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Mountain Institute for Traditional Shadow Theater. Before retiring in 1999, Jo Humphrey had painstakingly restored the seriously damaged shadow figures. Gold Mountain Institute was reconfigured as Chinese Theater Works in New York under Stephen Kaplin, a puppeteer, and his wife Kuang-Yu Fong, the co-artistic director of the former Gold Mountain Institute. In 2004, Chinese Theater Works brought an innovative shadow play and documentary to Tangshan, China. Presented with backdrops of old Beijing and Times Square in the 1920s, it was a fitting tribute to Benton’s half a century of devotion to shadow puppetry. The play featured Benton’s shadow figures in addition to photographicallygenerated figures of three women who significantly contributed to Chinese shadow theater in the U.S.—Pauline Benton, Jo Humphrey, and Kuang-Yu Fong. In a globalizing sweep, the documentary also portrayed the shadow figures of White Snake and Li Tuochen alongside shadow puppets in the traditions of Indonesia and Europe. At the conclusion, the author presents Annie Katsura Rollins as the new Pauline Benton. An American with Chinese and Japanese ancestry, she is a Ph.D. candidate working on Chinese shadow theater in Montreal. Like Benton, she is a skillful performer in Chinese shadow puppetry and has visited many Chinese villages that perform this art form, but unlike Benton, she has acquired language skills in Chinese and runs a blog and website that more quickly encourages dissemination of the art of Chinese shadow theater. Overall, given the paucity of sources on the life of Benton, the author has gone far in tracking her persona in Chinese shadow theater. The author asks many questions about her personal life, but it is unclear why he did not interview Benton’s relatives on that point. The generalist reader will appreciate the riveting story of an extraordinary woman who, without formal theater training or Chinese language skills, performed and single-handedly brought shadow puppetry to America. Historians of China will find it curious that, although Benton only made two trips to China and spent most of her time in the U.S., Hayter-Menzies uses the history of China, not the history of Asian America, to set the primary historical background for Benton’s biography. The history of China is selectively told, and there are factual errors (e.g., p. 211: the Dagong Bao was not the oldest Chinese language newspaper; p. 225: the date for the Weaving Maid is the 7th day of the 7th lunar month, not August 7). Chapter 9 on China’s Cultural Revolution is one of the author’s digressions that has little bearing on the life of Benton. If the specialist is interested in the overall history of Chinese shadow theater, she is advised to turn instead to Fan Pen Li Chen, Chinese Shadow Theatre: History, Popular Religion, and Women Warriors (Montreal: McGill-Queens University Press, 2007). JENNIFER W. JAY University of Alberta Uncle Ng Comes to America: Chinese Narrative Songs of Immigration and Love (Wu Bo lai Jinshan: Taishan muyu gexuan 伍伯來金山—台山木魚歌選). Edited by Bell Yung and Eleanor S. Yung. Hong Kong: MCCM Creations, 2014. 65 pp. 14 illus. Paper with DVD. $18.00. 176 CHINOPERL: JOURNAL OF CHINESE ORAL AND PERFORMING LITERATURE 34.2 The South and Southeast portions of China are home to a wealth of narrative singing traditions that have been largely excluded from the national Chinese soundscape during much of the twentieth century. Audiences in the West deserve to become familiar with the Cantonese naamyam 南音 singing of Dou Wun 杜煥 (1910–1979) as recorded and studied by Bell Yung, Professor Emeritus of Music at the University of Pittsburgh. This current publication, titled Uncle Ng Comes to America: Chinese Narrative Songs of Immigration and Love, represents yet another effort by Yung, together with his co-editor, Eleanor S. Yung, the founder of the New York-based Asian American Arts Centre, to document the fading sounds of these once popular traditions from China’s southern periphery. The songs presented in this multimedia volume belong to the genre of muk’yu 木魚 (Mandarin: muyu, literally “wooden fish”), an amateur singing tradition shared among a number of Pearl River Delta towns in southern Guangdong province . The variety showcased here comes from the greater...

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