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Periphery matters : a cultural biography of Peking Opera in Hong Kong
This dissertation is about Peking Opera in Hong Kong. I (re)construct its history, from the early twentieth century to the present day, through the life stories of six individuals who are significant to the topic in various periods and respects. The theoretical base of this project derives from Igor Kopytoff’s notion of Cultural Biography and from (qualitative) Social Network Analysis. I collect my data by ethnographic methods, which include interviews, participant observation and archival research.
In addition to the production of a critical history of Peking Opera in Hong Kong, this dissertation shows how various individual and institutional stakeholders envision and embody their versions of “Chinese-ness” through Peking Opera. I argue that after the 1997 handover, Peking Opera has become a space for the authorities and performers to negotiate their Chinese identities between the “local” (i.e. Hong Kong) and the “national” (i...
Show moreThis dissertation is about Peking Opera in Hong Kong. I (re)construct its history, from the early twentieth century to the present day, through the life stories of six individuals who are significant to the topic in various periods and respects. The theoretical base of this project derives from Igor Kopytoff’s notion of Cultural Biography and from (qualitative) Social Network Analysis. I collect my data by ethnographic methods, which include interviews, participant observation and archival research.
In addition to the production of a critical history of Peking Opera in Hong Kong, this dissertation shows how various individual and institutional stakeholders envision and embody their versions of “Chinese-ness” through Peking Opera. I argue that after the 1997 handover, Peking Opera has become a space for the authorities and performers to negotiate their Chinese identities between the “local” (i.e. Hong Kong) and the “national” (i.e. The People’s Republic of China). This identity-building consequently affects their stance toward, or practice of, Peking Opera. My research also shows that some of these identity-driven practices have made a “reverse impact” on presentational conventions in the Chinese mainland.
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- All authors
- Joshua, Chan
- Editor(s)
- Joshua Chan
- Supervisor
- Crevel, Maghiel van
- Co-supervisor
- Idema, Wilt
- Committee
- Thorpe, Ashley; Moore, Oliver; Sunderason, Sanjukta; Sybesma, Rint
- Qualification
- Doctor (dr.)
- Awarding Institution
- Institute for Area Studies (LIAS) , Humanities , Leiden University
- Date
- 2017-09-12