BARMÉ, GEREMIE (1992) “The greying of Chinese culture,” pp. 13-52 in Kuan Hsin-chi and Maurice Brosseau (eds.), China Review. Hong Kong: Chinese Univ. Press.
2.
BERNOVIZ (BARANOVITCH), NIMROD (1997) “China’s new voices: politics, ethnicity, and gender in popular music culture on the mainland, 1978-1997.” Ph.D. diss., Univ. of Pittsburgh.
3.
BRACE, TIMOTHY (1991) “Popular music in contemporary Beijing: modernism and cultural identity.”Asian Music22, 2: 43-66.
4.
BRACE, TIMOTHY (1992) “Modernization and music in contemporary China: crisis, identity, and the politics of style.” Ph.D. diss., Univ. of Texas at Austin.
5.
BRACE, TIMOTHY and PAUL FRIEDLANDER (1992) “Rock and roll on the new long march: popular music, cultural identity, and political opposition in the People’s Republic of China,” pp. 115-127 in Reebee Garofalo (ed.), Rockin’ the Boat: Mass Music and Mass Movements. Boston: South End.
6.
BROWN, MELISSA J. [ed.] (1996) Negotiating Ethnicities in China and Taiwan. Berkeley: Institute of East Asian Studies, Univ. of California.
7.
CHEUNG, SIU-WOO (1996) “Representation and negotiation of Ge identities in southwest Guizhou,” pp. 240-273 in Brown, 1996.
8.
CLARK, PAUL (1987a) Chinese Cinema. Cambridge, UK: Cambridge Univ. Press.
9.
CLARK, PAUL (1987b) “Ethnic minorities in Chinese films: cinema and the exotic.”East-West Film Journal1, 2: 15-32.
10.
DIAMOND, NORMA (1988) “The Miao and poison: interactions on China’s southwest frontier.”Ethnology27, 1: 1-25.
11.
DIAMOND, NORMA (1995) “Defining the Miao: Ming, Qing, and contemporary views,” pp. 92-112 in Harrell, 1995a.
EBREY, PATRICIA (1996) “Surnames and Han Chinese identity,” pp. 19-36 in Brown, 1996.
14.
FEIGON, LEE (1994) “Gender and the Chinese student movement,” pp. 125-135 in Wasserstrom and Perry, 1994.
15.
FRIEDLANDER, PAUL (1991) “China’s ‘newer value’ pop: rock-and-roll and technology on the new long march.”Asian Music22, 2: 67-81.
16.
FROLIC, B. MICHAEL (1980) “Frontier town,” pp. 144-156 in his Mao’s People: Sixteen Portraits of Life in Revolutionary China. Cambridge, MA: Harvard Univ. Press.
17.
GLADNEY, DRU C. (1991) Muslim Chinese: Ethnic Nationalism in the People’s Republic. Cambridge, MA: Harvard Univ. Council on East Asian Studies.
18.
GLADNEY, DRU C. (1994) “Representing nationality in China: refiguring majority/minority identities.”J. of Asian Studies53, 1: 92-123.
19.
GLADNEY, DRU C. (1995) “Tian Zhuangzhuang, the fifth generation, and minorities film in China.”Public Culture8, 1: 161-175.
20.
GREENHALGH, SUSAN (1993) “The peasantization of the one-child policy in Shaanxi,” pp. 219-250 in Deborah Davis and Stevan Harrell (eds.), Chinese Families in the Post-Mao Era. Berkeley: Univ. of California Press.
21.
GUO JUN (1995) “Geshou zhuanfang: Lolo yao” (A special interview with a singer: Lolo’s Swing). Yanyiquan (The circle of performing arts)11:44.
22.
HAN, KUO-HUANG (1980) Introductory Notes to Vocal Music of Contemporary China, vol. 2, The National Minorities [LP record]. Folkways Records.
23.
HARRELL, STEVAN (1990) “Ethnicity, local interests, and the state: Yi communities in southwest China.”Comparative Studies in Society and History32, 3: 515-548.
24.
HARRELL, STEVAN [ed.] (1995a) Cultural Encounters on China’s Ethnic Frontiers. Seattle: Univ. of Washington Press.
25.
HARRELL, STEVAN (1995b) “The history of the history of the Yi,” pp. 63-91 in Harrell, 1995a.
26.
HARRELL, STEVAN (1995c) “Introduction: civilizing projects and the reaction to them,” pp. 3-36 in Harrell, 1995a.
27.
HARRELL, STEVAN (1996) “The nationalities question and the Prmi problem,” pp. 274-296 in Brown, 1996.
28.
HEBERER, THOMAS (1989) China and Its National Minorities: Autonomy or Assimilation?Armonk, NY: M. E. Sharpe.
29.
HUNG, CHANG-TAI (1985) Going to the People: Chinese Intellectuals and Folk Literature, 1918-1937. Cambridge, MA: Harvard Univ. Council on East Asian Studies.
30.
JANKOWIAK, WILLIAM R. (1993) Sex, Death, and Hierarchy in a Chinese City: An Anthropological Account. New York: Columbia Univ. Press.
31.
JIN ZHAOJUN (1995) “Huidao minjian—ting ‘Luoluo yao’ you gan” (Back to the folk—my thoughts after listening to Lolo’s Swing). Yanyiquan (The circle of performing arts)11:43.
32.
JONES, ANDREW F. (1992a) “Beijing bastards.”Spin (October): 80-90, 122-123.
33.
JONES, ANDREW F. (1992b) Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music. Ithaca, NY: East Asian Program, Cornell Univ.
34.
JONES, ANDREW F. (1994) “The politics of popular music in post-Tiananmen China,” pp. 148-165 in Wasserstrom and Perry, 1994.
35.
KHAN, ALMAZ (1995) “Ghinggis Khan: from imperial ancestor to ethnic hero,” pp. 248-277 in Harrell, 1995a.
36.
KHAN, ALMAZ (1996) “Who are the Mongols? state, ethnicity, and the politics of representation in the PRC,” pp. 125-159 in Brown, 1996.
37.
LI XI’AN (1995) “Lolo he ta de Lolo yao” (Lolo and his Lolo’s Swing). Yanyiquan11:43.
38.
LIANG, SHIQIU [ed.] (1987) A New Practical Chinese-English Dictionary. Taipei: Far East Books.
39.
“Lin yilun” (1995) “Lin Yilun: Huo huo de geyao” (Lin Yilun: fire hot songs). Yinxiang shijie (Audio and video world)6:18.
40.
LIN YUEH-HUA (1961) The Lolo of Liang Shan. Trans. Ju-shu Pan. New Haven, CT: HRAF Press.
41.
LITZINGER, RALPH A. (1995) “Making histories: contending conceptions of the Yao past,” pp. 117-139 in Harrell, 1995a.
42.
LITZINGER, RALPH A. (1998) “Memory work: reconstituting the ethnic in post-Mao China.”Cultural Anthropology13, 2: 224-255.
43.
LOUIE, KAM (1992) “Masculinities and minorities: alienation in Strange Tales from Strange Land.”China Quarterly132:1119-1135.
44.
MACKERRAS, COLIN (1984) “Folksongs and dances of China’s minority nationalities: policy, tradition, and professionalization.”Modern China10, 2: 187-226.
45.
MACKERRAS, COLIN (1994) China’s Minorities: Integration and Modernization in the Twentieth Century. New York: Oxford Univ. Press.
46.
MIDDLETON, RICHARD (1990) Studying Popular Music. Philadelphia: Open Univ. Press.
47.
RAYNS, TONY (1991) “Breakthroughs and setbacks: the origins of the new Chinese cinema,” pp. 104-110 in Chris Berry (ed.), Perspectives on Chinese Cinema. London: BFI.
48.
SCHEIN, LOUISA (1996) “Multiple alterities: the contouring of gender in Miao and Chinese nationalism,” pp. 79-102 in Brackette F. Williams (ed.), Women Out of Place: The Gender of Agency and the Race of Nationality. London: Routledge.
49.
SCHEIN, LOUISA (1997) “Gender and internal orientalism in China.”Modern China23, 1: 69-98.
50.
SONG WEI (1992) “Teng Ge’er, kan yaogun shuo Cui Jian hua Taibei” (Teng Ge’er speaks about rock, Cui Jian, and Taipei). Zhongguo wenhua bao (25 October): 4.
51.
SONG XIAOMING (1995) “Chang gei yueliang de ge” (A song sung for the moon). Yanyiquan (The circle of performing arts)11:42.
52.
THIERRY, FRANÇOIS (1989) “Empire and minority in China,” pp. 76-99 in Gerard Chaliand (ed.), Minority Peoples in the Age of Nation-States. London: Pluto.
53.
UPTON, JANET (1996) “Home on the grasslands? tradition, modernity, and the negotiation of identity by Tibetan intellectuals in the PRC,” pp. 98-124 in Brown, 1996.
54.
WASSERSTROM, JEFFREY N. and ELIZABETH J. PERRY [eds.] (1994) Popular Protest and Political Culture in Modern China. 2d ed.Boulder, CO: Westview.
55.
WILLIAMS, DEE MACK (1996a) “The barbed walls of China: a contemporary grassland drama.”J. of Asian Studies55, 3: 665-691.
56.
WILLIAMS, DEE MACK (1996b) “Grassland enclosures: catalyst of land degradation in Inner Mongolia.”Human Organization55, 3: 307-313.
57.
YANG, MU (1994) “Academic ignorance or political taboo? Some issues in China’s study of its folk song culture.”Ethnomusicology38, 2: 303-320.
58.
YANG XIAOLU and ZHANG ZHENTAO [eds.] (1990) Zhongwai tongsu gequ jianshang cidian (An Appreciation Dictionary of Chinese and Foreign Tongsu Songs). Beijing: Shijie zhishi chubanshe.
59.
YAU, ESTHER C. M. (1994) “Is China the end of hermeneutics?; or political and cultural usage of non-Han women in mainland Chinese films,” pp. 280-292 in Diane Carson, Linda Dittmar, and Janice R. Welsch (eds.), Multiple Voices in Feminist Film Criticism. Minneapolis: Univ. of Minnesota Press.
60.
ZHAN HAO (1995) “Zhang Guangtian: rang liuxing yinyue shuo Hanyu” (Zhang Guangtian’s “Let pop music speak Han language”). Yinxiang shijie (Audio and video world)11:16.
61.
ZHANG, YINGJIN (1997) “From ‘minority film’ to ‘minority discourse’: questions of nationhood and ethnicity in Chinese cinema,” pp. 81-104 in Sheldon Hsiao-peng Lu (ed.), Transnational Chinese Cinemas: Identity, Nationhood, Gender. Honolulu: Univ. of Hawai’i Press.
62.
ZHENG CHUNHUA (1993) “Cang lang dadi de lantian: ji Mengzu geshou Teng Ge’er” (The blue sky of the land of the blue wolf: reporting on the Mongolian singer Teng Ge’er). Yinxiang shijie (Audio and video world)1:2-3.
63.
CUI JIAN (1989) Cui Jian: xin changzheng lushang de yaogun (Cui Jian: Rock and Roll of the New Long March). Zhongguo lüyou shengxiang chubanshe, BJZ01.
64.
DISCOGRAPHY CUI JIAN (1993) Cui Jian: Beijing yanchanghui (Cui Jian: The Beijing Concert). Zhongguo lüyou chubanshe, ISRC CN-M29-93-0009/A. J6.
65.
DADAWA (ZHU ZHEQIN), HE XUNTIAN, HE XUNYOU, and LU YIMIN (1995) A jie gu (Sister Drum). Taiwan: Feidie changpian.
66.
GAOFENG (1994) Gao Feng: tian nabian de ai (Gao Feng: Love Over There in the Sky). Baidai changpian (EMI)/Zhonghua wenyi yinxiang lianhe chubanshe, ISRC CN-A49-94-349-00/A. J6.
67.
LIN YILUN (1995) Lin Yilun: huo huo de geyao (Lin Yilun: Fire Hot Songs). Guangzhou xin shidai yingyin gongsi, ISRC CN-F21-95-303-00/A. J6. (MTS-9503).