Music Iconography, Opera, Gender and Cultural Revolution – The Case Study of the Kwok On Collection (Portugal) Luzia Aurora ROCHA NOVA FCSH/CESEM, Colégio Almada Negreiros, Campus de Campolide, 1099-085 Lisboa, Portugal E-mail:
[email protected] (Received: March 2018; accepted: June 2018) Abstract: This study aims to revisit the creation of opera, symphonic versions of opera and ballet (yangbanxi) during the period of the Cultural Revolution of Mao’s China. Beginning with the Kwok Collection (Fundação Oriente, Portugal), I aim to establish a new vision of the yangbanxi (production and reception) by means of an analysis of sources with musical iconography. The focus of the study is on questions of gender and the way in which the feminine was an indispensable tool for the construction and dis- semination of the idea of a new nation-state. This study thus aims to make a new con- tribution to the area, showing how the construction of new opera heroines, communist and of the proletariat, is built on the image of the first “heroine-villain” constructed by the regime, Jiang Qing, the fourth wife of Mao Zedong. The title chosen demonstrates the paradox of the importance of woman in opera and in politics at a time when the only image to be left to posterity was that of a dominant male hero, Mao Zedong. Keywords: cultural revolution, opera, gender, China, musical iconography 1. Introduction The Kwok On Collection results from the 1971 donation by Mr. Kwok On of a set of Cantonese puppets, musical instruments, books and assorted objects in favour of Jacques Pimpaneau.