Chronicles the history of Beijing from its earliest days to the twenty-first century, discussing how economic growth as well as preparations for the 2008 Olympics have affected the city.
This book examines the development of Cultural and Creative Industries (CCI) in China through the angle of Chinese Theatre, xiqu. It focuses on the political and socio-economic transition period at the turn of the 21st century, as China evolves from ‘Made in China’ to ‘Created in China’, highlighting associated class reconstruction and cultural production and consumption. There are many forms of Chinese Theatre, the most popular one throughout Chinese history to date is the sing-song drama, collectively refers to as xiqu, which currently has over 300 regional styles across China. In 2014, President Xi Jinping’s Beijing Talk on Arts and Literature, which serves as China’s latest Chinese Communist Party (CCP) ideological direction and cultural policy, stressed that ‘the future of Chinese cultural and creative industries is to be anchored on traditional art forms, such as xiqu’. Such Chinese cultural and creative industry distinction will be addressed in this book.
This book tells the story of how a regional Chinese theatrical form, Shanghai Yue Opera, evolved from the all-male ’beggar’s song’ of the early twentieth century to become the largest all-female opera form in the nation, only to face increasing pressure to survive under Chinese political and economic reforms in the new millennium. Previous publications have focused mainly on the historical development of Chinese theatre, with emphasis placed on Beijing opera. This is the first book to take an interdisciplinary approach to the story of the Shanghai Yue Opera, bringing history, arts management, central and regional government policy, urbanisation, gender, media, and theatre artistic development in one. Through the story of the Shanghai Yue Opera House market reform this book facilitates an understanding of the complex Chinese political economic situation in post-socialist China. This book suggests that as state art institutions are key organs of the Communist party gaining legitimacy, the vigorous evolution and struggle of the Shanghai Yue Opera house in fact directly mirrors the Communist Party internal turmoil in the new millennium to gain its own legitimacy and survival.
This book explores the human side to educators, by revealing their experiences and their personal stories; what has made them into the teachers they are today. From the tragic to the exciting, teachers have such amazing stories to tell and their passion and commitment shines out from every page. With contributions from a daughter of the teacher who lost her life at Dunblane to the first black head teacher in Inner London Yvonne Connolly as well as the amazing Rita Pierson from the US who has inspired so many teachers. By reading their stories we can appreciate how extraordinary their lives and their contributions to education are. Also with contributions from: Kierna Corr, Kyle Kiser, Marco Cimino, Toni Charlesworth, Ash Lucas, Julie Cassiano, Drew Povey, Bretta Townend-Jowitt, Brett Bigham, Allen Tsui, Michelle Alker, Dan Whittaker, FreakyHoody, Natalie Scott, Adam Henze, Jess Mahdavi-Gladwell, Luke Haisell, Lesley Douglas, Gwen Mayor, Debbie Buchanan, Maureen McDevitt, James Atkin, Katharine Birbalsingh, Hugh Ogilvie, Victoria Hewett, Penny Rabiger, Joe Gibbs, Helena Jockel, Yolana Wassersug, Caroline Riggs, Rachael Maddocks, Christine Owen, Sue Rogers, Kate McAllister, John Clifford, Dan Morrow, Rita Pierson, Sarah Dearden, Caroline Spalding, Vic Goddard and Mathew Milburn.
This book examines the development of Cultural and Creative Industries (CCI) in China through the angle of Chinese Theatre, xiqu. It focuses on the political and socio-economic transition period at the turn of the 21st century, as China evolves from ‘Made in China’ to ‘Created in China’, highlighting associated class reconstruction and cultural production and consumption. There are many forms of Chinese Theatre, the most popular one throughout Chinese history to date is the sing-song drama, collectively refers to as xiqu, which currently has over 300 regional styles across China. In 2014, President Xi Jinping’s Beijing Talk on Arts and Literature, which serves as China’s latest Chinese Communist Party (CCP) ideological direction and cultural policy, stressed that ‘the future of Chinese cultural and creative industries is to be anchored on traditional art forms, such as xiqu’. Such Chinese cultural and creative industry distinction will be addressed in this book.
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