Research On The Relationship Between The Text Narration Of Funing Zhuang’s "Poya Geshu" And Cultural Space

The national-level Intangible Cultural Heritage "Poya Song Book" was born in Poya Village,Funing County,Yunnan Province,which is a category of Funing Zhuang folk songs.The issue of Poya Geshu’s heritage is the focus of research in the perspective of intangible cultural heritage.It has two textual forms,oral text and written text,and performs text narrative in different cultural spaces under the Intangible Cultural Heritage horizon.The reason why it is called "Song Book" is because there are 81 pattern symbols drawn on paper or embroidered on the cloth before the aria.Discussing the relationship between the textual narrative of Poya Geshu and cultural space has positive significance for its protection.When referring to the text narrative and cultural space of Poya Geshu,the relationship between the 81 pictorial symbols and the text narrative is mutually constrained.The metaphor,symbol,and the meaning of the pictorial symbol itself are the core of the text narrative.In addition,while the pictorial symbol plays a role in the text narrative,sometimes its metaphor is also part of the text narrative.But overall,the number of songs whose metaphor is the core of the text narrative accounts for the vast majority,and the others are relatively small.Graphic symbols cannot be self-sufficient,and need text to explain,supplement or restrict their meaning.It survives in the village cultural space,the Funing traditional festival "Long Duan Festival" and the Intangible Cultural Heritage stage.One of the biggest features of Zhuang folk songs is the duet of men and women.In the village cultural space,except for several of the men and women who determine the text narrative for the content of the song book,most of the songs can be sung by both women and men.In Long Duanjie and the Intangible Cultural Heritage stage,the gender of the narrative in the text is consistent with the written text.Poya Songshu exists in the folk song system of Poya Village in a variety of text forms.Singer singing and pattern symbols form the coexistence and strengthening of multiple narrative methods.Intangible Cultural Heritage inheritors are the center ofPoya Songbook singing.Poya Geshu’s "endorsement by song" in daily life,performances at the Long Duan Festival,and performances on the Intangible Cultural Heritage stage,exemplify the vitality of the song book.Scholars,governments,and related cultural industries have joined the ranks of song book protection,and the rise of social media has also played an important role in their protection.This formed a new cultural relationship,increased the awareness of the protection of Poya Songs in Poya Village,and promoted the relationship and interaction of the village’s cultural space.The protection of Poya Song Book needs to be based on the Intangible Cultural Heritage horizon,and it needs to have its own space for survival and presentation.Only by combining the two,can its vitality be better continued.