Beating The Drum Jingfeng Liu Yao People - Gongcheng County "disk Wang Yuan And Flutist Beating The Drum Construction Of Historical Memory

The dissertation mainly focuses on the ritual─Fulfilling A Vow to the Pan King and the performance─Playing Sheng and Drumbeat in Gongcheng Yao autonomous county in Guangxi Zhuang Autonomous Region and discusses the theory of the construction of historical memories. It begins with the myth of Panhu and crossing the sea and the legend of Qianjiadong. It narrates the whole process of the three myths, takes into account many versions of the myths, and applies the theories of historical memory of famous theorists (myth of origin, ritual, resource competition, structural nostalgia and etc.) to interpret Yao People's mind state, sense of pride and origin of conhesion reflected in the myths. The myth of Panhu reveals the heroism of Yao People, that of crossing the sea embodies the belief in Panhu and the spiritual reliance on Panhu, and that of Qianjiadong reflects the diligence, benevolence of Yao People and the inferior condition of them in resource competition with Han People in Feudal society. Then the dissertation analyzes the rituals with the theory of meta narration and performance and elucidates the concepts of archetype and mainstay narration.The second chapter narrates the process of Fulfilling A Vow to the Pan King seen by the author, introduces the ritual of Pan King Festival and that of Wudong Hongmen Wish. It then analyzes academically the ritual process of Fulfilling A Vow to the Pan King with Victor Turner's theory of ritual process and the terms of separation, threshold and communitas. It narrates the deity of the ritual, including that of Shigong, ritual itself and offerings, and concludes the opinion on religion of Shigong and villagers.Then the dissertation introduces the basic situation of Playing Sheng and Drumbeat, the occasion of it and the painful historical change, the composition of the performance of Playing Sheng and Drumbeat and the basic characteristics of it using historical documents. It then introduces the features of movement of Playing Sheng and Drumbeat and the methods of making Sheng and drum. Then it narrates the process of learning the knowledge of the ritual and the instruments of two Shigongs, an inheritor and a performer, the experience and stories in the learning process and explains the method of statement of body as a ritual text.In the last chapter─he intangible cultural heritage and the game of power introduces the predicament and difficulties of the inheritance of Playing Sheng and drumbeat as an intangible cultural heritage. The government and the folk hold different opinion on the protection of Playing Sheng and drumbeat. The government regards it as a pure form of performance while the folk treats it as a divine ritual. The article then explains the change of the heritage, from entertaining the gods to entertaining the people, from being divine to popular. At last it expounds the game and negotiation of players of power, including that of the government and the folk, that between clans and between men and women.