The Inheritance And Development Of Folk Art Under The Intangible Cultural Heritage Movement

Folk arts is related to the local activities and finally been into a stable local traditional which have shaped the spiritual and material life of the local person.What’s more, the folk art always has influences on the relation among villages and villagers but deeply affected by the social circumstance. Baxiandeng is originated in Zhengj iazhuang of Mengyin country which was created and spread by the native people. It rooted in people’s lives, closely around the people farming rhythm and have been the essential activities during the Spring Festival in Mengyin country and surrounding regions. Baxiandeng is a kind of dancing show taking the the eight immortals as the main body to complete the symbol to drive off the bad luck for the new year. At the same time, some villagers have written and played some playlet as one entertainment.It has flowed more than three hundred years and closely related to the social development, changing obvious especially in the lately 30 years after the reform and opening up. This article will firstly have a detailed description of the village and observe the changes during the social development and the period in the intangible cultural heritage.Then I try to explore the reasons of these changes and the impact after joining the intangible cultural heritage and try to have a discussion on the way to protect the collective folk art of the intangible cultural heritage.The first part is introduction which introduces the origin of topic selection, related research review and main related methods. The second part is village context which analyzes the natural and social environment which constitute the life context of Baxiandeng. The third part has a detailed description of Baxiandeng included the historical original, the fabrication of lamps and lanterns, the two specific part of the performance to show the vivid and interesting of folk art. The fourth part is about the relation between the people and the village which connected to the mental life of the group, the necessary in self-identification, the connecting action in the area and finally been the typical cultural. The fifth part focuses on the analysis of the transformation of Baxiandeng. The changing social environment was mapped in the performance and the intangible cultural heritage had also taking it to a new period.