In January 2018, Australian Senator Sam Dastyari of the Labor Party resigned. It was the culmination of a year-long scandal involving foreign donations and influence peddling. In his support for China’s claims in the South China Sea, Dastyari disagreed with the China policy of both the government and the Australian Labor Party. It was revealed that Dastyari had accepted money from Huang Xiangmo, a Chinese businessman with links to the Chinese Communist Party.
The internet was supposed to have delivered China into freedom by now. But that optimistic consensus has been proven wrong so far. In their books, academics Rongbin Han and Margaret Roberts, attempt to explain why.
The 2018 “Le French May” opened in Hong Kong with The Painting on the Wall from the Ballet Preljocaj. The inspiration for this new work is a Chinese fairy tale from the Qinq Dynasty-era Strange Stories from a Chinese Studio, collected (not unlike the Brothers Grimm, except more than a century earlier) by Pu Songling and published posthumously in 1740.
Based on her performance at the 29 April Grand Finals Concert, Wu Hongni was declared one of the five winners of the Metropolitan Opera National Council Auditions.
Wu Changshi 吳昌碩 was an extraordinary artist and a major force in late-nineteenth- and early twentieth-century Chinese art. A true literatus in a changing cultural landscape, he combined the traditional scholarly arts with popular subject matter in a manner that would revolutionize painting. The following series of “views” represent an accumulation of forays into an understanding of Wu Changshi (also pronounced Wu Changshuo, 1844–1927).
East is East, and West is West, but the twain did meet and influenced each other unpredictably. For instance, the post-colonial Asia encountered Christianity during its first interactions with the West. The fruit of such a meeting is the post-colonial religion that is practiced in different parts of the continent as Christianity. Jesus is a protagonist of the stories of transformation of thought and practice of the religion in Asia.
A Village With My Name sounds unpromising as a title. Could this be one of those “finding my roots” tales of little interest to anyone beyond the author himself? It could have been, but happily Scott Tong uses the family tree that he uncovers to relate a worm’s-eye view of 20th century Chinese history.