Folk Opera Research Articles

Guidelines for Literacy Transmission of Changde Sixian Opera in Schools and Educational Institutes

Changde Sixian Opera is a cherished intangible cultural heritage traditional folk opera known for its vibrant melodies. The objective of this study is to propose guidelines for the literacy transmission of Changde Sixian Opera within schools and educational institutes. The study was conducted in Changde City, Hunan Province, and enlisted two key informants, including experienced Changde Sixian performers and educators. Employing a mixed-methods approach involving semi-structured interviews, observations, and document analysis, the study unearthed a multifaceted integration of Changde Sixian into primary and secondary education, higher education, community activities, television programming, and professional performance groups. The research findings underscore the importance of educational institutions in preserving and transmitting Changde Sixian Opera while emphasizing the need for ongoing strategies to address declining interest among younger generations, ensuring the continued vibrancy of this cultural treasure.

Comparative Analysis of the Differences in Aria Melodies at Different Stages of Chinese National Operas

Since the New Culture Movement, Chinese national opera has been developed by generations of composers, giving birth to a large number of excellent operatic works. Chinese national opera, based on traditional Chinese musical elements, and at the same time borrowing the advanced Western experience in opera composition and creative techniques, is deeply loved by the Chinese public. Adopting the methodological framework of comparative study, this thesis selects six operas from three different stages of Chinese national opera, and chooses representative vocal excerpts with rich musicality for research. Based on the analysis of the existing literature and the musicality of the pieces, this thesis aims to comprehensively illustrate the differences of the chant melodies in the Chinese folk opera works of different stages from different levels and dimensions (e.g., melodic ranges, modal tonalities, musical elements, rhythms, etc.), so as to provide methodological frameworks and conclusions for more in-depth studies by scholars in the future.

Ethnomusicological Perspectives on Gaomi Miaoqiang: Unveiling the Cultural Tapestry

This ethnomusicological study delves into the vibrant tapestry of Gaomi Miaoqiang, a traditional Chinese folk opera hailing from the Shandong province, exploring its historical evolution, linguistic intricacies, musical characteristics, and cultural implications. With a foundation rooted in the "肘鼓子" (Zhou Guzi) series of Shandong local operas, Gaomi Miaoqiang has evolved over centuries, blending folk singing styles and incorporating influences from Huagu yangge and Lüqin opera. Acknowledged as China's 67th National Intangible Cultural Heritage, Gaomi Miaoqiang represents a profound cultural legacy.The study scrutinizes the language features of Gaomi Miaoqiang, emphasizing simplicity, clarity, and the integration of local dialects, reflecting the rural life of the Gaomi community. Musical analysis unveils the operatic singing styles, instrumental accompaniment, and the evolution of musical composition. From the authentic tones of the "Original Board" to the intricate patterns of the "Dayoutou Board," Gaomi Miaoqiang's musical journey embodies emotional depth and narrative complexity. The study also explores the roles, makeup, costumes, and stage art, highlighting the art form's transition from grassroots performances to professional troupes. Furthermore, Gaomi Miaoqiang's cultural significance is illuminated, portraying its role as a conduit for spiritual solace and emotional release within local communities. Recognizing its enduring influence, the study advocates for the preservation of Gaomi Miaoqiang's distinctiveness amid urban influences. As Gaomi Miaoqiang navigates the intersection of tradition and modernity, it emerges as a cultural beacon, casting light on the rich legacy of Chinese folk opera and emphasizing the critical role of ethnomusicology in unraveling the intricate threads of cultural heritage.

A Review of Zhejiang Folk Opera Creation since the 21st Century

A Review of Zhejiang Folk Opera Creation since the 21st Century

Hudozhestvennye osobennosti i tendencii razvitiya sovremennoj kitajskoj narodnoj opery

Chinese folk opera is an important part of Chinese folk music. This work reviews the historical background and development of Chinese modern folk opera, it analyses the artistic characteristics of the development of Chinese modern folk opera, it points out the direction of development of Chinese modern folk opera.

국립민족예술단과 북한의 민족음악

This article aims to enhance understanding of the National Folk Art Center (hereafter, the Center) through dividing its 75-year history and activities into three periods, and to review the trend of changes in North Korean national music, From 1947 to 1965, the Center had been reorganized as the Joseon Classical Music Research Institute, the Classical Orchestra directly under the Ministry of Culture and Propaganda, the Hyeopryuldan within the National Arts Theater, the Classical Orchestra under the direct control of the National Arts Theater, the National Classical Arts Theater, and then National Folk Arts Theater. During this period, traditional music capabilities such as changgeuk (Korean opera derived from pansori) and instrumental performances of Korean traditional musician who crossed the border to North Korea had a great impact on the North Korean music scene.
 From 1965 to 1992, the Center had been renamed as the National Folk Opera Theater, the Pyongyang Art Organization, the Moranbong Art Organization, and then the Pyongyang Art Organization; the content of activities had changed. At this time, the pibada ('Sea of Blood') style of national opera was established, and the comprehensive music and dance performances were vitalized while many folk dance and national dance works were created.
 Since 1992, when the Center worked as a National Folk Art Center, it has created and performed works such as national operas, folk dance suites, and national songs and dances. Since the 2000s, the Center focused on creating large-scale art performances together collaborating with various music organizations, rather than solo performances. After the Kim Jong Un era, the Center has been pursuing activities as an independent organization.
 Through the activities from the Joseon Classical Music Research Institute to the National Folk Art Center, we can get a glimpse of the way in which the modern transformations of national music were realized in North Korea, and confirm that the activities of those who crossed the border to North Korea were at the base. The activities and roles they played in North Korea serve as a point of contact for South and North Korea to confirm their traditional musical culture and national identity.

Sexual Abuse and its Implication in Nigerian Universities: A Reflection of David Bolaji’s TaniMola, A Satirical Folk Opera

Satire is a potent literary art used to critique and redress illicit acts in societies. It is one of the artistic weapons from time immemorial used by literary writers and art musicians for correcting societal ills. Also, this phenomenon, within the context of academia, has been used to unmask the perpetrators of evils and unlawful acts prevalent at different levels of the Nigerian university system and political system of governance. This study examines sexual abuse and its implication for Nigerian universities while reflecting on the illicit behaviours illustrated in David Bolaji’s Tanimola (2011), a satirical folk opera. The paper exposes male lecturers’ sexual molestation of female students and the stigmatisation of sexual assault victims. In addition, it unravels other illicit acts within the University community in Nigeria and how each identified unlawful act is treated with irony, humour, and contempt within the framework of TaniMola. Adopting the principle of Ethics and Moral Theory presented by Strahovnik (2018) for textual analyses of the libretto, plots, and scenes in Tanimola, the article submits that as the university system passes through different transitions, there is a need for caution on the part of male lecturers concerning sexual assaults being perpetuated on female students. The study pointed out that every institution has roles to play in the crusade against the illicit acts of female sexual abuse in Nigerian universities if gender fairness is guaranteed and the education standard is to be improved.

FEATURES OF FEMALE HEROIC IMAGES IN CHINESE FOLK OPERA

The article discusses the features of the embodiment of female heroic images in Chinese folk operas on a military-patriotic theme. The material for the analysis was the images of Sister Jiang (opera “Sister Jiang”, 1964), Tian Yumei (opera “Daughters of the Party”, 1991) and Haitang (opera “The Yimenshan Mountains”, 2018). One of the objectives of the study is to identify the dynamics of development of this type of hero in the genre of Chinese folk opera. The article emphasizes that the heroic image of a woman is important for Chinese culture and is associated with the feminist movement in the first half of the 20th century. The analysis of the operas showed similarities and differences in the dramatic role and in the musical characteristics of Sister Jiang, Tian Yumei and Haitan. They have a similar experience of fighting the enemy, they are ready to sacrifice themselves for the common good. In their vocal parts, “central songs” are carried out, the most important part of their musical characteristics are large monologue arias. The differences are related to the level of psychological credibility of these characters. The example of Sister Jiang, Tian Yumei and Haitan clearly shows the trend towards a gradual increase in Chinese folk operas of elements of femininity and psychologism. This trend is manifested in an increase in the number of vocal numbers with episodes of a subjective-lyrical nature that reflect the feelings of the heroines and their state of mind.

СУЧАСНІ ТЕНДЕНЦІЇ СТАНОВЛЕННЯ КИТАЙСЬКОГО ОПЕРНОГО МИСТЕЦТВА

The article examines the historical development of Chinese opera art since ancient times in the conditions of its time. Modern trends as a genre, style and plot in the formation of Chinese opera are updated; which allows us to trace the appearance of new elements in various directions of musical and dramatic action. Chinese opera went through a long path of conceptual genre-stylistic formation, the variety of opera enriched with quantitative and qualitative indicators of new stylistics with the advantage of arias, solo and ensemble singing, new orchestral thinking testifies to a new crystallization of opera drama against the background of national traditions and new composer thinking. The study of these changes in the art of opera allows us to think about different directions of the genre-style concept of Chinese folk opera and musical theater in a new way. The fundamental scientific study of the historical formation of Chinese opera art, the importance of musical theater as an organic part of the reflection in the artistic form of the life and lifestyle of the people, the essential signs of national character and mentality in the works of luminaries of opera art are highlighted. The problem of the formation of modern Chinese opera in the context of assimilation of European experience is revealed, the influence of pro-European opera on the genre and stylistic features of modern Chinese opera art is revealed, which reflects the work of its artist in a new reinterpretation of folk music, allows to actualize the genre, style, plot with the transfer of the operatic action to the modern era, to provide appropriate metaphoricality, illusoryness, outrage and performance, going beyond the scope of the work with the sacramental feature of Chinese opera as an ethnocultural phenomenon.

A Method for Extracting Features of Modern Folk Opera Performance Art Based on Principal Component Analysis

With the continuous development of China’s economy and society and the gradual reform of various industries, the modern folk opera performance art has received more and more attention, and through the excavation of features in the folk opera performance art, the modern folk opera performance level can be promoted. This paper proposes a generalised principal component analysis (PCA) feature extraction method, which first reorganizes the image matrix, constructs the overall scatter matrix based on the reorganized image matrix, and then finds the best projection vector for feature extraction. The proposed method is a further extension of the 2DPCA module, which can build a scatter matrix of arbitrary dimensions and obtain a projection vector of arbitrary dimensions. The results show that the best feature extraction is achieved by optimising the SVM with a principal component contribution of 50% and using the grid search algorithm. The smaller the dimension of the scatter matrix, the stronger the feature extraction ability of the generalised principal component analysis and the faster the feature extraction speed.

Viewing the African Political Leadership Challenge through the Lens of Music Drama: Reflections on Duro Ladipo’s Ọba Kòso

In response to the question of the relevance of ‘classical’ African Studies to the contemporary need of the continent, this article explores the dynamics of leadership challenge as portrayed in Yorùbá music drama genre, using Duro Ladipo’s most popular folk opera: Ọba Kòso (The king did not hang) as a case study. Thematic exploration of the opera was carried out to establish the linkages between leaders’ (characters’) traits and styles as portrayed in the play, and Nigeria’s political leaders’ engagement and responses to social contracts with their citizens. By comparing the outcomes of the actions, inactions and (in) decisions of Nigeria’s political leaders and the attendant consequences on their subjects with those found in the opera. I argue that the African political leadership challenge is shaped by a combination of complex factors, including the leaders’ charisma and the quality of citizens’ engagements in the affairs of governance. These are largely occasioned by multiple effects of torrential and irresistible mob pressures on leaders. At the fringes of the debacle is a convergence of human fate and other coincidental elements within the various sites of the divide in the contestation for and utilization of power as a whole.

Folk Literature and Social Space: Interdependences and Correlations

Art is not a mirror held up to reality, but a hammer with which to shape it.” this dictum attributed to famous playwright Bertolt Brecht as quoted by Bleeker et al., (2019) sums up the interdependence and correlation between art and literature and society. The world has never been a singular entity. There have always been groups that lived a powerful, privileged existence and it is their experience that has passed down the generations as literature, as the core narrative of human existence at a given time. For long ‘Literature’ did not include ‘Folk’ or their culture as was relegated to the peripheries of academic discourse as belonging to the savage, subaltern people. However, it is now increasingly being recognised as an archive of vernacular knowledge systems and a great contributor to the social and cultural development of the people. Both social space and folk literature affect and mould each other. What happens in social space gets reflected in folk literature and what folk literature depicts becomes part of social space. Saang as a form of folk performance tradition has been the source of or a defining influence on the various forms of Folk performance traditions of North India. It has been called “a north Indian Folk Opera” by Vatuk, V. P., & Vatuk, S. (1967) because the dialogues between characters are sung. Taking it as a representative form of North Indian folk performative tradition, my paper attempts to analyse issues of representation of culture, society and morality on the Saang stage. The paper, would focus on some selected Saangs of Lakhmi Chand (1905-1945), as compiled by Sharma, P. Chand. (2006) in Lakhmi Chand Granthavali. He is known as the greatest exponent of the Saang form and often referred to as the Shakespeare of North India. His Saangs invariably represent the values and experiences that formed the core of the society of his times. He has taken tales from history, myth and local legends as the basis for his performances. The present paper analyses the content of some Saangs composed and performed by Lakhmi Chand to analyse the knotty question of representation of culture and morality and how one can see reflected in the tales performed by the Saangi, the major social concerns of the times.

Discussion on the Morphological Characteristics of Dance Performance of "Female Roles" in Gannan Tea-picking Opera

Gannan tea-picking opera is a folk opera popular in the south of Jiangxi, among which "Liangdan Yichou" is the most representative way of performance. "Female roles" can be divided into "Xiao Dan" and "Cai Dan". The relationship of "Liangdan Yichou" in Gannan tea-picking opera can be roughly summarized as "the clown who plays the role of a female is responsible for matching, Zhengchou resembles the female character type in Beijing opera and “Fanchou”makes troubles. Cai Dan gives a beat of person with bad behavior. As the female character type in Beijing opera like three-inch “golden lotuses” (woman's bound feet in feudal age) encounters the exaggerated caricature like clown who plays the role of a female, the distinctive female dance performance style of Gannan tea-picking opera was formed. This paper aims to sort out and summarize the formation of the "female roles" dance performance in Gannan tea-picking opera and its unique character characteristics to have a clearer understanding of the aesthetic norms and artistic value of the dance performance of "female roles" in Gannan tea-picking opera to improve the cultural content of Gannan tea-picking opera and promote the inheritance and development of Gannan tea-picking opera as a whole.

ARCHITECTURE OF NATIONAL THEATER PAVILIONS AT THE EXHIBITIONS OF THE PRAGUE QUADRIENAL, AND IN PARTICULAR, THE FIRST UKRAINIAN

The article highlights the ideas of forming the architecture of scenographic pavilions at world exhibitions that demonstrate works of theatrical art on the example of those that presented theatrical art at one of the most famous forums in the world – the Prague Quadrennial in 1967-2019 (PQ), and in particular, the first Ukrainian ones. Quadrennial events are held every 4 years and present the development of various theatrical arts: architecture, scenography, performing arts, theatre skills, etc. But few of the interesting architectural solutions of national pavilions and installations are represented in professional, educational, popular and scientific publications. Therefore, the authors of the article decided to highlight various architectural ideas of national theatre pavilions (Belgium, the former USSR and Russia, Germany, Slovakia, Spain, Estonia), and in particular, the creation of the architecture of the first Ukrainian ones. The authors – teachers, postgraduates, students of the Department of Architectural Environment Design – relied upon and developed the architectural and scenographic ideas of the world-famous scenographer Y. Lysyk in 2015, 2019. The space of which in the first case was a stage, the horizon and wings of which were similar to the curtain from the performance of Lysyk's ballet "Romeo and Juliet", and in the second case, in 2019, space resembled the "amphitheatre" of the Ukrainian prehistoric theatre for Kupala drama. The horizon was enlarged based on the artist's sketch for the folk opera "When the Fern Blooms".

Bassac Folk Opera: When Ream Faked His Death to Win Back Seda

Bassac Folk Opera: When Ream Faked His Death to Win Back Seda

서울시민회관의 공공극장 운영 방향성에 관한 연구 - 상주단체인 서울민속가극단의 활동을 중심으로

이 연구는 1960년대 관립문화공간이자 대형 다목적홀인 시민회관의 운영실태, 문화수용 양상을 고찰하고, 단명한 상주공연단체 사례를 통해 시민회관을 재조명하는 데 목적이 있다. 시민회관은 단순한 이윤보다 서울시민의 문화생활과 지역사회의 공익에 이바지해야 하는 공공극장으로 설립되었다. 이곳은 고급예술과 대중예술, 전통예술과 현대예술이 혼재된, 혼종성을 지닌 문화공간이었다. ‘자본’의 공간이자 ‘혼종성’의 공간인 시민회관의 특성을 규명하기 위해서, 시민회관의 전속공연단체로 육성시키려 한 서울민속가극단의 공연활동을 실증적으로 검토하였다. 시민회관이 이윤을 추구한다는 비판에 직면한 서울시는 공익성을 중심으로 하는 시민회관의 운영 방향과 공공지원 기능을 요구받고 있었다. 이에 따라 서울시는 ‘서울민속가극단’ 출범과 운영을 적극 지원하였다. 서울민속가극단은 민속예술의 대중화·무대화를 모토로 공연활동을 펼쳤으며, 활동 중심 무대는 시민회관이었다. 다시 말해, 서울민속가극단은 무분별한 민간단체 대관 위주라는 시민회관 운영상의 비판을 감안하여 공공 공연장의 자체 기획기능을 활성화하기 위해 서울시 후원으로 탄생한 공연단체이다. 서울민속가극단은 악극, 여성국극 공연을 재구성한 공연을 선보였으나, 기존 공연물과의 차별화나 문화담론 형성에 새로운 방향성을 제시하지 못한 채 해체되고 말았다. 이 논문에서는 수요-공급이라는 경제논리로 운영된 시민회관 전속 예정 공연단체의 쇠퇴 과정과 공연 특성을 규명함으로써, 혼종성의 공간이자 자본의 공간인 시민회관의 성격, 프로그램 운영실태와 한계를 드러내고자 하였다.

The Musical Component in the Modern Chinese Folk Opera on the Example of “The Yimenshan Mountains” Opera

The modern Chinese folk opera “The Yimenshan Mountains” is the genre of historical revolutionary drama. The Yimenshan revolutionary bridgehead is the setting (1). Dramatic events unfold against the background of the War of Resistance against the Japanese invaders, the breakthrough of Daqingshan, a defensive battle on the cliff of Yuanzi. The story of the unity of the opera characters, Hai Tan, Lin Shen, Xia He, Commander Zhao, in the face of a national threat is at the center of the plot. The spirit of self-sacrifice, the spirit of unity of the army and the people of Yimenshan is revealed in the opera. Outstanding screenwriters, directors, and composers from all over the country were invited to work on the opera, the leading roles were played by famous Chinese vocalists. As part of the tour, more than 100 performances took place. The drama received wide public attention and was noted as "a new direction in the development of folk opera".

Selling Scandal in the Republican Era: Folk Opera in Performance and Print

Selling Scandal in the Republican Era: Folk Opera in Performance and Print

Selling Scandal in the Republican Era: Folk Opera in Performance and Print

The publication of vernacular texts in regional languages is a vibrant but relatively little-known niche in the history of Chinese print culture. This study will draw from extant opera texts (tanhu...

Between Animal and Human: The Evolving “Mouse” in Successive Version of Fifteen Strings of Cash

This paper focuses on the change of the image of “mouse” which was transformed from the legend of Fifteen Strings of Cash to the other versions. The legend of Fifteen Strings of Cash, written by Zhu Suchen, was a story of the vindication of defendants in a court case and formed the basis for a series adaptations. The legend of Fifteen Strings of Cash provided a frame of imagination about the image of a “mouse”. Meanwhile, the adaptation of the legend in folk opera provided a more ethical narrative than the original. The folk versions not only strengthened the “evil” of the “mouse”, but also heightened the suffering of innocent scholars. In the contemporary versions after 1949, the “mouse” as an animal disappeared in the story, and Lou Ashu (“shu” means “mouse” in Chinese) became a pure villain in this play, which also symbolized “evil” and pointed to the feudal and backward old society.