Nathanel Amar

Nathanel Amar


Email : [email protected]


Director of CEFC Taipei, Researcher

Research fields


2017-2019: Post-doctoral Fellow, the Society of Fellows in the Humanities, The University of Hong Kong

2015-2017: Associate researcher, CERI-Sciences Po, Teaching Assistant, Sciences Po Paris

2015: Ph.D, Political Science, Sciences Po Paris (CERI) on the political use of culture in contemporary China

2011-2012: M.A. in Philosophy, Sorbonne Paris I, MA in Political Science, Sciences Po Paris.


“From Wuhan to the World: SMZB, China’s Most Outspoken Punks, Return with a New Album”, RadiiChina, 29 September 2020.

“Navigating and Circumventing (Self)censorship in the Chinese Music Scene”, China Perspectives, 2020/2, pp. 25-33.

Editorial “Contesting and Appropriating Chineseness in Sinophone Music”, China Perspectives 2020/2, pp. 3-6.

Review of Paul Barclay: Outcasts of Empire. Japan’s Rule on Taiwan’s “Savage Border”, 1874–1945, H-Soz-Kult, 6 May 2020.

“Xinjiang Rocker Jurat T.T. of the ‘Uyghur Pink Floyd’ on Pain, Childhood and Music”, RadiiChina, 14 April 2020.

“The Lives of Dakou in China: From Waste to Nostalgia”, Études Chinoises XXXVII-2, pp. 35-60.

“We Sing this Song for You, Wuhan!: A Short History of Wuhan Punk”, RadiiChina, 11 February 2020.

“Visual Identities of Chinese Punk Rock Through Posters”, Contemporary China Centre Blog, Issue 3, 22 January 2020.

“Keep Screaming. A Brief Account of Early Beijing Punk”, RadiiChina, 22 January 2020.

Editorial “Including Music in the Sinophone, Provincializing Chinese Music”, China Perspectives 2019/3, pp. 3-6.

“Soul of Chinese Cops. Les punks chinois face à la police”, in Paul Edwards, Elodie Grossi and Paul Schor (dir.), Disorder. Histoire sociale des mouvements punks & post-punk, Seteun, 2019, pp. 181-198.

“The Great Chinese Rock ‘n’ Roll Swindle. How a postmodernist trickster convinced the world that punk rock had reached China in the early ’80s”, RadiiChina, 13 May 2019.

“Is China Headed Towards a Future Without Foreign Bands?”, RadiiChina, 27 February 2019.

Beijing calling. Les punks chinois à l’assaut de la culture officielle”, La Revue du Crieur; 2019/1, p. 150-159.

“Drunk is Beautiful. Boire au bord de l’eau : usage de l’alcool dans la communauté punk chinoise”, Civilisations, 66, 2017, p. 139-155.

““你有freestyle吗?” (Do you freestyle?) The Roots of Censorship in Chinese Hip-hop”China Perspectives, 2018/1-2.

Review of Yiu-Wai Chu, Hong Kong Cantopop: A Concise History, China Perspectives, 2017/4.

“Piece of garbage complains to China’s Bureau of Culture regarding punk legends SMZB”, Unite Asia, 19 January 2018.

“Here’s a Punk City, Wuhan!”, Maximum Rocknroll, December 2016, p. 41-44.

“Drunk With City. Les usages de la ville par les punks de Wuhan”, Urbanités, January 2016.

“La communauté punk en Chine : entre réinterprétation d’une contre-culture et dissidence”, in Bernard Lacroix, Xavier Landrin, Anne-Marie Pailhès, Caroline Rolland-Diamond (dir.), Les contre-cultures. Genèses, circulations, pratiques, éditions Syllepse, 2015, p. 475-489.

“Violences de masse en République Populaire de Chine depuis 1949”, Encyclopédie en ligne des violences de masse, 3 January 2013.

“Une histoire politique du punk-rock chinois”, Circé. Histoires, culture & société, June 2013.

Latest Conferences and Symposium

“In Search of Sinophone Music”, Graduate Institute of Musicology, National Taiwan University, 6 December 2019.

“Alternative Public Space and Punk Subculture: The Case of ‘Our Home’ in Wuhan”, Workshop organized at the Université Libre de Bruxelles (ULB) on Alternative Youth in China, 25 June 2019.

“Beyond Musical, Political and Linguistic Boundaries: The Influence of the Hong Kong Rock Band Beyond in the PRC during the 1990s”, Sinophone Studies: Interdisciplinary Perspectives and Critical Reflections, UCLA, 12-13 April 2019.

“Chinese Popular Culture and Strategies of Resistance”, talk at CUHK, “China Today” Class, 20 March 2019.

“Music Censorship and the Chinese Underground Musical Scene”, Graduate Institute of Musicology, National Taiwan University, 4 January 2019.

“Early Chinese punk network and the quest for space”, Symposium on Underground Music-Making in Hong Kong and East Asia, 10 December 2018.

“Radical participation: The politics of performance in Chinese punk-rock concerts”, The University of Hong Kong, Department of Music, “Mediating Music/Sound: Discourses, Technologies, Socialities”, 1 December 2018.

“Remembering China’s Past: Punk Songs and Alternative History”, The 6th Symposium of the Study Group on Musics of East Asia, 23 August 2018, National Gugak Center, Seoul

“The Lives of Dakou in China: From Waste to Nostalgia”, AFEC International Workshop Chinese Objects and their Lives, 15 June 2018, INALCO, Paris.

In the Media

“Why China’s hip-hop stars are staying silent on Black Lives Matter”, by Viola Zhou in Inkstone, 19 June 2020.

“A Taïwan, la présidente qui dit non à la Chine remporte haut la main un second mandat”, by François Bougon in Mediapart, 11 January 2020.

“Hong Kong: La musique au cœur de la révolte”, by Florence de Changy in La Lettre du Musicien, 30 October 2019

“Le rap dans le collimateur des autorités chinoises”, by Cyrille Pluyette in Le Figaro, 28 February 2018

“La Chine veut lutter contre le hip-hop moralement nuisible”, by Rosa Brostra in Le Temps, 1 February 2018

“In Wuhan, Punk’s Not Dead”, by Lin Qiqing in Sixth Tone, 20 December 2016

“Le punk chinois n’est pas (encore) mort”, by Adrien Toffolet in Society, February 2016, p. 56-61.

“Anarchy in the People’s Republic say Chinese punks”, by Julien Girault in AFP, 8 October 2014