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East Asian Popular Music II: Ideology, Identity, and Music Rock Music in China

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East Asian Popular Music II: Ideology, Identity, and Music Rock Music in China East Asian Popular Music II: Ideology, Identity, and Music Rock Music in China • Chinese Communist Party (CCP) largely disapproves this music mostly its ideological stance. • Restricted from broadcasting via major/national media • Rock music thus took place largely in an alternative public sphere, constituted with social activism and anti-hegemonic struggle expressions. • Rock music in China has been largely subcultural act and located within such a social space. Contents I. Historical scapes of popular music in mainland China II. Rock music and Chinese rock musician, Cui Jian III. Punk subculture in Korea (watch video) *When Rock music was adapted to East Asian pop and youth culture, which aspects of the music have been largely speaking to the local musicians and audiences? How has Western rock music been localized in East Asia by gaining locally significant meanings and constituting locally significant social and musical contexts? *How does music reflect emerging social ideology of a specific time period? In other words, how is music shaped by the ideology of the time and people? • In answering this question, use THREE different popular music examples introduced in your course reading, respectively. Multiple Centres of Chinese Popular Cultures: China—Hong Kong—Taiwan—PRC Western music in China • Before and after 20th C: • Religious missionaries: Matteo Ricci (early 17C) • Protestant Hymn (19th C) • Western powers and treaties (19th C) • Opium War I & II (1839-42; 1856-60) • May 4th, 1919 and modernization in Chinese Way • Criticism but seduced by Western cultures • In 1920s Shanghai, jammed with Jazz, club culture (cabarets), film, modern technologies (gramophones), fashion, cafes, etc. Shanghai Hub of Popular Culture and Modernity The City of Shanghai https://www.youtube.com/ watch?v=Dba67SLBQzM Life of Shanghai in the early 20th century 1911-1937: Shanghai • Despite Japanese military aggression and China’s civil war, Shanghai was bloomed with clubs: • In the 1930s, 300 cabarets in Shanghai, almost 3.5 million people (4th largest city in the world at the time) • Shanghai Jazz movement followed music and dance trends from the West: cha-cha, fox-trot, rumba, waltz, and tango . • Resident foreign musicians and bands from India, Philippines, Indonesia, Hawaii and Russia . • Big cinema industry (since 1896) • By 1927, 106 movie theatres in China; 26 theatres in Shanghai . • Gramophone . • from public spaces to private spaces • Locally 2.7 million records/year produced; 1.1 million imported from the US and Europe in 1929. • In 1932, domestic production and consumption of record reached 5.4 million albums/year. • Literary culture such as novels, magazines, news papers, and tabloids blossomed. Shidaiqu Singers • Zhou Xuan (1918-1957)One of 7 Great Singers in China • Known as Shanghai Golden Voice • Shidaiqu singer and actress • Shidaiqu: Western/Jazz instrumentation + Chinese folk/indigenous songs • https://www.youtube.com/watch?v=jXxeMGCz1 fY • Zhou Xuan, “When Will You Return?” • https://www.youtube.com/watch?v=adZTK8tCL 3s • Zhou Xuan, “Night of Shanghai” Yao Lee or Yao Li (1922) • Another Seven Great Singers in Shanghai in 1940s. • Fled to HK and continue to pursue her career in popular music as a singer and then a producer. • “Rose, Rose, I Love you” • https://www.youtube.com/watch?v=OeHLPsLzchg Shanghai since 1937~ • 1937 to 1945: Japanese Occupation • Rich and intellectuals fled to Hong Kong • Musicians and actors • Japanese army controlled over mass media • Closed down theatres • End of renaissance • 1945-1949: War between CCP and Kuomintang • 1949: People Republic of China Songs for the Masses in PRC China until 1978 • Chinese popular music centre moved to HK and Taiwan. • Ban of Yellow Music, 黃色音樂 • Mao Zedong’s 1942, “Talks at the Yan’an Forum” • Emphasis on the “revolutionary songs” (geming gequ) and “revolutionary operas” (geming geju) • “March of Revolutionary Youth” • http://www.youtube.com/watch?v=1os_wge8yME Post-CR PRC (from 1978) • Popular music from HK and Taiwan. • Political tool from Taiwan. • But appealed with the life issues than revolutionary spirits. • PRC’s exposure to Teresa Teng (Deng Lijun) was “like a dry field in which a match had been thrown” (Baranovitch, Nimrod). • http://www.youtube.com/watch?v=bv_cEeDlop0 Teresa Teng (1953-1995) Taiwanese singer Internationally recognized Peak in 1970s and 1980s Sung in Mandarin, Cantonese, Japanese, Indonesian, and English Moskowitz, Marc. 2010. Cries of Joy, Songs of Sorrow. • About the impact of Teresa Teng: [The Gang-Tai invasion] began with Teresa Teng and then with people like Fei Xiang, an American-born Chines singer who also came to China in the 1980s. Before T. Teng no one listened to pop music. It was all revolutionary songs. It was Teng that ushered in love songs. Her stuff was really great because she sang about real life issues, not just about politics. My mom loves T. Teng and all the other music from that era. My folks were in their twenties and thirties at that time, and that is the age when people usually listen to pop music, right? . If you had to choose one star and say “she is the absolute most important pop singer in the history of Chines pop music” there is no doubt it would be Teresa Teng (19-20). 1978 to 1989 • Banning Gang-Tai pop, then permitted Gang-Tai pop but with a strong censorship • PRC’s own popular songs: Mando Pop • Make it grounded in local culture • Highlight the superiority of Chinese race, optimism, and love for the state, land, and nation. • Battle field between GT’s individualistic themes and PRC pop focusing on Chinese national identity and good citizenship. • Tongsu Yinyue • Popular Music in Mainland China • Focus on socialist ideals and praise of the state. • Government sanctioned music • Fusing Chinese songs [music feels] with disco beats • Lyrics feature the problems of modern society • Supported by the state as opposed to GT pop, claiming that more authentically Chinese than GT pops. • https://www.youtube.com/watch?v=nPkOUfhUH MY • https://www.youtube.com/watch?v=On-i28ljs8s • http://www.youtube.com/watch?v=nBDtXlBtiDw Tongsu Music Xibeifeng • Independent musicians • Personal and individualistic Rock Music • Subculture • Cultural opposition (anti- feudal culture by means of a faith in individualism) Cui Jian (1961—) • Cui Jian, “Nothing to [owe] My Name” “A Piece of Red Cloth” • http://www.youtube.com/watch?v=kYwsPt854Xo • http://www.youtube.com/watch?v=c2RVsAVWPW4 • https://www.youtube.com/watch?v=53E2Ij9uvP0 • https://lyricstranslate.com/ko/%E4%B8%80%E7%84%A1%E6%89%8 0%E6%9C%89-i-have-nothingnothing-my-name.html • I have kept asking, when will you come with me • But you always laugh at me, having nothing • I want to give you my pursuit, along with my freedom • But you always laugh at me, having nothing . • Tell you I have been waiting for so long, tell you my last request • I want to grab your hands, you just come with me • This time your hand is trembling, this time your tears are flowing • Aren't you just telling me, you love me, having nothing? • Oh, you now come with me, oh, you now come with me • The land underneath is moving, the water aside is flowing x 3 Chinese Rock • Beijing Rock: subculture movement • Resistance and opposition to the state control • Most of all, rebel against oppression • Culmination during the Tiananmen square Rock Music and Subculture (Jones 1992, 116) • Birmingham theorists have broadly defined subcultures as: ... meaning systems, modes of expression or lifestyles developed by groups in subordinated structural position in response to dominant meaning systems. ..which reflect their attempt to solve structural contradictions arising from the wider societal context (Michael Brake, Comparative Youth Culture, 1985, 8). Gao Qi: a rock musician (Jones 1992, 120) • Tongsu music is written for an older audience. Rock is youth music ... young people need to express themselves. They are in the process of developing their opinions, their identities .. In China, we have several thousand years of feudalism, which makes people's thinking all alike, conformist, without individualism. Now, after reform and liberalization, you have a generation of youth that are familiar with all sorts of Western things and Western literature ... and this has resulted in a complete cultural transformation ... the younger you are, the greater the western influence ... the changes have been so fast that the generation gap is like leaping over thousands of years. And rock belongs to this younger generation. Dong Dong, a Rock (Jones 1992, 123) China is afflicted by feudalism, by conservatism and close-mindedness [fengbi]. The feudal powers [fengjian shili] oppose rock music. Feudal power comes out of blind obedience to Confucian ideals, and relationships between people in society. The open door policy is one way to solve this, but it has been only superficial. People have learned some foreign technologies, but they're still psychologically feudal, and their social circles are still feudal. Even some of the rock musicians long hair is a sign of this superficial approach to Westernization. We don't want to change the world, but we do want to challenge feudalism with a kind of spiritual liberalization Uingshen shang de kaifang] . Tiananman Square Spirit (Jones 1992, 123) • Wu'er Kaixi, one of the most prominent student organizers of the Tiananmen demonstrations: Chinese culture is feudalistic, despotic, closed [fengbi]; it negates the individual, and it has lasted for 5,000 years ... After 1949 and during the Cultural Revolution this feudalistic culture developed to such an extreme that it now absolutely and completely negates individuality. With reform and the open door policy, and liberalism in thought and culture under Deng Xiaoping, resistance [to feudalism] erupted with full force . Cont’ . In recent years, Chinese college students have been stressing the individual, the self, and rebelling against all sorts of authority ..
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