[Xie Zhongyuan] The cultural and social foundation for the survival of intangible cultural heritage subjects
Abstract: How to use history as a guide to examine the value of intangible cultural heritage subjects and the cultural and social foundation for their survival is a theoretical and practical issue that needs to be faced in optimizing and improving current and future intangible cultural heritage protection.
1949-1976 The social history of the inheritance of Foshan Lion Dance in 1998 shows that the transformation of Foshan Lion Dance from "turning over" and explicit inheritance gradually to suppressed and implicit inheritance stems from the fact that the social policy environment gradually made the main body of Lion Dance inheritance aphasia and loss of position.
However, the custom of lion awakening, which relies on memory and skills, is deeply embedded in the body and mind of the inheritor, and has not been completely extinguished and lost due to external pressure in special periods.
Whether an intangible cultural heritage subject can survive actively is closely related to the cultural and social foundation on which it relies.
It not only depends on whether the social policy environment can provide positive external motivation, but also maintains the endogenous subjectivity and internal motivation of the inheritance group.
The enlightenment of historical investigation is that the subject of intangible cultural heritage should be fully recognized and activated, so that the external conditions for assisting protection and the internal motivation of the subject of inheritance should be consistent, so as to promote the sustainable development of intangible cultural heritage protection in the "post-application period".
Keywords: Foshan Lion Awakening; Intangible Cultural Heritage; Inheritance Subject; Post-World Heritage Application Period; Internal Motivation Author Profile: Xie Zhongyuan, male, native of Yichang, Hubei Province, Ph.
D.
in Intangible Cultural Heritage from Sun Yat-sen University, Lingnan Cultural Research Institute, Foshan University of Science and Technology Associate researcher.
2019 marks the 70th anniversary of the founding of New China.
Reviewing the phased history of local lion dance inheritance in this very commemorative year has important academic value and practical significance.
In the writing of the history of inheritance of folk culture in my country, 1949 - 1976 is a period that is easy to be generalized and labeled.
Some rich folk details and vivid body memories are often missed and obscured by the simple "grand narrative".
As a representative national-level intangible cultural heritage project, the writing difficulties encountered by Lion Dance are particularly prominent.
There have been relevant compilations, papers, research reports, etc.
that have sorted out the inheritance history of local lion dances.
Most of them lack both medium and long-term inspection horizons and lack empirical perspectives combining literature and oral history.
As a result, the description of local lion dances in my country from 1949 to 1976 tends to be superficial and crude, leaving it still in an unknown and hidden state.
This fundamentally stems from the fact that "prejudice dominates historical research, and public history, daily life history and people's cultural history have no historical value." Lion dance is a southern style lion dance that was born out of the Northern Lion, originated in Foshan, and is mainly spread in Guangdong, Guangxi, Hong Kong, Macao and overseas Chinese communities.
In 2006, it was selected as a traditional dance into the first batch of national-level intangible cultural heritage representative lists.
This paper takes Foshan lion awakening as an example, cultural sociology as a theoretical reference, and uses literature and oral materials to sort out this simplified and obscured folk scene.
The academic significance of conducting a historical investigation of the inheritance of lion dancing in Foshan is not only to provide a three-dimensional local sample for the study of the inheritance history of lion dance in my country, but more importantly, to use history as a mirror to examine the value of the subjects of intangible cultural heritage inheritance and their survival.
The cultural and social foundation brings valuable mirror and inspiration for the optimization and improvement of intangible cultural heritage protection in the "post-application period".
1.
The "turn-over" and changes of Foshan Lion Dance from 1949 to 1965
(1) The lion's "turn over": dance and sports
As a local lion dance spread and localized by the Northern Lion, Foshan Lion Dance is rooted in Foshan, which has gradually developed from a traditional Nanhai fishing village to a modern industrial and commercial giant town and a modern metropolis.
Under the cultivation of local social ecology, martial arts and lions as space carriers inherit traditions in an integrated manner, forming a folk custom picture that develops over a long period of time.
After the founding of New China, folk culture was actively used to carry out socialist revolutionary propaganda, bringing new opportunities for the inheritance of Foshan Lion Awakening.
The 1954 Constitution of the People's Republic of China clearly stipulates that "all ethnic groups have the freedom to use and develop their own spoken and written language, and have the freedom to maintain or reform their own customs." The social environment of "the people are the masters" has brought folk culture from an "nameless" state into the national cultural matrix.
After the "turnaround", the social status of folk artists has been significantly elevated.
The local lion dance culture represented by Foshan lion awakening has been discovered, recognized and performed by the country, and has become a "folk dance" that attracts worldwide attention.
Let's start with the first National Folk Music and Dance Festival.
In February 1953, the Ministry of Culture transferred a group of music and dance backbones from the Central Song and Dance Troupe, the Central Academy of Drama and other units, and dispatched them to various provinces and autonomous regions across the country to investigate folk music and dance.
In early February, a 16-member Guangdong investigation team went deep into the folk surveys of eastern Guangdong, northern Guangdong, and Hainan in three batches.
Subsequently, a new five-member working group was added to Zengcheng, Dongguan, Shunde, Zhongshan, Xinhui, Longmen and other places in central Guangdong.
Survey, we successively explored and organized folk music and dances such as lion dances, salt-water songs, dragon boat, wooden fish joint singing, eight-tone classes, and puppet shows.
The purpose of the investigation was to display and promote folk music and dance.
From March 3 to 12, 1953, Guangdong Province held a performance conference.
More than 200 artists from Guangdong, Hainan and other places participated.
More than 80 folk dances and folk art programs such as lion dance and unicorn dance were performed and displayed, and a group of folk artists with the status of farmers and workers were able to make public appearances.
The first national folk music and dance festival was successfully held from April 1 to 14, 1953.
More than 800 people, including literary and art workers and folk artists from professional groups in the central and Beijing, attended the opening ceremony of the festival.
Among them, more than 260 music and dance programs participated in the festival.
Lion dances from Baoding Prefecture, Hebei, Hunan, Anhui and other places were also invited to participate.
The theme of the festival was "Learning from the Folk and Carrying forward my country's National Music and Dance." Shen Yanbing, Zhou Yang, Tian Han, Ouyang Yuqian, Lao She and other leaders of the Ministry of Culture, the Central Academy of Drama, and the Beijing City Federation of Literary and Art Circles attended the opening ceremony, and the performance ended on April 14, 1953.
"Zhou Yang, Vice Minister of the Central Ministry of Culture, pointed out in his speech at the meeting: 'The main purpose of this conference is to promote the development of folk art, so as to enrich the people's cultural and artistic life on the one hand, and to enable professional literary and art workers to gain the cultivation of folk art on the other hand.
and discover folk art talents." He called on professional literary and artistic workers to continuously learn from folk art, and to continuously process and improve folk art before promoting it to the people." This national music and dance performance brought unprecedented sensation, and folk artists felt extremely honored to be able to participate in the performance.
For example,"There is a lion dance artist in Changde, Hunan Province, whose thoughts changed greatly before and after the performance.
At first, he didn't dare to come because he had many worries, afraid that he would be detained and sent for ideological reform if he came...
Later, when he saw how sincere his comrades were to him, he was very moved and said: 'If it weren't for Chairman Mao, how could we have stood up?'!" Folk lion dancers have changed from "worries" to "standing out", which vividly reflects the changes in the status of folk artists before and after the founding of New China.
The National Folk Music and Dance Festival has integrated and focused on folk music and dance culture on a large scale in a top-down manner, bringing lion dance from the bottom-level folk to the national stage, which means that grassroots culture has been accepted and recognized by national political policies., allowing the self-confidence and self-identity of folk artists to be publicized.
Although no lion awakening from Guangdong has been seen in the national festival, the Xushui Beili Lion Dance was invited to participate as a representative of the Northern Lion, which actually symbolizes the meaning of the folk lion dance becoming a representative symbol of the country's ethnic folk culture.
The Beibeili Lions Club, Xushui County, Hebei Province, took advantage of this performance to open up an opportunity to be "famous at home and abroad.""On May 14, 1953, we reported the performance to Zhu De and other central leaders in Huairentang, Beijing.
On July 7, he participated in the performance of the 4th World Youth and Students Peace and Friendship Festival held in Romania with the Central Song and Dance Troupe and won the Gold Medal.
He successively visited the Soviet Union, Poland, Hungary, Czech Slovakia, the German Democratic Republic, and Romania.
In September, he went to North Korea twice to express condolences to the China People's Volunteers.
From 1954 to 1956, he successively participated in the Beijing National Day Parade and became famous both at home and abroad." Folk lion dancers from the countryside stood on the national stage for the first time.
Their performances were observed by national leaders for the first time.
They were also performed abroad as representatives of national cultural images for the first time and won international honors.
This has fundamentally changed the status of the folk lion dances that were originally scattered in the countryside, and the unknown folk lion dancers have become the focus of social attention.
In addition to being included in "folk dances", lion dances have also entered the scope of sports performances and become an integral part of rural sports activities.
From October 26 to 27, 1949, the first Congress of the All-China Sports Federation was held.
On November 15, 1952, the Sports Commission of the Central People's Government was established and launched the excavation, organization and promotion of martial arts.
From November 8 to 12, 1953, the National Ethnic Form Sports Performance and Competition Conference was held in Tianjin, and the Lion Dance of Tianjin City participated in the performance as specially invited events; In June 1956, the State Sports Commission and the Central Committee of the Youth League held the "National Rural Sports Work Conference", affirming the practice of using the off-season season to carry out sports activities in rural areas and requiring rural sports to be carried out on the principles of amateur, voluntary, simple and easy to carry out.
In this context, in June 1954, Foshan City established a Sports Committee to coordinate and manage folk traditional sports activities such as lion dance.
The above reveals the common situation of the times faced by folk lion dances, including Foshan lion dances.
From a national perspective, lion dance is a tool carrier for political propaganda and social immersion; from a public perspective, lion dance is a cultural, sports and entertainment activity in urban and rural life.
Both the state and the folk lion dancers have their own performance fields.
The difference is that the state performs public power, while the lion dancers 'power lies in performance.
The local lion dance has been endowed with a distinct social mission and contemporary color.
While cooperating with the power of the state, it has also gained the right to perform folk culture, thus realizing the continuation of the vitality of inheritance.
(2) The prosperity of urban lion dances driven by public demand
Foshan lion dancing is gradually frequently displayed in various large-scale festivals, celebrations, cultural and artistic performances and other occasions, becoming a tool symbol for displaying the style of the times and promoting the collective image.
For example, the "Chronicles of Customs of Foshan City" states: "After the founding of the People's Republic of China, the Spring Festival was legally closed for three days, and relatives working in other places went home to celebrate the Spring Festival with their families.
On the first day of the lunar new year, there are lion dances or dragon dances to pay New Year greetings to shops, factories and other units that are open as usual during the festival." The "Shunde County Annals" records: "After the founding of the People's Republic of China, some urban units and rural production brigades set up lion dance teams to dance on days such as National Day, Spring Festival and the farewell of new recruits to join the army.
In 1960, the County Workers 'Cultural Palace established a youth martial arts and lion team." Individual memories are consistent with the records in public chronicles.
Yu Wanshao, a Foshan native born in 1936 and a researcher on lion dance culture, recalled: "I have liked to watch lion dances when I was a child.
Since the early 1950s, every traditional festival or major celebration, it is indispensable to organize lion dance teams to celebrate, or to collect green performances, or to perform competitions." Some skilled and experienced lion dancers have the opportunity to participate in large-scale cultural performances and lion dance competitions.
Zhao Rong and Chen Jin are representative figures.
"In 1956, he (Zhao Rong) led the Lion Team under the fence to participate in the Guangdong Province Amateur Art and Art Festival on behalf of Foshan, and personally performed" Lions Picking Ganoderma lucidum "." In addition,"the reason why the two old people (Chen Jin and Zhao Rong) have the reputation of drum kings and lion kings is that in 1956, they represented Foshan in winning the traditional lion competition of the Guangdong Arts Festival." Driven by various collective needs, Foshan Lion Dance has changed from a natural state of private survival to an open and public performance state recognized and encouraged by the national society.
It can also be seen from the development of the lion head binding industry accompanying lion dance performances.
At the beginning of 1949, Foshan had many shops that made lion heads, such as Guanghuasheng, Yuasheng, and Mai Pingji.
In 1956, during the cooperative period, a production mutual aid group was formed to make lion heads.
In 1958, it merged with other private individual handicrafts households into Foshan Cultural Arts and Crafts Cooperative.
Until 1969, it was transformed into Foshan Musical Instrument Craft Factory (now Desheng Musical Instrument Co., Ltd.), establishing a specialized production workshop consisting of lion head classes and lion drum classes.
According to Lin Mingti's statistics: "In 1951, about 300 lion heads were made in the city, which increased to 1000 in the 1960s and 3000 in the 1970s." The development of the lion head binding industry benefits from the public recognition and positive promotion of local lion dances by the national society.
Behind the prosperity of lion dances in Foshan is the quiet transformation of folk lion dance customs.
According to Li Juming, who was born in Xiqiao in 1957, he heard from the older generation of teachers that some time before and after the founding of New China, during the lively traditional Spring Festival festivals, lettuce parties would be held in Lishui, Dali and other places in the South China Sea, inviting lion dancing to participate in the performance, but later gradually declined.
Folklore scholar Ye Chunsheng once recalled: "After liberation, the custom of dancing lions from house to house to worship and collect green flowers disappeared.
However, in many villages and teams, the custom of using lion teams to pay New Year greetings and congratulate each other was still preserved.
Then the above various performances were performed in the square." Lion dance began to transform into a medium to help express the will of the country, social image and collective spirit.
Lion dance, as a folk custom, tended to weaken or even disappear.
In order to maintain this collective need, lion dance training has been launched in factories and villages.
Zhao Rong (1908 - 1978), a lion dancer of the older generation,"taught lion dance at Foshan Foundry, Box Factory, Silk Sample Factory, Radio No.
3 Factory, Shanzi Village, and Nanpu Village in Zhaxia.
There are more than a hundred apprentices under the grate alone." It can be seen that workers in factories and trade unions have become the main inheritors of lion dance in Foshan cities and towns.
This was advocated and strengthened by the leaders."In the late 1950s and early 1960s, there were many lion dance sects in Guangdong, which made it difficult to unify and coordinate.
At that time, Tao Zhu, secretary of the Central South Bureau, once told the Guangzhou City Federation of Trade Unions to organize lion dances for Guangdong workers to enrich cultural life." The administrative order has further promoted the development of lion dances and enabled lion dances to enter an organized, echelon, collectivized and unified inheritance ecosystem.
(3) Integration of martial arts and lions: the inheritance of lion awakening in the countryside
At the beginning of the founding of New China, the comprehensive transformation of the countryside had not yet started.
Many rural customs and their governance methods, including lion dancing, once followed the usual practice.
The rural lion dance has not lost its legitimacy, but has also received the tacit approval of the country and society.
Cen Cheng, an older generation of lion dancers in Shunde, recalled,"In the few years after liberation, there were no televisions in the countryside.
The villagers had no entertainment.
They would dance lion during the slack season.
Whenever they were free, they would get together and have fun.
The village Old and young can dance twice.
On the occasion of the Chinese New Year, from the second day to the fifteenth day of the first month, the village organizes lion teams to visit the village households, and the villagers follow them all the way to watch the performance." The natural inheritance status of rural lion dancing depends on the cultural inertia and social memory of the people.
At this time, rural clan organizations are still the organizers and coordinators of lion dancing activities.
Clans with patriarchs and public property can provide services including lion dancing.
Public activities provide corresponding human and financial guarantees, and the gentry group, as local elites, also plays an indispensable supporting and coordinating role.
After 1958, the "Great Leap Forward" and the People's Commune Movement entered the period, and the land was restored to collective ownership.
In the process of transformation from primary cooperatives and high-level cooperatives to people's communes, traditional villages have been divided into different production teams.
The old autonomous forces in Foshan's rural society have tended to decline, and their generations of life and production methods have been affected.
Some folk activities have been replaced by "tens of thousands of people" and "militia training", but lion dancing is still one of the collective shared activities acquiesced in by the people's communes.
During this period, the inheritance of lion dances in Foshan's rural areas was reflected in the teaching of martial arts school boxers after they penetrated into the countryside.
Rural mobility is weak, and in the society of acquaintances, relying on blood, ethnic origin or interest, a lion awakening performance community is formed.
They advocate harmony to generate wealth, and do not aim at striving for strength and victory.
Those who plan and contribute do not receive remuneration and participate voluntarily.
Therefore, a situation has been formed in which they respond to every call and cooperate vigorously to carry out the inheritance of the lion awakening.It has become a relatively common phenomenon for villages to invite boxers to teach martial arts and lion dance.
The teachers hired come from three sources: local boxers, boxers from Foshan's Urban area, and boxers from Guangzhou and surrounding areas.
According to the "Oral History of Xiqiao Wulin", the boxer Yan Hua (also known as Cai Zhenhua), who was born in the 1920s, had widespread influence in Xiqiao.
After 1949, he was hired by various villages in Xiqiao to teach Hongquan, Shaolin Boxing and Lion Arts, and established a martial arts hall in the local area.
The martial arts hall that survives to this day is called "Yan Guan".
Mai Liuzai (75 years old) in Fengtai Village, Qixing, Xiqiao, recalled: "(Cai Lifo Hongshengguan Yan Hua) came here to teach after liberation.
He taught us for a long time, probably starting in 1957.
It lasted for almost five or six years until the early 1960s." In addition, Guangzhou boxers Guo En and Ye Bin were also hired into the village system of Xiqiao Town.
Guo Longhe recalled: "Until the 'Great Leap Forward', a brother of the same kind came back from Guangzhou and saw that we were studying every night.
It was the old lion arts that were not advanced enough, so he specially went to Guangzhou to find two very powerful people to teach lion dance in the village.
One is Guo Yin, and the other is Ye Bin...
Master Ye Bin is the lion dance king of Xiguan.
This is a plaque written for him by Governor Chen Jitang himself.
Guo Yin defeated more than 40 other lions in the 1954 Provincial and Hong Kong Lion Competition and won the championship alone." Guo Jianyong, Qixing Shilongli Village (67 years old, June 14, 2011) made additional memories.
At that time, Guo En and Ye Bin were "in their thirties and thirties, and they came here to teach them in their sixties.
Anyway, before the 'Cultural Revolution', there were no electric lights at that time, and we still used steam lights...
We usually learn at night.
We have to go to the production team to work during the day, cut grain, and harvest rice.
At night, we go to school after dinner.
It started around 7:00 and stayed until around 10:00." These boxers, who teach both martial arts and lion art, have sunk into villages and villages, contributing unique professional strength to the inheritance of lion dancing in the countryside, and have also won lasting gratitude and admiration from local people.
Qixing Shilongli Village, Xiqiao Town still has the "Xianshi Mansion", where incense burners and sacred tablets are set up to honor late boxers such as Ma Hong, Wu Rihui, Li Jiang, Liang Liusheng, Huang Lizhong, Zeng Xiangbo, Guo Ji, and Ye Bin.
The "Xianshi Birthday" event is held every year on the 18th day of the first month to commemorate it.
The penetration of martial arts and lion art in rural areas has not only lasted for a long time, but is also very common.
The fact that a boxer can enter the rural network is not only because of his experience and skills that have been tested by word of mouth and are widely known to the martial arts and lion training community, but also because he has a geographical proximity or ancestral relationship with people in the village.
The master and the apprentice form a seemingly random but stable connection and interaction, and the villagers who receive education pay rice to maintain the master's basic life.
Rural lion dancers usually farm fields and carry out household chores, and use the slack season, New Year's festivals and other opportunities to perform lion dances to meet their needs for self-entertainment and active atmosphere.
Chen Rufen recalled: "At that time, our happiest thing was the lion dance.
There is nothing that makes me happier than this.
The young society was formed for entertainment! The best way to entertain is the lion dance." Whenever festivals and weddings are held, villages will send lion teams to visit each other to congratulate them.
Lion dancing has also become one of the main ways to connect feelings and entertain each other, and between lion teams.
Villagers can learn to dance lion by listening to them.
Liang Qizhao, inheritor of the lion dance in Gangtou Village, Baini Town, Sanshui District, said: "After school in primary school, I often go to the ancestral hall to watch the lion dance.
An old man said,'Don't just watch, come and danc'.
Slowly, I became a' follower 'of the village lion team.
When I finished primary school in 1962, when I didn't have farm work, I went out for lion dances, celebrations, and social gatherings.
I also learned how to dance when others danced more." Based on the collective's need for emotional release and identity construction, the inheritance of lion dancing in the countryside has evolved into a habitual memory, which has influenced and influenced the villagers who were born and raised there.
The village community has also consciously passed on the ritual custom of lion dancing.
(4) The decline of the custom of "confusing children" in the inheritance of awakening lions
During the Republic of China and before, there was a special way of inheriting lion awakening in rural areas of central Guangdong-learning lion awakening and martial arts through the custom of "charming children".
According to the Qing Dynasty's "Qing Barnyard Money·Season Lei":"There is a custom in Guangzhou to confuse children.
It usually happens a few nights after the Mid-Autumn Festival, when the moon is bright and picturesque.
The method is to first select a child and make him sit in danger with his eyes closed.
The practitioner burns the talisman first.
[The spell is extremely simple.] Several people were ordered to hold incense and wave it in circles before and after the boy.
After a long time, the boy murmured to himself, and the crowd shouted,'Master is here.' He asked again: 'Master, do you like to use swords? Do you suppress swords?' Ask the boy to nod his head, and it is agreement.
Everyone gave equipment to the boys, so that they could fly and dance, as if there were family rules.
After the performance was over, the boy fell down again, called his name, and woke up." The so-called "charming boy" means attaching the "soul" of a deceased boxer or lion dancer to the boy (sometimes an adult) through certain magic rituals, so that the attached objects who do not know martial arts or lion dance can also perform instantly.
In relatively remote and closed rural areas,"lost boy" was once one of the more common ways of inheriting lion dances.
With the establishment of New China and the changes of social systems,"lost children", as a relatively common inheritance method of lion awakening in Foshan rural areas during the Republic of China, gradually declined and disappeared in the rectification of breaking the old and establishing the new and changing customs.
First, with the improvement of the rural economy, martial arts school boxers have generally penetrated into the countryside by being hired, and the custom of "confusing children" has been replaced by the way of masters leading apprentices to teach skills.
Mai Liuzai (75 years old, June 15, 2011) from Fengtai Village, Qixing, Xiqiao, said: "Before liberation, they were those 'ghost masters' and 'obsessed boys'! This kind of worshiping God will do.
This method existed a long time ago, and some people were still practicing it before and after liberation.
Doing this depends on the person who comes.
Some people have invited many times but may not be able to hire those 'evil people' masters.
Only those who have invited will know kung fu, and those who have not invited will not.
Later, it was not until Master Yan Hua came that we were all able to learn kung fu, so no one continued to do those things after that." Huang Xinjian, the inheritor of Baimei Boxing and director of Beisha Martial Arts School, also said: "I have never heard of this since I became sensible.
The older generation said that they all learned lion dance from the master, played gongs, drums and cymbals, danced big-headed Buddha, and played lion dance.
Play kung fu to see if he has talent and qualifications, whether he has a master to teach him, and whether he is willing to practice it.
Those who meet the above conditions will easily learn lion dance techniques.
If the master is willing to teach and practice themselves, they will dance better than others." These oral information supports the disappearance of the phenomenon of "lost children".
Second, after the founding of New China, the phenomenon of "lost children" was regarded as a "superstition" and prohibited.
On August 17, 1957, the Foshan City People's Committee issued a notice strictly prohibiting gathering people to gamble and engage in superstitious activities, and the "crazy boy" gradually lost its space for survival.
When the author asked if he had experienced or seen the phenomenon of learning to wake up lions through "lost boys", most of the masters born in the Republic of China replied affirmatively.
Pang Zhaosheng, head of the Zhongyi Tang Lion Awakening Troupe and inheritor of the Lion Awakening Troupe, recalled: "God Boxing and God Lion, I have seen them all when I was a child.
He doesn't know how to dance a lion.
Please ask the God Queen.
You can even call him a lion dance.
I've seen it with my own eyes.
Before liberation, we invited the Shenquan.
It was not called Ghost Fist, but Ghost Wrong.
This is superstition.
Later, when New China was founded, we stopped superstitious and stopped playing for many years." However, teachers born after 1949 generally said that they had never seen it, let alone experienced the "lost boy".
For example, Master Liang Weiyong, director of Hongsheng Hall Liang Hall, said: "I have never seen a ghost master perform a lion dance.
Maybe my former master knows about it, but I have never been exposed to things like 'ghost body' and I rarely hear of it.
Maybe it's because I'm already a junior." Chen Languang, vice president of Foshan Jingwu Sports Association, told directly: "Master Ghost dances with a lion.
There should be no such thing in our current Foshan, Guangdong or the Pearl River Delta.
I wonder if no one believes in this kind of thing." The phenomenon of "lost boy" that once existed in the inheritance of lion dances disappeared in social changes and became a vague memory left in the brains of the older generation of lion dances.
2.
Suppression and hidden inheritance of the lion dance in Foshan from 1966 to 1976
(1) Folk ecology during the period of "breaking the four old"
After 1966, with the changes in the social situation, the Lin Biao Group and the Gang of Four deviated from the original cultural policy, used a one-sided political pressure to carry out ideological and cultural construction, and launched the "Breaking the Four Oldnesses" movement.
Some folk traditional customs were restricted or even directly banned, and the Chinese people's most important festival of the year, the "Spring Festival", became the primary target of the "Breaking the Four Oldnesses".
On January 30, 1967, the People's Daily forwarded a notice from the State Council: "The State Council decided that there would be no holiday during the Spring Festival in 1967." "No holiday" essentially negates the folk life of the people during the Spring Festival, and means the reorientation of the value of the Spring Festival.
In 1971, People's Daily published reports such as "On the day of celebrating the Spring Festival of 1971, full of revolutionary pride, extensive party activities", etc., and the folk life of the people was filled with revolutionary discourse and ran through the logic of "revolutionary Spring Festival".
Under these circumstances, performing groups had to stop performing, some folk traditions were criticized and denied, and "the expansion of state administrative power extended the scope of state rule, bringing towns and villages into the field of vision of state rule, even in remote mountainous areas." The Gang of Four took full control and used propaganda tools to induce people with public morality and common ideals and to intimidate the masses with red terror and violence.
Social public and individual private life is included in the scope of control, with the purpose of allowing members of society to achieve a high degree of ideological convergence and interfering and controlling society by suppressing folk order.
At that time,"worshiping ancestors and gods was very strictly prohibited.
Temples and temples were demolished, memorial tablets in homes were confiscated and destroyed, and surveillance around the area was relatively strict.
Many people gave up the activities of worshiping ancestors and gods, but some people still very carefully and secretly worshiping ancestors and gods at home...
During this period, due to interpersonal suspicion and confrontation or fear of being falsely accused of forming cliques for personal gain, there were not many scenes of visiting families to pay New Year greetings.
However, some people take the risk of visiting to pay New Year greetings.
In some places, if they are caught visiting to pay New Year greetings, they will be criticized, educated or even criticized, and the gifts they carry will be confiscated." Traditional culture has been sentenced to "death", and folk life left over from the past has become objects that must be rectified or even abandoned.
The custom of lion dancing is no exception.
(2) The forced suppression of the lion dance and its impact
In March 1968, the Foshan Municipal Reform Commission's "Reply on the Establishment of the Foshan Musical Instrument Lion Drum Production Cooperative" brought the production of musical instruments lion drums into the management and control vision and implemented strict control over the production and distribution of lion drums.
Three months later, in June, the Shuanglong Wall of Foshan Zumiao Park, a local cultural symbol, was smashed, and the main leaders of the prefectural and municipal cultural departments were forced to carry the remains of Shuanglong Wall through the city.
In specific social situations, local folk culture as a whole is suppressed.
"In an era when class struggle was the key link, the 'five prohibitions' were implemented during the Spring Festival: no firecrackers, no burning incense and worship Buddha, no rolling dragons and lions, no eating, drinking, extravagance and waste, and no gambling." For the country at that time, lifestyle was the basis for implementing state power, a means to characterize social separation, and a way to implement moral punishment.
Lifestyles that did not meet the specified norms did not have "legitimacy".
In this way, the individual lives of Foshan people, driven by diverse customs, have entered a state of convergence.
The lion awakening inheritance activities, which originally belonged to individual lifestyles and were accustomed to by the people, have suddenly been withdrawn from daily life and seem to be sealed up in distant time and space and enter a "frozen" state.
The experience of nearly half a century ago has left a deep imprint on the hearts of the older generation of lion dancers.
Some elderly people can still clearly recall what happened at that time when interviewed, and some still have lingering lingering fears and are unwilling to discuss it in detail.
On the afternoon of November 6, 2017, the author went to Liantang Village, Zhangcha Street for research.
He saw more than 20 elderly people playing chess and chatting under the big banyan tree next to the river at the head of the village.
After inquiry, most of them were between 65 and 80 years old, and they were all from Liantang Village, spending time here almost every day.
When asked at the right time if they could dance lion, they all said that they had not learned it when they were young.
One of the old people, who did not want to be named, said: "At that time, who dared to dance lion? There was no atmosphere in the village, no one dared to teach.
No one learned this.
It was not as encouraging as it is now.
There are many young people who learned it.
There were very few people in our generation who learned to dance lion at that time.
Everyone was afraid of causing trouble and just focused on doing things.
They had to fill their stomachs." Huang Shichang, who is nearly 90 years old in Henan Gangang Village, Beisha, said sadly during an interview: "Before liberation, there were lions in all villages here.
There are temples and Bodhisattva temples in the village, and there is also a lantern market.
Lantern market is for lion dances.
On the eighth day of the new year, we would turn on the lights to wander the gods.
The Bodhisattva would go out on patrol.
The most powerful thing in the countryside was that there was a lion.
The lion danced in front of the Bodhisattva would follow.
By the time the 'four old'were broken, everything was gone, the lamp markets were almost gone, and all agricultural and sideline products were gone.
Unified purchase and marketing were the only way for the commune to develop.
If the market is gone, the wandering god is gone.
No one dances the lion dances, and if no one dances, they will fade away." The skin does not exist, and the hair will not be attached.
Traditional rural folk activities such as "Dengxu" and "Dengxu" have been cancelled, causing the lion to lose its most basic survival space.
What is even more pressing is that the policy design during the "Breaking the Four Olds'"period strongly integrated violence and fear into structural revolutionary discourse and controlled the collective psychology of the people.
Communes and brigades, as peripheral organizations of state power, assume the responsibilities of monitoring, supervision, and control, so that people live in the shadow of not daring to step beyond the "thunder pool".
Mai Liuzai of Qixing Fengtai Village (June 15, 2011, 75 years old) in Xiqiao Town recalled this way,"We were still learning the Gang of Four when they first started, but later, in order to prevent civil rebellion, the country did not allow the people to set up organizations such as martial arts schools.
They were afraid that you would set up a black martial arts school and gather people to make trouble, so the control was very strict at that time.
If you learned, you might even be arrested! At that time, each village had two teams responsible for monitoring the villagers 'construction and lives, so we couldn't ask Yan Hua to continue teaching, otherwise we would continue to learn." Under this pressure of "going to the top line", the vast majority of people dare not touch the "red line", and the learning and practice activities of lion dance gradually disappeared from the village.
Some rural lion dancers tried to continue the usual custom of lion dancing to pay New Year greetings, but were strongly suppressed and criticized.
Liang Zhibiao from Xiqiao Minle Seaside Village recalled: "Because we were banned from lion dancing at that time, basically no one dared to play lion dancing at that time.
We once tried to dance lions to pay New Year greetings to others during the first month, but we were criticized, saying that our village was forming sects and fighting factional battles.
Therefore, we didn't dare to go to other villages during the first month to pay New Year greetings; Moreover, during the 'breaking of the Four Olds', the historic sites in our village such as the ancestral halls were also destroyed, and the ancestral halls you see now were all rebuilt later." The needs of the people are dominated by power discourse, which brings occupation and forced suppression to Foshan Lion Dance, rather than chronic assimilation and transformation without penetration.
The social policy environment without room for maneuver not only caused the folk customs of the lion awakening, but also curbed the intergenerational inheritance of the lion awakening.
As Liang Jufa said,"Lion dances are not allowed, so during this period, some lion dances and martial arts masters from Chinese mainland have gone to Hong Kong, Macau and Southeast Asia...
Our mainland has basically stopped, but overseas Chinese are doing it.
As a result, their technology has improved, but our technology is still in place and may even be lost." The loss and decline of Foshan Lion Dance at the public and public levels are inevitable, and its explicit inheritance has been forced to be suspended.
(3) The implicit inheritance of the lion awakening in individual memory
The intervention and suppression of the social policy environment has brought folk culture into a difficult period of silence, and the overall fate of Foshan Lion Dance has been reversed.
However, a tough ban that violates the laws of folk operation cannot be truly recognized by the general public deep in their hearts.
The hidden resistance and resistance to lion dances are growing in the hearts of urban and rural people.
Some lion dance enthusiasts still use their weak individual strength to secretly compete with powerful external forces.
This situation is common in the countryside of Xiqiao Town.
Master Guo Jianyong (aged 67 on June 14, 2011) from Qixing Shilongli Village said: "In fact, there are still people who continue to play.
If they don't play, they won't be able to remember those action skills, but they are all secretly playing at home.
Who would dare to do these things openly then?" Master Mai Guoqiang from Qixing Fengtai Village (June 15, 2011) recalled: "At that time, everything was messed up, so we stopped studying after a short period of time.
Later, it was almost in 1971 and 1972.
Although the 'Cultural Revolution' had not yet completely ended, people in our village had already started learning these things again, but they secretly practiced them inside the house." This means that the inheritance of the lion awakening is still carried out in an extremely private and secret way, and has not been completely suppressed and disappeared as many researchers claim.
This can be called the hidden inheritance of the lion awakening, which is different from the explicit inheritance at the public and public levels.
Lion dancers are willing to risk being rectified and still secretly inherit the lion dance, mainly because they have the internal motivation to pass on the lion dance skills and culture in their hearts.
Master Deng Botang, who is nearly eighty years old in Jiujiang Town, has been practicing martial arts and learning lions since he was in his teens.
He recalled: "My father called our brothers to him and asked them to learn the ancestral lion awakening routine of 'Liu Guanzh'.
At that time, it was the period of "breaking the Four Old", and "Liu Guanzhang" was very sensitive regardless of its name and content.
If he did not go well, he would be arrested and criticized.
Our father and son didn't dare to make it public, so we had to light a kerosene lamp at night, hide in the yard at home, and practice secretly.
I couldn't afford a lion's head, so I replaced it with a wicker basket.
I put it on my body and had fun playing.
In a few nights, I learned the moves." Guan Runxiong, the inheritor of the lion dance who once served as director of the Sports Commission of the Nanhai District, also said: "We all learned it secretly.
At that time, we learned it with the door closed and the oil lamp lit every night.
Ouch! If you are caught, you will be criticized! At that time, I was worried all day long, and no one wanted to learn, but because I liked lion dance very much, I felt that this traditional Chinese sports culture should be passed on, so I persisted.
When I arrived in middle school, I took the exam at Nanhai Sports School.
The school was in Dali Town.
At that time, there were many old folk masters there, so I got together with them and secretly practiced at night to complement each other's skills." Some lion dancers follow their inner wishes and needs and silently persist in inheriting the lion dance by practicing it, preserving their personal memories and core skills of traditional lion dance.
The power discourse controlled by the Gang of Four uses economic wealth and political attributes as the criteria, horizontally divides people's class composition and group identity, and uses irrational cultural decisions to forcibly influence individual life choices, making the social policy environment rigid and monotonous, rural social atmosphere tends to be tense and oppressive.
In the rigid social life, traditional folk life was interrupted, mass entertainment activities were withdrawn, and the people lost the life model that had been followed by generations.
This was caused by a special era that local people had never experienced and was naturally difficult to get used to.
In the late 1970s, the laws on "breaking the four old" were loosened.
In December 1974, Dong Biwu, then acting president of the State, visited Foshan and wrote an inscription for the Foshan City Folk Art Research Society,"Politics is in command, excellence".
The importance attached to folk art itself began to appear.
Some villages have even quietly restored the custom of inter-village communication with lion waxing as a link.
Ye Jingxun of Yanfeng Village in Nanhai said: "After 1975, there will be lion dances in our village (Yanfeng Village).
At that time, there was no way we gathered together like before on the 11th of the first lunar month.
At that time, we called brothers Tan.
For example, everyone has the surname Ye.
This village comes to your village, and that village comes to this village.
It will not be made public, not to make it particularly lively." This situation is significantly different from the situation in the early 1970s and can be regarded as a prelude to the revival of the lion.
Until the launch of reform and opening up, Foshan Lion Dance gradually returned to the track of explicit inheritance, and gradually became prosperous under the interaction between the state and local society.
III.
Mirror lessons and enlightenment: respecting the subject of inheritance and returning intangible cultural heritage to the people
Lion awakening is a local lion dance spread and localized by the northern lions in the south.
Under the local social ecology of Foshan, a tradition of integrating martial arts and lions with martial arts schools and villages as carriers has been accumulated.
As a folk culture dispersed in Foshan's urban and rural areas, it is not a mechanical cultural performance, nor is it isolated from the vacuum of national politics and local society.
The changes that have occurred in it are overall and systematic changes.
In view of this,"to transcend the boundaries of traditional rural social cultural traditions, it is very important to introduce power relations and political perspectives, that is, to pay attention to the interactive relationship between folk culture, political life and state power." Since this traditional folk dance was often regarded as a performance of body movements in the past, it has not yet been given structural cultural and sociological significance.
In this regard, on the basis of layering, chronizing and contextualizing the inheritance of Foshan Lion Awakening, we expand the field of research on the relationship between the state and local society, introduce the perspective of individual memory, and further elaborate on the social historical context and cultural sociology of Foshan Lion Awakening.
meaning.
From 1949 to before the reform and opening up, my country's social life generally showed ideological characteristics.
The state has deployed socialist transformation as the central task of social development, and local lion dances such as lion dances are also within the scope of policy intervention.
In the torrent of collective discourse and policy trends, the subjects of folk culture inheritance are in a passive and aphasic state, and often move forward with the constraints of the social policy environment.
The forces it encounters include positive intervention in the early stage and reverse inhibition in the later stage.
1949-1955 In 1999, during the exploration period after the founding of New China, the party's cultural policy was to simultaneously "break" and "establish", and to carry out transformation and construction simultaneously.
In other words, it is not only to transform the old culture and eliminate its residual influence, but also to advocate cultural renewal by building advanced culture.
As a living custom passed down from the old society, lion dance is naturally being transformed and constructed.
Generally speaking, positive intervention has brought about the "turnaround" and changes of the folk lion dance culture and its holders.
1956-1966 In 2008, we entered the period of comprehensively building socialism.
At first, the party made beneficial adjustments to cultural policies.
In 1956, it proposed the policy of "letting a hundred flowers bloom and a hundred schools of thought contend".
Foshan Lion Dance has expanded and grown in a relatively relaxed policy environment.
The policy interference received by Foshan Lion Dance during this period was the result of the country's strengthening of socialist revolutionary propaganda through folk culture as a medium in a special political and economic environment.
In this context, the discovered folk lion dance became a "folk dance" recognized by the country, entering the national cultural matrix from an "nameless" state, and the lion dancers also "turned" into folk artists with a certain status.
Of course, in the process of lion awakening becoming a medium to represent the will of the country and the collective spirit, some local customs and the custom of "confusing children" tend to decline or even disappear.
Until the outbreak of the Cultural Revolution, social and cultural order deviated from the right track and the entire folk and cultural life was disrupted.
The suppression, prohibition and destruction of folk culture by the Lin Biao Group and the Gang of Four caused the decline and decline of local lion dances.
1966-1976 The blows suffered by lion dances in Foshan during 2000 are a case of distortion, slander and suppression of folk customs and culture.
Although the public lion dancing activities in Foshan have almost disappeared, lion dancing culture has not been banned because of this.
The skills and memories of Foshan lion dancing attached to individual bodies are still passed down in civil society in an extremely concealed way.
This kind of resistance and boycott behavior that inherits the lion in a hidden way is actually an instinctive manifestation of the local people's coping model triggered when social policies strongly control rural society in a special period.
The authenticity of the people needs to shift from openness to privacy, from behavior to heart, and rely on the individual body to continue the memories and skills originally shared by society.
Overall, during the period from 1949 to 1976, many folk cultures, including Foshan lion dances, encountered similar situations."When discussing any specific issue, we must not forget that there is a country behind their research objects." An ever-present and ubiquitous country." National social politics is the dominant force in the rise and fall of local folk culture and determines the survival and destiny of folk culture.
It can not only expropriate folk culture to serve national management and social governance, but also use political power or symbols to suppress folk culture.
It can be seen from the case of Foshan lion dancing that no matter how external social forces in the special period deny its legitimacy from the institutional level, they cannot erase the skills and memories of Foshan lion dancing attached to the individual body and social psychology.
After the reform and opening up, Foshan Lion Dance can quickly restore its inheritance vitality, which stems from the people's social psychology of adhering to folk customs, the policy environment that gives positive thrust, and the thrust generated by their superposition.
Impregnated in the lion dance cultural circle in the Lingnan region, local people in Foshan have the "habit" of being enthusiastic and good at lion dancing, which cannot be stopped by any external force.
According to Bourdieu,"Habits are persistent, switchable systems of underlying behavioral tendencies, structured structures that tend to function as structures that promote structuring." Habits have the characteristics of not easily changing or even disappearing due to changes in external environmental conditions.
Of course, he also admitted the force of the objective environment on habits and the interactive relationship between the two, that is, the objective environment will have various guiding effects on individual behavior.
The negative intervention during the "Breaking the Four Old" period temporarily lost the space for the lion dance in Foshan and suppressed the individual subjectivity of the lion dancers.
In this situation, the "habits" of the lion dancers can only temporarily succumb to the suppression of the social policy environment.
But no matter what social environment you experience,"it ensures the effective existence of past experience, which is stored in everyone in the form of perceptions, thinking, and behavioral schemas, and is more reliable than various formal rules and clear norms." Ensure the consistency of practical activities and their unchanging nature over time." Groups in the same ethnic group or region have common habits.
As long as the restrictions of the external environment are lifted, the "habits" based on collective sharing will be revitalized deep in the hearts of people, prompting group members to make common behavioral choices based on historical experience and realistic resources.
The value of looking back on the inheritance history of the local lion dance represented by Foshan Lion Awakening from 1949 to 1976 lies in learning from the past and enlightening the present, and providing valuable historical mirrors and practical inspiration for the protection of intangible cultural heritage entering the "post-World Heritage Application Period".
This reminds us that whether intangible cultural heritage entities can survive actively is closely related to the cultural and social foundation on which they rely.
It not only depends on whether the social policy environment can provide positive external motivation, but also maintains the endogenous subjectivity and internal motivation of the inheritance group.
No matter how society changes and transforms, in the folk culture inheritance format formed by the interaction between the state and local society, the adaptability, initiative and will and emotions of the inheritors 'subjects and individuals all exist objectively and have their specific value functions.
They cannot be selectively ignored because of their weak words.
Even if they encounter strong pressure and suppression for a certain period of time, cultural seeds in the form of memories and skills will not be completely extinguished and amnesia due to the change of external conditions as long as they are still deeply rooted in the hearts and bodies.
Once they have "a long drought and sweet rain","the spring breeze blows again." Fundamentally speaking, this stems from the subjectivity and internal driving force of cultural inheritance having their own survival logic, and they play a deep driving role in the sustainable inheritance of a folk culture.
In summary, the main body of creation and inheritance of lion awakening culture is human beings, and the existence of human beings is the most fundamental condition for lion awakening to survive alive.
The loss, absence and suspension of historical, local and specific people will lead to the lack of the foundation, carrier and medium of the inheritance of the lion awakening, which is determined by the characteristics of the intangible cultural heritage of the lion awakening.
Only by fully recognizing, respecting and activating the main body of lion dance inheritance can we more effectively promote the sustainable development of lion dance protection.
Deng Xiaoping once pointed out,"In the eleventh and twelfth years from the late 1960s to the 1970s, the gap between us and the world widened too wide.
Since the founding of the People's Republic of China, we have been isolated from the world for a long time." During this historical period, the protection of folk culture in my country has been stagnant, failing to absorb and learn from international advanced cultural heritage protection concepts and experiences, and failing to fully recognize and respect the main body of folk culture inheritance and its subjectivity.
Only after my country launched reform and opening up, especially after joining the UNESCO Convention for the Protection of Intangible Cultural Heritage in 2004 and implementing intangible cultural heritage protection, all sectors of society have increasingly recognized the role of intangible cultural heritage and their subjectivity in promoting intangible cultural heritage protection.
role.
Over the past ten years, intangible cultural heritage researchers have formed a corresponding consensus through continuous discussions.
Ru Long Xianqiong believes: "In the protection of intangible cultural heritage, we must rely on 'local cultural subject'and base ourselves on the development of' local cultural subject'." Huang Tao pointed out: "Intangible cultural heritage is fundamentally part of people's lives.
The inheritance and performance of intangible cultural heritage must follow the people's inherent methods and traditions." Sun Zhengguo and Xiong Jun further called for: "Fully realize the crisis of emphasizing 'things' rather than 'people', let society return to the basics of' inheritors ', so that they can enjoy the protection of national and local laws and regulations, and ensure the protection of intangible cultural heritage and inheritance demonstrate the essence of' inheritors 'and allow the whole society to establish an essential awareness of the protection of intangible cultural heritage inheritors." Views such as these all point to one key point: the implementation of intangible cultural heritage protection must adhere to the people-oriented principle.
The "Ethical Principles for the Protection of Intangible Cultural Heritage" promulgated by UNESCO in 2015 more clearly stated: "Relevant communities, groups and individuals should play a major role in the process of protecting the intangible cultural heritage they hold", and "All interactions should be characterized by transparent cooperation, dialogue, consultation and consultation, and should be based on the premise of respecting their wishes, prior and continuous knowledge and consent." Chao Gejin believes that the core values developed therein are "consistent with the fundamental stance of ensuring the central role of communities, groups and individuals." This code of ethics provides a guiding policy for my country's subsequent intangible cultural heritage protection, and also conforms to the core interests of sustainable implementation of intangible cultural heritage protection.
Now that intangible cultural heritage protection has entered the "post-heritage application period", in order to implement more precise and efficient protection of intangible cultural heritage, we must fully recognize and rely on the intangible cultural heritage inheritance subject to further return intangible cultural heritage to the people, and respect the habits and wishes of local people.
Starting from the situation, we should activate the internal motivation of intangible cultural heritage holders and inheritors according to the situation.
Only when the external conditions of intangible cultural heritage protection are consistent with the internal motivation of the inheritance subject, can the intangible cultural heritage promoted by it be sustainable and reproducible.
To this end, the author would like to reiterate one point: "Through conceptual enlightenment and inner awakening, we can reshape the dominant position of inheritors and ordinary people in intangible cultural heritage, and ultimately achieve the goal of 'returning to the people'.
Letting the inheritance subject become the real subject under the guidance of the protection subject is an inevitable choice for sustainable protection of intangible cultural heritage." Furthermore, we should integrate all stakeholders in intangible cultural heritage protection, respect and comply with the inherent laws of intangible cultural heritage inheritance, continue the legal guarantee of intangible cultural heritage protection policies, use government departments as the leading force in organizing and promoting intangible cultural heritage protection, and use community people and inheritors as the core subjects of intangible cultural heritage protection.
On the fundamental basis of promoting the ecological inheritance of intangible cultural heritage, we should promptly coordinate scholars, businesses, media and other parties to explore the ecological development of intangible cultural heritage.
In turn, it feeds back the ecological reconstruction and ontology inheritance of intangible cultural heritage.
Of course, this also requires relying on superimposed strategic opportunities such as the "Belt and Road" initiative and the Guangdong-Hong Kong-Macao Greater Bay Area Development Plan, continuing to absorb and learn from advanced intangible cultural heritage protection concepts and experience, and promoting the sustainable development of my country's intangible cultural heritage protection in the "post-World Heritage Application Period" Sustainable development, making intangible cultural heritage as a spiritual bond and cultural resource, more fully and effectively meeting the people's yearning for a better life.
(The original text is published in the Journal of Hubei University for Nationalities (Expansion C), No.
1, 2020.
The annotations are omitted and refer to the original issue for details)