Storytelling And Worship:Study Of Divine Storytellers Who Perform For God In Taihang Mountain

Divine storytelling is a literary and artistic form performed in folk belief activities in the Taihang area.It is commonly used in public temple fairs and rituals of private households.Divine storyteller are groups who participate in ritual planning and performance,are proficient in musical instruments or skills and make a living from it.They are born poor,have physical defects,often suffer unfair treatment in practice,and are on the margins of society.This article studies the "God Book Artists",a regional iconic folk music group and its ritual rap activities,and analyzes how mobile artists link the relationship between people,ancestors,and gods in the village society,and how to construct ritual roles and society.Identity,and then discuss the living rules and living strategies of the gods and entertainers in the age of technology.This article is divided into five chapters.The first chapter analyzes the historical origins and rap traditions of the gods and entertainers from the perspective of social history,natural environment,folk beliefs,famine immigrants,the flow of Jin businessmen,Buddhist head scrolls,and Rokusai Club.Influence,re-examining the process of quyi rap as a sacred carrier participating in social exchange.The second chapter discusses the constitution and operation mechanism of traditional Chinese social society by examining the guild organization of the group of gods and artists in the lateQing and early Republic of China.It was found that the worship of ancestors played a key role in the internal order integration of the industry.The belief of the Three Emperors is a dual construction between immigrants and entertainers under the official sacrifice.The worship of Kong Sheng emphasized the legitimacy of artistic origin and the function of persuading the ancients to persuade the good.The worship of King Miaozhuang and Qiu Zu reflects the influence of Buddhism and Taoism on the inheritance of Quyi.The third chapter,starting from the artist’s subjectivity,focuses on the sufferings,learning experiences and marriage life of the Taihang Mountain God Book Artist before entering the industry.The artist transforms suffering into adventure,in order to shape the ceremonial ceremonial identity.The establishment of the master-student relationship in academy not only maintains the style characteristics and special skills of the Quyi genre,but also establishes a mutually beneficial economic contract.In terms of marriage and family,the intermarriage circle of entertainers mainly spreads outward based on the geographical scope of their performing arts activities.Occupational characteristics,economic income,and physical conditions have become negative factors for artists to establish marriage relationships.The fourth chapter introduces the specific occasions,rap procedures and text choices of the performance of the Divine Book.It compares the similarities and differences between the performances of Qiu Yushu in Xiangyuan Guozhuang Village and the Anniversary Book of Yangfu in LanshuiTownship.Role and function in the ceremony.The fifth chapter selects one of the types of temple books as the research object,introduces the basic form,market relationship and business model of the scripture performance,and analyzes the network and social interaction mode of the scripture artist.The basic form of the performance of the divine book,the stall,and the stage derived from the pilgrims would like to donate economically,good people and merit,and the village commercial employment three types of market relations.The diversity of the Shenshu market has prompted artists to use different strategies in performances to meet the expectations of their host families.The use of "auspicious words" and "buttons" in rap performances,the ordering of teamwork and income distribution,the onlineization of personal marketing and social networking are all important factors affecting the economic income and entertaining market of artists.