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Tradition in Motion Tradition in Motion The Status and Identity of Amateur Beiguan Opera and Music Communities [Zidi] in Modern Taiwanese Society Shih, Ying-Pin Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of Music December 2016 ii Tradition in Motion © 2016 Shih, Yingpin All Rights Reserved Abstract iii Abstract Traditional beiguan opera (and its music) has been performed for over three hundred years in Taiwanese society. It is still performed to this day. During this time, the music’s character and its eco-system have been in constant change, due to its multi-cultural and hybrid nature. Its development has also been influenced over time by environmental effects. The identities of beiguan communities have altered under the influences of shifting social and governmental pressures. Several questions are apparent: how can traditional modes of performance sustain their original values and identities while society moves into modernity? How can the beiguan subculture remain relevant, by finding new niches within the shifting cultural landscape? This thesis examines the formation of beiguan culture long before 1960 and compares it with beiguan’s contemporary situation in order to investigate changes in performance and community identities. Comparison will be presented in the form of fieldwork and theoretical analyses. We will focus on several beiguan communities selected from folk groups (both professional troupes and amateur clubs) and their related government organisations (such as the education system), in order to trace the trajectories of phenomena connected with these changes. Possibilities for culture conservation in the future will also be suggested. The approach outlined in this thesis may be used to survey the development of traditional beiguan music. What kind of changes could be accepted by people within the process of transition, from emphasising the authentic and traditional to a more innovative outlook? How do people position themselves on the dynamic continuum between tradition and innovation? In what position do we find traditional music after it has been affected by globalisation? Answering these questions will help us explore and discover different potential methods for maintaining beiguan’s cultural heritage. By reviewing policymaking and cross-disciplinary collaboration, a new range of values may present itself, as well as a new sense of belonging, to enhance the development of the identity of the beiguan community. Contents v Contents ABSTRACT III CONTENTS V FIGURES IX TABLES XI CONTENTS OF THE AUDIO CD XIII NOTES ON ORTHOGRAPHIES, BEIGUAN’S TERMINOLOGY, ABBREVIATIONS AND DYNASTIES XV INTRODUCTION 1 I.1 Introduction to the Field of Beiguan and Its Communities 7 I.2 Research Questions, Aims and Participants 10 I.3 The Discussion of Tradition 13 I.4 Research Procedure, Methods, Literature Review and the Relevance of Theories 17 I.5 Restrictions of My Research 28 I.6 Research Outcomes 29 I.7 Chapter Synopses 30 PART I HYBRID CULTURE 33 Multi-ideology Cultural Contexts 33 CHAPTER 1 HISTORICAL BACKGROUND AND BEIGUAN MUSICAL GENRE 35 1.1 Ming, Qing Dynasties Period (Before 1895) 36 1.2 Japanese Colonial Period (1895-1945) 41 a. The Basic Administration Period (minzheng shiqi/民政時期, 1895-1918): beiguan was formed as a full-scale (daxi/大戲) Taiwanese opera 42 b. The Doka Period (tonghua zhuyi/同化主義, assimilation, 1919-1936) 49 vi Tradition in Motion c. The Kominka Period (huangminhua yundong/皇民化運動, Japanisation movement, 1937-1945) 50 1.3 Postwar: After World War II (1945-1960) 54 1.4 Beiguan: A hybrid of Han Cultural Heritage 58 Conclusions 61 CHAPTER 2 THE FORMATION OF BEIGUAN CULTURE 63 2.1 Beiguan Zidi (子弟, Amateur Clubs) and Its Learning Behaviour 64 2.2 Professional Beiguan Troupes and Their Social Class 68 2.3 Beliefs Providing Foci for Beiguan Amateur Communities 73 2.4 The Competitive Culture in Beiguan Communities 80 Conclusions: the Sense of Beiguan Identity 84 CHAPTER 3 BEIGUAN MUSICAL STRUCTURE 85 3.1 Beiguan Vocal Music: Hi-khek Opera (Banxian, Fulu, Xinlu) and Yiu-khek (High-Art Opera or Ming and Qing’s Folksong) 86 a. (Xiqu/戲曲, Beiguan Formal Opera): Banxian (扮仙戲, Ritual Opera) 86 b. Hi-khek (Xiqu/戲曲) : Fulu Opera [福路] 88 c. Hi-khek (Xiqu/戲曲) : Xinlu Opera [新路] 101 d. Yiu-Khek Opera (xiqu/細曲): High-Art Opera or Ming and Qin Folksongs 103 3.2 Beiguan Instrumental Music: Pâi-tsú (Paizi/牌子) and Hiân-á-phóo (Xianzipu/絃仔譜) 105 a. Pâi-tsú (Paizi/牌子): kóo-tshue (guchui/鼓吹, percussion and suona) ensemble 105 b. Hiân-á-phóo (Xianzipu/絃仔譜) : Silk and Bamboo Ensemble 105 Conclusions 107 PART II CHANGING TRADITION 109 CHAPTER 4 CHANGES IN SOCIETY (1960-1990) 113 4.1 Changes in Social Values 116 4.2 Changes in Learning Behaviour: Modernisation (Westernisation) 120 a. Education System 121 Contents vii b. Beiguan Learning Behaviour 123 c. Traditional Apprenticeship 127 d. Oral Tradition 128 4.3 The Conversion of Performance from Festival to Concert Hall: Urbanisation 132 4.4 The Conversion from Religious to Secular Roles 137 Conclusions 140 CHAPTER 5 COMMUNITY IDENTITY CRISIS? (1990-PRESENT) 143 5.1 Identity Crisis in Taiwanese Society: Taiwanisation or De-sinification? 145 a. Ambiguous National Identity 146 b. Taiwanisation Movement and Cultural Policymaking 147 5.2 Taiwanisation: Changes in Beiguan Cultural Ecology 148 5.3 The Development of Globalisation to Glocalisation 153 5.4 Social Changes in the Structure of Beiguan Community: Postmodernism 156 Conclusions 161 PART III PRESERVATION AND INNOVATION ISSUES 163 CHAPTER 6 MAINTAINING TRADITION 165 6.1 What is Authenticity? 165 6.2 The Vanishing Boundary between Tradition and Modernity 170 6.3 The Reason for Cultural Preservation 172 Beiguan Opera: An Intangible Cultural Heritage 174 6.4 Cultural Policy 177 a. Different Priorities and Agendas 178 b. The Process of Policymaking: from A Central to Local Authorities 179 Conclusions 182 CHAPTER 7 ASPECTS OF DEVELOPMENT AND INNOVATION 185 7.1 Government Involvement in Beiguan Activities 186 viii Tradition in Motion 7.2 Obstacles to Government Intervention 188 a. The ‘National Treasure’ Status 189 b. Transmission System 192 c. The Club’s Registration 193 d. The Way to Cultivate the Transmission Teachers 196 e. The Substantial Help on the Beiguan Amateur Communities 197 7.3 The Impact of Government Intervention 199 7.4 Toward Refinement and Cross-Disciplinary Collaboration 204 a. Refinement of Beiguan Opera 205 b. Cross-cultural, Multi-Disciplines Collaborations and Post-Hybridisation 207 c. Beiguan as A Local Brand: from Community Empowerment Movement to Develop Cultural Industry 209 Conclusions 212 CONCLUSIONS 215 APPENDIX A: OFFICIAL ORGANISATIONS FOR TRADITIONAL AFFAIRS 223 APPENDIX B: FI V E ST A GES OF ST A T E INTERVENTION 225 APPENDIX C: FIELDWORKS 235 Appendix C.1 List of Interviews: 235 a. Groups 235 b. Individual informants 238 Appendix C.2 Participation in Beiguan Activities and Assisting in Governmental Investigations into the Beiguan Communities 241 REFERENCES 243 Bibliography 243 Discography 260 Interviews 261 GLOSSARY OF TERMS 263 Figures ix Figures FIGURE 1. XIZHI LEYINSHE BEIGUAN CLUB [汐止樂音社]: PREPARATION 1 FIGURE 2. XIZHI LEYINSHE BEIGUAN CLUB [汐止樂音社]: BEIGUAN TEMPLE PARADE 2 FIGURE 3. TEMPLE FESTIVAL PERFORMANCES 4 FIGURE 4. ACTIVITIES OF TRADITIONAL AND NEW STYLE IN THE CONTEMPORARY TEMPLE FESTIVAL 7 FIGURE 5. DIFFERENT KINDS OF BEIGUAN COMMUNITIES IN TAIWAN 9 FIGURE 6. TAIWAN MAP 34 FIGURE 7. VARIOUS FESTIVAL PARADING PROCESSION (ZHENTOU/陣頭) PERFORMANCES 40 FIGURE 8. THE PARADE OF JAPANESE SHINTO SHRINE 51 FIGURE 9. THE MUSIC CLUB OF XIZHI SHINTO SHRINE 51 FIGURE 10. THE TWO-STRINGED INSTRUMENT WITH TRUMPET-LIKE APPEARANCE: LABAXIAN [喇叭絃] 53 FIGURE 11. DIFFERENT TONES BETWEEN MANDARIN AND BEIGUAN 59 FIGURE 12. THE TABLET FORBIDS FEUDAL OFFICIALS FROM PLAYING YANGKO OPERA [清代山西的禁 戲碑] 71 FIGURE 13. THE BLESSING FROM HEAVENLY OFFICERS [天官賜福] BEIGUAN PERFORMANCE 77 FIGURE 14. DRUNKEN EIGHT IMMORTALS [醉八仙] BEIGUAN PERFORMANCE 77 FIGURE 15. XIZHI LEYINSHE BEIGUAN CLUB [汐止樂音社] 83 FIGURE 16. THE BLESSING FROM HEAVENLY OFFICERS [天官賜福]: ZHAN WENZAN’S SCRIPT 86 FIGURE 17. NON-THEATRICAL BEIGUAN PERFORMANCE 97 FIGURE 18. THE ARRANGEMENT OF BEIGUAN OPERA ENSEMBLE (PHOTOGRAPH BY TNUA, 2005) 98 FIGURE 19. GONGCHE NOTATION BAIHUA CHUAN [百花串] 124 FIGURE 20. BAIHUA CHUAN [百花串] TRANSCRIPTION: ORIGINAL NOTATION WRITTEN BY YEH MEIJING [葉美景傳譜] 125 FIGURE 21. BAIHUA CHUAN [百花串] 126 FIGURE 22. BAIHUA CHUAN [百花串]: SKELETAL NOTES OF GONGCHEPU 130 FIGURE 23. BAIHUA CHUAN [百花串]: PRESENTED BY SHIH YINGPIN [施穎彬] 131 FIGURE 24. BAIHUA CHUAN [百花串]: PRESENTED BY ZHAN WENZAN [詹文讚] 131 FIGURE 25. INFORMANT: YEH JINFU 135 FIGURE 26. THE OFFICE OF YONGJING TEMPLE 135 FIGURE 27. THE TRAPPINGS OF BEIGUAN ACCOUTREMENTS 135 FIGURE 28. THE TRAPPINGS OF BEIGUAN INSTRUMENTS FRAME 135 FIGURE 29. THE CERTIFICATE OF ZHENTO [陣頭] 135 FIGURE 30. A GRAND CEREMONY FOR THE BIRTHDAY OF THE YONGJING TEMPLE’S LORD GOD 137 FIGURE 31. ‘MARSHAL TIAN DU’ [田都元帥] 140 FIGURE 32. ‘LORD OF THE WESTERN QIN’ [西秦王爺] 140 FIGURE 33. HANYANG BEIGUAN THEATRE TROUPE [漢陽北管劇團] 155 x Tradition in Motion FIGURE 34. THE SET OF CHIMES FROM THE TOMB OF MARQUIS YI OF ZENG [曾侯乙編鐘] 167 FIGURE 35. NEW REPRESENTATION OF THE ANCIENT MUSICAL SOUNDSCAPE 167 FIGURE 36. THE TONALITY OF THE SET OF CHIMES FROM THE TOMB OF MARQUIS YI OF ZENG 168 FIGURE 37. A PERFORMANCE TRAINING PROGRAMME ORGANISED BY TAIPEI CHINESE ORCHESTRA 169 FIGURE 38. RELATIVE INSTITUTIONS OF CULTURAL BUREAU IN TAIWAN 187 FIGURE 39. KEELUNG NUANNUAN LINGYIJUN BEIGUAN CLUB [暖暖靈義郡] 191 FIGURE 40. NIGHTY ONE YEARS OLD MUSICIAN CHEN TIAN-HUO [陳添火] 191 FIGURE 41. BEIGUAN TRANSMISSION CLASSES IN ZHONGSHAN HALL [中山堂] TAIPEI 192 FIGURE 42. HANYANG BEIGUAN THEATRE TROUPE [漢陽北管劇團]: BEIGUAN OPERA SEMINAR IN THE HIGH SCHOOL 193 FIGURE 43. LINKOU LELINYUAN BEIGUAN CLUB [林口樂林園] 195 FIGURE 44. LELINYUAN CLUB’S WEEKLY BEIGUAN SESSION 196 FIGURE 45. PÂI-TSÚ (PAIZI/牌子) PERFORMANCES 204 FIGURE 46.
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