By Mimi Thi Nguyen
This interdisciplinary assortment brings jointly members operating in Asian American reports, English, anthropology, sociology, and paintings historical past. they think about problems with cultural authenticity raised by means of Asian American participation in hip hop and jazz, the emergence of an orientalist “Indo-chic” in U.S. formative years tradition, and the move of Vietnamese tune type indicates. They study the connection among chinese language eating places and American tradition, problems with sexuality and race delivered to the fore within the video functionality artwork of a Bruce Lee–channeling drag king, and immigrant tv audience’ dismayed reactions to a chinese language American chef who's “not chinese language enough.” The essays in Alien Encounters reveal the significance of scholarly engagement with pop culture. Taking pop culture heavily unearths how humans think and exhibit their affective relationships to background, identification, and belonging.
Contributors. Wendy Hui Kyong Chun, Kevin Fellezs, Vernadette Vicuña Gonzalez, Joan Kee, Nhi T. Lieu, Sunaina Maira, Martin F. Manalansan IV, Mimi Thi Nguyen, Robyn Magalit Rodriguez, Sukhdev Sandhu, Christopher A. Shinn, Indigo Som, Thuy Linh Nguyen Tu, Oliver Wang
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Extra info for Alien Encounters: Popular Culture in Asian America
Foucault, Technologies of the Self, 18. ’’ A mash-up combines (through digital means) the music from one song with the a capella vocals from another. Nguyen and Tu one ••• Rapping and Repping Asian: Race, Authenticity, and the Asian American MC Oliver Wang f The ﬁrst song recorded by a rapper of Asian American descent was the 1979 single ‘‘Rap-O, Clap-O’’ by the Latin soul singer Joe Bataan. ’’ That single appeared on an album (also in 1975) entitled Afro-Filipino, thereby settling any ambiguity as to how Bataan self-identiﬁed.
While the very ideas of blackness, latinidad, and Asianness are reﬂective of imagined communities, with Asianness in particular the ties that bind di√erent Asian communities together are far more tenuous. As many scholars have expressed, most notably the sociologist Yen Le Espiritu in Asian American Panethnicity,≤∑ the possibility of forging a uniform Asian American identity is rent by any number of contrasting, sometimes hostile di√erences in history, language, culture, class, and so on. While all panethnic identities involve a certain amount of glossing over of di√erence— this is one of Rivera’s key points of criticism as well in the case of panlatinidad—Asian American panethnicity especially is held together by a very fragile thread of political necessity rather than cultural, historical, or social similarity.
Yellow Peril attacked the ‘‘racist ideology’’ of American society and media, but it also took Asian American actors to task for accepting roles that the group deemed demeaning to the image of Asian American men. In e√ect, Yellow Peril was dialoguing with the larger American society but also calling on members of the Asian American community to take responsibility for their potentially detrimental actions. What we can see in these examples is that groups such as Fists of Fury, Yellow Peril, and others explicitly expounded racial and ethnic identities through the hip hop they made.
Alien Encounters: Popular Culture in Asian America by Mimi Thi Nguyen