Nancy Yunhwa Rao is an associate professor of music at Rutgers University.
Irving Lowens Award, Society for American Music (SAM), 2019
Music in American Culture Award, American Musicological Society
(AMS), 2018
Certificate of Merit for Best Historical Research in Recorded
Country, Folk, Roots, or World Music, Association for Recorded
Sound Collections (ARSC), 2018
Outstanding Achievement in Humanities and Cultural Studies: Media,
Visual, and Performance Studies, Association for Asian American
Studies (AAAS), 2019
"Detailed, historically sound, and entertaining . . . Chinatown
Opera Theater in America is an extraordinary accomplishment, and
its many revelations open a world unseen for nearly a century. The
glory that was is now again seen, as Chinatown Opera Theater puts
the spotlight on the high achievements of the early Chinese
American community that is too often portrayed otherwise in
American history." --International Examiner "Chinatown Opera
Theater, with its new global knowledge, provides in that sense a
compelling alternative space in which to contemplate -- for opera
studies and the academy of which it is a part -- the ongoing and
inescapable anxieties of Western-reflexive scholarship."
--Cambridge Opera Journal "Rao's detailed and engaging study
reminds us of the xenophobia that continues to mark the Asian
American experience. This book is implicitly an act of resistance
not only against erasure, but also against racist tropes that have
existed in history and reverberate into the present." --Theatre
Journal "Chinatown Opera Theater in North America is a treasure
trove that celebrates the transnational development of Cantonese
Opera in North America in the 1920s." --Studies in Theatre and
Performance "Achieves a sharpness of focus and depth of detail that
takes our understanding of the history of Cantonese opera in North
America to a new level . . . Chinatown Opera Theater in North
America is an excellent piece of historical scholarship, and a
unique and original contribution to our knowledge of Chinese
performing arts in the Americas."--Ethnomusicology Forum "Rao's
book not only complements Wing Chung Ng's study of the rise of
Cantonese Opera and Bell Yung's analysis of its creative process,
but also constitutes a significant contribution to
Asian-American Studies, Chinese Studies, and American music
history."--China Review International "Chinatown Theater in North
America represents a significant contribution in theater
scholarship. It is a book that is sure to provoke further
discussion among all those who have an interest either in Chinese
opera or musicology or American history or cultural studies. There
is much to impress and enjoy in this interestingly illustrated
book, and it is a welcome study of the subject."--Studies in
Theatre and Performance "Through her in-depth archival research and
adept linguistic and musicological skills, [Rao] brings to light
the importance of Chinese immigrant music making. . . . A
significant contribution to our understanding of the history of
music making, particularly in the United States."--Theatre
Survey
"Rao's book is an important text that should be included in
musicology or ethnomusicology courses, not only for the historical
and cultural reference that it brings to bear, but also for how the
genre of Cantonese opera improves our understanding of the world
today." --American Music Review
"An engaging manifesto. . . . This book is an invaluable source for
educators, students, and general readers." --Asian Theatre
Journal
"The story Rao lays out in this work is rich and complex....It is
therefore a story that should be of great interest to many
CHINOPERL readers." --CHINOPERL
"The book is abundant in content and, most of all, admirable in the
sense of connectivity Rao adroitly establishes." --Journal of the
American Musicological Society
"Reading Nancy Yunhua Rao's Chinatown Opera Theater in North
America is a great treat. . . . Rao's work makes a crucial
contribution to scholarship on Chinese theatre, specifically
Cantonese opera, in the diaspora, as well as to larger scholarly
discussions on transationalism." --World of Music
"Chinatown Opera Theater in North America does nothing less than
situate Cantonese opera firmly within the warp and weft of the
American musical fabric. . . . All in all, Rao's study is a
wonder." --Journal of the Society for American Music
"Rao's elegant writing provides insight into the mind of a scholar
and researcher. The insistence on lifting 'the silence' and undoing
'invisibility' results in an influential recalibration of
narratives on the history of American music." --MUSICultures
"Chinatown Opera Theater, with its new global knowledge, provides
in that sense a compelling alternative space in which to
contemplate -- for opera studies and the academy of which it is a
part -- the ongoing and inescapable anxieties of Western-reflexive
scholarship." --Cambridge Opera Journal
"Comprehensively conceived, exhaustively researched, and clearly
written, Rao’s book is an extraordinary achievement documenting a
unique musical and theatrical genre in North American history.
Showing how border crossing enriches the cultural tapestry of this
land, it is a must-read for those interested in American music,
theater, and social history."--Bell Yung, coeditor of Music and
Cultural Rights
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