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Teochew opera
Teochew opera (Chinese: 潮劇; Teochow: diê5 giah8) or Chaozhou opera, Chiuchow opera (especially in Hong Kong), is one of the many variants of Chinese opera, originating in southern China's Chaoshan region. It is popular in eastern Guangdong, southern Fujian, Hong Kong, Macau, Thailand, Vietnam, Singapore, Indonesia, Malaysia and Cambodia. Like all versions of Chinese opera, it is a traditional Chinese art form, involving music, singing, martial arts, acrobatics and acting. OriginsTeochew Opera was originated from the Teochew, or Chaoshan[1] district in China and came into being about 300 years ago, at the end of the Ming Dynasty (1421-1431). It originated from the Nanxi of Song and Yuan Dynasties and was formed by the local culture of Nanxi. In terms of long-term development, Teochew opera gradually formed its unique artistic style: the singing voice is light and low, lyrical and beautiful, and performances include lively singing and dancing and perfect division of characters.[2] SignificanceTeochew opera often plays an essential role in religious and ancestral ceremonies within the Teochew community where operas are staged as offerings to spirits and ancestors, reinforcing both religious and cultural bonds.[3] The opera also includes symbolic elements that have deep cultural significance, reflecting the values, beliefs, and shared history of the Teochew people. It often plays a role beyond entertainment in religious and community ceremonies, particularly during festivals like the Hungry Ghost Festival. During such events, the performances become offerings to ancestors and spirits, aligning with traditional Chinese beliefs about honoring one's heritage. These ritualistic performances incorporate symbolic gestures, costumes, and even specific character archetypes that convey respect for tradition and reinforce communal bonds. Teochew Opera in Hong KongIn the early days of Hong Kong's opening up as a trading port, a large number of Chiuchow people came to Hong Kong to make a living. Following them came performers of Chiuchow operas and movies.[4][5] It is believed that Chiuchow operas in Hong Kong begun during the Guangxu Emperor (光緒帝, 1875－1908) period[6][7]. In the middle of the last century, Chiuchow opera movies also became popular throughout Southeast Asia, and Chiuchow theatrical troupes were established in Hong Kong to train local talents[5]. By the 1960s and 1970s, the Bon Festival (盂蘭盆節) or called Ghost Festival (鬼節) in the seventh lunar month was the heyday of Chiuchow opera performances, with tented performances set up in more than 50 neighborhoods throughout Hong Kong[4]. The performances lasted non-stop for three-day and three-night, staging more than 160 performances in one such festival[4]. Today, Chiuchow opera in Hong Kong has declined. Only a few Chiuchow opera tents set up during the Bon Festival in districts with a larger Chiuchow population, such as Shau Kei Wan, Kowloon City District and Central & Western district.[8] Teochew Opera in MalaysiaTeochew opera was brought to Malaysia in the early 19th century by Chinese Teochew immigrants, and it was often used as a celebration of festivals or recreation after a day of hard work. After Teochew immigrants brought the custom of Teochew Opera, it established a foothold for Teochew traditions within Malaysia. During the early 19th century, Teochew people migrated to Malaysia primarily due to economic hardships and the search for better opportunities, and Teochew opera became not only entertainment but also a way to maintain community identity and ease the emotional burden of being far from their homeland. As they established communities, these cultural practices helped them connect with each other, find solace, and integrate into the multicultural environment of Malaysia. It was not just a performance art but also a coping mechanism for immigrants, who used it to maintain a connection with their homeland and ease homesickness.[2] As part of Malaysia’s multicultural image, the opera has taken on a new life in theatres and festivals aimed at tourists. Subtitles and creative innovations help bridge cultural and linguistic gaps for broader audiences. Adaptation and cultural fusionIn Malaysia, where diverse ethnic and cultural groups coexist, Teochew opera has adapted to resonate with a broader audience. Performances have incorporated elements from various local cultures, including Malay traditions, for example: subtitles in English, Mandarin, and Malay, making it more accessible and relatable to the audiences who doesn't speak Teochew Min. In addition, it also incorporated to portray storylines that resonate with Malaysian values or cultural narratives, making the opera relatable to audiences from different ethnic backgrounds.[9] References
External links Wikimedia Commons has media related to Teochew opera. |
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