A Junior Library Guild Selection Former best friends become bitter rivals when one returns to lion dancing after a long absence in this vibrant and heartfelt middle grade graphic novel perfect for fans of Haikyu!! and Fence. Young Wei dreamed of being a legendary lion dancer just like his dad. With his best friend Hung performing as the tail and Wei controlling the head, he knew they could become the next generation of lion dance champions. But after his dad’s sudden passing, Wei abruptly quits lion dancing—and his friendship with Hung. Years later, Wei is stuck…in life, in school, and on the bench at games. That is, until he crashes a junior lion dance practice and feels his long-sleeping passion wake up within him once more. The team is happy to have another member to carry on the tradition, especially as one as preternaturally talented as Wei. There’s just one person who doesn’t want him there: the self-proclaimed star, Hung. As Wei and Hung fight to be considered the top lion dancer, both will have to learn how to face their mistakes head-on and remember what it really means to be part of a team.

Lion dance has been in Singapore since the 1930s and is closely connected with the Chinese clans that organised the first troupes, with some of these clans hailing as far back as the 1800s. Chronicling the history of lion dance, therefore, is akin to chronicling the pioneering years of our nation. However, few books document the history of this art form in Singapore.This book is the first of its kind to introduce the history, culture, sport and performance art that is lion and dragon dance in English. It will cover the types of dances and costumes, symbolisms and values embedded in the lion and dragon dance communities. It will tell the stories of Singaporean lion and dragon dance pioneers which have never before appeared in any English publications. It will also feature interviews with current leaders in the community and share our hopes for the future of the art form in Singapore.

Ernie Wan is very excited for the Chinese New Year festival. He is dancing the lion dance for the first time

Victoria's Chinatown is Canada's oldest Chinese neighbourhood and has a lineage unbroken since 1858. With large-format colour photos and photocollages, Robert Amos and Kileasa Wong take you behind the doors of the 29 private clubs that make up the Chinese Consolidated Benevolent Association, where you'll see the gilded altars, antique art and ornate furniture that grace the meeting halls. Through stunning pictures and text in both Chinese and English, you will meet the club members and take an inside look at the culture of this complex community. Inside Chinatown is sure to become a landmark publication chronicling the vibrant heritage of Chinese Canadians. Inside Chinatown was voted Monday Magazine's Non-Fiction Book of the Year, and authors Robert Amos and Kileasa Wong were presented with a 2010 Outstanding Achievement Award from BC Heritage for their work on Inside Chinatown.

This richly illustrated volume offers the reader unique insight into the materiality of Asian cultures and the ways in which objects and practices can simultaneously embody and exhibit aesthetic and functional characteristics, as well as everyday and spiritual aspirations. Though each chapter is representative, rather than exhaustive, in its portrayal of Asian material culture, together they clearly demonstrate that objects are entities that resonate with discourses of human relationships, personal and group identity formations, ethics, values, trade, and, above all, distinctive futures.

Mapping Chinese Rangoon is both an intimate exploration of the Sino-Burmese, people of Chinese descent who identify with and choose to remain in Burma/Myanmar, and an illumination of twenty-first-century Burma during its emergence from decades of military-imposed isolation. This spatial ethnography examines how the Sino-Burmese have lived in between states, cognizant of the insecurity in their unclear political status but aware of the social and economic possibilities in this gray zone between two oppressive regimes. For the Sino-Burmese in Rangoon, the labels of Chinese and Tayout (the Burmese equivalent of Chinese) fail to recognize the linguistic and cultural differences between the separate groups that have settled in the city—Hokkien, Cantonese, and Hakka—and conflate this diverse population with the state actions of the People’s Republic of China and the supposed dominance of the overseas Chinese network. In this first English-language study of the Sino-Burmese, Mapping Chinese Rangoon examines the concepts of ethnicity, territory, and nation in an area where ethnicity is inextricably tied to state violence.

Music and dance in Canada today are diverse and expansive, reflecting histories of travel, exchange, and interpretation and challenging conceptions of expressive culture that are bounded and static. Reflecting current trends in ethnomusicology, Contemporary Musical Expressions in Canada examines cultural continuity, disjuncture, intersection, and interplay in music and dance across the country. Essays reconsider conceptual frameworks through which cultural forms are viewed, critique policies meant to encourage crosscultural sharing, and address ways in which traditional forms of expression have changed to reflect new contexts and audiences. From North Indian kathak dance, Chinese lion dance, early Toronto hip hop, and contemporary cantor practices within the Byzantine Ukrainian Church in Canada to folk music performances in twentieth-century Quebec, Gaelic milling songs in Cape Breton, and Mennonite songs in rural Manitoba, this collection offers detailed portraits of contemporary music practices and how they engage with diverse cultural expressions and identities. At a historical moment when identity politics, multiculturalism, diversity, immigration, and border crossings are debated around the world, Contemporary Musical Expressions in Canada demonstrates the many ways that music and dance practices in Canada engage with these broader global processes. Contributors include Rebecca Draisey-Collishaw (Queen's University), Meghan Forsyth (Memorial University of Newfoundland), Monique Giroux (University of Lethbridge), Ian Hayes (Memorial University of Newfoundland), Anna Hoefnagels (Carleton University), Judith Klassen (Canadian Museum of History), Chris McDonald (Cape Breton University), Colin McGuire (University College Cork), Marcia Ostashewski (Cape Breton University), Laura Risk (McGill University), Neil Scobie (University Western Ontario), Gordon Smith (Queen's University), Heather Sparling (Cape Breton University), Jesse Stewart (Carleton University), Janice Esther Tulk (Cape Breton University), Margaret Walker (Queen's University), and Louise Wrazen (York University).