May 24, 2011

moving / 部落格在移動

本部落格在移動!
請到djhatfield.com去找我
多謝!

this blog is moving to djhatfield.com
look for updates


January 5, 2010

complicity project is out! / 新書介紹

 辛苦!辛苦! after several years of work, my book Taiwanese Pilgrimage to China: Ritual, Complicity, Community has come out on Palgrave

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August 14, 2009

emergency posting announcement / 緊急報告

請大家到紅樓參加此募款活動。。。為台灣加油! everyone who can make it to the red theater on 15th august, be sure to come and contribute to relief efforts. Thanks!




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June 17, 2009

changing relationships to culture

 昨天下午,我趕到台北中山堂參與國家地理頻道
”綻放真台灣--撼動世界“ 系列紀錄片的記者會。因該紀錄片系列,
受到新聞局的扶助和配合,記者會辦得破熱鬧,而且新聞局長也來捧場
我參與記者會的心得如下





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June 16, 2009

what should indigenous music sound like / 原音和音樂風格問題

 原住民音樂應該有什麼特質和風格?當原住民歌手有不同的風格各種聽眾,唱片行會如何反應?這不只是品味問題,也是定位原音論述所構造的。。。

what should indigenous taiwanese music sound like? does indigenous music as a genre exclude certain sounds? this is a problem of the discourses that define and construct "indigenous taiwanese music" as well as a question of aesthetics

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June 15, 2009

設計對象

 昨晚在虎尾跟朋友吃晚餐時,注意到一個很有趣的台美之間的文化差別。。。


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June 13, 2009

more thoughts on national spectacle

the study of nationalism has yet to learn foucault's warning that not all power is "sovereign, negative" power. although anderson made strides in this direction, his account of print capitalism still relies far too much on an image of state power that obscures rather than illumines. in this regard, i've been working on and off on an article for a volume on music and national spectacle. one of the questions that i've had to ask myself concerns the role of multiculturalism in the folk music pilgrimage

到底“多元的軌跡”跟戒嚴時期的國族景象(national spectacle) 有分別?戒嚴時期,每雙十節,不是也有原住民舞蹈表演?我們如何探討多元這個論述成為主流論述的歷史?我們可以從文化生產的定位和領域開始作一個比較。。。

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October 2, 2008

sounds like renqing

 reworking a paper from the spring, i find that it has more to say about networks than it does about music, but that's ok

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August 26, 2008

preparations

it is almost time for the new academic year to begin. hard to believe it, but soon the classes will start up. what will i be doing this year. looks busy!

一個學年快要開始。以下有幾項企畫

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August 6, 2008

updates

for a while, the "strings of history" paper on the yueh-ch'in and folk music pilgrims was on hold. recently, however, i was able to meet with chen ming-chang on the subject of yueh-ch'in and music education. nearly simultaneously, a friend at brown university asked me to submit a chapter to an edited volume on national/ist spectacles. a felicitous coincidence





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July 1, 2008

表演和分享,懷舊和盼望

上個禮拜我跟林中光的主唱聊天時,談到創作過程的兩種形態,表演跟分享,到底兩者要如何分辨?對音樂有什麼影響?

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changing back? 獨裁反回廟宇

蔣公廟的名字真得要改回?真讓人嘆息

the word is that the "taiwan democracy memorial" will change its name back to the chiang kai-shek memorial. i guess that everyone knew it was coming: the statue still sits there and the exhibits in the memorial were incredibly ad-hoc

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March 14, 2008

chiang memorial 蔣公廟

這幾個禮拜,應了哈佛亞州學刊(HAQ)的要求,交一篇論文給HAQ專刊亞州之令導人﹣﹣過去,現在,及未來(Asian Leaders: Past, Present, and Future)。你可能會納門,阿德如何在這種專刊出現?都是朋友害的!他們聽我在講去年夏天“蔣公廟“改名問題以後,又將HAQ的徵稿訊息遞給我﹣﹣又將我的名字給該刊編輯。論文雖然還算草稿,還給大家看一看,敬請指教!

recently, i've produced an article for the Harvard Asia Quarterly special issue on asian leaders: past, present, and future. it's still a really rough draft, but if you'd give it a look (and some comments), i'd appreciate it

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February 19, 2008

continuation

i want to make something clear

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February 13, 2008

a wrong way of thinking about diversity 錯誤的文化多元

文化多元是什麼?
最近台灣越來越重視“多元,“ 連中正廟也漆上文化,族群多元的色彩
不過多元該如何定意?

at a recent meeting on the berklee campus, followed by coffee with a colleague, i begin to think of "diversity" and "multiculturalism" from a displaced perspective, that of taiwan. like many reflections, taiwanese multiculturalism places many problems in higher resolution than the original

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problem with blog

not sure why this happened, but i lost several recent postings

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October 30, 2007

avoiding the wack s***

last week, i had an opportunity to hear grandmaster flash speak at the berklee performance center. although the speech was filled with some predictable posturing ("i was the first to use the turntable as an instrument"), it was a good look at hip hop from one of its founders

上個禮拜三,嘻哈長老GRANDMASTER FLASH在學校表演中心演講,GMF的演講,雖然有不少內容,應該算是“吹牛“ ,不過也讓我們對早期hip hop開個眼界








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October 23, 2007

hip hop and gender construction

last week i attended a documentary and discussion on hip hop and gender. although the actual social context of hip hop on taiwan is very different from that in the united states, i wonder to what extent the gender construction has travelled along with the music and the image. sadly, posturing and retrogressive gender relations seem to have not faded in translation




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September 21, 2007

a more abstract take on folk music pilgrimage

the folk music pilgrimage might also link some of the diverse traces questions to organology. i'll have to do several interviews to work these ideas

questions about folk music pilgrimage
in many respects, the event did employ the iconography and even the material underpinnings of pilgrimages, such as tour buses, hiuN tiao, a temple mouth, and large aluminum vessels of food. the performance practices at the event did not resemble a pilgrimage. although all of the participants (both audience and performers) were conversant in performance practices more typical of music festivals or other concerts, the concert form marks the pilgrimage as symbolic rather than actual. it is unlikely that the performances would be possible otherwise. at least their pragmatic and ultimately pedagogical role would not have been achieved. thus the folk music pilgrimage instanciates a very different ethics than that of pilgrimages proper

that ethics is not only one of a “modern” concert attendee interpolated with the culture power of the local state (in coordination with record labels). it is also one connected to diverse traces through the embodiment of these traces in a singular musical instrument, the yueh chin, which the organizer of the pilgrimage, chen ming-jhang, hopes to promote as taiwan’s national instrument. in this sense pilgrimage is perhaps the right metaphor, for pilgrims should in turn realize these traces in their own practices as students of the yueh chin

what are chen’s motivations for promotion of the instrument? related to repertoire, qualities of the instrument, or something else? it is easy enough to trace the employment of su siang khi across musical performers and genres and the necessary homage the pilgrims pay to chen da’s home. the instrument might be a more difficult, but rewarding object of study


update, where this blog is going

during the autumn, i want to take this blog in two directions.

the first will be to link description on this blog to sound files from field recordings and photographs, in order to build up the taiwan soundscapes archive. i would like to learn wiki technology or develop some other interactive possibilities. for this purpose, i'm going to work with the folks at CTMI here at berklee

the second is continuing the blog as a place to post and develop inchoate research ideas. i'll be conducting some interviews via skype and correspondence with some musicians and others on taiwan to flesh out some of the work on "sing my china." i'll also be updating work around the _traces of the diverse_ project generally