• The Southeast Asian review
• /
• v.27 no.2
• /
• pp.77-118
• /
• 2017

This study examines the identities shifting experiences of the ethnic Chinese refugee migrants who have returned to Vietnam. Their complex and hybrid identities as diaspora is an analytical and empirical subject for this study. Since the Vietnamese government implemented the renovation (đổi mới) policy in 1986, the number of overseas Vietnamese returning to Vietnam for visit, work, investment and retirement has been increasing. Among the returnees, many are ethnic Chinese, as there were many Chinese Vietnamese in the Vietnamese refugee diaspora from Vietnam during the 1970s and the 1980s. When they left Vietnam they were called 'the Hoa' (Chinese) or 'Hoa kiều' (overseas Chinese). When they returned, however, they were recognised together with all other returnees into the category of Việt kiều (overseas Vietnamese). Although their 'Chinese' identity had once made them to risk their lives, their 'Vietnamese' identity brought them back to Vietnam at other turning points in their lives. The shifting identity of these returning Chinese Vietnamese has produced dynamic and complex migration stories and an intriguing category of hybrid diaspora.

• The Journal of the Korea Contents Association
• /
• v.13 no.7
• /
• pp.38-50
• /
• 2013

This paper analyzes director Yang Yong-hi's documentary films "Dear Pyongyang"(2006), "Goodbye, Pyongyang"(2009) and her fiction film "Our Homeland"(2012). These films were produced on the base of the director's autobiographical experience, and raise issue of Jainichi-Korean diaspora who be caught in nation-state; North Korea, South Korea and Japan. With the family narratives crossing Jeju, Osaka, and Pyongyang, these films doubt boundaries be set by nation-state, and seek new breakout space. This paper traces restructuring identity in the tensional heterogeneity of nation-state exaction; Integration, unity, uniform education. In conclusion, these films foresee Korean diaspora's future identity from hybrid identities. It shows Korean diaspora's potential of receptivity, openness and solidarity which are required for Northeast Asian peace and the solution of two Korea's hostility.

• Korean journal of communication and information
• /
• v.70
• /
• pp.66-94
• /
• 2015

Postcolonialism, as a school of thought, has become enormously influential for understanding the recent phenomena of globalization. While rejecting the universalizing categories of the Enlightenment, postcolonialism has called into question the old idea of culture and identity as a transcendent regime of authenticity and purity. It has also celebrated the diasporic experiences that entail porous and hybrid cultural identities as a potential site of struggle and resistance against the dominant cultural and discursive order. It is argued, however, that postcolonial theory's emancipatory claims relating to the diversified global culture tend to be complicit with transnational capitalism that brings about global issues of material as well as cultural injustice. This article, through a thorough review of the ways the postcolonial theoretical framework has been developed and appropriated by main figures in postcolonial scholarship, seeks for a theoretical and critical strategy to grasp the complex conditions of global inequality.

• (The) Research of the performance art and culture
• /
• no.41
• /
• pp.353-380
• /
• 2020

Samul nori/Pungmul-gut is the symbol of ethnic identity for the Koreans abroad. It is the representative diaspora musical genre which is performed many cultural events held by Koreans. It is, at the same time, a global music which is appreciated by not only the Koreans but also the foreigners. Many musical communities in various countries exhibit the cultural migration through the discourse of 'tradition/variation' and 'authenticity/hybridity' in the course of the acculturation and enculturation of samul nori/pungmul-gut. The pungmul-pae 'Bichoe June' active in Toronto, Canada was organized by a foreign performer. For the foreigners pungmul-gut is easy to access as a genre of world music. As a percussion ensemble, it is easy to learn for the foreigners. The pungmul-pae 'Bichoe June' is a 'music community' consist of the Koreans and foreigners. The band tries to preserve the traditionality and authenticity of the Korean music. There is no variation or hybridity in its music since the member still learns the authentic music through various available textbooks and internet sites. Through the participation of the Koreans and foreigners, the band stimulates the globalzation of the pungmul-gut. The enculturation of the pungmul-gut is exhibited in two performances held by the band. One was host by the Canadian progressive group and the other was by the Korean conservative community. The former understood the nature of pungmul-gut as the music of the common people. The latter, however, accepted the music as the representative traditional music but was not easy to enjoy the 'noisy' music. In other words, the positive/negative acceptance of the pungmul-gut depends of the ideological nature of the listeners rather than the ethnical nature.