In the Chinese music scene, women have traditionally been confined to roles embodying elegance and obedience. This is exemplified by groups such as the 12 Girls Band, whose success, built on performing traditional instruments such as the guzheng (古筝) and pipa (琵琶), aligns with societal expectations of femininity, reinforcing Confucian stereotypes of Chinese women as […]
Shenzhen, the ‘Silicon Valley of China’, embodies rapid development and the profound challenges it brings. Harvey (2005: 1) describes China’s market-oriented reforms as ‘neoliberalism with Chinese characteristics’ and points out that China is the outcome of a ‘particular kind of neoliberalism interdigitated with authoritarian centralised control’ (Harvey 2006: 34). Shenzhen’s extraordinary transformation from a small […]
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