Introduction
Intercultural dialogue is a recurring concern in the present social and philosophical debate on multiculturalism. The question arises as to whether and to what extent music could serve as a link and create interdependence between cultures in the environment of friendliness, care, and compassion. The history of music culture transference across and beyond the Asian continent counts more than one thousand years. However, the exchange has not been inherently positive: as noted by Appadurai, as a result of changing relationships between countries, kingdoms, and empires, trends and changes in music culture often reflected imbalances of power (193). From this perspective, interculturalism in music may be considered an act of resistance to a single culture’s hegemony. This paper discusses the role and the place of the Chinese musical band Dawanggang in the world that is still defined by the tension between the Occident and Orient.
Music as a Vehicle of Cultural Dialogue
Music has long been highly esteemed by philosophers as a phenomenon that not only helps with self-cultivation but also promotes mutual understanding between different groups of people through a shared experience of musicing together. McKimm-Vorderwinkel argues that music can be understood through the lens of the philosophical concept of hermeneutics (3). In its earliest Greek meaning, hermeneutics denoted an act of translation of something that is humanly unintelligible into the “language that everyone speaks and understands (McKimm-Vorderwinkler 5).” Ancient Greeks added a spiritual dimension to the human experience of creating and enjoying music. To them, music was a vehicle for bringing something out of the realm of gods into the world of humans. Hans-Georg Gadamer, one of the most prominent advocates for the hermeneutical dialogue, opined that the hermeneutical perspective was universal; it was able to expose human relatedness despite social, cultural, and language barriers. In other words, it is the language of art that was carrying the meaning that could be understood by anyone, which made it capable of uniting people.
However, since this paper focuses on the Asian music culture, it would be incomplete to approach the subject matter only from the perspective of Western philosophy and art history. Scruton explains that music was at the very core of Confucian aesthetics (135). Philosophers of early China referred to music as a means for the harmonization of virtues and a device for self-development and self-expression. For example, an excerpt from Lunyu, commonly translated as Confucian Analects, states that “personal cultivation begins with poetry, is made firm by rules of ceremonials, and is perfected by music.” However, music holds value beyond individual improvement: in the Confucian philosophy, it is also a force of social stability and a political tool (Scruton 140). Like Western philosophers, Chinese thinkers elevated the role of music because they believed in its supernatural origins. An act of creating or listening to music signified a communion between humankind and supernatural powers. Because music was empowered by the divine, it could bring society and the universe into harmony, which is its fundamental purpose in the context of Confucianism.
The Occident and the Orient in the Modern Music Culture
Philosophy highlights the potential of music for bringing people together through shared hermeneutical experiences, but it is an idealized view that is not always compatible with the reality of the modern world. Understanding the Asian music culture as it is today is challenging without examining the relationship between the East and West. Said, a literary scholar and one of the pioneers of post-colonial studies, coined the term “orientalism” to refer to the Western global perspective. The term derives from the divide between the Occident and the Orient that was used by Europeans during the colonialism era. According to Said, “orientalism” emphasized the distinction between “us (Europeans)” and “them (Asians),” typically “towards not especially admirable ends (53).” In this dichotomy, Western culture is modern and superior while Eastern culture is ascribed unflattering characteristics such as “ primitive, savage, backward, dormant, and child-like (Appadurai 194).” It is easy to see how during the European colonialism era, elements of Oriental culture, including music, could be seen as unworthy of detailed examination and understanding.
A lot has changed since the fall of the British Empire, and many Eastern countries have claimed their spot in the international arena. After decades of unprecedented economic growth, China is on its way to becoming a global leader. Yet, its rise to prominence did not translate into the dominance of its music culture in the global context. If anything, globalization did not give each culture an equal chance at shaping the popular music of today but strengthened the centuries-old dynamics. Appadurai makes the following comment on the nature of globalization: “The central problem of today’s global interactions is the tension between cultural homogenization and cultural heterogenization.” On the one hand, cultures seek to preserve their uniqueness. However, on the other hand, they cannot resist broader trends and tendencies facilitated by increasing global mobility and interconnectedness.
Today, Chinese music is reflective of the said cultural tension. Some musical artists are concerned with the revival of authentic Chinese music traditions, while others incorporate foreign music culture elements: Western scales, rhythms, melodies, and harmonies unique to Western music culture. The latter is exemplified by Chinese pop, also referred to as C-Pop. The origins of Chinese popular music date back to the 1920s when Shanghai music artists experimented with fusing Chinese folk music (traditional pentatonic folk melodies) with instrumentation similar to that of an American jazz orchestra (Hu and Yang 1900). Admittedly, from the very beginning, Chinese pop music was influenced by Western music culture.
Its impact ceased to be after Mao’s Cultural Revolution when the music turned into a political tool that was advancing the interests of the communist party. However, when China opened for the rest of the world again, the music immediately adopted outside trends. Hu and Yang list American pop, rock, African American rebellious hip hop, and rap music as primary sources of inspiration for popular Chinese music today (1902). These facts are evidence of global cultural homogeneity that may be breaking cultural boundaries but, at the same time, strengthening the superior position of the West as a musical trendsetter.
Dawanggang’s Role in Breaking Musical and Cultural Boundaries
Given the existing hegemony of the West, it is even more compelling to study musical bands that traverse cultures without putting East Asia into an inferior position. One such example is the Chinese musician band Dawanggang that was founded by the vocalist and multiinstrumentalist Song Yuzhe in 2009. Yuzhe is also associated with Chinese musical acts such as The大忘杠 宋雨喆, the 木推瓜, and the Chinese Rock band 翻页. The band’s name Dawanggang (Chinese 大忘杠,) originates from Yuzhe’s grandfather’s catchphrase but bears no real meaning. What is notable about the band is that it was created with the purpose of creating a new musical perspective. Dawanggang unites musicians from different cultures and ethnicities to create and enjoy music together. Safe for Yuzhe and a few other core members, musicians have been changing throughout the years. As a result, the band’s sound has been evolving and incorporating different instruments originating from cultures all over the world.
One of Dangwanggang’s most remarkable works is a record under the title 荒腔走板, which can be loosely translated to “wild tune stray rhythm.” It is a term used in Chinese opera that refers to music that is out of tune or has a slightly broken rhythm. Though originally meant as a negative characteristic, “wild tune stray rhythm” is turned into a compliment by Song Yuzhe. For him, this imperfection symbolizes the strange power of Hu Le as well as the modulation, variation, noise, and dissonance of modern music. The record is a mix of Chinese folk music, Chinese opera, rock, experimental music, sound art, and world music in a musical form that is difficult to define and very diverse. As noted by Yuzhe himself, the ideas that are central to 荒腔走板 are the coexistence of different musical genres and the free exchange between musicians from different musical backgrounds within a predefined theme. The lyricism is as creative as the sound as it comprises allusions, poems, and stories.
It is easy to notice that Dangwanggang combines cultural homogeneity and heterogeneity in a peaceful way, without letting one cultural influence dominate all others. The band breathes a new life into the ancient tradition of Chinese opera, which promotes the uniqueness of Chinese music culture. The origins of Chinese opera date back to early China; the genre had reached its maturity by the 13th century and continued its development throughout the latter part of the Qing dynasty (1644–1911) (Haili 87). However, the popularity of traditional Chinese opera plummeted after the 1950s, which can be ascribed to both political and market factors (Haili 120). After the Cultural Revolution, China was increasingly hostile to rural religious festivals and traditional culture on the whole. As a result, the new generation grew up with far lesser exposure to Chinese opera and are not as interested in its legacy. Therefore, by incorporating Chinese opera elements in its music, Dangwanggang preserves the genre and popularize it for broader audiences.
Even though the band is based in China, it amplifies the voice of other cultures. One of the core members of the band is Hugejiletu, who is from Mongolia. His main instrument is the horse-headed fiddle in the band, the most important traditional instrument of the Mongolian people. It is perfect for representing the Mongolian music culture and lifestyle. The horse-headed fiddle creates a soundscape that is reminiscent of the vast grasslands and the sound of rushing horses’ hooves. The instrument is two-stringed; it has a trapezoidal body and a horse-head-shaped handle. With similar Western instruments, the bow stays outside the strings that are pressed from the front. The horse-headed fiddle is unique: its strings are pressed from left to right. The instrument finds its place in the band’s music and is harmoniously interwoven with other elements. By marrying the two musical traditions, Danggawang unites two cultures, which is important because China and Mongolia have a complicated history throughout centuries.
Dangwanggang’s “Talking about Birds” is a good example of an eclectic song that interweaves and traverses genres. The music analysis diagram for this song may look as follows:
- 0 – 1:45. The song opens with a string instrument; the sound is reminiscent of Chinese traditional folk music. It sets a mysterious, somber tone for the entire piece.
- 1:45 – 2:47. Elements of traditional Chinese opera appear: the female vocalist with a piercing voice is hitting high notes that accompany the sound of the string instrument;
- 2:47 – 6:00. Song Yuzhe starts his part with spoken word poetry with a slow cadence. The lyrics also hint at traditional Chinese poetry rich in metaphors for nature and existential problems.
- 6:00 – 10:00. The song now incorporates rock elements, which is especially noticeable in percussion and guitar patterns. The horse-headed fiddle is heard throughout the piece adding a unique flavor to the sound.
Conclusion
Given the competitiveness and sometimes hostility that exists and even increases between cultures today, the need for an intercultural dialogue seems ever more pressing. Music has long been since as a tool for cultivating humanity and human relatedness, despite language, social, and cultural barriers. However, in today’s world, music culture is often reflective of political dynamics with a persistent division between the West and the East. Chinese popular music has long been influenced by the West, and especially the USA, while traditional forms have been erased and forgotten. Danggawang is a band that offers a solution to the tension between cultural heterogeneity and homogeneity. While it promotes authentic Chinese music genres, it also gives voice to other cultures such as Mongolian, which is especially important in light of oftentimes difficult relations between China and Mongolia. In this sense, Danggawang’s artistry is intercultural in a friendly, peaceful manner where every musician has a chance at expressing their unique identity.
Works Cited
Appadurai, Arjun. “Global ethnoscapes.” Recapturing Anthropology, 1991, pp. 191-210.
Haili, Ma. Urban Politics and Cultural Capital: The Case of Chinese Opera. Routledge, 2016.
Hu, Xiao, and Yi‐Hsuan Yang. “The Mood of Chinese Pop Music: Representation and Recognition.” Journal of the Association for Information Science and Technology, vol. 68, no. 8, 2017, pp. 1899-1910.
McKimm-Vorderwinkler, Judith. “Can Music Play a Role in Intercultural Dialogue?” Essay for Philosophical Issues in Intercultural Studie, 2010, pp. 1-19.
Said, Edward. Orientalism. Knopf Doubleday Publishing Group, 2014.
Scruton, Roger. Understanding Music: Philosophy and Interpretation. Bloomsbury Publishing, 2016.