Musical Yellowface

The bare title of this post might already be enough to summon, in your head, the ubiquitous musical phrase that says "chinky!" with as much self-conscious gusto as bamboo fonts and gongs:
 
Having grown up in a music-loving household filled with both Chinese and Western classical music, this little melody has always annoyed me. It's basically what white folks play every time Orientalism is invoked in a TV show, movie, or pop song. It's so prevalent that I honestly suspect that many white folks unconsciously hear this ditty when they see me walk into the room.

Funny thing is, it's neither Chinese nor even representative of Chinese music. It's a white supremacist construction whose artistic purpose is to caricaturize, mock, and dehumanize Asians.

From Ask The A.V. Club:

Nilsson calls this "the Far East Proto-Cliché," and documents its use in popular and light classical music back to the 1880s. Although it was used to signify generalized Asian exoticism (associated with places as far-flung as Persia and Egypt), by the early 20th century, it's nearly omnipresent in music associated with "chinoiserie," the fad for Oriental décor and dress.

Every two-bit jazz combo in the country seems to have recorded a novelty song with some version of the Proto-Cliché, from "Chinatown My Chinatown" to "Chong, He Come From Hong Kong" to "My Yokohama Girl." The Walt Disney music department was especially fond of the trope. Versions occur in "The China Plate" (a Disney Silly Symphony in which painted figures on a piece of porcelain come to life), a few propaganda cartoons from the World War II period, and most beloved by The A.V. Club, the classic music-ed cartoon "Toot, Whistle, Plunk, and Boom."

Check out the exhaustive research piece by Martin Nilsson.

UPDATE (2006-10-27 23:45EST): In a comment below, Elayne quite sensibly asks me to point out a piece that is representative of Chinese music (or to be more precise, Han Chinese music, which is really what I'm discussing). With some 7,000 years of known history (based on archeological findings), it's difficult for me to point to a single piece; but I'll make some general comments and try to offer some examples.

First, let me say that the reason the phrase that's the subject of this post is not representative is that its rhythmic and harmonic structures do not resemble any of the Chinese music with which I'm familiar. The melodic structure isn't quite as far-fetched (the use of the pentatonic scale is legitimate), but the parallel four-tone intervals of the harmony and, especially, the 4 sixteenth notes, followed by 4 eighth notes, followed by a quarter note, all of which are staccato, are caricatures, to put it charitably. To my ears, the combination creates an absurd, deeply unserious feeling, perfect for stereotypical images of Chinamen scurrying about like rodents, with their hands in their sleeves.

When I think of Chinese music, I suppose the first thing I think of are traditional instruments: the erhu, the pipa, the guqing (which my mother plays), and of course the traditional drums. There are many others (for example, if you saw "Hero", the bronze bells being played in the emperor's court are very authentic; in Beijing I saw a performance on similar bells that were 5,000 years old; the musician wore a white lab coat and white gloves and was very gentle, but those suckers were still in tune!), but the instruments I just named are the most common in my experience. When I was growing up, my favorites were the uptempo ensemble pieces with lots of drums and cymbals that accompanied dragon dances and big firecracker-laden festivities (you know, boys), but these days I can better appreciate the reflective solo pieces; indeed I find them quite stirring.

Quite frankly, there are also many pieces that I consider "authentically Chinese" which are played on Western instruments. In the 20th century, many Chinese composers wrote pieces for European orchestras, which were nevertheless distinctly Chinese. Far and away the most popular of these among the Chinese is "Butterfly Lovers" which describes a tale of unrequited love (of course). Believe it or not, I also consider certain New Age and Chinese pop music to be "very Chinese", but that's another story.

Anyway, here are some rough clips I found. Not exactly as "representative" as I'd like, but the best I could do on short notice on the internets. ;-) I think you'll quickly notice the frequency of glisses, trills, and tempo changes, as opposed to the stiff staccato in the yellowface ditty. Not to mention the emotive depth.

Solo erhu: New Year's Eve

Uptempo ensemble: Yesterday And Today

Video: Traditional pipa by Liu Fang

Video: Traditional guqin guzheng by Liu Fang  [ UPDATE: Er, oops! My Mother has sent me an email pointing out that the instrument being played by Liu Fang in this clip is actually a gu-zheng, not a gu-qin. They're similar instruments, but the guzheng is a more "modern" (so to speak) version of the guqin: the guzheng has 21 strings and was invented around 250 BCE, while the guqin has only 7 strings and can be traced back to 1,000 BCE. Um, I feel rather sheepish now. Next time I write about Chinese music, I'll get Mom-approval before I post it. Thanks, Mom.]

Comments

[belledame222]

"musical yellowface"

nicely coined

[Sunrunner]

I can't read music, but I think I can "hear" it anyway. So everpresent that I never, until now, actually "heard" it...

[Nezua Limón Xolagrafik-Jonez]

It's so prevalent that I honestly suspect that many white folks unconsciously hear this ditty when they see me walk into the room.

DOOD that shit was hilarious. expechully since i can hear it looking at it.

(and what a great way to talk about your topic...posting the notes of the song, so everyone can "see" the tune right there)

[MB Williams]

You know, speaking of Disney, my kids were never allowed to see Pocahontas, but they absolutely loved Mulan. I know it was filled with stereotypes (which we've worked on with our kids) but I was so happy that they chose a non-white Disney "princess", and one with true heroine characteristics (smart, loyal, steadfast, etc.) versus the "sell-my-voice-to-get-the-guy" Disney gal, that I think we overlooked the worst of it.

Maybe we're unusual, but we tend to see American Indian culture (at least our own) as strongly tied to East Asia (okay, so I was an East Asian Studies major, so maybe it was just ME.) But at least Mulan was based on an actual ethnic Chinese (and voiced by Ming Na) - Pokie's model was Pacific Islander (because local Powhatans, or anyone on the American Mainland, didn't look "Indian enough".)

[Kai]

MB,

I didn't see Pocahontas either, but I did actually enjoy Mulan (and my little niece is in love with it). For some reason it seems that Disney made more of an effort to get things right with Mulan than usual (though of course I had my little annoyances).

As for the American Indian-East Asian connection, I think it's rather fascinating. And I don't think it's just you; I sense a connection myself though I can't articulate it at this time. Indeed, a few years ago I spent some time learning from a Lakota pipe carrier named Jesse Two Owls, who initiated me to the sweat lodge, and who also spoke about that connection. He had traveled in China, had studied martial arts from a master at the Wu Dang monastery (and obviously that's not something just anyone can do, his teacher must have seen a connection too), and went on to open a Wu Dang martial arts school here in the US. Intriguing stuff, deserving more thought...

[Nanette]

"Musical Yellowface" lol. perfect.

I don't read music but I could almost hear the echo of the tune in my head, just from the description. And when I listened to it, there was the "Duh! Or course!" moment. Some form of that little ditty is everywhere, in anything having to do with anyone of any Asian ancestry.

I didn't know the history of it, though, that is very interesting... but sadly, not at all surprising.

I've also noticed the American Indian-East Asian connection, although probably not to the point of those who know more about one or both of the cultures... but there is a definite sense of familiarity with regard to some things.

[Kai]

belledame, Nezua, Sunrunner, Nanette, thanks.

You know, this tune is one of these little things that's almost invisibly huge: just 9 notes, yet how many millions of minds has it influenced with a certain feeling about Asians? Kind of amazing to consider.

Peace.

[Elayne Riggs]

Kai, could you supply an example of a piece that you believe is "representative of Chinese music"?

[Kai]

Hi Elayne, I hope the update to my post above helps. :-)

[alex]

You go girl--I mean Mom, that is. :)

This reminds me of Persian santur music (probably because my greatest familiarity with non-Western music is with that of the Near East). It conjures a comparable mood in a parallel yet diametrically opposed fashion. The santur is a Persian zither-type stringed instrument played with two (delicate) wooden mallets. There are 72 strings over two sets of 9 bridges on each side producing 27 diatonic tones, a little over 3 octaves. A world of difference but a kindred spirit. Wholeheartedly I reccomend listening to Behnam Manahedji. He is an accomplished master. And there is nothing cliched about his melodies. Get a copy of his absolutely haunting, starkly beautiful, and sublime CD--his only one--Master of the Persian Santoor. Not a even a familiarity with the music of the Chinese hammered dulcimer can prepare you. And should your ears need a good "rinse", you especially won't regret it.

Peace.

Alex

[Kai]

Thanks, Alex, I'll definitely check it out and get a good ear rinse. :-)