To study the representative folk performance art and its related folk culture in Anhui(安徽省), Shanxi(山西省) and Shanxi(陝西省) region, we subdivided the theme of this research into the following sub-topics: 1) the origins and changes, 2) the underlying comp ...
To study the representative folk performance art and its related folk culture in Anhui(安徽省), Shanxi(山西省) and Shanxi(陝西省) region, we subdivided the theme of this research into the following sub-topics: 1) the origins and changes, 2) the underlying components and performance aspects; 3) the ground of tradition and its function; and 4) the cultural status of the traditional folk square art and its related folk culture in Anhui(安徽省), Shanxi(山西省) and Shanxi(陝西省). Here, the traditional folk art represents the performance arts such as songs and dances performed by private citizens at their country yards or squares rather than at formal stages.
The section of the origins and changes overviews the formation of the square performance art typical of farming culture, its history and other characteristics inherent in the formation of each new art school. The part of the underlying components separately explores dancing, music, and dramatic elements while the section of performance aspects examines the above elements from the integrative perspective of performance arts. Considering that the folk performance art is not mechanically combined in its form, we focused on the fundamental and integrative aspects. The section of the ground of tradition and its function focuses on 'Miaohui(廟會) culture' as the ground for transmitting the traditional folk performance art and synthesizes the Miaohui(廟會) culture and its related knowledge about folk culture. The part of the cultural status examines tourism policy of the Chinese government and its cultural nationalism through a review of folk activities related to the research topic, and also studies the folk culture in relation to the Chinese social structure and political characteristics. In addition, this section explores the dynamics inside of the Chinese rural folk society.
In the study on Huagudeng(花鼓燈), which is the 1st year subject of this research, we have performed an on-site study in the order of Yingshangxian(潁上縣), Fengtaixian(鳳臺縣), Huaiyuanxian(懷遠縣), Bengbu city(蚌埠市) at the basin of Huaihe (淮河) during Chunjie holidays(春節) when the performances are frequently presented, and acquired documentary records together with video data and oral statements on the performance sites of folk Huagudengban(花鼓燈班). In addition, we have examined Miaohui(廟會) activities and comprehensive folk activities through an on-site study on Yuwang Miaohui(禹王廟會) of Tushan(塗山).
In the on-site study in Shanxi(山西) area during the Chunjie(春節) period, we have inspected folk activities such as Santou Yangge(傘頭秧歌) of Linxian(臨縣), Badajiao Yangge(八大角秧歌) of Wuzhaixian(五寨縣), Taigu Shehuo(太谷社火) of Taiguxian(太谷縣), and obtained video data of representations and the oral statements through interviews. The research on Miaohui(廟會) of Shanxi(山西) area has been performed synthetically, focusing on the historical background in the formation of Jinci and Miaohui(晋祠廟會) activities.
The study on the Chunjie(春節) in Shanxi(陝西) area is performed centering around Ansai Yaogu(安塞腰鼓), Lao Yangge(老秧歌) and Biegu(蹩鼓) of Luochuanxian(洛川縣), Ma Shehuo(馬社火) of Dongnanzhen(東南鎭), Shehuo(社火) performance of Dongnanzhen(東南鎭), Longxian(隴縣); and the large-scale Shehuo(社火) performance of Baoji City during the Yuanxiaojie(元宵節). The study on Miaohui(廟會) in Shanxi(陝西) area had been performed before centering around Shenmu Miaohui(聖母廟會) of Yaoshan(堯山).
As described above, we have examined the large framework of the developmental process and current status of the Chinese traditional folk culture through the research on the folk performance art and folk activities of the places which are called the treasures of residual culture. We assume that we laid the foundation for developing the interdisciplinary research continuously on the basis of this research.