Study On The Protection And Inheritance Of Bronze-Drum Dance Of The Zhuang&Yi In Wenshan Zhuang&Miao Autonomous Prefecture

"Wenshan Zhuang and Yi Bronze-drum is a representative work of national intangible cultural heritage approved by the state council and the ministry of culture in May 2006.This paper focuses on the inheritance practice on the bronze-drum dance of Zhuang&Yi in Wenshan Zhuang&Miao Autonomous Prefecture,through solid anthropological investigation to the three national heritage shed in Guima Village at Nasha Township of Guangnan county,Longzhong Village at Banlun Township of Funing County and Chengzhai Village at Dong Gan Township of Malipo County,the paper presented the traditional culture matters in the process of world globalization and the rapid development of modern Chinese society how to make the transition from a single natural heritage to diverse social inheritance or school inheritance,and objectively analyzed the basic situation and problems in the implement of protection to the government-leading inheritance mechanism,focused on the emic and etic judgment in this process,and then discusses the logic and innovation mechanism of the protection and inheritance of intangible cultural heritage in the process of historical development from the perspective of cultural ecology.As one of the oldest dances in China,the bronze-drum dance has long been popular among the Yi,Miao,Zhuang,Yao,Shui,Bu-yi and other ethnic groups in southwest China.In Wenshan Zhuang&Miao Autonomous Prefecture of Yunnan Province,it mainly spread in sub-branches of Zhuang and Yi at Guangnan County,Malipo County,Funing County,is an important part of festival folk ceremony or funeral ceremony.The bronze-drum dance is one kind of Chinese folk dances characterized by the beating of drums.As early as the 4th century AD(the end of the spring and autumn period),bronze drums have been found in the dance scene of the bronze carvings.The bronze-drum dance is a derivative of the social life evolution of bronze drums from cookware and ritual vessel to musical instrument.It is an artistic expression form with local ethnic characteristics and conveys the relationship between people and bronze drums,between people and god,and between people.In the sacrificial ceremony,the bronze drum,which is both ritual instrument and ritual instrument,gradually evolved into the accompaniment instrument for dancing after the sacrificial ceremony,forming the most distinctive bronze drum music and dance,which is still widely spread in many villages of the Zhuang and Yi ethnic groups in Wenshan Zhuang&Miao Autonomous Prefecture.However,with the change of cultural ecology,the meaning of witchcraft sacrifice inspired by the bronze-drum dance gradually lost,replaced by the continuous strengthening of entertainment function,and the original means became the purpose.In most places the bronze-drum dance is fading.In order to protect and inherit the intangible cultural heritage,in May 2006,the bronze-drum dance was included in the first batch of national intangible cultural heritage list.In fact,like most traditional cultural events,the success of the inclusion of the bronze-drum dance in the national intangible cultural heritage list on the one hand reflects its own cultural value,but on the other hand reflects its survival of cultural ecology is indeed worrying.Like most traditional villages in China at present,the three field points selected in this paper are faced with the constant changes of social economy and the increasingly convenient transportation,resulting in the continuous breaking of the village space.The original social structure has undergone great changes,no matter the villagers keep going out or the outsiders keep coming in.The change of community structure makes the collective that maintains the sacredness of the bronze-drum dance also change.Like many other cultural events with sacredness relying on "collective consciousness",the bronze-drum dance has been gradually declines.The intangible cultural heritage protection measures started by the Chinese government in 2006 are to protect traditional culture and enable it to continue in the new era.The villagers of Guima Village(Nong branch)has been actively involved in"inventing process of "traditional" to create the bronze-drum dance by jointing the traditional Zhuang dance "Long'ayue" and "Long'ala" to be a new form of bronze-drum dance after the bronze-drum dance has been listed in the intangible cultural heritage list,and which became self-entertainment dance performances during the Spring Festival and grand sacrificial dance to memory Nong-Zhigao during the period of "July dayf".The villagers' unconscious motivation which greatly depended on the "tradition" construction of the actors in the village,became the unconscious motivation in the cultural system through the continuous enhancement,and finally made the intangible cultural heritage became the established tradition and be inherited.The bronze-drum dance of the Yi people(high trouser foot luoluo branch)in Longzhong village is an important way to communicate with human beings and gods through drum,music and dance in festivals such as Buckwheat Festival","Tiaogong Festival" and "Entering New House".However the sacred cultural space "Gongping"has been destroyed because of the highway and village elementary school construction,sacred ritual ceremony without the knowledge of scripture and procedures of host,the huge economic pressure leaded to no one wants to serve as"Gongtou",state-level non-material cultural heritage inheritor died,and so on a series of objective factors make "Tiaogong Festival" is difficult to restore.The government's financial support and the guidance and training of the ceremony host are the exogenous power to restore the festival ceremony activities and construct the benign cultural ecology.The bronze-drum dance of the Yi people(white luoluo branch)at Chengzhai village is a sacred sacrificial dance,which villagers can get a sense of cohesion by participating in the sacred collective ceremony such as rain praying or funeral sacrifice.However,if the collective consciousness as holders of culture continues to disappear,it will be very difficult for such peripheral protective development measures to make a real difference.The sacredness of the drum and the bronze inspiration is maintained by the village collective.However,when the collective of the community is gradually loosened due to the continuous migration of villagers away from villages,it is unrealistic to make the bronze-drum dance based on the collective consciousness continue as before.If the sanctity of the bronze-drum dance is guaranteed by the village's collective consciousness,then the reconstruction of collective consciousness is the most important element for the inheritance of the bronze-drum dance in the village.In addition to guaranteeing the implementation of a large amount of financial support and other measures,the local government constructed a new collective together with the villagers in the process of protection,so as to cultivate a new collective consciousness,thus re-establishing the sanctity of the bronze-drum dance,and finally enabling the sustainable inheritance of traditional culture in the new era.To sum up,when traditional and modern encounters,the protection and inheritance of intangible cultural heritage needs to stimulate the internal driving force of cultural holders,actively absorb new members in the cultural sense to reconstruct the collective consciousness,or construct harmonious social interaction through the restoration of the sacredness of cultural symbols in festival rituals.Non-material cultural heritage system,both at the beginning of the implementation without reference and in the process of implementation of gradual adjustment,will always appear these or those kinds of problems,but the positive is that the traditional culture left in the folk of countryside not known had received more attention by the declaration and naming as all levels of intangible masterpiece,and the most important is to some extent,all these actions aroused the holders of cultural self-confidence to voluntarily participate in the protection and inheritance of cultural work.In addition,the intangible cultural heritage protection subjects mainly composed of government cultural departments,scholars,artists and cultural resource developers forms internal and external forces together to make the bronze-drum dance continue to survive and achieve sound development in the current increasingly changing social environment.