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The Shāndωng Highwayman: Mechanisms of Inclusion and Resistance and the Predication of Cantonese Identity Through Cantonese Opera

Published online by Cambridge University Press:  07 March 2019

Daniel Ferguson
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Extract

In March 1987, during the course of extensive interviewing among members of the Cantonese opera community in the southern Chinese city of Guăngzhoū,2 I listened with considerable amazement while Chàhn Keìhyàhn, the director of the Guăngdōng Cantonese Opera Institute, recounted an experience he had while staging a local Cantonese opera version of one of the “model operas” of the Cultural Revolution period. My fascination was only secondarily with the details of the story itself; of greater significance was what transpired on a linguistic, and even physical, level as this man related his story.

Type
Articles
Information
Yearbook for Traditional Music , Volume 25 , 1993 , pp. 67 - 80
Copyright
Copyright © 1993 by the International Council for Traditional Music

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Footnotes

1

This is a revised and expanded version of a paper presented at the annual conference of the Society for Ethnomusicology, Seattle, Washington, October 24, 1992.

References

References Cited

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