DOCSLIB.ORG

Makna Kostum, Riasan, Dan Teks Yang Diperankan Pada Opera Tiochiu Dari Shantou Guangdong Di Vihara Go Ya Kong Pantai Labu Deli Serdang

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Makna Kostum, Riasan, Dan Teks Yang Diperankan Pada Opera Tiochiu Dari Shantou Guangdong Di Vihara Go Ya Kong Pantai Labu Deli Serdang MAKNA KOSTUM, RIASAN, DAN TEKS YANG DIPERANKAN PADA OPERA TIOCHIU DARI SHANTOU GUANGDONG DI VIHARA GO YA KONG PANTAI LABU DELI SERDANG 论潮剧中服装、化妆和正文的意义（Lùn cháojù zhōng fúzhuāng, huàzhuāng hé zhèngwén de yìyì） SKRIPSI SARJANA Disusun Oleh: ROZALINA RASYID 120710017 PROGRAM STUDI SASTRA CINA FAKULTAS ILMU BUDAYA UNIVERSITAS SUMATERA UTARA MEDAN 2017 UNIVERSITAS SUMATERA UTARA ABTRACT The title of this bachelor’s thesis is “The Meaning of Costume, Makeup, and Textual Tiochiu Opera from Shantou Guangdongat in Go Ya Kong Temple Pantai Labu Deli Serdang.” This research describe three aspects in Teochew Opera Performance. There are is costumes, makeup, and text. The writer applied two theories: (a) semiotic theory from Peirce and (b) performance theory from Kowzan and Pavis. The writer use qualitative approach, based on observation and interview. The conclussions of this research are: (a) there are four main characters in Teochew Opera and then divided again becoming some sub-characters. (b) Teochew Opera cousmes consists of clothes, headdresses, shoes, and fake beard. (c) Teochew Opera makeup consist of charming makeup and colorful makeup. (d) the meaning of text Teochew Opera is meaning advice. Keywords: costumes, makeup, text, Teochew Opera, meaning i UNIVERSITAS SUMATERA UTARA ABSTRAK Skripsi ini bertajuk “Makna Kostum, Riasan, dan Teks yang Diperankan pada Opera Tiochiu dari Shantou Guangdong di Vihara Go Ya Kong Pantai Labu Deli Serdang.” Penelitian ini meninjau tiga aspek dari pertunjukan Opera Tiochiu, yaitu kostum, riasan, dan teks. Dalam penelitian ini, penulis menggunakan dua teori, yakni: (a) teori semiotik dari Peirce dan (b) teori pertunjukan dari Kowzan dan Pavis. Metode dan teknik yang digunakan adalah metode penelitian kualitatif dengan berdasar kepada observasi lapangan, dan wawancara. Hasil penelitian ini adalah sebagai berikut: (a) ada empat peran utama berdasarkan jenis kelamin, yakni (1) shēng (生 ) peran laki-laki, (2) dàn ( 旦) perempuan, (3) chŏu (丑 ) yaitupelawak, dan (4) jìng ( 净 ) peran pembantu laki-laki, yang kemudian terbagi lagi mejadi beberapa sub-peran. (b) kostum Opera Tiochiu terdiri dari pakaian, hiasan kepala, sepatu, dan jenggot palsu. (c) riasan Opera Tiochiu terdiri dari riasan menawan dan riasan penuh warna. (d) teks Opera Tiochiu mengandung makna nasehat. Kata kunci: kostum, riasan, teks, Opera Tiochiu, makna ii UNIVERSITAS SUMATERA UTARA KATA PENGANTAR Syukur Alhamdulillah atas kehadirat Allah Subhana Wataala atas hadirat serta rahmat yang telah diberikan-Nya kepada penulis mulai dari masa perkuliahan sampai dengan tahap penyelesaian tugas akhir. Adapun tugas akhir yang diberi judul “Makna Kostum, Riasan, dan Teks Yang Diperankan Pada Opera Tiochiu Dari Shantou Guangdong Di Vihara Ga Ya Kong Pantai Labu Deli Serdang” ini disusun sebagai persyaratan untuk memperoleh gelar Sarjana Ilmu Budaya, Program Studi Sastra Cina, Fakultas Ilmu Budaya, Universitas Sumatera Utara. Dalam menyusun Skripsi ini, tidak terlepas bantuan dari berbagai pihak yang telah memberikan dukungan, semangat, waktu, bimbingan dan doa kepada penulis. Oleh karena itu, penulis ingin menyampaikan terima kasih yang sedalam- dalamnya kepada : 1. Rektor Universitas Sumatera Utara, Bapak Prof. Dr. Runtung, S.H.,M.Hum. atas kesempatan yang diberikan kepada penulis sehingga penulis berstatus mahasiswi Program Studi Sastra Cina, Universitas Sumatera Utara serta kesempatan untuk menyelesaikan Studi S-I di Fakultas Ilmu Budaya Universitas Sumatera Utara dengan baik. 2. Dekan Fakultas Ilmu Budaya Universitas Sumatera Utara , Bapak Dr. Budi Agustono, M.S. atas kesempatan dan waktu yang telah diberikan kepada penulis sehingga dapat menyelesaikan Studi S-I di Fakultas Ilmu Budaya Universitas Sumatera Utara dengan baik. iii UNIVERSITAS SUMATERA UTARA 3. Ketua Departemen Program Studi Sastra China Ibu Dr. T.Thyrhaya Zein, M.A. yang dengan sabar selalu memberikan petunjuk dan pengarahan kepada penulis semasa perkuliahan. 4. Sekretaris Departemen Program Studi Sastra China Ibu Dra. Nur Cahaya Bangun, M.Si. atas pengarahan yang diberikan untuk penulis mulai dari masa perkuliahan sampai saat ini. 5. Dosen pembimbing I Bapak Drs. Muhammad Takari, M.Hum., Ph.D. yang telah dengan sabar membimbing, menasehati serta memberikan bimbingan yang baik kepada penulis selama mengerjakan tugas akhir ini sehingga terselesaikan dengan baik. 6. Dosen pembimbing II Sheyra Silvia Siregar,S.S.,MTCSOL Laoshi yang telah sabar membimbing dan susah payah membantu mengerjakan tugas akhir dalam bahasa mandarin dan juga telah memberikan semangat dan dukungan dalam menyelesaikan tugas akhir ini. 7. Mama tersayang, mak tuo, kak Suvinar, uda Wildesman, uda Nofrison, uni Gusnisusanti, dan uda Fitriadi, serta seluruh keluarga besar etek-pak etek, uda-uni ipar, uda-uni sepupu, yang telah memberikan dukungan, semangat dan doa sehingga tugas ini selesai dengan baik dan tepat waktu. 8. Mami dan kak Rosa Uliasa terlucu sepanjang masa yang selalu membantu, menemani, memberi saran, mendengarkan curhat, dan memberikan semangat setiap waktu. 9. Seluruh dosen dan staff pengajar Program studi Sastra Cina, Kak Endang, Sheyla Laoshi, yang setia membantu mengurus segala urusan akademik iv UNIVERSITAS SUMATERA UTARA dan selalu memberikan arahan. Kakak senior, bang Rudi, kak Ade, Kak Anik yang memberikan masukan terhadap skripsi ini. 10. Sahabat saya tercinta, Yunikkk, Indrikkk, Nopakk, yang tak banyak memberikan arahan mengenai skripsi ini, namun memberikan arahan hidup agar selalu tertawa dan tersenyum kala suka dan cita dengan bermacam gaya dan bahasa. Kita pejuang SKRIPSWEET ! Kalian luar biasa. 11. Joseph Reno Natama Manurung. Makasih ya bi atas semuanya. Susah jelasin pengaruh kamu disini bi, makasih aja yah. Uluuluuluu ... 12. Seluruh teman-teman seperjuangan Stambuk 2012 Program Studi Sastra Cina yang telah memberikan dukungan serta senantiasa menemani selama 4 tahun masa perkuliahan suka dan duka serta memberi semangat tawa. 13. Seluruh kakak senior 2007, 2008, 2009, 2010, 2011 dan adik-adik stambuk 2013, 2014, 2015, 2016 yang memberi dukungan semangat. 14. Teman-teman Etnomusikologi, Private Space, Lembayung Senja, Magical Noop, Equaliz, dll. Uye ! 15. Teman sehidup semati, Ani, Ima, Tiwi, Anti, Refni, Capry, Bima, Ares, Olwis, Toni, dan masih banyak lagi. Mokasih yo ! 16. Informan yang telah memberikan waktu dan kesempatan serta memberikan ilmu kepada penulis, dan masyarakat yang telah berkenan diwawancarai. v UNIVERSITAS SUMATERA UTARA Penulis menyadari bahwa skripsi ini masih jauh dari kesempurnaan. Penulis berharap agar tulisan ini bermanfaat bagi para pembaca. Selain itu dapat menjadi sumbangan untuk ilmu pengetahuan, khususnya dalam bidang Sastra Cina. Oleh sebab itu, kepada semua pihak penulis sangat mengharapkan saran dan kritik yang bersifat membangun, demi perbaikan skripsi ini. Medan, 2017 Penulis Rozalina Rasyid NIM. 120710017 vi UNIVERSITAS SUMATERA UTARA DAFTAR GAMBAR Gambar 1 Opera Tiochiu .......................................................................... 16 Gambar 2 Vihara Go Ya Kong ................................................................. 53 Gambar 3 Suasana Pertunjukan Opera Tiochiu ........................................ 53 Gambar 4 Lao Sheng ................................................................................. 55 Gambar 5 Sheng Bertopi Kasa .................................................................. 56 Gambar 6 Sheng Berkipas ......................................................................... 57 Gambar 7 Sheng Berbulu Kuau ................................................................. 59 Gambar 8 Sheng Miskin ............................................................................ 59 Gambar 9 Wu Sheng .................................................................................. 60 Gambar 10 Qing Yi .................................................................................... 61 Gambar 11 Hua Dan ................................................................................. 62 Gambar 12 Hua Shan ................................................................................ 63 Gambar 13 Lao Dan .................................................................................. 64 Gambar 14 Jing Utama .............................................................................. 65 Gambar 15 Jing Kedua .............................................................................. 66 Gambar 16 Jing Pesilat .............................................................................. 66 Gambar 17 Jing Berbulu .......................................................................... 67 Gambar 18 Chou Berjubah ........................................................................ 69 Gambar 19 Chou Bertopi Kain ................................................................. 70 Gambar 20 Chou Chayi ............................................................................ 71 Gambar 21 Chou Zhizi ............................................................................. 72 Gambar 22 Chou Tua ............................................................................... 73 Gambar 23 Chou Pesilat ........................................................................... 74 Gambar 24 Motif Bunga ........................................................................... 79 Gambar 25 Motif Naga ............................................................................. 80 Gambar 26 Jubah Upacara ....................................................................... 81 Gambar 27 Jubah Resmi
Load more

Recommended publications
  • The Saxophone in China: Historical Performance and Development
    THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
    [Show full text]
  • Listening to Chinese Music
    Listening to Chinese Music 1 Listening to Chinese Music This article is an English translation of part of the book Listening to Chinese Music 《中國音樂導賞》edited by Chuen-Fung Wong (黃泉鋒) and published by the Hong Kong Commercial Press in 2009 as a project of the Chinese Music Archive of the Chinese University of Hong Kong. With the permission by the Chinese Music Archive, this article is uploaded onto the Education Bureau’s website for teachers’ and students’ reference. As for the recordings of selected music, please refer to the CDs accompanying the printed copy of the Chinese version. © The Chinese Music Archive, the Chinese University of Hong Kong. All rights reserved. No part of this publication can be reproduced in any form or by any means. 2 Contents Foreword…………………………………………………………………………………..5 Translator’s Preface……………………………………………………………………….6 Chapter 1 Modern Chinese Orchestra ............................................................................. 8 Section 1 The Rise of the Modern Chinese Orchestra ......................................................... 9 Section 2 Instruments Used in the Modern Chinese Orchestra .......................................... 10 Section 3 The Characteristics of Chinese Orchestral Music and Its Genres ....................... 11 Section 4 The “Improvement” of Chinese Instruments ...................................................... 13 Section 5 The Development of Modern Chinese Orchestra ............................................... 15 Listening Guide ...................................................................................................................
    [Show full text]
  • Musical Practice of Wayang in Singapore
    ARTICLE Musical practice of Wayang in Singapore As with all definitions, there are problems of meaning, connotatively and denotatively. Wayang here refers to the numerous dialect-based musical theatres found in China with further sub-groups in each dialect tradition. However, this excerpt from the Straits Chinese Magazine in 1903 entitled Wayang Kassim seems to offer an alternative view of it being entirely Chinese: The Malay theatre has been engaging the attention of the public of all classes and nationalities for some time from the highest to the lowest in the land. His Excellency the Governor patronised one play in company with the U.S. Admiral and both were believed to have found much to please them. Personally, I do not think much of the Malay Theatre, indeed I do not expect any good of any kind from the Malays! If the Governor and a certain portion of the public found any pleasure at all from Malay theatres, it must be due entirely to the novelty of the thing, and perhaps also as an encouragement to the management of these theatres to move onwards and make some progress; as for any real intrinsic worth in themselves I am sure there is none. The Indra Zanzibar Theatrical Co., have certainly gone ahead of their kind and deserve recognition for their work; but what is good in them is not themselves but the Dutch girls whom they have called in to their assistance. I should personally wish to see improvements made in the Malays themselves, for then would all the honour and glory belong to them as of right.
    [Show full text]
  • Download Article
    Advances in Social Science, Education and Humanities Research, volume 232 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018) The Rise and Decline of Chinese Opera in Indonesia* Tao Zhang Overseas Education College Xiamen University Xiamen, China 361102 Abstract—There are two types of Chinese Opera in Indonesia: literature. 1 As literary script, they are only available to the the Chinese local opera and Malayu opera. This article attempts reader. Some are special for the performance of professional to trace the historical process of Chinese Opera in Indonesia, opera troupe, and could be adapted according to the needs of analyzes the concerning questions, supplies some materials for actors, dance and realist events at that time. further study on the oversea spreading of Chinese opera and its localization as Malayu opera. Indonesian Chinese Malayu opera starts from 1880s. At that time, they mainly translated Chinese classical operas, such Keywords—Indonesia; Chinese; opera; Malay opera as, Chen San and Wu Niang (1886), Bao Gong Case (1887), Generals of Yang Family (1887) and Mulan (1893).2 These I. INTRODUCTION Chinese classical masterpieces first spread in the form of "puppet show" for more than half a century, and become an Chinese immigrants moved south to Indonesia, which can indispensable part of Indonesian Chinese cultural life at that be traced back to the Tang Dynasty. In the Ming Dynasty, time. Every Chinese New Year and other festive days, all Chinese immigrants settled in Indonesia have taken shape. temples would launch various forms of entertainment. In Some traditional local operas in China, especially in Batavia (now Jakarta), Chinese puppet shows were often given.
    [Show full text]
  • Anthony Veasna So Remembered Holmes Chan Hong Kong Spirit Richard Heydarian Asian Revolutionaries Anthony Tao Hutong Secrets
    Anthony Veasna So remembered ASIAN LITERATURE FEBRUARY–APRIL 2021 Holmes Chan Anthony Tao Hong Kong spirit Hutong secrets Richard Heydarian Tse Wei Lim Asian revolutionaries Hawker culture 32 9 772016 012803 VOLUME 6, NUMBER 2 FEBRUARY–APRIL 2021 HISTORY 3 Thomas A. Bass Kissinger and Ellsberg in Vietnam TAIWAN 7 Michael Reilly Between two whales POETRY 8 Maw Shein Win ‘Phone booth’, ‘Shops’, ‘Restaurant’, ‘Factory’, ‘Eggs’, ‘Huts’ INTERVIEW 9 Andrew Quilty Mullah Abdul Rahman, Taliban commander NOTEBOOK 12 Yuen Chan In China’s grip ASIA 13 Richard Heydarian Underground Asia: Global Revolutionaries and the Assault on Empire by Tim Harper MYANMAR 14 David Scott Mathieson The Burmese Labyrinth: A History of the Rohingya Tragedy by Carlos Sardina Galache HONG KONG 15 Holmes Chan Defiance: Photographic Documentary of Hong Kong’s Awakening; Voices JOURNALISM 16 Martin Stuart-Fox You Don’t Belong Here: How Three Women Rewrote the Story of War by Elizabeth Becker CHINA 18 Anne Stevenson-Yang Anxious China: Inner Revolution and Politics of Psychotherapy by Li Zhang AUSTRALIA 19 Jeff Sparrow The Carbon Club: How a Network of Influential Climate Sceptics, Politicians and Business Leaders Fought to Control Australia’s Climate Policy by Marian Wilkinson MALAYSIA 20 Charles Brophy Automation and the Future of Work by Aaron Benanav; Work in an Evolving Malaysia: The State of Households 2020, Part II by Khazanah Research Institute RELIGION 21 Christopher G. Moore Finding the Heart Sutra; Guided by a Magician, an Art Collector and Buddhist Sages from
    [Show full text]
  • ABSTRACTS International Council for Traditional Music 37Th World Conference Fuzhou & Quanzhou, China 4–11 January 2004
    ABSTRACTS International Council for Traditional Music 37th World Conference Fuzhou & Quanzhou, China 4–11 January 2004 This book contains abstracts of the presentations to be made at the 37th World Conference of the International Council for Traditional Music. Although not originally prepared by the authors for publication, they are included here to provide an introduction to their papers. All abstracts are presented here in English, regardless of the language to be used during the Conference. Information about the language used in the presentation itself can be found in the program. Some abstracts have been edited slightly to read more easily in English. I take full responsibility for this, but regret any changes in content or errors which may have arisen during this process. I also apologize for any missing diacritical marks or special letters which did not transmit well via email. Organization. Abstracts are arranged alphabetically according to the author’s family name (surname) followed by personal name, i.e., the normal order for names in countries such as China, Japan, Korea, Vietnam, etc. If the author originally sent me their name in this order, the name is presented in that way without any intervening punctuation. If the author’s name was originally in the form of personal name followed by family name, it is inverted here with a comma following the family name to mark the inversion. The spelling of names follows what was sent to me; however, names here are never written in all capital letters and never include commas, except to indicate inversion. I have tried very hard to follow these rules consistently and adhere to the personal preference of the author concerned, but I apologize for any unintentional errors.
    [Show full text]
  • Traditional Festivals and Customs
    A PEACEFUL NATION MAKES BLISSFUL PEOPLE TEOCHEW TRADITIONS TRADITIONAL FESTIVALS AND CUSTOMS TRADITIONAL TEOCHEW VALUES LOYALTY AND FILIAL PIETY DILIGENCE AND THRIFT BENEVOLENCE INTEGRITY ALL THINGS FLOURISH FOR FAMILIES IN HARMONY TEOCHEW TRADITIONS PREFACE About Teochew Federation (Singapore) Customs and traditions are the cornerstones The Ngee Ann Kongsi was founded in 1845. At the behest of Teochew Federation Teochew Federation (Singapore) aims of cultural heritage. In late 2018, Teochew Back then, a group of 12 prominent Teochew (Singapore), the Editorial Committee carried to provide a network and a common Federation (Singapore) led a delegation businessmen led by Seah Eu Chin established out extensive research on the customs and platform for exchange among the comprising more than a hundred members The Ngee Ann Kongsi to look after the welfare traditions of the Chaoshan (潮汕) region in Teochew community and businesses in to the Chaoshan (潮汕) region in China on a and religious needs of Teochew immigrants China, and drew on the collective wisdom and Singapore; facilitate cooperation and cultural exchange visit. In 2019, we published in Singapore. As times changed and society knowledge of local Teochew clan associations, collaboration in good faith; work together this handbook on Teochew traditions in progressed, The Ngee Ann Kongsi has kept community organisations, charities, experts for the common interest of all members; partnership with the Singapore Press Holdings pace by focusing on educational development, and scholars. Their support and assistance and strive to preserve our culture and Chinese Media Group, in the hope of enabling setting up a primary school, a secondary gave us the confidence to harness our team traditions, as well as to expand business future generations to keep our treasured school, and a polytechnic.
    [Show full text]
  • Innovation and Reform of the Hammered Dulcimer Yangqinin Contemporary China
    UNIVERSITY OF HAWAII LIBRARY. INNOVATION AND REFORM OF THE HAMMERED DULCIMER YANGQININ CONTEMPORARY CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC AUGUST 2007 By Pui-Sze Priscilla Tse Thesis Committee: Frederick Lau, Chairperson Ricardo D. Trimillos C. Fred Blake • .. ~- -, _ .... _ •• _-- - ~-'"'~~- < .1 We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in Music. THESIS COMMITTEE Chairperson HAWN CBS .H3 nO ' 7~2'1 1\ ACKNOWLEDGEMENTS I am grateful to the AsialPacific Ethnomusicology Fellowship and the Arts and Sciences Advisory Council from the University of Hawai'i at Manoa for their generous support for my graduate study and fieldwork carried out in China and Hong Kong in summer 2006. This study would not have happened without the generous help of my informants in both formal and informal interviews. They include Bian Yu, Fu Bing, Oui Xiii, Huang Jinpei, Kong Qinyan, Bryan Lai, Xiong Junjie, Xu Xuedong, Yu Qiwei, Zhang Oaoxiang, Zhang Shicheng, and Zhou Hui. Although I am not able to name them individually, I am also grateful to the musicians I met in the amateur music groups in Shanghai and Canton. My special thanks go to my yangqin teachers Miss Yu Mei-lai, Professor Liu Yuening, and Professor Xiang Zuhua, who nurtured me to be ayangqin performer by not only teaching me the performing techniques, but also by providing me with the fundamental knowledge of the instrument and its music that have contributed to this thesis.
    [Show full text]
  • Vertical Facility List
    Facility List The Walt Disney Company is committed to fostering safe, inclusive and respectful workplaces wherever Disney-branded products are manufactured. Numerous measures in support of this commitment are in place, including increased transparency. To that end, we have published this list of the roughly 7,600 facilities in over 70 countries that manufacture Disney-branded products sold, distributed or used in our own retail businesses such as The Disney Stores and Theme Parks, as well as those used in our internal operations. Our goal in releasing this information is to foster collaboration with industry peers, governments, non- governmental organizations and others interested in improving working conditions. Under our International Labor Standards (ILS) Program, facilities that manufacture products or components incorporating Disney intellectual properties must be declared to Disney and receive prior authorization to manufacture. The list below includes the names and addresses of facilities disclosed to us by vendors under the requirements of Disney’s ILS Program for our vertical business, which includes our own retail businesses and internal operations. The list does not include the facilities used only by licensees of The Walt Disney Company or its affiliates that source, manufacture and sell consumer products by and through independent entities. Disney’s vertical business comprises a wide range of product categories including apparel, toys, electronics, food, home goods, personal care, books and others. As a result, the number of facilities involved in the production of Disney-branded products may be larger than for companies that operate in only one or a limited number of product categories. In addition, because we require vendors to disclose any facility where Disney intellectual property is present as part of the manufacturing process, the list includes facilities that may extend beyond finished goods manufacturers or final assembly locations.
    [Show full text]
  • Teochew Opera: the Formation and Reviving Chinese Identity Under
    Panyapiwat Journal Vol.10 No.2 May - August 2018 315 TEOCHEW OPERA: THE FORMATION AND REVIVING CHINESE IDENTITY UNDER THE NETWORK OF THAILAND CHINESE COMMUNITY IN THE ASPECT OF ECONOMIC AND CULTURAL RELATIONS งิ้วแต้จิ๋ว: การสร้าง และฟื้นฟูอัตลักษณ์จีน ภายใต้เครือข่ายความสัมพันธ์ของชุมชนคนจีน ในเชิงเศรษฐกิจและวัฒนธรรม Ladda Prasopsombat Faculty of Social Sciences, Chiang Mai University Abstract The Teochew opera in Thailand prospered in the reign of King Chulalongkorn. There were many theaters set up by Chinese and Thai people. Additionally, the opera schools were opened as cultural exchange between Thailand and China. There were many theaters, especially in Chinatown and on Charoen Krung Road. Teochew (Chaozhou) is the majority population of Chinese residents in Thailand. Bangkok, for a period of time, used to be the center of the development of Teochew opera. In the communist era under the command of major general Phiboonsongkram, he wanted to control Chinese people in Thailand by announcing the replacement of the clan name with the surname for national security. Major general Phiboonsongkram applies Thai-Nationalism also closed down more than 300 Chinese schools. It is considered to be the suppression of Chineseness as prominent in Thai society. After the end of World War II, the communist Chinese Red Army was at war with the Chinese government. The democratic president Chiang Kai-shek forced immigrants of Teochew Chinese opera performers including opera owners into Thailand in 1952-1962. During this time, the opera had 80 troupes reflecting the prosperity of The Teochew opera. Until 1966, opera theaters in Chinatown were dissolved. Presently, there are 12 troupes of Teochew opera in Thailand performing in the Chinese shrines.
    [Show full text]
  • Book of Abstracts 2
    1 INTERNATIONAL COUNCIL FOR TRADITIONAL MUSIC 44TH WORLD CONFERENCE 13 - 19 JULY 2017 BOOK OF ABSTRACTS 2 Kai Åberg (University of Eastern Finland) Finnish Romani songs – a product or a process? the constructivist perspective to the music of the Finnish Kaale Over the past 25 years among the Finnish Romani musicians (and elsewhere in Europe), I have sought various things in the empirical material of my research. The basic question, however, was already crystallized in an early stage of the research process: How are the elements of cultural meaning of the songs and the informants’ conceptions of the songs constructed? Because legacies may be constituted in a multiple and flexible way, the purpose of my presentation is not only to describe the songs or events of song culture, or to chart their distribution, but also to seek more complex ways of understanding and explaining them: How are the meanings of the Romani music constructed in different times and places? Although we can be partly freed from determinism by underscoring the role of humans in construction of their own reality, people should not, however, be defined as independent of their culture. Seen from a folkloristic perspective, the same could be said in other terms; even constructivists have not ignored that people belong to their heritage before heritage belongs to them. When speaking of a collective musical tradition we must not forget that underlying tradition there is a social group and people tend to act differently in groups than on their own. My approach is based on the notion of knowledge as socially constructed.
    [Show full text]
  • A Comparative Study of the Social Function of African Algaita and Chinese Suona
    A COMPARATIVE STUDY OF THE SOCIAL FUNCTION OF AFRICAN ALGAITA AND CHINESE SUONA A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Shasha Zhu May, 2018 ii Thesis written by Shasha Zhu B. A., Tianjin Conservatory of Music, 2007 M. A., Tianjin Conservatory of Music, 2010 M. A., Kent State University, 2018 Approved by Kazadi wa Mukuna, Ph.D., Advisor, Master Thesis Committee Theodore Albrecht, Ph.D., Member, Master Thesis Committee Richard Devore, Ph.D., Member, Master Thesis Committee iii TABLE OF CONTENTS TABLE OF CONTENTS ....................................................................................................................... iii LIST OF FIGURES ............................................................................................................................... iv LIST OF TABLES .................................................................................................................................. v ACKONWLEDGEMENTS ................................................................................................................... vi CHAPTER I. INTRODUCTION ............................................................................................................ 1 II. THE GENESIS OF DOUBLE-REED MUSICAL INSTRUMENTS ........................... 19 III. THE ETYMOLOGY OF “ALGAITA” AND “SUONA” ........................................... 40 IV. THE MORPHOLOGICAL STRUCTURES OF THE AFRICAN ALGAITA AND THE CHINESE
    [Show full text]