Abstract
This new research investigates overseas Chinese music in Aotearoa New Zealand, focusing on performing on traditional Chinese instruments in the 21st century. The main research question is: How does performing on traditional Chinese instruments influence overseas Chinese cultural identity construction in contemporary Aotearoa New Zealand? Applying a theoretical model for ethnomusicological interpretation as offered by Timothy Rice (1987), three sub-questions are asked: (i) How has Chinese music been historically constructed in New Zealand? (ii) How has Chinese music been socially maintained in New Zealand? (iii) How has Chinese music been individually adapted and experienced in New Zealand?
Two main research methods, participant observation and interviewing, are used in the fieldwork for this ethnomusicological study. Following an interpretative approach to thematic analysis of the content of observations and interviews, the results of the study are demonstrated using Rice’s model for ethnomusicology. This research discusses overseas Chinese music that has been historically constructed in four urban settings (Auckland, Wellington, Christchurch, and Dunedin), interprets overseas Chinese music in terms of how it has been socially maintained in three social settings (private, semi-private/open, and open communities), and analyses overseas Chinese music as individually adapted and experienced across three generations (ages under eighteen, eighteen to sixty, and over sixty).
The main findings show the influence of performing on traditional Chinese instruments on overseas Chinese cultural identity construction in Aotearoa New Zealand from historical, social, and individual dimensions. Including a critical approach to this research, I reflect on my positionality as a performer engaged in music making with participants, and thereby present myself as an insider and an outsider researcher, revealing my impact on the research and offering suggestions for future research.