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    From Henan Opera

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    Ding Feng
    This paper examines how the foreign art form of Henan Opera from China was able to survive for over 60 years in Taiwan by localizing and establishing a Taiwanese identity as Taiwan Bangzi. The paper analyzes the localization process from four perspectives: social and cultural background, performers, script content, and musical textures. The timeline is divided into two periods from 1947-1987 and 1987-2013 to separately discuss the localization processes. Primary sources come from collections on the history of Henan Opera in Taiwan.

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    From Henan Opera

    Uploaded by

    Ding Feng
    25 views17 pages
    This paper examines how the foreign art form of Henan Opera from China was able to survive for over 60 years in Taiwan by localizing and establishing a Taiwanese identity as Taiwan Bangzi. The paper analyzes the localization process from four perspectives: social and cultural background, performers, script content, and musical textures. The timeline is divided into two periods from 1947-1987 and 1987-2013 to separately discuss the localization processes. Primary sources come from collections on the history of Henan Opera in Taiwan.

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    This paper examines how the foreign art form of Henan Opera from China was able to survive for over 60 years in Taiwan by localizing and establishing a Taiwanese identity as Taiwan Bangzi. The paper analyzes the localization process from four perspectives: social and cultural background, performers, script content, and musical textures. The timeline is divided into two periods from 1947-1987 and 1987-2013 to separately discuss the localization processes. Primary sources come from collections on the history of Henan Opera in Taiwan.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    25 views17 pages

    From Henan Opera

    Uploaded by

    Ding Feng
    This paper examines how the foreign art form of Henan Opera from China was able to survive for over 60 years in Taiwan by localizing and establishing a Taiwanese identity as Taiwan Bangzi. The paper analyzes the localization process from four perspectives: social and cultural background, performers, script content, and musical textures. The timeline is divided into two periods from 1947-1987 and 1987-2013 to separately discuss the localization processes. Primary sources come from collections on the history of Henan Opera in Taiwan.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 17

    Asian Musicology 2014 (vo t.

    23)

    From Henan Opera to Taiwan Bangzi.


    Localisation and Identity of Taiwan Bangzi

    Ma Ming-Hui , Assistant professor


    (China Medical University)

    Abstract
    A foreign Henan Opera has survived , changed , and localised
    and established its Taiwan identity from Henan Opera to
    Taiwan Bαngzi for more than sixty years in Taiwan , since it
    was introduced from China to Taiwan under a historical
    occasion. This paper examines the loca Ji sing process from
    Henan Opera to Taiwan Bangzi in Taiwan from fOUf
    perspectives: social and cultural background , performers ,
    contents of scrip峙， and textures of music. The time frame is
    divided into two periods (1 947-1987 and 1987-2013) to
    discuss the processes separately.

    Key words: Taiwan Bangzi, Localisation , Taiwan


    identity , Henan Opera

    From Henan Opera to Taiwan Ballgzi. Localisation


    and Identity of Taiwan Bangzi

    In this paper, I investigate and discuss how a foreign


    Henan Opera can survive , change. and localise and establish
    its Taiwan identity from Henan Opera to Taiwan Bangzi.
    Primarily all materials in this paper come from the collections,

    ·5·
    As ian Musicology 2014 (vo I. 23)

    Yan Limo (嚴立摸) (Ed.), TheFt舟， Years of HendfirOpera


    戶的 Taiwan ( 台灣蠶JJ!lET 字廚，初(pp. 25 .,35). Ta旬ei，
    Taiwan: GuoGuang·Opera Company (國光劇團).
    '%mg;,'(;(m.gropg (楊聰榮 ).1994. “ Chinesisation and Localisation (中
    推~"，:.心國化與本士化)". EducationJoumal, 21(2), 127-137.
    ~a():{.fZai'iSh~~g .(趙再生):1993. “A Introducation'ofHenan Opera
    、心弋 !o('河南戲曲音樂概論)". In Zhao Zai Sheng (趙再生) (E d.), A
    Collrictia, n of仰的白e Opera Music - Henan Opera (,*,IiJ1J.1t
    db i!t第三令J!l/ift%.1lJf.都(pp.:61). Beijing, China: ISBN Centre
    iin:C虹誼a{中國 ISBN 中心).

    Author?sbiodata
    Ma Ming-HUi is a part~time assistant professor in the China
    Medi，cal;Uriiversity~ and he was conferred his PhD from 也e Sy也可
    Conservatorium of· Music 品也e University of Sydney with a
    dissertation of a comparative research in Chinese pipa and Indian
    sitar h 2013.His researchhtemSRfocus on Chinese music, Indian
    music, Taiwan music and Chinese local opera studies.

    Author's e-mail address


    [email protected]晶晶.edu.tw

    -36­

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