Advertisement

Living with Us—The Case of Kunqu

  • Chow Yiu Fai
Chapter
Part of the Palgrave Studies in Globalization, Culture and Society book series (PSGCS)

Abstract

Quite a number of single women in Shanghai’s creative industries are active in the Kunqu scene. Originating in the late Yuan dynasty, Kunqu is generally considered to be one of the oldest forms of operatic arts in China. These women engage with Kunqu as fans, apprentices, teachers, organizers, or promoters. And very often, they know one another. This chapter seeks to map out what exactly they do regarding Kunqu, how and why this community of informal sociality came into being, and what the passion, friendships, and contacts they share with regard to its creative practice mean to these single women. In so doing, it engages with three lines of scholarship: deliberations on (imagined) community and citizenship, creative labour studies that often frame “sociality” among creative workers in professional terms, and fandom studies as well as audience research, which attempt to redefine what fans and audiences are in our time.

References

  1. Aldous, Joan, Emile Durkheim, and Ferdinand Tonnies. “An Exchange Between Durkheim and Tonnies on the Nature of Social Relations, with an Introduction by Joan Aldous.” American Journal of Sociology 77, no. 6 (1972): 1191–1200.CrossRefGoogle Scholar
  2. Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of Nationalism. London: Verso, 1991.Google Scholar
  3. Barton, Kristin M., and Jonathan Malcolm Lampley, eds. Fan CULTure: Essays on Participatory Fandom in the 21st Century. NC: McFarland, 2014.Google Scholar
  4. Bird, S. Elizabeth. “Are We All Produsers Now?” Cultural Studies 25, no. 4–5 (2011): 502–16.CrossRefGoogle Scholar
  5. Blackshaw, Tony. Key Concepts in Community Studies. London: SAGE Publications, 2010.CrossRefGoogle Scholar
  6. Bruns, Axel. Blogs, Wikipedia, Second Life, and Beyond: From Production to Produsage. New York: Peter Lang, 2008.Google Scholar
  7. Cattani, Gino, and Simone Ferriani. “A Core/Periphery Perspective on Individual Creative Performance: Social Networks and Cinematic Achievements in the Hollywood Film Industry.” Organization Science 19, no. 6 (2008): 824–44.CrossRefGoogle Scholar
  8. Chen, Chaochen. “How Beijing Opera Eclipsed Kun Opera in Chinese Sociocultural and Sociopolitical Contexts.” Master’s Thesis, California State University, 2011.Google Scholar
  9. Chow, Yiu Fai. “Martial Arts Films and Dutch–Chinese Masculinities: Smaller Is Better.” China Information 22, no. 2 (2008): 331–59.CrossRefGoogle Scholar
  10. Chow, Yiu Fai, and Jeroen de Kloet. Sonic Multiplicities: Hong Kong Pop and the Global Circulation of Sound and Image. Bristol, UK; Chicago, USA: Intellect Books, 2013.Google Scholar
  11. Cochran, Tanya R. “The Browncoats Are Coming! Firefly, Serenity, and Fan Activism.” In Investigating Firefly and Serenity: Science Fiction on the Frontier, edited by Rhonda V. Wilcox and Tanya R. Cochran, 239–50. London: I.B. Tauris, 2008.Google Scholar
  12. Cullen, Fin. “‘Two’s up and Poncing Fags’: Young Women’s Smoking Practices, Reciprocity and Friendship.” Gender and Education 22, no. 5 (2010): 491–504.CrossRefGoogle Scholar
  13. Durkheim, Emile. “A Review of Ferdinand Tönnies’s Gemeinschaft Und Gesellschaft: Abhandlung Des Communismus Und Des Socialismus Als Empirischer Culturformen.” American Journal of Sociology 77 (1972): 1193.Google Scholar
  14. Ehrenreich, Barbara, Elizabeth Hess, and Gloria Jacobs. “Beatlemania: Girls Just Want To Have Fun.” In The Adoring Audience: Fan Culture and Popular Media, edited by Lisa A. Lewis, 84–106. London: Routledge, 2002.Google Scholar
  15. Evans, Elizabeth. Transmedia Television: Audiences, New Media, and Daily Life. London: Routledge, 2011.CrossRefGoogle Scholar
  16. Felton, Emma, Christy Collis, and Phil Graham. “Making Connections: Creative Industries Networks in Outer-Suburban Locations.” Australian Geographer 41, no. 1 (2010): 57–70.CrossRefGoogle Scholar
  17. Feng, Yun (冯芸). “苏州的昆曲传承:昆曲曲社的历史变迁 [Suzhou Kunqu de Chuancheng: Kunqu Qushe de Lishi Bianqian].” 中国音乐 [Zhongguo Yinyue], no. 3 (2010): 47–53.Google Scholar
  18. Fishzon, Anna. Fandom, Authenticity, and Opera: Mad Acts and Letter Scenes in Fin-de-Siècle Russia. Basingstoke: Palgrave Macmillan, 2013.CrossRefGoogle Scholar
  19. Gu, Duhuang (顾笃璜). “苏州昆曲曲家与道和曲社 [Suzhou Kunqu Qujia Yu Daohe Qushe].” 文匯報 [Wenhui Bao], May 18, 2015.Google Scholar
  20. Guo, Yingde (郭英德). 明清传奇史 [Mingqing Chuanqi Shi]. Nanjing: Jiangsu guji chubanshe, 1999.Google Scholar
  21. Hall, Stuart. “Encoding/Decoding.” In Culture, Media, Language: Working Papers in Cultural Studies, edited by Centre for Contemporary Cultural Studies. London: Hutchinson, 1980.Google Scholar
  22. Hay, James, and Nick Couldry. “Rethinking Convergence/Culture.” Cultural Studies 25, no. 4–5 (2011): 473–86.CrossRefGoogle Scholar
  23. Hills, Matt. Fan Cultures. Hove: Psychology Press, 2002.Google Scholar
  24. Hinerman, Stephen. “Beatlemania: Girls Just Want To Have Fun.” In The Adoring Audience: Fan Culture and Popular Media, edited by Lisa A. Lewis, 107–34. London: Routledge, 2002.Google Scholar
  25. Illouz, Eva. Cold Intimacies: The Making of Emotional Capitalism. Cambridge: Polity, 2007.Google Scholar
  26. Jenkins, Henry. Convergence Culture: Where Old and New Media Collide. New York: NYU Press, 2006.Google Scholar
  27. Jiang, Jin (姜进). 诗与政治: 20世纪上海公共文化中的女子越剧 [Poetry and Politics: Female Yue Opera in 20th Century Shanghai Public Culture]. Beijing: 社会科学文献出版社 [Social Sciences Academic Press], 2015.Google Scholar
  28. Kanai, Akane. “On Not Taking the Self Seriously: Resilience, Relatability and Humour in Young Women’s Tumblr Blogs.” European Journal of Cultural Studies, 2017, 1–18.Google Scholar
  29. Kong, Lily. “The Sociality of Cultural Industries.” International Journal of Cultural Policy 11, no. 1 (2005): 61–76.CrossRefGoogle Scholar
  30. Lam, Joseph Sui Ching. “Escorting Lady Jing Home: A Journey of Chinese Gender, Opera, and Politics.” Yearbook for Traditional Music 46 (2014): 114–39.CrossRefGoogle Scholar
  31. Lee, Minha. “Fostering Connectivity: A Social Network Analysis of Entrepreneurs in Creative Industries.” International Journal of Cultural Policy 21, no. 2 (2015): 139–52.CrossRefGoogle Scholar
  32. Nancy, Jean-Luc. The Inoperative Community. Minnesota: U of Minnesota Press, 1991.Google Scholar
  33. Park, Robert. “The City: Suggestions for the Investigation of Human Behavior in the Urban Environment.” In Classic Essays on the Culture of Cities, edited by Richard Sennett. Englewood Cliffs: Prentice-Hall, 1916.Google Scholar
  34. Qian, Nanyang (钱南扬). “南词引正校注 (Nanci Yinzheng Jiaozhu).” 戏剧报 [Xiju Bao], no. 2 (1961): 60–61.Google Scholar
  35. Radway, Janice A. Reading the Romance: Women, Patriarchy, and Popular Literature. London: Verso, 1987.Google Scholar
  36. Scheel, Karen R., and John S. Westefeld. “Heavy Metal Music and Adolescent Suicidality: An Empirical Investigation.” Adolescence 34, no. 134 (1999): 253.Google Scholar
  37. Sennett, Richard. Together: The Rituals, Pleasures and Politics of Cooperation. New Haven: Yale University Press, 2012.Google Scholar
  38. Stenberg, Josh. “Three Relations between History and Stage in the Kunju Scene Slaying the Tiger General.” Asian Theatre Journal 32, no. 1 (2015): 107–35.CrossRefGoogle Scholar
  39. Stenberg, Josh, and Jason J. P. Cai. “Mostly Young Women with Quite Traditional Tastes: Empirical Evidence for National Contemporary Audiences of Xiqu.” Theatre Journal 69, no. 1 (2017): 43–59.CrossRefGoogle Scholar
  40. Storey, John. “The Social Life of Opera.” European Journal of Cultural Studies 6, no. 1 (2003): 5–35.CrossRefGoogle Scholar
  41. Themen, Kate, and Jenny van Hooff. “Kicking against Tradition: Women’s Football, Negotiating Friendships and Social Spaces.” Leisure Studies 36, no. 4 (2017): 542–52.CrossRefGoogle Scholar
  42. Thomas, Lyn. Fans, Feminisms and “quality” Media. Hove: Psychology Press, 2002.Google Scholar
  43. Tönnies, Ferdinand. Gemeinschaft Und Gesellschaft. Leipzig: Fues’s Verlag, 1887.Google Scholar
  44. Trier-Bieniek, Adrienne. Feminist Theory and Pop Culture. Rotterdam: Sense Publishers, 2015.CrossRefGoogle Scholar
  45. Wang, Yan (王焱). “现代主义与传统文化的璧合──白先勇小说创作概论 [The Combination of Modernism and Traditional Culture ─ An Introduction to Bai Xianyong’s Novel Creation].” 天中学刊 [Tianzhong Xuekan], no. 1X (1995): 66–69.Google Scholar
  46. Weber, Max. “The Distribution of Power Within the Gemeinschaft: Classes, Stände, Parties.” In Weber’s Rationalism and Modern Society: New Translations on Politics, Bureaucracy, and Social Stratification, edited by Tony Waters and Dagmar Waters, 37–58. New York: Palgrave Macmillan, 2015.Google Scholar
  47. Yu, Weimin (俞为民). “昆曲的现代性发展之可能性研究 [Study on the Possibility of the Modern Development of Kunqu].” 文化艺术研究 [Wenhua Yishu Yanjiu], no. 1 (2011): 133–55.Google Scholar
  48. Zhang, Weiyu, and Chengting Mao. “Fan Activism Sustained and Challenged: Participatory Culture in Chinese Online Translation Communities.” Chinese Journal of Communication 6, no. 1 (2013): 45–61.CrossRefGoogle Scholar
  49. Zhao, Shanlin (赵山林). “试论昆曲观众的历史变迁与现状 [On the Historical Vicissitude and Current Situation of Kunqu].” 东南大学学报(哲学社会科学版) [Journal of Southeast University (Philosophy and Social Science)] 16, no. 1 (2014): 96–165.Google Scholar
  50. Zheng, Chuanjian (郑传鉴). “昆剧传习所纪事 [Kunqu Chuanxisuo Jishi].” 中国戏曲网 [Zhongguo Xiqu Wang] (blog), November 6, 2006. http://www.chinaopera.net/html/2006-11/606p3.html.
  51. 中国戏曲志全国编辑委员会 [Zhongguo xiquzhi quanguobianji weiyuanhui]. 中国戏曲志上海卷 [Chinese Xiqu Records Shanghai Volume]. Beijing: Zhongguo, 1999.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • Chow Yiu Fai
    • 1
  1. 1.Hong Kong Baptist UniversityKowloon TongHong Kong

Personalised recommendations