Hostname: page-component-78c5997874-8bhkd Total loading time: 0 Render date: 2024-11-10T05:52:41.504Z Has data issue: false hasContentIssue false

Serenading the Ancestors: Chinese Qingming Festival in Honolulu

Published online by Cambridge University Press:  07 March 2019

Extract

Qingming—literally pure and brightness—is an annual Chinese ritual during which families honour their ancestors by visiting their graves. This practice was observed in China as well as in overseas Chinese communities. Described by a local writer as one of the important “family traditions” in Hawai'i, this annual ritual has been observed by local Chinese since their arrival in the nineteenth century (Clarke 1994). Every year during Qingming, all Chinese associations on the islands will sponsor ceremonies either at the Chinese cemetery or the association clubhouse to pay respect to their ancestors. This traditional ceremony, similar to other kinds of annual ethnic celebrations in Hawai'i, such as the Korean chusok harvest festival, Chinese New Year and Mid-Autumn festivals, Portuguese Holy Ghost festival, and the Japanese and Okinawan obon festival, has been regarded as a high profile event of the Chinese community by local residents. Despite their origin as traditions brought to Hawai'i by immigrants, this type of ethnic family traditions has emerged as an integral part of the local culturescape, reflecting the multiethnic make-up of Hawaiian society since the plantation days at the turn of the twentieth century (ibid.).

Type
Articles
Copyright
Copyright © 2004 by the International Council for Traditional Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

1

An earlier version of this paper was presented at the 37th ICTM World Conference in Fuzhou, China. I wish to thank Jenny Chow for sharing her material and Fred Blake, Heather Diamond, Jonathan Stock, and Su Zheng for their insights and comments. I would also like to thank the guest editors, Don Niles and Tsao Penyeh, and the anonymous readers for their constructive comments on the paper.

References

References Cited

Averill, Gage 1994 “Mezanmi, kouman nou ye? My friends, how are you?”. Musical construction of the Haitian transnation. Diaspora 3 (3): 253–71.Google Scholar
Béhague, Gerard 1994 Music and Black ethnicity: The Caribbean and South America. New Brunswick, N.J.: Transaction Publishers.Google Scholar
Char, Tin-Yuke 1952 Immigrant Chinese societies in Hawaii. Honolulu.Google Scholar
Char, Tin-Yuke 1975 The Sandalwood mountains: Readings and stories of the early Chinese in Hawaii. Honolulu: University Press of Hawai'i.CrossRefGoogle Scholar
Clarke, Joan 1994 Family traditions in Hawai ‘i: Birthday, marriage, funeral and cultural customs in Hawai ‘i. Honolulu: Namkoong Publishing.Google Scholar
Davis, Susan G. 1986 Parades and power: Street theatre in nineteenth-century Philadelphia. Philadelphia: Temple University Press.Google Scholar
Fuchs, Lawrence H. 1961 Hawaii pono, a social history. New York: Harcourt Brace & World.Google Scholar
Geertz, Clifford 1973 The interpretation of cultures: Selected essays. New York: Basic Books.Google Scholar
Glick, Clarence Elmer 1980 Sojourners and settlers, Chinese migrants in Hawaii. Honolulu: University Press of Hawaii.Google Scholar
Iwabuchi, Koichi 1998 Pure impurity: Japan's genius for hybridism. Communal/Plural 6 (1): 7185.Google Scholar
Kanahele, George S. 1979 Hawaiian music and musicians: An illustrated history. Honolulu: University Press of Hawai'i.Google Scholar
Lau, Frederick 2001 Performing identity: Musical expression of Thai-Chinese in contemporary Bangkok. Sojourn 16 (1): 3870.Google Scholar
Lau, Frederick 2004 Morphing Chineseness: The changing images of amateur Chinese music clubs in Singapore. In Diasporas and interculturalism in Asian performing arts: Translating traditions, ed. Um, Hae-kyung, 3042. London: Routledge.Google Scholar
Lydon, Edward C. 1975 The anti-Chinese movement in the Hawaiian Kingdom, 1852-1886. San Francisco: R and E Research Associates.Google Scholar
Manuel, Peter Lamarche 2000 East Indian music in the West Indies: T'an-singing, chutney, and the making of Indo-Caribbean culture. Philadelphia: Temple University Press.Google Scholar
Morrison, Judith Krow 1977 Being Chinese in Honolulu: A political and social status or a way of life. Thesis, University of Illinois at Urbana-Champaign.Google Scholar
Okamura, Jonathan 1998 The illusion of paradise: Privileging multiculturalism in Hawaii. In Making majorities: Constituting the nation in Japan, Korea, China, Malaysia, Fiji, Turkey, and the United States, ed. Gladney, D. C., 264340. Stanford: Stanford University Press.CrossRefGoogle Scholar
Radano, Ronald Michael, and Bohlman, Philip Vilas 2000 Music and the racial imagination. Chicago: University of Chicago Press.Google Scholar
Seeger, Anthony 1987 Why Suyá sing: A musical anthropology of an Amazonian people. Cambridge: Cambridge University Press.Google Scholar
Slobin, Mark 1994 Music in diaspora: The view from Euro-America. Diaspora 3 (3): 243–51.CrossRefGoogle Scholar
Spivak, Gayatri 1987 In other worlds: Essays in cultural politics. New York and London: Methuen.Google Scholar
Steen, Andres 2000 Zhou Xuan: “When will the gentleman come back again?”. Chime Journal 14–15: 124–53.Google Scholar
Stokes, Martin 1994 Introduction: Ethnicity, identity, and music. In Ethnicity, identities, and music, ed. M. Stokes, 1-28. Oxford: Berg PublishersGoogle Scholar
Tom, K. S. 1992 Chronicle of the Tom Young family: T'an Yang chia p'u. Honolulu: K. S. Tom.Google Scholar
Wong, Harry C. Y., and Kong, Wong Tong, Har of Hawaii 2002 Wong Kong Har Tong of Hawaii centennial year, 1902-2002: Honoring our ancestors and ensuring posterity. Honolulu: Wong Kong Har Tong of Hawai'i.Google Scholar