This course offers an examination of the interaction between art and politics in the People’s Republic of China since the 1940s. The dramatic dialogue between politics and artistic creation in China has been the most obscure yet crucial part of constructing socialistic culture within the parameters prescribed by the Chinese Communist Party. This course invites students to conduct a close analysis of Chinese visual and performing arts as social, cultural and/or political institutions, to investigate the political struggles and intellectual debates that have shaped artistic creation, and to explore a variety of art forms, including but not limited to painting, propaganda posters, sculpture, film, dance, music and theatre. In examining the so-called “known” and in exploring the “unknown,” lectures, presentations and discussions are the three primary components of this class, with the prominent theme of nurturing our further development as critical thinkers and independent researchers.
Prerequisites: DRM100Y1/DRM101Y1/UNI102Y1 or any 4.0 FCE
BR = None
DRM385Y0 – 2019 course outline
Field Trips: Students will have the opportunity to visit local museums such as the Art Museum at the Chinese University of Hong Kong and the Hong Kong Museum of History, and attend performances at the Chinese Opera Festival. There will also be a visit to the Hong Kong Film Archives. The cost of these field trips is CAD$50 to be paid on-site for entrance fees, tickets and guides.
Instructor: Xing Fan is assistant professor at the Centre for Drama, Theatre and Performance Studies. Xing is a specialist in Chinese theatre, performance culture, and the interaction between art and politics in China. Xing’s first book, Staging Revolution: Artistry and Aesthetics in Model Beijing Opera during the Cultural Revolution (Hong Kong University Press, 2018), examines ten Beijing opera productions designated as models for literature and art during the Cultural Revolution (1966–1976). Xing’s peer-reviewed articles and translations appear in Asian Theatre Journal, Performance Matters, and Renditions; her essays and chapters also appear in the books Women in Asian Performance: Aesthetics and Politics, Routledge Handbook of Asian Theatre, and New Modern Chinese Women and Gender Politics.
Click here to see other courses in Hong Kong.