| The Flying-dragon Dance develops to now with a long history of thousands of years. It is not only popular in Hans people, but also worshiped by ethnic minorities, including Hmong. This paper studies the Flying-dragon Dance of Hmong in Chengbu, which is a National Intangible Cultural Heritage in remote southwestern frontiers of China, according to the first-hand material and related literature drawn by field investigation. The purpose is to explore its historical origin, make sense its development path, find out its characteristics, cultural meaning and value, and put forward advices to ensure its orderly development based on current problems. This paper consists of six parts, a brief introduction as follows:The introduction presents the reasons for choosing the topic, the research significance, related research status quo, theories and approaches applied, and outlines the writing ways of the whole paper.The first chapter mainly discusses the relationship between dragon and Hmong, including two parts:One discusses the formation of the concept of "dragon" and its main form of expression. It shows that the dragon of Hmong is not the direct descendent of the dragon of Han through analyzing the two key differences of them. The other illustrates several kinds of typical dragon dances of Hmong and comparing the dragon dance of Hmong and the dragon dance of Han. The second to fourth chapter is the main part of this paper. The second chapter "the diachronic investigation of the Flying-dragon Dance of Hmong in Chengbu" introduces its generation area to explore how the Flying-dragon Dance of Hmong in Chengbu appears and develops, adopting the field investigation and historical literature. Then it traces back the Flying-dragon Dance of Hmong in Chengbu by drawing lessons from the theory of "collective memory". It shows that Lan family has nothing to do with the general Lan Yu of early Ming Dynasty through exploring the legend "Wei Zheng kills dragon" of Yang family’s Dragon Dance and the story of "Lan Yu being killed" of Lan family’s Dragon Dance. In addition, it generalizes the development of the Flying-dragon Dance of Hmong in Chengbu from the perspective of cultural transmission theory, indicating that it is the combination of ethnic blending and culture spreading. The third chapter "the synchronic investigation of the Flying-dragon Dance of Hmong in Chengbu" expounds characteristics of the Flying-dragon Dance from the materials, skills, sacrifice and performance aspects. It comparatively studies it with the surrounding hanging Dragon Dances of Dong in Tongdao Linkou, Miao’s in Suining Dayuan and Dong’s in Huitong Xikou, which highlights the deep regional features and distinctive national culture of Chengbu. It elaborates its deep cultural implication and symbolic meaning by adopting Grice’s Interpretive Anthropology view. It excavates its mountain culture, witchcraft culture, Dragon Faith and national spirits, etc. Finally it analyses the diverse value of the Flying-dragon Dance of Hmong in Chengbu as a National Intangible Cultural Heritage, including its historical value, artistic value, educational value and economical value, etc.The fourth chapter "the expectation of the Flying-dragon Dance of Hmong in Chengbu" discusses its protection, inheritance, achievements and the dilemma of inheritance. Furthermore, it tries to put forward advices for ensuring its orderly development from the government and inheritance level.This paper arrives at four points through study. Firstly, Hmong has a close relationship with the dragon. The dragon dance of Hmong generates from the dragon sacrifice. It is the product of the dragon worship and the dragon faith as well as the "externalization", "materialization", "realization" and "adaptation" of the concept of the dragon in Hmong. Secondly, the Flying-dragon Dance of Hmong in Chengbu is the result of national blending and cultural spreading, which changes and develops with the dynamic social development. Thirdly, the Flying-dragon Dance of Hmong in Chengbu is a National Intangible Cultural Heritage with special regional charm and characteristics of Hmong. It is also the living folk with deep cultural significance. Lastly, various problems go against its future orderly inheritance and sustainable development, such as the irresistible death of old artists, multicultural conflict, and inheritance crisis from conservative concept, capital shortage and excessive commercial. Therefore, we suggest that the government should further play the leading role, inheritors should strengthen the cultural consciousness of passing down the culture, experts should actively involve in the protection of the Flying-dragon Dance. |
PDF Full Text Request