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Nanyin Musical Culture in Southern Fujian, China : Adaptation and Continuity

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Nanyin Musical Culture in Southern Fujian, China : Adaptation and Continuity Lim, Sau-Ping Cloris (2014) Nanyin musical culture in southern Fujian, China : adaptation and continuity. PhD Thesis. SOAS, University of London. http://eprints.soas.ac.uk/id/eprint/20292 Copyright © and Moral Rights for this PhD Thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This PhD Thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this PhD Thesis, full bibliographic details including the author, title, awarding institution and date of the PhD Thesis must be given e.g. AUTHOR (year of submission) "Full PhD Thesis title", name of the School or Department, PhD PhD Thesis, pagination. NANYIN MUSICAL CULTURE IN SOUTHERN FUJIAN, CHINA: ADAPTATION AND CONTINUITY Sau-Ping Cloris Lim Volume 1: Main Text Thesis submitted for the degree of Doctor of Philosophy 2014 Department of Music School of Oriental and African Studies University of London 1 DEDICATION Dedicated to the Heavenly Father DECLARATION 2 3 ABSTRACT This thesis is a study of the musical genre nanyin, one of the oldest and most prestigious living folk traditions preserved in southern Fujian (Minnan), China. As an emblem of Minnan ethnic identity, nanyin is still actively practised in the Southeast Asian Fujianese diaspora as well. Based on ethnographic investigations in Jinjiang County, this research explores multifaceted nanyin activities in the society at large. The importance of the genre is manifested in its active role in political, socio-economic and cultural spheres, its adaptations to state cultural ideologies in the ebb and flow of different political periods, and its continuity despite changing transmission modes. This thesis consists of eight chapters. Chapter 1 offers an introduction to the genre and centres on an examination of published literature relevant to my approach and my fieldwork objectives. Chapter 2 gives an overview of nanyin and its pivotal role as musical source to other folk performing arts in southern Fujian. Chapter 3 focuses on the historical roots of nanyin, its musical identity, and prestige and gender shifts. Chapter 4 traces the processes of social and cultural transformation and illustrates their effects on shaping musical changes in nanyin in the 20th and 21st centuries. Chapter 5 investigates contemporary nanyin performance contexts in Jinjiang, including examination of how ritual practices are situated in the present state ideology. In Chapter 6, I draw on my field observations to discuss the methods of nanyin transmission in formal and informal contexts. With Westernization and urbanization since the late 19th century, institutionalization of folk music has become common, and nanyin is no exception. Chapter 7 looks at music as cultural capital and discusses diasporic support and government involvement as factors in the preservation of nanyin. Chapter 8 summarizes and reflects on my findings with reference to my research queries, and suggest how these findings supplement existing nanyin studies. 4 TABLE OF CONTENTS List of illustrations (Examples, Figures, Maps, Tables) 10 Romanization 15 Timeline of Chinese dynasties and periods 16 Acknowledgments 17 Chapter 1 INTRODUCTION 22 1.1 Aims and objectives 24 1.2 Literature review 26 1.2.1 Relevant approaches in ethnomusicology 26 1.2.2 Musical ethnography and theory 27 1.2.3 Approaches to preservation and revival 33 1.2.4 Literature relevant to Minnan culture 34 1.2.5 Research and literature on nanyin 37 1.2.6 Nanyin musicological materials 41 1.3 Methodology 42 1.3.1 Fieldwork strategies 43 1.3.2 Field sites 48 1.3.3 Problems encountered 51 Chapter 2 OVERVIEW 53 2.1 Musical characteristics 53 2.1.1 Mode and metre 54 2.1.2 Gunmen and qupai 59 2.2 Instrumentation 62 2.2.1 Shangshiguan (Upper Four ensemble) 62 2.2.2 Xiasiguan (Lower Four ensemble) 66 5 2.3 Notation and texture 70 2.3.1 Notation 70 2.3.2 Texture 78 2.4 Repertory (Zhi 指, Qu 曲, Pu 譜) 84 2.4.1 Zhi 85 2.4.2 Qu 86 2.4.3 Pu 87 2.5 Nanyin in relationship to other performing arts in southern Fujian 88 2.5.1 Classical opera - Liyuanxi 梨园戏 89 2.5.2 Street opera - Gaojiaxi 高甲戏 92 2.5.3 Other folk performing arts genres in southern Fujian 94 2.5.4 Case study – Lijingji 荔镜记 96 2.6 Conclusion 102 Chapter 3 NANYIN TRADITION IN HISTORICAL PERSPECTIVE 106 3.1 Historical roots of nanyin 107 3.1.1 Nanyin’s relation to earlier musical forms 108 3.1.2 Historical outward migration tides 111 3.1.3 Nanyin in geographical context 114 3.2 Identity and ethnicity 117 3.2.1 Social identity from the perspective of ritual performance 118 3.2.2 Self defined identity of amateur musicians 122 3.2.3 Assimilation and reconstruction of ethnicity 123 3.3 Prestige and gender 134 3.3.1 Social class and prestige 134 3.3.2 Feminization of nanyin 137 3.4 Conclusion 146 6 Chapter 4 THE IMPACT OF SOCIAL AND CULTURAL TRANSFORMATIONS OF NANYIN PRACTICE (20TH to 21ST CENTURIES) 148 4.1 Social and cultural contexts of nanyin tradition in the early 20th century 149 4.1.1 Life cycle activities 150 4.1.2 Calendrical events and temple fairs 152 4.1.3 Secular nanyin activities 153 4.2 Advent of modernization 154 4.2.1 Developments in the nanyin repertoire 156 4.2.2 Nanyin musical changes in the late 1950s 158 4.2.3 Urbanization and commercialization of nanyin in Xiamen 160 4.2.4 Regional interpretative differences between Quanzhou and Xiamen 162 4.3 Maoist period suppression and survival 169 4.3.1 The Cultural Revolution (1966-1976) 171 4.3.2 Revolutionalization of repertoire 178 4.3.3 Amateur composers in Jinjiang 180 4.3.4 Current nanyin works 182 4.4 Conclusion 185 Chapter 5 CONTEMPORARY CONTEXTS OF NANYIN ACTIVITIES 187 5.1 Nanyin performance contexts and structure 188 5.1.1 Indoor performance 188 5.1.2 Outdoor performance 189 5.1.3 Ritual performance 190 5.2 Nanyin societies and their operations 191 5.2.1 The oldest nanyin society in southern Fujian 193 5.2.2 Local organization of the nanyin hub 201 5.3 The contemporary scene in nanyin religious activities 211 5.3.1 Invented tradition – funeral rituals 212 7 5.3.2 Revitalization of temple fair tradition 220 5.4 Conclusion 228 Chapter 6 THE INSTITUTIONALISATION OF NANYIN EDUCATION 231 6.1 Traditional oral transmission 231 6.1.1 Nanyin traditional oral transmission 232 6.1.2 Quanqiang – basic accent in nanyin vocal 233 6.1.3 Learning of instrumental pieces 234 6.2 Institutionalized nanyin education 235 6.2.1 School for professional training 237 6.2.2 Institution for the cultivation of nanyin teachers 245 6.2.3 Teacher/student relationship 248 6.3 Nanyin education in elementary and secondary schools 250 6.3.1 Nanyin in the classroom: a strategic launching 250 6.3.2 Classroom pedagogies 251 6.3.3 Annual student’s nanyin competition 254 6.4 Informal children’s nanyin education in southern Fujian 255 6.4.1 Acquisition of music 256 6.4.2 Choice of repertoire 259 6.5 Notation and teaching materials 260 6.5.1 The use of notation in nanyin 260 6.5.2 Nanyin teaching materials 261 6.6 Canonization 262 6.6.1 Computerization of nanyin notation 264 6.6.2 Standardization of transmission in individual nanyin societies 265 6.7 Conclusion 266 8 Chapter 7 NANYIN AS CULTURAL CAPITAL 269 7.1 The impact of transnational nanyin networks 270 7.1.1 Diasporic networks of nanyin 270 7.1.2 Nanyin in cultural perspective 272 7.1.3 Transnational patronage 276 7.2 Government policy towards nanyin activities 280 7.2.1 Nanyin as political diplomacy 280 7.2.2 Re-inventing tradition 281 7.2.3 Commodification and tourism 283 7.3 ICH Preservation and revival 287 7.3.1 Preservation of nanyin as ICH 289 7.3.2 The revival of guozhiqu tradition 298 7.4 Conclusion 305 Chapter 8 CONCLUSIONS 308 8.1 Contributions of this research 308 8.2 Research findings 309 8.2.1 Historically constructed 309 8.2.2 Individuality in identity and musical meanings 310 8.2.3 Class and gender shifts in nanyin tradition 311 8.2.4 Musical changes 311 8.2.5 Nanyin societies in Minnan 314 8.2.6 Rejuvenation and secularization of rituals 315 8.2.7 The perpetuation of nanyin heritage 317 8.2.8 The impact of diasporic patronage 320 8.2.9 Different practice and safeguarding of nanyin between Taiwan and Minnan 322 8.2.10 Current cultural strategies and challenges in Minnan 323 8.2.11 Revival of traditional repertoire 325 8.2.12 Sustainability 325 8.3 Topics for future research 327 9 LIST OF ILLUSTRATIONS Examples 2.1 Wukong siche guan 55 2.2 Wukongguan 56 2.3 Sikongguan – pentatonic on F 56 2.4 Beisiguan – pentatonic on D 57 2.5 Qiliaopai 8/2 or 16/4 58 2.6 Mansanliao 4/2 or 8/4 58 2.7 Jinsanliao or yi’er pai 2/2 or 4/4 58 2.8 Diepai 2/4 or 1/2 59 2.9 Jindiepai 1/4 59 2.10 Extending the syllable xiao via melisma in nanyin singing 79 2.11 Extending the syllable hieng via melisma in nanyin singing 79 2.12 Niqu duoduo, bb.1-5 (CD-1 0:05-34) 81 2.13 Niqu duoduo, bb.26-28, doubling of trills (CD-1 2:16-30) 82 2.14 Alternative ornamentations, bb.1-5 82 2.15 Sustaining function, bb.33-5 83 2.16 Contrary motion b.13 83 2.17 Qiutianwutong – nanyin version 93 2.18 Yishuo – gaojiaxi version 93 2.19 Nanyin, bb.1-6 (DVD-1, 0:06-1:01) 98 2.20 Liyuanxi, bb.1-6 (DVD-1, 8:54-9:12) 99 2.21 Gaojiaxi, bb.1-6 (DVD-1, 11:10-43) 99 2.22 Nanyin, bb.15-19 (DVD-1, 2:09-39) 100 2.23 Liyuanxi, bb.16-19 (DVD-1, 9:45-57) 100 2.24 Gaojiaxi, bb.15-19 (DVD-1,
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