RED BOAT TROUPES AND CANTONESE ... - University of Georgia

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y Red Thread Lady from Guangzhou in 2009, but I was also sad to learn about Mr. Lai’s passing. Lai’s effort to collect data for future generations was a noteworthy and respectable gesture. I obtained primary sources of information on life in a Red Boat from Wong Toa. He is one of the very few survivors who had lived on a Red Boat. My first contact with this musician was in Vancouver in 2007. He had self published a few pamphlets. Of the pamphlets, In Searching the Mysteries of Red Boats, was the most helpful. During the Global Symposium in Hong Kong in 2007, I had asked a group of senior researchers from Canton for contacts on the topic of the Red Boat. They all pointed me to Mr. Wong Toa in Vancouver. Likewise at the Qing Wan Music Association in Vancouver, several members told me to see Mr. Wong. I met him the very next day. The interview was conducted at his apartment. At this writing, he told me on the phone that he was still teaching, and he was 97 years old. Prior to seeing Mr. Wong, I had visited the Vancouver Chinese library where I collected related articles, including those he had written for the Singtoa Daily, where he had previously been a columnist. He had been a musician at Ma Sze Tsang’s Tai Ping Kek Tuen in the 1930s. Organization of the Document Chapter two introduces the history of Cantonese opera and Red Boat Troupes. Chapter three looks into the very structuralized Red Boat society. Chapter four discusses the kinds of plays, the zong jyun culture as a means of elevating social class in civil examination, and Confucianism that is ingrained in the operas. 25 Chapter five outlines the music, the performance practices, the tune types, the arias, and the recitatives. Chapter six examines practices, make-up, and costumes from the Red Boat period that were adopted in Hong Kong theaters. Chapter 25 A zong jyun is the valedictorian at a civil examination 13
seven looks into issues of class and gender associated with Cantonese Opera development in Hong Kong. Chapter eight traces the development of Cantonese opera in China and Vancouver. Chapter nine discusses ways to respect, preserve, and develop the Cantonese Opera culture. 14
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Page 5 and 6: Electronic Version Approved: Mauree
Page 7 and 8: ACKNOWLEDGEMENTS I am grateful to D
Page 9 and 10: LIST OF FIGURES Figure 1. Map of Ch
Page 11 and 12: transcriptions retain the old Yale
Page 13 and 14: y me, by people from the estuary, b
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Page 17 and 18: perform at venues such as Caesar’
Page 19 and 20: After reading Lai Kin’s proceedin
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Page 31 and 32: home. But Dr. Sun Yat Sen, a leader
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Page 35 and 36: Chapter Three The Red Boat Society
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Page 73 and 74: Chapter Seven Hong Kong— Social I
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To attract spectators, Sit and Ma h
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women looking forward to troupes co
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After his teacher 13 th Son of Nam
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made up new industries in the 1960s
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Peking opera fa dan (leading female
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Selecting virtues of a few male fri
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Chapter Eight China and Vancouver M
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violin, the koh hu, and he also tra
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Figure 13. Mr. C. Chan at the Qing
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The 94-year-old gentleman walked ad
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Ling: What is in your mind when you
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legendarily departed from Hong Kong
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A Chinese instrumental orchestra, s
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Ms. Chan was the lead singer in the
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Cantonese opera is not static; it i
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___. “Chinese Street Opera Perfor
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___. “Narrative Song: Southern Tr
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second jester Ga Lueng Yee, a serva
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4. As the two young people are havi
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features, he turns to Ci Yung. Wai
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Appendix B: Interviewees 104
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