Rock in China. Thesis. Korchuganova

So, emerging of rock music in China was inspired as well as economic as political reasons. Opening of the country to world's economy gave an opportunity to Chinese people listen to European and American music. It was an impulse for appearance of Yaogunyue, and not only that. In my point of view, Yaogunyue came from Xibeifeng that was a kind of counterbalance light music of Gantai. The whole sense of freedom, opening for new flows and influence, possibility to speak out the critics to government was connected with Deng Xiaoping's reforms. Rock music, as music of rebellion and social protest, became a political player in the second half of 1980s'. We can see it on the example of Cui Jian who was a voice of generation and expressed what worried people at that time and felt that he can speak it.

The relationships between rock music and officials weren't easy. When this music just appeared in China, it was disapproved by the government. If person went to discos, had long hair and wear unusual wear, it meant that he or she was spiritually polluted. Government launched short Anti-spiritual pollution campaign in 1983 but it didn't stop further spread of Western culture.

Government understood that it can do nothing with the changes in youth culture so it decided at list don't stop these changes. From the beginning of the 1980s' rock bands began to play music in China. It became possible due to more openness of Chinese people to accept new music and spread of rock because of contacts with foreigners. From 1980, foreign musicians got a chance to perform in China. The first concert of foreign stars - British band Wham! took place in Beijing in 1985

The middle of the 1980s' was a time of more freedom in musical sphere. In 1986 Cui Jian first appeared on the scene as a rock artist and the fact that he used revolutionary aesthetic during his performances proves the extant of freedom in the Chinese society. Such band as Black Panthers and Tang Dynasty began to play heavy metal in 1987 and 1988. Mass media paid attention to rock music.

Also, the second half of the 1980s' was a time of Democratic Movement and student activism. People saw changes in economy, had an opportunity to communicate with foreigners and get the ideas from the West and wanted to see some changes in other spheres of the society. At my personal perception, the spread of rock music and people's attempts to speak out their views on policy were parts of one process of changes in people's mentality. Rock was music for well-educated youth and those people participated in protest movements. It correlates with the fact that rock music as a symbol of protest that was used in the 1960s' in socio-political movements. That's why Cui Jian performed in front of students on Tiananmen Square in 1989 - his song was an anthem for the protest.

Rock music was one of the symbols of students' movement in 1989. After Tiananmen Massacre Yaogunyue some restricts toward rock-musicians followed. But they weren't as strict as they could be: rockers escaped from big cities to villages, but after several months musicians came back to big and continued to play music and release albums on Taiwanese and Hong Kong's labels. Rockers were forbidden to perform for a big amount of people and mass media didn't use term Yaogunyue for a whole decade. Anyway, musicians continued to play music and even new names on the rock scene appeared. Even the first rock festival had place in 1991.

Post-Tiananmen period was a time of emerging of new bands as well as bands established in the 1980s'. Government prefer to ignore Yaogunyue and even this word didn't appeared in mass-media. At the same time officials used a trend of nationalism in Chinese rock in their rhetoric. Rock music split in two parts: some of musicians tried to be a part of popular culture and some of them choose underground. Rockers were blamed in commercialization but I think it's a quite natural process in terms of whole marketization of culture that happened as a result of the reforms of Deng Xiaoping. Anyway, Tiananmen Massacre wasn't a cause of the end of Yaogunyue. The first half of the 1990s' wasn't a simple time for Chinese rock but it continued its development.

Yes, officially rock had no chances to exist, but actually there were certain circumstances for playing rock music in the big cities. Timothy Brace carried out three factors for that. “Rock performances and productions in the PRC since the early 1990s are described as `distinctly urban phenomena', and the growth of Chinese rock music in Beijing is accounted for by three factors: (1) the PRC's large concentration of foreigners, particularly foreign students; (2) a comparatively large number of sites for performance and a corresponding audience for the music; and (3) good recording opportunities for rock musicians. In 1992 Deng Xiaoping made his `southern tour' to Shenzhen and other cities to defend open-door economic strategies” [29, p. 447]

According to the comparative analysis that I've made in both case studies, I can say that Chinese rock was inspired by American and Western music. At the same moment musicians used Chinese cultural and musical heritage by including traditional instruments or writing lyrics within the Confucius tradition.

I assume that the most indigenous band was Tang Dynasty. Starting from the name of the band, they refer to the past of China that looks more attractive than nowadays. The disappointment with present and no will to change anything carry away them back to the previous days of ancient Tang Dynasty, to beautiful capital city Luoyang.

In contrast to Tang Dynasty, Cui Jian talked about necessity of changes and they will come and are coming now. Inspired by Bob Dylan at some degree, he became a voice of the generation that felt lost in present days and have nothing. But he did it in a different way: Bob Dylan talked to the mass of people and proclaimed happening changes like an ultimatum to the older generation. Cui Jian used a form of critics of government through metaphor. In a contrast with Confucius poetic traditions, it's a metaphor about unhappy love affair. The songs “The Times They Are A-Changin'” and “Nothing To My Name” were written in close historical context and were important part of civil movements.

Finally, Black Panther looks like the most Western influenced band of these three examples. They sang songs about the problems of an individual, about love, a place in the society and differences between a hero of the songs and others. These topics more usual for American and European musicians than Chinese and that's why Black Panther was something new in Chinese culture. Their place is a capital, they live now and here. Everything in their songs remains about global and postmodern world where different trends, cultures and traditions are mixed up. They could combine a chengyu in the name of the song and English in the next on the first album and didn't care that they look less indigenous than previous artists.

To sum it up, I want to say that I got the answers on three questions that I asked in the beginning.

1) Yaogun emerged in a result of the Open Door Policy in the second half of the 1980s'. Chinese culture became more open to foreign influences and if musicians copied American and European rock during the first middle of the 1980s', they brought new features to rock then.

2) Government had a controversial attitude towards rock music. in the beginning of the 1980s' it was blamed as “spiritual pollution” and banned. But at the same time foreign artists came to China with concerts and domestic musicians played rock. Since 1986 situation had changed: rockers appeared on the stage and in mass media. But with the spread of the Democratic Movement and especially Tiananmen massacre, rock felt under restriction again, but they were temporarily. It happened because this kind of music was popular and brought money and also it lost its political demands after 1989.

3) From my opinion, Yaogun is indigenous form of art with its own features. But as it has roots in American and European music, there is a different extent of influence on Chinese rock from the West, as we can see it on the example of Cui Jian, Tang Dynasty and Black Panther.

This research can be continued in several directions. For example, it is interesting to look at Chinese rock nowadays, to its place in the society, music industry and relations with the government now. Another direction is more historic: there is an idea to look at the social origin of the first Yaoguners: what education did they have, from what families they are and what happened to them during the 1960 - 1970s' and how did it influence on their decision to play rock music in the 1980s'.

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Appendix A. Interview with Wang Xiaofang, Cobra (1991), drummer and vocals

1. What American and European music did you listen to? Please name at least 5 bands/soloists.

In 80s': Sting, U2 and Pink Floyd. In 90s' Massive Attack and Cocteau Twins influenced me a lot.

2. Did you meet them from 1978 to 1991?

No

3. From what time did you start listening to foreign music?

From 1987.

4. Who influenced you to play music?

PINK FLOYD

5. How much influence from HK and Taiwanese music did you have?

*no influence *a little influence * moderately *rather big influence *a great influence

In early 80s', I started to listen Taiwanese pop-music.

6. How much influence from American and European rock-music did you have?

*no influence *a little influence * moderately *rather big influence *a great influence

I had a great influence.

7. Did you listen to foreign radio?

No

8. Did you get underground (smuggled) recordings?

Yes. Friends brought some types.

9. Did you have problems with authorities for playing music?

Cobra girls' rock band was founded in 1989, and rock music was not a mainstream music in the Chinese society. We faced the problem of making money for playing music; it was hardly possible to make a living.

10. Did you ever travel outside the PRC with your music?

Yes, I participated in various music festivals in the USA, HK, and Europe.

11. Where did you get your non-traditional\non-Chinese music instruments?

I studied Chinese music, I learnt how to play Chinese dulcimer.

12. How did you learn to play them?

See as above

13. Did you have PR (public relation)?

No

14. Did you have magazines about rock-music?

I saw Western magazine about rock-music in 1991 in China. In 1992 I had a photoset for German rock-music magazine.

15. Did you write songs in English? No

16. Did it make any difference to the authorities what language you sang your lyrics in?

I wrote lyrics in Chinese, most of the lyrics are about our own personal living conditions and social views.

17. Did you know about any official music organizations or societies?

In the mid-1990s, China has set up a new organization: Copyright Society of China

18. Did you know about any unofficial music organizations or societies?

I don't understand.

19. How did you distribute your music?

CD Records

20. Did you have any clubs for playing music?

We often played music. In 1992 we toured in Europe; we played in clubs in festivals. In 1996, we participated in festivals and club performances in the United States. In 2002, we participated in festivals and club performances in Germany.

Appendix B. Interview with Yu Weimin, drummer

1. What American and European music did you listen to? Please name at least 5 bands/soloists.

1Ј©Led Zeppelin

2Ј©U2

3Ј©Bob Marley

4Ј©Buddy Rich (drummer)

5Ј©Miles Davis

I like different music groups and genres, as well as styles, for example, hard rockЈ¬Funk, Jazz, Fusion, bossa nova, reggea, flamenco, punk rock, drum&bass, latin. Also I like ethnical, Indian music and music of Middle East.

2. Did you meet them from 1978 to 1991?

No.

3. From what time did you start listening to foreign music?

In my childhood in the 1970s', I listened to classic European music a lot, in the early the 1980s' I began to listen to American and European pop music.

4. Who influenced you to play music?

The Police, It was the first foreign rock album that I've got and I liked it a lot.

5. How much influence from HK and Taiwanese music did you have?

It had a certain impact.

6. How much influence from American and European rock-music did you have?

I had a great influence; I listened to definer genres from pop to rock music.

7. Did you listen to foreign radio?

No

8. Did you get underground (smuggled) recordings?

No

9. Did you have problems with authorities for playing music?

In 1988 - 1990 I started to play in bands that played covers, I was in college that time and the most important was to compare European and Taiwanese pop-music. In 1990, I started to play rock in a band and it was our music. From 1995 I play in different styles. The most difficult thing is to play original music and get money for that and be happy at the same moment.

10. Did you ever travel outside the PRC with your music?

HK, Japan, South Korea, Singapore, Turkey

11. Where did you get your non-traditional\non-Chinese music instruments?

I got it from HK, Japan, the USA, Turkey. I bought some instruments by myself when I travel abroad.

12. How did you learn to play them?

I started to play the guitar about 1985; I studied at school that time. I sometimes took guitar lessons after school and sometimes we played music with friends. It was our way to have fun.

We had a dream to play music in a group and when I was in university I learnt how to play the drums.

In 1987, it was possible to learn only classic and folk music in colleges in Beijing. It was no special school for teaching how to play drum set. I had a friend how taught me how to play the drums on introductive level. Also it was some books and audiovisual materials. It was important to study by oneself because it was no systematic courses to take.

13. Did you have PR (public relation)?

No

14. Did you have magazines about rock-music?

Probably in 1991 I read a foreign magazine abroad about guitars at the first time. Later I read “Rolling stone”, but not often, only when a friend brought it from abroad, but then I had a lot of “Modern drummer”, “Jazziz” and so on.

15. Did you write songs in English?

In 1992 I started to play in group Xuewei. The lead singer was half-British and half-Chinese. All the lyrics were in English. But when we recorded our songs we used lyrics as in Chinese as in English.

16. Did it make any difference to the authorities what language you sang your lyrics in?

English lyrics mainly considered as a part of globalization.

17. Did you know about any official music organizations or societies?

All the official music associations and organizations were for pop music. Rock music was to alternative for that.

18. Did you know about any unofficial music organizations or societies?

In early 90s' it was a German guy called Wudou who lived in Beijing and played on Beijing Jazz festival but it was over. Scale music organizations and associations were rare at that time.

19. How did you distribute your music?

We distributed our music mainly through live performances.

20. Did you have any clubs for playing music?

We played music in different places, from Live house to Disco club. Also we played in theaters, gymnasiums, stadiums, large outdoor music festivals.



Appendix C. “The Times They Are A-changin' lyrics”. Bob Dylan. (1964)

Gather 'round people

Wherever you roam

And admit that the waters

Around you have grown

And accept it that soon

You'll be drenched to the bone

If your time to you

Is worth savin'

Then you better start swimmin'

Or you'll sink like a stone

For the times they are a-changin'

Come writers and critics

Who prophesize with your pen

Keep your eyes wide

The chance won't come again

Don't speak too soon

For the wheel's still in spin

And there's no tellin' who

That it's namin'

For the loser now

Will be later to win

For the times they, they are a-changin'

Come senators, Congressmen

Please heed the call

Don't stand at the doorway

Don't block up the hall

For he that gets hurt

Will be he who has stalled

There's a battle outside

And it's ragin'

It'll soon shake your windows

And rattle your walls

For the times they are a-changin'

Come mothers and fathers

Throughout the land

Don't criticize

What you can't understand

Your sons and your daughters

Are beyond your command

Your old road is

Rapidly agin'

Please get out of the new one

If you can't lend a hand

For your times they are a-changin'

The line it is drawn

And the curse it is cast

The slow one now

Will later be fast

As the present now

Will later be past

The order is

Rapidly fadin'

And the first one now

Will later be last

For the times they are a-changin'



Appendix D. “Nothing to My Name” lyrics. Cui Jian. (1986)

I have asked you endlessly,

When will you go with me?

But you always laugh at me with,

Nothing to my name

I want to give you my dreams,

And give you my freedom.

But you always laugh at me with,

Nothing to my name.

Ohhh….

When will you go with me?

The earth beneath my feet is moving.

The river beside me is flowing.

But you always laugh at me with,

Nothing to my name.

Why do you always laugh at me so?

Why don't I give up?

Why do you see me as,

Forever having nothing to my name?

Ohhh….

Just go with me now!

Listen - I've waited so long,

So I'll make my final request.

I want to grab you by the hands,

And take you with me.

Now your hands are trembling,

Now your tears are falling.

Perhaps you are saying,

You love me with nothing to my name

Ohhh….

Just go with me now.



Appendix E. Photo materials

Pic. 1. Cui Jian at Tiananmen Square

Pic. 2 Cui Jian performing “A Piece of Red Clothes”, 1990

Pic. 3 A cover of “Rock'n'roll on the new long march”, 1989

Pic. 4 Black Panther with Dou Wei

Pic. 5 A cover for the album “Black Panther”, 1991

Pic. 6 Tang Dynasty

Pic. 7 A cover for the album “A Dream to Return to Tang Dynasty”, 1992

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