Colin P. McGuire, PhD

Abstract

Wong Fei-hung [黃飛鴻] was a Cantonese martial arts master from southern China who became associated with a melody called ‘General’s Ode’ [〈將軍令〉]. Since the 1950s, over 100 Hong Kong movies and television shows have forged the link by using this melody as Master Wong’s theme. During fieldwork in a Chinese Canadian kung fu club, I observed several consultants claiming this piece as a Cantonese national anthem—a hymn for a nation without a sovereign state. Virtual ethnography conducted online showed that this opinion is held more widely, but that the piece also inspires broader Chinese nationalist sentiment. My analysis of speech-tone relationships to melodic contour in Cantonese and Mandarin versions of the song, however, has revealed a tight integration with the former that the latter lacked. By sharpening Benedict Anderson’s concept of unisonance, I explore how this song has become an unofficial transnational anthem for Cantonese people, arguing that Master Wong’s theme auralises an abstract sense of imagined community.