Virtual Fieldwork on Chinese Folk Songs : The Participatory Culture of Online Hua'er Videos

저작시기 2017.04 |등록일 2019.03.15 파일확장자어도비 PDF (pdf) | 26페이지 | 가격 6,400원
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* 본 문서는 배포용으로 복사 및 편집이 불가합니다.


발행기관 : 아시아음악학회 수록지정보 : Asian Musicology / 27권 / 40 ~ 65 페이지
저자명 : Lukas Park

영어 초록

This paper is concerned with the online representation of hua'er, a genre of mountain songs sung at the brink of the Tibetan and the Loess plateaus. The main performance happenstance of hua'er is at annual festivals, held according to the Chinese lunisolar calendar in the harvesting slack season. Due to this seasonal characteristic, hua'ercould not be heard everywhere, everytime, or by everyone. The seasonal limitation eventually lost its curtail with the rise of video sharing websites after 2005. Hua'er now can be heard in all its varieties throughout the year, by anyone with access to the internet. Video sites are at the intersection of media creation and social networking, they embed people in a participatory culture in which to create and share content. These virtual spaces are portals for communities where people bond with peers, engage in public discourse, explore identity, and acquire new, often musical, skills. Do Chinese video sites likewise have the potential to form strong participatory cultures? Is this aspect of participation also manifested in and through folk videos, e.g. the sharing of hua'er videos and in the comment section of the videos? This paper draws on the ethnographic method of virtual fieldwork, primarily videos posted on China's most popular video platform, Youku, are analysed. Beside theoretical reflections on how changing technologies of communication and dissemination reshape the ethnomusicologist's understanding of fieldwork, preliminary analytical findings point to a major change of hua'er culture, especially in the fields of musical representation, folk classification, and even its mode of transmission: from "hua'er festivals" to "hua'er video channels". These results may furthermore be relevant for other genres of China's folk musics, describing their development in the virtuality of the internet, which - as a socially embedded phenomenon - is by no means separated from reality, but rather is part of everyday life for musicians and audiences.
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