Private and Confidential

Total Page:16

File Type:pdf, Size:1020Kb

Private and Confidential THE CHINESE OPERA INSTITUTE Annual Report for Year Ended 31 March 2012 The Chinese Opera Institute was set up in 30 June 1995 as a company limited by guarantee. It was registered under the Charities Act. UEN Number 199504600N Registered Address 182 Cecil Street #02-05 Telok Ayer Performing Arts Centre Singapore 069547 Management Committee / Key Position Holder Name Position Date of Appointment 1) Mr Lim Fang Hua Chairman 7 Feb 2006 2) Mr Lim Ooh Chye Director 1 Oct 2011 3) Mr Lin Hong Deputy Director (Artistic) 1 Jan 2012 4) Ms Lim Lay Chin Finance and Administration 19 March 2012 Manager Board of Directors/Trustees The Management Committee was elected at the Annual General Meeting held on 16/9/2011 Name Position Date of Appointment 1) Mr Lim Fang Hua Chairman 7 Feb 2006 2) Lee Nancy Mrs Nancy Ng Director 7 December 1998 3) Mr Choo Thiam Siew @ Ang Thiam Director 16 Sept 2011 Siew 4) Mr Poh Sin Choon @ Poh Seng Director 18 Dec 2008 Choon 5) Mr Ang Mong Seng Director 13 Mar 2002 6) Mr Lim Huan Chiang Director 18 Dec 2008 7) Mr Tan Yoke Han Director 9 Sept 2011 Banker DBS Bank Ltd UOB Bank Ltd Bank of China Auditor SC Teo & Co Investment Adviser NA Other Adviser(s) NA Address: 182 Cecil Street, Telok Ayer Performing Arts Centre #02-05 Singapore 069547. Telephone: 62226551/7 Email: [email protected] OBJECTIVES 1) Promote appreciation of the art form among the youth 2) Nurture a core of new generation Chinese opera performers 3) Create original Singaporean Chinese opera 4) Infuse theatrical influences of other cultures to enrich the medium 5) Provide professional training and research on popular opera forms 6) Raise standards of local Chinese opera groups 7) Collaborate with local Chinese opera groups 8) Promote Singapore through Chinese Opera to the international stage POLICIES: Finance & funding The COI receive annual grant of $90,000.00 and subsidiary grant of $3,890.00 from NAC from April 2011 to Mar 2012. The other income is generated from teaching and performing; renting out of costume; public donations and sponsorship of programs. REVIEW OF THE YEAR (APRIL 2011 TO MARCH 2012) Staffing as at 31 March 2012 Name Appointment Date of Appointment Mr Tan Ooh Chye Director 1 Oct 2011 Mr Lin Hong Deputy Director (Artistic) 2 January 2012 Ms Lim Lay Chin Finance and Administration 19 March 2012 Manager Mr Guo Xu Qian Lecturer Year 2009 Mr Sheng Zhong Xin Executive Officer 1 November 2011 Ms Guan Yang Lecturer 1 January 2012 Resigned on 31 March 2012 Address: 182 Cecil Street, Telok Ayer Performing Arts Centre #02-05 Singapore 069547. Telephone: 62226551/7 Email: [email protected] Calendar of Events If Art Form State if Sponsorship Audience Ticketing participated No. of (Drama, organised or name of amt no. % total total no. of No. Project title Date Venue by group, shows Dance or participated sponsor no. for no. compli state length Music, etc) by group sale sold issued of time 01. ”Bao Lian Deng” 6/5/2011 Singapo 1 Huang Mei COI 1,500 300 re Opera 人 Futsing Associat ion 02. AEP:Visit to the 11/5/2011 Wee 1 AEP COI 1,125 75 人 Care Chinese Chinese Opera Institute Singapo re Pte Opera Ltd Workshop 03. Hainanese Opera 13/5/2011 Golden 1 Hainanese COI & Oversea 5,000 600 Performance Theatre Opera Hainan s Movie 人 Performan Hwee Kuan Pte Ltd ce 04. Hainanese Opera 14/5/2011 Golden 1 Hainanese COI 60 人 Conference Theatre Opera Conference 05. AEP:The World of 16/5/2011 Dunman 1 Chinese COI 1,400 420 High Opera 人 Chinese Opera School 06. AEP:Learning Chinese 19/5/2011 Bartley 1 Chinese COI 2,500 50 人 Sec Sch Opera the Fun Way Opera 07. AEP:Visit to the 24/5/2011 NUS 1 Chinese COI 1,860 186 High Opera 人 Chinese Opera Institute School of Math and Science Address: 182 Cecil Street, Telok Ayer Performing Arts Centre #02-05 Singapore 069547. Telephone: 62226551/7 Email: [email protected] 08. Peking Opera Workshop 1-2/6/2011 MOE 2 Chinese 150 Opera COI 人 1,500 09. AEP:Visit to the 23/6/2011 Singapo 1 Chinese COI 200 9 人 re Opera Chinese Opera Institute Chinese Girls’ Pri Sch 10. AEP:Learning Chinese 28/6/2011 Tanjong 1 Chinese COI 725 40 人 Katong Opera Opera the Fun Way Pri Sch 11. AEP:The World of 11/7/2011 West 1 Chinese COI 1400 800 人 Grove Opera Chinese Opera Pri Sch 12. AEP:Visit to the 11/7/2011 Fernvale 1 AEP COI 675 45 人 Pri Sch Chinese Opera Institute Chinese Opera Workshop 13. AEP:The World of 12/7/2011 West 1 Chinese COI 1190 800 人 Grove Opera Chinese Opera Pri Sch 14. AEP:Visit to the 12/7/2011 Fernvale 1 AEP COI 690 46 人 Pri Sch Chinese Opera Institute Chinese Opera Workshop 15. AEP:Visit to the 15/7/2011 West 1 AEP COI 1,440 96 人 Grove Chinese Chinese Opera Institute Pri Sch Opera Workshop Address: 182 Cecil Street, Telok Ayer Performing Arts Centre #02-05 Singapore 069547. Telephone: 62226551/7 Email: [email protected] 16 AEP:Visit to the 15/7/2011 West 1 AEP 97 人 Grove Chinese COI Chinese Opera Institute Pri Sch Opera 1,455 Workshop 17 AEP:Learning Chinese 18,19,20,28 Ai Tong 1 Chinese COI 1260 360 人 Sch Opera the Fun Way /7/2011 Opera 18. AEP:Chang E’s Ascent 18/7/2011 Ai Tong 1 Chinese COI 1,400 800 人 Sch to the Moon Opera 19. AEP:Chang E’s Ascent 19/7/2011 Ai Tong 1 Chinese COI 1,400 800 人 Sch to the Moon Opera 20. AEP:Visit to the 19/7/2011 Ai Tong 1 AEP COI 410 41 人 Sch Chinese Opera Institute Chinese Opera Workshop 21. AEP:Visit to the 20/7/2011 Ai Tong 1 AEP COI 780 78 人 Sch Chinese Opera Institute Chinese Opera Workshop 22 Ramayana 21/7/2011 Pico 1 Chinese COI 2000 500 人 Arts Opera Internat ional Pte Ltd 23 AEP:Visit to the 22/7/2011 Ai Tong 1 AEP COI 840 84 人 Sch Chinese Opera Institute Chinese Opera Workshop 24 AEP:Learning Chinese 22/7/2011 Hai Sing 1 Chinese COI 1680 100 人 Catholic Opera Opera the Fun Way Sch 25 AEP:Learning Chinese 27/7/2011 Nanyan 1 Chinese COI 1000 80 人 g Junior Opera Opera the Fun Way College Address: 182 Cecil Street, Telok Ayer Performing Arts Centre #02-05 Singapore 069547. Telephone: 62226551/7 Email: [email protected] 26 AEP:The World of 28/7/2011 CHIJ St. 1 Chinese 800 人 Nicholas Opera COI Chinese Opera Girls’ Sch 1400 27 AEP:The World of 01/8/2011 NUS 1 Chinese COI 1400 425 人 High Opera Chinese Opera School of Math and Science 28 AEP:The World of 25/8/2011 Nanyan 1 Chinese COI 1400 800 人 g Girls’ Opera Chinese Opera High Sch 29 AEP:Chang E’s Ascent 31/8/2011 Maha 1 Chinese COI 1400 600 人 Bodhi Opera to the Moon Sch 30 AEP:Chang E’s Ascent 31/8/2011 Maha 1 Chinese COI 1400 600 人 Bodhi Opera to the Moon Sch 31 Opera Cheek Workshop 5/9/2011 Eka 1 Chinese COI 600 100 人 Training Opera Group Pte Ltd workshop 32 AEP: Monkey King & 6/9/2011 Maha 1 Chinese COI 1400 330 人 The White Bone Bodhi Opera Sch Demoness 33 AEP:Chang E’s Ascent 8/9/2011 North 1 Chinese COI 1400 100 人 Vista Pri Opera to the Moon Sch 34 Opera Family Workshop 10/9/2011 The 1 Opera COI 1250 40 人 Esplana Family de Workshop Address: 182 Cecil Street, Telok Ayer Performing Arts Centre #02-05 Singapore 069547. Telephone: 62226551/7 Email: [email protected] 35 Opera Family Workshop 11/9/2011 The 1 Opera 36 人 Esplana Family COI de Workshop 1250 36 AEP:Chang E’s Ascent 12/9/2011 Anchor 1 Chinese COI 1400 1100 Green Opera 人 to the Moon Pri Sch 37 Huangmei Opera 12/9/2011 National 1 Huangmei COI 2130 23 人 Workshops Arts Opera Council Workshop 38 Huangmei Opera 12/9/2011 National 1 Huangmei COI 2130 21 人 Workshops Arts Opera Counci Workshop 39 Ramayana 16/9/2011 Nan 1 Chinese COI 1400 150 人 Hua Pri Opera Sch 40 AEP:The World of 19/9/2011 NUS 1 Chinese COI 1400 450 人 High Opera Chinese Opera School of Math and Science 41 AEP:The World of 26/9/2011 Haig 1 Chinese COI 1400 150 人 Girls’ Opera Chinese Opera Sch 42. ” Children Opera talk 01/10/2011 Jurong 2 Huang Mei COI 2,500 300 人 national ibrary and performance” Opera 43. AEP:The World of 24/10/2011 Zhonghua 1 AEP COI 1, 400 300 人 Sec Sch Chinese Opera Chinese Opera Workshop Address: 182 Cecil Street, Telok Ayer Performing Arts Centre #02-05 Singapore 069547. Telephone: 62226551/7 Email: [email protected] 44. Cantonese Opera 26/10/2011 Chinese 1 Cantonese 22 人 220 Workshop Opera Opera COI Institute Workshop 45. Chinese Opera Makeup 28/10/2011 ExxonMobil 1 Chinese COI 400 300 Chemical Opera Asia Pacific Makup 46. Children Opera 27/11/2011 Singapore 1 Children COI 2,000 70 人 Philatelic Workshop Opera Museum Workshop 47.
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]