Utilising technology as a transmission strategy in intangible cultural heritage: the case of Cantonese opera performances

ABSTRACT

Globalised technological advancements have radically transformed how intangible cultural heritage (ICH) is inherited in contemporary society. Despite being recognised as a Human ICH by the United Nations Educational, Scientific, and Cultural Organisation, Cantonese opera is facing existential crises attributed to an ageing demographic and shrinking audience base. To survive in a rapidly changing sociocultural landscape, Cantonese opera performances in Hong Kong have embraced modern technologies, including artificial intelligence, holographic projection, and virtual reality. By exploring the perspectives of 86 Cantonese opera practitioners, this study critically examines the perceptions, experiences, and challenges associated with technology adoption as a safeguarding strategy for ICH transmission. This study revealed the complex interplay between technology use and cultural transmission, adding to heritage literature by shedding new light on audience reach, content enhancement, value creation, and funding strategies in the context of technology adoption, and the corresponding negotiation of tradition and modernity within ICH communities. The findings emphasise the importance of preserving traditional core values, identity, and artistry inherent in the performing arts of ICH, even as technology adoption becomes radically widespread, shedding light on a cautious integration of technology in ICH in this technology-focussed era.

KEYWORDS:

• Arts technology
• artificial intelligence
• Cantonese opera
• intangible cultural heritage
• transmission crisis

Acknowledgements

The author would like to express gratitude to the Editor of the journal and the anonymous reviewers for their insightful and constructive feedback, which has significantly enhanced this paper. Special thanks are extended to the Cantonese opera practitioners who generously devoted their time to participate in this research. The author would also like to thank Professor Sidney Chin-hung Cheung and Professor Sau-yan Chan for their valuable advice on the Lord Wilson Heritage project. Appreciation is extended to Mr. Kai-kwong Choi for his assistance in fieldwork and photography, as well as to Ms. Sonia Choi for her valuable research support.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Correction Statement

This article has been republished with minor changes. These changes do not impact the academic content of the article.

Notes

1. The interview materials, including the 92-hour audio recordings and transcripts, were securely stored on password-protected devices with restricted access to the research team. Anonymised documentation was implemented using unique participant identifiers. The data will be securely stored for a minimum of five years following publication.

2. This study was restricted by anonymity as agreed with the participants; hence, we must uphold the promises made to participants regarding data use/dissemination. To promote replicability, a comprehensive description of our research design and methodology was provided for scholars who are interested in replicating or adapting the study design.

Additional information

Funding

This work was supported by the Direct Grant for Research (2022/2023), Faculty of Arts, the Chinese University of Hong Kong (Grant number: CUHK4051220); Lord Wilson Heritage Trust, Hong Kong SAR Government (Grant number: HAB/C 27/9/167).

Notes on contributors

Fanny Ming-Yan Chung

Fanny Ming-yan Chung is currently an assistant professor of Cultural Management at the Chinese University of Hong Kong. She obtained her doctoral degree from the University of Bristol, United Kingdom. Her broad research interest lies in performing arts as intangible cultural heritage, cultural studies, transmission of Cantonese opera, cultural musicology, and music education. She has published on cultural management, Cantonese opera, intangible cultural heritage, cultural and education policy, and ethnomusicology, including two recent books entitled Transmission of Cantonese Opera in Hong Kong amidst COVID-19 Pandemic Crisis (Chung Hwa Book, 2023) and Music and Play in Early Childhood Education: Teaching Music in Hong Kong, China and the World (Springer Nature, 2022).