Navigating and reshaping socio-cultural boundaries through sonic examinations into intersections between Chinese and British cultures

我的作曲研究主要关注调查跨文化空间，以探索流散叙事。其目的是揭示散居身份与他们所处社会之间的流动关系，特别强调他们如何不断地重新想象，重新发明和重新焕发活力。作为一名父母来自香港的英裔华人，我希望能进一步阐明香港、中国和英国之间独特而多变的关系，希望能让人们更深入地了解在当今社会中，作为一名英裔华人意味着什么。我的理论框架是基于苏正的“主张散居”。这本书评估了音乐领域在“华裔美国”的社会文化影响，询问他们在形成散居身份和文化中的作用。我的研究将扩展郑对“散居”的研究，作为“说明……”的有效手段。多元文化个体和群体的“过去和现在的社会和文化经验”以及“情感、记忆和想象的结构”（Zheng 2011:11）。这就提出了在文化背景下对声音的感知的问题。的确，对于想要描述这种音乐及其创作者的听众来说，中西音乐元素的协同作用仍然是个谜。谭盾发现，“在欧洲……每个人都认为我是美国作曲家....但在美国，我是一名中国作曲家”（Yang & Saffle 2017:272）。这种悖论似乎揭示了一个有限的空间，它与明确定位陌生事物的愿望格格不入，这表明散居文化可以释放新的声音、思想、身份和文化。饶南希和郑已经开始探索这个概念，我打算在作曲领域进一步研究这个问题。

My compositional research is primarily concerned with investigating cross-cultural spaces to explore diasporic narratives. The aim is to shed light on the fluid relationships between diasporic identity and the society in which they are located, emphasizing particularly how they are constantly reimagining, reinventing and reinvigorating each other. As a British-Chinese with parents from Hong Kong, I am looking to shed further light on the unique and ever-fluid relationship between Hong Kong, China, and the UK in the hope of affording for a deeper understanding of what it can mean to be British-Chinese in today's society.My theoretical framework is based on Su Zheng's 'Claiming Diaspora'. The book assesses the socio-cultural impact of musical spheres in 'Chinese America', interrogating their roles in forming diasporic identity and culture. My research will extend Zheng's investigation of 'diaspora' as an effective means of "illustrating...[the] past and present social and cultural experiences and [the] structures of feelings, memories and imaginations" of multi-cultural individuals and communities (Zheng 2011:11). This raises questions regarding the perception of sounds within a cultural context. Indeed, the synergy of Chinese and western musical elements has remained enigmatic for listeners looking to describe such music and its creators. Tan Dun has found, "In Europe... everyone thinks I'm an American composer....But in America, I'm a Chinese composer" (Yang & Saffle 2017:272). This paradox seemingly reveals a liminal space that sits uncomfortably with the desire to definitively locate the unfamiliar, suggesting that diasporic cultures can unlock new sounds, ideas, identities, and cultures. Nancy Rao and Zheng have begun exploring this notion, and I intend to examine this further in the realm of composition.