The Sacrifice And Performance Of The Zhu Clan Ancestral Hall In Heyang Under The Tourism Contexe

With the further development of modernization and globalization,while ethnic and local knowledge is facing the challenge of sustainable development,ethnic culture and local culture are also used as economic resources.Many folk tourism villages have sprung up across the country,carrying out one tourism exhibition after another,and the government,enterprises and other entities have transformed social and cultural resources into economic resources,and sought their own demands in the process of tourism development and interaction.Taking Heyang as the field point,on the basis of grasping first-hand information,this paper studies the revival of the Zhu Ancestral Hall sacrifice in Heyang under the tourism situation,the performance of sacrifice and other traditional cultures participating in the tourism development,and the subjective expression of cultural subjects in this process.The first part is an introduction.Most of the papers in the tourism exhibition focus on the protection,development and commercialization of cultural resources in ethnic minority areas,and there is a lack of attention to ancestral halls.However,there are few studies in Heyang,which are sporadically found in the protection and renewal of ancient villages,architectural design and wood carving art,and there is a lack of research on the sacrifice and performance of Heyang ancestral halls.The second part is an overview of Heyang.From the three aspects of Heyang’s natural environment and village layout,Heyang’s historical humanities and livelihood mode,and ancestral hall culture,the overall appearance of Heyang villages is presented.The third part deals with the revival of the ancestral worship ceremony of the Zhu clan in Heyang.With tourism development and the revival of clan culture as the background of the times,the ancestor worship in Heyang,which has been interrupted for many years,has been restored,and the local cultural elite has constructed the ritual process of ancestor worship in Heyang,making the ancestor worship that originally had no details recorded in the genealogy become an ancestor worship activity with a specific ritual process.In the more than ten years since the restoration and development of ancestor worship,"clean water" has become the most sacred symbolic carrier in the process of ancestor worship in Heyang.The fourth part analyzes how the text of the Heyang Ancestral Hall participates in the tourism exhibition and performance,and the interactive relationship between the "host" and the "guest".On the one hand,the ancestral worship ceremony exhibition promotes the reproduction of ethnic culture,reconstructs ethnic memory,and promotes the development of local culture;on the other hand,in the process of tourism exhibition,"gaze" and "being gazed" also produce the contradiction of "main" and "guest" exchanges,the host is looking forward to tourists coming to understand Heyang’s ancestor worship culture,Heyang villagers psychologically construct self-identity during the performance of the ancestor worship ceremony,is conducive to strengthening ethnic identity and clan unity,but tourists in order to meet their own gaze needs,with a strong "look" The gesture of participating in the ancestor worship ceremony affects the sacredness and seriousness of the ancestor worship,resulting in conflicts between the "host" and "guest".The fifth part elaborates the expression of cultural subjectivity under government intervention.The communication between local people and the government in tourism development is in a contradictory state of desire and conflict.Local cultural elites have an attitude of love and helplessness towards the development of Heyang tourism.Only the cooperation between the government,enterprises and the local cultural entities can promote the sustainable development of Heyang.