An ethnographic inquiry into authenticity, socio‑economic change, and government policy in Taiwanese Nanguan music
Institution: 
University of California, Los Angeles
Nanguan, a centuries-old ensemble tradition from Fujian, has evolved along different paths in Taiwan and Mainland China. Through ethnographic fieldwork in summer 2018, I explored how Taiwan’s Nanguan clubs (guange) negotiate “authenticity” in the face of shifting socio-economic landscapes, government policy, and cultural heritage debates. Using thematic analysis, audio-visual recordings, and interviews, this project reframes authenticity as a living, negotiated practice—moving beyond the binary of “modern” Mainland versus “traditional” Taiwan.
While Taiwanese Nanguan has long been celebrated as an emblem of cultural heritage, the very notion of “authenticity” that scholars and policymakers rely on is increasingly contested on the ground. Musicians in Nanguan guange find themselves navigating shifting socioeconomic conditions, new government subsidy schemes, and a cultural‑heritage discourse that often frames tradition as a static relic. Yet, there is no systematic ethnographic evidence of how these practitioners actually negotiate authenticity in their day‑to‑day practice.
Here’s what’s already known—and what my research adds.
To understand how Taiwanese Nanguan musicians experience and negotiate authenticity, I conducted 10+ semi‑structured interviews and 4 focus groups with senior musicians, community leaders, and emerging performers. These sessions explored:
Protocols: Interview guides tailored for both senior and younger musicians; participant-led conversations in Mandarin or Hokkien.
Facilitation: Built trust through repeated visits to clubs (guange); ensured sensitivity to community hierarchy and gender norms.
Analysis: Transcribed and coded interviews to map connections between background, identity, and musical/ritual practice.
These qualitative methods revealed how Nanguan musicians see themselves as carriers of tradition and innovators adapting to change, adding depth to understanding “authenticity” as lived and negotiated.
Musicians balancing heritage and change
“The traditional insistence on the amateur status of the genre remains strong, and many musicians refuse to commodify their music and enter the exchange market”
Lineage matters, but clubs now rely on both local and mainland-trained teachers.
Subsidies sustain clubs, but promote standardized repertoire and performance metrics.
Taiwanese musicians view mainland Nanyin as modernized—yet import mainland teachers for innovation.
Authenticity is fluid: musicians claim it through lineage, documentation, and by distinguishing themselves from mainland styles.
Nanguan clubs foster belonging—public rehearsals, temple festivals, and local concerts bring musicians and audiences together.
Interested in more of my research projects or collaborations? Explore my full research portfolio or get in touch.
