A Study On Chinese Opera In Malaysia

Chinese Opera in Malaysia has its "roots" in China. It is a unique form of art and Chinese culture foster by the Chinese immigrants. In a multi-racial and multi-culture country, Chinese opera is a symbol of a culture. It is a sign which differentiate the Chinese from Malay, Indian and other races. The significance existence and social cultural function of Chinese opera in Malaysia has moved towards multinomial. From monomial in religious function, it has expanded to the worldly social aspect. The prime factor that determines whether Chinese opera could subsist in Malaysia is its function in religious aspects. Through the ages of religious needs, Chinese opera has strong ties with religious rites and is an important matter in it.For years, the performance of Chinese opera in Malaysia has been following the usual village practice in China. Religious rites have provided chances for Chinese opera to be performed and Chinese opera as a form of performance has also won over believers and enlarged the influence of religion. Chinese opera belongs to the popular culture category, closely related to Chinese festivals. Its migration to and development in Malaysia has shown the significant in folk-custom. The main religious function of Chinese opera is to "worship the gods and entertain the spirits". It also has multi-functions which appear in social and cultural areas, and "entertaining people" is one of the most important functions in these aspects. The continually increase in opera performances among Chinese in Malaysia has become an important issue in the daily life of Chinese. It is a form of Chinese ideology which constructs the common domain and commonality of the Chinese. It is the centripetal force and cohesion of the Chinese. It also furnishes the integrity frame and ground for collective knowledge and envisions.Furthermore, Chinese opera performance also provides a platform for business opportunity; it has a supporting role in trades. The economy strength of the Chinese has exalted its social status. In the process of development of Chinese social history, Chinese opera has shown its mightiness and penetrability in various aspects.A notable point is, while Chinese opera retains its "Chinese nature" in cultural foundation, it has been coloured by localisation. Due to changes in society, the religious rite which is closely linked to the daily life also has its transition. Religious rites cannot depart from the aspect of "worshiping gods and entertaining spirits". Chinese opera used to occupy the performing stage and is a gift to the gods. In new era, Chinese opera has been replaced by Ge Tai (pop songs and dances). At the same time, movie has also extruded Chinese opera which leads Chinese opera into survivorship crisis. In the aspect of the Chinese opera functions, its fundamental function is in religious rites; its importance in "an entertainment form for people" has continuously been weakened. The development of new functions in relationship with charity and education, have shown its localisation part.The first two chapters of this thesis are based on the research of Malayan-Chinese opera. They elaborate the summary of the characteristics and the hundred years' history of the Malayan-Chinese opera and strive to prove up the unique survivorship of Malayan-Chinese opera on the whole in Southeast Asia Chinese opera. Through recount of the various stages of Chinese opera, the thesis is to unmask the main characteristics, whys and influences of Chinese opera at different stages. This is beneficial for understanding the traits of Malayan-Chinese opera and its intercommunity with Southeast Asia Chinese opera in a systematic way.The last three chapters emphasise particularly on analysing the theories which are the focus of the thesis. Third chapter addresses oneself to the functional significance and the characteristics of ideology of Malayan-Chinese opera. Chinese opera is able to ingress in Malaysia has its osculation with the demand and pursue of entertainment by the Chinese. The forth chapter elaborate on the religious function, i.e. "worshiping gods and entertaining spirits", which is the hinge for Chinese opera to survive in Malaysia.The transition in Chinese opera at current stage emerge its localisation path in Malaysia. The fifth chapter is the keystone of the thesis. The transition in Chinese religious rites, popular culture that repulses and restricts Chinese opera have caused Chinese opera to be in survival crisis and fade out of the Chinese society. In the process of the modernisation of Malaysia, the most critical part is to expand the room for survive and develop self-help methods to appeal for its cultural rights .