Research On The Dynamic Mechanism Of Contemporary Changes Of Fuchuan Pingdiyao's "Lusheng Long Drum Dance"

Since the founding of the People's Republic of China,in order to promote the development of literature and art,the folk dances of all ethnic groups in China have been separated from the original folk rituals and form a new understanding of folk arts in the new era.In the process,folk dances of all nationalities have varying degree of changes.So,what exactly is driving this change?With this question in mind,this paper studies the "Lusheng Long-Drum Dance" of Ping-Di Yao Ethnicity of Fuchuan Yao autonomous county in Guangxi,China.With the dance's transition as the main research subject,further discussions of changes in the dynamic mechanism of this folk dance were held.The author also thinks about the attitude that the dancers should take to deal with the change.The thesis paper consists of an introduction,three chapters and a conclusion.Under societal influence from different periods in time,"Lusheng Long-Drum Dance" has gradually transformed from the former ritualistic function into a form of folk dance.And since,it has become one of the most representative cultural resources of ethnic Yao.Therefore,this chapter will sort out the main transition process of "Lusheng Long-Drum Dance" from past to present according to the time sequence below-from the Yao's traditional"Punwung" ceremony,participation in The 2nd National Folk Music and Dance Festival,respective theatrical performances,identification and protection as a"National Intangible Cultural Heritage".On this basis,it can be found that as a local cultural form,"Lusheng Long-Drum Dance" develops independently from the former form of ritual under the impetus of the era,and according to the different scenes in the performance of the main body,the form of expression and function of the three aspects of the corresponding changes,showing a variety of appearance.After that,this paper further analyzes the deep dynamic mechanism that makes it change.Firstly,the modern advancement of China is the main driving force of dynamic mechanism in our country.As for "Lusheng Long-Drum dance",it not only gets rid of the matrix of ritual to develop independently,but also leads to the formation of symbolic actions as characteristic symbols.Then,promoting its development through interaction between cognition and practice.Secondly,constituted by the change in identity and interaction of the subject both independently and in a larger group,is an internal dynamic mechanism which promoted the contemporary changes in "Lusheng Long-Drum Dance".Finally,with the "Lusheng Long-Drum Dance" as a representative of "Small Tradition",in order to realize specific political and economic purposes in contemporary transformation,it went through external dynamic mechanism with experts contributing as a driving force.By analyzing the dynamic mechanism of the contemporary changes in"Lusheng Long-Drum Dance",this paper provides a basis for us to further think about the attitude of dance artists when they face the change of folk dance art.Since change is eternal,what we as Contemporary Artistes can do is to consider how to adjust creations within an appropriate range.Facing folk dances of various ethnicities with the "Lusheng Long-Drum Dance" as a reference,actors with various identities should adopt different strategies.During this period,there is no doubt that Dance Artistes bear the inescapable responsibility.Reflecting on the past,we should position ourselves as "National Ethnic Art Researchers" and promote the development of art of Chinese Ethnic Dance with a responsible attitude by creating on the basis of research.