Chinese opera in America has several intertwined histories that have developed from the mid-19th century onward to inform performances and representations of Asian Americans on the opera stage. These histories include Chinese opera theater in North America from 1852 to 1940, Chinese opera performance in the ubiquitous Chinese villages at various World Fairs in the United States from 1890 to 1915, the famous US tour of Peking opera singer Mei Lanfang from New York to Chicago and San Francisco in 1930, a constellation of imagined “Chinese” opera and yellowface plays from 1880 to 1930, and the more recent history of contemporary opera created by Asian Americans commissioned by major opera houses. Some of these varied histories are closely intertwined, not all are well understood, and some have been simply forgotten. Since the mid-19th century, Chinese opera theater has become part of US urban history and has left a significant imprint on the collective cultural and historical memory of Chinese America. Outside of Chinese American communities arose well-known instances of imagined “Chinese” opera, yellowface works that employ the “Chinese opera trope” as a source of inspiration, or Western-style theatrical works based on Chinese themes or plotlines. These histories are interrelated, and have also significantly shaped the reception and understanding of contemporary operas created by Asian American composers and writers. While these operatic works of the late 20th and early 21st centuries are significantly different from those of earlier moments in history, their production and interpretation cannot escape this influence.
Article
Asian Americans in Opera: Historical and Contemporary Perspectives
Nancy Yunhwa Rao
Article
The Image of the Karaites in 19th- and 20th-Century Literature
Mikhail Kizilov
The article analyzes the image of the Karaites in Karaite, Jewish, European, and Russian literatures in the 19th and the 20th centuries. The Karaites are Jews who do not accept the teaching of the Talmud and the Rabbinic concept of the “Oral Law.” Many well-known 19th- and 20th-century belletrists were attracted to the Karaites’ unusual Judeo-Turkic culture as well as their influential status in the Russian empire, their wealth, and their intellectual achievements. It appears that there was no unified image of the Karaites among the authors of this period: Men of letters of various countries, religions, and ethnicities presented the Karaites as marginal Jewish sectarians, a “nation of traders,” descendants of the Turkic Khazars and Cumans, true Israelites, and even as “sons of Japheth.” Why were these images so contradictory? There is no doubt that it was, at least in part, due to the Karaites themselves, who by altering their ethnic identity in the 19th and 20th centuries, transformed the perception of their community in the eyes of external observers—thus leading modern belletrists to portray them in such contradictory ways.
