Nanyin Under the Stars: A Magical Night with Wang Xinxin
On a starry night, renowned Nanyin musician Wang Xinxin mesmerises our souls with her penetrating voice, evoking nostalgia and reflection through poems and melodies from ancient China.
Sense of Wander: ★★★★★
Nanyin musician Wang Xinxin, playing the pipa, the Chinese lute.
TAINAN, Taiwan — Few in the world would travel over 250 kilmetres to a century-old mansion in the middle of nowhere for an 80-minute nanguan concert under a starry sky. But for those who do, the experience is truly breathtaking.
What made me travel the distance? It’s a concert by Wang Xinxin, a leading nanyin musician in Taiwan. Originally from Quanzhou, China, the birthplace of nanyin, Wang is also the founder of the Xinxin Nanguan Ensemble, known for promoting this time-honoured tradition to younger audience.
Nanyin, or “southern Music,” is one of the oldest music genres in China. With its roots in southern China, it’s celebrated for its serene, lyrical melodies and evocative vocals. In 2009, its cultural significance earned it a place on the UNESCO’s Intangible Cultural Heritage List.
Tonight, Wang Xinxin graces the historic Huang Family Mansion (後壁黃家古厝) in Houbi, Tainan City. This city-designated monument is one of the few remaining traditional courtyard residences in Tainan to have its complete structure preserved. Built in 1926, the mansion is nearly a century old.
As we stroll from Houbi train station to the mansion, we pass by the Half-Moon Pond. A symbol of harmony and balance, this type of water feature is commonly found in traditional Chinese courtyards and gardens. Nestled in a rural area, the mansion’s surroundings fall into near-pitch darkness after sunset — quite a contrast to the bright lights of the city.
The stage is elegantly arranged in front of the mansion’s gate, where two Ming-style wooden chairs sit side by side. I feel fortunate to be seated in the front row — a true privilege to experience Wang Xinxin and her music up close.
The stage is beautifully arranged in front of the entrance to Huang Family Mansion in Houbi, Tainan city.
Traditionally, a nanyin ensemble includes instruments such as the pipa (Chinese lute), erhu (two-stringed fiddle), guzheng (Chinese zither), dizi (bamboo flute), and dongxiao (vertical bamboo flute). Tonight’s performance, however, features an intimate duet: Wang Xinxin on the pipa and her disciple Lee Kuan-Ju on the dongxiao.
The pieces draws on ancient Chinese poetry, with many inspired by Tang (618–907) poems and Song (960–1279) lyrics. One of the first to be performed is “Quiet Night Thought” (Jing Ye Si) by the Tang poet Li Bai — it’s often the first poem we had to memorise as students, making it instantly familiar to the audience.
What’s intriguing is how Wang seizes the opportunity to bridge the gap between us and nanyin by teaching the audience to recite the poem in Quanzhou dialect — the language she uses in her vocal. Though Quanzhou dialect shares similarities with the Minnan dialect spoken in Taiwan, they’re different. Wang gently dissolves this language barrier through this impromptu workshop, encouraging the audience to follow her lead. Interaction as such not only deepens our connection to her art but makes the performance feel even more intimate.
Nanyin is celebrated for its beauty and emotional depth, with poetic lyrics that often explore themes of love and longing. Its vocal style is unique — slow and deliberate, with each vowel extended in a manner reminiscent of Chinese opera. This measured pace invites us to connect with each word and its meaning on a deeper level. It’s no surprise that reciting a 20-character poem like “Quiet Night Thought” can take up to three minutes.
Next, my all-time favourite takes centre stage — “Bring in the Wine” (Jiang Jin Jiu). In this masterpiece by Li Bai, Wang showcases her artistry by skillfully modulating the tempo of her voice, adding dynamism to the rhythm of the piece. My favourite lines from the poem are as follows:
“Life should be lived to the fullest when in good fortune,
Do not let the golden cup face the moon in vain.
I was born with talent — it must have its purpose,
Even if a thousand gold coins are spent, they will come back again.”
Wang Xinxin is accompanied by her disciple, Lee Kuan-Ju.
In addition to Tang poems, Song lyrics bring a nostalgic touch to the night. For example, Su Dong-Po’s “Butterflies Chasing Flowers — Spring Scenery” (Die Lien Hua — Chun Jing) stirs a sense of melancholy with its evocative lines:
“Within the walls, a swing in play; beyond, a winding lane,
Outside, passers stroll, while within, a beauty laughs.
Her laughter fades, her voice is disappearing;
Affectionate, yet troubled by indifference.”
This section of the poem is fitting for the setting we’re in, as I imagine that I, a curious passerby standing outside this historic mansion, could almost hear the maiden’s laughters behind the red-bricked wall.
Another Song lyric, “Green Jadeite Bowl — On the First Night of the New Year” (Qing Yu An — Yuan Xi), by Xin Qiji also catches me off guard. The poem vividly describes the poet’s personal reflection during the Lunar New Year festivities. Imagery of spring breezes, flowers, and celebratory scenes contrasts with his deep yearning for peace and fulfillment. The final lines are particularly famous:
“Amidst the crowd, I searched for her a thousand times;
Suddenly, I turned, and there she was,
In the dim glow of the fading lights.”
The way Wang recites the lyrics in nanyin style further enhances the introspective and somber mood.
These two lyrics stir mixed feelings within me as I reflect on my recent experiences in love, especially the fact how those with deep emotions are often troubled by indifferent heart. Though unfulfilled in my romantic journey, I’m grateful for these experiences as they allow me to resonate with these lyrics on a different level.
Throughout the performance, I can’t help but gaze up at the stars above me, a moment that transports me back to the light show at Abu Simbel in Egypt, were the stars were a constant presence throughout the evening.
For the final piece, a lyric by Liu Yong, also titled “Butterfly Chasing Flowers” (Dielianhua), Wang invites a dozen students from National Taiwan University (NTU) to join as the chorus. Wang, who has been teaching at NTU for two decades, shares this special moment with her students.
To my surprise, among the choir members is my cousin, whom I know has been taking Wang’s class, but I didn’t know he was part of the concert. Even more surprising, he stands right in front of me! “What a small world!” I think to myself, amazed by this unexpected encounter.
For the encore, Wang presents a few lighthearted pieces, one of which revolves around a merchant selling various teas available in Taiwan. At one point, Wang calls out to the owner of the Huang Family Mansion in the audience, asking if he’s interested in buying some tea. though the song is sung in Quanzhou dialect, I find myself understanding at least 70% of the lyrics.
Tickets to Wang Xinxin’s performances are usually hard to come by, as she has built a loyal following, and her concerts often sell out quickly. But thanks to her efforts in promoting the art of nanyin, free concerts in small towns like Houbi are occasionally held. In fact, this past October, Wang’s performance at the historic Pei Gui Hall in Chiayi caused a sensation, with 300 tickets being distributed.
Though I’ve seen Wang Xinxin perform live before, I never imagined travelling all the way to this small town to see her again, especially when the Huang Family Mansion holds special personal significance for me.
During the pandemic, I had the chance to explore rural Tainan with my dad. Thanks to Google Maps, we stumbled on this historic mansion — it wasn’t open to the public, but after learning that we had travelled all the way from Taipei, the owner kindly allowed us a brief tour. And tonight’s stage is set in the same spot where our taxi parked during that visit.
Experiencing nanyin against the backdrop of a century-old mansion enhances the experience, making it feel more intimate and authentic, and much closer to the traditional setting in which nanyin ensembles were performed. It’s truly a different experience compared to hearing Wang perform in a modern theatre or auditorium!
Tonight is magical — not only because of Wang Xinxin’s mesmerising vocals and melodies, but also because of the inspiring souls in the audience — familiar faces I spotted at the concert includes the esteemed calligrapher Tong Yang-Tze, whose commissioned work is currently on view at the Metropolitan Museum of Art in New York; Lin Lee-Chen, the visionary choreographer and founder of the Legend Lin Dance Theatre; and Lai Sheng-Chuan, the renowned playwright and theatre director.
On that note, I’m so very grateful for the divine orchestration that brought me to be where I need to be — here and now.
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Wang Xinxin performed at the historic Huang Mansion in Houbi District, Tainan City, on December 6, 2024.