ABSTRACT
In this chapter, I revisit the political and artistic environments out of which Peking Opera and Politics in Taiwan (University of Illinois Press, 2005) developed, and reprise the study’s most significant findings. As I was putting the finishing touches to the book, the disbanding of three of the four state-sponsored troupes cast a dark shadow over Peking opera future prospects in Taiwan. Here, I briefly report on the current scene and conclude that, thanks to continuing state support, albeit a tiny fraction of what it once was, Peking opera continues to be performed by locally based organisations. A close look at the past and present uses and functions of this once symbolically potent musical form provides a window into the powerful emotional forces that underlie heartfelt political contestations. In closing, I suggest that future work in Taiwan studies focus greater attention on the messages that musical communication (from large-scale theatrical traditions down to pop songs sung in political rallies) conveys of competing interests within Taiwan society.
