The Inheritance Of Traditional Dance In Urban Villages

In the past ten years, the domestic and foreign academic circle has made a large mount of field investigation from the theoretical and practice level on many aspects, such as relationship between the Chinese traditional culture, folk religion, village arts and culture performance based on the temple fairs and the regional economy, politics and culture, and has accumulated many firsthand materials on the folk culture arts, but the investigation materials are all focus on the views of folklore, anthropology or sociology, and neglect the view from art as performance to understand and analyze. The paper developed the true status and future prospect of traditional folk arts performance based on the temple fairs from different angles. More importantly, these perspectives provide reference especially on the relationship between the problems of protection and heritage in the period of after-application-heritage and final folk activities after folk arts become intangible cultural heritage, and gives a new perspective for the research on Chinese traditional folk arts.The paper focused on Hongsi village in Beijing metropolis, and researched Diyangge which is a fair culture performance. The paper applied the research method of field nationality history under the overview of intangible cultural heritage, and wanted to paint a picture of dance field nationality history. The whole structure of the paper is as below.The introduction mainly talked about four sections, the importance of the research, the theory background, research method and the paper’s research framework.The first chapter introduced the history and place of Hongsi village, and emphasized that my research place is very special that is not far away form the noisy of city, inconvenient transportation, impediment language and much imaginable original arts, but it is a place that we can take subway to go and be as a part of my living. In this village, a distrust and nervous relationship between the villager and the government is existed for the reasons of city development and extension, and the relationship affected the heritage of the local arts.The second chapter is about the history and space of Hongsi-Diyangge which is the symbolic culture of the village, especially talk about the origin and development of the culture performance, and talk about the folk memory from angle of history.The third and fourth chapter mainly explain the culture performance of Diyangge consisted by two parts, performance mechanism and dance morphological analysis. The performance mechanism includes ceremony, clothing, music and libretto. The part of dance performance explains body action of the dance. The writer of this thesis has analyzed the four progressive levels, from a single movement to a dance sentence, and f rom a dance paragraph to a whole dance performance, in order to unveil the parts-to-whole developing process of folk dance art. Namely, how the local dancers manage to f orm single movements and dance paragraphs to a relatively complete works of dance pe rformance through their own cultural logics, just like musicians linking notes to a harm onious melody in music.The fifth chapter compares the status after the application for national intangible heritage. Through the comparison, the author wants to illustrate the changes and development so as to explain how folk artists take the inheritance through subjective initiative.The conclusion is mainly about my thinking and introspection.Firstly, one thing becoming heritage must be marked as heritage and protected and used by official department. Diyangge of Hongsi village also finished the transfer from folk festival program to national heritage. When we use the concept and way of processing to view the heritage, the heritage is also a process. When the folk culture became the national heritage, we can find how the folk culture changed in the processing of becoming heritage.Secondly, Power circle formulated in the processing of becoming heritage because the intervention of different people. In this field, every side has its own power spectrum. Folk villagers want Diyangge translate to national art from folk art through the application of intangible heritage. It failed through bottom to top, but it succeeded through top to bottom in contrast. From that, we can see the delicate relationship among the folk villagers, government of the town and the culture center of Chaoyang district. And when Diyangge became national heritage, we can see the competition and cooperation of different sides that promote the inheritance and development of traditional folk culture. As for Diyangge, it became the intangible national heritage in the process of competition and corporation of different power. In the competition, we can see the folk villagers used weakness weapons to exploit their powers. Thirdly, in the process of becoming heritage, it did not only think about the power relationship, but also emphasized the research on the main body of the inheritance. As for Diyangge, the folk successors are very active instead of negative self inheritance. Also, we can see that various problems that folk’s main body met in the culture practice are not only from official but also from the inner different ideals of the folk.Finally, the author raised the ideas using dance ethnography to study dance in respect to the research method. On one hand, the author raised that we should pay attention to the analysis on the details of culture performance. On the other hand, when studying dance from the angle of whole culture, we should put dance on the larger relationship level to consider, especially on the field that had a close relation with dance, for example, the relation between dance and music can detailing the way of dance ethnography.