Local Opera Culture And Identity

Since the Ming dynasties,the power of national unity proceeds to the southwest of China,which changes the cultural distribution in the layout.On the one hand,the culture of ethnic minorities is constantly being digested and assimilated in the process of chending with the central government.On the other hand,Han in minority areas,being regarded as the ethnic minority in minority areas,also faces a problem that how to maintain their own Han identity and the original cultural tradition(so-called cultural orthodoxy).Tunpu people,being from Malu or Qingshan Changshun County Guizhou Province,carry out the cultural acculturation,identify the identity of the Tunpu ethnic group and continue the Tunpu culture blood by means of ground opera.They copy down the culture generation by generation and cultivate a generation of qualified Tunpu people,which makes the individuals continued to agree with internalization and Tunpu "Anshun".Ground opera uses the cultural identity of the Tunpu people to carry cultural activities to realize culture acculturation,maintains the identity of the mainstream culture of the Han nationality.Its style remains after wind and rains for centuries by cohesiving the groups with a common sense of honor and mission.The sense of loyalty and the glory of the record showing in ground opera embodies the unity of the Confucian culture.It gives fresh vitality to Tunpu people acting as the blood of the Ming Dynasty Han immigrants,which never fades in their spirits.The sound symbols and chanting content of ground opera continue to convey Confucianism and family consciousness,realizing the cultural enlightenment and then achieving the purpose of identity.It completes the comfort of the Tunpu people's ethical affection and the generation of loyalty filial piety.This article is divided into four chapters.Chapter one,introduction,consists of four parts including the origin of the study and the significance of the topic,the literature review,the theoretical combing,the ideas and methods of research.Anshun ground opera was included in the first batch of national intangible cultural heritage list in 2006,and gradually became a hot spot of academia.By means of the literature review of Tunpu ground opera and identity,the author learns the previous research results and takes these as the cornerstone of this thesis.The ins and outs of the theory used in this article can be understood and used by the author by theoretical combing.It provides a solid and powerful example for the center thought of the paper combining the field survey method of the music anthropology.Finally,taking the Tunpu ground opera as the research object,writing what the author thinks by using the ethnographic writing method and identity theory.The second chapter,Tunpu people,divides into three sections,i.e.,Tunpu people,Tunpu history,Tunpu castle,and these three sections are progressive.The Tuen Army of the Ming Dynasty needs to perform the Weisuo and Tuntian system due to the south crusade.In Qing Dynasty,abolishing Wei and establishing County,soil reform,and the development of Miao territory are conducted.Then the War of Resistance Against Japan,the Cultural Revolution and Cultural revival are experienced.The formation,development and restoration of Tunpu undergo 600 years.The author elaborates the history of the village and profile taking the Castle Peak Village and the Zhu family as a specific object of investigation,and observes the current status of eastern and western Tunpu culture through the culture of the Zhu family.The third chapter,Tunpu ground opera music,is divided into five sections.First,we do a summary of the concept of the ground opera.Second,we discuss their own opinions for the formation and development of ground opera,and introduces the specific situation of the ground opera in detail,including props,repertoire,performance venues,etc.,from the ground opera analysis of the music,instrumental music and libretto.Castle Peak troupe is regarded as the field investigation of the focus,and the main case of the article selected.The fourth chapter,the ground opera culture and identity,is divided into two sections,mainly interpretating the theory around Tunpu ground opera,cultural and cultural identity.