Shirley Yee, a retired accountant based in Portland, embodies the spirit of a strong and determined woman.
When she takes the stage to portray the legendary Chinese heroine Diu Sim, she feels an innate connection to the character she plays.
Yee expresses her desire to perform songs that reflect the virtues of intelligence and resilience, showcasing a woman seeking equality in a male-dominated society.
Diu Sim is celebrated as one of the four legendary beauties of ancient China and plays a significant role in the classic novel “Romance of the Three Kingdoms,” which dates back 600 years.
In her recent performance at the Oregon Chinese Consolidated Benevolent Association, Yee depicted Diu Sim as a loyal figure to the Han imperial government, who cleverly utilized her delicate appearance to aid in the overthrow of a corrupt warlord.
“I, little Diu Sim, gently move with lotus steps, step by step — one step, then another and another,” she sang passionately in Cantonese during the half-hour opera piece.
This event marked a celebration of the Yat Sing Music Club, a Cantonese opera group founded in 1942 by Chinese immigrants.
Originally, the club’s founders performed to raise funds in defense of China during World War II, its patriotic roots echoing through the performances.
Yee’s journey to Cantonese opera began after she moved from her native British colonial Hong Kong to the United States in the late 1960s.
She initially pursued studies in Western music, including piano and choral singing, while there was little emphasis on her cultural heritage.
Yee recalls growing up hearing the strains of Cantonese opera but initially dismissed it, believing that proficiency in English and Western music would better secure her future.
It wasn’t until she moved to Portland and was introduced to the Yat Sing Music Club that she rekindled her passion for this traditional art form.
Discovering the unique musical notation of Cantonese opera, written in Chinese characters rather than Western scales, marked a transformative moment for her.
“The lyrics are very poetic,” Yee noted, highlighting how many operas tell stories that emphasize virtue, loyalty, and kindness.
Cantonese opera, known as Yueju, has been recognized by UNESCO as an intangible cultural heritage of humanity since 2009.
It’s a rich amalgamation of music, singing, martial arts, acrobatics, and acting, often showcased with elaborate costumes and intricate face painting.
The art form has its roots in the 16th to 18th centuries, evolving as various regional theatrical traditions merged in Guangdong province.
Though early performances were initially sung in Mandarin, the late 19th and early 20th centuries saw a shift to Cantonese, which has become its distinctive feature.
Historian Wing Chung Ng notes that the migration of Cantonese speakers during this time significantly contributed to the spread of opera across North America, particularly within Chinatowns.
Professional troupes and local musicians introduced Cantonese opera to Chinese communities in response to a lack of entertainment options during the exclusion era.
These performances provided cultural connection and joy at a time when they faced systemic racism and segregation.
The traditions of Cantonese opera persisted through political upheaval, including the Cultural Revolution, which severely impacted various art forms in China.
However, many members of the Yat Sing Music Club believe the legacy of their costumes and performances continues.
Despite the loss of many historical costumes to fire, floods, and other adversities, a cherished artifact remains in the club’s possession—a trunk housing a white costume embellished with a blue Chinese dragon, emblematic of the tradition.
This same dragon motif is celebrated in a family photo from 1942, showcasing the continuity of the club’s heritage.
John Lee, one of the club’s older members, shared his personal journey to the Yat Sing Music Club, which he joined as a teenager in 1950.
Lee reminisces about the cultural significances of costumes, particularly the dragon robes historically reserved for emperors.
Last August, at the Yat Sing’s anniversary show, performances featured a mix of traditional and contemporary narratives, showcasing the evolving interpretation of this grand art form.
Chairperson Richard Kwong and Vice-Chairperson Cindy Ng brought to life the dramatic tale from “The Flower Princess,” representing the intense emotion tied to love and sacrifice amid political turmoil.
As the club’s dedicated members, many of whom are seniors, face the challenge of finding younger generations to replace them, Kwong stresses the importance of keeping the tradition alive.
Despite difficulties connected to modern entertainment preferences, including the allure of fast-paced social media, there is hope for revival.
Cantonese opera’s endurance reflects a commitment to cultural heritage and community bonding, as exemplified by Shirley Yee and her fellow performers who strive to maintain the spirit of this dynamic art.
Performances at various venues, such as the Oregon Historical Society, aim to broaden the audience for Cantonese opera, weaving it into wider cultural contexts.
Although the membership of Yat Sing has dwindled, Yee maintains an optimistic view for future generations.
“Whoever stays, we try to put up the best part of ourselves,” she remarked, embodying both resilience and hope.
As the legacy of Cantonese opera navigates through change, the passion of its performers in Portland keeps the flame of this treasured art form alive.
image source from：https://www.opb.org/article/2025/05/31/yat-sing-music-club-portland-cantonese-opera/
