I’ve always loved East Asian arts and culture, especially the lively scene of the 1970s1. This decade saw a shift in the West, with sociologists diving into how art and culture moved across borders1. It was a time of big changes and new ideas, with money, talent, and technology moving around the world1.
In this article, I’ll guide you through the exciting world of East Asia’s arts and culture in the 1970s. We’ll look at new ideas that questioned old views and see how global and local forces shaped art in the area1. Come with me as we explore the colorful arts and culture of East Asia during this pivotal time.
The Emergence of Sociology of Arts in the West
In the 1970s, a few American sociologists started looking into the arts. This area was new to sociology at the time2. Howard Becker and others like him, along with French sociologists Raymonde Moulin and Pierre Bourdieu, were key to starting this new field2. They looked into how social and economic factors affect art, how the art world is organized, and the rules of making and enjoying culture.
Early Pioneers and Theoretical Approaches
Becker, Moulin, and Bourdieu set the stage for studying the arts with their ideas. Becker talked about “art worlds,” showing how art is made and shared through many connections. Moulin and Bourdieu looked at how power and symbols work in the art world3. Their work changed the idea of the artist as a lone genius. They showed how society and institutions play a big part in art.
Expanding Horizons and New Perspectives
In the 1980s and 1990s, the study of arts and culture grew a lot2. Scholars looked at many topics, from the middle class in Philippine democracy to the power of metaphors in Hong Kong protests2. This made the field more diverse, bringing together different cultures and ideas.
The study of arts and culture in East Asia in the 1970s was also important2. Topics like meaningful protests and understanding COVID-19 were discussed. This work made the field more global, challenging old Western views and opening up new ways to study the arts.
| Pioneering Sociologists | Key Theoretical Contributions |
|---|---|
| Howard Becker | The “art worlds” approach, examining the complex network of relationships and interdependencies that underpin artistic creation and dissemination. |
| Raymonde Moulin | Exploring the power dynamics and symbolic capital within the art field. |
| Pierre Bourdieu | Analyzing the objective relations embedded in cultural production and consumption. |
East Asian Perspectives: Transcending West-Centric Frameworks
As a scholar in east asian sociology of arts, I believe it’s time to move beyond West-centric views4. The world is getting more connected, and arts and culture studies need to catch up. They should look at cultural production and consumption from a global view4.
We should focus more on research and theory outside North America and Europe4. By focusing on East Asia, we can open new paths in arts and culture studies. This approach challenges or adds to “Western/Northern theory” with new ideas based on local stories and politics4.
This shift is crucial for a more diverse and fair study of arts and culture4. We need to accept non-western art theory and global views to grasp the full picture of cultural creation and enjoyment worldwide4.
By looking at East Asia, we can break free from West-centric views. This leads to a deeper and wider understanding of arts and culture in our globalized world4.
Local-Global Dynamics in East Asian Arts
East Asian arts have seen a big change thanks to local and global forces. In recent years, cultural flows like money, talent, content, and tech have changed how art is made, shared, judged, and enjoyed5. This means we need to look at arts with a global view, not just by country6.
Flows, Legitimacy, and the Centrality of the Local
East Asian artists are dealing with a global world, but the local still matters a lot in their work and art5. The global scene affects their art, but things like community, tradition, or identity keep their art real and connected to its roots7.
The mix of local and global in art is complex and interesting. It shows us how cultural flows and power affect East Asian arts. By looking into this, we learn more about how local and global are connected5.
As the world gets more connected, studying local and global in East Asian arts is key. It helps us see big changes and trends in culture6. This view lets us value the depth and variety of art in the region. It shows how art reacts to and influences global trends5.
Regionalization and State Influence
The 1970s brought a big change to East Asian arts and culture. New regional networks and collaborations started, crossing national lines. These networks helped share ideas, artworks, and cultural practices across the region8. At the same time, governments in East Asia greatly influenced the arts. They shaped how cultural objects were made, shared, and received8.
Regional Networks and Collaborations
In the 1970s, East Asian arts saw the growth of regional networks and collaborations. Artists, curators, and cultural groups started sharing knowledge and creative practices across borders8. This brought a rich dialogue and a shared understanding of the diverse art in East Asia8.
Government Support and Control Mechanisms
Governments in East Asia were key to the arts and culture’s growth. They used their resources and policies to support the arts. This support included funding, infrastructure, and promoting certain artistic styles8. But, this support also brought control, as states regulated cultural content8.
The mix of regionalization and state influence made the East Asian arts scene vibrant and diverse in the 1970s. This dynamic scene still interests scholars and fans, offering deep insights into the region’s culture8.
east asia arts and culture in 1970s
The 1970s was a key time for arts and culture in East Asia. It was a period when local art traditions grew, mixed with global trends, and found their own unique voices. This era saw new art forms come to life and the government’s impact on culture. The 1970s in East Asia was a time of artistic growth and cultural change9.
During this time, East Asian art gained more recognition and protection in the West. The Art Institute of Chicago started its Department of Oriental Art (Arts of Asia) in 1921. Today, it has almost 30,000 objects from five thousand years ago9. The World’s Columbian Exposition of 1893 also sparked American interest in Asian art. It featured a Japanese pavilion and introduced many to the area’s rich art heritage for the first time9.
In the 1970s, East Asian artists were breaking new ground, trying out new mediums and styles. The Asian Art Museum in Berlin had shows on different East Asian cultures, focusing on modern and contemporary art10. These shows showed how art reflected changing cultural identities. They included works by Jeong Hakgyo and contemporary Korean artists Kim Chunghyun and Seo Heehwan10.
Government efforts also shaped the cultural scene. Policies and programs helped keep traditional arts alive and supported new artists. This mix of local, regional, and global influences made the 1970s a turning point for East Asian arts and culture11.
From ancient Korean art to new contemporary movements, the 1970s in East Asia were full of cultural richness. This era created a vibrant cultural mix that still moves and inspires people around the world11.
Theorizing Beyond the Arts
Exploring East Asian arts and culture reveals deep insights that go beyond art itself12. Asian American art shows us the power of diverse voices and identities. It challenges old theories12.
Using different fields together helps us link arts and culture to wider social and economic ideas12. East Asian stories and examples push us to think differently. They help create new ways to understand culture12.
Looking beyond the arts shows how culture can change us13. The book East Asian Arts and Culture in the 1970s shows how studying Asian arts helps sociology and our view of the world13.
By1 looking at art, culture, and society together, we find new ways to research and work together1. This broad view deepens our knowledge of East Asian arts and culture. It also opens up new areas in sociology, helping us understand people better1.
Materiality and Engagement with Cultural Objects
The “new” sociology of art shows how art plays a key role in shaping social ties. It looks at how art and society interact, not just the reasons art is made14. This view matches the “materiality turn” in cultural sociology. It helps us see how East Asian art is unique and special14.
The “New” Sociology of Art
The “new” sociology of art goes beyond just looking at why art is made. It looks at how art changes and builds social ties14. It sees cultural objects as having a real impact on our lives and how we interact with each other14. This shift helps us see the special qualities and actions of East Asian art14.
| Key Aspects of the “New” Sociology of Art | Implications for East Asian Arts |
|---|---|
| Productive role of art in shaping social relations | Recognizing the active, constructive nature of East Asian cultural objects and their ability to transform social dynamics |
| Emphasis on materiality and the agency of cultural objects | Exploring the unique properties and agency of East Asian art forms and their impact on human experiences |
| Moving beyond the social causes of art | Shifting the focus from the social conditions that give rise to East Asian art to the ways in which art actively constructs and transforms social relations |
This “new” sociology of art helps us understand how material things, like art, shape our social lives14. It gives us a new way to see how East Asian arts and culture work14. This view adds to our knowledge and shows the deep connection between art and society in East Asia14.
Art Worlds and Creative Communities in East Asia
The 1970s saw the rise of vibrant art scenes in East Asia15. Artists, curators, galleries, and cultural producers came together to shape art in the region. They worked together, creating a unique art scene that went beyond traditional Western views.
Cooperative Networks and Shared Practices
Cooperative networks were key in these art worlds15. For example, in 1986, artist Nam June Paik held ‘Bye Bye Kipling’, a live event that linked Japan, Korea, and the U.S. through satellite technology15. This event showed how artists were connecting across borders and sharing their culture.
Events like the Venice Biennale let East Asian artists shine on the world stage15. In 1999, 19 Chinese artists took part in the 48th Venice Biennale, and Cai Guo-Qiang won the International Prize15. These moments showed the strength of East Asian art and the power of collaboration.
The art scenes in East Asia were shaped by the region’s diverse culture and growth15. With over half the world’s population, the area is home to many languages and religions15. Countries like Japan, China, and India’s economic growth helped their art scenes to grow and thrive15.
Through teamwork and deep cultural understanding, East Asia’s art communities created a unique identity. This identity continues to influence the global art world today.
Conclusion
As we wrap up our look at the 1970s East Asian arts and culture, we see how important this time was16. We’ve learned a lot that has changed the cultural scene in East Asia. These lessons still affect the study of arts and culture today16.
The 1970s Asian cultural movements have made a lasting impact. They pushed against Western views and highlighted the unique stories and voices of East Asia.
Looking into the significance of 1970s east asian arts and the legacy of 1970s asian cultural movements is vital. It helps us understand global culture better17. We must keep studying East Asian arts and culture to find new insights and move the field forward.
This journey has shown us the importance of local and global connections. We’ve seen how regional and state influences change things. And we’ve learned about the special connection people have with cultural objects17.
By keeping these lessons in mind, we can keep building bridges and talking across cultures. We can celebrate the amazing creativity that exists all over the world.
FAQ
What was the focus of the early pioneers in the sociology of arts in the West?
Early thinkers like Howard Becker and French sociologists set the stage for studying arts. They looked at the social and economic sides of art. They also studied how art is organized and the rules in cultural making and enjoying.
How can East Asian perspectives contribute to the sociology of arts and culture?
East Asian views can bring fresh ideas to the study of arts and culture. They challenge or add to “Western/Northern theory.” They use local history and politics to create new ideas.
What are the key themes related to local-global dynamics in East Asian arts?
The article talks about how global and local forces mix in East Asian arts. It looks at how money, talent, content, and tech move around. It shows how the local is key in these changes.
How did regionalization and state influence shape the East Asian arts and culture landscape of the 1970s?
The 1970s saw regional networks and teamwork grow. Governments also played a big role in supporting and controlling the arts. These factors made East Asian arts stand out.
What can the study of materiality and engagement with cultural objects in East Asia contribute to the sociology of arts and culture?
Studying East Asian art’s material side fits with the “materiality turn” in cultural sociology. It shows how art affects social ties. This approach helps us understand East Asian art better.
How did the art worlds and creative communities in East Asia during the 1970s shape the cultural landscape?
The 1970s saw art networks, shared practices, and teamwork among artists and others. These networks and communities helped shape how art was made, shared, and received.
Source Links
- https://journalofchinesesociology.springeropen.com/articles/10.1186/s40711-023-00190-9
- https://ccs.yale.edu/sites/default/files/files/conferences/CSEW/Cultural Sociology East_West Program.pdf
- https://en.wikipedia.org/wiki/Orientalism
- https://artreview.com/aw-2015-ara-feature-sun-ge/
- https://vernonpress.com/file/16364/b3248ff21f7751383eefc650f1c5bf49/1642429037.pdf
- https://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=2232&context=clcweb
- https://ascl.dartmouth.edu/undergraduate/courses/discipline-specific-courses/east-asia
- https://doi.org/10.21313/hawaii/9780824836948.003.0006
- https://www.artic.edu/articles/951/100-years-of-arts-of-asia
- https://www.orientations.com.hk/highlights/fascinating-characters-the-art-of-writing-and-text-cultures-in-east-asia
- https://www.britannica.com/art/Korean-art
- https://journalpanorama.org/article/asian-american-art/
- https://www.artbook.com/9780892075614.html
- https://muse.jhu.edu/pub/467/oa_edited_volume/chapter/3340283
- https://apap.qagoma.qld.gov.au/the-ballad-of-east-and-west-asian-art-outside-asia-from-the-1980s-onwards/
- https://press-files.anu.edu.au/downloads/press/n9444/pdf/ch05.pdf
- https://link.springer.com/chapter/10.1057/978-1-137-50670-2_7
