Reproducing Pleasure through Rituals: The Music Culture of Older Adults in Cantonese Operatic Singing Lessons

Cantonese operatic singing, one of China’s regional operatic styles, flourishes mainly in the southern province of Guangdong in China. It is one of the most common musical activities among the older population in Hong Kong. This study explores the associated culture and highlights the need for cultural theory to recognize music cultures in all age groups, not just among youth, and regards music participation as a kind pleasure that contributes to well-being.

The data were collected through active participation in two Cantonese operatic singing lessons within four months, where the activities and the targeted cultural group were observed. There were about twenty students in Class A and thirty students in Class B. By using the ethnographic method of participant observation, and a grounded theory approach, the rituals of conversation, of musical inquiry, of integration and of performance are identified in Cantonese operatic singing activities. The rituals fulfill four major functions for the students, including maintaining emotional attachment, implementing their pursuit for musical knowledge, creating a sense of satisfaction, and maintaining the hierarchy and the roles. Students develop the core values of Cantonese operatic singing activities by engaging in the rituals and cultural practices. Participating in the culture of the singing lessons gives them satisfaction and social capital, and builds a sense of commitment to the group. This further generates a desire or compulsion to enroll in the same class again and again. They are not only addicted to Cantonese operatic singing, but also to the identity of being a student of Cantonese operatic singing classes. This is a positive addiction, because this preferred identity could contribute to happy and meaningful lives.

This study makes several modest contributions to activity and cultural studies. First, previous studies of music participation have generally explored the relationship between popular music and youth culture, and as a result have defined music-related activity as a form of resistance and rebellion. This study, on the other hand, provides evidence for music participation as a source of pleasure that enriches the daily life of older adults. Second, music participation is not limited to the young, but can be found in all age groups. The present study suggests that older people are prone to becoming addicted to certain types of music participation, because they have a stable economic status and more time. Third, previous studies of activity theory focused only on the individual benefits people gained through participation, and did not relate subjects’ behaviors to a sense of collectivism or group identity. The importance of collective identity, rituals, and group culture cannot be overlooked in future research. Fourth, future Cantonese operatic singing studies should take into account the role of singing clubs and singing lessons in the development of this folk art.