Research On The Fusion Of Wushu And Folk Culture

Cultural fusion is an important phenomenon in the history of cultural development.Many cultural categories are integrated in communication and collision.The fusion of Wushu and folk culture is a typical representative of cultural fusion.Wushu is an excellent traditional cultural carrier of the Chinese nation.It exists and develops in many forms,presents a wide range of Wushu boxing and is widely distributed in the region,it synchronizes with the same origins of Chinese civilization and gradually formed a "broad and profound" cultural pattern.While the Wushu boxing shows regional characteristics,it also merges with regional folk culture activities.In order to explore the origin and formation of the fusion of Wushu and folk culture,and promote Wushu history and culture research,this article applies cultural anthropology methods and selects the Haiyang Big Yangko ritual performance with local folk customs and Wushu characteristics for research.Haiyang Big Yangko is a typical culture style that combines Wushu and folk activities.At present,the research on Haiyang Big Yangko has focused on its dance,entertainment,performance functions and its role in achieving harmonious interpersonal relationships in ethnic interactions.The research Ignore the academic exploration of the fusion of Wushu and folk culture in Haiyang Big Yangko.Its cultural traceback helps to provide historical and academic basis for the formation of Wushu culture.Haiyang Big Yangko is both a folk custom and a Wushu activity."Fighting Yangko" is the main manifestation of conflict.The main reason for its ups and downs and its excitingness is the fusion of Wushu technology.Studying the cultural phenomenon of the fusion of Wushu and folk culture is of academic significance to reveal the role and value of Wushu in folk activities,the origin and diversified forms of Wushu culture,and the creative transformation and innovative development of Wushu culture in the new era.This article is an ethnographic report on the research object of the fusion of Wushu and folk culture in Haiyang Big Yangko and its ritual performance.This research starts with the ritual performance and comprehensively uses the research methods of literature,field investigation,oral history research,logic analysis,and body movement analysis to investigate cultural anthropology of the fusion of Wushuand folk culture in Haiyang Big Yangko.Specifically,it mainly explores the fusion of Wushu and folk culture from the history of the fusion of Wushu and folk culture in Haiyang Big Yangko,the role of Wushu workshop in it,and the Fighting Yangko ritual,in order to seek the cause and value of the fusion of Wushu and folk culture activities,and put forward the cultural anthropological explanation,which provides basis and reference for the formation of Wushu culture.This study explores the fusion of Wushu and dance,witchcraft sacrifice rituals in Haiyang Big Yangko,and considers that Haiyang Big Yangko is the product of fusion of Wushu and folklore.It is specifically manifested as a mixture of Wushu,dance and witchcraft,it is essentially a martial dance with the function of witchcraft and sacrifice.From the perspective of witchcraft sacrificial ritual and fusion of Wushu and dance,the witchcraft sacrificial ritual in Haiyang Big Yangko consists of ancestor sacrifice and sea sacrifice,while the fusion of Wushu and dance military Wushu and folk Wushu.Its witchcraft sacrificial ritual and fusion of Wushu and dance symbolizes major national affairs those are sacrificial activities and military affairs moving down toward folk.That is,promoting ritual and music to educate the people,folk Wushu exercising to protect the territory and ensure the people.On the one hand,it originates from the strong implementation of sacrifice and military affairs at the national level,on the other hand,it is the active imitation of sacrifice and military affairs by local people,forms a two-way interactive process.Therefore,the fusion of Wushu and dance is an important form of the fusion of Wushu and other cultural forms such as witchcraft,and it is also a concrete manifestation of the fusion of Wushu and folk culture.It is still an living culture style of Wushu development to the present age.Wushu workshop is a unique regional Wushu cultural landscape in Haiyang.It is a product of farming culture and an important place for Haiyang Wushu such as Mantis Boxing to pass on and spread.It has industry and commercial attributes.Based on a saying that "Don't drink two winter oils,don't sing Yangko" circulating in the village of Haiyang,the study found that Wushu workshop is a cultural space where the fusion of Wushu and folk culture in Haiyang Big Yangko.The fusion of Haiyang Big Yangko Wushu and folk culture is the result of the transformation of Wushu culture.From the perspective of the fusion mechanism,it is a cultural acculturation,also known as cultural uptake.This is an important concept in the theory of cultural anthropology change,such as the pidgin English language phenomenon of dialect accent and non-standard English grammar formed in old Shanghai for a long time.Wushu workshop has a certain representation of power,with a metaphor of power.According to the "power-knowledge" theoretical framework,the power-Wushu knowledge framework can be used to explain the content of power in the teacher-discipline relationship.The power metaphor of Wushu workshop is shown in the following three aspects: the first is goods sold to royal: active attachment to state power,the second is free between court and jianghu: civil power that beyond state power,the third is knights break law by force: the metaphor of oppression and resistance.The power metaphor of Wushu workshop is also mapped into Haiyang Big Yangko,including the following three parts: the power conferred by the character,the power to defeat the opponent,the compound interest effect of power.Taking the folk Wushu activity Fighting Yangko ritual in Haiyang Big Yangko as the individual case,this study describes its process and folklore context.This study believes that Haiyang Big Yangko absorbs the tactics of military Wushu and the technical movements of folk Wushu such as Mantis Boxing and Bagua Zhang;the survival struggle of ethnic groups and the competition of Wushu are the important reasons for Fighting Yangko to absorb Wushu elements;its logical form is manifested from the “intellectual fighting” to the “force fighting” progressively under the etiquette constraints.“Intellectual fighting” embodies the wisdom of the military strategy while Wushu is an main supporting force of “force fighting”.Fighting Yangko is restricted by etiquette to strengthen the stability of rural social order,which reflects the combination of etiquette and law in traditional Chinese social governance.A deep description of its folklore context shows that Fighting Yangko is an ritual means of ethnic survival resistance,a folk military exercise to protect the living environment,a stage for displaying personal charm and a carrier of regional Wushu spread.The integration and interaction between Wushu and fighting Yangko proves that Wushu and folk activities have a profound historical origin as well as the multiple value attributes in Wushu.With the development of the times,Fighting Yangko has shown the characteristics of the era that from barbarism to civilization: that is thechange from using force to no using force in Fighting Yangko and occasional conflicts are limited to the release of collective emotions which has certain restrictions and avoids the physical violent confrontation,this is a natural choice to adapt to social development.The enlightenment of the research on the fusion of Wushu and folklore culture in the Haiyang Big Yangko to the heritage of Wushu: First,folklore activities are the platform for Wushu performances and the path of folk and social dissemination of Wushu.The Wushu culture can be displayed directly on the scene of folk cultural activities,which can make the audience feel the charm of Wushu culture at a close range.In ritual festivals,folk Wushu are constantly presented to the audience,which strengthens the artistic value and cultural significance of Wushu.This fusion and interaction of Wushu and folk culture has promoted the mutual complementarity of the both.Second,native society is a cultural habitat nurtured by Wushu and an entry point for the protection of Wushu culture.Cultural habitat is an environment where culture depends on survival and development.Haiyang Big Yangko is formed in the cultural habitat under the influence of multiple cultural elements.Rules for performing Yangko after practicing the basic skills of Wushu emphasizes the close relationship between Wushu and Haiyang Big Yangko.The local society of Haiyang is the soil of the fusion of the both,as well as the soil and cultural habitat of Wushu.Therefore,we must pay attention to protecting the native society as a Wushu cultural habitat,which is an effective way for the contemporary inheritance and development of Wushu.Third,the inclusiveness and integration of Wushu culture is conducive to the symbiosis and integration of multiple cultures.The coexistence and fusion of multiculturalism are the salient features of Wushu culture.Many traditional cultural events have nourished opera from the treasure house of Wushu culture,and have achieved their artistic style.The fusion of Wushu and folk culture in Haiyang Big Yangko is also a typical example of the symbiosis and fusion of Wushu and multiculturalism.The interpretation of this phenomenon can reveal the multiple values and diversified development paths of Wushu,understand the true state of existence of folk Wushu in the local society,and provide a certain reference for the study of regional Wushu and village Wushu,and enrich the study of Wushu culturaltheory.In a word,deeply digging the folk culture value of Wushu,and using folk Wushu activities as a way to promote Wushu which is an excellent traditional Chinese culture,has certain enlightenment on the contemporary inheritance and development of Wushu.