[Zhao Zongfu] Research and protection of northwest flowers and academic responsibilities of academic circles
[Abstract] Protecting Northwestern Hua 'er and other stylized heritage with a performance nature not only requires scholars to study and apply advanced theories and methods to update academic concepts, but also should go deep into the cultural tradition of Hua' er's survival and decipher the oral inheritance of Hua 'er.
The universal intrinsic mechanism, unearth the individual value of Hua' er's oral inheritance in various regions and ethnic groups, and comprehensively and accurately understand and grasp Hua 'er from a macro and micro perspective.
In turn, it can truly give full play to the level of participation and academic functions that scholars should have in the protection of intangible cultural heritage.
[Keywords] Intangible cultural heritage; protection; professional scholars; academic responsibility; Hua 'er [Chinese Map Classification No.] K890 [Document Identification Code] A [Article Number]1008-7214 (2007) 03-0102-07 The protection of intangible cultural heritage in my country has attracted the attention of the whole society with its large-scale government actions.
In particular, various disciplines related to folk culture seem to be favored by the situation.
A large number of scholars have consciously or unconsciously participated in the trend of intangible cultural heritage protection, and thousands of professional scholars have talked enthusiastically about heritage protection.
Admittedly, the participation of a large number of professional scholars in the protection of intangible cultural heritage is indispensable and necessary.
Because without their participation in planning, argumentation and even presiding over the grasp, this great cause will most likely be made nondescript, not only can it not be effectively rescued and protected, but it may worsen the prospects of cultural heritage due to unprofessional behavior.
However, it is not necessarily a good thing for professionals in related disciplines to be "great men in macro guidance" and to talk about ideas, make plans, issue orders and be commanders by relying on the information they have at hand.
In my opinion, in the protection of intangible cultural heritage, we need not only high-level and generous commanders, but also a large number of specific workers with professional qualities.
In other words, more professional scholars need to go deep into reality on specific intangible cultural issues and do some solid field work and theoretical research.
Only in this way can the strategic goal of rescuing and protecting intangible cultural heritage be truly achieved.
Based on the above considerations, this article will take Huaer's current living status and related academic shortcomings as a case study to discuss the rescue and protection of intangible cultural heritage and the academic responsibilities of professional scholars, in order to express my own views on the protection of intangible cultural heritage.
Some concepts.
1.
Hua 'er Research under the Situation of "Intangible Cultural Heritage Protection" In the context of the rescue and protection of my country's intangible cultural heritage, the investigation and research of Hua' er and her Hua 'er Association has also shown a very good situation.
Not only are flowers popular Scholars in Qinghai, Gansu, Ningxia, Xinjiang and other regions pay special attention to field surveys, compilation and research of Hua' er, and scholars in the eastern region are also very keen on field surveys and text studies of Hua 'er, even in the United States, Scholars from Japan and other foreign countries also came to the northwest to study flowers.
In the past half century, three climaxes in the research of flowers have also been formed, namely, the discussion on the origin of flowers in the late 1950s and early 1960s, the comprehensive study of flowers after the reform and opening up, and the use of new theories and new methods in recent years.
Improve the academic research level of flowers.
It is worth noting that in recent years, a group of doctoral and master students have participated in the team of Huaer field research.
Due to their unique professionalism and new theoretical perspective, their results have become even more outstanding.
{1}At the same time, a group of experts and scholars who have studied Hua 'er participated in the rescue and protection project of intangible cultural heritage.
This is gratifying.
Why is Hua 'er so valued among many folk songs? Because Hua 'er, as an intangible cultural heritage shared by multiple ethnic groups, is a landmark oral literature and art among Western folk songs and even China folk songs.
It is the folk song with the most artistic appreciation value and academic research value.
Regarding its value, we can view it from the following aspects: 1.
Many ethnic groups jointly sing Hua 'er in Chinese, reflecting the spirit of national affinity and compatible coexistence.
Hua 'er is popular among 6 provinces and regions and 9 ethnic groups in western China.
The region is vast and the number of ethnic groups is extremely rare among Chinese and foreign folk songs.
In particular, among these nine ethnic groups, there are not only the Han nationality who believes in Confucianism, Buddhism and Taoism, but also the Tibetan, Tu, Mongolian, and Yugur nationality who believe in Tibetan Buddhism, as well as the Hui, Salar, Dongxiang, and Baoan nationality who believe in Islam.
Most ethnic groups have their own national languages, among which Tibetans and Mongolians also have their own scripts.
These ethnic groups have different languages, different religious beliefs, and different customs, but they all sing flowers together in Chinese, reflecting an intrinsic spirit of national affinity, compatibility and coexistence.
This inner spirit is particularly prominent in Gansu and Qinghai regions.
There is no folk song in the world that is shared and loved by nine ethnic groups on such a vast land like Hua 'er.
For example, Xintianyou is mainly popular among the Han people in northern Shaanxi.
Even if it is regarded as a different genre of folk songs from the Mongolia-Han tune, it is only popular among the Han people and Mongolian people in northern Shaanxi, Shanxi and southern Inner Mongolia.
As for folk songs among many ethnic minorities, they are often only popular among their own ethnic groups.
2.
The unique form of folk songs shows the infinite charm of folk oral culture.
Hua 'er, especially the Hehuang Hua' er popular in Qinghai, not only reflects a strong oral formula in terms of the structure and rhythm of the lyrics, but also forms a unique expression that is rare in Chinese and foreign folk songs.
For example, the overall structure of the lyrics is a typical "fan facing"(even if the lyrics and sentences are expanded to more than a dozen sentences, there are no exceptions), and the single and double sentences correspond far to each other; the single sentence ends with a single character rhythm, and the double sentence ends with a double character rhythm; In terms of rhyme form, in addition to the general rhyme method used in general folk songs, the cross rhyme method is often used, and the single sentence has a flat tone, and the double sentence has a flat tone; at the same time, whether it is a single sentence or a double sentence, it is often a heavy rhyme.
Except for those found in "The Book of Songs: National Style", these strange format and rhythm cannot be found in any folk song in the world.
This gives Hua 'er unique artistic charm and also shows its irreplaceable artistic and academic value in the history of Chinese and foreign folk culture.
3.
The rich musical tunes express the folk art value of multi-ethnic music blending while maintaining their respective characteristics.
Hua 'er's tunes are rich and colorful.
More than 100 kinds were collected in the 1990s, and now there are 200 tunes.
Although they are mainly high-pitched and melodious, there are also many relaxed and pleasant or euphemistic tunes.
According to expert research, some of these tunes directly inherited the Song and Yuan culture of the Central Plains, while some were born on the soil of multi-ethnic music culture in the Hehuang area.
Therefore, these tunes all have their own melodic characteristics and musical characteristics, but when sung by different ethnic singers, they have their own ethnic characteristics.
At the same time, different ethnic groups are often good at certain tunes, such as the Tu's "Liang Liang Shang Lang Lai Ling","Lvlu Ershan Ling","Yangliu Sister Ling","Sala Ling","Qingshui Ling", and "Mengda Ling", the Hui's "Maying Ling","Hezhou Ling", and "Sichuan password", and the Han's are like "Gama Ling","Water Safflower Order","White Peony Order", etc.
These musical phenomena with heterogeneous cultural connotations have important academic value for studying the mutual integration, derivation and regeneration of multi-ethnic folk music, and also have important reference significance for vigorously developing ethnic folk music culture.
4.
The all-encompassing content shows its rich cultural connotations and its research value.
Flowers come from the living daily life and production of all ethnic groups, and the rich life reality of many ethnic groups determines the richness of flower content.
Hua 'er is mainly love songs, which vividly expresses the complex emotions of different ethnic groups, different groups and even different individuals.
It has direct reference value for studying national social psychology and people's emotional patterns.
Hua 'er's bixing sentences involve all-encompassing public knowledge.
According to some scholars, they can be roughly divided into 60 aspects.
It is well deserved to call it an encyclopedia of local knowledge.
In addition, as a regional folk song, Hua 'er mainly uses Hehuang dialect in language, and also contains a large number of Tibetan, local, Salar and other ethnic language vocabulary.
Local people call this flower, which uses multi-ethnic languages,"wind-stirred snowflakes." These are also rare materials for studying the mutual integration between dialects and national languages and national cultures.
5.
Many huge flower clubs show the folk tourism resources and folk cultural value.
There are dozens of flower fairs with a long history in eastern Qinghai and some places in Gansu Province.
Generally, tens of thousands of people participate, and many of them can reach 200,000 or 300,000 people.
Participants include people from all ethnic groups from all over the country.
They will gather at one place and sing songs for several days.
If the flowers from all over the world are connected, they will last for five months.
Some scholars call it a carnival of poetry and song (Ke Yang, 1997).
Such a huge cultural space is rare in the world.
Its academic value of folk culture and cultural tourism value are self-evident.
It is these irreplaceable unique values that determine that Hua 'er is the iconic oral literary masterpiece of western folk songs.
Of course, in terms of actual influence, Xintianyou in northern Shaanxi has a greater influence at home and abroad than Huaer.
Especially in official performances and literature, Xintianyou is simply a representative of China folk songs, which is related to northern Shaanxi being a revolutionary holy land and the politicization of literature and art.
There is a direct relationship.
However, from a purely academic perspective, the two folk songs have their own merits, but the actual connotation of flowers is richer.
However, such wonderful and magnificent intangible cultural heritage is in an endangered state under the general trend of globalization of the knowledge economy.
Hua 'er is an oral art that "comes when you open your mouth and disappears when you close your mouth", while Hua' er Festival is a spontaneous folk song festival mainly held by the people.
Under the impact of modern culture, its fragile ecological environment has encountered an unavoidable unprecedented dilemma.
Some ancient flowers disappeared because they could not be rescued.
Most of the influential singers were old.
Young people were busy working outside to earn money.
They were attracted to trendy culture and were no longer enthusiastic about the systematic inheritance of flowers.
Folk literature and art lacked successors, and the inheritance chain was incomplete.
The space of the Hua 'er Fair is becoming smaller and smaller, and its scale is becoming smaller and smaller.
In particular, some flowers with a long history and great influence will tend to gradually neglect or even stop.
However, some "foreign" flowers that have gone astray are gradually becoming the mainstream with their powerful media means, spreading from towns to villages, with a tendency to replace traditional original flowers.
Of course, it is not entirely a bad thing for flowers to adapt to the social development situation in the form of re-ecology or even new ecology and be recognized by young people, but it is by no means a completely good thing.
In the long run, traditional flowers and their flower meetings will No longer exist, and we will no longer hear the original flowers or see the flower gathering in the folk sense.
This survival state of flowers has attracted the attention of folk cultural workers and the government.
During the process of applying for the first batch of national-level intangible cultural heritage masterpieces in 2005, a number of flower fairs such as Lianhuashan Flower Fair in Kangle County, Gansu Province, Erlangshan Flower Fair in Minxian County, Qinghai Province, and Danma Tu Hua 'er Fair in Huzhu County, Qili Temple Flower Fair in Minhe County, Qutan Temple Flower Fair in Ledu County, and Ningxia Hui Mountain Flower Fair were recommended by the Ministry of Culture.
Huaer received such high-level government honors and strong protection measures, which is undoubtedly a once-in-a-lifetime rescue and protection opportunity.
2.
Don't Mongolians sing flowers? However, when the beautiful opportunity comes and we are excited to carry out rescue and protection, as a professional scholar, I can't help but ask this question: Have we mastered the basic situation of flowers? If you don't even know the basic family background, how can you carry out effective rescue and protection? Regarding such questions, some people may think: In the history of Hua 'er research in the past century, so many scholars have published many large-scale works.
Is it not even clear about the basic situation? Unfortunately, this is the case.
For example, the customary saying is that there are eight ethnic groups where Huaer is popular, and there is no Mongolian among these eight ethnic groups.
I once thought so.
In the 1989 edition of "General Theory of Flowers", I once defined Hua 'er as follows: "Hua' er is produced and popular in Gansu, Qinghai, Ningxia and Xinjiang.
A folk song mainly composed of love songs in some areas.
It is an oral literary art form sung in Chinese by the Han, Hui, Tu, Sala, Dongxiang, Baoan and other ethnic groups in these areas, as well as some Yugur and Tibetan people." (Zhao Zongfu, 1989:24) This summary has been repeatedly copied in books and online articles published since the 1990s, that is, it is generally said that Hua 'er is popular among the eight ethnic groups in the four provinces and regions of Gansu, Qinghai and Ningxia.
This seems to be an easy conclusion.
When I suggested on some occasions that the Mongolians should be added to the ethnic groups where flowers are popular, many people disagreed.
Some even said firmly: Mongolians do not sing flowers! Do the Mongolians really not sing flowers? No.
According to my field investigation and historical research in the Hehuang area, flowers are still widely popular among the Mongolian people in eastern Qinghai.
The singing population is about 20,000 to 30,000 people, and the history of inheritance is still very long.
This group of Mongolians is roughly divided into two major groups and three branches.
The first part is the descendants of the eastern and western Qi Tusi in Ping 'an, Ledu and other counties.
Their ancestors entered Qinghai from the Mongolian grasslands with the army of Genghis Khan in the late Song and early Yuan Dynasties.
In the early Ming Dynasty, they surrendered to the Ming Dynasty.
Their leaders were granted the title of local officials and Tusi, becoming an authentic Qinghai native nation.
Their descendants flourished and lived, mostly Hanized.
Among them, Dole, the ancestor of the Eastern Qi Tusi, was originally a relative of the King of Xining in Mongolia.
He surrendered to the Ming Dynasty in the fourth year of Hongwu (1371) and was awarded the command of the Xining Wei due to his military exploits.
His descendants were loyal to the Ming and Qing dynasties for generations.
There were many senior generals among the chieftains in the past.
For example, Qi Bingzhong was once the commander of the left of Jizhou and Liao.
He fought fiercely with the Nurhachi army on the Northeast Battlefield and died for the country.
The emperors of the Ming and Qing dynasties were awarded posthumous titles.
There is a small legend in the History of the Ming and Qing Dynasties.
Qi Bingzhong's grandchildren Qi Bozhi and Qi Zhongzhi made many military achievements in suppressing the rebellion of the Three Fassers and were highly appreciated by the Qing court.
{1}During the Republic of China, the family had 3,000 people.
Qigong Ge Xingji, the ancestor of the Western Qi Tusi, was another local power leader of the Mongolian people.
In the first year of Hongwu (1368), he surrendered to the Ming Dynasty and was granted the title of local officials.
Later generations of Tusi were loyal to the Ming and Qing dynasties, and there were many generations of officials ranging from commander to deputy commander.
By the end of the Qing Dynasty, the family had more than 800 households and more than 6,000 people.
{2}These two Mongolian Qi Tusi families were gradually Hanicized from the middle of the Ming Dynasty and completely Hanicized by the late Qing Dynasty.
The architectural decoration, family genealogy, sacrificial ceremonies and pursuit of fame in their manors (Tusi Yamen) were no different from those of the local Han families.
Therefore, they have long lived in harmony with the local Han, Turkish, Hui and Tibetan ethnic groups.
Flowers are indispensable in the lives of these Mongolian people.
We have listened to their wonderful singing many times.
There are also some Mongolian people in eastern Qinghai, which are the Mongolian people in the Bayan area of Huangyuan County, which is close to the pastoral area of Haibei Prefecture.
These Mongolian people are descendants of Heshuote Mongolian who entered Qinghai from Xinjiang at the end of the Ming Dynasty.
Its ancestor was the grandson of Gushi Khan, Zasak Fuguo Duke, who belonged to Nanzuo Houqi among the 29th Banner of Qinghai Mongolia.
He was nomadic in the south of Haiyan County and the southwest of Huangyuan County in Haibei Prefecture.
During the Republic of China, there were about 150 households, but later they gradually became agriculturalized and lived together with the local Han-Tibetan people.
Their lives were influenced by Han culture.
The current population is about 10,000, and Hua 'er is their favorite folk song.
I once interviewed local residents, and they were candid about their enthusiasm for flowers, and almost some young and middle-aged people could sing a few sentences casually.
It is a pity that so many Mongolians have been singing flowers for hundreds of years, but they have been ignored by flower researchers for a long time and ignored when discussing the ethnic group in which flowers are popular.
The main reasons are as follows: First of all, when people talk about the Mongolian people in Qinghai, they naturally think of the Mongolian people in Haixi Mongolian and Tibetan Autonomous Prefecture.
Because this Mongolian population is nearly 80,000, accounting for 1.45% of my country's total Mongolian population.They have relatively independent settlements, have their own traditional ethnic oral culture, are not geographically contiguous with the ethnic groups in eastern Qinghai, and have little daily interactions, so they do not sing flowers.
However, the Haixi Mongolians are the main body of the Qinghai Mongolians.
Therefore, because people tend to attach importance to the mainstream and ignore the non-mainstream thinking inertia, they habitually replace the Qinghai Mongolians with the Haixi Mongolians, abandoning this part of the Mongolians that were agriculturalized in eastern Qinghai.
Secondly, due to the early Hanization of the Mongolian people in eastern Qinghai, they have not much different from the local Han people in terms of life and culture since the last century.
When they were identified as ethnic, many Mongolian descendants were considered Han, and over time, even they themselves often thought themselves Han.
It was not until recent years that they gradually regained their status as Mongolian.
Therefore, many articles, works and even local chronicles introducing the Mongolian people in Qinghai often do not mention the Mongolian people in eastern Qinghai.
Such social reality and academic background make it impossible for Hua 'er researchers to remember the Mongolian people.
Of course, such low-level mistakes in Hua 'er research cannot be blamed on scholars in other fields.
We should also review our own lack of academic cultivation and field research.
If everyone not only sat in an easy chair and wrote books, but really went deep into the folk reality of the survival of flowers, such a big omission would not have occurred.
Therefore, today, we have to revise the basic concept of Hua 'er: Hua' er is a folk song sung in Chinese by people of nine ethnic groups, including the Han, Hui, Tu, Salar, Dongxiang, Baoan and some Tibetans, Mongolian and Yugur.
It can also be seen that although dozens of selected books on flowers and books on the study of flowers have been published, thousands of papers on flowers have been published, and a group of "flower researchers" have emerged, some scholars have even proposed the establishment of "flower science" academic ideas.
However, we still don't even understand which ethnic groups are singing Hua 'er.
How can we truly grasp the national attributes of Hua' er? How can we rescue and protect the flower heritage shared by multiple ethnic groups? As professional scholars, while calling for and participating in the protection of intangible cultural heritage, they should also give full play to their professional advantages and go deep into the fields.
First of all, we must truly and comprehensively grasp the basic situation of flowers and accurately grasp the folk survival status of flowers.
3.
Are the cultural personalities of Hua 'er fairs the same in all places? After understanding the basic national situation of Hua' er's survival, can we fully grasp Hua 'er? The problem is that flowers are popular in such a vast land and among so many ethnic groups.
Although they are all flowers or flower clubs, the flowers of different regions and ethnic groups are not the same.
If we ignore their cultural individuality and use a general theoretical framework to summarize the flowers or the flower gathering, it will also be full of loopholes or miss the gist.
This is basically the case for many years of flower research.
The results of using such academic understanding to guide or preside over the rescue and protection of flowers and flower fairs are worrying.
Obviously, the responsibility lies not with others, but with us professional workers.
To illustrate this problem, take the Danmahua 'er Club in Huzhu County, Qinghai Province, Laoye Mountain Flower Club in Datong County, Qutan Temple Flower Club in Ledu County, and Qili Temple Flower Club in Minhe County as examples.
These four flower fairs are all flower fairs with great influence in the Hehuang area, and have all entered the list of the first batch of national intangible cultural heritage representative works recommended by the state.
However, in the early days of the "cultural heritage application", the cultural characteristics of the four flower fairs were not very clear.
They are all well-known flower fairs in the Hehuang area.
Judging from their common activity manifestations and social functions, they are all folk festivals attended by multiple ethnic groups.
They are all gatherings integrating flower singing, cultural integration, and commercial exchanges.
At the same time, they are all facing the danger of imminent decline and extinction.
If four flowers will be the same, only "one masterpiece" will be produced from them; and if one is divided into three, it is deeply regrettable, because it seems that "no one can be missing." Relevant personnel all feel that these four flower societies each have irreplaceable cultural personalities, but they can't explain why, because in previous scholars 'writings, all flower societies seem to have the same characteristics.
No wonder they are troubled.
The producer of the text of the application for cultural heritage.
In fact, putting the four flower fairs together and comparing them a little, it is undeniable that as flower fairs, their social functions and values are basically the same.
They play multiple functions such as social interaction between young men and women, ethnic cultural exchanges, and folk material exchanges in local society.
Communication, enriching people's lives, and building a harmonious society.
However, from a deeper analysis, we can discover the cultural personalities of each flower association that are different from other flower associations.
Try to name the highlights: 1.
Danma Huzi County Danma Association Danma is located at the seat of Danma Town Government in Huzhu Tuzu Autonomous County.
It is a mountainous area inhabited by the Turkians.
The flower festival is held here every year on June 13th of the lunar calendar.
It lasts for five days.
It is a large-scale and influential national song festival activity in Huzhu County.
Its cultural personality is: (1) The flower gathering of a unique nation.
The Tu people are unique ethnic minorities in Qinghai Province.
They mainly live in Huzhu Tuzu Autonomous County.
In addition, they also live in Minhe County, Datong County, Tongren County and other places.
However, the flower clubs dominated by the Tu nationality are mainly concentrated in Huzhu County, and the Danmahua 'er Association is the largest and most influential flower club among the Tu flower clubs.
Therefore, the Danma Tu flower club is a unique flower club among the flower clubs.
A flower club with ethnic characteristics.
(2) Unique flower song orders.
Most of the Hua 'er songs sung at the Danmaer Festival are unique to the Tu people, such as "The Mountain of Green Lovers","Waves Coming on the Liang","Aruluo","Xingjialuo", etc.
Compared with Han and Hui flowers, they are more simple and long-lasting and have a strong national charm.
Therefore, in terms of music, Danmahua 'er Club is also unique among the flower clubs.
(3) A grand event where multi-ethnic cultures blend.
The main participants in the Danmahua 'er Association are the Tu nationality, but Han, Tibetan, Hui and other ethnic groups from the surrounding villages will also come to participate at that time, singing and dancing with the Tu people, presenting a sense of ethnic friendship and joy.
atmosphere.
It is precisely because of such ethnic friendship events that the ethnic groups in the region live in harmony and develop together, and play a good role in building a harmonious society.
2.
Laoye Mountain, Huaerhui Laoye Mountain in Datong County is located in Datong County, Qinghai Province.
It is a famous scenic spot in eastern Qinghai.
The flower fair held on the mountain from the third day to the eighth day of the sixth month of the lunar calendar every year is the largest and most influential large-scale flower fair in the Hehuang area.
Since this flower fair is a folk cultural event formed on the basis of the local folk belief ritual "Chaoshan Fair" and with the participation of multiple ethnic groups, its cultural personality and cultural value are very prominent.
(1) Taoist beliefs coexist with folk beliefs and folk literature and art.
Laoye Mountain was first famous for its Taoist architecture.{1} As a result, a large-scale belief ceremony "Chaoshan Hui" appeared in which people with Taoist and "quasi-Taoist" beliefs actively participated.
Then, due to secularization, the "Hua 'er Hui" appeared.
This coexistence of the two has still been maintained, giving Laoye Mountain Hua' er Hui a strong Taoist belief and folk belief color, which is completely different from other Hua 'er fairs in the Hehuang area.
As a result, Laoye Mountain Hua 'er Fair has a cultural value closely related to folk beliefs and folk literature and art, which deserves academic attention.
(2) The largest flower fair in eastern Qinghai.
There are more than a dozen influential flower fairs every year in the agricultural area of eastern Qinghai, and the Laoye Mountain Flower Fair is the largest of them.
It took five days and about 200,000 people participated.
In addition to local people, these people also include urban and rural singers and tourists from more than a hundred miles away; in addition to participants from the county, there are also singers and tourists from Xining City, Huangzhong County, Huzhu County, and Huangyuan County.
A number of "satellite"-style small flower fairs have also been formed in its surrounding areas.
Such a scale is very prominent among many flower fairs.
(3) Cultural integration involving multiple ethnic groups.
One of the reasons for the large scale and large number of participants in Laoye Mountain Flower Fair is the joint participation of many ethnic groups.
The main ethnic groups participating in the Laoye Mountain Hua 'er Fair are Han, Tu, Tibetan, Mongolian, Hui, etc., including five of the six inhabited ethnic groups in Qinghai.
In addition, there are also a large number of other ethnic minorities.
These ethnic groups have different languages and different beliefs, but at the Laoye Mountain Flower Festival, they all sang flowers in Chinese to communicate with each other and improve together.
The value of its multicultural integration and mutual existence is self-evident.
(4) Unique and rich flower tunes.
According to preliminary statistics, there are nearly 100 kinds of flower tunes sung at the Laoye Mountain Flower Festival, a considerable number of which are unique to the local area, such as "Laoye Mountain Order","Dongxia Order","Longevity Order","Dream Order", etc.
Moreover, the origin of these songs also has beautiful and graceful folklore, which makes the Laoye Mountain Flower Festival more cultural significance and has important value in the study of national music.
3.
The Huer Fair in Qutan Temple in Ledu County is a large-scale folk event with great influence in the Huer Fair in Hehuang area.
The Hua 'er Fair is centered on the famous temple Qutan Temple and is held every year in the middle of June of the lunar calendar.
The main participants are local Tibetans and Han people.
Hua 'er Hui has formed its own cultural personality with its long history and culture and unique national folk customs.
(1) The coexistence of Buddhist folk beliefs and folk literature and art.
Qutan Temple was a temple built by the Emperor of the Ming Dynasty for Tibetan monks and customs.
It is modeled after the Forbidden City building.
There is a local proverb that goes "If you go to Qutan Temple, you will go back to Beijing." However, most of the monks are Tibetan, which is a typical example of the integration of Han-Tibetan cultures.
Therefore, local people took this as the center of their faith and gradually formed gathering Buddhist belief activities, which evolved into large-scale flower fairs.
The Qutan Temple Hua 'er Society has always coexisted with this kind of Han-Tibetan Buddhist belief, making the Hua' er Society have a strong Buddhist belief and folk belief color.
This is the biggest difference from other Hua 'er societies in the Hehuang area and is worthy of studying it from the perspective of religious sociology and religious literature and art.
(2) The uniqueness of the profound national and folk cultural heritage and the formation of Huaer Fair.
Ledu County is a famous "cultural county" in Hehuang area, while Qutan Town is named "Hometown of China Folk Art (Hua 'er)" by the Ministry of Culture and "Characteristic Cultural Township" by the Qinghai Province Department of Culture.
The Qutan Temple Hua' er Fair was generated and passed down from this soil.
Therefore, the Qutan Temple Hua 'er Fair is undoubtedly the best typical case to study the relationship between large-scale folk activities and local cultural systems.
(3) Unique flower music tunes.
The Qutan Temple Hua 'er Fair is an intangible culture generated and passed down on the unique cultural soil of the local area.
The historical culture and national appreciation habits that are different from other places have created a number of unique local Hua' er music orders.
For example,"Nianbo Ling" is a Huaer Song Ling named after the local Nianbo Town.
In addition,"Shuihongghua Ling","Gama Ling","Sha Yan 'er Rao Ling","Ma Ying Ling", etc., are all the most popular songs at the Huer Festival in Qutan Temple.
4.
Qili Temple Gorge in Gushan Town, Minhe Hui and Tu Autonomous County, Minhe County, is named after its original Qili Temple.
Every year on the sixth day of the sixth lunar month, 60,000 to 70,000 people from the Han, Hui, Tibetan, Tu and other ethnic groups gather together to sing, dance, and sing flowers for fun.
Due to its unique cultural geographical environment and folk activities, this flower club has a very distinctive personality.
(1) The cradle of intangible culture for folk singers.
A large number of well-known Hua 'er singers in northwest China and even the whole country have emerged here, such as Ma Jun, Sonan Sun Bin, Zhang Cunxiu, Lu Xiaoming, Li Yongsheng, etc.
They have all won many awards in provincial and even national literary and artistic surveys or folk song competitions.
They enjoy a high reputation among the people.
Some are called "Hua' er princes" and some are called "Hua 'er princesses".
Hua 'er fairs in which famous singers emerge in such a concentrated manner are rare in the Hehuang area.
Therefore, the relationship between Qili Temple Hua' er fairs and famous folk singers is worthy of in-depth study.
(2) Harmony between scenic spots and folk space.
Qili Temple has long existed in name only, and its place is famous for its beautiful scenery.
In particular, Yaoshui Spring is believed by the people for its multiple medical functions.
There is an endless stream of people who come here to drink spring water on weekdays, and more people participate in the singing party and drink spring water during the flower festival, resulting in an interdependent relationship between the flower festival and the syrup spring.
Scenic spots provide a special space for folk activities for the festival.
(3) The evolutionary historical context of the history of folk thought.
Although Qili Temple no longer exists, the Huaer Fair, which evolved from folk beliefs, is still booming.
For some people attending the meeting, there are still many factors of belief (including the worship of Yaoshui Spring).
This provides an ideal field case for us to study the history of folk thought in Northwest China.
(4) Unique folk cultural circle.
Although the Qili Temple Flower Fair is mainly attended by local people, it is also very influential in surrounding areas due to its special functional value.
At that time, people from Minhe, Ledu County and some counties and cities in Gansu will also attend.
From this, we can study the formation of the circle of influence of folk culture and its multiple relationships.
Through analyzing the cultural personalities of different flower fairs, we can initially realize the different cultural value significance of these four flower fairs, and then make it clear that rescue and protection should focus on the core of the problem, follow the personality of folk culture, and rescue and protection measures must be targeted.
Sex.
Only in this way can we truly protect our intangible cultural heritage.
When studying the same type of intangible cultural heritage, we must abandon the general generalization that does not distinguish between the size and empty objects, and do a lot of hard and meticulous work, focusing on grasping its cultural individuality.
This very arduous and hard work is precisely the academic task of professional scholars.
4.
Hua 'er's Oral Tradition and Rescue and Protection As a typical intangible cultural heritage, we cannot but pay special attention to the academic research on its oral tradition.
Unfortunately, so far, from the perspective of oral formula theory and performance theory, the results of research are negligible.
Such an academic research orientation is not conducive to scientific rescue and protection work, so special emphasis needs to be placed on this.
In the process of inheritance over the past few hundred years, Hua 'er basically relied on oral inheritance to form a set of inherent creative singing mechanisms.
It is precisely through this oral inheritance mechanism that this intangible culture, its knowledge system and values can be inherited and carried forward.
Furthermore, this oral tradition of Hua 'er does not exist in isolation or unfounded, but is generated and developed under the influence of the great oral tradition of China folk songs, which means that it has a more far-reaching historical tradition.
Styled creation and expression is a major tradition of our country's folk songs and even world folk songs.
For example, similar or even identical sentences, sentence patterns with the same structure, and images with stable biblical characteristics appear repeatedly in different poems of the same folk song.
This is because folk singers, influenced by the tradition of oral culture, are not only very familiar with these sentences passed down from their ancestors, sentence patterns and specific biblical images, but also use them freely.
They can improvise and assemble them as needed in real creation and singing to generate new works.
The successful new works compiled and sung by singers seem new and old.
They naturally inherit their own cultural traditions and convey their inherent ideological concepts and aesthetic orientations.
At the same time, they have a refreshing expression conception and are welcomed and spread by the audience.
This is the oral tradition of Hua 'er.
Here, we just look at the structure and tradition of flowers from the fan-like structure of flowers 'lyrics.
A flower is divided into two parts, and the first two (three) sentences and the last two (three) sentences are symmetrical, forming a relatively rare "fan-to-face" structure.
Although this fan pair is relatively loose, there is a certain gap between the fan pair and the fan pair in literati poetry, but it also makes the flowers appear very neat and coordinated in form.
Of course, the main reason for the formation of this structure is that it is limited by the structure of Hua 'er music, because the Hua' er musical form has two upper and lower sentence patterns in structure, that is, two phrases form a passage, and one passage can only sing half of a flower.
Therefore, in the actual singing of Hua 'er, after singing the first half of the lyrics with a complete passage, the passage is repeated again and the second half of the lyrics is finished.This kind of music structure makes the flower lyrics have to be strictly divided into two halves, and the front and rear should be symmetrical with each other, so that the flower lyrics present a wonderful fan pair form.
Of course, it is not uncommon to sing several lyrics in one piece.
For example, the Tibetan folk song "Lai" is often sung in three stages, that is, it takes three times to sing a piece completely; while the well-known Xintianyou may sing a piece several times to express a relatively complete meaning.
Such as: "a road mountain to a road water, back up that dry food to see my little sister......" But why is it that Lai or Xintianyou, the fan structure is not so obvious as flowers? From the rhythm and rhyme form of sentences to examine, you will see its mystery.
First of all, from the rhythm of the sentences, at first glance, the four sentences (six sentences are an extended form, let's not mention it for the time being) seem to be a common seven-character pattern in folk songs, and are generally divided into three sentences, such as "Gama/La Zhi//Willow Lin Li, Willow Lin Li/What's there/good miles?" "Two/peonies/one root, green leaves lined with red flowers/red ones/broken miles." However, the key reason why its sentence rhythm is different from that of ordinary folk songs is that the last sentence of a single sentence ends with a single word, and the last sentence of a double sentence ends with a double word.
In a flower, single endings and double endings appear alternately, making the rhythm of its lyrics very different from that of ordinary folk songs.
The first two (three) sentences and the last two (three) sentences call and respond, one stretch and the other relax, both confrontation and stability strengthen the expression of fan facing.
Secondly, in terms of rhyme form, the fan pairs of flowers are still vividly expressed in the rhyme, which is superb.
Among the most typical rhyming methods of flowers, there are three types of rhyming methods: Tongyun, Jiayun and Jiayun, the most typical of which is Jiayun.
Take the four sentence patterns of flowers as an example.
The three sentences have one rhyme, and the second and four sentences have one rhyme.
They echo each other from afar and have a strong sense of music.
For example: When the sun falls into the stone gorge, I ask for two pieces of pink paper to wrap up rock sugar; I boil tea with tears from crying, and I am kind and die for my flowers.
Such rhyming methods are very rare in folk songs of various ethnic groups.
In addition, there are two rhyming characteristics that are rare in other folk songs.
The first is complex rhyme: Generally speaking, the rhyme of double sentences (the six sentence patterns are three or six sentences) is often not on the last word, but on the penultimate word, or even on the words further forward, such as: "The gossip net pulled by spiders, flies are evil, and touches the mouth of the dead; Gamei can't drink it because of cold water, and the eldest brothers are evil, and those who die of thirst are dying because of water." The second is the alternating tone: if flowers use alternating rhyme, then a single sentence will generally have the alternating tone rhyme, and a double sentence will have the alternating tone rhyme.
With this kind of rhythm and the melodious two sentence patterns, the beautiful music of the flowers is really perfect.
And many sentences in this overall structure are also stylized.
For example, sentences are often formed with the beginning of "in the mountains","on the edge of the river","on the head of the stone cliff", etc., forming a group of similar sentence clusters.
For example, according to some statistics on the sentence pattern "in the mountains", the three words "in the mountains" are often followed by the phrases "wheat stalks are short","buckwheat is red","wheat is planted with eight stones","beans are blooming","tigers push the mountain","pine and cypresses are green in winter and summer","pine and cypresses grow tall","thousands of flowers are blooming red","sparrows fly in the mountains","bison running everywhere","wild horses with red bristles","Ten thousand kinds of flowers","endless scenes"," loquat sparrow rack" and so on.
{1}In the singer's actual singing composition, he often starts with "from the mountains", and then connects the corresponding phrases at the back according to the scene in front of him to form a complete sentence.
By analogy, a complete flower song was composed and sung.
However, according to the "law of self-proof" of folk telling, the expression and performance of story tellers and singers are always monitored by the audience, so that their expression fully conforms to the tradition of narration.
From this point of view, Hua 'er's oral formula is not only a law of singer's consciousness, but also the only way under the constraints of cultural groups.
Bowman said in his masterpiece "The Art of Language as Performance":"Performance is a mode of speaking" and "a way of communication." Therefore, he regards folk narrative as a dynamic process of performance in a specific context and a process of actual communication, paying special attention to the dynamic formation process of folk literature texts in a specific context and the practical application of their forms.
He also specifically pointed out the issues that should be paid attention to in the research: first, folk performance events in specific contexts; second, the actual process of communication and the dynamic and complex formation of the text; third, the interaction between the narrator, listener and participants; fourth, the timeliness and creativity of the performance; fifth, the ethnographic investigation of the performance (Yang Lihui and An Deming, 2006:600 - 601).
These issues are precisely the root of Hua 'er's oral tradition, but they have been ignored by academic circles for a long time.
As a result, in field surveys and academic research on Hua' er, only focusing on singers singing written texts and ignoring cultural context.
The important value of the compilation and inheritance of Hua 'er has turned the vivid flowers into "dried butterflies in the book".
The research results are often imaginary creations that are divorced from the actual cultural context, or even word games that suit the situation.
{2}Non-scientific results are inevitable for heritage rescue and protection guided by such research results.
To sum up, how to protect those stylized heritage with a performance nature in intangible cultural heritage, specifically the protection of flowers, is a question worth pondering in the academic community, and the most important one is the academic responsibility of the academic community itself.
While talking about the theory and significance of how to protect intangible cultural heritage, the key is how more scholars can learn and apply advanced theories and methods, update academic concepts, and delve into the cultural tradition of Hua 'er's survival, which not only decrypts the universal intrinsic mechanism of Hua' er's oral inheritance, but also explores the individual values of Hua 'er's oral inheritance in various regions and ethnic groups, and comprehensively and accurately understand and grasp Hua' er from macro and micro levels.
In turn, it can truly give full play to the level of participation and academic functions that scholars should have in the protection of intangible cultural heritage.
(Originally published in Issue 3 of Folk Culture Forum, 2007.
Please refer to the original print publication for the charts, formulas, annotations and references involved in the article)