ETHNIC IDENTITIES AND CULTURAL CAPITAL: AN ETHNOGRAPHY OF CHINESE OPERA IN SINGAPORE

This article weaves the trajectory of Chinese opera in Singapore with the country's political development. Starting in 1965, the year of Singapore's independence, it attempts to debunk the myth that national culture is resistant to global culture by describing the state's systematic erosion of local culture. From the late 1970s onward, with economic progress, state fears of “Westernisation” led to a centring of Chinese culture in national culture; this was followed by a mini-revival of Chinese opera that coincided with the emergence of Confucian ethics as national discourse and as a culturalist explanation for the “Asian miracle” of the 1980s. This article shows that globalisation's effect on local cultures is not a straightforward process. Instead, it is a complex relationship where the flourishing of a local culture depends on the changing recognition and valuation of cultural identities, ethnicity, and language as cultural capital. This in turn implicates the structural features of national policies and globalisation processes that determine the recognition and valuation of this cultural capital. The use of “cultural capital” as a conceptual tool to isolate the cultural and social components of Chinese opera demonstrates that a local culture flourishes or withers according to the effects of globalisation and national policies on such cultural and social factors.