Narrating and Contesting Cultural Identities in Music: The Case of Macao before and after Handover
Macao has seen an incessant cultural exchange between the East and the West since the arrival of the Portuguese in the mid-sixteenth century. Different types of hybrid cultural and artistic heritage, like music, language, and poetry, have since then been created. However, as reflected by scholars, m...
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| Published in: | Review of Culture |
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| Main Author: | |
| Format: | Articles |
| Published: |
Instituto Cultural de Macau
2023
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| Subjects: | |
| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40072/4221 |
| _version_ | 1877196269480312832 |
|---|---|
| author | Caspar Ka Yin Chan |
| author_autocomplete | Caspar Ka Yin Chan |
| author_browse | Caspar Ka Yin Chan |
| author_facet | Caspar Ka Yin Chan Caspar Ka Yin Chan |
| author_sort | Caspar Ka Yin Chan |
| container_title | Review of Culture |
| container_title_str | Review of Culture |
| container_volume | 72 |
| container_volume_str | 72 |
| description | Macao has seen an incessant cultural exchange between the East and the West since the arrival of the Portuguese in the mid-sixteenth century. Different types of hybrid cultural and artistic heritage, like music, language, and poetry, have since then been created. However, as reflected by scholars, more efforts are yet to be done in documenting the aforementioned artistic development and investigating how the cultural identity of the people of Macao has evolved through history. This paper contributes to study how the memories and identities of specific groups of people residing in Macao are articulated in their music depicting Macao, specifically, through analysing the Chinese songs ‘Song of Seven Sons — Macao’ and ‘Song of Macao’, and the Portuguese pieces ‘Macao, My Land’ and ‘Good-bye, Macao’, as well as using the discourses of music and cultural identity discussed by Simon Frith, Stuart Hall and Homi Bhabha, among others. The selected works concern their uses of language, musicality, and public appearance. Although one group may demonstrate contradictory narratives in terms of identity and beliefs with another, their overall musical expression about themselves and Macao constructs our communal understanding, memory, and recognition of this place. Over time, a change in terms of their narratives of identity and the audience’s reception can also be seen, resulting in a mobile identification, and shifting collective identity of the people. |
| first_indexed | 2026-09-11T02:57:02Z |
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| issn | 1682-1106 |
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| latest_content_date | 2026-09-11T02:57:02Z |
| publishDate | 2023 |
| publishDateRange | 2023 |
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| publishPlace | Macau |
| publisher | Instituto Cultural de Macau |
| publisherStr | Instituto Cultural de Macau |
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| spelling | Narrating and Contesting Cultural Identities in Music: The Case of Macao before and after Handover Macao has seen an incessant cultural exchange between the East and the West since the arrival of the Portuguese in the mid-sixteenth century. Different types of hybrid cultural and artistic heritage, like music, language, and poetry, have since then been created. However, as reflected by scholars, more efforts are yet to be done in documenting the aforementioned artistic development and investigating how the cultural identity of the people of Macao has evolved through history. This paper contributes to study how the memories and identities of specific groups of people residing in Macao are articulated in their music depicting Macao, specifically, through analysing the Chinese songs ‘Song of Seven Sons — Macao’ and ‘Song of Macao’, and the Portuguese pieces ‘Macao, My Land’ and ‘Good-bye, Macao’, as well as using the discourses of music and cultural identity discussed by Simon Frith, Stuart Hall and Homi Bhabha, among others. The selected works concern their uses of language, musicality, and public appearance. Although one group may demonstrate contradictory narratives in terms of identity and beliefs with another, their overall musical expression about themselves and Macao constructs our communal understanding, memory, and recognition of this place. Over time, a change in terms of their narratives of identity and the audience’s reception can also be seen, resulting in a mobile identification, and shifting collective identity of the people. Instituto Cultural de Macau Macau Review of Culture Articles 2023 Cultural ambivalence Cultural identity Hybridity Memory. Musical identity Narrativity of identity Caspar Ka Yin Chan |
| spellingShingle | Narrating and Contesting Cultural Identities in Music: The Case of Macao before and after Handover Caspar Ka Yin Chan Cultural ambivalence Cultural identity Hybridity Memory. Musical identity Narrativity of identity |
| title | Narrating and Contesting Cultural Identities in Music: The Case of Macao before and after Handover |
| title_autocomplete | Narrating and Contesting Cultural Identities in Music: The Case of Macao before and after Handover |
| title_full | Narrating and Contesting Cultural Identities in Music: The Case of Macao before and after Handover |
| title_fullStr | Narrating and Contesting Cultural Identities in Music: The Case of Macao before and after Handover |
| title_full_unstemmed | Narrating and Contesting Cultural Identities in Music: The Case of Macao before and after Handover |
| title_short | Narrating and Contesting Cultural Identities in Music: The Case of Macao before and after Handover |
| title_sort | narrating and contesting cultural identities in music: the case of macao before and after handover |
| topic | Cultural ambivalence Cultural identity Hybridity Memory. Musical identity Narrativity of identity |
| topic_autocomplete | Cultural ambivalence Cultural identity Hybridity Memory. Musical identity Narrativity of identity |
| topic_facet | Cultural ambivalence Cultural identity Hybridity Memory. Musical identity Narrativity of identity |
| url | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40072/4221 |
| zotero_collection_key | 76L3BRGH |