American society that has so often left South Vietnamese experiences unacknowledged. Through the art from of hat bo&dotbelow;i, I examine lasting effects of colonialism and imperialism in Vietnam's history and in the Vietnamese refugee community, and how this story has been told.

ISBN: 9781369669190Subjects--Topical Terms:

516178
Music.

Contested Memories: Hat Boi/Tuong Performance as Technology of Memory in Vietnam and the Diaspora.
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500 $a Source: Dissertation Abstracts International, Volume: 78-08(E), Section: A.
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520 $a At its core, this project is about memory, the relationship between memory and official histories, and the role that the performing arts have in constructing our cultural memories. Through multi-sited fieldwork in Vietnam (Hanoi, Tam Ky&grave;, Quy Nhon, and Ho&grave; Chi Minh City) and the Vietnamese refugee community of southern California, my research focuses on the musical theatre genre hat bo&dotbelow;i, with origins that can be traced as far back as the eleventh century. This art form has undergone transformations during Vietnam's tumultuous history, through French colonialism, independence, a communist revolution, recent economic reforms, and in the refugee community that fled the war. The myriad ways (films, fiction, memoirs, photographs, political speeches, memorials) in which Vietnamese history, especially the war, has been told, are often highly contested. This dissertation centers around the social and political meanings ascribed to hat bo&dotbelow;i today across national and diasporic communities, and how hat bo&dotbelow;i is a medium through which the negotiation and construction of contested memories have taken place. In Vietnam, I examine three state-sponsored hat bo&dotbelow;i troupes and their performances at a highly political national competition, organized by the government. In this state-sponsored competition, I look at the ways in which performances of hat bo&dotbelow;i have been able to both sustain and subvert nationalist memories. In southern California, I argue that performances of hat bo&dotbelow;i are framed in the context of nostalgia, loss, and longing for a no longer existing homeland, and in the context of American society that has so often left South Vietnamese experiences unacknowledged. Through the art from of hat bo&dotbelow;i, I examine lasting effects of colonialism and imperialism in Vietnam's history and in the Vietnamese refugee community, and how this story has been told.
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