Gender Identity in Modern Chinese Music

1. Gender Identity in Modern Chinese Music Cory Mills

2. Quick History of China • 1900 – Ending of the Qing Dynasty, Western contact inspires Chinese nationalists • 1910’s – Emperor steps down and declares China a Constitutional Republic, May 4th Movement, Chinese citizens protest Western control of the country • 1920’s – Chinese Communist Party is formed, Chiang Kaishek, Commanding General of the Chinese Army begins his campaign to take over China

3. Quick History of China • 1930-50’s – Continued fighting for power, Second Sino-Japanese War, WWII, Civil War, Establishment of the Communist Government • 1960’s – Cultural Revolution • 1970’s – Era of Industrial growth • 1986 – Tiananmen Square • 1997 – Hong Kong returned to China • Present – China is an economic world leader

4. Early Representation of Gender • All music is composed by men • Early 1900’s, beginning of women’s rights movement • Strong European Influences • Girls sent to school • Abolishment of Foot binding • Songs encouraged girls to pursue good health and equality

5. Early Representation of Gender • Mid 1910’s to the 20’s • Female Heroes were often depicted in music • HuaMulan – Fought in place of her elderly father • Liang Hongyu – Played the war drum for her husband and his fellow soldiers • Portrayed women doing their part to support men who were fighting for change

6. Early Representation of Gender • 1930’s saw the development of the Communist party and expectation of women to take part in the development of the nation • Mass songs encouraging women to work for the good of the nation • Fine Art • Complete removal of gender

7. Degendering of the Nation • Censorship and degendering of Music • Love songs changed to Love of the Nation • Romantic songs discarded • Removal of gender specific referneces • Unisexing the people • Common Work Uniform • Short Hair • No Makeup or Jewelry • Binding Chests • Male Bias and Super Woman

8. Expression of Male Identity • 70’s included increased economic development and artistic freedom • Common themes are Traditional Confucian gender values • Masculinity has two parts • Wu – Physical Strength, Military power • Wen – Intellectualism and Self Control “A scholar is no less a man than a Soldier”

9. Rock and Roll • Completely Masculine Field • Elements of brotherhood, physical strength and political unrest • References to women are less common and typically include a revelation of distraction

10. Cui Jian“Flower-House Girl” “You brought me inside your flower-house I couldn’t escape the enchanting fragrance of the flowers, Without noticing I lost direction”

11. Expression of Male Identity • Male singers in Popular Music • Often include allusions to dependence on women and the heartbreak caused by this dependence • Men are depicted as delicate intellectuals who are often mistreated by women.

12. Mao Ning “I don’t dare to face this love that gradually goes away” Oh Helen, don’t cry . . . I don’t understand what you once said That we do not have a future I don’t dare to face this love that gradually goes away Although at night my heart yearns for you in sorrow . . . But I will be still waiting for you to return

13. Expression of Female Identity • Far more constrained • Most female singers sing songs written by male lyricists • Depiction of women as soft, delicate and for the pleasure of men • Songs often involve waiting for a male lover to act

14. Expression of Female Identity • Since the 1990’s a few female singers have begun composing their own music • Faye Wong • Originally giving a fake persona • Reinvented herself once she achieved fame • Ai Jing • Achieved representation by drawing on current events that resonated with the larger population

15. Ai Jing “My 1997”

16. Expression of Female Identity • New levels of female identity • Working • Maintaining a family • Pursuing romance • Ai Jing “You are my Wings” draws on Cui Jian’s lyrics • Female freedom of expression is increasing at the start of the new century

17. 结束The End