Kunqu Opera, developed under the Ming Dynasty of 1368 to 1644 and one of the oldest forms of Chinese opera still performed, came to Loyola Marymount University in the form of an open workshop hosted by Peng Xu, Ph.D, assistant professor of Chinese Theatre from the University of Hawai’i at Mānoa, an award-winning Kunqu performer. The experience delighted participants as they learned about and experienced the stunning melodies, traditional costumes, and elaborate choreography of this ancient art form.
The event was coordinated by Professor Meng Li, Ph.D. of communication studies and Professor Arnab Banerji, Ph.D. of theatre arts, and was funded thanks to a LMU College of Communication and Fine Arts BIPOC Initiative to bring more intercultural experiences to campus for the benefit of the entire university community. Co-sponsors included the College of Arts, Languages, and Letters at the University of Hawaiʻi at Mānoa, and the LMU departments of communication studies, theatre arts, art history, dance, modern languages and literature, and Asian and Asian American studies as well as the Office of Global-Local Affairs and the China Studies Group.
Kunqu is the fusion and distillation of multiple musical styles, a merging of Northern and Southern Chinese operatic styles. During the Ming dynasty, Kunqu theater developed as a codified system of tunes, vocal techniques and ornamental elements associated with Kunshan theater. Each Kunqu opera tells its own story and every aspect of the performance contributes in telling the story.
Kunqu melodies differ from Western or European operatic melodies in their dynamic structure and rhythmic melodies, which are often unfamiliar to Western ears. Xu deftly demonstrated the complex melodies that bring the storylines to life, and discussed the mutually exclusive natures of European and Chinese opera, “One cannot aspire to become a great singer in both Chinese and European opera,” she told the full audience. The melodies differ substantially and require different methods of vocal control.
“I was so glad that I participated in-person to feel the energy and the sound in that moment,” said Heyjin Kim, a communication studies major. “I felt such a strong energy and the message in that melody. Professor Xu’s performance in the middle of the lecture helped me to understand the material better. It was so fun and very meaningful!”
The Northern Chinese operatic style uses seven notes while the Southern style employs just five. The opera relies on the acting and dancing skills of the performers to impart the lyrics of the aria to the audience. Xu stressed that it is imperative that each performer be able to translate the storyline through emotion and physicality. LMU audience members experienced the difficulty of each acting skill during the voice section of the workshop. Xu, along with the accompaniment of flautist and chair of the L.A. Kunqu Society, Henry Chang, led the participants through vocal warmups and exercises to simulate a taste of Kunqu melodies.
Toward the end of the workshop, the audience was led through basic choreography including how to stand, sit and walk on the stage. Kunqu choreography is idiosyncratic, in an almost balletic fashion, requiring actors to hold their hands in a certain way and for each step to end in a specific position. Finally, costume expert Hannah Schaufer and student assistants from the University of Hawai’i, Mānoa, Shekinah Hernando and Alyssa Reyes, demonstrated the use and delicate nature of “water sleeves,” – the draping, enormous sleeves of traditional costumes.
Teagan So, president of Han Tao, LMU’s Chinese and Chinese American student organization, shared, “It was so fascinating to learn more about the history of Kunqu opera and to have the chance to learn such skills ourselves. Our club members had a fun time learning Kunqu performance, vocal, and acting techniques, and we were all very excited to connect with this beautiful part of our culture.”
Photos provided courtesy of Yazhou Liu
