Imaging National Music, Representing Prosperity: Alternative Modernities of Guoyue in Early Postwar Taiwan (the Mid-1940s to the 1960s)
|關鍵字:||國樂;結構史;慣習;愁舊;另類現代情境;guoyue;structural history;habitus;nostalgia;alternative modernities|
When Taiwan’s regime changed from Japanese colonial government into KMT in 1945, people encountered a number of performing cultures from the mainland China. Guoyue (lit. national music) concerts usually took place in the name of cultural exchange before the KMT retreated to Taiwan in 1949. After the Chinese Civil War, some guoyue elites went away their home and followed with the KMT government to the unfamiliar island. Because the definitions of guoyue were so diverse that some of groups had nothing in common, some of the elites considered that guoyue ought to be reconstructed in Taiwan. They initiated establishing official institution “the Chinese Guoyue Society” (CGS) and coordinated the cultural policy for anti-communism, giving guoyue newly cultural and political meanings. For their endeavor, guoyue developed rapidly and acquired the government’s approval. In 1967, the Taiwanese government proclaimed the Chinese Cultural Renaissance Movement, in which guoyue was utilized to claim the legitimacy of Chinese cultural heritage to oppose the Cultural Revolution then taking place in mainland China. This thesis focuses on the musical event, guoyue elites, and guoyue institutions in early postwar Taiwan (the mid-1940s to the 1960s). It firstly collects and analyzes historical materials to construct the historical event and historical structure. Secondly, it analyzes some discourses and publications both of which were written by the elites and published by CGS to understand their musical practice and their musical “past.” The guoyue elites’ “habitus” not only consolidated their social position but also represented their aesthetic and political legitimacy. Furthermore, they recalled their home and past to reconstruct guoyue in Taiwan, and appropriated guoyue to evoke the nostalgia of the “Cultural-China” and its musical prosperity. Finally, drawn on an idea of “alternative modernities,” the thesis sheds light on the guoyue elites’ actions and choices were reflective of the present. They entangled in the rupture of time and space, not only imaging and creating modernized guoyue, but also suturing the “past” of guoyue and underlining its spirit to evoke national sentiment and cultural identity.
|Appears in Collections:||Thesis|