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Student Project: Revitalizing a fading art : the future of Cantonese Opera in Hong Kong

TitleRevitalizing a fading art : the future of Cantonese Opera in Hong Kong
Authors
Issue Date2018
PublisherThe University of Hong Kong (Pokfulam, Hong Kong)
Citation
Chan, L. R., Chow, H. R.. (2018). Revitalizing a fading art : the future of Cantonese Opera in Hong Kong. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR.
AbstractAn audience survey conducted by the West Kowloon Cultural District Authority three years ago revealed that audiences of Cantonese opera were concentrated at the age of 50 or above. In other words, there are insufficient young audiences, causing concerns on the sustainability of this traditional art form. This research applied Bourdieu’s concepts of habitus, cultural capital and taste and Becker’s “Art Worlds” perspective to explore how Cantonese opera can be revitalized. By conducting surveys and interviews, four aspects were examined, including the cultural background of performers and audiences, the cultural meanings of Cantonese opera to performers and audiences, the positioning of Cantonese opera and the “conventions” of Cantonese opera. The results show that a person’s habitus, i.e. family and education background as well as habit of attending cultural performances, would affect his/her interest in Cantonese opera. Education since childhood and more publicity of Cantonese opera in the mass media would be effective tools in cultivating young generation’s interest in Cantonese opera. In order to attract more diversified audiences to appreciate this form of performing arts, conventions of the traditional style of Cantonese opera should be changed, or even “modern style” Cantonese opera should be created as suggested by interviewees. There should also be cooperation between “integrated professionals” (performers who are in the mainstream) and “mavericks” (performers who advocate reforms and innovations). In addition, according to the surveys and interviews results, Cantonese opera can be positioned as more “high class”, but at the same time keeping its down-to-earth nature. Since there is a lack of studies on Cantonese opera from sociological perspective, this research provides insights about how taste on Cantonese opera is formed. It also demonstrates the operation of the “art world” of Cantonese opera and the interaction between different types of “artists”.
DegreeMaster of Social Sciences in Media, Culture and Creative Cities
Dept/ProgramMedia, Culture and Creative Cities
Persistent Identifierhttp://hdl.handle.net/10722/266689

 

DC FieldValueLanguage
dc.contributor.authorChan, Leong-kwan, Reynard-
dc.contributor.authorChow, Hiu-yeung, Ricky-
dc.date.accessioned2019-01-29T05:16:46Z-
dc.date.available2019-01-29T05:16:46Z-
dc.date.issued2018-
dc.identifier.citationChan, L. R., Chow, H. R.. (2018). Revitalizing a fading art : the future of Cantonese Opera in Hong Kong. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR.-
dc.identifier.urihttp://hdl.handle.net/10722/266689-
dc.description.abstractAn audience survey conducted by the West Kowloon Cultural District Authority three years ago revealed that audiences of Cantonese opera were concentrated at the age of 50 or above. In other words, there are insufficient young audiences, causing concerns on the sustainability of this traditional art form. This research applied Bourdieu’s concepts of habitus, cultural capital and taste and Becker’s “Art Worlds” perspective to explore how Cantonese opera can be revitalized. By conducting surveys and interviews, four aspects were examined, including the cultural background of performers and audiences, the cultural meanings of Cantonese opera to performers and audiences, the positioning of Cantonese opera and the “conventions” of Cantonese opera. The results show that a person’s habitus, i.e. family and education background as well as habit of attending cultural performances, would affect his/her interest in Cantonese opera. Education since childhood and more publicity of Cantonese opera in the mass media would be effective tools in cultivating young generation’s interest in Cantonese opera. In order to attract more diversified audiences to appreciate this form of performing arts, conventions of the traditional style of Cantonese opera should be changed, or even “modern style” Cantonese opera should be created as suggested by interviewees. There should also be cooperation between “integrated professionals” (performers who are in the mainstream) and “mavericks” (performers who advocate reforms and innovations). In addition, according to the surveys and interviews results, Cantonese opera can be positioned as more “high class”, but at the same time keeping its down-to-earth nature. Since there is a lack of studies on Cantonese opera from sociological perspective, this research provides insights about how taste on Cantonese opera is formed. It also demonstrates the operation of the “art world” of Cantonese opera and the interaction between different types of “artists”. -
dc.languageeng-
dc.publisherThe University of Hong Kong (Pokfulam, Hong Kong)-
dc.relation.ispartofCapstone Project-
dc.rightsThe author retains all proprietary rights, (such as patent rights) and the right to use in future works.-
dc.rightsThis work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.-
dc.titleRevitalizing a fading art : the future of Cantonese Opera in Hong Kong-
dc.typeStudent_Project-
dc.description.thesisnameMaster of Social Sciences in Media, Culture and Creative Cities-
dc.description.thesislevelMaster-
dc.description.thesisdisciplineMedia, Culture and Creative Cities-
dc.description.naturepublished_or_final_version-
dc.identifier.mmsid991044072791003414-

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